A History of the Philadelphia Theatre, 1835-1855 [Reprint 2016 ed.] 9781512819366

Table of contents :
Foreword
Acknowledgments
Contents
Introduction
I. The Theatres, 1835
II. The Plays, 1835
III. The Actors
IV. Annual Chronological Records
The Play List
The Player List
The Playwright List

Citation preview

A HISTORY of

the

PHILADELPHIA THEATRE 1835 to

1855

A HISTORY of the

PHILADELPHIA THEATRE 1835 to 1855 By

ARTHUR HERMAN WILSON Professor of Susquehanna

English University

PHILADELPHIA

UNIVERSITY OF PENNSYLVANIA PRESS LONDON: HUMPHREY

MILFORD: OXFORD UNIVERSITY

I935

PRESS

Copyright 1935 U N I V E R S I T Y OF P E N N S Y L V A N I A PRESS Manufactured

in the United

States of

America

I. M. To My Grandmother M A R Y E L I Z A B E T H AMER EHRLINGER To whom

this dedication

The matt cherishes boy

comes too

in memory adored.

late.

one whom

the

FOREWORD T H I S third volume in the history of the Philadelphia theatre hardly needs a foreword, since Professor Wilson's own introduction gives to the reader all the necessary information. But since there has apparentlybeen a change of plan in the arrangement of the material, a word may perhaps be in order. In planning the series, it was decided that usefulness and interest should never be sacrificed to mere uniformity. In Professor Pollock's The Philadelphia Theatre in the Eighteenth Century it was possible to give complete casts in the daily record and, owing to the small number of theatres, to preface these with a chronological introduction dealing with all matters connected with the stage. In the second volume, Professor J a m e s had an opportunity to reprint exactly the unique manuscript of W i l l i a m W o o d , the manager of the Chesnut Street T h e a t r e , and consequently his record from 1 8 0 0 to 1 8 3 5 took a somewhat different shape. F r o m this point, the increasing number of theatres has made it necessary to present the daily record in a more condensed f o r m , giving casts only as indicated by Professor W i l s o n when the play is first performed in Philadelphia and, instead of a chronological record, chapters on the Plays, the Players, and the Theatres will furnish a general survey. Complete indices will make easy references for any play, playwright, or actor w h o took part in the Philadelphia theatre during the years from 1 8 3 5 to 1 8 5 5 . These dates are not accidental. In planning the series, each volume brings the history of the Philadelphia theatre to a certain logical climax. T h i s section of the history ends with the year in which Boker's Francesca da Rimini brought the romantic tragedy in A m e r i c a to its height. T h e record of Charles D u r a n g , never published in book form, ends with this year, and the problems of the historian change somewhat when this mine of information, invaluable but always in need of verification, ceases. It was a very significant period in the history of the stage in Philadelphia and deserves the scholarly treatment it has received, not only as a new volume in the series, but for its intrinsic interest. ARTHUR

[vii]

HOBSON

QUÍNN

ACKNOWLEDGMENTS IT IS w i t h the keenest pleasure that the present researcher acknowledges his supreme debt to D r . A r t h u r Hobson Q u i n n , distinguished student of the A m e r i c a n d r a m a and theatre. W i t h o u t his guiding inspiration, expert technical direction, and unselfish h u m a n spirit of friendliness, this research w o u l d have been impossible. G r a t i t u d e is due, also, to D r . Reese D. J a m e s and D r . T h o m a s Pollock, friends and co-workers, for their cooperation through constructive criticism. For all our pleasant and instructive talks concerning the Philadelphia d r a m a and theatre of fifty and sixty years ago, the present w r i t e r wishes to remember M r . A r t h u r Ehrlinger, whose memory of great actors, managers, and theatres has helped to recapture the living atmosphere of the old times. A record of appreciation is also g l a d l y ascribed to the Misses Elizabeth and M a r y Britton and M r s . W . G . Phillips for their laborious accuracy in the preparation of manuscript. In addition, the w r i t e r wishes to thank the staff of the Historical Society of Pennsylvania, and p a r t i c u l a r l y M r . George F a i r c h i l d . T h e generous aid of the A m e r i c a n Council of Learned Societies is also deeply appreciated by the a u t h o r . ARTHUR

[ix]

HERMAN

WILSON

CONTENTS PACE

VII

FOREWORD BY ARTHUR HOBSON

QUINTI IX

ACKNOWLEDGMENTS INTRODUCTION BIBLIOGRAPHY

Ι OF N E W S P A P E R S

2

CHAPTER

I

THE

THEATRES

II

THE

FLAYS

57

III

THE

ACTORS

93

IV

ANNUAL

CHRONOLOGICAL

5

RECORDS

129

THE

PLAY LIST

545

THE

PLAYER LIST

675

THE

PLAYWRIGHT

LIST

717

[XIJ

INTRODUCTION T H E year of 1835 marks an epoch in the dramatic history of Philadelphia since it brings to a close the account book or diary of William B. Wood, famous actor-manager, and also witnesses the end of his active years of service in our city. T h e year of 1855 also records a turning point in the history of the footlights in Philadelphia. A t that time, three major events took place to affect the three departments of our history, namely: the theatres, the plays, and the actors. T h e Chesnut Street Theatre, known as " O l d D r u r y , " ended sixty-two years of active service in 1855, and was demolished. With its disappearance, the ghosts of its greenroom were laid and the romantic age became a memory. A t this time, also, appeared an epochmaking play, George Henry Boker's Francesca da Rimini, which came as a crowning glory to the romantic age of tragedy. And, as a third event, Dion Boucicault first appeared upon the boards of the legitimate stage in Philadelphia in the year of 1855. It was his influence which was to break up the splendid old stock companies of actors and substitute the complete traveling companies that occupy a theatre building by engagement as they do today. A detailed account of the earliest theatrical history in Philadelphia has been written by D r . Thomas C . Pollock in his book, The Philadelphia Theatre in the Eighteenth Century. And a minute record of the years between 1800 and 1835 has been made a subject of exacting research by Dr. Reese Davis James, in Old Drury of Philadelphia. Dr. James has edited the account book of William B. Wood, the actormanager, whose career runs throughout those years.

[1]

BIBLIOGRAPHY OF NEWSPAPERS THIS list contains only Philadelphia newspapers and the dates (between 1835 and 1 8 5 5 ) when they serve as reference for the Philadelphia theatres. Cummings' Evening Telegraphic Bulletin: Published by Cummings and Peacock, 46 South Third Street; Vol. X X X V I I I , new series No. 1070, 1850. The (Daily) Pennsylvanian : Published by Mifflin and Parry, 99 South Second Street; 1 8 3 3 - 1 8 5 5 . National

Gazette and Literary

Register:

1835—1840.

North American and United States Gazette: Published by M ' M i c h a e l and Bird, 66 South Third Street; incorp. 1 8 4 7 - 1 8 5 5 . Pennsylvania Inquirer and Daily Courier: Printed and published by Jesper Harding, 74 South Second Street; 1 8 3 5 - 1 8 5 5 . Philadelphia

Recorder:

1835-1848.

Paulson's American Daily Advertiser: 106 Chesnut Street; 1 8 3 5 - 1 8 3 9 .

Printed by Zachariah Poulson,

Public Ledger (and Daily Transcript) : Published by Swain, Abell, and Simmons, Second and Dock Streets; 1836—1855. The Quaker City:

December 30, 1848—December 30, 1849.

The Spirit of the Times: Published by A . H . Smith and Company, 42 South Third Street; Vol. X X I V , No. 5362, 1850. The Daily Sun: Published by Wallace and Fletcher, 64 South T h i r d Street; Vol. X I I , No. 84, 1850. The Sunday Dispatch: Containing Charles Durang's articles the Philadelphia stage between the years of 1749 and 1855, Series, 1749—1821, starting in the paper of M a y 7, 1 8 5 4 ; Second 1 8 2 2 - 1 8 3 0 , starting June 29, 1 8 5 6 ; Third Series, embracing the between the season of 1 8 3 0 - 3 1 and the demolition of the Chesnut Theatre, April, 1855, starting in the paper of J u l y 8, i860. United States Gazette: Street; 1 8 3 5 - 1 8 4 7 .

about First Series, period Street

Published by Joseph R . Chandler, 66 Dock

[2]

T H E THEATRES

CHAPTER I

THE THEATRES 1835 T H E three theatres which were the mainstay of Philadelphia theatrical entertainment in 1835 were the Arch, on the north side of Arch Street above Sixth, the Walnut, at the northeast corner of Ninth and Walnut Streets, and the Chesnut, above Sixth Street on the north side of Chesnut Street. In 1 8 3 5 , Maywood and Company had become the lessees of the Chesnut and the Arch, while the Walnut was without a lessee for a short period. Maywood himself was busy in London, beating around for recruits, star and stock, to supply his Philadelphia theatres. T h e campaign for 1 8 3 4 and 1835 commenced at the Arch under the management of Messrs. Maywood, Rowbotham, and Pratt. T h e house was repainted and decorated in an elegant manner by Henry Warren. T h e lobbies were laid with new matting. T h e orchestra, selected from some of the best talent in the city, was under the direction of Ben. C . Cross, J r . T h e prices were: boxes, seventy-five cents; pit, thirty-seven and a-half cents ; gallery, twenty-five cents. Francis C . Wemyss returned to Philadelphia from an unsuccessful Pittsburgh venture to take over the Walnut with the backing of his good angel, George A . Cook. T h e rent at this theatre was four thousand, one hundred and fifty dollars a year, exclusive of the rooms occupied as bar saloons. Wemyss declined to have anything to do with the bars and their accessories, as a recent law prohibiting the granting of tavern licenses to theatres was in force at that moment. However, the law did not last long and, it is said by Durang, the stockholders received the sum of three thousand dollars a year for the bars, making a rental of upwards of seven thousand dollars for the theatre. When Wemyss leased the Walnut this season, the house was to be redecorated and thoroughly painted according to plans furnished by him. He signed the lease, paid one thousand dollars in advance, returned to the Iron City, closed his campaign there, and with his dramatic corps recrossed the Alleghenies to the eastward. T h e bills of the Walnut [S]

THE PHILADELPHIA THEATRE f o r this year were headed "American T h e a t r e , " with the cut of a large spread-eagle, and a large scroll in his talons inscribed w i t h " W a l n u t Street T h e a t r e . " T h e prices of admission w e r e : boxes, fifty cents; pit, twenty-five cents ; gallery, twenty-five cents. C . Porter w a s acting mana g e r ; W . Barrymore, stage manager; J . G . Clemens, leader of the orchestra ; and Landers, stage carpenter. A large sum of money had been expended on the decorations at the W a l n u t , which represented the celebrated events in American history f r o m the Declaration of Independence to the closing of the late w a r following the glorious battle of N e w Orleans. E a c h tier of boxes was decorated with paintings representing some celebrated battle in the history of the United States. Around the dress circle were placed medallions of the heads of all the presidents, around the second tier the heads of celebrated generals, and around the third tier the heads of naval heroes. Between each medallion and its corresponding painting was a large gold star, the whole forming a pink g r o u n d — a most novel and beautiful interior. A new drop scene was painted by H a r r y W i l l i a m s and an additional scene by Coyle. T h e proscenium and the general decorations were painted by W . Russell Smith, a young artist of Pittsburgh. Designs so original and perfect had never been offered to a Philadelphia audience, D u r a n g assures us. It was stated that the receipts of this season taken by W e m y s s amounted to $ 2 7 , 9 2 5 , giving an average for ninety-six nights of $ 2 9 1 a night. Wemyss was induced to reopen the theatre f o r a summer season which he subsequently regretted, losing about twelve hundred dollars in the fifty-six nights it was open. M a y w o o d and Company kept the Chesnut opened until M o n d a y , February 2 3 , 1 8 3 5 , when they opened the A r c h in place of the other theatre. H o w e v e r , on M o n d a y , A p r i l 6, 1 8 3 5 , the Chesnut w a s again in use and the A r c h w a s closed. T h e W a l n u t , which had been open all winter, was made dark with its last performance on Saturday, A p r i l i l , 1 8 3 5 , the last part of the week in which the Chesnut reopened. F o r the rest of A p r i l , the Chesnut had the field to itself, until the W a l n u t reopened for a summer season beginning Saturday, M a y 2. B o t h theatres closed for a summer recess starting at the close of performances, Saturday, J u l y 4. A special benefit for M r s . Cook was held at the W a l n u t , J u l y 6, with the combined companies of both houses. Both the W a l n u t and the Chesnut again resumed performances, Saturday, A u g u s t 2 2 , and continued uninterruptedly for the remainder of the year. [6]

T H E THEATRES Tradition is a word which has always meant much to Philadelphia, in theory as well as in practice. And one of America's own stage traditions was that of giving timely plays upon the occasions of memorial days. Washington's birthday was remembered usually by the performance of Gustavus Vasa (otherwise known as The Hero of the Xorth, or The Liberator of His Country). Independence Day was celebrated bysuch native dramas as The Liberty Tree, or The Boston Boys of 'ηό, and The Star-Spangled Banner. A n d even famous American battle-days were given occasional memorial attention. Another tradition of the stage was that of literally knocking together an occasional play of allusion to topics of the day. Usually, the play was in the nature of a farce, but not necessarily so. T w o Philadelphia farces which sprang up mushroom-like in 1 8 3 5 owe their origin to the mild furor created in the city by Sir John Herschel, astronomical scientist, whose articles anent lunar discoveries were appearing in the United States Gazette. Discoveries in the Moon, or Herschel Out-Herscheled, by T . D . Rice of J i m C r o w fame appeared at the W a l n u t , September 5, and the Chesnut followed, September 7, with Moonshine, or Lunar Caustic, by W m . E. Burton.

1836 T h e Chesnut, when opened by M a y w o o d and Company, after the summer recess, was repainted and redecorated by C a r r . A new drop curtain was painted by Henry W a r r e n , the subject taken from Sully's historical picture of Washington crossing the Delaware in the Revolutionary W a r . T h e Pennsylvania Theatre, Coates Street, was now in operation, but not flourishing. Cornelius Logan, the ostensible lessee and manager, withdrew early from the venture. T h e establishment belonged to F . C . Wemyss, who built it by way of experiment. It was one of the principal rocks upon which his management subsequently was wrecked. T h i s new theatre, as Wemyss built it, was situated on Coates Street not far from Second Street, on the north side. T h e architect was Sera ; the scene painter, a very ingenious French artist. H e did all he could, with the means allowed, to give this edifice a respectable aspect and an air of taste; but it had quite a shanty, makeshift appearance, and as suddenly sunk as it rose. It opened on November 7, under the auspices of Cornelius A . Logan, from the management of which he retired on [7]

THE PHILADELPHIA THEATRE the ensuing J a n u a r y . O r i g i n a l l y the house w a s c o n v e r t e d f r o m a church into a theatre, and f r o m that into a vendue shop of second-hand furniture ; a f t e r w a r d s to a lager beer saloon and concert saloon. W e m y s s likewise remained the lessee of the W a l n u t , w h i c h he ran regularly. A n d M a y w o o d and C o m p a n y continued in their practice of e m p l o y i n g the A r c h as an early-summer theatre, a f t e r their closing of the C h e s n u t . T h e W a l n u t and the C h e s n u t both entertained the playgoers of

Philadelphia

during

January

and

February

of

1836

M a y w o o d and C o m p a n y closed the C h e s n u t to open the A r c h ,

until Satur-

day, F e b r u a r y 27, w h e n the W a l n u t and A r c h continued together. T h i s arrangement persisted until M o n d a y , J u n e 13, 1836, w h e n the Chesnut w a s reopened and the A r c h closed. The Walnut

entered upon the summer intermission w i t h the per-

f o r m a n c e on M o n d a y , J u l y 4, but the C h e s n u t remained open for one w e e k longer, closing on M o n d a y , J u l y

11,

1836. L i k e w i s e ,

following

the w a r m w e a t h e r , the C h e s n u t began its activities on S a t u r d a y , gust 20, one w e e k

before the opening of

the W a l n u t

on

Au-

Saturday,

A u g u s t 27. T h e P e n n s y l v a n i a T h e a t r e , on C o a t e s Street, entered the field M o n day, N o v e m b e r 7, and continued w i t h the other t w o theatres for the remainder of the year. A n o t h e r , and more fascinating, tradition of the stage w a s that of the C h r i s t m a s pantomimes. T h a c k e r a y has much to say f o r the subject in that R o u n d a b o u t paper of his called " R o u n d about the C h r i s t m a s T r e e . " A n y o n e w h o is skeptical about the importance of old-fashioned

harle-

quinades w i l l kindly read the w o r d s of the master and be converted. Philadelphia, w i t h its roots so deep in eighteenth-century tradition, usually f o l l o w e d the ancient and respected custom of the E n g l i s h C h r i s t m a s w e e k w i t h the amusing capers of P a n t a l o o n , C l o w n , and The

reader can locate all of the actual titles of these

Columbine. pantomimes

under the heading of H a r l e q u i n in the P l a y - L i s t , such a s :

Harlequin

and Mother

Harlequin

and

Goose,

the Magic

wreck,

Harlequin

Trumpet,

and Harlequin

Tom

and the Fairy

Harlequin the Piper's

Hurry

of the Scurry,

Rose, Harlequin

Ship-

Son.

1837 F . C . W e m y s s , in 1837, had a dispute w i t h the stockholders of the W a l n u t because he w a n t e d them to install gas. T h e stockholders agreed, [8]

THE THEATRES provided they w e r e given one thousand dollars in a d v a n c e rent. T h e n , following

this incident, w h e n

Cooke wanted

to bring his circus

to

P h i l a d e l p h i a , he o f f e r e d to sublet the W a l n u t f r o m W e m y s s , but the stockholders flatly refused. S o C o o k e erected the C h e s n u t Street C i r c u s , at

Ninth

and

Chesnut,

which,

in

1840,

was

altered

into the

New

N a t i o n a l T h e a t r e by W . E . B u r t o n . T h e gas

fixtures

at the C h e s n u t

( w h i c h precipitated the w h o l e dis-

cussion and u n f r i e n d l i n e s s between W e m y s s and the stockholders at the W a l n u t ) w e r e installed by C . C o r n e l i u s and Son. T h e gas, which w a s introduced f r o m the public w o r k s , w i t h all the modern

improvements,

imparted a n e w phase to e v e r y t h i n g d r a m a t i c , p a r t i c u l a r l y in the scenic illusions, since it aided in a r e m a r k a b l e degree the lights and s h a d o w s of p a i n t i n g . T h e C h e s n u t at this time w a s adorned w i t h a species of decorative p a i n t i n g then n e w to the p u b l i c : the superb paintings of classical subjects by S i g n o r M o n a c h e s i , p a r t i c u l a r l y his painting of " T h e

Hours,"

a f t e r the great I t a l i a n master, G u i d o . T h e rent of the house w a s advanced to nine thousand dollars a year. T h e stockholders, this year, had been o f f e r e d ten thousand dollars f r o m a N e w Y o r k applicant, but, in consideration of

Maywood

and

pany's e a r l y exertions and honesty of action, they continued that T h e o r i g i n a l rent of the C h e s n u t , according to D u r a n g , w a s

Comfirm.

twenty-

five h u n d r e d dollars to three thousand d o l l a r s a year, the stockholders being entitled to a season ticket. O n

the dissolution of W a r r e n

and

W o o d ' s partnership in 1 8 2 6 , the rent w a s three thousand dollars on w h i c h they held a lease f o r sixteen years. The

P e n n s y l v a n i a T h e a t r e continued through J a n u a r y to F e b r u a r y

1 8 , 1 8 3 7 , w h e n W e m y s s closed it and l e f t the field to the W a l n u t and C h e s n u t alone. T h e W a l n u t itself ceased p e r f o r m a n c e s on the night of M o n d a y , A p r i l 3, 1 8 3 7 . T h e C h e s n u t carried a l o n g in solitude f o r the rest of A p r i l , but g a v e w a y to the A r c h on M o n d a y , M a y 1 . T h e W a l nut reopened f o r a s u m m e r season and f e l l into stride w i t h the A r c h on S a t u r d a y , J u n e 1 7 . O n S a t u r d a y , J u l y 8, the A r c h closed and l e f t the W a l n u t sole center of entertainment. T h e W a l n u t continued

through

the hot months of s u m m e r and there w a s , t h e r e f o r e , no s u m m e r recess w i t h theatres closed this year as there had been f o r the t w o preceding years. T h e C h e s n u t itself started up again S a t u r d a y , A u g u s t 1 9 . The Walnut

finally

succumbed to the heat of the w e a t h e r S a t u r d a y ,

S e p t e m b e r 2, a n d l e f t the C h e s n u t in solitary s w a y until W e d n e s d a y ,

[9]

THE PHILADELPHIA T H E A T R E November 15, when it reopened, and the two continued for the remaining months of the year. T h e name of Charles Durang deserves special mention and must be discussed here in a place where there is room to give particular notice to it. As an actor, Durang does not stand out in any individual prominence, but as stage-manager for the Walnut ( 1 8 3 7 ) he directed considerable personal influence upon the actors appearing there, and himself took occasional parts. For his benefit night, Feb. 6th, he played the part of Lubin in the sketch of Little Red Riding Hood. In 1836, for the opening of the legendary drama of The Maid of Cashmere we find reference to the fact that he had charge of the dances arranged for that play. He himself occasionally danced the specialty number of Rickett's hornpipe (June 24, 1 8 3 5 ) . And he appeared also, in the Christmas pantomime of that year, Harlequin Hurry Scurry (Dec. 25, 1 8 3 5 ) . From time to time he adapted plays for the stage of the Walnut, noticeably Byron's tragedy of Sardanapalus, at its Philadelphia premier on Nov. 23, 1836. And for April 9, 1842, we find that he translated a play from the French of Alexander Dumas for E . S. Conner, called The Warrior of the Wave. But, as a writer, his real importance lies in the achievement of his history of the Philadelphia Stage (1749 to 1855, inclusive). The versatility of his character can be seen through the scope of the many activities that were his : actor, manager, dancer, play-fashioner, pantomimist, theatrical historian, and writer; and the public acceptance of him in these various rôles attests his good craftsmanship. 1838 F . C. Wemyss had a very unsatisfactory year at the Walnut and it was only following the summer recess that he met any degree of financial success in the grand, spectacular procession of The Coronation of Queen Victoria, modeled after Elliston's famous Coronation of George the Fourth, in London, 1820. The lengthy season at the Walnut of sixty-four weeks and one night brought many reverses to Wemyss. By October, he had lost five hundred dollars, but by the summer he retrieved the entire deficiency and made so much money that it was the best season, probably, asserts Durang, that he ever had during his managerial reign. [10]

THE THEATRES T h e Chesnut commenced the f a l l and winter season with the advertisement that : In consequence of the enormous expenses attending the establishment, the prices of admission are fixed upon the following scale: boxes, one dollar; pit, fifty cents. T h e gallery 7 , during the recess, has been entirely removed. T h e reasons set forth for the advance in prices were several, namely : the advance in rents; the expense attending the engagements; the outlay in new scenery, repainting, and wardrobes. W . T . Russell Smith, who was called " o u r native artist," had produced a novel classic drop curtain for the Chesnut. T h e subject was Thespis on his cart at Athens, surrounded by a group of actors. T h e stock company at the Chesnut was truly more effective this season than it had been for years, but it was unfortunately oppressed by the presence of stars on engagement. T h e extravagant sums extorted by the stars gradually sank M a y w o o d and Company into ruin. T h e W a l n u t and the Chesnut continued to hold the attention of the theatre-going public until the W a l n u t closed on T h u r s d a y , M a r c h 22, to be reopened again on M o n d a y , A p r i l 2, by Cooke's traveling company f o r an engagement which lasted until Saturday, M a y 5, when the Chesnut was again in sole possession of Philadelphia's theatrical entertainment. T h e W a l n u t reopened on M o n d a y , J u l y 2 (one week before the Chesnut closed on Saturday, J u l y 7 ) , and continued as a summer theatre for the rest of the season with the production on Friday, August 1 0 , of The Coronation of Queen Victoria, keeping the field to itself until the relighting of the Chesnut on Saturday, August 25. So, we must say again, that at no time this summer (as in the last summer, likewise) did Philadelphia's theatres completely desert the city. A n d the two theatres, W a l n u t and Chesnut, remained in step together without intermission during September, October, November, and December. W i l l i a m E . Burton, the comedian and playwright, who two years later became the unsurpassed man of the hour in Philadelphia theatricals, already at a date even earlier than 1 8 3 8 gave promise of the timeliness and accuracy of his judgment as an entertainer. His ingenuity and ability to know how to please is very adequately suggested in the advertisement included in the United States Gazette for J u l y 7, 1 8 3 8 , the last night of [11]

THE PHILADELPHIA THEATRE season for the Chesnut and likewise the occasion of

Burton's

own

benefit. M r . Burton requests the attention of his Friends to the nature of the entertainments which are selected to suit the season, being of a light and airy nature, and particularly adapted to w a r m weather. . . . Les Vaudevilles are now considered a Fashionable night's entertainment, superior to the dullness of a long tragedy or the heaviness of a five-act comedy. T h i s arrangement presents the visitors with continued amusement, without compelling them to remain the whole evening to see the end of a piece. T h e vaudevilles alluded to are found to be " T h e Dancing B a r b e r , " " D o e s Y o u r M o t h e r K n o w Y o u A r e O u t ? " , " T h e O r i g i n a l , " and " T h e Spitfire." 1839 F . C . Wemyss was surprised to be informed that, on signing the new lease for 1839—40, a stipulation would be inscribed by the stockholders as to the prices of admittance into their theatre. T h e notice thus given was that the Board of Agents had come to the conclusion not to renew W e m y s s ' lease unless he agreed to raise the price of admission to the pit to thirty-seven and a-half cents. T o this W e m y s s demurred, reasoning with the Board of Agents upon the fatal effects which would attend so injurious a measure as increasing upon the most popular branch of the audience one-third of the long established rates. A t half price, he argued, he had offered more successful novelties than the Chesnut (surnamed the aristocratic theatre, or " O l d D r u r y " ) , and, in spite of their foreign stars, had equaled them in popular attractions. A n d , certainly, he had satisfied the popular voice in cultivating and producing native talent. G . H . Freeman, w h o was the president of the Board, demanded compliance with the terms or vacation of the theatre by W e m y s s at the end of the lease. Wemyss was compelled to surrender, although he realized the ultimate folly of the step. M a y w o o d at the Chesnut, also, it is to be remembered, raised the prices. T h e public, however, refused to support such prices. In due course of time, after E . A . M a r s h a l l became lessee of the W a l n u t , circumstances had changed. T h e country had become remarkably prosperous. Commerce and our manufactories were flourishing, and fashion had assumed a patronizing air in the cause of art. [ 12 ]

THE THEATRES I n W e m y s s ' e n d e a v o r to stem the tide and to avoid the c a l a m i t y ahead, he a l t e r e d his old system of s t r a t e g y and, on S a t u r d a y , S e p t e m b e r

14,

b r o u g h t the season of 1 8 3 8 - 3 9 to a close, h a v i n g kept the theatre open f o r a w h o l e year. O n S a t u r d a y he closed ; S u n d a y intervened ; and on M o n d a y , S e p t e m ber 1 6 , the a u d i t o r i u m w a s entirely r e n o v a t e d : n e w l y painted, seats rec o v e r e d , every d e p a r t m e n t a p p a r e n t l y renewed, and all points even to mouldings

regilt

and

burnished.

Wemyss

had

prepared

appropriate

decorations by his n e w artist, H i e l g e , on canvas, so that they could be t a c k e d on d u r i n g a f e w hours of labor over the f r o n t boxes a n d the p r o s c e n i u m . T h e a f f a i r w a s v e r y ingenious and w a s rapidly and c l e v e r l y e x e c u t e d . T h e c u r t a i n rose j u s t half an hour beyond its time. I t had the e f f e c t of m a g i c ; and the audience, f o r three nights, w e r e s t r u c k w i t h w o n d e r at the effect so miraculously produced. However,

the

result

of

the

raise

in

price

ultimately

supported

W e m y s s ' prediction of f a i l u r e . O n J a n u a r y 2 5 , 1 8 4 0 , he g r a c i o u s l y received permission f r o m the B o a r d of A g e n t s to do as he liked w i t h reg a r d to the prices. B u t it w a s too late. T h e pit could not be coaxed back. I n 1 1 4 nights, he lost six thousand dollars. I n the w h o l e season of

261

nights, 1 5 5 produced less than half the amount of the nightly expenses necessary to keep the doors open. W e m y s s , f r o m that time f o r t h , n e v e r recovered himself. Maywood

and

Company

at the C h e s n u t

were

likewise

fighting

a

losing battle w i t h their a d v a n c e in prices. T h e y had not been able to open their A r c h f o r t w o seasons. T h e next year w a s to see m a n y changes. T h r o u g h

the d r e a r y

year

f r o m J a n u a r y to J u n e , the W a l n u t and the C h e s n u t kept open, a n d , w h e n the C h e s n u t closed w i t h the p e r f o r m a n c e of S a t u r d a y , J u n e

22,

the W a l n u t continued alone t h r o u g h the d u l l s u m m e r until it w a s rejoined bv the C h e s n u t on S a t u r d a y , A u g u s t 2 4 , 1 8 3 9 . A n d then,

the

t w o of them pushed a l o n g f o r the r e m a i n i n g months, sinking deeper and deeper into

financial

failure.

B e n e f i t nights w e r e a r e g u l a r part of the l i f e of the early stage. E v e r y actor a p p e a r i n g by engagement w a s given his benefit on the night f o l l o w i n g the last night of his engagement. E v e r y stock-actor received one benefit each season. E v e n

the doorkeepers, the prompters,

treasurers,

orchestra leaders and house police f o r c e received their benefits. V o l u n tary benefits w e r e a w a r d e d to people distressed by sectional c a l a m i t y ; to the F l o r i d a n s harassed by the I n d i a n s , to the T e x a n s oppressed by their [ 13]

THE PHILADELPHIA THEATRE neighbors, to victims of fire, flood, and famine. A n d no theatre was more ready to help the needy than the W a l n u t under the direction of Francis C . Wemyss, the man of good heart. O n e wonders how much the W a l n u t w a s responsible for the efficiency of the Philadelphia fire fighters of the time. In three months of 1 8 3 9 , there were twenty-four benefits for the firemen, three at the Chesnut, the rest at Wemyss' W a l n u t . T h e fire companies needed equipment, and needed houses, for many of them were newly organized. T h e following is a list of these benefits and the early engine companies: APRIL W.

9. N i a g a r a Hose Co.

W.

10. Hibernia F i r e Co.

W.

i l . America Fire Co.

C.

1 2 . Reliance F i r e Co.

W. W. W.

1 3 . Weccacoe Fire Co. 1 5 . Columbia Hose Co. 16. M a r i o n Hose Co.

W.

1 7 . H a n d In Hand Engine Co.

W.

19. D e l a w a r e Fire Engine Co.

W . 20. Firemen's Complimentary Benefit to F . C . Wemyss. MAY C. W. W. W. W. W. W. W. W. C. W. W.

7. Northern Liberty Hose Co. 7. 8. 9. 14. 15. 16. 17. 21. 21. 22. 24.

Neptune Hose Co. G o o d W i l l Fire Co. Columbia Engine Co. Southward F i r e Co. F a i r M o u n t Fire Co. L a Fayette Hose Co. Globe Engine Co. Robert M o r r i s Hose Co. H u m a n e Hose Co. Hope F i r e Engine Co. Western Hose Co.

JUNE W.

5. United States Hose Co.

W . 2 1 . East Kensington Fire Engine Co. [ 14]

THE THEATRES 1840 In regard to r e n e w i n g the lease for 1 8 4 0 - 4 1 at the W a l n u t , W e m y s s addressed grievances,

the of

Board

of A g e n t s ,

his losses, of

m a k i n g a detailed

his expenditures for

statement

repairs,

and

of

his

giving

cogent reasons w h y he thought himself entitled to expect f r o m

their

hands some consideration. H i s accounts w e r e : F o r canvas, lumber, paints, cordage, tinware, e x t r a carpenters' w a g e s (not i n c l u d i n g his regular w e e k l y bill for carpenter w o r k of $ 4 2 ) upw a r d s of $7,000, independent of rent, w h i c h , in six years has amounted to $27,900. T h e stockholders have received d u r i n g the same time, for bar rents, v i z . : twenty-five weeks for the first seven months, say $50 per w e e k , $ 1 , 2 5 0 ; forty-five weeks for the second year, at $ 5 0 per w e e k , $ 2 , 2 5 0 ; thirty-five weeks for the third year, at $50, $ 1 , 1 0 0 ; thirty-three weeks for the f o u r t h year, at $50, $ 1 , 6 5 0 ; fifty-two w e e k s for the fifth year, at $70, $ 3 , 6 4 0 ; forty-eight weeks for the sixth year, at $70, $3,560. T o t a l , $ 1 3 , 2 5 0 . $13,250, in addition to the $27,900, m a k i n g the gross a m o u n t of $ 4 1 , 1 5 0 for the five years and seven months of the l e a s e — nearly fifteen percent per year, reckoning one hundred and seventy-five shares at $ 2 7 5 each. D u r a n g gives us these figures in his history. W e m y s s had t w i c e decorated

the house, and the stockholders had

decorated it but once, in order to lease it in 1834. W e m y s s had also paid f o r half of the papering and painting of the lobbies, paying months' rent before the theatre w a s ready for performance. H e

five then

offered to take the lease for the ensuing year of 1 8 4 0 - 4 1 if the stockholders w o u l d not require any payment f r o m him in advance, and if they w o u l d be satisfied to receive t w o hundred dollars a w e e k f r o m the usual time of opening, in this w a y m a k i n g a difference of five weeks in the time of the payment of the w h o l e rent. T h e n he asked them to repaint and paper the vestibules and lobbies, to put up a n e w dome, and to decorate the panels of the boxes, f r o m designs w h i c h he w o u l d f u r nish f o r their approval, so as to give the house a fresh look. T h e proposition w a s never answered by the stockholders. T h e A r c h Street T h e a t r e w a s then to let, M a y w o o d and C o m p a n y h a v i n g abandoned it as unprofitable. W e m y s s took it and abandoned the W a l n u t to its n e w lessees, W .

D i n n e f o r d and E . A .

Marshall,

with

W i l l i a m R u f u s B l a k e as stage director. T h i s n e w dynasty opened it at the l o w prices of t w e l v e and a-half cents for the pit, and twenty-five cents for the second tier of boxes. [15]

THE PHILADELPHIA THEATRE D e c e m b e r 30, 1839, R . C . M a y w o o d , in a valedictory address to the public at the C h e s n u t ,

announced

his w i t h d r a w a l

f r o m the

firm

of

M a y w o o d and C o m p a n y . H e had exhausted his energies, his purse, and all the talent of both hemispheres, in the service of the public, so he said. H e had done his best to resuscitate the drama, but he feared that it w a s a f o r l o r n hope. A c t u a l l y , M a y w o o d had become v e r y unpopular, principally because he w a s himself a mass of foreign prejudices against our "native graces." N e w s p a p e r advertisement, for J a n u a r y 1, 1840, recorded the dissolution of partnership e x i s t i n g between R . C .

Maywood

and L e w i s

P r a t t u n d e r the firm of M a y w o o d and C o m p a n y . A n d L e w i s T .

T.

Pratt

i n f o r m e d his f r i e n d s and the public generally that the C h e s n u t Street T h e a t r e w o u l d be u n d e r his sole m a n a g e m e n t . T h e prices w e r e to b e : boxes, seventy-five c e n t s ; pit, thirty-seven and a-half cents. W i l l i a m

B.

W o o d w a s to be the a c t i n g manager, and G . F . Jervis the stage manager. The

New

National

Monday, August 31,

Theatre,

under

William

E.

Burton,

opened

1840. T h e house w a s situated upon the site of

C o o k e ' s C i r c u s , C h e s n u t Street east of N i n t h , south side. B u r t o n , both here and subsequently at N e w Y o r k , most successfully established the old system of public and managerial reliance upon excellent stock companies in w h i c h stars rarely appeared or, w h e n they did, w e r e w o r t h y of being w o n d e r e d at. B u t a f t e r he had in a most extraordinary manner established a nonpareil theatre and stock corps, he t h r e w a w e t blanket over his w h o l e good intent and destroyed at once the rising popularity of his excellent stock c o m p a n y by f a l l i n g back upon the star system. A t the W a l n u t this year W i l l i a m

D i n n e f o r d and E . A .

Marshall

became estranged and did not resume partnership in the lease of the theatre f o r the ensuing year. B o t h of them made application to the stockholders f o r the n e w lease, but M a r s h a l l w o n . T h e W a l n u t and the C h e s n u t w e r e p l a y i n g regularly at the opening of the year of 1840, w i t h the exception of the last w e e k in J a n u a r y , w h e n the newspapers c a r r y no advertisement for the W a l n u t . A

Ger-

man c o m p a n y p e r f o r m e d at the A r c h occasionally d u r i n g J a n u a r y and F e b r u a r y . B y the tenth of J u l y , the C h e s n u t w a s closed f o r the season and the W a l n u t f o l l o w e d suit on the t w e n t y - f i f t h of the month. Coates

Street

Theatre

w a s opened

for a few

nights in A u g u s t

The by

T . Placide. S a t u r d a y , A u g u s t 29, 1840, the C h e s n u t reopened, and w a s joined [ 16]

THE T H E A T R E S by the New National Theatre on Monday. One week later, September 7, lights were on in the Arch, which, however, succumbed to darkness again after the performance of Saturday, September 19. T h e Walnut joined the Chesnut and the National on October 14, Wednesday, and the Arch came back on Tuesday, December 1. T h e four theatres then remained open for the rest of the year. T h e reader may be interested to know that the year 1840 marks a definite change in theatrical Philadelphia by the passing of the old régime of Francis C. Wemyss, veteran actor-manager. This year his stronghold at the Walnut which he held for so many years was closed to him. He was beginning to lose his foothold and his place of active prominence. Nothing is more indicative of the new order of things than Wemyss' own advertisement in the Inquirer of Sept. 7, on the eve of his unsuccessful first venture of the season at the Arch : Dinna Forget "Auld Lang Syne." The stars, being all engaged elsewhere, can only twinkle here occasionally. 1841 Since William Dinneford could not have the Walnut for 1 8 4 1 , as the stockholders awarded the lease to E. A. Marshall, the former took the lease of the Arch (August 10, 1841, opening night), where he had a certain amount of small success at the beginning, but he was finally compelled to close the doors before the year was out. Lewis T . Pratt announced the opening of the Chesnut under his management by saying that, during the summer recess, various alterations had been made: the panels of the boxes and proscenium altered and embellished by Gibson and Company, ornamental painters ; added private boxes designed and executed by Messrs. Cowperthwaite, upholsterers; stage supplied with new appointments of fashionable drawingroom furniture by Messrs. Cowperthwaite ; the scenic department carefully revised under the superintendence of the well-known artist, Charles Lehr. William E . Burton was still holding on to his New National in 1 8 4 1 . On June 12, Mitchell's Olympic Company from New York started an engagement there which was unsuccessful. T h e Arch was again to let, as it was frequently for many years, but in March, William Rufus Blake and William Jones took it over. E. A . Marshall continued at the Walnut.

[17]

THE PHILADELPHIA T H E A T R E January i, 1841, found the four theatres running: the Walnut, the Arch, the National, and the Chesnut. T h e Arch dropped out with the performance of Tuesday, February 2, and during this same week the Chesnut, which was playing opera, was dark for several nights. Finally, it did close on Monday, March 2, leaving the field to the Walnut and the National. T h e Arch opened on Monday, April 5, and continued through the summer. The National closed on Saturday, April 24, in preparation for the melodrama of The Seven Champions of Christendom, with which it opened on Saturday, May 8, but only remained open for the ensuing week. T h e Chesnut again opened, with opera, on Saturday, May 1. The Walnut, the Chesnut, and the Arch continued alone until they were joined by the National on Saturday, June 12, with Mitchell's Olympic Company from New York. However, the opera season at the Chesnut was over on Monday, June 2 1 , and the theatre closed for the summer. Likewise, Mitchell's Olympic Company left the National on Monday, July 5, and that theatre closed. On the same night, the Arch finished out its season. These two theatres may have closed on the succeeding night, July 6. T h e date is not certain because no newspapers were published for J u l y 6, 1841. But it is certain that the Walnut continued along by itself until Wednesday, July 2 1 , when it, too, was darkened for the season. The Arch began the new fall season on Tuesday, August 10, to be joined by the National on Saturday, August 2 1 . T h e Walnut and the Chesnut both reopened the week afterward, Saturday, August 28. However, the Chesnut again closed on Wednesday, October 27, but it came to light in the last month, Thursday, December 2, and all four houses continued together during the remaining weeks of the year. In the seven years from 1835 to 1 8 4 1 , the most popular play on the Philadelphia stage was Shakespeare's Richard III, with eighty-three performances. No other play approached the record of Richard III, and its nearest competitors are Othello with fifty-seven presentations and Hamlet with fifty-three. It is to be remembered that at this time in the history of our Philadelphia stage, even the most popular new play (like London Assurance, for instance) never ran for more than two weeks, or three weeks, as a record performance, and was seldom revived. If a new play was revived months later in the same year, it ran only for a few nights. Following is a tabular arrangement to show the distribution of the [ 18]

THE T H E A T R E S performances of Richard III in the Philadelphia theatres over the period of seven years. RICHARD

III

83 Performance1 in 7 Years Theatres

1835

1836

W.

12

12

2

C.

1837 8

8

3

4

A.

1

I

I

p.

1

2

2

1839

1838

5

8

2

2

1

1+

15

•4

1841 3

Total 5« 13 8

3

3

I

I

2

14

7

83

4

N. Total

1840

,2

7

1842 In the spring of 1842, the Arch was again in the market. M a n y more times it was so, in those days, and thus was conveniently open to any adventurer who could advance fifty dollars. Charles S. Porter, who had not been so pleasantly situated as he could have desired in any engagement after Wemyss' failure, this time took the Arch, expecting to benefit not only himself but also his son and daughter, both aspiring young professionals. Charles Durang, in the sixty-ninth chapter of his history, third series, tells us that the Arch was christened " T h e American" [by Porter] in contradistinction to the W a l n u t which did not then employ the title "the" as a prefix; at least, Wemyss says it was a fling at the Walnut's title, which was then called "American Theatre." T h e old "South Street Theatre," after the " N e w T h e a t r e " in Chesnut Street had been built in 1793, received the appellation of the " O l d American Theatre," and its company the " O l d American" in contradistinction to the new one. T h i s phrase, after it had died out by time, was again revived (not by the management, but by public sentiment) when Jones, Duffy, and W . Forrest became the lessees of the A r c h Street Theatre in 1832. T h e managers and the entire company, with one or two exceptions, being all native-born Americans. In the case of Porter, it was intended as a sneer upon those who had used the term, and had no claim to its application; but Porter soon withdrew the name from the head of his bill, as his corps was composed of mingled [19]

THE PHILADELPHIA THEATRE nationalities of the four nations. T h e stage had English, Scotch, Irish, and natives, while the orchestra was composed of Germans and Italians. T h e A r c h , a f t e r a season of a f e w weeks, w a s closed to make new arrangements. C . S. Porter associated with him L e w i s T . Pratt when Hield was introduced as a leading tragedian and stage manager of the A r c h . T h e new organization of management under the rule of L . T . P r a t t and C . Porter proved, in a very short period, also visionary, as all the preceding managerial attempts at this theatre did at this time. T h e present season did not continue long and was divided into two periods of anarchy, intrigue, and tribulations, ending in dissolution. A f t e r the Porter (and P r a t t ) regime at the A r c h , T h o m a s B . Russell secured the theatre for f i f t y dollars paid to Lacour, President of the B o a r d of Agents. It w a s considered madness f o r Russell to take the house, but the result astonished everyone, for, in September, the public made a run on the theatre and pushed it to the pinnacle of success. Suddenly, when he had at least two thousand dollars in cash in his hands, Russell absconded like a thief, filching the actors' salaries. T h e National T h e a t r e , under Burton, closed on J a n u a r y 29, 1 8 4 2 , which w a s his last exit f r o m this temple of his own rearing and his fond hopes. T h e old Chesnut struggled on under Pratt. T h e W a l n u t seemed to float best through this turbulent sea of hard times. T h e season there, however, was brought to a close on M a y 7. E . A . M a r s h a l l , about this time, was induced to f o r m a coalition with L . T . P r a t t : a union of the forces at the W a l n u t and the Chesnut that, it w a s thought, no doubt would prove advantageous to both parties. W h a t e v e r the motives, the union was effected and as readily dissolved, presumably because the money advanced by M a r s h a l l w a s soon swallowed up by the losses sustained. A general suspension of theatricals seemed then to be the order of the day. O n M a r c h 2 3 , L . T . Pratt announced that he had formed a coalition with W . E . Burton, who with their double company would open " O l d D r u r y " w i t h the play of Money. T h e alliance might have availed both parties if it had been made sooner, but both men were doomed to lose by the arrangement. P . Richings was their stage manager, and the prices w e r e : boxes, seventy-five cents; pit, thirty-seven and a-half cents; colored gallery, twenty-five cents. T h e old policy w a s pursued. A host of stars entered perforce and cleaned the treasury of the little money that w a s floated into it. T h e National passed into the hands of G e n e r a l W e l c h and M a n n who converted it into a magnificent circus amphi[20]

THE THEATRES theatre which for a series of years they conducted with a great spirit, truly garnering Burton's harvest. T h e Chesnut Street Theatre, following the summer, was without a tenant. It had bankrupted the manager, L . T . Pratt. T h e stockholders had attributed the failures and reverses to Maywood's previous mismanagement and unpopular course. But of this conclusion they seemed to repent, and they invited Maywood at this time to renew his direction over the theatre. T h e i r changed feelings toward M a y w o o d must have come as a balm to his wounds. However, he wisely declined all responsibility and proposed his daughter, M a r y E . M a y w o o d , who had been in London with him, to be placed as its manager, he only assuming the business management. Peter Richings was appointed the stage manager. And this same year, on September 22, Miss Charlotte Cushman took over the management of E. A . Marshall's W a l n u t . Although Miss M a y w o o d fell to rise no more before the season half expired, Miss Cushman reigned a season with a varied prestige and, in the ensuing season, divided managerial honors with the august W i l l i a m R u f u s Blake. Durang makes the comment that the curse of this season, as of seasons tha: followed, was the vast multiplicity of stars, the majority of whom weie not above mediocrity of talent: excellent stock people whose only effects as stars were to impoverish the treasury and injure the interests of those called stock performers. On J a n u a r y I, 1 8 4 2 , the four theatres were all open, but the A r c h dropped out on Saturday, J a n u a r y 8. T h e National likewise dropped out on Saturday, J a n u a r y 29, and left the field to the Chesnut and the W i l n u t , which continued alone until the A r c h reopened on Monday, M i r c h 28. T h e Chesnut then closed on Tuesday, M a y 10, leaving the Arch and W a l n u t to continue until Tuesday, J u l y 26, when the W a l n u t cloied for the season. T h e Arch, however, remained open during the entire summer. The Chesnut began the fall season on Saturday, September 1 7 , and the W a l n u t on Thursday, September 22. A l l three houses remained optn through October and November. During the first week of D e cenber, the performances at the three houses are uncertain, but, by the seond week, the Arch had dropped out for the month, and the W a l n u t ani the Chesnut had resumed regular performances for the remaining w e k s of the year. !t is to be remembered that our early native playwrights had to fight [21]

THE PHILADELPHIA THEATRE hard to be recognized in the face of the Anglomania f r o m which our country suffered. It seemed to be felt that even our plays needed to be stamped with a British trademark to assure them certain success. T h e r e is the famous case of the new American play which was, at its opening, falsely represented as the latest w o r k of a well-known British dramatist. A n d it w a s not until days later, when the success of the piece had been established, that the producer had the temerity to announce that the play was actually written by a new and native artist. W e catch the undercurrent of this spirit in the w a y that dramas were frequently advertised. F o r instance, many times a program announces a new play in the fashion that w e find under date of October 24, 1 8 4 2 , for the C h e s n u t : "The Banker, a new and original comedy written by the author of Abduction, Kate Kearney, and The Queen's Jewels." Or, again, from time to time, w e have the announcement, " B e n e f i t Night For T h e Author Of T h e Last N e w P l a y . "

1843 T h e Olympic T h e a t r e , formerly Burton's National, was opened on September 1 3 , 1 8 4 3 , with F . C . W e m y s s and J o h n H . O x l e y as lessees. E . A . M a r s h a l l , w h o defeated Pratt and W e m y s s in their attempt to obtain the Chesnut in partnership this year, opened the house in September for the purpose of playing the great stars, and closed after a short season on December 25, repairing to his W a l n u t Street T h e a t r e , which had been occupied f o r a period by H o w e ' s Equestrian T r o u p e . E . A . M a r s h a l l this year controlled both the W a l n u t and the Chesnut. H e had the interior of the latter theatre redecorated and painted. N e w proscenium boxes were added to those already erected and fashionable furniture w a s placed in them. A superior new drop curtain was painted by Peter G r a i n , J r . W i l l i a m R u f u s B l a k e was appointed stage manager ; and M i s s Charlotte Cushman, acting manager. T h e prices to the boxes were seventy-five cents and to the pit fifty cents. F r a n k Cline w a s the leader of the orchestra, and Cunnington the conductor. M a r s h a l l opened his campaign with a series of the old English comedies and played until September 1 4 , when he opened the W a l n u t with his dramatic company. T h e French opera troupe commenced at the Chesnut on September 20. O n Wednesday, November I, the W a l n u t was closed and the entire dramatic company returned to the Chesnut Street T h e a t r e f o r the winter season. T h e W a l n u t w a s then arranged for a circus [22]

T H E THEATRES arena and opened on S a t u r d a y , N o v e m b e r 4, w i t h N . H o w e ' s equestrian troupe. T h e A r c h Street T h e a t r e , a f t e r the flight of T . B . R u s s e l l in remained f o r some time in the m a r k e t u n d e r the lesseeship of

1842,

Richard

O . R . L o v e t t , a stockholder of the theatre. H o w e v e r , in the w i n t e r of 1 8 4 3 , W i l l i a m A . D e v e r n a became its lessee and opened it on M o n d a y , D e c e m b e r i r . T h e prices w e r e : f o r dress circle, fifty c e n t s ; second a n d third

tiers,

twenty-five cents;

pit,

twelve

and

a-half

t w e l v e and a-half cents. T h e opening w a s not v e r y

cents;

flattering.

gallery,

T h e com-

pany w a n t e d strength in talent and n u m b e r s , a l t h o u g h there w e r e some f e w old f a v o r i t e s a m o n g the r a n k and file. T h e season did not last any length of time. E . A . M a r s h a l l , this y e a r , lost h e a v i l y t h r o u g h his speculations w i t h opera companies w h i c h he b r o u g h t to the C h e s n u t on e n g a g e m e n t . T h e C h e s n u t and the W a l n u t began the theatrical y e a r on J a n u a r y

I,

and to them w a s added the O l y m p i c on M o n d a y , J a n u a r y 9. B u t the O l y m p i c dropped o u t , as a l e g i t i m a t e playhouse, w i t h the p e r f o r m a n c e of W e d n e s d a y , J a n u a r y

1 8 . T h e W a l n u t and the C h e s n u t both con-

tinued p e r f o r m a n c e s until F r i d a y , F e b r u a r y

1 7 , w h e n the end of

the

operatic e n g a g e m e n t at the C h e s n u t b r o u g h t that theatre to a close. T h e A r c h Street T h e a t r e opened on S a t u r d a y , M a r c h 4, and

this

g a v e a bit of opposition to the W a l n u t , w h i c h had been h a v i n g things completely to itself since the close of the C h e s n u t . B u t the A r c h finally

was

darkened by T u e s d a y , M a y 9. T h e W a l n u t continued along in

its pas seul until opera again opened the C h e s n u t on S a t u r d a y , J u l y

15,

but the opera w a s o v e r and the theatre shut d o w n at the end of

the

month. T h e A r c h again opened on T h u r s d a y , A u g u s t closed on S a t u r d a y , A u g u s t

1 0 , a n d the W a l n u t

1 2 , so the A r c h had the field entirely

molested until September. T h e C h e s n u t reopened T h u r s d a y , 7, and the W a l n u t on T h u r s d a y , S e p t e m b e r

un-

September

14. T h e National

joined

the others on S a t u r d a y , S e p t e m b e r 2 3 , and the f o u r theatres continued until the end of O c t o b e r . B y the first of N o v e m b e r , the A r c h dropped out, and one w e e k later the W a l n u t . O n

Monday, December 1 1 ,

the

A r c h started up a g a i n , and the C h e s n u t , the N a t i o n a l , and the A r c h finished

out the y e a r .

P a r t i c u l a r attention in

1 8 4 3 should be called to the t w o

complete

opera companies w h i c h c a m e to the C h e s n u t f o r l o n g e n g a g e m e n t s this year: T h e

I t a l i a n O p e r a C o m p a n y a n d the F r e n c h O p e r a [23]

Company.

T H E PHILADELPHIA T H E A T R E T h e program of the first included the production of Lucia Di Lammermoor, II Puritani, Norma, Belisario, and Gemma Di Vergy, and of the latter, Les Diamans De La Couronne, Le Domino Noir, Le Grace De Dieu, La Fille Du Regiment, Le Postillion De Lonjumeau, and Anna Bolena. Occasionally in the district of Northern Liberties, that is, outside the central theatre belt of the city, a German company spasmodically produced an opera, and the Chesnut frequently included opera as a part of its regular entertainment, with visiting leads, but the year of 1843 brings us two foreign companies that are entities in themselves, and the season might well be called the year for the opera. 1844 T h e season of Wemyss and Oxley's management of the National was brought to a close April 27, 1844, the theatre being open 185 performing nights. T h e only persons who derived any benefit from its operations were the original lessees, Welch and Mann. One wonders why Wemyss and Oxley failed. T h e theatre was splendid and the location excellent, but the current of public favor is hard to fathom. Perhaps there were more amusements than Philadelphians could support at that time. John Oxley relinquished his share in the management at the close of the season, while Wemyss continued his lesseeship. He made strenuous exertions for another season, but the reopening in May was blighted by the unfortunate riots which occurred in Kensington and Southwark, where bloodshed and murder seemed to reign madly triumphant. T h e military were called out and these districts placed under martial law. T h e city heard the booming of midnight cannon. On the very day that Wemyss announced the opening of his theatre, the proclamation of military rule went into effect, and, in consequence, no person could think of public amusements during the next two weeks. A f t e r order was restored, Wemyss struggled on for some time to miserable houses, but at last yielded to stern necessity and closed his doors. He surrendered the theatre to General Welch and Co., who subsequently established, with their large means, a most splendid amphitheatre wherein first-class circus and stage performances were given for many successful seasons, until it was destroyed by fire, with the Chinese Museum, on the evening of J u l y 5, 1854·

[24]

THE THEATRES On June i, 1844, William E . Burton opened the Arch for the summer season. Many thought that this was a perilous undertaking: to saddle oneself with a theatre that seemed doomed. T h e prices were: boxes, fifty cents; second tier, twenty-five cents; colored gallery, twentyfive cents; but it did not pay. Burton commenced his campaign with a very meager corps, and no vaunting promises. He gradually expanded his operations as his strength of talent accumulated, but his final success depended upon, and was triumphantly gained, by playing burlettas with a small, select company. When E. A. Marshall retired from the Chesnut in 1844, L . T . Pratt was again induced to take the house and associated F. C. Wemyss with him. John Sefton was the stage manager. T h e prices were: boxes, fifty cents ; pit, twenty-five cents ; colored gallery, twenty-five cents. T h e venture, however, was not successful. A serious event occurred early in the season and almost closed the doors of the Chesnut. George Lippard had written a book called The Monks of Monk Hall, which was an exposé of the profligacy of the "powerful wealthy" in Philadelphia. T h e book created a sensation and, at the suggestion of Ashbel Green, Deputy Attorney-General, Wemyss agreed to produce it. Lippard made his own dramatization of it into a play called The Quaker City. And then the fun began. T h e "powerful wealthy," such as Singleton, Mercer, Judge Conrad, and others, made a tremendous demonstration against the presentation of it. Matters became so embroiled that Wemyss was beset on all sides : with his stockholders, Mayor Peter M c C a l l of Philadelphia, the "powerful wealthy" themselves, and law and order in general. Any possible success that the season might have brought to Wemyss and Pratt was forestalled by the untimely fate of The Quaker City, on whose preparation they lost much money. And the subsequent disfavor of the public caused the houses to thin out, since the press took up the ma;ter over the whole country and accused Wemyss of trying to force an immoral and objectionable play upon the public. January 1844 fostered three theatres: the Walnut, the National, and the Arch. A t the beginning of February, the Arch discontinued for two weeks, and by the end of the month it closed down, not to reopen for months. The dramatic field was left to the Walnut and the National, which were joined on Monday, April 1, by the Chesnut with opera. T h e opera lasied until Tuesday, April 23. Several nights later the National, also, [25]

THE PHILADELPHIA THEATRE w a s darkened, but reopened again in the middle of M a y for a short season which only endured the rest of the month. O p e r a again came to the Chesnut on Saturday, M a y 25. Lights were on in the A r c h , Saturday, J u n e 1 . T h e r e f o r e , the beginning of J u n e furnished Philadelphia theatre-goers with a choice of three theatres: the W a l n u t , the Chesnut, or the A r c h . Opera at the Chesnut was once more finished, however, on J u n e 4. T h e W a l n u t and the A r c h carried through the entire summer and were not joined by another theatre until the Chesnut opened on M o n d a y , October 1 4 . F r o m then until the end of the year, performances at the three theatres continued regularly. W i l l i a m E . B u r t o n , upon opening the A r c h in J u n e , made the following announcement of unusual interest: T o render the A r c h St. T h e a t r e in every w a y worthy a liberal support, the T h i r d T i e r Nuisance will be abolished ; improper characters will be prevented f r o m obtaining admission to any part of the house ; and the sale of alcohol, in any shape, will be discontinued in the saloons. In sacrificing the large profits attending these usual practices of all other theatres, now attempted f o r the first time in the United States, W . E . Burton looks f o r a compensation in the more frequent attendance of families, w h o may depend upon experiencing at the A r c h St. T h e a t r e a wholesome entertainment of the highest character, without the possibility of witnessing an impropriety either on or off the stage.

1845 Burton, in 1 8 4 5 , became the lessee of both the A r c h and the Chesnut, and kept them open at the same time. T h e members of his two companies played alternately, as circumstances required, at either the one or the other house. E . A . M a r s h a l l retained the W a l n u t , with his well organized forces, under the stage guidance of W i l l i a m R u f u s Blake. Burton commenced the winter campaign at the Chesnut, August 30, announcing that the house w a s entirely renovated and brilliantly decorated in every part. T h e dress circle lobby w a s carpeted, newly papered and painted. A l l the other lobbies were also thus improved. Burnished gold ornaments of chaste appropriate designs were placed around the three tiers of boxes. T h e proscenium ornaments were of the most gorgeous patterns, profusely decorated w i t h arabesque devices in green and gold. Stage doors were added, new draperies were placed over the private boxes, to move at pleasure. A new drop curtain, representing the city and bay of Naples, with a view of Vesuvius, was painted by [26]

T H E THEATRES G e o r g e H e i l g e . T h e o r c h e s t r a at the C h e s n u t , u n d e r S i g n o r L a

Manna,

contained the f o l l o w i n g solo p e r f o r m e r s : P a z z a g l i a , C a p u a n o , L e anco, R a l l o , Stolto, D u e c k l e , and others of equal merit. T h e

Bi-

medallion

of Shakespeare, over the p r o s c e n i u m , w a s painted by T h o m a s S u l l y , J r . T h i s w a s preserved, by the direction of B u r t o n , w h e n the theatre w a s torn d o w n , and f o r m e d one of the items of his l i b r a r y sale. T h e prope r t y man w a s A n d r e w W e l s h ; stage machinist, C a d w a l l a d e r G r i f f i t h s ; scenic artists, G e o r g e H e i l g e and H a c k u r t . B u r t o n deserved much praise in those disjointed t h e a t r i c a l times f o r his e f f o r t s to restore the d r a m a t h r o u g h

the i n s t r u m e n t a l i t y

of

good

stock companies. H e m a d e his first e f f o r t at the N e w N a t i o n a l T h e a t r e , and failed. T h e c h a r m of the old r e g u l a r system seemed i r r e v o c a b l y gone. H e became the lessee of the C h e s n u t in 1845—46, only to retire f r o m it and f a l l back upon the A r c h w i t h l i g h t pieces and burlesques, played by a small, c a r e f u l l y chosen c o m p a n y . P u r s u i n g this course f o r time w i t h e n e r g y , despite the rise and f a l l in his career, he

some

finally

suc-

ceeded in r e a l i z i n g some eight or ten thousand d o l l a r s , w h i c h led him to N e w Y o r k to P a l m e r ' s O p e r a H o u s e and to high f o r t u n e ,

Durang

tells us. The Walnut

Street T h e a t r e , h a v i n g closed a v e r y

long season on

S e p t e m b e r 6, reopened f o r the f a l l and w i n t e r season on

Wednesday,

O c t o b e r 1 . E . A . M a r s h a l l continued as lessee. T h e prices of admission w e r e : pit, t w e n t y - f i v e c e n t s ; dress circle,

fifty

c e n t s ; second and third

tiers, t w e n t y - f i v e cents ; o r c h e s t r a , s e v e n t y - f i v e cents. T h e A r c h w a s open f o r the first w e e k of J a n u a r y , but no l o n g e r in that

month. W h e n

it closed,

the W a l n u t

and

the

Chesnut

P h i l a d e l p h i a ' s theatrical honors alone. H o w e v e r , T h u r s d a y ,

carried February

1 3 , the C h e s n u t a p p a r e n t l y closed also. T h e W a l n u t continued

singly

until S a t u r d a y , M a r c h 2 2 , w h e n it w a s j o i n e d by the A r c h . T h e C h e s n u t reopened on S a t u r d a y , A p r i l 2 6 , and the N a t i o n a l on M o n d a y , A p r i l 2 8 . T h e N a t i o n a l w i t h d r e w its p e r f o r m a n c e s on S a t u r d a y , M a y

10.

T h e A r c h took an intermission f r o m its p e r f o r m a n c e on W e d n e s d a y , J u n e 1 8 , until it opened f o r a s u m m e r season on F r i d a y , J u l y 4, but the Walnut

and

the

Chesnut

continued

during

the

intermission

at

the

A r c h . H o w e v e r , on S a t u r d a y , J u l y 5, the C h e s n u t g a v e its last s h o w i n g f o r the s u m m e r . T h e W a l n u t and the A r c h continued t h r o u g h the s u m m e r and w e r e joined by the C h e s n u t a g a i n in the f a l l , S a t u r d a y , A u g u s t 3 0 . O n e w e e k later, the W a l n u t took an intermission w i t h the p e r f o r m a n c e of [27 ]

Sat-

T H E PHILADELPHIA T H E A T R E urday, September 6, until the house was lighted again on Wednesday, October i. T h e three theatres then performed their dramas regularly through October and November to the middle of December, when the Chesnut inaugurated the practice of forsaking the legitimate drama occasionally for legerdemain, which it introduced upon its boards spasmodically during the remainder of the month. An interesting side-light is thrown upon the life in the old theatre buildings by an advertisement in the Public Ledger for Monday, December 29, 1845. It reads: Chesnut street theatre—To let, the Pit Bar, Oyster and Fruit Stands, in said theatre—also, the Third T i e r Bar. Intimate knowledge is thus given to us of the specific manner in which our ancestors regaled themselves during the intermissions: they not only drank intoxicating beverages, but they also gulped oysters and munched fruit. T o those of us who take our theatre seriously, the gentle art of eating during a play is very disconcerting. Somehow the indiscriminate consumption of ineffable confections by the noisy mandibles of our neighbors slightly disturbs the intellectual morale which we like to preserve in justice to the play in progress,—to say nothing of what it does to the illusion of the play-world which the actors struggle so hard to create. For instance, oranges are delightful for breakfast, but the present writer does not think that even the person of Nell Gwynn herself selling them in the theatre could compensate for the odorous curtain which they would throw up between the stage and the spectators. W e have traveled far from those days when theatres were also lunch rooms, but we are still disturbed occasionally by hawkers of candy. May their tribe decrease ! 1846 T h e Arch closed its season suddenly on January 24, 1846, but Burton announced that it would soon be reopened for a short season, prior to its being closed for the purpose of extensive alterations since he intended to place the theatre in the first rank of dramatic establishments. T h e company there was excellent, with J . M . Scott as acting manager and Stevens as stage manager. T h e prices were: dress circle, fifty cents; second and third tiers, twenty-five cents; pit, twelve and a-half cents; and gallery, twelve and a-half cents. [28]

THE THEATRES T h e A r c h Street T h e a t r e , d u r i n g the s u m m e r recess of 1846, underw e n t the most expensive repairs, alterations, and i m p r o v e m e n t s in its various parts. T h e exterior of the edifice had been n e w l y painted, the interior renovated, and a n e w roof had been placed over the entire building. T h e stage had been considerably e n l a r g e d , w i t h the

proscenium

n e w l y constructed and o r n a m e n t e d . P r i v a t e and stage boxes had been erected, ivhile a n e w pit had been f o r m e d , e x t e n d i n g p a r t l y u n d e r the boxes. T h i s w a s a n e w f e a t u r e of extension. T h e

flooring

and seats w e r e

entirely n e w . T h u s it w a s made equal to the capacity of the largest pit in the city. T h e boxes and lobbies had been papered and painted, and the seats n e w l y stufïed and covered. A splendid dome of design had been painted

by G e o r g e

style, and gold ornaments of

Hielge.

New

Louis Quatorze

architectural

draperies of

novel

pattern, decorated

the

fronts of the three tiers of boxes. T h e y w e r e designed and executed in papier maché by M e s s r s . C . and W . L o n g , and burnished in gold. T h e r e w e r e paintings in oil in f r o n t of the proscenium and boxes, by T h o m a s Glessing, f r o m designs furnished by the life and plays of

Shakespeare.

T h e State arms, in c a r v e d relief, f o r m e d the keystone of the arch, designed and executed by the M e s s r s . L o n g . T h e national flag draped the stage boxes. T h e carpenter w o r k w a s done by Jackson and M c C l a y .

A

n e w drop scene w a s painted by G e o r g e H i e l g e . T h e leader of the orchestra and composer of music w a s Sandie Jamieson ; stage

manager,

J . M . Scott ; and treasurer, E d m o n d s . C o n c e r n i n g the present season at the A r c h ,

D u r a n g gives the fol-

l o w i n g account in the e i g h t y - f i f t h chapter of his history, third series : T h e same policy continued of managers o u t b i d d i n g each other for the élite of the stars w h i c h had characterized the several late s e a s o n s — a most ruinous policy, that a l w a y s l e f t the treasury empty. T h e renovating and t h o r o u g h l y redecorating of the theatres at the b e g i n n i n g of every n e w season w a s really a v e r y questionable o u t l a y of money. I t seldom proved v e r y a t t r a c t i v e a f t e r a f e w nights. T h e best b o w e r anchor ahead, in our opinion, w a s a good stock company, w i t h one or t w o of the prominent fashionable actors. A s the m a n a g e r s ran a f t e r the stars, so did they in the same ratio enhance their demands. T h i s star system, a f t e r having been carried out to its tether in all o u r cities, began to s h o w symptoms of a decline. T h e P a r k T h e a t r e , the grand metropolitan theatre of the c o u n t r y , w h i c h o r i g i n a l l y had imported these kinds of theatrical goods, n o w became hopelessly embarrassed f r o m these heedless importations, but pertinaciously adhered to its course. T o add to managerial burthens, l a r g e rents w e r e required f r o m them by the proprietors of the t h e a t r e s — t h i s , too, w h e n the prices of admission w e r e [29]

THE PHILADELPHIA THEATRE relatively reduced. I t w o u l d seem that M r . E . A . M a r s h a l l had secured the principal stars this season, and that B u r t o n relied more upon his resources of a v e r y good w o r k i n g company, and n e w attractive dramas of the scenic kind, w i t h the novelty of the clever R a v e l s and e x t r a amusements not to be legitimately included in the d r a m a t i c category. It must be admitted also that B u r t o n w a s " a host" w i t h i n himself, and his l e a d i n g people w e r e good and great favorites w i t h his audience. A t this time, a temporary theatre had been erected in the grand dancing saloon of the old M a s o n i c H a l l , C h e s n u t Street, w h i c h had been occupied as Peale's M u s e u m , w h e r e i n numerous theatrical pieces had been given f r o m time to time bv disengaged p e r f o r m e r s f r o m the other theatres. A t the present season, farces and v a u d e v i l l e s f o r m e d the backbone of the p r o g r a m s at Peale's. T h e price of admission w a s t w e n t y - f i v e cents. Peale's M u s e u m , at the M a s o n i c H a l l , C h e s n u t Street, or " T h e A c a d e m y of F i n e A r t s " as it w a s called a f t e r the M u s e u m

ceased to be

exhibited at that location, this year w a s opened as a r e g u l a r

theatre.

D u r a n g gives us some information concerning it in the eighty-fifth chapter of his history, third series: T h e y p e r f o r m e d light comedies and singing dramas w i t h great cleverness, there being some of the best stock talent in the c o u n t r y concentrated on the e f f o r t . T h e patronage w a s of the respectable classes. T h e pieces w e r e w e l l put upon the stage, and " l o c a l habitation and n a m e , " on the fashionable promenade of C h e s n u t Street, w a s not w i t h o u t its advantages. T h e nature of the organization w e are not conversant w i t h . M r . John S e f t o n seemed ostensibly its index and minute hand. U n d e r many adverse circumstances, prolonged its season to an unexpected duration. A s a minor temple it w a s far beyond a n y t h i n g of the sort since offered to public attention. In its neat, clever, and respectable conduct, the names that appeared in their casts are guarantee for o u r assertion. E . A . M a r s h a l l continued as lessee of the W a l n u t , w h e r e he engaged actors of m u c h talent. T h e

C h e s n u t w a s unoccupied this year,

after

B u r t o n ' s f a i l u r e in the previous year to make it run, except f o r a short season of opera. T h e W a l n u t , A r c h , and C h e s n u t opened the theatrical year together, but the C h e s n u t closed d o w n as a failure on T u e s d a y , Janu a r y 20. T h e W a l n u t and A r c h continued alone until they w e r e joined by Peale's P h i l a d e l p h i a M u s e u m on M o n d a y , M a r c h 9. T h e

Chesnut

opened w i t h opera, M o n d a y , A p r i l 2 7 ; closed on M o n d a y , M a y

18;

reopened M o n d a y , J u n e I, w i t h one performance of legitimate drama. T h e A r c h ended its season on S a t u r d a y , J u l y 25, and reopened M o n d a y , [30]

THE THEATRES August 26, but the W a l n u t and Peale's M u s e u m persisted in their performances through the summer. T h e three theatres remained open regularly for the rest of the year. One of the amusements of the day was the circus or, more definitely, the hippodrome. Certain theatres were manned by equestrian troupes who performed in as many ways as possible with their horses, even presenting occasional dramas that permitted equestrian processions, combats, and feats of skill. A n d on October 5, 1846, the National T h e a t r e , which Burton initiated so gloriously several years earlier as the finest house of legitimate drama in the United States, became a circus. T h e Public Ledger for this date bears the following program: CIRCUS

AND

NATIONAL

THEATRE—Under

The

Management

Of

Messrs. Welch A n d M a n n — D o o r s open 7)4> and commence at a quarter before 8 o'clock—THIS EVENING, October 5th, w i l l commence with the Union Of Chivalry A n d B e a u t y ; Finished Equestrian A c t , by M a s t e r R . R i v e r s ; A r e n a Gymnastics; L e Festin D e Polichinel, by M a s t e r Chambers; C r y Of Liberty, by H o w a r d ; Enchanted L a d d e r , by M a s t e r R . R i v e r s ; Equestrianism, by M r s . H o w a r d ; Display O n T h e Floating Cord, by W i l l i a m D a y ; Professional Act, without saddle or bridle, by M r . Glenroy, J r . ; classic poses of the three Brothers Rivers. T o conclude with the E x t r a v a g a n z a Of T h e Hunted T a i l o r .

1847 T h e Chesnut Street T h e a t r e had been lying f a l l o w , after Burton's unsuccessful attempt to resuscitate its decayed status. It had been renovated with some new painting and brushing up, and thus put again in the theatrical market through the exertions of J . R . Pollock, a stockholder of the theatre, and J a m e s Quinlan, the proprietor of the saloons. A young American magician appeared in the renascent Chesnut three times a week. T h e Chesnut Street T h e a t r e had been leased to Messrs. Seguin and F r a z e r for their presentations of opera. D u r i n g their starring excursion to the South, it was left under the agency of W i l l i a m R . Dinmore, their treasurer, who let it by the night, or week, to wandering persons who might want to exhibit themselves temporarily. T h e Seguins opened it for an opera season on M o n d a y , A p r i l 5, 1 8 4 7 , styling it " T h e Opera H o u s e . " Prices of tickets: dress circle and parquet, fifty cents; f a m i l y circle, twenty-five cents. T h e first week of J u n e saw the dissolution of [31 ]

THE PHILADELPHIA

THEATRE

partnership between the Seguins and Frazer, and the Chesnut was now let to anybody and everybody. Negro minstrels and heel-and-toe, doubleshuffle dancers now adorned the stage of " O l d D r u r y . " W . E . Burton continued at the Arch, and E . A . Marshall remained as lessee of the W a l n u t . Peale's Museum, the W a l n u t , and the Arch opened the year and extended their performances through J a n u a r y and part of February when, with Tuesday, February 16, the Arch closed its doors. T h e other two theatres kept the field to themselves until the Arch reopened on Thursday, M a r c h 25. T h e Chesnut, with Seguin and Frazer's opera company, opened its doors on Monday, April 5. W i t h the performance of Saturday, A p r i l 24, Peale's Museum closed in preparation for a series of new dramas which were introduced to the theatregoers of Philadelphia on Monday, M a y 3. O n Saturday, J u n e 5, Seguin and Frazer closed the Chesnut and dissolved partnership. Peale's M u seum discontinued the performance of legitimate drama after Saturday, J u l y 17. T h e A r c h and the W a l n u t now carried through the summer by themselves, and met no new rival in their theatrical field for the entire remainder of the year, through August to the end of December. T h e lively spirit of competition which existed among the theatres is very amusingly and very humanly shown in the following series of four advertisements appearing in the daily newspapers during 1 8 4 7 : Feb. 16. U . S. G . LES DANSEUSES

VIENNOISES

M r . W . E . Burton Having made a positive arrangement with M a d a m e Weiss for the performances of these children at Philadelphia and Baltimore, the public is assured that they will appear at the A R C H S T R E E T T H E A T R E , all announcements to the contrary, notwithstanding. Preparations of an extensive nature have been making for sometime. Every Divertisement of the Danseuses will be ornamented with new and beautiful Scenery, new Stage Properties and Decorations. T h e audience part of the house will also undergo some essential alterations, for which purpose the Theatre will close for a short period. Feb. 18. U . S. G . LES DANSEUSES

[32]

VIENNOISES N e w Y o r k , 16 W a l l St.

THE THEATRES Feb. i6th, 18+7. T o the Editor of the N e w Y o r k Herald : — DEAR SIR—In your columns of yesterday, and of the day previous, I noticed among the Theatrical Items, a statement to the effect that " L e s Danseuses Viennoises" are engaged at the W a l n u t Street Theatre, Philadelphia. T h i s , I beg leave to state, is erroneous, as Madame Weiss long since engaged the services of " L e s Danseuses Viennoises" to M r . Burton, of the Arch Street Theatre, at which place they are shortly to appear. Yours, &c., JOHN

K.

HACKETT,

Attorney and Counsel for Madame Weiss. March 15. P. L . A R C H S T R E E T T H E A T R E — T h e management of the Park Theatre, N e w Y o r k , having interfered with the arrangement of M a dame Weiss, the Directress of LES DANSEUSES VIENNOISES, These interesting performers can not appear at the Arch Street Theatre during the whole of the present week. T h e manager deeply regrets the present disappointment of his patrons, but feels assured that many days will not elapse before he shall have the honor of presenting the children to their notice. Those persons wishing to withdraw their certificates can have their money returned. M a r c h 22. P. L . W A L N U T S T R E E T T H E A T R E — L e s s e e , M r . E. A . M a r s h a l l Manager, M r . W . R . Blake—Dress Circle, $ 1 ; 2d and 3d tiers, 50 cts; Private Boxes and Orchestra Seats, $ 1 ; Pit, 50 cts.—Doors open at 7 ; Commence at 7J/2 o'clock—First appearance of the D A N S E U S E S V I E N N O I S E S — T H I S E V E N I N G , M a r c h 22d, the comedy of the W I N D M I L L — S a m p s o n L o w — M r . Chapman. Forty-two D A N S E U S E S V I E N N O I S E S will appear in a G r a n d Divertisement. A f t e r which, the T W O T H O M P S O N S . A f t e r which, another Grand Divertisement. Together with many other Entertainments. It seems, therefore, that the Viennese dancers went to the W a l n u t after all, and that E . A . M a r s h a l l succeeded in outwitting W . E . Burton, a difficult thing to do, one might conjecture. 1848 T h e Chesnut Street T h e a t r e was occupied as an opera house in February. T h e Italian troupe from N e w Y o r k opened this season on Saturday, [33]

THE PHILADELPHIA THEATRE F e b r u a r y 1 9 , w i t h something of a b r i l l i a n t prospect. T h i s opera speculation w a s effected through subscription. S o m e of o u r f a s h i o n a b l e , w e a l t h y citizens created a f u n d to c a r r y out the object f o r a limited

period.

C h a r l e s K u h n w a s to receive the subscriptions at his office, 6 6 S i x t h Street. T h e opera nights w e r e M o n d a y , W e d n e s d a y , and

South Friday.

F i r s t tier and second tier, w i t h parquet, one d o l l a r ; upper boxes, f i f t y c e n t s — t h e g a l l e r y being a r r a n g e d as boxes. A t the opening of the W a l n u t Street T h e a t r e f o r the f a l l season of 1 8 4 8 , under E . A .

M a r s h a l l as lessee, P e t e r R i c h i n g s w a s the stage

m a n a g e r . T h e opposition of rival theatres w a s n o w r i f e . T h e A r c h w a s open, the opera w a s at the C h e s n u t , W e l c h ' s C i r c u s w a s going, Museum

Theatre

(Peale's)

was

still

at

work,

and

Swaim's

the new

A t h e n a e u m p r e p a r i n g to open. T h e n e w l y named A t h e n a e u m and N a t i o n a l M u s e u m opened its doors f o r public entertainment d u r i n g the C h r i s t m a s holidays. I t w a s situated at the southeast corner of S e v e n t h and C h e s n u t Streets. T h i s built by S w a i m , f r o m designs and d r a w i n g s by G . P a r k e r

theatre,

Cummings,

architect, w a s one of the earliest palatial store b u i l d i n g s in our

city.

T h e original proprietors of the building w e r e M e s s r s . T a b e r and J . S. Silsbee, w h o , since their theatrical project fell t h r o u g h , neglected to pay f o r the building. T h e prices of admission w e r e l o w e r e d to t w e n t y - f i v e cents to all parts of the house in an attempt to keep the theatre going. T h e w h o l e proved a dead f a i l u r e , and B a r n u m subsequently entered the premises. B u r t o n still remained at his A r c h Street T h e a t r e , but at the close of the year m i g r a t e d to N e w Y o r k and deserted P h i l a d e l p h i a theatricals p e r m a n e n t l y . T h e A r c h and the W a l n u t w e r e the t w o open

theatres

that heralded the n e w year of 1 8 4 8 . O n W e d n e s d a y , F e b r u a r y 1 , the N e w Y o r k opera u n d e r M a x

M a r e t z e k appeared at the C h e s n u t and

remained until F r i d a y , M a r c h 2 4 . P e a l e ' s M u s e u m

recommenced

p e r f o r m a n c e of legitimate d r a m a on T h u r s d a y , M a r c h

the

1 6 , but discon-

tinued again w i t h S a t u r d a y , M a y 2 0 . O n M o n d a y , M a y 2 2 , the O l y m pic g a v e one w e e k of legitimate d r a m a and then disappeared. T h e W a l n u t and the A r c h w e r e lighted nightly f r o m the beginning of the year and, f o l l o w i n g the spasmodic burst of activity at P e a l e ' s and a t the O l y m p i c , continued undisturbed until the C h e s n u t again became a r i v a l f o r theatrical f a v o r w i t h opera on T u e s d a y , J u n e 6. O n S a t u r d a y , J u l y I, P e a l e ' s M u s e u m again began to g i v e plays, but once more discontinued on W e d n e s d a y , J u l y

1 0 . B y the end of J u l y , the [34]

Chesnut

THE THEATRES w a s again closed, and the W a l n u t and the A r c h w e r e l e f t to finish the s u m m e r . O p e r a again opened the C h e s n u t on W e d n e s d a y , O c t o b e r 4, but o n l y remained until S a t u r d a y , O c t o b e r 2 8 . T h e opera flashed across the lights of the C h e s n u t once more on T u e s d a y , D e c e m b e r 5, to last f o r the rest of the year. S w a i m ' s n e w A t h e n a e u m opened on

Monday,

D e c e m b e r 2 5 , and increased the n u m b e r of theatres to f o u r . T h e man w h o m w e have to reckon w i t h is W i l l i a m E . B u r t o n .

We

recall his initiative, his f o r w a r d - l o o k i n g enterprise. W e recall that he is the man w h o attempts to do things, although he sometimes fails, as in his v a i n g l o r i o u s e f f o r t to foist the N e w N a t i o n a l upon the P h i l a d e l phia

theatre-goers.

Financially,

the

New

National

was

too great

a

proposition f o r him at the time, so he w e n t back to the A r c h to rec u p e r a t e his f o r t u n e s , and he succeeded. I n 1 8 4 8 , w e find him again at the peak of prominence w i t h B u r t o n ' s A r c h as the leading P h i l a d e l p h i a theatre. H e w a s a l e r t . T h e r e is no question about that. W i t n e s s the activity of the A r c h Street T h e a t r e f o r the year of 1 8 4 8 . F i r s t , he b r o u g h t both n e w actors and n e w plays to P h i l a d e l p h i a in greater numbers than all the other P h i l a d e l p h i a theatres combined. I n 1 8 4 8 , he had practically a monopoly upon the n e w visiting players of long and short engagements. T h e reader has only to look at the chapter of text w h i c h enumerates the additional actors f o r 1 8 4 8 , and he w i l l find proof of B u r t o n ' s monopoly. H e w i l l also see that the preceding year bears witness to the same monopoly. A n d

then, also, B u r t o n brought t w i c e as many n e w

to the P h i l a d e l p h i a stage in

1 8 4 8 , as did all the other

plays

Philadelphia

theatres combined. I n d u b i t a b l y , it is important that n e w plays shall be given a hearing, and B u r t o n w a s doing this. H e is the f i g u r e that stands at the keystone of the P h i l a d e l p h i a theatre t h r o u g h the fifth decade of the N i n e t e e n t h C e n t u r y . 1849 A f t e r the r e g u l a r d r a m a t i c companies had ceased to p e r f o r m at the C h e s n u t S t r e e t T h e a t r e f o r lack of p a t r o n a g e f r o m a fashionable public, the several o p e r a corps of I t a l i a n s and the S e g u i n E n g l i s h troupe occupied it f o r brief seasons of f o u r and six w e e k s , as circumstances required. I t then w a s occupied in portions of 1 8 4 8 , and in the w i n t e r and spring of 1 8 4 9 , by the V i r g i n i a Serenaders and other black-faced comedians. I n the s u m m e r , J . S a n d f o r d and J . L e w i s presented their minstrels there. W . H o r n w a s the lessee. A t this time, also, S a n d f o r d and L e w i s [35]

THE PHILADELPHIA T H E A T R E brought out a dramatic company. Vaudevilles and farces were acted : The Day After the Wedding, A Glance at Philadelphia, and others. On September i, 1849, the Chesnut Street Theatre opened for a regular season, under the stage and acting management of Joseph Foster. T h e lessee was supposed to be James Quinlan, acting silently. T h e prices were very low: first tier and parquet, twenty-five cents; second and third tiers, twelve and a-half cents; colored gallery, twenty-five cents. This was done to make a select place for the colored people, but they never gave it any support. T h e Chesnut Street Theatre drew its slow length along under the Foster régime and the Quinlan silent direction until it gave up the ghost some time in March or April. No advertisements appeared at all at that time. The year of 1849 was the last for William E. Burton at the Arch. He left for New York where he continued to produce successfully and perhaps more profitably. Ethelbert A . Marshall continued as lessee of the Walnut which, under his direction, was the prime theatrical house in Philadelphia. The year of 1849 began with four theatres open: the Arch, the Walnut, the Athenaeum, and the Chesnut, but the Chesnut closed with the performance on January 3, and the Athenaeum discontinued legitimate performance, Saturday, January 27. The Arch and the Walnut then had the theatrical field to themselves until Peale's Philadelphia Museum started on Wednesday, April 25, 1849, but Peale's Museum ceased to play legitimate drama after Wednesday, June 6. T h e Arch dropped out after the performance of Wednesday, June 20, and the Walnut closed for the season on Saturday, June 23. Therefore there was no advertised theatre playing legitimate drama in Philadelphia until Wednesday, June 27, when Peale's Philadelphia Museum presented a dramatic company for the summer. Peale's Museum had no competitor and closed its season on Saturday, July 28. There was, then, no advertised legitimate house open in Philadelphia until the middle of the next month, when the Arch and the Chesnut both opened on Wednesday, August 15, 1849. T h e Chesnut, however, only enjoyed a short run, for it closed again in two weeks, on Tuesday, August 28. The Arch continued alone until the first of September, when a new dramatic company appeared at the Chesnut. A week later, Monday, September 10, the Walnut also opened. T h e national was lighted for five nights, beginning Monday, October 8, [36]

THE THEATRES with an engagement of C h a n f r a u . Lights continued

brightly in the

Arch, the W a l n u t and the Chesnut during October and

November.

However, by T u e s d a y , December u , the Chesnut became dark for the rest of the year. Is it worth while or is it even interesting to raise the question : W h a t was a " F r e e and

Easy?"

The

following advertisements

historically

chronicle the " F r e e and E a s y " under the heading of Amusements: J a n . 5, 1 8 4 9 — P u b l i c L e d g e r — Ε . A . B E E B E respectfully informs his friends and the public that there will be a Free and Easy in the large hall of the M a m m o t h Bowling Saloon, 1 0 0 by 23 feet, N o . 457 N o r t h T h i r d Street, on S A T U R D A Y E V E N I N G , J a n . 6, 1849, under the direction of R . W I L L I A M S , to commence at 7 o'clock. Apr. 14, 1849—Public Ledger—FREE AND B R O W N ' S , T h i r d and Chesnut Sts., T H I S ( S a t u r d a y ) 14th inst. ; and each Saturday evening hereafter.

EASY—AT EVENING,

T h e first advertisement certainly recorded a grand occasion ( w i t h 2,300 square feet to move around i n ) , but the second comes to a closer approximation of the normal or domestic variety of " F r e e and E a s y . " I have been told by men whose memory is coeval with the early years of the " F r e e and E a s y " in Philadelphia, that it was a custom English in origin. Certain saloons, perhaps one evening a week, served as the centers for song. In their back rooms gathered men who could sing, and men who could listen. Sometimes a singer of mild fame was present as the celebrity of the evening. Usually, after one man had presented his favorite song to his audience of jovial listeners, someone else volunteered a song of his own choosing and his own singing. Everyone sang what he w i s h e d ; everyone sang when he wished. H o w e v e r , there w a s a certain orderliness, because every man was duly heard and given the floor f o r his vocal outburst. Each took his turn in supplying music for the general entertainment. Frequently young singers (and old) trying to get a foothold on the stage or before the public made their debut in the " F r e e and E a s y . " A n d many a famous ballad first rang out its tale of sentimentality in the " F r e e and E a s y , " and, with its soul-stirring words, bedimmed the eyes of men with tears. A very pleasant evening was spent in singing, and in wetting one's lips so that one could sing again. [37]

THE PHILADELPHIA THEATRE 1850 W i t h Burton's departure from the A r c h Street T h e a t r e , E . S. Conner became its lessee and advertised ior a company to open on M a r c h 4, 1 8 5 0 . T h e prices w e r e : boxes, fifty cents; pit, twelve and a-half cents; colored gallery, twelve and a-half cents. Conner made it a rule to admit no one behind the scenes except a member of the company. T h e house had fallen into much disrepute at the period when Conner became the lessee, in consequence of the indecorous behavior of the audience. T h e pit especially was unruly, and too often the upper tier of boxes. T h r o u g h stringent police power, order was comparatively obtained. D u r i n g M a y , on the occasion of M i s s Charlotte Cushman's appearance, Conner made public the following card : M r . E . S. Conner presents his compliments to the stockholders of the theatre and to the gentlemen of the Press, and respectfully requests, as a personal favor, that they will occupy the boxes appropriated to their use. T h e enormous expense attending Miss Cushman's engagement renders it necessary that all possible room be given f o r the accommodation of the public at l a r g e ; and the manager feels assured that his friends will comply with his request, and not leave their own boxes empty to occupy seats in the front which otherwise would add to the treasury. H e would further add, that notwithstanding the collection of a sterling, expensive stock corps and the engagement of first rate, celebrated auxiliaries, he has not advanced the terms of admission, though urged to do so. H e therefore begs to remind his friends and patrons of this fact, and hopes for their cooperation in this arduous endeavor to maintain a popular house, one adapted to all classes of the community. It is therefore necessary to announce that the free list must be suspended entirely. Charles D u r a n g , in the ninety-eighth chapter of his history, third series, assures us that it was bad policy for Conner to suggest a modification in the free use of privileges or the moderate exercise of them as exerted by the stockholders, and that it was the first w r o n g direction of his management, finally losing his theatre for him in 1 8 5 1 . E . S. Conner did f a l l into difficulties with the stockholders of the A r c h Street T h e a t r e this year. H e issued proposals, then, f o r a new theatre to be located somewhere above Sixth Street, in C a l l o w h i l l ; and another suggestion was made to locate it in Spring G a r d e n Street, near Eighth, or at the corner of those streets. A prospectus w a s issued for " C o n n e r ' s L y c e u m , " and G . Parker Cummings, an architect of Philadelphia, furnished a plan for him, which was exhibited in one of the [38]

THE THEATRES picture stores in Chesnut Street for some time. T h e design seemed feasible and beautiful, but the project finally was abandoned. O n September 7, the new theatre in Coates Street was opened under the management of Cornelius Logan, with Francis C . Wemyss as the silent partner. O n Monday, August 19, Barnum's Museum opened with a dramatic company. Charles D u r a n g tells us in the one hundred and third chapter of his history of the Philadelphia stage, third series, that on J u l y 20, 1 8 5 0 , Barnum announced that his own interest in the M u seum had ceased. C . Spooner became the proprietor. A t the beginning of the autumn of 1 8 5 0 , no regular plan had been adopted to organize a theatrical company at the Chesnut for the season of 1 8 5 0 - 5 1 . A M r . Whipples occupied the house for a time with an exhibition of dissolving v i e w s — a diorama. In November 1 8 5 0 a splendid scheme of presenting the Italian opera was offered to the Philadelphia public by M a x Maretzek, the great opera and concert meister. T h e following was the operatic proposal : November 1 5 t h . — I t a l i a n opera.—Max M a r e t z e k proposes to open in December a series of Italian operas, in the same style of grandeur and magnificence as they are produced at the Astor Opera House at N e w Y o r k . T h e programme will show that the Director's determination is not to establish a mere branch in a neighboring city, but to avail himself of the existing facility of communication, in a manner that all the operatic novelties brought out in N e w Y o r k may be represented in succession, and with the aid of all the artistes, and all other accessories that have been given so successfully at N e w Y o r k . It is the Director's intention to establish a regular permanent opera in Philadelphia. H e therefore proposes, and trusts to realize those well founded hopes, through the well known musical taste and liberal patronage ever elicited and extended to opera in this city. H e now proposes a series of fifteen nights, to which this first season is limited. . . . T h e prices will be the same as at N e w Y o r k . Secured seats, $ 1 . 5 0 ; box and parquette seats, $ 1 ; on M i l e . Parodi's nights, secured seats $ 2 . 5 0 ; evening's performances, $2. Prices of subscription, to afford facilities to those persons who regularly wish to attend the opera, the Director has fixed the price of admission to subscribers at $ 2 0 for the fifteen nights. T h e above notice by M . M a r e t z e k appeared in the newspapers of the day f o r November 1 5 . T h e s e Italian arrangements, however, underwent a slight change. T h e subscriptions did not fill up as advantageously as anticipated, so E d w a r d [39]

THE PHILADELPHIA THEATRE L . W a l k e r stepped in as business agent and torily f o r the operatic season.

finally

arranged satisfac-

Lessees seemed to come and go at the A r c h and at the Chesnut, but E . A . M a r s h a l l seemed to go on forever at the W a l n u t , where he remained during 1 8 5 0 and during many years thereafter. T h e Arch, the W a l n u t , and the Chesnut began the year of 1 8 5 0 , but the A r c h was closed a f t e r the performance of W e d n e s d a y , J a n u a r y 2. T h e Chesnut and the W a l n u t continued alone until they w e r e again joined by the A r c h on M o n d a y , M a r c h 4. A l l three theatres remained in active service during M a r c h , A p r i l , M a y , and J u n e . It w a s not until T h u r s d a y , J u l y 4, that the W a l n u t brought its season to a close. A t the end of the month, W e d n e s d a y , J u l y 3 1 , the Chesnut also closed f o r the summer. T h e A r c h was the only summer theatre running until M o n d a y , A u g u s t 19, when the W a l n u t and B a r n u m ' s M u s e u m opened with legitimate drama. T h e Chesnut opened on M o n d a y , September 9. However, the operatic season at the Chesnut w a s finished by T u e s d a y , September 24, and the other three theatres continued without the Chesnut through October and November. O n T u e s d a y , December 10, the Chesnut reopened for another run of opera on several evenings every week during the month. T h e United States Gazette and North American, daily paper, for September 4, 1 8 5 0 , tells us that there swept down through the Schuylkill V a l l e y , on the night of September 2, 1 8 5 0 , the worst freshet in the history of Philadelphia. T h e morning of September 3 found the flood of serious proportions, following a torrential storm, which had spread over the upper Schuylkill and Lehigh valleys. A l l through the third September day, the w a t e r continued to rise until, at the peak of the flood, it w a s almost eleven feet above the top of Fairmount D a m . Roads and bridges had been wiped out, the Falls and M a n a y u n k bridges swept away, the N o r r i s t o w n Railroad put out of service, the Schuylkill C a n a l wrecked, and the banks of the lower river washed out. East and west of the river many householders found themselves marooned, but the most striking effect of the flood w a s that it plunged the city into darkness. A t this period of our history, people who did not use candles to light their homes w e r e dependent upon the gas supplied from the city w o r k s at the M a r k e t Street crossing of the river. T h e flood suspended operation of the works and the gas left in the mains was soon used up, f o r the reserve supply was small. [40]

THE THEATRES O n the night of S e p t e m b e r 3 , the streets w e r e l e f t in blackness, since the

oil lamps had been r e m o v e d . O n l y one light b u r n e d on

Street

and that w a s the D r u m m o n d

enterprising theatre

light which P . T .

Chesnut

Barnum,

s h o w m a n , had set up in f r o n t of his M u s e u m .

the

I n s i d e his

there w a s an oasis of brilliance. H e must h a v e purchased

the

entire contents of a c a m p h e n e l a m p establishment, because he had lights b u r n i n g in p r o f u s i o n all over the house. T h e other centers of a m u s e m e n t , like the W a l n u t S t r e e t T h e a t r e and the C i r c u s , had to be closed. A n d C o n n e r presented his c o m p a n y at the A r c h u n d e r the feeble g l o w of the t a l l o w candle. 1851 D u r i n g the season of 1 8 5 1 — 5 2 , the C h e s n u t S t r e e t T h e a t r e launched forth W.

boldly

under

Fredericks,

and

the

Quinlan

dynasty.

the stage m a n a g e r ,

w e r e : f o r dress circle and p a r q u e t ,

fifty

The

Henry

acting

manager

Wallack.

The

was prices

c e n t s ; second tier, called

the

f a m i l y circle, t w e n t y - f i v e c e n t s ; the t h i r d tier, t w e n t y - f i v e c e n t s ;

and

the g a l l e r y , t w e n t y - f i v e cents. D u r i n g the recess of t w o o r t h r e e months, the theatre had u n d e r g o n e m a n y a l t e r a t i o n s and i m p r o v e m e n t s . J u l y 3 1 , 1 8 5 1 , s a w the last of E . S. C o n n e r in his m a n a g e r i a l career on the boards of the A r c h S t r e e t T h e a t r e . T h o m a s J . H e m p h i l l , a citiz e n of P h i l a d e l p h i a , succeeded

him in the m a n a g e m e n t

w h i c h opened f o r the season of

1 8 5 1 — 5 2 on S a t u r d a y e v e n i n g , A u g u s t

30,

of

the

Arch,

1 8 5 1 . C h a r l e s B u r k e w a s the stage m a n a g e r . T h e prices of admis-

sion

were:

dress circle,

fifty

cents;

f a m i l y circle,

twenty-five

cents;

p r i v a t e boxes, f r o m three d o l l a r s to f o u r d o l l a r s ; pit, t w e l v e and a-half cents. E . A . M a r s h a l l still c o n t i n u e d at the W a l n u t . D r . C u n n i n g t o n

was

the orchestra l e a d e r ; P e t e r G r a i n , J r . , the scenic atrist ; A . W i l s o n , m a c h i n i s t ; D e n b y , p r o m p t e r ; R o b i n s o n , p r o p e r t y m a n . T h e prices of mission w e r e : dress circle and p a r q u e t ,

fifty

c e n t s ; second and

ad-

third

circles, t w e n t y - f i v e c e n t s ; o r c h e s t r a box seats, s e v e n t y - f i v e cents. W .

H.

S t u a r t w a s the t r e a s u r e r . T h e W a l n u t , the A r c h , the C h e s n u t , and B a r n u m ' s M u s e u m began the theatrical y e a r of 1 8 5 1 , but the p e r f o r m a n c e s a t the C h e s n u t w e r e only occasional, o c c u r r i n g several times a w e e k , a n d , by the second w e e k of A p r i l , they ceascd e n t i r e l y . W i t h the p e r f o r m a n c e of S a t u r d a y , J u l y 5, the W a l n u t closed f o r the s u m m e r . I t is certain that the C h e s n u t w a s closed one w e e k l a t e r . T h e A r c h , then, continued s i n g l y f o r the s u m m e r [41 1

THE PHILADELPHIA T H E A T R E until it was joined by the National on Tuesday, July 15, 1 8 5 1 . At the end of the month, the Arch also was closed. The National was the only legitimate house advertised in the papers during the first two weeks of August. On Monday, August 18, lights were on at the Chesnut for the fall season and at the Arch on Saturday, August 30, one month after its closing. On Monday, August 18, the Walnut opened and the National was dark. On Monday, September 1, Barnum's Museum was again active. Therefore, the first of September saw the four theatres of the Walnut, the Chesnut, the Arch, and Barnum's Museum harnessed together for the fall entertainment of the city of Philadelphia. These four theatres continued in uninterrupted performances during the remaining months of September, October, November, and December. T h e Public Ledger for July 10, 1 8 5 1 , bears the following very interesting announcement which is testimony to the early and spasmodic efforts of actors to give protection to their own: A M E R I C A N D R A M A T I C F U N D ASSOCIATION—Incorporated April 16th, 1848—open alike to every Actor or Actress in the United States, without restriction from age or length of services in any particular T H E A T R E , T O W N O R C I T Y . Present invested Capital $10,000. THE

PRESIDENT

Trustees and Directors respectfully announce to the citizens of Philadelphia, that, by the kindness of E. S. Conner, Esq., A B E N E F I T IN A I D OF T H I S

FUND

T h e object of which is to provide for the support of all Actors and Actresses, Members thereof, rendered incapable, from age, sickness or infirmity, from pursuing their professional labors, and also to assist the Widows and Orphans, who may be thrown friendless upon the world, will take place at the ARCH STREET

THEATRE

on M O N D A Y , July 14 T h e following Ladies and Gentlemen have volunteered their services on the occasion ; and the Pieces will be cast so as to embrace all the talent that can be made available: MR.

WALKER

the celebrated Young American Actor, now playing with great success, at the Broadway Theatre, New York. (His First Appearance In Philadelphia) [42]

THE THEATRES Miss Anderton, Madame Ponisi, Miss C . Wemyss, Miss C . Chapman, Miss M . J . Brougham, M r . Hadaway, M r . Thos. B . Johnston, M r . Lynne, Miss J . Gougenheim, Miss A . Gougenheim, M r . H. E. Stephens, M r . W . R . Goodall, M r . E . L . Tilton, M r . H . C. Jordan, M r . J . E. Shaw, M r . N . B. Clarke, M r . F . C . Wemyss, M r . James C . Dunn, M r . and M r s . Conner, And other Ladies and Gentlemen of the profession, now in this City, whose names will be announced hereafter, making an unequalled concentration of talent. T h e present writer also recalls an announcement in the Public Ledger of the year previous pointing attention to the Grand Fancy and Citizens' Dress Ball, to be given at the Chinese Museum, April 22, 1850, by " T h e Actors' Order of Friendship," tickets at three dollars to admit one gentleman and two ladies. 1852 T h e National Theatre, known at this time as Welch's National Circus and Theatre, was supplied this year with a dramatic company, as w e l l as an equestrian troupe. T h e treasurer was C . H . Russell; stage manager, S. E . Harris (Wesley Barmore), the original Uncle T o m ; equestrian manager, J . M . N i x o n ; director of equestrian spectacles, S. P. Stickney; scenic artist, John W i s e r ; prompter, J . B. Addis. T h e prices of admission were: parquet and dress circle, fifty cents; family circle, twenty-five cents; gallery, Uvelve and a-half cents; seats in private boxes, seventy-five cents; full private boxes, six to nine dollars. A f t e r a long winter and spring season, the National closed for six weeks, to reopen as a dramatic, operatic, and pantomimic theatre only. D u r i n g the summer of 1852, C . Logan was the acting manager of the Chesnut Street Theatre, but James Quinlan was still the lessee, although his name did not appear on any of the bills. T h e season was successful and the theatre only closed for one night to prepare for the fall and winter activities. D u r i n g the winter, W . S. Fredericks was again acting manager; Mueller, leader of the orchestra; Lingard, prompter and deputy stage director; C . Long, property man. T h e prices of admission were: dress circle and parquet, fifty cents; second tier and family circle, twenty-five

[43]

THE PHILADELPHIA THEATRE cents; third tier, twenty-five cents; proscenium boxes, five d o l l a r s ; private boxes, holding twelve persons, nine dollars ; single seats in private boxes, seventy-five cents. T h e A r c h Street T h e a t r e commenced its regular f a l l and

winter

season on Saturday, A u g u s t 2 1 , 1 8 5 2 , with T h o m a s J . Hemphill as lessee, A . W . Fenno as stage manager, and J . Ingles M a t t h i a s as treasurer. D u r i n g the summer the house had been much altered. T h e formation of the old pit seats had been changed into the parquet style, at that time being introduced in the foreign theatres. It was thereby spaciously enlarged, rendering it capable of seating over five hundred persons. T h e interior had been painted ; the lobby w a l l s and boxes papered ; the fronts of the boxes decorated with classical devices, and the paneling regilded. T h e orchestra boxes w e r e furnished with new lounges of crimson damask, and the seats stuffed and covered w i t h Brussels carpeting. T h e stock scenery was repainted with several new scenes and there w a s a drop curtain by Heister. E . A . M a r s h a l l reopened the W a l n u t for the f a l l and winter season on M o n d a y , A u g u s t 30, 1 8 5 2 . D u r i n g the long summer recess, the theatre had undergone complete and extensive alterations under the supervision of the celebrated architect, R . Hoxie. T h e principal feature of its interior reconstruction was the very commodious and comfortable enlargement of the parquet, which was extended beneath the dress circle to the foundation walls. T h e r e w e r e two large stairways leading from the lobby of the first tier to the parquet on both sides. Rich and magnificent orchestral arrangements w e r e constructed in the nature of stalls, as in the L o n d o n theatres, with cushioned seats. T h e proscenium was considerably widened, assisting the perspective qualities of the stage. T h e r e w e r e also introduced novel facilities f o r heating the entire building during the winter. T h e enlargement of the upper tier, with new and extensive appliances f o r ventilation, promenading avenues, exit and entrance passages to seats, a thorough repainting, papering and decorating, an entire refitting of the gas pipes and fixtures, which were set off with new and brilliant chandeliers, offered to the public, as was claimed in the play-bill, " a n establishment of capacity, elegance, sound, and ventilation unapproachable by any other in the United States, except the Broadw a y T h e a t r e of N e w Y o r k [which w a s M a r s h a l l ' s a l s o ] — t h e entire expense of this elaborate alteration having amounted to the immense sum of upwards of ten thousand dollars." [44]

THE THEATRES T h e first of J a n u a r y , 1 8 5 2 , found the three theatres of the W a l n u t , the Chesnut, and the A r c h giving performances, but the third of J a n u ary w a s the last night for legitimate drama at the A r c h during the engagement of Macallister, the magician. T h e W a l n u t and the Chesnut continued without the A r c h until the latter theatre again reverted to regular drama on Saturday, February 28, 1 8 5 2 . T h e A r c h again w i t h d r e w a f t e r Saturday, M a y 1 5 , but its place was taken f o r several nights during the ensuing week by the National. T h e Chesnut brought its season to a close on Saturday, J u n e 19, and the W a l n u t on Saturday, J u n e 26. It was not until M o n d a y , J u l y 1 2 , that the summer theatres began to play legitimate drama once more. A t that time, the Chesnut and the National opened and continued alone until they were joined by the A r c h on Saturday, A u g u s t 2 1 , and by the W a l n u t on M o n d a y , A u g u s t 30. T h e first of September, therefore, discovered the four theatres of the National, the A r c h , the Chesnut, and the W a l n u t in f u l l swing for the f a l l season. W i t h the night of M o n d a y , October 2 5 , the National dropped out, and left the other three theatres to run along undisturbed during November and December. Between the play and the farce, a song or a dance w a s sometimes given. Frequently these interludes w e r e featured if the dance happened to be a pas seul by Miss Clemens, or a character-song by W i l l i a m E . Burton or J i m C r o w Rice. T h e ballet and interpretative dancing frequently displaced the play proper, particularly when a troupe like the R a v e l family was engaged to perform its repertoire of such "ballets d'action" like Godenski, La Fête Champêtre, Möns, de Chalumeau, and the Venetian Carnival. W h e n such a troupe occupied the theatre, usually only one farce constituted the legitimate drama f o r the evening, and at the most, two farces, since there was not time for full-length drama. On M e m o r i a l days, an historical recitation often served as the interlude, and at other times, legerdemain and feats of contortion when Signor Somebody-or-other would profess to be a human fly or the ninth wonder of the w o r l d . 1853 It is a matter of difficulty at this period of the history of the Chesnut Street T h e a t r e to give anything like a connected account of its seasons. [45]

THE PHILADELPHIA T H E A T R E Sometimes it was closed and sometimes it was opened, quite spasmodically. However, it may be said never to have closed in regular seasons during the Quinlan régime, which expired in 1854. Occasionally it was open during the summer of 1853 without any advertisements, even in the Ledger. W e have authority for this statement in the one hundred and ninth chapter of Charles Durang's history, third series. T . J . Hemphill continued as lessee of the Arch, and with the spring season in March announced W . Wheatley as acting manager and W . Fredericks as stage manager of the theatre. By August 20, 1853, W m . Wheatley and John Drew became lessees of the Arch. W . S. Fredericks was the acting and stage manager ; Wm. Reed, the prompter and stage director; George Wunderlich, the scenic artist; F. Johnston, the costumer; John Scott, the machinist; Alfred King, the property man; and J . Ingles Matthias, the treasurer. The prices of admission were: boxes and parquet, seventy-five cents; orchestra stalls, fifty cents; seats in private boxes, seventy-five cents; gallery, twelve and a-half cents; gallery boxes for colored people, thirty-seven and a-half cents ; and the colored gallery, twenty-five cents. E. A . Marshall continued as lessee of the Walnut Street Theatre. T h e Chesnut, the Arch, and the Walnut were running with the beginning of the year of 1853. T h e Arch closed with the performance of Saturday, January 15, but reopened on Saturday, January 29. The three theatres continued regularly during February, March, and April, but the advertisements for the Walnut are sparse during the month of May. T h e Arch was closed for the summer with the performance of Saturday, June l i , 1853, although an occasional performance was given there during July and August. With the performance of Saturday, June 25, the Walnut brought its season to a close. T h e Chesnut proceeded alone during July until it was joined by the National for several nights during the last week of the month. By Tuesday, August 30, 1853, the Arch, Chesnut, and Walnut were again running regularly and continued to run regularly during September, October, November, and December. There were many newspaper advertisements of amusements which do not come within the province of a history of the theatre. Advertisements for the "Free and Easy," for concerts, for feats of skill and magic, all helped to make the newspaper section headed "Amusements" into a half-column every day. Let us take any day, say August 27, 1853, (as [46]

THE THEATRES of the Public uled :

Ledger)

and note the nature of the Amusements sched-

G R A N D R E C E P T I O N B A L L , to be given by the I N D E P E N D E N T O R D E R O F O D D F E L L O W S , in F U L L R E G A L I A , in honor of T H E G R A N D L O D G E O F T H E U N I T E D S T A T E S , the Members of which will be present on the occasion, O N T U E S D A Y E V E N I N G , Sept. 6, 1 8 5 3 , in both saloons of the C H I N E S E M U S E U M . Tickets $ 3 . each, admitting a Gentleman and two Ladies, including Ladies' Refreshments, can be had at the Odd Fellows Hall, North Sixth Street; office of Public Ledger; and Blood's Despatch, Arcade. DANCING—COTILLION PARTY, THIS (Saturday) EVEN I N G , at the Saloon, F I F T H and C A L L O W H I L L Streets G E O . W . C O L E M A N , Prop'r. A F R E E A N D E A S Y , at the Columbia House, S E C O N D and R A C E Sts., on S A T U R D A Y E V E N I N G . T . S. G O O D W I N , Chair'n. M R . F R E D ' K W A D E , having returned from Europe, will be happy to see his old friends at his F R E E A N D E A S Y , held every Saturday E V E N I N G , at the Star Hotel, S P R U C E S T . , above Second. Chair taken at 8 o'clock. R U R A L F E S T I V A L ON L E M O N HILL—The N I N T H ANN I V E R S A R Y F E S T I V A L of the L I E D E R T A F E L V O C A L M U S I C A L S O C I E T Y , takes place on M O N D A Y , August 29th, ON L E M O N HILL. A l l the Vocal, Musical Societies and Gymnastic Associations of the City will participate in the Festival. Tickets, 50 cents admitting one Gentleman and two Ladies. T o be had of M . R . Mückle, Ledger Office, or at the Gates on the day. THE COMMITTEE. S A N F O R D ' S O P E R A H O U S E — S E A T S can be secured in advance for L A S O N N A M B U L A N I G H T S . H ouses crowded to excess, and hundreds turned away nightly. Tickets limited. Sanford performs nightly.

[47]

THE PHILADELPHIA T H E A T R E CONCERT HALL·—GRAND COMBINATION CONCERT—By Miss Rosina Collins and Sister, and the Tournaire Family. Commencing M O N D A Y , Aug. 29th, and every evening during the week. T H O S . A. A N D R E W S .

S M I T H ' S I S L A N D — 5 0 0 0 Visitors are expected every A F T E R N O O N this week, to listen to the following great and highly popular Artists : C. J E N K I N S T h e unrivalled Comedian and Vocalist. MR. JOHNSON T h e renowned Comedian and Delineator of Eccentric Character, and MR. THIODON T h e justly acknowledged Prince of Violinists. Concerts Free. T o commence at o'clock, precisely. 1854 In 1854 James Quinlan, a hotel keeper at the northwest corner of Ninth and Market Streets, had to relinquish the Chesnut. " O l d Drury," after about sixty years of life, was falling upon evil days and losing its prestige. On June 3, 1854, the National Theatre being to let, Quinlan became its lessee. He had also, for many years, been a renter of the Walnut Street Theatre saloons, and other theatrical bars about the city, whereby he had accumulated a comfortable fortune. He had also been a lessee of the Chesnut for about five years during its last days. Charles Durang, in the one hundred and thirtieth chapter of his history, third series, tells us that Quinlan's chief interest in any theatre was the sale of liquor, and that the dramatic entertainment took second place to the liquid entertainment. Quinlan opened the National Theatre for a summer season in 1854. Thomas McKeon was stage manager; John Addis, stage director; and Professor Mueller, musical director. One month after Quinlan opened the National this summer, the theatre was totally destroyed by fire. Charles Durang gives us a very interesting account of this fire (c. 130, 3d series) : T h e Circus took fire after the performance of Putnam, and was soon burned down, together with the Chinese Museum, at the corner of Ninth and Sansom streets, and several houses in the row on the north [48]

THE THEATRES side of Sansom street. T h e roof of the new G i r a r d Hotel caught fire, but was soon extinguished, although some of the engines could not reach the top of the edifice. T h e catastrophe w a s a w f u l , as it embraces a vast extent of property in the various courses which the conflagration oddly took. T h e old B l u e Bell T a v e r n on Eighth street, very strangely, although surrounded by flames, escaped their f u r y . It had been a dram shop for many years. H o w the Circus caught fire was a matter of conjecture. It w a s said that the wadding of the muskets fired by the soldiery at P u t n a m during his descent had lodged in the scenery and ignited its combustible materials. A g a i n it was said that some of the supernumeraries engaged in these show plays had not been paid their nightly stipends, and they had revolted several times in consequence. O n e of them, it was rumored, w a s overheard to say that he " w o u l d be revenged," and also said something about making " a blazing last scene." T h e place where the fire was first discovered would seem to confirm the latter surmise, it being in the carpenter-shop, away f r o m the stage, on the east side of the main building, over the stable for the horses, and next to E a r l e ' s store. T h e "supers" dressed there, and it would have been almost impossible f o r the wadding of the guns to have taken a zig-zag course to reach that remote region of the building. E . A . M a r s h a l l again held forth at the W a l n u t this year. H e kept his theatre open for the entire year without a recess. W . W h e a t l e y and J . D r e w began the year at the A r c h . T h i s season with them w a s not very conspicuous for extraordinary innovations in melodramas or spectacles, but it was generally good and sound in its programs of favorite plays. O n T u e s d a y , September 1 2 , 1 8 5 4 , a new theatre called the C i t y M u s e u m , on C a l l o w h i l l Street below F i f t h , opened under the proprietorship of S. M . Zulich. T h e Arch, the W a l n u t , and the Chesnut began the new theatrical year, J a n u a r y 2, 1 8 5 4 . T h e y continued without interruption through J a n u a r y , February, M a r c h , and A p r i l , and up to the last week in M a y . O n M o n d a y , M a y 29, the Chesnut closed its season at the end of the nightly performance. T h e A r c h and the W a l n u t were joined by the National on J u n e 3, and again by the Chesnut on M o n d a y , J u n e 1 2 . O n e month later, as w e have noted, J u l y 4, the National w a s destroyed by fire, and the site at Ninth and Chesnut w a s next occupied by the Continental H o t e l which in turn w a s torn down in the second decade of the twentieth century to give place to the Benjamin F r a n k l i n Hotel. T h i s famous T u e s d a y night, when the National burned d o w n — t h e [49]

THE PHILADELPHIA THEATRE Fourth of J u l y — w a s also the closing of the season f o r the W a l n u t and the A r c h . T h e Chesnut continued alone through the summer until the A r c h reopened on M o n d a y , A u g u s t 2 1 , 1 8 5 4 . T h e W a l n u t started for the f a l l season, T u e s d a y , A u g u s t 29, one week before the A r c h . O n T u e s day, September 1 2 , 1 8 5 4 , the C i t y M u s e u m added a dramatic company to those already entertaining theatrical Philadelphia at the Arch, the W a l n u t , and the Chesnut. T h e s e f o u r theatres continued until the Chesnut failed to play legitimate drama f r o m the performance of T u e s day, December 19, until the N e w Y e a r , during the change from J a m e s Quinlan to S. E . H a r r i s as lessee at that time. A new theatre opened this year w h e n the City M u s e u m began to play legitimate drama. T h e building w a s on C a l l o w h i l l Street below F i f t h . N o new theatre had opened since Peale's Philadelphia Museum in 1846. B e f o r e that time, Burton had built a new theatre, the National, in 1840. It is to be remembered that w e are speaking of permanent and legitimate dramatic houses, f o r in the fourteen years just mentioned, one can find several new amusement houses, and many old theatres under new names. O n Coates Street, now Fairmount Avenue, spasmodic theatrical ventures broke forth occasionally, but never lasted long. A n d , in the center of the theatrical district of the C i t y , itself, circus buildings began to crop up. B u t these are not w h a t w e understand as houses either of permanent or of legitimate drama. E v e n Barnum's M u s e u m did not play legitimate drama long. T h e C i t y M u s e u m , on the other hand, belongs within our definition, although it w a s a house of melodrama predominantly and, in 1 8 5 4 , does not rank artistically with the A r c h , the W a l n u t , and the Chesnut.

1855 W i l l i a m W h e a t l e y and J o h n D r e w this year dissolved partnership at the A r c h . W h e a t l e y continued alone as lessee of the theatre, and J o h n D r e w with his w i f e returned as stock actors to the W a l n u t , which first gave them footlights in Philadelphia. E . A . M a r s h a l l was as ever lessee of the W a l n u t . I n this our short record of the Philadelphia stage, w e have recorded him as lessee of that theatre f o r thirteen years, f r o m 1 8 4 2 to 1 8 5 5 inclusive. J a m e s Quinlan, w h o was not able to carry the Chesnut through the [50]

THE T H E A T R E S entire year of 1854, released his hold upon the theatre, December 9. And on December 28, 1854, S. E. Harris, the noted comedian of Uncle Tom's Cabin, took the lease of the theatre and opened "Old D r u r y " with the original Wood and Christy's band of Ethiopian Minstrels from N e w York on New Year's Eve. He also attempted to introduce a dramatic company. In April, S. E. Harris was succeeded by C. H . Griffiths and J . Wayne Olwine as lessees of the Chesnut. T h e company was considerably curtailed and the bills provided only farces and interludes for the most part. On the first day of May, the formal closing of the theatre took place with somewhat sad and sentimental exercises. A f t e r a long life of sixty-two years of active service, "Old D r u r y " was demolished, and upon its ruins rose clothing bazaars, billiard saloons and, in the basement, negro concerts. Charles Durang rings down the final curtain upon the stage of "Old D r u r y " with the following quotation, in the one hundred and thirtysixth chapter of his history, third series: Our revels now arc ended. These, our actors, As I foretold you, were all spirits, and Are melted into thin air: And, like the baseless fabric of this vision, T h e cloud capp'd towers, the gorgeous palaces, T h e solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve; And, like this unsubstantial pageant, faded, Leave not a rack behind. T h e Arch, the Walnut, and the City Museum opened the year of 1855. T h e Chesnut, under S. E. Harris, exhibited a dramatic company, beginning Monday, January 15. T h e four other theatres played without interruption during January, February and up to the last week in March, when the Chesnut discontinued with the performance of Tuesday, March 27. On Thursday, April 5, C. H . Griffiths and J . Wayne Olwine reopened "Old D r u r y " only to close it at the end of the month — f o r all time. The other three theatres played from the beginning of the year until the Fourth of July. With that date the Arch closed its season and the Walnut forsook the legitimate drama, although it remained open with an engagement of the Ravel family in ballet. T h e City Museum also closed.

[51]

THE PHILADELPHIA

THEATRE

T h e A r c h alone began its fall season the next month, Saturday, August 18. T h e r e were also spasmodic performances at the German National Theatre during August, September, and October. T h e W a l n u t reopened Thursday, September 5, and the City Museum on Saturday, September 8. A n d the three theatres remained open for the rest of the year. T h e year of 1 8 5 5 is assuredly one with which to bring to a close an epoch in the history of the theatres of Philadelphia, for the passing of " O l d D r u r y , " the Chesnut Street Theatre, is definitely sufficient to mark an era, just as in the history of the plays the production of Francesca da Rimini comes as the climax to the rise of the romantic tragedy. For, during our twenty-one years of dramatic development under discussion, the romantic tragedy appears as the form most characteristic and most worth while, while Francesca itself is the most significant play. In the realm of the actors, we have no startling events to correspond with the demolition of a theatre or the first night of an epoch-climaxing play. Y e t we do have the appearance of an actor in 1 8 5 5 who should absorb our attention, since he himself was to make this period the beginning of a new epoch in acting. Dion Boucicault appeared for the first time on the stage of Philadelphia at the Walnut, J u n e 16, 1 8 5 5 , in his own comedy of Used Up. He was the man who was to sign the death warrant of the fine old stock companies by instituting the system of the complete traveling company, emanating from N e w Y o r k , and bringing their own new play with which they toured the provinces for many, many weeks. Appended to the newspaper advertisement concerning the bill at the W a l n u t for J u n e 2 3 , 1 8 5 5 , there is this curious note: M r . Barry's Patent Cool A i r Machine maintains the temperature of the theatre under 70 degrees. M i g h t we not, then, call the W a l n u t the first summer theatre in Philadelphia to be artificially cooled by a mechanical invention ? T h e year of 1 8 5 3 was the first year that John D r e w leased the Arch Street Theatre in partnership with W i l l i a m Wheatley. T h e advent of John D r e w as a lessee of the Arch is unequivocally important to Philadelphia theatrical history. But, to the present writer, another fact of importance was the dramatic program which, from its frequency, seemed to be the bill of first choice in the mind of John D r e w himself. T h e two comedies, The Comedy of Errors and The Serious Family, [52]

THE THEATRES appear and

reappear constantly paired

together

d u r i n g John

Drew's

first years at the A r c h . A p p a r e n t l y D r e w w a s tremendously popular in these t w o comedies that occupied first place in his p r o g r a m . W h e n he and W h e a t l e y dissolved partnership, the latter no l o n g e r put them on. B u t the " f i r s t " w h i c h is of prime importance for 1855 w a s the Philadelphia première of Boker's Francesca as L a n c i o t t o , A .

H.

Davenport

Da Rimini

as Paolo, and

with E. L. Davenport Mrs.

John

Drew

as

F r a n c e s c a . T h e play, w h i c h is Philadelphia's o w n , comes as the grand c l i m a x to the steady g r o w t h of the romantic tragedy in verse during our period, and as a

fitting

c l i m a x to our account of t w e n t y - o n e years in

the history of the Philadelphia theatre.

[53]

T H E PLAYS

CHAPTER Π

THE PLAYS 1835 T H E plays which are naturally of most concern to us in detail are the new plays as Philadelphia receives them for the first time. But, for a well-rounded picture of the theatre of the time, we must remember that the Philadelphia theatres annually gave many performances of those old plays which have come into our drama to stay. Among these old favorites in 1835, there were principally the more frequently acted and popular plays of Shakespeare: As You Like It (3 performances), Hamlet ( 7 ) , King John ( 1 ) , King Lear ( 6 ) , Macbeth ( 7 ) , Merchant of Fenice, ( 6 ) , Merry Wives of Windsor (1), Much Ado About Nothing ( 5 ) , Othello ( 7 ) , Katharine and Petruchio (2), Richard III ( 1 4 ) , Romeo and Juliet ( 6 ) , The Tempest ( 2 ) , and the Winter's Tale ( 1 ) . Massinger also appears out of the past with his New Way To Pay Old Debts ( 6 ) . Among the regularly recurring Restoration plays were Sheridan's Rivals ( 2 ) , School for Scandal ( 6 ) , and The Critic ( 2 ) , Rowe's Jane Shore ( 4 ) , and Otway's Fenice Preserved (6). T h e English dramatists of the eighteenth century were represented most frequently by the plays of Cumberland, Lillo, E. Moore, and O ' K e e f e ; of the nineteenth century, by Holcroft, Knowles, Moncrieff, Morton, and Webster. Other and current plays by English dramatists were those of Banim, Diamond, Dibdin, Home, Millman, Milner, Murphy, Poole, and Reynolds. Among the plays on the stage at the time were those by our native playwrights: J . S. Jones, S. H . Rowson, H . J . Conway, W . G . Simms, Win. Dunlap, J . H . Payne, J . Stokes, S. Woodworth, W . E. Burton, Β. H . Brewster, R . T . Conrad, T . S. Rice, R . T y l e r , H . J . Finn, and J . K . Paulding. In discussing the new plays for each year, we are going to make an attempt at unity by dividing them into their type-groups. However, when we are under the necessity of discussing plays which are now unknown or little known, we may err by calling a play a comedietta [57]

THE PHILADELPHIA T H E A T R E when it is really a burletta or a farce; or again, by calling a play a melodrama when others insist that it is a romantic drama or a domestic drama. Therefore, the present writer wishes to state that the reader may call any of these plays by any name that he prefers. A new tragedy was produced at the Chesnut, April 22, 1835, called Ugolino, or the Innocent Condemned. It was supposed to be an adaptation of the Ugolino, or Blood for Blood, of 1825, by Junius Brutus Booth, but Charles Durang tells us that Booth would never acknowledge the authorship. Jack Cade, or the Noble Yeoman, a play in five acts, by R. T . Conrad, was another new tragedy, produced at the Walnut, December 7, 1835. B. H . Brewster's The Infidel, a romantic play, was introduced to Philadelphia theatre-goers on October 24, 1835, at the Walnut. Other new romantic dramas this year were: Mary Stewart, Shadow on the Wall, Robber's Wife, Gipsy of Ashburnham Dell, and Uda and Magnus. T h e new domestic dramas for this year, including W . E . Burton's The Intemperate, were Henriette, Rake's Progress, Deserter of Naples, Deserted Village, Woman's Life, and the Note ¥ or g er. There were usually a number of new plays representing different types of American character. These new plays for 1835 included: Beulah Spa; Knight of the Golden Fleece; Lion of the East; Man with the Carpet Bag; Congress Hall; Spirit of '76; Kaspar Hauser; and Adventure. Many and various were the new melodramas put on each year. One of the most spectacular of the new melodramas for 1835 w a s Zanthe, built by W . Barrymore of the Walnut from Kenney's tragedy of Hernani, as an expedient for the elaborate Gustavus III production which the Chesnut presented before the Walnut could bring forth its own version. Thus the Walnut had to turn to, and unearth another play. Zanthe was the result. It necessitated a full military brass band and six drummers nightly, costing twenty-five dollars; one hundred and thirty-two supernumeraries, thirty-two dollars and fifty cents ; and wax candles, red, blue, and green fires, sixty or seventy dollars. H . J . Conway, the American playwright, contributed three new melodramas to the Philadelphia stage this year: Fatal Prophecies; Arab Chief; and Spanish Pirates. Other melodramas of the year were: Mary; Old Man's Curse; Last Days of Pompeii; Seventeen Hundred Years Ago; Ardeschi; Schinder[58]

THE P L A Y S hannes; Wild Woman of Our Village; Wild Boy; Black Angus of the Evil Eye; Gray Man of Tottenham ; and Fieschi. T h e r e were also the melodramatic sketches of Mile. Celeste: Wizard Skiff; Moorish Page; Spirit Bride; Victoire; and the Death Plank; and the dog or monkey extravagances with Cony and Blanchard : Cherokee Chief; Ourang Outang; Monkeyana; Planter and His Dogs; Love Me Love My Dog; Ryder Ali; Murder of the Blind Boy; Zenocles and the Greek Chief ; and the Dumb Savoyard and His Monkey. T h e new comedies for the year included: My Uncle John; Blind Beggar of Bethnal Green; Old Gentleman ; Pet of the Petticoats; My Friend the Governor; Miser's Daughter ; Patrician and Parvenu; Skeleton Witness; Biena; Hazard of the Die; Lo Zingaro; Secret Service; Seven Clerks; Second Thoughts ; I'll Be Your Second; Win Her and W ear Her; Matchmaking ; and the Climbing Boy. Among the new farces for 1835 w a s o n e called Queer Neighbors, or the Party Wall, a translation of Kotzebue's German farce, Gefahrliche Nachbarschaff. Other new farces for the year were: Deep, Deep Sea; In the Wrong Box; Ladies' Man; Pay for Peeping; Damp Beds; Welsh Girl; Tristram Shandy; Cupid; Unfinished Gentleman ; Zoological Gardens; My Wife's Mother; Personation ; Affair of Honour; Fighting By Proxy; My Neighbor's Wife; Young Reefer; My Fellow Clerk; Miser's Miseries; and One, Two, Three, Four, Five. T h e two topical farces, Discoveries in the Moon, or Herschel OutHerscheled, by T . D . Rice; and Moonshine, or Lunar Caustic, by W . E. Burton, bear witness to the mild furore caused this year by the presence and ideas of Sir John Herschel, British astronomical scientist, in Philadelphia. T h e two principal new operettas this year were: Gustavus III, or the Masked Ball, a grand musical and historical drama, and The White Lady, or the Spirit of Avenel, the celebrated opera from Borieldrius' Dame Blanche. T . D . (Jim C r o w ) Rice this year contributed an "Ethiopian opera," called Bone Squash Diavolo, which took a permanent place in his repertoire. 1836 An interesting tragedy produced in 1836 was Sardanapalus, by Lord Byron, adapted to the Philadelphia stage by Charles Durang. Durang teLs us in his history that the play ran smoothly. T h e alterations neces[59]

THE PHILADELPHIA T H E A T R E sary to render it an acting piece, Durang says, impaired the unities of the classic drama, the purity of which the genius of Byron well preserved. T h e celebrated dream scene at the beginning of the fourth act was transposed to the second, leaving the last act more effectively divested of dull recitation, and thus invested with more stage action. It was telling in its acting and was repeated. Under the influence of E . S. Conner's acting and popularity, it drew the large receipt of $929. Other new tragedies of the year were: Caradora, Caswallon, and Ion. The new romantic drama of The Maid of Cashmere was produced by Wemyss as a matter of managerial expedience. T h e success of Mile. Celeste in La Bayadere at the rival theatre made it necessary for Wemyss to produce a counter attraction. So he made a drama of his own adaptation from Lurline, or the Spirit of the Rhine, which he called The Maid of Cashmere. Conway, the prompter at the Walnut, also wrote a romantic drama this year, called Ida Stephanoff, but it did not prove successful. Other romantic dramas for the year were: Lestocq, Actress of Padua, Bleeding Nun, Broken Heart, Marie de Montville, The Minerali, Passion and Repentance, Dream at Sea, Rinaldo Rinaldini, Skeleton Robber, and Walter Brandt. Wemyss also dramatized the popular novel of Norman Leslie this year into a domestic drama of the same name. Other new domestic dramas for 1836 were: Lucille, Paul Ulric, Provost of Bruges, Ransom, Spirit of the Black Mantle, and Yelva. T h e plays of American types this year included : Job Fox, The Yankee Pedlar; Fall of the Alamo; Mob, the Outlaw; and Liberty Tree. Again, numerous and spectacular were the new melodramas for the year. Wemyss himself contributed one, called The Jewess, altered from the drama of Esther, the Jewess. Durang tells us that it was a very showy piece, and gives us an account of it. This particular biblical story of a very notable woman was calculated to draw attention. T h e plot was simplicity itself. In truth, it had no other merit than its picturesque accessories: its Egyptian and Assyrian scenery which the brush of Russell Smith made impressively beautiful, costumes, and magnificent pageantry. T h e principal feature in it was what may be termed an allegorical procession uniquely contrived. Instead of entering from the back or sides of the stage, this procession entered from the back of the pit under a wide entrance made under the center box, whence issued the pageant from the pit saloon and lobby, crossing over a platform [60]

THE P L A Y S laid over the pit about eight feet w i d e , going over the center of the orchestra, and so to the stage. T h e scene set on the stage w a s only in the second grooves, so that the procession, as it reached the first entrance, countermarched and made its exit as the people came up at the prompter's side. A n d , to economize room for t w o h u n d r e d persons in the ranks, they w e r e kept constantly c o u n t e r m a r c h i n g behind the scenes until the entire procession had passed over the pit and the f r o n t of the stage and all had disappeared behind the scenes f r o m the eyes of the spectators. T h e front flats w e r e then d r a w n off, and the entire depth of the stage discovered, w h e n the head of the procession w a s again seen a d v a n c i n g d o w n the stage to lead the ranks to assigned positions, w h e r e they w e r e to take their stand. effect w a s novel and striking. O n

The

the l e f t of the stage w a s a superb

throne, composed of variegated marble, resting on the backs of numerous recumbent sphinxes. La

Fitte,

another

n e w melodrama, w a s originally

H a m b l i n by M i s s L .

H.

dramatized

for

M e d i n a , but in Philadelphia, according

to

W e m y s s , it w a s patched together by a youth named P e r c i v a l w h o played in i: at N e w Y o r k , and did it w e l l . D u r a n g , in the forty-eighth chapter of his anecdotal account of the Philadelphia stage, third series, gives an interesting and l e n g t h y historical record of the pirate figure, L a Fitte. A most singularly successful melodrama w a s The the Spell

of the Cloud

King,

for thirty-one days. O t h e r n e w melodramas for Zel',

Brian

Chldren Block

Boroihme,

Council

of Chittigong, Farm,

Prince

King Le

Bronze

Horse,

or

advertised as a Chinese R o m a n c e . It ran of the Inquisition, O'Ne il, The

Boo,

Vow

Last

of Silence,

1836 w e r e :

Andreas

The

Demon

Statue,

Nail,

Murder

at

and

Who

Owns

the the

Haid? N e w comedies for the year i n c l u d e d : Circumstantial of Love,

The

Duddlestones,

Fanner's

Story,

My

and Alilitary

Poll

and My

Evidence,

Partner

Court

Joe, Stag

Hall,

Execution.

T h e new farces f o r the year w e r e legion. A l l w e can do is to catal o g s them because most of them w e r e either rather impromptu pieces improvised by an actor and belonging to his repertoire, or c a r e f u l l y g m r d e d by the m a n a g e r to prevent their t h e f t by another house. T h e tiths of the n e w farces for 1836 i n c l u d e d : All Feithers, llisband, cul'ies,

Call

Again

Forty Hide

To-Morrow,

and Fifty,

and Seek,

Freaks

How

at Coventry,

Comfortable

Do

and Follies, You

[61 ]

Service,

Borrowed Everybody's

A Gentleman

Manage?,

Hunting

in a

DiffiTurtle,

T H E PHILADELPHIA T H E A T R E Make Your Wills, Man About Town, Married Rake, Mrs. White and Mrs. Peter White, My Husband's Ghost, Othello Travestie, The Picnic, Quite at Home, Removing the Deposites, Scapegoat, Scotch Cooper, The Sledge Driver, State Secrets, Swiss Cottage, Twa Ghaists, The Widow's Victim, and Yellow Kids. Reference to the Play List will reveal the identity of the dramatists if known to the present writer. This year saw the Philadelphia première of Auber's grand legendary ballet opera, The Maid of Cashmere, or le Dieu et la Bayadere, of Bellini's opera, La Sonnambula, and of the opera called The Mountain Sylph. Three new pantomimes came to enliven Philadelphia's Christmas this year: Harlequin Tom the Piper's Son, Pongo, and The Three Gladiators. 1837 Nathaniel Parker Willis' Bianca Visconti, or the Heart Overtasked, was, this year of 1837, a new and successful tragedy of considerable poetic feeling. It was written in competition for a prize offered by Miss Josephine Clifton for the best play adapted to her abilities, and was brought by her to Philadelphia, December 27, 1837, a t the Chesnut. Other new tragedies for the year were Knowles' Wrecker's Daughter, and The Saxon Girl, or Walter Tyrrel. T h e new romantic drama for 1837 included: Crichton, or the Admirable Scot, first time on any stage, by Coleman of Philadelphia, a grand historical drama ; Buhver's Duchess de la Valliere; Lord Byron's Marino Faliero, or the Doge of Venice, adapted by Charles Durang; The Lady of the Lake, or the Knight of Snowden, announced as an original romantic drama with music; Brothers of the Pyrenees, advertised as a new drama adapted to the stage from Miss Pardoe's tale of the same name; and The Beggar of Cripplegate. Among the new domestic dramas for the year were: a one-act sketch, called Arabella, or the Discarded Child; The Daughter; Julie, or the Forced Marriage, advertised as a new pathetic drama in three acts; Lilian, the Show Girl, which was peculiarly announced to be a new domestic drama, never acted in America, forwarded by the approval of " M r . E . Forrest to M r . Rufus Welsh, and consigned by him to M r . [ W . ] Barrymore"; Mother's Dream; Paul, the Reprobate, or the Midnight Assassin; and Infidelity.

[62]

THE PLAYS T h e new plays of American character for Spangled Banner, or the American Tar's Fidelity, performance in Philadelphia after considerable A Down East Bargain, or Love in New York, especially for Hill, the Yankee comedian; C . A . and Yankee Tar.

1837 were: The Star announced as the first success in N e w York ; written by Moncrieff Logan's Yankee Land;

One of the most pretentious melodramas for 1837 w a s Ν · H . Bannister's Destruction of Jerusalem. Durang gives us a good account of it. He tells us that this drama, which was so magnificently produced and ingenious in the novelty of its dramatic effects, seemed to be beyond the comprehension of the audience. T h e Evil Spirit, so opposed to the Good Spirit, as the theme of the play, was a mythical antithesis or a metaphysical distinction which the many-headed play-going public did not understand. Although Milton's poetical conception of Satan was an angel of beauty and light, and Goethe's Evil Spirit was fascinating to poor Margaret, still Durang claims that a like spiritual treatment of Evil in Bannister's play did not meet the popular conception of the vulgar mind that demanded a devil with horns, hoofs, and tail, with a serpent's head, and a hissing, forked tongue. Durang goes on to say that in this historical drama of events related in biblical as well as in profane history, no incident or reference was made to any particularized religious tenets, such as those of the Greeks, the Romans, the Hebrews, or the Christians. Y e t a hue and cry was made against the drama as insulting to religion, a sacrilege, a profanity on the stage, and a contempt of all religious rites and ceremonies. A l l the press joined in the nonsensical halloo about the piece in a most stupid, fanatical chase. Such were the thoughtless denunciations upon the ill-fated Destruction of Jerusalem play, that Wemyss was forced to withdraw it after the sixth night. Well, the comment of the present writer is that six nights did not constitute a bad run for a new play—for any play, in fact, in those days —and we wonder how much in money those six nights meant to Wemyss. Probably a good deal, probably a very respectable, successful amount. It is too bad for our curiosity, that we do not know the receipts, but, if scandalous advertisement affected the theatre-going public in those days in the same way that it does in the present age, one might suppose that the notoriety given to Jerusalem by the Church militant and the press scurrilous brought in very acceptable golden returns to Wemyss. [63]

THE PHILADELPHIA

THEATRE

N o , Durang in his account gives undue sympathy to Bannister—"Poor Bannister," as he calls the man. It is not everyone, you see, who can write a play to produce such grand free advertising. Another new melodrama by Bannister this year was one called Gaulantus, or the Last of the Gauls. Another melodrama of the year was The Prophet of St. Paul in five acts, by David Paul Brown. Durang says the piece was butchered in production, but was acted to a receipt of $ 7 2 8 . Other new melodramas for 1 8 3 7 were: The Battle of Sedgemoor, or the Days of Kirk and Monmouth ; Faith and Falsehood, or the Fate of a Bushranger; M r s . H . Siddons' Father and Son, or the Convent Ruins; The Fire-Raiser, or the Prophet of the Haunted Moor; Koeuba, or the Pirate of the Capes ; North Pole, or a Tale of the Frozen Sea; Robber Chieftain; Siege of Missolonghi, or the Greek Patriots; Thalaba, or the Burning Sword ; and Trial by Battle. T h e new comedies for the year included: Confusion; Bravo of Venice; John Buzzby; Old English Gentleman ; Pickwick Club; Rural Felicity ; and Speculations. T h e new farces for the year included: Barbers at Court; Barrack Room; Black and White; House Room; Ion Travestie; Jim Croiu in London; Joe Miller; Middy Ashore; My Own Ghost; One Hour; Peculiar Position; Pleasant Neighbors; Rival Pages; Set a Beggar on Horseback ; Ship Launch; La Sonnambula Travestie; Twice Killed; and Za Ze Zi Zo Zu. T y r o n e Power, the Irish actor and playwright, appeared this year in a new musical fairy drama in three acts (as performed at the Theatre Covent G a r d e n ) , called O'Flannigan and the Fairies, or a Midsummer Night's Dream-—not Shakespeare's. T h e advertisement for it (from the United States Gazette), contains the following most fascinating explanation of the play: T h e r e is hardly a lonely valley or wild mountain range in all Ireland that is not characterized by names denoting the residence of the Good People or Fairies; and the belief that those eflin inhabitants of earth and air occasionally condescend to interfere with mortals, either in mirth or in malice, still lingers amongst the peasantry ; one of the most poetical of our national superstitions, and highly congenial to the temperament of an imaginative people. T h i s drama, however, presents the Good People in dream only; the action of the piece from the time the Fairies appear, until the sleeping Flannigan awakes once more to a working world existing only in the creations of a wild fellow's brain, fired by whiskey, and disordered by hard blows. His imaginary perils [64]

THE P L A Y S and s u f f e r i n g s being at once the consequence of his intemperance, and the m o r a l punishment of the relapsed whiskey lover. O t h e r n e w musical plays w e r e : first time in A m e r i c a , Don f a i t h f u l translation of

Juan,

a

M o z a r t ' s opera ; first time in A m e r i c a , a n e w

g r a n d operatic, legendary and romantic drama, called One

O'clock,

the Knight

Boy,

and the Wood

Demon,

by M o n k L e w i s ; Pirate

or

a new

m e l o d r a m a t i c opera in three acts, w r i t t e n by J . B . Phillips, and musically a r r a n g e d by J. W a t s o n , director and composer at C o v e n t G a r d e n ; and the Two

Figaros,

a new comic opera.

T h e n e w pantomimes for 1837 i n c l u d e d ; Harlequin Trumpet

; Farmer's

Son; and

and the

Magic

Grenadier.

1838 Ν.

H.

Bannister contributed

1838, one called Caius Silius,

t w o n e w tragedies to the W a l n u t

or the Slave

of Carthage,

tragedy w r i t t e n expressly for Parsons, the a c t o r ; and the other, cusan Brothers,

in

advertised as a Syra-

announced as a n e w tragedy w r i t t e n by several literary

gentlemen of Philadelphia, but actually a play by Bannister. A n e w tragedy for 1838 w a s one called Velasco,

or Castilian

third

Honor,

by

Epes S a r g e n t of Boston. The Lady

principal of Lyons;

Clandare,

new

romantic dramas

K n o w l e s ' Maid

or the Robber

called the Gentleman

Clans

for the year w e r e :

of Mariendorpt;

of the Lochs.

of Lyons,

Bulwer's

and S. S.

but D u r a n g says that it did not reap a

fair profit. O t h e r n e w romantic plays for the year w e r e : Child King's

Command

Margaret's

; Leila,

or the Siege of Granada;

and St. Mary's

of

Air;

Vow;

and

and the Idiot

Mother;

Law

of

the

Eve.

F o r the n e w melodramas, w e h a v e : The Avenger Hurdis

Maiden's

Ghost.

T h e n e w domestic dramas for 1838 w e r e : The Land;

Steele's

Bannister also w r o t e one

Girl,

of Blood,

or

Richard

announced as a play f r o m the book, a w o r k

by W . G . S i m m s ; The Battle

of Poictiers,

or the Knights

of the

Garter,

W . B a r r y m o r e ' s n e w historical d r a m a w r i t t e n expressly for the W a l n u t ; N . H . Bannister's The

Bush

the Y a n k e e C o m e d i a n ; Friar's Murderers,

Whacker, Oak;

w r i t t e n expressly for Henri

and Louise,

Two

advertised as the first time in this country, a melodramatic

sketch in one act, founded on a thrilling event registered in the Céiíbres

Marble,

or the

Causes

of F r a n c e , and departing in a v e r y trifling degree f r o m its a w [65]

THE PHILADELPHIA T H E A T R E ful termination ; Lord Byron's Mazeppa, and the Wild Horse; and Zameo, or the White Warrior. T h e new comedy of Weak Points, or the Nice Young Man by Buckstone was advertised as more successful in England than any piece of the season and as produced in Philadelphia from the only copy in this country, as the advertisement for it claims. Other new comedies of the season were: Knowles' Love Chase; Boat Builder's Hovel; Good Husbands Make Good Wives; Love and Murder; Two Queens; and The White Horse of the Peppers. T h e new farces for the year of 1838 included the long list of: Dancing Barber; Does Your Mother Know You're Out?; Impulse; Irish Lion; Life in Philadelphia; Manager's Daughter; A Match in the Dark; My Young Wife and My Old Umbrella; The Original; Patter versus Clatter; A Quiet Day; The Strange Gentleman; Tom Noddy's Secret; Trick for Trick; U and I; Will Watch; and The Yankee Duellist. Other new dramas of the year included the operettas of Amilie, or the Love Test, and Dew Drop; the national drama of The Jesuit's Colony, or the Indian's Doom, announced as written by a gentleman of Philadelphia; and the silent-action play of Samuel Slick, or Love in the Far, Far West, a comic ballet; Soldier's Wife and Soldier's Widow; and Wemyss' grand successful pageant and spectacle of the Coronation of Queen Victoria, which was modeled after Elliston's famous Coronation of George the Fourth in London, 1820.

1839 T h e new tragedies for 1839 included Isaac C. Pray's Juliet ta Gordini, or the Miser's Daughter, and Nathaniel Parker Willis' Tortesa the Ό surer. For the new romantic drama of the year, we have Blanche of Navarre, announced as a dramatization of James' novel of Love. Then there is Knowles' new yearly contribution, this time, Love; Romanzo, or the Exile of Naples, whose authorship is unknown ; and Gaspardo the Gondolier. For the new domestic drama of 1839, there is the dramatization of Charles Dickens' novel into the play of Oliver Twist, or the Alms House Boy. Dickens' novels were quickly dramatized. Apparently, since this process continued over several years, these dramatizations were suc[66]

THE P L A Y S cessful. U s u a l l y there w e r e m a n y different dramatic versions for each book, done by men at the d i f f e r e n t theatres. T a k e , for example, Copperfield; John

Brougham

mentator,

David

many tried a hand at d r a m a t i z i n g it, but the version of is considered

the

it is difficult to k n o w

best.

Still,

for

whose dramatic

the distant

com-

version w a s

being

played w h e n no n a m e is given. I t is the opinion of the present researcher that W e m y s s d r a m a t i z e d the particular version of Oliver

Twist

which

appeared at his W a l n u t , since he has m a n y other dramatizations to his credit, such as Norman

Leslie,

Captain

Kyd,

and The

Jewess.

Another

novelist w h o had numerous d r a m a t i z a t i o n s w a s Sir W a l t e r

Scott.

A

glance at the P l a y - L i s t w i l l reveal many of his titles. T h e n e w m e l o d r a m a of the year w a s B u l w e r ' s Richelieu.

D u r a n g has

m u c h to say about W e m y s s ' lavish production of it. N o old stock scenes w e r e used. T h e interior of the house of M a d a m e de l ' O r m e w a s not set out w i t h the usual mode in f u r n i t u r e of the eighteen thirties, but w i t h that appropriate to the period of

1 6 4 1 . T h e room of the cardinal w a s

splendidly painted and decorated w i t h

the heavy arras of

gold-tissue

figures used in that l u x u r i o u s age. T h e gardens of the L o u v r e taken f r o m the facsimiles of the proper period. T h e

were

Bastille and its

corridors w e r e painted f r o m accurate v i e w s . A l l these historic localities w e r e appropriately attended to, to make a play of admirable exactitude. T h i s generous e f f o r t ( t o p r o d u c e a play as it should be) cost W e m y s s six h u n d r e d

dollars in costumes alone, but the performances did

not

pay. Jacques

Strop

( a Robert

Macaire

play)

w a s also announced as an

entirely n e w m e l o d r a m a in three acts. A n d this year W e m y s s produced, a c c o r d i n g to his statement, a n e w melodrama called Captain the IVizard

Kyd,

or

of the Sea, w h i c h he claims that he d r a m a t i z e d f r o m Ingra-

h a m ' s novel of t h a t name. I t succeeded w e l l , and may be the play of J . S. Jones, originally produced in 1830. A m o n g the n e w comedies f o r 1839 w e r e : Evil Ladies;

Rafael

the Libertine;

A Wife

for a Day.

The

Scholar;

Whigs

Day;

A Lesson

and Democrats

T h e o n l y farce w h i c h the present w r i t e r is w i l l i n g

to a d v a n c e as an entirely n e w play for 1839 w a s the one called the Lad,

for ; and Jack's

announced as a n e w nautical drama, adapted to the stage ex-

pressly f o r E . S. C o n n e r , by C . F e r r a r s of N e w Y o r k . T h e n e w play of A m e r i c a n C h a r a c t e r in 1 8 3 9 w a s H i l l ' s vehicle of Seth Slope, for a Hundred.

W . R . B l a k e ' s The

Last Man

or

Done

w a s also a n e w play this

y e a r . A n d the only n e w musical play for the year w a s a simple burletta [67]

THE PHILADELPHIA T H E A T R E by the name of Souter Johnnie, announced as its first production on any stage. One should call particular attention to the singular production of Shakespeare's Titus Andronicus at the Walnut, January 30, 1839. T h e United States Gazette, in its theatrical column of the day, announces the performance as the first on any stage—the world première. Durang, in his account of the season, tells us that the hand of N. H . Bannister turned this work of Shakespeare into a beautiful play. What are we to believe from these two statements? It is the opinion of the present writer that the newspaper blurb which called this particular performance the world première was certainly wrong. No one will dispute that correction. Further, we offer this date of January 30, 1839, as the first professional performance of Titus Andronicus within the confines of Philadelphia. It is with a tempering judgment that we must consider the statement of Durang concerning N. H . Bannister's alteration of Titus into a beautiful play. Not even Bannister could turn this singularly horrendous play into something akin to beauty, without changing and losing the identity of the original. However, Bannister at least succeeded in softening the Shakespearean horrors into a drama that ran for four nights. 1840 T h e first year of the new decade saw a profusion of new melodramas (which certainly usurped the stage for 1840) but no new tragedy. Knowles contributed to our boards his yearly play, a romantic drama entitled John Di Procida, or the Bridal of Messina. The year gave us three national dramas: The Frontier Maid, written by Major Noah expressly for Mile. Celeste; The Lion of the Sea, or Our Infant Navy, by Silas S. Steele; and The Battle of Tippecanoe, by S. S. Steele. W . E . Burton, this year, wrote a new domestic drama which was produced under the name of Emigration, or the Progress of an Intemperate. Among the most spectacular of the melodramas for 1840 was The Naiad Queen, or the Mystery of Lurlei Berg, produced by Burton at his National. It was a play in three acts extremely well concocted from a melodrama called Lurline, or the Spirit of the Rhine, out of which Wemyss had made a new drama to oppose Celeste's La Bayadere, some seasons before, which he christened The Maid of Cashmere. John Russell Smith painted a vast quantity of new scenes for The [68]

T H E PLAYS Naiad Queen, all very beautiful. T h e Gothic halls were finely executed. T h e landscapes of the Rhine River were accurate and handsomely painted. One scene especially was truly magnificent and unique in conception, so Durang tells us. This was the Lurlie Grotto Baths. A l l the wings at the sides of the stage were removed entirely, and the stage, to the very side walls and back, was made to represent a circular Grotto. A staging ran around, close to this boundary, representing shelving coral and variegated golden and silver shells, whereon the nymphs reclined and thence plunged into the silvery waters, which occupied the center of the stage. It was like a lake, or an amphitheatre of stalactical forms. Around the margin of the waters, whereon these real nymphs or naiads gracefully floated, arose pyramids of red and other colored coral substances. Other new melodramas for 1840 were: The Dark Lady of Doona, or the Bride's Revenge, in two acts, by W . E . Burton ; The Death Token, or the Murderer's Fate; The Ice Witch and the Sun Spirit, or the Frozen Hand; Peter Bell the Wagoner; The Provost of Paris, or the Truand Chief; Sadak and Kalasrade, or the Waters of Oblivion; and The Sixes, or the Devil's in the Dice. T h e new comedies for 1840 numbered : Ben the Boatswain, or Sailors' Sweethearts ; Le Preux Chevalier; Poor Jack; Romantic Widow; Ups and Downs, or Felix in Search of a Wife; Yankee Bill Sticker; J . H . Payne's Love in Humble Life; and J . D . Burke's The Inn at Abbeville. Among the farces, we have : Curiosity Cured, or Powder for Peeping; Humbug; Is the Philadelphian Dead, or Is He Alive and Merry?; The Little Back Parlor; and Solomon Smink. Opera brings to us this year, Die Brilleninsel ( T h e Isle of Spectacles), advertised as the first in this country, a German Opera written by Kotzebue, especially composed for the Philadelphia German Theatre (occupying the Arch, February 1 0 ) by Ferdinand Riemann; the German Opera of The Swiss Family, music by Weigh ; and The Postillion of Lonjumeau. T h e comic ballet of La Tarentule in two acts, was also introduced to Philadelphia this year.

1841 Dion Boucicault's comedy of London Assurance made its appearance in Philadelphia in 1 8 4 1 , under striking conditions. T h e play came to Philadelphia, according to advertisement, after seventy-three nights at [69]

T H E PHILADELPHIA T H E A T R E the Covent Garden, London, and four weeks at the Park, New York. Burton was preparing to produce it first, to assure himself the priority over the other Philadelphia theatres, and, in this plan, he did not expect any competition since his preparations were well under way. However, Flynn, the manager at the Walnut, was cunning enough to deceive Burton. Flynn advertised the fact that the Walnut was making elaborate preparations to produce The Naiad. Queen, and Burton believed him— until November 6, 1 8 4 1 , when The Naiad Queen turned out to be London Assurance. Burton's own production at his National did not occur until November 15. Managerial strategy is apparently a many-headed Hydra. Flynn announced London Assurance in an elaborate fashion. T h e stage was set with costly ottomans, cushions, chairs, superior imperial carpets with different and splendid patterns for each scene. T h e upholstery and draperies were of the finest and most expensive kind. Perfect and correct statuary was secured, and the garden scene was laid out with natural flowers, grass plots, with orange and lemon trees from the gardens of the first horticulturists of the city of Philadelphia. But Burton still went Flynn one better. The furnishings for the stage of the National were even more gorgeous. The drawing room was illuminated by a splendid cut-glass chandelier, lighted with gas. T h e furniture supposedly manufactured expressly for this piece, was of the most costly description, of gold pattern with white, arabesque ornaments, according to the use of European palaces. T h e ottomans and lounges were covered with damask satin. The courtyard, park, and gardens were ornamented with a marble fountain of real water. An aviary of living birds, flower parterres, statues from the antiques, busts, vases, porcelain seats, and a tesselated pavement, completed the arrangements. T h e present cast was advertised by Burton as infinitely superior to that either of London or of New York, where its success established a new era in dramatic history. A t the National (Burton's) in Philadelphia, the players were Browne, Conner, Buckstone, W . Jones, J . Wallack, Burton, Mrs. A . Sefton, Mrs. Fitzwilliam, and Miss Clifton. London Assurance was followed, a month later, by a burlesque called Philadelphia Assurance. Another farce of the year, probably by Burton, was called The New President. H . H . Weld's comedy, Easy Joe Bruce, was new this year. In melodrama, this year, we have the spectacular ÌVater Queen, or the [70]

THE P L A Y S Sprites of Donau, with splendid new scenery by P . G r a i n , J r . , and J . W i s e r . It was supposed to be an old English melodrama of G e r m a n origin, concocted out of the incidents of Undine, Naiad Queen, burline, and perhaps others of the same nature. O n e imposing scene in this drama came in the last a c t : a transparent sea. It w a s called on the bills, " A T r e m e n d o u s Conflict Of T h e Adverse E l e m e n t s , " and was really a grand display of f a i r y illusion. T h e r e were five thousand jets of real w a t e r and six thousand jets of liquid fire, all at one time played in opposite directions in varied hues. O t h e r new melodramas for 1 8 4 1 were The Ocean Child; Rookivood, by N . H . Bannister (so D u r a n g tells u s ) , adapted from A i n s w o r t h ' s book ; and The Bank Monster by S. S. Steele. T h e new domestic dramas included: Barnaby Rudge, by B o z ; Sixteen Years Ago, from the F r e n c h ; Bill Stickers and the Jersey Girl; and Werner, or the Inheritance. F o r the new national dramas, there are the titles of The First Fleet and the First Flag, or Our Navy in '"¡6, and J . S. Jones' Siege of Boston, or the Sons of the Soil. 1842 T h e two new tragedies that came to Philadelphia in 1 8 4 2 were both foreign : Nina Sforza, advertised as its first performance in America, and M7alter Lynch, or the Warden of Galway, likewise announced as a first appearance in America. T h e two new domestic dramas for the year w e r e The Drunkard's Progress, and Marie du Cange, a play with M i l e . Celeste. T h e new national dramas included: Washington, or the Hero of Valley Forge, a military drama by J a m e s Rees of Philadelphia; and Red Gauntlet. T h e new melodramas for 1 8 4 2 w e r e : Arnaldi, or the Brigand's Daughter, first in A m e r i c a ; Mungo Park, or the Arab of the Niger; and Foreign Affairs, or the Court of Queen Anne. For the comedies, w e have: Charles Ο'M alley, or the Irish Dragoon; Ten Thousand a Year, or the History of Tittlebat Titmouse, announced as a new play in f o u r parts from the celebrated novel of that name, probably by Burton ; Something Original; The Banker, or a Friend in Need ; and Peter and Paul, or the Mechanic and His Brother, first time in America. [ 71 ]

T H E PHILADELPHIA T H E A T R E T h e new farces were: Hobbs, Dobbs, and Stubs, or the Three Temperance Grocers, a new farce never acted in America before; My Wife's Dentist; and the Rise of the Rothschilds. A very spectacular, costly, and unique introduction this year was the new pantomime of The Black Raven of the Tombs. Its story hinged upon the adventures of the lovers, Flodoardo and Marie. T h e Signor Montano, a notorious roué, attempts to gain the affections of Marie and, for this purpose, makes a pretended visit of condolence to the chamber of her sick mother, Alice. Alice, however, on perceiving the drift of his visit, indignantly orders him and his valet, Noucum, from the house ; then, exhausted by the exertion, blesses her child and dies. Determined to gain possession of the lovely maiden, Montano takes the opportunity when, with filial affection, Marie is strewing flowers over her mother's grave, to have her seized and conveyed to his castle. Flodoardo, hearing of the outrage, charges Montano and his valet with it. They overpower him, and shut him up in the cemetery behind locked gates. T h e Black Raven flies to his relief, presents him with a magic branch and instructs him how to proceed. T h e remainder of the piece is composed of numerous escapes by the lovers from the continued persecutions of Montano, until, at length, a dreadful punishment overtakes him. T h e scenes of the pantomime were twelve, as follows : ( ι ) Chamber of Alice, ( 2 ) Cemetery and Mysterious Tombs, the haunt of the Black Raven, ( 3 ) Magnificent Gothic Ball Room, brilliantly illuminated, (4) Outside of a Restaurant, ( 5 ) Market Place, ( 7 ) Exterior of a Turkish Harem! Mummies! Statues! and Flight of Brazen Dragon! (9) A Street, ( 1 0 ) Inside of a Hotel, ( 1 1 ) Rocky Mountain Pass! Mysterious Appearance of the Black Raven! ( 1 2 ) Pandemonium! Last scene—Magnificent Cloud Palace of the Black Raven. Dreadful punishment of the guilty on a Revolving Wheel of Fire! Grand Tableau!

1843 A new domestic drama of great interest in 1843 was Gabrielle or a Night's Hazards, translated from the French of Dumas' Mademoiselle de Belle-Isle and adapted to the English stage by J . M . Field. It was announced as a French piece full of the effective claptraps of the stage, natural and unnatural. In such dramas felicity of language in phrases, playfulness in application to passing events, and repartee caused piquant and telling points to be made. T h e piece was quite a success, abounding 172]

THE PLAYS in vivid and racy characters, blended with the heroics of French sentiment. T h e prime new melodrama for 1 8 4 3 w a s the Mysteries of Paris. T h e novel of the same name had just come out and was in every reader's hand f r o m youth to age. A l l were struck with the vivid painted language of the horrible, thrilling scenes of Parisian society among princes and canaille. A s usual, the managers were not unmindful of the excitement thus produced in the reading world. W e m y s s dramatized the Mysteries of Paris to the stage in the form of a melodrama of the romantic kind, where thunder roared, lightning flashed, and mock human blood flowed in the kennel. B y a curious device, the moon's rays w e r e made at night to reflect the blood of humanity mantling the waters of the Seine. W e are told that the multitude gaped at it in wonder. In order that Wemyss might not be forestalled by the other theatrical managers in the dramatization of the new novel, three persons w e r e secretly employed to do it into a drama in twenty-four hours, and it was thus produced by sleight of hand in three days. Actors studied their parts; scenery was painted and ready. I t proved successful. F . C . W e m y s s dramatized the first act, J a m e s G a n n the second, and J o h n Sefton, the third. Other new melodramas of the year were the Gold Bug and the Ruby Ring. J . M . Field's The Artful Dodger and J . P . A d d a m s ' Redwood made their appearance. T h e new plays of American character for 1 8 4 3 included: Nick of Time: Sam Patch in France; and The Market Street Merchant. The Boston Tea Party was a new anonymous play this year. A new pantomime is to be mentioned: Harlequin and the Ocean Nymph.

1844 Just as the prime melodrama f o r 1 8 4 3 had Paris as its background, so did the most interesting melodrama of 1 8 4 4 have Paris for its locale. The

Bohemians,

author of Nicholas

or the Rogues Nickleby.

of Paris

was a drama by E . Sterling,

T h e f o l l o w i n g is D u r a n g ' s account of it

from the seventy-third chapter of his history, third series: T h e r e are many " B o h e m i a n s " in Paris. " B o h e m i a n s " is the name applied to that class of individuals whose existence is a problem, their conditions and their fortunes an enigma, having no resting place—who are never to be found, and yet to be seen e v e r y w h e r e — w h o have no trade, yet live in professions, the greater number of whom rise without knowing where they shall dine—rich today and dying tomorrow with [73]

THE PHILADELPHIA THEATRE h u n g e r — r e a d y to live honestly, if they can, and otherwise, if they can not. It is estimated that there are ten thousand of them in Paris. T h e time of action w a s 1 8 4 2 ; the place Paris. T h e unities of the classic drama are most decidedly outraged in these revolting melodramas. W h a t says V o l t a i r e on the unities? W h a t is a dramatic piece? T h e representation of one action. W h y of one and not of t w o or t h r e e ? Because the human mind cannot take in so many objects at o n c e ; because the interest w h i c h is divided is soon destroyed. In a picture t w o different events offend the sight. N a t u r e has t a u g h t us the sense w h i c h ought to be as immutable as herself. T h e unity of place is essential for the same reason, for one single action cannot be transacting in many places at the same time. If the personages w e see are at A t h e n s in the first act, h o w can they be in Persia in the second? H a s L e B r u n painted A l e x a n d e r at A r b e l l a and in the Indies on the same c a n v a s ? T h e unity of time is naturally joined to the t w o others, par example: A conspiracy is f o r m e d against A u g u s t u s at R o m e . I wish to k n o w w h a t is about to happen to A u g u s t u s and the conspirators. If the poet makes the action continue fifteen days, he ought to i n f o r m us w h a t has passed d u r i n g that time. W e w a n t to be informed of w h a t passes. T h e unity of time is o f t e n extended to t w e n t y - f o u r hours, and the unity of place to the circumference of a place, etc. W e do not w i s h to d w e l l upon this to any length. H o w e v e r , D r . Johnson, in his preface to Shakespeare, answers these objections to the violation of the unities by the B a r d of A v o n w i t h very cogent reasons of a common sense nature. T h e construction of Julius Caesar, for instance, assumes great latitude as to time, to place, etc. B r u t u s and Cassius are at R o m e in the first act, and and in T h e s s a l y in the fifth act. In The Bohemians, some very w e l l painted scenes w e r e given by G r a i n , Jr., of Paris and its environs, f r o m accurate views. T h e y embraced the P o n t M a r i e ; the R i v e r Seine w i t h all its stereotyped architectural historical o b j e c t s ; the home of the Bohemians, " T h o s e spiders of civilization, w h o spread their nets to catch dupes," w a s a v e r y graphic representation of these dens of mixed up miseries and bacchanalian carousal. T h e quarries of M o n t m a r t e ; the heights overlooking P a r i s ; the bivouac of the Bohemians, etc. ; w e r e all v e r y effective scenes, and helped the piece in its many-colored illustrations of Parisian life. A n o t h e r n e w m e l o d r a m a of the year w a s of the El-Hyder w a s called Yara the Gypsy

v a r i e t y . It

and receives an account f r o m D u r a n g in the

seventieth chapter of his history, third series : W e remember this piece contained several very b e a u t i f u l landscape scenes, one especially painted in detached scenes, w i t h a very fine terminating v i e w of mountain ranges, occupying the entire depth of the stage. T h i s scene w a s designed and painted by J o h n W i s e r , then a y o u n g artist. It deserves a record. It w a s a battle scene by moonlight, a f t e r a bloody s t r u g g l e , p i c t u r i n g [ 74]

THE P L A Y S piles of slaughtered soldiers strewed over the plain and the sloping hills in various positions, with horses lying dead by their -wounded riders. T h e debris of arms, the cannon dismounted from their carriages, broken wheels, with the camps in the distance in smouldering ashes. These presented a pictorial w a r scene of repose, after a terrible contest of a most thrilling nature. T h e effect of the moon's beams falling on the dead and their arms, tinging out each group and objects with its silvery light, imparted to the picture, and therefore to the spectator's eye, a most impressive view of battle subjects under such a phase. T h e a w f u l silence and dread repose that succeeds after an engagement of great carnage, viewed, too, under the benign light of the Heavenly bodies in their calmest state, most deeply impresses the mind and heart of man with the horrors of war, and irresistibly makes him deprecate the rash causes, however justified, which lead and urge to such demoniac demonstrations. Other new melodramas for 1844 were the Dancing Feather, or Secrets of Life in New York, and T . D . English's The Doom of the Drinker. N e w romantic dramas of the year were Lochinvar, and S. S. Steele's The Grecian Queen. T h e new national dramas were Putnam, or the Eagle Eye and the Hand of Steel, and Mad Anthony, or the Pennsylvania Line. Comedy was served by the new plays of Handy Andy, The Love Gift, and T . D . English's Gammon and Galvinism. And pantomime was represented by Munchausen, first time in America, so announced. 1845 N e w plays this year included the romantic drama of Eva, The Page, the domestic dramas of Oregon, or the Emigrant's Dream and S. S. Steele's Emilie Plater, and the melodrama of Burke's Murrell the Land Pirate. A m o n g the new historical dramas we must place the following for 1845 : The Battle of Germantown, or a Tale of Tracy's Rangers; A Veteran; W . M . Leman's Freedom's Last Martyr; The Declaration of Independence; and General Harlon's The Fall of Kessichack. T h e comedy of greatest significance this year was M r s . M o w a t t ' s social satire of Fashion, or Life in New York, which pointed a finger of scorn at people who try to ape the outward forms of high society without knowing the inward reasons and values for them. In this comedy, a weilthy American family, or, principally the mother of that family, apes the modes and mannerisms of Paris. It is interesting to note that in our first social satire, The Contrast, the people imitated the modes and mannerisms of London. B y the time of Barker's Tears and Smiles in [75]

T H E PHILADELPHIA T H E A T R E 1 8 1 7 , America had shifted from Anglomania to Francomania in its search for the latest word which is fashion. Just as a literary imitator so frequently reproduces only the foibles and eccentricities of the writer whom he imitates, so also the social imitator usually reproduces imperfectly the customs which he seeks to imitate. In her Autobiography, Mrs. Mowatt laments this imperfect reproduction of French manners by American would-be's when she speaks of the custom of abolishing formal introductions at large social assembles : T h e custom is intended to obviate the ceremoniousness of formal introductions. Every one is expected to talk to his neighbor, and if mutual pleasure is received from the intercourse, an acquaintance is formed. T h e same fashion in vogue with us renders society cold and stiff. Few persons feel at liberty to address strangers. Little contracted circles of friends herd in clannish groups together and mar the true object of society. Also in her Autobiography, Mrs. Mowatt says: " T h e critics who condemned Fashion seemed to hold my Country responsible for its short comings. Those who awarded the meed of praise, in turn bestowed their eulogiums upon America, as due to her through one of her children." Edgar A . Poe, in one of his pungent, queer, critical remarks, said of Fashion that "it resembled The School for Scandal in the same degree that the shell of a locust resembles the living locust." Charles Durang, in the eighty-sixth chapter of his history, third series, comments upon this remark of Poe's by saying: "Then, as the authoress accounts for its success, the performers must have infused their spirit into the shell, and gave it the life of that chirping insect." Other new comedies for 1845 were: Dion Boucicault's Old Heads and Young Hearts; Change Makes Change (in which M r s . Mowatt herself acted) ; Monseigneur, or the Paris Robbers in IT20; and D . W . Jerrold's Time Works Wonders. A farce of interest was W . E. Burton's Fashion, or How to Write a Comedy, in which he scored a tremendous hit at the expense of Mrs. Mowatt. 1846 T h e period of 1846 was a slim year in the production of new plays of any account. The King 0} the Commons was a new play for 1846, probably a romantic drama. T h e author, James White, a Scottish clergyman, [76]

THE PLAYS was the writer of other dramas, but they were not adapted for stage representation. Romantic also was George Hielge's Montezuma. For the national drama, we have Walter M . Leman's Prairie Bird, or a Child of the Delawares, and the play of Swamp Fox, or Marion and His Merry Men. Among the farces and comedies we must note the new ones of Arcade; Crimson Crimes; E . Fitzball's Home Again; J . B. Buckstone's The Bear Hunters; Did You Ever Send Your Wife to Germantown? ; and Did You Ever Send Your Wife to Burlington? T h e Germantown farce originated with Burton at his Arch Street Theatre, where it won popular applause. (Burton was playing farces almost exclusively at the Arch this year.) And the Burlington farce was very likely an attempt at the Walnut to cash in on the popularity of the Germantown farce which had appeared at the Arch a week before. Balfé's new operatic, scenic drama, The Enchantress, in three acts came to Philadelphia for the first time in 1846, and received the plaudits of the theatre-goers. 1847 was

T h e year of 1847 again a period of comparative dearth in the production of new plays in Philadelphia. The Cavalier, with C. D. Pitt and M r s . Burke, was a new play of the year, probably a romantic drama. The Secret Pamphlet, or the Ups and Downs of a Printer, and Who's the Composer? formed the extent of the new comedies for 1847. T h e new farces were Cerro Gordo ; Actor and Heiress; W rong Passenger ; and Native Nobility. There was considerable operatic activity this year, with the Seguins and Frazer at the Chesnut where several seasons of opera were given. T h e new operas launched in Philadelphia this year were: Vincent W a l lace's Maritano; and Adolph Adam's Brewer of Preston; and The Chalet. Another new play this year was The Crock of Gold by H . M . W a r d .

1848 T h e year of 1848 saw renewed theatrical activity in the production of new plays. For tragedy, we have the three new plays of Genevieve ; Octavia Bragaldi; and Love's Martyr. For domestic drama, the new plays of John Sovile of Haysted; Dombey and Son; and The Fireman's Daughter were introduced.

[77]

THE PHILADELPHIA T H E A T R E T h e year of 1848 brought to Philadelphia the new national drama of The Forest Princess, or Ttvo Centuries Ago, by Mrs. C. B. Conner. It was an historical drama in three acts, of blank verse, founded on the life of Pocahontas. The historical characters were well preserved and graphically delineated. There follows a brief outline of the scenes: Part I. Scene —America, in Wingandocoa, the land of Powhatan, named Virginia by Sir Walter Raleigh. Time, 1607. Part II. Scene—America, in the country of Powhatan. Time 1609. Part I I I . Scene—England, in London and at Gravesend. Time 1609. T h e death of Pocahontas, exclaiming— I lose thee now, M y eyes behold Virginia's grassy t u r f — I hear my father. Husband, fare thee well! W e part—but we shall meet above! Another new national drama for 1848 was called Three Eras in Washington's Life. Anent the production of the new classical play, Horatii and the Curiatii, by Burton, March 2 1 , 1848, Charles Durang tells us a very interesting story in the ninetieth chapter of his history, third series : There was a lady of Philadelphia who wrote a play upon this subject of Roman history, with the combat of the brothers introduced. This play was given to M r . Burton, some months before, to peruse and to accept. T h e lady's play was kept for some time before any opinion or decision was given by Burton, although he was urged to do so; the answer being the usual one from theatrical cabinets: " N o t having leisure to finish the reading." But to the authoress' astonishment, one day she saw the subject announced for performances on March 22d [really March 2 1 s t ] , as written or dramatized by Burton himself (of course, sub rosa). T h e lady seated herself in the theatre on the first night, and she had the mortification to see her principal stage incidents taken— or those of her play ; all the effective points called, with various scenes, and speeches almost literally taken from Knowles' William Tell. T h e play that was thus offered in good faith to M r . Burton was a very effective drama, and well written. Certainly, it did not deserve the cavalier fate it received from the autocracy of a manager's tribunal whence there is no appeal. He had the right to refuse the play as the great Garrick refused the tragedy of Douglass before him; but it was a gross injustice to take the idea, the plot, and its general composition, by the lady, and then serve it up as a melodramatic rehash, with plagiarized condiments. Her labors deserved at least courtesy. W e suppose he did the deed upon the principle that "Heaven sends good meat, but the devil sends cooks." Therefore, the meat being good, the thought struck him, he would dress it himself.

[78]

THE P L A Y S T h e n e w comedies for the year included: Pride of Erin;

O'Donoghue;

and Return;

The

Romance

Millionaire

of the Market;

and Reality;

; Old Honesty;

Volunteers;

Exiles Departure

and Philadelphia

in

Spots.

T h e most interesting farce of the year w a s W i l l i a m E . B u r t o n ' s A Glance

at Philadelphia

at New

York.

w h i c h he fashioned f r o m B. A . Baker's A

Glance

C h a r l e s D u r a n g in the ninety-first chapter of his history,

third series, gives us a timely account of it : B u r t o n in this matter adapted the piece to the racy, v u l g a r character of our J a k e y classes w i t h much gout. H e , therefore, rehashed or boiled it in his o w n w i t t y cauldron, although the various spices w h i c h gave a pungent flavor to this coarse dish of " a l l sorts" may have been sprinkled over it by J . O w e n s , T . Johnson, and others incog. B e this as it may, it proved a m e r r y standing repast for the A r c h Street T h e a t r e for an entire season. It proved a fortunate Glance of attraction to " B i l l y " B u r ton, and led him soon to P a l m o ' s [i.e., P a l m e r ' s ] O p e r a H o u s e at N e w York. T h e r e w a s n e w scenery of a local character painted for the piece by G e o r g e H i e l g e : V i e w of the State H o u s e ; and the C o u r t H o u s e s ; Chesnut Street W h a r f ; the old M a r k e t H o u s e s ; noted places in S o u t h w a r k , and the N o r t h e r n L i b e r t i e s ; M o y a m e n s i n g P r i s o n ; B a r r e t t ' s G y m n a s i u m in M a r k e t S t r e e t ; Prosser's R e s t a u r a n t ; and the U n i t e d States H o t e l . O t h e r n e w farces for the year of 1848 i n c l u d e d : Box Cox

and Knox;

Things Poor

Sprigs

can be Done

Pillicoddy;

of Laurel;

as Well

and The

and Cox;

Down

among

the Dead

as Others;

Mose's

Fisit

Eighth

of

Box,

Men;

to

Some

Philadelphia;

January.

T h i s year there w a s produced a n e w melodramatic opera in three acts, called II Giuramento

[ T h e O a t h ] , w i t h music by M e r c a d a n t e and w o r d s

by G a e t a n o Rossi. O t h e r s n e w plays w e r e Jacob

Leisler

by C o r n e l i u s

M a t h e w s , and t w o plays about a visiting foreign actress, Lola Montez Catching

a Governor,

and Lola Montez

or Countess

for an

or

Hour.

1849 T h e n e w tragedies of 1849 w e r e Walter

Raymond

and

T h e n e w romantic dramas for the year i n c l u d e d : Flowers Wardock All;

Kennilson;

and Mary

and Orange

Melwyn

Girl of Venice.

Madelaine;

Time

Forest; Tries

constituted the new domestic dramas for 1849.

T h e n e w historical drama for the year w a s Benjamin of

Strathmore.

of the

1776.

[79]

Franklin,

or the

Days

T H E PHILADELPHIA T H E A T R E T h e most important melodrama for the year was The Count of Monte Cristo, dramatized by George H . Andrews of New York from the novel by Alexander Dumas. T h e melodramatic music was supplied by Roberts of the Broadway Theatre ; the glees by Dr. W . P. Cunnington ; the dances by Schmidt, ballet master of the Arch ; the scenery by Peter Grain, J r . ; the machinery by A . Wilson ; appointments by Robinson ; and costumes by H . Watson. Other melodramas of the year were: The Venetian; Twin Brothers of the Blood Red Cross; Eagle Eye; Horse of the Prairie; Idiot of the Mill; and Hand of Cards. This year there was a profusion of one certain kind of American-type drama: the Mose and Jakey melodramas. Among these was N w York As It Is, by B. A . Baker. As much of an idea of it as any one of us today would desire to have can be obtained from a short sketch of the scenes, to w i t : A view of Chatham Square Theatre, interior of a soup house, a boxing scene à la T o m and Jerry, Catharine Street Fish and Clam Market, Chatham Street, a Ladies' Gymnasium, and the grand finale of the Old Brewery in flames. Mose and his fire company arrive. He dashes into the building and appears at the window with a child in his arms. " M y chee-ild ! She is saved! Thank G o d ! " Grand tableaux. Curtain. The Mysteries and Miseries of New York came to Philadelphia, also, this year. It was an adaptation by H . P. Grattan of "Ned Buntline's" novel of the same name (see Ireland, I I , 5 3 3 ) , and was another of the many attempts to apotheosize the darling of the gods and the firemen, Mose, the home-town boy. Of course, every city had its own Mose, and these plays went the whole gamut of the cities and were easily adapted to local surroundings by the mere substitution of different place names. Mose and Jakey (In Philadelphia), or the United Fire Boys, by T . B. Johnston, was rather low in moral content or rather, more strongly, immoral. Moral content was never a high feature in the Mose and Jakey plays, but in this one particularly it was totally absent. T h e Bowery boys visit the Philadelphia Jakeys, consisting of fast men, genteel and low loafers, pickpockets, and men leaving their wives to live with "the gals." T h e company was certainly not very choice. Fistimania, or the Man who Saw the Fight was a new Jakey sketch by William E . Burton this year and, according to Durang, netted him ten thousand dollars. Other Mose and Jakey plays for the year were Mose in China; Mose in California; Mose and Jakey's Visit to the Chesnut; and Jakey's Visit to California. [80]

THE PLAYS T h e new comedies for 1849 included Court and City; Lavater; Delusion; Three Wives of Madrid; The Miser of Philadelphia; O'Grady ; Knight of Arva; Matchwoman of Philadelphia ; and The Serious Family. One of the extravaganzas of the year was called The Empire of Hayti, or King Craft in 1852. It was written by Thomas Dunn English and was, presumably, a farce. One of the characters in it, "Victoria the Last," was announced on the program as "sensible but severe, who is not felt when she reigns, but is mist when she mizzles." Other new farces were: Slasher and Crasher; Monte Cristy; Chloroform; Mr. and Mrs. Macbeth; Where's Barnum?; Pierre Gamouche; John Dobbs; Taken in and Done for; A Wonderful Woman; Mammon and Gammon; Irish Secretary; Philadelphia Directory ; and Mental Electricity. 1850 T h e year of 1850, the beginning of the new decade, again found considerable activity in the theatres in the production of new plays. Virginia was the new tragedy of the year, with Miss Davenport in the title rôle. Romantic drama was represented this year by three new plays. The Duke's Wager was announced as an adaptation from M . Emile Augier's play of Gabrielle and A . Dumas' Maid of Belle Isle, being the same popular story as the recently successful drama of M r s . Frances Ann Kemble. King Rene's Daughter seemed to be a romantic drama of note, and the story of it is interesting, for King Rene's daughter is a blind girl, who, purposely kept in seclusion by her father, has been ignorant of her infirmity until a strange cavalier, who falls in love with her, makes her acquainted with it. T h e following speech, delivered in reply to a question concerning the use of her eyes is representative of the poetic quality of the piece: Y o u ask of what avail—how can you ask? And yet I ne'er have given the matter thought. M y eyes ! M y Eyes ! ' T i s easy to perceive, A t eve, when I am weary, slumber first Droops heavy on my eyes, and thence it spreads O'er all my body, with no thought of mine. Thus, then, I know my eyes avail me much. When I had pined for many tedious days Because my father was detained from home, I wept for very gladness when he came! [81]

THE PHILADELPHIA THEATRE Through tears I gave my bursting heart relief, A n d at my eyes, I found a gushing vent. T h e n never ask me unto what avail Omnipotence hath gifted me with eyes. T h r o u g h them, when I am weary, comes repose ; Through them, my sorrow lightened, and through them M y joy is raised to rapture! W h e n her father tries to explain to her the nature of sight, she says: Oh, father! these are wondrous words to me! Incomprehensible! Explain one thing to me! I, with my eyes, it seems, should grasp the world. Y o n stranger, too, who lately was with me, A n d whose strange words are stamped so deeply here, He spoke of sight. W h a t is it, then, to see? Can I, oh! father, see his voice, which touch'd M y soul with joy and sadness? Can I see W i t h these, mine eyes the nightingale's thick note, Whereon I've mused so oft, and vainly striven T o follow it in thought, away, away ? O r is her song a flower, whose fragrant breath I know, but not its root, and stem and leaves? A most important romantic drama of the year was the play in five acts by G . H . Boker, called The Betrothal. T h e newspaper advertisement announced it as a piece "wherein he [Boker] has moulded the Dramatis Personae for the express capabilities of each representative." F o r an excellent critical account of this play, see D r . A r t h u r Hobson Quinn's book, A History of the American Drama from the Beginning to the Civil War. T h e new national dramas of the year were Eddystone E l f , or the Fiend of the Rock, General Washington, and Oua Cousta, the Lion of the Forest, founded on events during the French and English W a r s in America, by N . H . Bannister. It was a Metamora painting throughout, and thought by many to be superior to that drama. T h e melodramas for 1 8 5 0 were numerous. Democracy and Aristocracy, or the Rich and Poor of New York gave representations of a number of the low dens of vice and immorality in the city. T h e last scene portrayed the poor man's cottage showing the rich man's oppression and the eventual conquest of the right. T h e keynote of the play may be expressed in the sentence: " T h e rich may be exceeding poor, and the poor exceeding rich." The Mysteries

and Miseries

of Philadelphia [82]

was another Mose

and

THE P L A Y S Jakey

m e l o d r a m a fashioned a f t e r The

Mysteries

and Miseries

of

New

York. O t h e r n e w melodramas f o r 1 8 5 0 w e r e : Morgan Kit

Karson,

or the Hero

Burning

Belt;

the Lion

Heart,

the Bridal

of the Prairie;

El Melechor; or Golden

on the Border;

the Hun;

Life

Struggle Days

Pride

in Alabama;

Zindel, for Life

of Chivalry;

of Birth;

Chesnut

tremes;

Street

Grub,

Leap

and Roman

and

Ground,

Year,

In and Out

of

High

life

Seing, The

; Irish Fortune

Fireman, Privilege;

Trumpeter's

Hunter

the Actress; ; Giralda;

and Jakey

farce for 1 8 5 0 w a s The

O t h e r farces f o r the year w e r e : Paddy's

in Philadelphia

or the Irish

Attachment

Attilla or Ex-

IVedding;

Catspaw;

Irish

and S. D . Johnson's

Place.

A n o t h e r Mose of Kensington.

or

or

announced as the most successful drama that

has been w r i t t e n for ten y e a r s ; Adrienne Honor ; Retribution

of

Vale,

Copperfield.

Philadelphia

The

of the

Knight

Tribute,

or the Ladies'

Company ;

Wagoner;

of Et trick

and J o h n B r o u g h a m ' s David

Heiress;

Mudge

Changes ; Delicate

and Death; Rose

T h e n e w comedies f o r 1 8 5 0 i n c l u d e d : The the

the Jersey or the Brothers

M.

; Nettlewig

Captive

; No. D.; Hall;

JJJ

Locust

Tipperary

Street;

Legacy;

and Family

Live

Ship['s] Trip

Carpenter to

America;

Alaharajah

Surovy

Indian;

Platonic

Ties.

w a s a v e r y pathetic musical d r a m a adapted to music and

to the stage by M r s . C . B. C o n n e r . T h e scene of it passes in a private madhouse w h e r e the captive lady is confined by a t y r a n n i c a l husband w h o , in order to gain possession of her estates, has induced her relatives to believe she is in reality insane. 1851 A m o n g the n e w tragedies produced on the P h i l a d e l p h i a stage in 1851 w a s B o k e r ' s Calaynos, Sisters,

w h i c h is Spanish in setting. Valeria,

or the

Roman

w a s another t r a g e d y of the year, adapted, according to D u r a n g ,

to the stage for M i s s D a v e n p o r t by an A m e r i c a n author. O t h e r tragedies of the year w e r e Caecinna Harvest and Marie

Home

and The

Indian

new

Queen.

w a s a n e w domestic d r a m a in 1 8 5 1 , and Philip

de

France

de M erante, a n e w historical play.

M r s . M o w a t t ' s romantic d r a m a of Armand,

or the Peer and the

Peasant

reached Philadelphia for the first time in 1 8 5 1 , w i t h M r s . M o w a t t herself p l a y i n g the part of the heroine, B l a n c h e . A n o t h e r n e w romantic piece, Ingomar

the Barbarian

came to A m e r i c a for the first time in 1 8 5 1 . It [83]

T H E PHILADELPHIA T H E A T R E was a German play translated by M r s . Lovell. Another new romantic play of the year was E. Forrester's Student of Morlaix. A new play this year in which Mrs. Conner had a hand was Charlotte Cor day, translated and adapted by her from Lamartine's Histoire des Girondins and the French drama of Charlotte Corday, by M . M . Dumanoir and Clairville, the performance of which was prohibited by Louis Napoleon on account of its advocacy of liberty and republicanism. T h e new comedies for the year included : The Old Love and the New; Love in a Maze ; Major Jones' Courtship ; and The IV orld a Mask, this last play being a social satire by George Henry Boker. Boker's forte was romantic tragedy, and not social satire. For an account of this play, see Dr. Arthur Hobson Quinn's book, A History of the American Drama from the Beginning to the Civil War. T h e new farces for the year were: My Friend in the Straps; Sent to the Tower; School for Tigers; The Teacher Taught ; The Chisel; and Three Cuckoos. Additional news plays were Brian O'Lynn by S. D . Johnson, and Shandy Maguire by James Pilgrim. 1852 A tragedy of importance for 1852 was the new historical and romantic play of De Soto, written expressly for J . E. Murdoch by G . H. Miles of Baltimore. Part of the manuscript of this play is in the library of the University of Pennsylvania. Philadelphia gave the play its first performance on any stage. Charles Durang in the one hundred and sixth chapter of his history of the Philadelphia stage, third series, quotes the following passage from a Spanish historian, apropos of the play : Y e shall sheath me in my mail, with my helmet on my head, and my spur on my heel! With my sword in my hand shall ye bury me, and with a banner of Castile for my shroud! In the depths of the river— of my river—shall ye bury me, with lighted torch and volleyed musketry at the midnight hour. Scenery for the play was provided by J . Parker and R. Smith, and costumes by F . Johnson. There were some fifteen new scenes painted for the drama, principally views of the Floridas and the Mississippi River. T h e denouement—the last scene—was very imposing and solemnly grand. T h e view of the Mississippi, painted by R. Smith, and the Te Deum and [84]

THE PLAYS grand tableaux illustrating Powell's great natural picture, The Burial of De Soto, excited much approbation. Another new tragedy of the year was Helos the Helot. The Painter of Brienne was a new romantic play in three acts, written expressly for the Walnut Street Theatre, by a gentleman of Philadelphia. This piece was founded upon events which graphically illustrated many of the famous people who figured during the dynasty of the first Napoleon in the most thrilling and interesting times of his life, in 1804 and 1805. This new drama had a successive and successful run of four nights. Among other new plays for 1852 were the national drama of Scott and Pierce and the domestic drama of Edith. T h e new comedies included : The Custom of the Country; Ladies' Battle; The Fast Man; and The Fireman's Bride. T h e new farces were: Vve Eaten My Friend; A Duel in the Dark; fVho Stole the Pocket Book?; Our Clerks; The Youth who Never Saw a Woman; and A Row at the Chesnut.

1853 A new tragedy of importance, in 1853, was Boker's Leonor de Guzman, a play with a Spanish setting. Camille, or the Fate of a Coquette, was played for the first time in America in our city this year. It was taken from a French drama which had an unprecedented run in Paris for more than a year. It was adapted to the stage in English perhaps by (but certainly f o r ) Miss Jean Margaret Davenport, or by John Wilkins, author of the comedy of Civilization. T h e version of the play in English was entirely divested of all the immoral, objectionable features of the French drama and so modified as to become an entertainment of virtuous instruction. Myrna Alwynn, a play in five acts, was another new tragedy this year. Bleak House and The Curate's Daughter were new domestic dramas for 1 8 5 3 . B u t the play which overshadowed everything else this year was a melodrama that caught the tide of public favor and swept along for decades. On September 26, 1853, the Chesnut Street Theatre opened, one might say, with a new dramatic epoch for Philadelphia in the first performance of the great original drama of Uncle Tom's Cabin, or Life among the Lowly, dramatized from M r s . Harriet Beecher Stowe's world-renowned work, by G . L . Aiken. It was composed of six acts, ten tableaux, and [85]

THE PHILADELPHIA THEATRE thirty scenes. T h e new scenery was by Joseph Parker ; overture and new music by Mueller; stage direction and production, by Addis. T h e following scenes, taken from southern scenes and painted by Joseph Parker, were particularly effective: i, Uncle Tom's Cabin by moonlight ; 2, Rocky Pass near the Ohio ; 3, T h e Ohio filled with ice ; 4, St. Clair's Mansion and Garden; 5, Little Eva's Bower; 6, T h e Slave M a r t ; 7, Uncle Tom's Shed ; 8, Allegory—Eva in Heaven. Its success was unbounded. For twenty-five successive nights the houses were filled to capacity, and this one play did, perhaps, as much as any other instrument of antislavery tendency to stimulate public sentiment against the abuses of the southern system of captive labor. A t this writing ( 1 9 3 4 ) , the play has been a part of American life for almost eighty years, since, during all those years, some company somewhere in the United States has been playing the famous old drama. Generations after generations of Americans have been acquainted with Uncle Tom's Cabin as the first of their dramatic fare. Countrymen in the far provinces who never heard of Broadway and the current drama of their day, received their only knowledge of the theatre from Uncle Tom's Cabin as presented to them by some barnstorming company in some little tank town. Many an actor of note today recalls fondly that one of his first and small rôles was that of a minor character in Uncle Tom's Cabin. Uncle Tom's Cabin is the universal example of a popularly accepted propaganda play that has become a classic in theatrical history, despite the fact that it is merely a thesis play full of sentimentality. By some marvel of time and quirk of circumstance, its word has become life and its story has become legend. The White Slave of England, or the Age We Live In was another new melodrama of 1853. It professed to be an answer to Uncle Tom's Cabin. T h e new comedies for the year included: Sea and Land; Drumming ; Dick the Newsboy; Nationalities; and A Cure for Coquettes. T h e new farces for 1853 were Madame Anna Bishop in the Provinces; Irish Americans; Going to the Races; and Whitebait at Greenwich. There was this year a new dramatic opera, called Florentine, or the Pride of the Canton, in two acts. T h e libretto was written by Mrs. Sheridan Mann expressly for Miss Caroline Richings. Other new plays were Masks and Faces by Charles Reade, Our Jemima by H . J . Conway, and the anonymous compositions of The Battle of Buena Vista, The Black Rangers, and Irish Assurance and Yankee Modesty. [86]

THE PLAYS 1854 A curious new melodrama in 1854 was Hot Corn, or Little Katy, a story by Solon Robinson based upon low life in N e w York. T h e book became sensational and was read avidly. C. W . Tayleure dramatized it and retained its original title. T h e play was (so-called) "a religious and moral drama," and had some twenty-four characters. It was full of thrilling scenes of low life, dissipation, crime, and death. Little Katy's death was painfully affecting. There was a Grand Allegory attached to it. T h e spirit of little Katy ascended to Heaven in a cloud of light, attended by groups of seraphs floating upwards to realms of bliss, attended by strains of melody. T h e play was what actors call a gag piece. Cabin and Parlor, or a Picture on the Other Side of Jordan to Uncle Tom's Cabin, another new melodrama, was dramatized by B. Young from the popular novel of that name. Its purpose was to reflect the opposite opinions to those contained in Uncle Tom's Cabin. Other new melodramas in 1854 were The Irish Sibyl and the Rebel Chief, founded on a story of the rebellion of 1798, and Plot and Passion. John Wilkins' play of St. Marc, which came to Philadelphia in 1854, w a s a l s ° probably a melodrama. There were several new American comedies this year. J . Austin Sperry's Life in the West, or Playing False was a new American comedy in five acts. This year, also, saw the Philadelphia production of The Game of Life, another comedy in five acts, by John Brougham. Buckstone's new comedy, in one act, The Maid with the Milking Pail, or the Speaking Likeness received its first Philadelphia performance in 1854. Colombe's Birthday was another new comedy of the year. Kenneth, or the Weird Woman of the Glen, was a new romantic play, dramatized by N . B. Clark from W . M . Reynolds' celebrated romance. A Legend of the Chesnut Street Theatre, a new play for 1854, might have been a romantic play, but it is very difficult to tell from the title alone. T h e domestic drama of Griselda, or the Patient Woman was new to Philadelphia. It was advertised as a play taken from the German of Halm by Auguste Waldauer, and adapted to the English stage by J . M . Field. The Irish Yankee, or the Birthday of Freedom, by John Brougham, was advertised as a new national drama. A new Christmas pantomime for the year, Fortunio and His Seven Gifted Servants, was a fairy extravaganza in two acts, founded on a popular nursery tale by the Countess D'Anois, [87]

THE PHILADELPHIA THEATRE and dramatized by J . R . Planche. T h e n e w farces included : Trying A Storm Money

in a Tea

Cup;

and The

Recusant.

It

On;

D . B o u c i c a u l t ' s Love

and

appeared this year as a n e w play.

1855 T h e n e w comedies for 1855 included : A New That

Girl Away;

and Apollo

Still

in New

Waters

York.

Run Deep;

Comedy Man

of Errors;

of Many

Take Friends;

T h e r e w a s a n e w Indian L e g e n d a r y

in three acts, this year, called Magnolia,

or the Child

drama

of the Flower.

The

a n e w play by John W i l k i n s , w a s probably a melodrama.

Annie

w a s a n e w domestic drama, and the n e w play of Charity's

Love

Egyptian, Blake

The

apparently a romantic comedy. H o w e v e r , the c r o w n i n g event of the year and the m a j o r occurrence of twenty-one years w a s the advent to the A m e r i c a n stage of H e n r y Boker's Francesca

da Rimini.

George

T h e story of those t w o lovers of

thirteenth-century I t a l y , Francesca and P a o l o , first entered literature in D a n t e ' s Inferno.

M a n y pens since then have recorded the history of this

tragic l o v e : Boccaccio, Johann L u d w i g U h l a n d , Silvio Pellico, M a r t i n G r e i f , D ' A n n u n z i o , M a r i a n C r a w f o r d , L e i g h H u n t , Stephen

Phillips,

and G e o r g e H e n r y Boker. W i t h the exception of those versions by D a n t e , Boccaccio, and H u n t , literature has placed the story in dramatic f o r m . Boker's play w a s the first English version and the greatest of them all. H e motivated his drama most p o w e r f u l l y through the use of contrast by presenting to us the picture of a hideous, love-starved man mad f o r the affection of a y o u n g and b e a u t i f u l w o m a n w h o loves the shapely and gracious brother. I t is, among other factors, the art of contrast, so excellently handled, w h i c h makes this play good stage as w e l l as great literature. A n d B o k e r succeeded in introducing into his drama the v e r y breath of the m i d d l e ages. T h e character of Pepe, for one, is a concrete example of h o w w e l l B o k e r understood the structure of medieval c o u r t society. B o k e r ' s Francesca

da Rimini

w a s really the last and the greatest of

A m e r i c a n romantic tragedies in verse. A m e r i c a n p l a y w r i g h t s , and particul a r l y the Philadelphia group of w r i t e r s , had made the romantic verse t r a g e d y their o w n province and particular endeavor. W i t h them, the f o r m g r e w in beauty and p o w e r until it developed into the masterpiece of the age, Boker's

Francesca.

T h i s play alone is sufficient to m a r k an epoch and to make the year of [88]

THE P L A Y S 1 8 5 5 a t u r n i n g point in dramatic history. A c t u a l l y Francesca

da

Rimini

came at the v e r y time w h e n D i o n Boucicault began to exert a strong force in b r i n g i n g about the transition f r o m the old romantic drama to the n e w realistic plays that became the medium of dramatic expression for the next age.

[89]

T H E ACTORS

CHAPTER ΙΠ

THE ACTORS 1835 IT is to be remembered that, one hundred years ago, our city still had stock companies in its theatres—in fact, they lasted until 1 8 7 8 . A n d to these stock companies came featured players chiefly from N e w Y o r k and abroad. T h e traveling-star system was at work, but it did not overwhelm the general excellence of the city stock companies, nor did it give unfair publicity to one actor and total oblivion to another. One is impressed by the records to see how featured players come and go, causing, it is true, an enthusiastic ripple, but not a maelstrom to engulf the veterans who remained at their posts year in and year out, supported by public favor. In the Philadelphia of 1 8 3 5 , there w e r e two stock companies playing excellent drama nightly. T h e American (which w e shall call the W a l n u t Street) T h e a t r e had upon its boards in this year approximately seventy players, not including the prominent visiting stars, while the Chesnut Street T h e a t r e (or the A r c h when this company occasionally used that building) had thirty-four. It might appear from these figures that there was an appreciable difference in the strength of the two companies, but the ultimate statistics speak f o r almost equal rank between them, for the backbone of the programs was made up of twenty-two players at the W a l n u t and twenty-four at the Chesnut. T h e s e figures are, of course, estimates only and may v a r y f r o m reality by the margin of several players. T h e y are, however, f a i r l y accurate, the w r i t e r hopes, and also significant. A n d they show that the W a l n u t admitted a large number of visiting artists. O n e is amazed at the number of actors who came apparently unheralded, remained f o r a short stay, and left, leaving us only a passing, unknown name to conjure with. T h e twenty-two players at the W a l n u t , then, formed the official family of the stock company. O f them, eleven were men and eleven women. A t the Chesnut there were about thirteen men and eleven women in the inner circle. T h e players at the W a l n u t were M r . and M r s . ( J . P . ) Knight, M r . and M r s . Kent, M r . and M r s . M u z z y , M r s . ( F . B . ) Conway, M r s . D u f f , Misses Anderson, Charnock, M a r y D u f f , A l e x i n a [93]

T H E PHILADELPHIA T H E A T R E Fisher, Waring, Eliza Riddle, and Messrs. E . S. Connor, Hadaway, C. S. Porter, J . G . Porter, D. Reed, J . Sefton, ( Ε . N . ) Thayer, and F. C. Wemyss; and at the Chesnut, M r . and Mrs. ( W . G . ) Jones, M r . and Mrs. Maywood, M r . and M r s . Rowbotham, M r . and Mrs. Walstein, M r . and Mrs. ( C . ) Watson, Mrs. Conduit, Mrs. (Ε. N . ) Thayer, Misses Elphinstone, Pelham, Watson, (Emma) Wheatley, and Messrs. W . E . Burton, T . S. Cline, Faulkner, ( R . ) Hamilton, J . E. Murdoch, Thoman, Walton, and Wood. Among those who occasionally appeared at the two theatres as players featured to a certain degree were, at the Walnut, M . and Mme. Gouffe, Mrs. Pritchard, Mrs. Maeder, Miss Meadows, and Messrs. C. H. Eaton, Frimbley, Ingersoll, J . H . Oxley, W m . B. Wood, and Masters Bowers, Jackson, and Roberts; and at the Chesnut, Messrs. Hathwell, Hunt, T . Power, and J . R. Scott. T h e members of the two companies from whom we hear infrequently as well as the names of passing people were, at the Walnut, M r . and M r s . J . M . Brown, Mrs. Barrett, Mrs. Cooke, Mrs. Thorne, Misses Booth, Brittenham, Ruth, Ann Sefton, and Messrs. Allen, Blaike, Brittenham, ( N . B . ) Clarke, Collingbourne, J . H. Colline, Delarue, Derivage, Durang, C . Faurrest, Huntley, Jackson, Kelley, E . B. K r a f t , Lyne, J . Mestayer, J . Reed, ( T . B.) Rüssel, W . Sefton, Senior, Stanley, W . Vache, J . Wallace, Ward, W . Warren, and ( C . ) W e b b ; and at the Chesnut, Messrs, Bateman, ( D . ) Eberle, Jervis, T . Placide, ( J . H . ) Taylor, and ( C . ) Webb. This list of players completes the number of sixty-nine for the Walnut and thirty-four for the Chesnut. In a day when visiting stars often came to a distant theatre to play leads in their own individual repertoires with which they were completely familiar, the members of the stock companies seldom played the character of Hamlet, Othello, Lear, and other great tragic rôles. Comedy, then, frequently became the province of the stock-players during the intervals when the great and near great were in absentia. In the year of 1835, M a r y Duff was the lovely and principal young comedienne at the Walnut. J . Sefton was the popular young comedian who was paired with her, and they appeared together in such pieces as The Good-Looking Fellow, He Is Not Α-Miss, The Deep, Deep Sea, The Golden Farmer, The Dumb Belle and others, some of them only farces. T h e Misses Anderson, Charnock, Fisher, and Riddle frequently alternated with Mary Duff, and the Messrs. Connor, Hadaway, and J . G . Porter with J . Sefton. [94]

THE ACTORS M r . and M r s . Kent, M r . and M r s . Knight, and M r . and M r s . M u z z y took the supporting rôles of parents, friends, relatives, and enemies to the young lovers, and were always in demand. T h e r e was also in the company at the W a l n u t , in J a n u a r y of 1 8 3 5 , a veteran comedian, W . Sefton, of 295 W a l n u t Street, the older brother of J . Sefton. Both were very popular. But W . Sefton was summarily dismissed for drunkenness by Francis C . Wemyss, lessee and manager of the theatre. T h e present writer does not wish to disturb the mold of a dusty scandal, nor malign the fair reputation of a good comedian long dead, but he does wish to point out how significant a proof this case really is of the dignified and orderly conduct of Wemvss' theatre, for considerable public comment was caused by the dismissal of the favorite, but Wemyss was adamant. On February 18, 1 8 3 5 , at the time of the dismissal, Wemyss published an open letter of a whole column in length in the United Stales Gazette and gave the reasons for his action. Shortly afterward, W . Sefton replied with an open letter of protest and of equal length. Even J . Sefton tried to have his brother reinstated in the company, but to no avail. A n d , when the young man's benefit came, on A p r i l 10, it was announced by him that W . Sefton would appear, but there was no appearance of that gentleman. A n d , after this time, we do not hear any more of J . Sefton •—the rising and popular comedian—for several years. Perhaps, his eagerness to appease injured innocence and his staunch loyalty to family spelt temporary disaster to him. A t all events, he was gone. A t his benefit, also, he introduced his sister, A n n Sefton, to the stage as Elizabeth Stanton in Tom Cringle. A t the Chesnut, Burton was the popular comedian. Not only was he a player, but also a singer and a playwright. A great many of the farces produced on the boards of that theatre were by him, such as Forty Winks, or Blunders in a Bed Room, The Ladies' Man, The Mummy, or the Liquor of Life, and a domestic play like The Intemperate, or a Sister's Love. In fact, so prolific was his creation of farces and light comedies that one wonders how many unidentified farces at the Chesnut were really by him. Another veteran and popular comedian at the Chesnut was J . E . M u r doch, who lived at ι ο ί N . Seventh Street. H e took his farewell of the company at his benefit on October 14, 1 8 3 5 , to go on the southern and western circuit for his health. Incidentally this occasion was his first appearance as Y o u n g Rapid in A Cure for the Heartache. Playing opposite these actors were usually the Misses Phillips, Elphin[95]

THE PHILADELPHIA THEATRE stone, Pelham, W a t s o n , and W h e a t l e y , and the usual surrounding cast made up of M r . and M r s . Jones, M r . and M r s . M a y w o o d , M r . and M r s . R o w b o t h a m , M r . and M r s . W a l s t e i n , and M r . and M r s . Watson. M a n y were the ambitious and extravagant operettas given at this time, and the make-up of the company at the Chesnut in particular reflects this popular demand. I n the year of 1 8 3 5 , approximately sixty performances of operettas w e r e given at the Chesnut, and only twenty at the W a l n u t . Furthermore, the latter w e r e usually slight musical burlettas, because the company at the W a l n u t did not have the talent for f u l l fledged operettas. O f the twenty-four regularly appearing actors at the Chesnut, about fourteen sang in the operettas, in name, M r . and M r s . R o w b o t h a m , M r s . M a y w o o d , M r s . W a t s o n , M i s s Pelham, M i s s W a t s o n , Messrs. Walstein, Burton, F a u l k n e r , Hamilton, T h o m a n , W a l t o n , W o o d , and H u n t ; of these at the W a l n u t only f o u r : M i s s M e a d o w s and the Messrs. ( T . D . ) Rice, H a d a w a y , and J . Reed. A n d , of these four, M i s s M e a d o w s was really a singer and not an actress, since she appeared in a dramatic rôle only several times during the year, and M r . Rice was a specialty actor w h o took no rôles that one could call legitimately dramatic, and only appeared with the company occasionally as J i m C r o w , his own act built around the famous song of the same time. Excellent w e r e the visting stars and featured players w h o came to Philadelphia in 1 8 3 5 , including at the W a l n u t M r . and M r s . J . Jefferson, M r . and M i s s Priscilla Cooper, M r s . E . K n i g h t , M r s . S. Chapman, M i s s V i r g i n i a M o n i e r , and Messrs. A . A . A d d a m s , E . Booth, Forbes, J . H a c k ett, G . H . H i l l , J . S. K n o w l e s , and Sol. S m i t h ; and at the Chesnut M r . and M r s . J . S. Balls, M r . and M r s . T e r n a n , M r s . Austen, M r s . Rogers, M i l e . Celeste, Misses Phillips and V o s , and Messrs. Booth, G . H . H i l l , H o w s , J . S. K n o w l e s , J o h n Reeve, and J a m e s W a l l a c k . J . J e f f e r s o n , J . Hackett, G . H . H i l l , and Sol. Smith (the latter advertised as the Liston of the South) w e r e famous for their portrayal of American character, and the Y a n k e e in particular. A d d a m s , Booth, Forbes, and H o w s w e r e excellent tragedians. Knowles, that great "purifier of the modern d r a m a , " was more of a dramatist than an actor, although he w a s popularly received as a player in his own creations. H i s benefit night, A p r i l 9, 1 8 3 5 ) o n which occasion M r s . S. Chapman of the P a r k T h e a t r e appeared, w a s a gala performance w i t h the combined companies of both theatres. M r . and M r s . T e r n a n usually acted as lovers in romantic plays. In the first of the year, M r s . T e r n a n w a s the well-known F a n n y J a r m a n , [96]

THE ACTORS but w h e n the t w o of them r e t u r n e d f o r an e n g a g e m e n t later in the year, they came back m a r r i e d . M i l e . C e l e s t e is an interesting person. S h e w a s F r e n c h in f a c t as w e l l as in n a m e , and u s u a l l y appeared in the most e x t r a v a g a n t

melodramatic

sketches in w h i c h she sustained three or f o u r characters. H e r

immense

p o p u l a r i t y is witnessed by this s i n g u l a r l y h u m a n quotation, taken f r o m the editorial p a g e of the United

Stales

Gazette

for November 19,

1835:

M a d e m o i s e l l e C e l e s t e , the dancer, w i l l receive about $ 7 0 , 0 0 0 f o r her services at the d i f f e r e n t theatres this y e a r . T h e editor of the " N e w Y o r k A m e r i c a n , " w i t h v e r y proper feelings, c o m p a r e s those w a g e s w i t h the s a l a r y of a professor in any one of o u r colleges, and he m i g h t h a v e h a v e added the income of any other profession or trade. B u t , a f t e r all, " . . . is the r e w a r d of v i r t u e b r e a d ? " W h e n the y e a r closes, the professor in a college is satisfied that he is a p r o f e s s o r , and M a d e m o i s e l l e C e l e s t e must content herself that she is only a danseuse. T h e inequality of compensation is one of the events of l i f e that h a v e been m a t t e r s f o r complaint or philosophical e n d u r a n c e f r o m the time of the " m o n a r c h m i n s t r e l " of Israel to the present day. D a v i d f o u n d his solution in the s a n c t u a r y , and P o p e in philosophy. T h e accomplished editor of the " A m e r i c a n " doubtless can avail himself of both of these. J a m e s W a l l a c k and J o h n R e e v e w e r e t w o y o u n g actors, the one u s u a l l y appearing as the dashing hero or m a n of a d v e n t u r e , and the other as a versatile comedian. A t this d a y in the l i f e of o u r theatres, there w e r e v e r y o f t e n interspersed between the play and the f a r c e special numbers, such as displays of s t r e n g t h and skill, c h a r a c t e r dances, and songs. O f the eighteen v a r i e t y - a c t o r s w h o appeared at the W a l n u t in the course of 1 8 3 5 , seven w e r e dancers and three singers. T h e others w e r e such as S i g n o r S c i a r r a , the ninth w o n d e r of the w o r l d , and C o n y and his dogs w i t h M a s t e r B l a n c h a r d , the apeboy. O f the f o u r t e e n special artists w h o appeared d u r i n g the interludes at the C h e s n u t , nine w e r e vocal and i n s t r u m e n t a l p e r f o r m e r s . A n d

in

this e n t e r t a i n m e n t , also, w e see the f u r t h e r policy of the C h e s n u t to g i v e the public h i g h - g r a d e musical p e r f o r m a n c e s .

1836 F o r 1 8 3 6 in the stock companies, w e m u s t first note the absence of M r s . D u f f f r o m the W a l n u t . S h e l e f t at the close of the season, J u l y 6, 1 8 3 5 , to go to L a n c a s t e r , f o r an e n g a g e m e n t . A n d in the s p r i n g of

1836,

her d a u g h t e r , M a r y D u f f , also dropped o u t of the r a n k s at the W a l n u t . [97]

THE PHILADELPHIA T H E A T R E M r . and M r s . K e n t did not appear at the W a l n u t in this year, at all, and o n l y v e r y i n f r e q u e n t l y in 1 8 3 7 . A n d both M r s . C o n w a y and M i s s E l i z a R i d d l e failed t o occupy a place in the stock c o m p a n y at the W a l n u t for 1836. A t the C h e s n u t J . E . M u r d o c h w a s absent, since he w a s still on the southern and w e s t e r n circuit, and M r . and M r s . W a t s o n left to g o to the n e w P e n n s y l v a n i a T h e a t r e w h e n it opened N o v e m b e r 7, 1836. T h e names of u n f e a t u r e d , occasional actors, that appeared once or t w i c e a year, are so many that the reader is referred to the P l a y e r - L i s t which

records the name of

every advertised

actor. R e f e r e n c e to

the

P l a y e r - L i s t t h r o u g h comparison w i t h the names in the g r o u p i n g s included at the b e g i n n i n g of this section w i l l indicate to the reader both the reappearance of actors w h o w e r e not members of the stock companies, as w e l l as the continuity in the careers of those w h o w e r e . I n 1836, the additions to the r e g u l a r stock companies included at the W a l n u t M r . and M r s . Preston, M r s . W i l l i s , and M r . ( F . S . ) and at the C h e s n u t M r s . B r o a d , M i s s M o r g a n , and M e s s r s . L i n d s a y , ( S i d n e y ) Pearson, and ( E . )

Myers; Brunton,

Thompson.

N o n e of these ladies and gentlemen w e r e , in the term of the stage, heavies. T h e y

varied

f r o m high comedy

to sentimental and

romantic

d r a m a . A g a i n , reference to the P l a y e r - L i s t w i l l g i v e dates of certain perf o r m a n c e s in the P l a y - L i s t and C h r o n o l o g i c a l

Record

from which

a

j u d g m e n t of their range of a c t i n g may be made. T h e names of those w h o appeared i n f r e q u e n t l y w i t h the stock companies for 1836, included at the W a l n u t M r s . C u v i l l i e r , M r s . D u n h a m , M r s . C . D u r a n g , M r s . H a m b l i n , M r s . Scott, M r s . W . H . Smith, M i s s P o l l y H a d a w a y , and M e s s r s . B a t h g a t e , ( J . H . ) B o s w e l l , C l e m e n s , C h a p pell, ( J . S . ) C h a r l e s , C r o u t a , G e r m o n , Joseph, M o r t o n , N e w t o n , P e r c i v a l , C . R a f f i l e , and W o o d h u l l ; and at the C h e s n u t , M r s . W o o d , and M e s s r s . A n d r e w s , D a r l e v , Sharpe, and ( G . B . S . )

Wilks.

T h e list for the W a l n u t s h o w s the continued n u m b e r of transients on its boards : actors like W o o d h u l l , an old stager at the W a l n u t ; and C l e m e n s , the dance-director there ; and C h a r l e s , w h o appeared but one night at the benefit of M r s . H a m b l i n , w h o herself returned the one n i g h t to the stage to take a benefit and a f a r e w e l l . T h e P l a y e r - L i s t w i l l give an indication of the status of these people by recording a f t e r their names a single date or t w o , ( 1 ) a single date m a r k s the first y e a r l y appearance of the actor and signifies that there w e r e no more than t w o or three performances by him the w h o l e y e a r — ( 2 ) a date starred w i t h an asterisk points the w a y [98]

THE ACTORS to an a c t u a l cast in the C h r o n o l o g i c a l R e c o r d and signifies that there w e r e occasional p e r f o r m a n c e s t h r o u g h o u t the year. T h e visiting stars and featured players w h o came to the P h i l a d e l p h i a stage on e n g a g e m e n t s usually returned year a f t e r year. A n actual check-up of their return e n g a g e m e n t s can be gotten f r o m the P l a y e r - L i s t by noting their names as additions appear in this chapter a n n u a l l y . T h e additions of this year o v e r the L i s t for 1 8 3 6 included at the W a l n u t M r . and M r s . J . Barnes, M i s s Barnes, and M e s s r s . J . C o w e l l , D e n v i l , and

(H.

J.)

F i n n ; and at the C h e s n u t M r . and M r s . C h e c k i n i , M r . and M r s . K e e l e y , M r s . S h a w , M l l e . A r r e l i n e , M i s s J . C l i f t o n , and M e s s r s . B r o u g h , D o w ton, E . Forrest, and the R a v e l f a m i l y . E. F o r r e s t and D e n v i l w e r e classic t r a g e d i a n s ; D o w t o n , a comedian of the Restoration play in p a r t i c u l a r ; H . J . F i n n , a specialist in the A m e r i c a n character type, like H i l l and H a c k e t t , and an A m e r i c a n playw r i g h t besides; " O l d J o e " C o w e l l , a v e t e r a n comedian, and long the m a n a g e r of the W a l n u t and a c t i n g m a n a g e r of the C h e s n u t ; M r . and M r s . Barnes, comedians, and their daughter, a l w a y s a h e r o i n e ; likewise M i s s C l i f t o n , a heroine b r o u g h t by James W a l l a c k as s u p p o r t ; M r . and M r s . K e e l e y , sparkling c o m e d i a n s ; and

Mrs.

S h a w , a lady w h o

H a m l e t . B r o u g h sang in the c o l o r f u l operas given at the C h e s n u t .

did Mr.

and M r s . C h e c k i n i w i t h M i l e . A r r e l i n e w e r e b r o u g h t to the C h e s n u t by the inimitable M i l e . C e l e s t e as support in her melodramas. A n d the R a v e l F a m i l y p e r f o r m e d ballet pantomimes, w i t h an occasional rope ascension for a g r a n d finale. D e f i n i t e i n f o r m a t i o n of the rôles taken by these people can be f o u n d under their names in the P l a y e r - L i s t . T h e P e n n s y l v a n i a T h e a t r e on C o a t e s Street, w h i c h opened N o v e m b e r 7, 1836, w i t h L o g a n as o w n e r , had for its visiting star J . R . Scott, the classic tragedian. T h e players w h o supported the p e r f o r m a n c e there w e r e regularly M r . and M r s . H e r b e r t , M r . and M r s . Jackson, M r . and M r s . L o g a n , M r . and M r s .

(W.

H.)

Smith, M r . and M r s . W a t s o n ,

Herring,

M r s . J . S e f t o n , and

Mr.

B a t e m a n ; and occasionally,

O'Grath,

M i s s C h e s t e r , and M e s s r s . F r e e m o n t , J . H . K i r b y ,

Mrs. Mrs.

Stanley,

W . S. V a c h e , W . W a r r e n , and F . C . W e m y s s .

1837 In 1 8 3 7 , M r . and M r s . M u z z y dropped out of the c o m p a n y at the W a l n u t . T h e c o m p a n y at the C h e s n u t lost no actor this year, and added [99]

THE PHILADELPHIA

THEATRE

M r s . Broad to the ranks of the regular stock players. Also, we include M r s . R . Hamilton, w i f e of one of the stock players, who appeared to gain considerable importance as the year went on. T h e addition to the regular company at the W a l n u t for 1 8 3 7 included M r . and M r s . Ν . H . Bannister, M r . and M r s . Herbert, M r . and M r s . ( J . ) Proctor, Misses E . Packard and White, and Messrs. ( J . ) Addams, ( J . B . ) Rice, and W . A . Vache. M r . and M r s . Bannister appear to be the most valuable acquisition, because they not only actually performed in plays, but also provided their own, since the husband was the author of such pieces as The Destruction of Jerusalm, Gaulantus, and Caius Silius. T h e y made their appearance on J u l y 28, in Bannister's own play of Infidelity, or the Husband's Return. M r . and M r s . Herbert, it is to be remembered, had been in the company at the Pennsylvania Theatre, but came to the W a l n u t , at the closing of the other theatre. M r . and M r s . ( J . ) Proctor came from the circuit of the western theatres. T h e Misses E . Packard and W h i t e were heroines, and the Messrs. ( J . ) Addams and ( J . B . ) Rice were stately actors of heavy and serious parts. T h e occasional actors at the two theatres f o r 1 8 3 7 were at the W a l n u t M r . and M r s . ( J . S.) Parker, M r . and M r s . Watson, Misses Angelica, Chester, Hichie, Honey, S. Packard, Parker, M . W . Warren, and Messrs. F . Brown, J o e Buts, S. Collingbourne, Cunningham, Dickenson, M c Conachy, Steel, and R . T h o r n e ; and at the Chesnut M r s . Gibbs, M r s . E . A . Hamilton, M r s . R . Hamilton, M r s . Lee, Misses Armstrong, Brown, Fox, Grove, Hancker, Lee, Lopez, Nelson, and Messrs. Anderson, Carnes, Craddock, Harrington, Kelly, Plumer, and M a s t e r Leavitt. T h e additional visiting stars for the two companies in 1 8 3 7 included at the W a l n u t M r . and M r s . John Greene, M r s . M e e r , M r . W . E . Burton, M r . Dan Marble, and Masters R . and J . M e e r ; and at the Chesnut M r s . Flynn, Misses Horton, Ellen T r e e , T u r p i n , St. Luke, Augusta M a y w o o d , Messrs. Browne, E . S. Connor, C . E . Horn, H . G . Pearson, Henry Wallack, G . Vanderhoff, Walbourne, Davis Jackson, and T a y l o r , and Master St. Luke. M r . and M r s . John Greene were comedians, as also were W i l l i a m E . Burton of the Chesnut, who appeared as a visitor on the boards of the W a l n u t for J u l y 29, while the Chesnut was closed during summer recess. Marble, like Hill, Hackett, and Finn, was a specialist in the portrayal of American character parts. M r s . Lewis apparently was a lady of prodigious ability. A glance at the Player-List will reveal her as Othello, Richard [ 100]

T H E ACTORS I I I , and Virginius. Mrs. Meer evidently was a mother first and an actress second, for to her belonged that child prodigy, the Infant Apollo, Master R. Meer. Miss Horton and C. E. Horn came in the company of Brough as support in his operatic repertoire. Mrs. Flynn supported H. G . Pearson, the classic tragedian. T h e Messrs. Vanderhoff, H. G . Pearson, and E. S. Conner were tragedians, and the Messrs. Browne and Henry Wallack were comedians. T h e troupe of four actors, Messrs. Walbourne, Davis, Jackson, and Taylor, were laugh-provokers and pantomimists. Walbourne's performance of Bob in Tom and Jerry, J u l y 17, was announced as his one thousand, nine hundred and ninety-sixth repetition of that rôle. Miss Ellen Tree was a Shakespearean actress in particular, and Miss Turpin was primarily a vocalist. T h e St. Lukes, brother and sister, were children who attempted to do Shakespeare, and L a Petite Augusta was the offspring of the Maywoods, stock players at the Chesnut. Apparently the child could sing the leads in operas like Maid of Cashmere and Dewdrop. T h e Pennsylvania Theatre lasted until February 18, because the Walnut was closed until February 19. Consequently, many of the players in the company at the Walnut appeared from time to time at the Pennsylvania. The occasional players included Mrs. Willis, Miss E. Packard, and Messrs. Berresford, Blanchard, F. Brown, Clarke, Connor, Conolly, Cony, Drummond, Duncan, Hadaway, Jones, M'Cutchen, McGuire, ( W . ) Myers, J . Proctor, Roland, J . Sefton, Slack, J . Wallace, Master Bowers, and the Watson twins. It is interesting to note that the name of J . Sefton appears at the Pennsylvania for the date of February 3d, in the rôle of Jemmy in The Golden Farmer, the melodrama in which he used to play at the Walnut two years before. Also it is to be noted that Mrs. J . Sefton was a member of the company at the Pennsylvania. W e must make mention of the German Company which occupied the Arch Street Theatre for one week during the summer and played Kotzebue's dramas. Their numbers included Miss Rottenhaus, and Messrs. Hirsh, Sachse, Gerharding, and Wilhelm.

1838 In 1838 so many changes took place in the ranks of the veteran actors at the Walnut that we find a growing number of new names usurping the [101]

THE PHILADELPHIA T H E A T R E programs. Noticeably, Connor, the favorite stock player at the Walnut, is missed, and also J . G . Porter. T h e additions to the regulars for the two theatres this year comprised at the Walnut M r . and Mrs. La Forest, M r . and Mrs. Hield, Mrs. J . B. Rice, and Messrs. Burgess and Pickering; and at the Chesnut Mrs. Sharpe, Miss De Barr, and Messrs. E . L . Davenport and J . E. Murdoch. M r . and Mrs. La Forest played the comedies and M r . and Mrs. Hield the tragedies, with Burgess a supporting comedian, and Pickering a supporting tragedian. Mrs. J . B. Rice came to join her husband, who rose to the position of regular player in the company during the previous year. Mrs. Sharpe was a tragedienne, Davenport a villain ; and J . E. Murdoch this year returned as a stock actor to the Chesnut. T h e new occasional players for the year at the two theatres were at the Walnut M r . and Mrs. Kemble, Mme. L a Trust, Mrs. Wilks, Misses Hamblin, A . Porter, A. Packard, and Messrs. T . Bishop, H. A. Curfew, T . E. Garson, J . H. Hall, Harbord, Johnson, McCormick, Morley, Needham, Wills, and Winnan ; and at the Chesnut Misses Bunjie, Oceana Fisher, Pearson, and M r . Crowley. T h e visiting actors at the Walnut and Chesnut for 1838 included at the Walnut Mrs. W . Barrymore, Mrs. Davenport, Mrs. Cole, Mrs. Herring, Mrs. A . Knight, Mrs. J . B. Phillips, M r s . Thayer, Mme. Augusta, Misses Davenport, Gannon, Lee, Kerr, and Messrs. H . J . Amherst, ( D . L . ) Carpenter, T . S. Cline, Cooke, J r . , Foster, Gates, Horncastle, J . E. Murdoch, Parsons, Porter, Rodney, Russell, J . Sefton, and Woolford; and at the Chesnut, M r . and Mrs. George Jones, M r . and Mrs. C. Mathews, Mrs. H. Cramer, Mesdames Caradori Allan, Le Compte, Otto, and Master and Miss Wells. In Cooke's traveling company which came to the Walnut to give an engagement of melodramas appeared Mrs. Cole, Mrs. Herring, and the Messrs. Amherst, Foster, Rodney, Gates, Woolford and Cooke, J r . Madame Augusta, supported by Mrs. J . B. Phillips, Miss Kerr, and the Messrs. Horncastle and Russell, entertained the Walnut with the opera of La Bayadere. Other visitors were: Mrs. W . B a r r y m o r e with ( D . L . ) Carpenter, comedians; Parsons, classic tragedian; Miss Lee, dancer; Miss Gannon and Porter, the Lilliputian Wonder and the Kentucky Giant, respectively; Mrs. A . Knight in the character of Mrs. Haller in The Stranger; and Mrs. Davenport, another mother with a prodigious girl-child who at[ 102]

T H E ACTORS tempted the mature masculine roles of Richard I I I and Shylock. M r s . T h a y e r and the Messrs. T . S. Cline and J . E . Murdoch from the Chesnut visited the boards of the W a l n u t during the summer. A n d J . Sefton returned to the W a l n u t in an engagement of the old rôle which he played there as the stock actor of 1 8 3 6 . A t the Chesnut appeared M r . and M r s . George Jones, tragedians; M m e . Caradori Allan, Madame L e Compte, and Madame Otto, all visiting leads for the favorite operas; M r s . H . Cramer, heroine; and Master and Miss Wells, the latter appearing in opera, and the former in solo dances. M r . and Mrs. C . Mathews are of particular note since the husband wrote most of the farces which made up their repertoire—such as, He IVould Be An Actor and Patter versus Clatter. Both were well known, and M r s . C . Mathews was loudly announced as the former Madame Vestris. A t the time of their appearance at the Chesnut, the U. S. Gazette for Oct. 1 5 , 1838, carried an advertisement by T u r n e r and Fisher, booksellers, 1 1 North Sixth Street, to the effect that " N e a r l y all the pieces in which these celebrated artists appear . . . also, portraits of Madame Vestris and M r . Mathews and the Memoirs Of T h e Public A n d Private L i f e Of M r s . M a t h e w s " were on sale.

1839 T h e year 1 8 3 9 saw several major changes in the stock companies at the W a l n u t and Chesnut. M r . and M r s . J . Proctor were gone from the W a l n u t ; W i l l i a m E . Burton transferred his allegiance from the Chesnut where he was a stock actor to the W a l n u t where he became a featured star, appearing by engagement; M r . and M r s . J . B . Rice, regular performers at the W a l n u t , took their farewell benefit on April 26 ; and J . G . Porter, favorite actor at the W a l n u t , also was absent from its boards this year. M r s . Hield remained at the W a l n u t and incidentally suffered a severe accident during the performance of The Cataract of the Ganges, but her husband returned to play at the Park Theatre, N e w Y o r k . As additions to the two companies, we have M r s . W . Sefton (wife of the W . Sefton in controversy with Wemyss in 1 8 3 5 ) coming to the W a l n u t . T h e lady could play the dark rôles of Queen Gertrude and Lady Macbeth. A t the Walnut, also, as regular players this year were Messrs. Neafie and Mossop, comedians. T o the Chesnut as a stock actress, Miss Anderson returned under the new name of M r s . Thoman, wife of the [103]

T H E PHILADELPHIA T H E A T R E singer. A n d M r s . H . Cramer, portrayer of heroines, in 1 8 3 9 appeared as a regular member of the company at the Chesnut. A t the same theatre this year regularly appeared T . Placide and W . F . Johnson, comedians. T h e new occasional actors at the two theatres for 1839 included at the W a l n u t M r . and M r s . Bennie, M r . and M r s . Hautonville, M r . and M r s . J . Herbert, M r s . ( W . R . ) Blake, Misses ( H . ) Mathews, M u r r a y , Reynolds, L a Petite Bertha, and Messrs. J . S. Bonsall, Yankee Bowman, Carter, Chippendale, J . Field, Grierson, Harrison, Hudson, Lennox, T . Mathews, H . Nicholls, J . F . O'Connell, Powell, Whitney, and ( B . ) W i l l i a m s ; and at the Chesnut Mesdames Faulkner, Hunt, Misses Ellis, E . Wood, and Messrs. Latham and J . M c D o w e l . T h e additional actors visiting the two theatres by engagement during 1 8 3 9 were at the W a l n u t Mesdames Fitzwilliam, Hazard, Seguin, Misses Emma Ince, Stephan, and Messrs. W . E . Burton, Morley, T . C . Parsloe, and W . W o o d ; and at the Chesnut M r . and M r s . M a r t i n , M r . and M r s . Sloman, Misses Hildreth, Pool, Shireff, Vandenhoff, and Messrs. Giubeli, Charles Kean, Manvers, Mulligan, Seguin, Wells, ( B . ) W i l liams, and Wilson. T h e operas were well represented this year by singers engaged to appear in musical repertoires. Noticeably, the W a l n u t began to call more and more of the operatic stars to its boards. In 1839, M m e . H a z a r d , M i l e . Stephan, and M o r l e y appeared for an operatic engagement at the W a l n u t , as did M r s . Seguin, whose husband was engaged in an operatic repertoire at the Chesnut with Miss Shireff and Wilson. M r . and M r s . Martyn, Miss Pool, and the Messrs. Giubeli and Manvers formed another visiting troupe of opera singers at the Chesnut. A t the W a l n u t also this year w e r e : M r s . Fitzwilliam, comedienne; M i s s E m m a Ince, featured dancer in operatic ballets; W i l l i a m E . Burton, the famous comedian formerly of the Chesnut ; Parsloe, a character actor of contortive proclivities (he was "the monkey who has seen the w o r l d " in the play of the same name) ; and W . Wood and his dog, both acting. A t the Chesnut in 1 8 3 9 were several excellent visiting players: M r . and M r s . Sloman, the w i f e a heroine, the husband, a light comedian ; Miss Hildreth, a heroine; Miss Vandenhoff, who played rôles opposite her father; and Charles Kean, the classic tragedian. A t Christmas time, a troupe composed of Messrs. Wells, Williams, and M u l l i g a n appeared in a time-honored and seasonal harlequinade.

[ 104]

T H E ACTORS 1840 T h e year of 1 8 4 0 requires the patience of J o b and the resourcefulness of a commercial genealogist to follow the peregrinations of the players from one Philadelphia theatre to another, for a bombshell was exploded in September of this year by W i l l i a m E . Burton with his newly built and owned National Theatre. B u t first, for the earlier half of the year, when theatrical life was still moving serenely, we must notice the addition of M r s . Hunt, M r s . W . Sefton and Lennox to the rank of regular players at the W a l n u t . A n d , also, we must remark M r s . Sharpe's farewell to the stage on M a y 5th at the Chesnut. A n d now we may come to the significant occurrence of the year: W i l liam E . Burton appeared to be the most enterprising theatrical spirit in Philadelphia. F r o m 1 8 3 5 to 1838, we remember him as the popular comedian, playwright, and acting manager of Pratt and Dinmore's Chesnut Street Theatre. T h e n in 1 8 3 9 he became a visiting star to the W a l n u t . Finally, in September, 1840, he eclipsed the thespian lights of both these houses by erecting and opening a theatre, the N e w National which he was pleased to call "the first in the Union," and which the newspapers of the day seemed to feel, likewise, was the best theatre that had yet come to our city. T h e reader is asked to follow the daily programs to note the variety of entertainment offered, and also, to notice carefully the names which make up Burton's list of regular players at the N e w National: M r s . Herbert, Misses C . Cushman, S. Cushman, Lee, Eliza Petrie, and Messrs. Boulard, W . E . Burton, Ferrers, Graham, Neafie, Oakey, T . Placide, ( C . S . ) Porter, P . Richings, J . R . Scott, Shaw, Stafford, James Thorne, Whiting, and Woodbury. Pratt and Dinmore's Chesnut also opened in the Fall, August 29th, with James E . Murdoch as acting manager. A n d Francis C . Wemyss opened the Arch one week later with a company that was not very strong. Actually with the best of the players at the other two houses, he had no material to work with, and after two weeks closed the Arch to prepare to turn it into a melodramatic theatre, as he announced. T w o and a half months later, he again opened with a different set of actors, who (if the present writer may venture to suggest) were not very impressive. Following are the two companies which Wemyss had at the Arch : for September 7 to 18, Mesdames H u n t and L a Forest, Miss Hudson, and Messrs. Hunt, J . M . Kirby, T . Mathews, and F . C. W e m y s s ; and for December 1 to 3 1 , [ 105 ]

THE PHILADELPHIA THEATRE Mesdames J u d a h , Cantor, and Messrs. Crane, F l y n n , Isherwood, L e w i s , M i l l s , Vanstavoreen, and F . C . Wemyss.

H.

W m . Dinneford opened the W a l n u t on November 14th, with a large company. F o u r of his players came to the Philadelphia stock company f o r the first time: Miss Mitchell and Messrs. Fredericks, Charles, H o w a r d , and N . Porter. B y this time of this year, players w e r e pouring into Philadelphia from the whole length of the Atlantic theatrical seaboard. Dinneford recruited many from Boston, N e w Y o r k , Baltimore, and Washington. H i s company at the W a l n u t included Mesdames J . S. Charles, Flynn, L a Forest, Misses A . Kinlock, Mitchell, M u r r a y , Rock, and Messrs. W . R . Blake, ( J . H . ) H a l l , H a d a w a y , ( J . S . ) Charles, ( W . S . ) Fredericks, Charles H o w a r d , L o g a n , N . Porter, and B . W i l l i a m s . T . Placide opened the Coates Street T h e a t r e (which L o g a n ran in 1 8 3 6 - 3 7 as the Pennsylvania) during the summer of 1 8 4 0 for three advertised nights, A u g . 19, 20, 2 1 , to play the national drama of The Battle of Tippecanoe. His company comprised Mesdames L a Forest, T h o m a n , and Messrs. ( D . ) Eberle, H . Eberle, K e l l y , Pickering, T . Placide, and T h o m a n . T h e new occasional players at the theatres for 1 8 4 0 included at the W a l n u t Mesdames Hutchings, B a r r y , Messrs. Hutchings, Behin, Booth, J r . , Brydges, E d w a r d s , Ferrers, S. Johnston, M c B r i d e , M u r r a y Pearman, C . S. Risley, J . Sandford. Vanstavoreen, and M a s t e r s Diamond and C . F o s t e r ; at the Chesnut Mesdames Ophelia Anderson, Blake, Plumer, M i s s E . Vallee, and Messrs. Creswick, Fleming, and H o w a r d ; and at the National Messrs. G . F . Cooke, Jamison, and Quayle. T h e additional stars appearing at the theatres for 1 8 4 0 included at the W a l n u t Messrs. F r e e r and K l i s h i n g ; at the National, M r s . Bailey, M i s s J . Clifton, and Messrs. Buckstone, Braham, and J . H a c k e t t ; and at the Chesnut Mesdames A l f r e d , Lecomte, Scheidler, Misses Pauline des J a r d i n s , F a n n y Elssler, Lorch, S. Cushman, and Messrs. Boll, B . Grenich, Buckstone, G o h r , K a i f f e r , Leffler, M e y e r , R a n g e r , Rischler, Runeg, and Silvain. Opera w a s represented in 1 8 4 0 by the G e r m a n Company, composed of M m e . A l f r e d , M m e . Scheidler, Aille. Lorch, and Messrs. B o l l , Gohr, M e y e r , Runeg, and Rischler, who appeared at the Chesnut and gave Der Freischütz in German. A t the Chesnut also this year appeared M m e . L e Comte, M l l e . Pauline des J a r d i n s and Messrs. K a i f f e r and B . Grenich to sing La Sonnambula. A t the Chesnut in addition to these singers, were M i l e . F a n n y Elssler and M ö n s . Silvain, in ballet opera; [ 106]

THE ACTORS L e f f i e r , appearing w i t h

M r . and

Mrs. Wood

and B r o u g h in o p e r a ;

R a n g e r , the comedian ; Buckstone, the comedian and p l a y w r i g h t appeared in his o w n plays of Married and A Kiss in the Dark;

Life,

Single

Lije,

IVeak

who Points,

and M i s s S. C u s h m a n , w h o acted w i t h B u c k -

stone for a short engagement. T o the W a l n u t came Freer in the part of E l g a r d the Idiot, in the p l a y of the same name, and as G a s t o n in The K l i s h i n g w h o acted M a m m o c in The

Man

in the Iron

Mask;

and

Sorcerer.

A t the N e w N a t i o n a l T h e a t r e , M r s . Bailey (née W a t s o n ) , the singer, and M e s s r s . H a c k e t t and Buckstone w e r e not n e w in the sense t h a t their

first

among

the

appearance first

in Philadelphia occurred

to appear by engagement

there, but they

at the n e w

theatre.

were And

B r a h a m , the tenor, sang w i t h M r s . Bailey in opera this season at the N e w National. T h e year of

1840, the beginning of a n e w decade, b r o u g h t

many

n e w names to the Philadelphia stage, and definitely marks a point of increased theatrical activity in our city.

1841 to build his

New

N a t i o n a l in 1840, seemed to develop into a spirit of unrest in

The

enterprising spirit w h i c h prompted

Burton

1841,

because even the casual observer can see that the N e w formances for

1841

did not w a r r a n t superlative praise.

National

per-

Burton

had

promised too much, and could not go on in the blaze of glory in w h i c h he had started his theatre. In fact, he leased it for a month or

two

during the season of 1841, to M i t c h e l l ' s V a u d e v i l l e C o m p a n y f r o m the O l y m p i c in N e w Y o r k . A n d a f t e r he did resume occupation of it himself, he no longer commanded the services of all those imported actors f r o m N o r t h , South, and W e s t w i t h w h o m he had opened his doors in 1840. T h e regular stock actors (names w i t h w h i c h w e have come in contact for seven years) switched about a l a r m i n g l y f r o m theatre to theatre in this year of 1841 ; also, because the company f r o m the C h e s n u t took up quarters in the A r c h by the month of A p r i l , w i t h B l a k e and Jones as lessees; and in M a y , P r a t t opened up the C h e s n u t w i t h Peter R i c h ings as acting m a n a g e r , w h i l e W e m y s s w a s inactive in

Philadelphia

theatricals this year. T h e company at the C h e s n u t w a s composed [107]

for the most part

of

THE PHILADELPHIA THEATRE actors with singing voices, since the theatres continued to produce operas. In addition to the veteran singers and stock players, the Chesmut in 1841 included M r s . Lambert, Miss A y res, and S. Chapman as regular performers. T h e new visiting actors were Messrs. Butler, classic tragedian; H . Placide, comedian; Charles Mason who played the title rôle of Werner; and Fitzgerald Tasistro, classic tragedian. T h e regular company at the Arch can be judged by the cast for the production of Philadelphia Assurance, Dec. 6, 1841. In addition to the old familiar names are those of M r . and M r s . Bennie and M r s . Harrison as stock players. T h e new visiting actors included Miss M e l t o n , Messrs. Sinclair, Latham, Lewellen, J. S. Silsbee, J. W . Smith, Picanniny Coleman, T u t h i l l , W o o d , and Master W o o d , his son. T h e cast for Nov. 6, 1841, at the opening of London Assurance gives us a list of the actors at the W a l n u t . M r s . Flynn, Miss Harrison, and Messrs. Haines, Henckins, and Lambert were the new stock players for the year, with Messrs. Gann, J. S. Jones, and H. Placide as the n e w visiting players, and M r s . Mossop as an occasional performer. A t the National, Messrs. E. S. Conner and Sherman entered the ranks of the regular players. M r s . Seymour, Miss E. Randolph, and W . H . Williams were added to the list of actors appearing by engagement at the theatre. A n d M r . and Mrs. C . Hiel, Miss Elvins, Miss Collingbourne, and Messrs. Archer, Larkins, and Plucker appeared occasionally. During the time that Mitchell leased the National and produced vaudeville with his Olympic Company from N e w Y o r k , the actors whom he brought with him were M r s . T i m m , Miss T u r n b u l l , and Messrs. Edwin, Horncastle, Graham, Roberts, Maharg, and Nickinson. 1842 Burton's National closed its doors at the end of January, 1842, and did not open them the rest of the year. Instead, L . T . Pratt of the Chesnut and Burton combined their two companies and played at the Chesnut. T h e following list gives the make-up of the two companies which combined : prior to the summer recess at the Chesnut, Mesdames A . Sefton, ( E . N . ) T h a y e r , Misses Hildreth, Kneas, and Messrs. (J. S.) Charles, Drummond, Faulkner, Gann, Jarvis, Mulliken, P. Richings, and W o o d ; and at the W a l n u t , Mesdames Cantor, G . Jones, and Messrs. E . S. Conner, W . Jones, E. Shaw, and J. Wallack. O n M a r c h 23, 1842, the two companies joined forces and, at that [108]

THE ACTORS time,

the

Misses G r o v e

and

Collingbourne

appear

as

regular

stock

players under the n e w a r r a n g e m e n t at the C h e s n u t . T h e year of

1842 brings us an innovation in the establishment of

w o m e n as managers at t w o of P h i l a d e l p h i a ' s l e a d i n g theatres, the Chesn u t and the W a l n u t .

F o l l o w i n g the s u m m e r

recess, M a r y

Elizabeth

M a y w o o d leased the C h e s n u t in her o w n n a m e and opened there w i t h a s t r o n g company i n c l u d i n g M r . and M r s . M a y w o o d , M e s d a m e s , lish, J . G .

Porter, Rogers, T h o m a n ,

Misses Ayres,

Mary

M a y w o o d , G e o r g e , Jones, M a t h e w s ,

Norman,

Seele, T h o m p s o n ,

Messrs.

Charles,

(D.)

Andrews,

Bowers,

(J.

S.)

Eng-

Elizabeth

Eberle,

and

Henrie,

Hines, Jervis, K e l l e y , M a t h e w s , P e r r i n g , P . R i c h i n g s , S t a n l y , W a t s o n , and W o o d . Just as the M a y w o o d f a m i l y seemed to occupy the C h e s n u t en d u r i n g the f a l l and w i n t e r season of

masse

1842, so also d u r i n g the spring

season of that year did the P o r t e r f a m i l y appear to conduct the A r c h . C . S. and J. G . Porter, f r o m w h o m w e have not heard for several years, came to the A r c h , together w i t h the latter's w i f e , M r s . J . G .

Porter,

and M i s s P o r t e r , presumably a sister. T h e company included M r . and M r s . J. G . Porter, M r . and M r s . T h o m a n , M e s d a m e s , C a p p e l l e , J . S. Charles,

(Ε.

Ν.)

Thayer,

Miss

P o r t e r , and

Messrs.

Collingbourne,

E . S. C o n n e r , G a n n , C . S. P o r t e r , and R a f f i l e . A n d w h e n E . A . M a r s h a l l , lessee, opened the W a l n u t , f o l l o w i n g the summer recess, C h a r l o t t e C u s h m a n came to direct activities there.

A

parallel list w i l l show the relative composition of the company at the W a l n u t before and a f t e r the advent of M i s s C u s h m a n . I t included before summer M e s d a m e s F l y n n , K i n l o c k , L a Forest, M a r s d e n , M i s s A . K i n l o c k , and Messrs. B u r n e s , E . S. C o n n e r , ( E . L . )

Davenport,

Had-

a w a y , Haines, Henkins, M y e r s , J . P r o c t o r , ( T . B . ) Russell, and

(B.)

Y o u n g ; and a f t e r summer M r . and M r s . A ' B e c k e t , M e s d a m e s K i n l o c k , Maeder, Radcliffe, ( E . N . ) T h a y e r , Misses B r o w n , Collingbourne, C u s h m a n , S. C u s h m a n , R e e d , Smith, T y t e , M e s s r s . C o n o v e r , Davenport, George, Hackurt, H a d a w a y , Henkins, Oakey,

(E.

(D.)

C. L.)

Reed,

( T . B . ) Russell, W . V a c h e , Β . Y o u n g , and M a s t e r R e e d . M r . and M r s . J o h n B r o u g h a m are perhaps the n e w visiting stars of greatest brilliancy

for the year of

repertoire as that of

1842.

his c o u n t r y m a n ,

Brougham

Tyrone

farces built around an Irishman, such as Irish Attorney,

played the same

Power:

Valet,

Irish

comedies

and

Tutor,

Irish

and the like, as w e l l as the R e s t o r a t i o n comedies in w h i c h M r s .

B r o u g h a m appeared w i t h him. O t h e r n e w artists appearing by engage[ 109]

THE PHILADELPHIA THEATRE ment this year were Beckett, comedian ; Drisback, a gentleman of melod r a m a ; and Shrival, M r s . B o u r l a r d , M i s s Coad and M i s s Horton in the company at the Chesnut during the operatic month of December. T h e r e might be the virtue of exactitude in giving at this time a list of the additional players appearing during 1 8 4 2 , either as regular or occasional actors. T h e s e new names included—in the order of their app e a r a n c e — J . B . Price, M i s s Flannigan, M i s s Kneas, M u l l i k e n , M r s . Kinlock, M r s . M a r s d e n , Y o u n g , Burnes, M r s . Cappelle, Miss D u r a n g , J . H . W h i t e , M i s s C . Price, M r s . Altemus, J e w e l l , M i s s Raymond, Brittingham, M r s . A ' B e c k e t , M i s s Jones, Bowers, Godden, Hines, Henrie, Perring, Misses Thompson, N o r m a n , Seele, and G e o r g e ; M r s . English, Conover, George, H a c k u r t , M r s . Penson, M r s . Radclifïe, Misses Smith, T y t e , and Reed, and M r s . Western.

1843 J a n u a r y 9, 1 8 4 3 , Charles R . T h o r n e , manager of the C h a t h a m T h e a tre, N . Y . , opened the Olympic T h e a t r e , corner of Ninth and Chesnut Streets, late the Olympic Circus, and played legitimate drama there for about two weeks. H i s company, under the stage directorship of T h o m a s F l y n n , included Mesdames ( G . ) Jones, ( J . S . ) Charles, M i s s A . Fisher, and Messrs. W . E . Burton, J . S. Charles, J . Mestayer, M y e r s , Stevens, ( E . N . ) T h a y e r , and J . T h o r n e . Several futile attempts were made this year to keep the A r c h open, but a month or two brought the theatre to the end of its run after each effort. In M a r c h it opened and again, in A u g u s t , with T . B . Russell as lessee. T h e companies to be found there for these two openings were in M a r c h M r . and M r s . F l y n n , M r . and M r s . A . Phillips, M r . and M r s . H . L e w i s , Misses A y r e s , Porter, and Messrs. Altemus, ( J . S . ) Charles, G a n n , H a m i l t o n , J a m e s H a r b o r d , C . S. Porter, P . Richings, Roberts, T h o m a n , E . Thompson, and C . W a t s o n ; and in A u g u s t M r . and M r s . ( J . S . ) Charles, M r . and M r s . T . B . Russell, Mesdames A ' B e c k e t , Cappelle, Greene, L a Forest, A . Knight, T o w n , Misses A . Fisher, Porter, and Messrs. Altemus, ( D . ) Eberle, ( J . E . ) Owens, Philips, C . S. Porter, J . G . Porter, J . Proctor, P. Richings, Roberts, E . N . T h a y e r , and E . T h o m p s o n . F o l l o w i n g the summer recess, w e find a very strong company at the Chesnut, including excellent additions like J . M . Field, the comedian, f r o m the T r e m o n t , Boston, and Messrs. Leman and Spear, also from [110]

THE ACTORS the same place. T h e full company comprised: Mesdames ( G . ) Jones, Mossop, ( Ε . N . ) Thayer, Misses Baker, C . Cushman, S. Cushman, A . Fisher, Price, and Messrs. W . R . Blake, Curtis, ( E . L . ) Davenport, ( D . ) Eberle, J . M . Field, Hackurt, Hadaway, Henkins, Leman, Radcliffe, Spear, and ( B . ) Young. Wemyss and Oxley leased the National in September, and opened it with the following actors: M r . and M r s . A'Becket, M r . and M r s . H . Lewis, Mesdames Abbott, Cantor, Madison, Miss H . Matthews, and Messrs. Faulkner, Fleming, Matthews, Mossop, J . H . Oxley, E. Shaw, and F . C . Wemyss. T h e Arch opened again in December, this time with W m . S. Deverna as lessee. T h e actors were M r . and M r s . J . Greene, M r . and M r s . (James) Anderson, M r s . Penson, Miss Kirby, and Messrs. Henry, Jamieson, A . J . Phillips, M . S. Phillips, Vanstavoreen, and Wareham. T h e Chesnut this year had several operatic seasons composed of t\fo engagements with an Italian Opera Company and one with a French Opera Company. Since Marshall leased both Chesnut and Walnut this year, he allowed the opera companies to sing at the Chesnut and moved his dramatic company over to the Walnut during the operatic engagement, moving back to the Chesnut again and closing the Walnut each time the operatic visitation was concluded. However, immediately following the run of the French Opera Company, in October, Marshall divided his dramatic company and kept both houses open until November 13, the opening date of the return engagement of the Italian Opera Company. These opera companies were, in personnel for the Italian, Mesdames M . Albertazzi, E . Corsini, Α . Majocchi, L . Marozzi, and Messrs. J . Guissinier, L . Perozzi, B. Thornes, and A . Valtellina; and for the French Mesdames Barneck, Calvé, Lecourt, and Messrs. Bernard, Lecourt, and Richer. In the order of their appearance during the year, the following actors comprise the new visiting players for 1843 : Philips, the comedian ; Barnes, the pantomimist, supported by Miss W a l t e r s ; R . E . Graham, playing Virginius and The Stranger; Macready, the classic tragedian, supported by R y d e r ; and the Elssler Brothers, strong men, in their play of The Hercules of Brittany. T o the ranks of regular stock actors in 1843, came Stevens, Radcliffe, Ja?. Hasbord, Altemus, Miss Baker, M r s . Madison, M r s . T o w n , Spear, Leman, Curtis, M r s . Abbott, A . J . and M . S. Phillips, Miss Kirby, Wireham, and M r s . J . Anderson. [ ill ]

T H E PHILADELPHIA T H E A T R E Among the occasional players are the new names of Mrs. Forbes (appearing once with her husband, the star), Mrs. F. S. Myers, and Miss Julia Bell. 1844 T h e Walnut retained its company of the year previous, and added to its stock company the actor William Wheatley. T h e National likewise retained its full company of 1843, and added to its stock company Mrs. Hautonville and Messrs. Gallagher Byrne, Brookes, Brown, and T . Steele. T h e new actors occasionally appearing on its boards in 1844 were Messrs. G . Smith, T . V . Turner, and L . G . Thomas. T h e theatre closed in M a y , not to reopen for the rest of the year. In June, Burton leased the Arch and opened with the following company: M r . and M r s . C . Burke, Mesdames J . B. Booth, J r . , Hughes, Misses Cadell, Kirby, Wilson, and Messrs. G . Barrett, W . E. Burton, E. S. Conner, Faulkner, Graham, Grierson, Hawks, Hichman, Jervis, Ν . Johnson, W . G . Jones, H . Russell, Smith, Walters, and Weston. Messrs. Neville, Morris, and Addis were the additional occasional players at the Arch in 1844. In October Pratt and Wemyss opened the Chestnut with a large company which included M r . and Mrs. Forest, M r . and Mrs. ( H . C.) Jordon, M r . and M r s . C. Mestayer, Mesdames ( A . ) Knight, Hautonville, Misses Archer, Bryant, Cornish, Downes, Ferrai, Mack, McBride, Nelson, Palmer, St. Clair, Smith, Wagstaff, Wilson, and Messrs. Bernard, Brunton, W . Chapman, Dawes, Grierson, C. Howard, Jamieson, Mason, T . Mathews, Mossop, J . Sefton, ( C . J . ) Smith, Solomon, Stafford, Sullivan, and F . C. Wemyss. C. Moore, at his first appearance in America, played at the Chesnut for the one night, November 6, in the rôle of Claude Melnotte from the Lady of Lyons. T h e year of 1844 brought to the Philadelphia stage among the new visiting stars: Mrs. Wilkinson, Mrs. Maclure, and Miss Zann, heroines; Anderson, tragedian ; W . H. Crisp, and Jno. Dunn, portrayers of low comedy. 1845 During the year of 1845, the Walnut added six excellent players to its list of stock actors: M r . and M r s . Sloman, Mrs. W . R. Blake, Mrs. [ 112 ]

THE ACTORS W . H . S m i t h , and M e s s r s . W .

B . C h a p m a n and ( W . S . )

Fredericks.

O n J a n u a r y 22d, actors f r o m the P a r k T h e a t r e , Ν . Y . , c a m e to the C h e s n u t , to f o r m a double company w i t h the r e g u l a r troupe of

the

latter theatre. T h i s a r r a n g e m e n t lasted for about one month. A m o n g the actors w h o came f r o m N e w Y o r k w e r e : M r . and

Mrs. Dyott,

Miss

C l a r a Ellis, and M e s s r s . C h i p p e n d a l e , C r o c k e r , and J o h n Fisher. A n a t t e m p t w a s made to open the N a t i o n a l this year, A p r i l 28, but the theatre only remained open for several w e e k s of legitimate drama. M o n t h s later, it w a s converted into a circus. B u t d u r i n g its brief legitimate run, beginning A p r i l 28, the f o l l o w i n g actors made up the important

part

of

the

company

there:

Mesdames

(J.)

Green,

McLean,

Preston, and M e s s r s . F r e e r , M a r s h , N . Johnson, and S. Johnson. Besides leasing and r u n n i n g the A r c h

Street T h e a t r e ,

Burton

also

put a company of his into the C h e s n u t , A u g u s t 30th, and kept them there until O c t o b e r 6th, w h e n he b r o u g h t them back to swell the numbers at the A r c h . T h e C o m p a n y at the C h e s n u t included M r . and M r s . J . G r e e n e , M r . and M r s . C . M e s t a y e r , M e s d a m e s B e l l , C a p e l l , D a v i s , Hughes, Jamar, Mason, W .

H . Smith, M c L e a n , Ribas, M i s s e s C o a d ,

R o g e r s , M e s s r s . J. B a r r e t t , B r a z i e r , W . E . B u r t o n , D u f f , J . D u n n , Eberle,

(W.

S.)

Fredericks,

James,

(E.

N.)

Thayer,

D.

Mulholland,

R e a , ( E . ) S h a w , C . S m i t h , and W r i g h t . The

French Opera

for an e n g a g e m e n t The

company

Company

again c a m e to the C h e s n u t

of about t w e l v e

included

Mesdames

in

1845

nights, b e g i n n i n g September

Casini,

Stephen

Coeuriot,

29.

Richer,

M i l e . C a l v é , and M e s s r s . A r m a n d , D o n o r y , and G a r r y . The

additional

occasional

players

this

year

were:

Messrs.

Brian

O ' F l a g h e r t y and M i l n o r at the C h e s n u t , M r s . D r a k e at the W a l n u t , and M r s . D u n n and M e s s r s . K e l l e r and M c D o u g a l at the A r c h . A m o n g the n e w visiting players this year w e r e : M r s . M o w a t t , heroine, w h o s e significant comedy of Fashion

received its first Philadelphia

p e r f o r m a n c e A p r i l 16, 1 8 4 5 ; J . Fest, the t r a g e d i a n ; and M i s s

Logan,

heroine. 1846 O n M a r c h 9, 1846, there opened a n e w t h e a t r e of legitimate drama in the c i t y : Peale's P h i l a d e l p h i a M u s e u m , and G a l l e r y of F i n e A r t s , late M a s o n i c H a l l , C h e s n u t Street. T h e place had been in existence a long t i m e as a hall f o r exhibits and v a r i e t y performances, but the month of

March

saw

the

beginning

of

acceptable

[113]

legitimate

drama

there.

THE PHILADELPHIA THEATRE Peale's M u s e u m remained open constantly throughout the year, and invited to its boards the following actors: M r . and M r s . C . Burke, M r . and M r s . C . H o w a r d , Mesdames Gibbons, Henry, ( T . B . ) Russell, Thompson, Misses M a r y A . Gannon, F a n n y L u d l o w , M a r y T a y l o r , E . W o o d , and Messrs. Bowers, Byrnes, Cunningham, D u f f , Holland, Kemble, J . Sefton, C . J . Smith, B . W i l l i a m s , and W r i g h t . In 1846, Burton announced the following people as members of his company at the Arch, August 2 6 : M r . and M r s . J . W a l l a c k , Sr., M r . and M r s . C . H o w a r d , Mesdames Hughes, H . Lewis, M c L e a n , Mossop, Rogers, Miss Caroline Chapman, and Messrs. Arnold, Blankman, C . Burke, W . E . Burton, Faulkner, ( R . ) Hamilton, Hickman, J e r v i s , M a r s h , M a r t i n , Philips, J . R . Scott, W a l t e r s , Wood, and W r i g h t . A n d , following the summer recess, the W a l n u t opened with the following players as announced in the newspapers for A u g u s t 2 9 : M r . and M r s . R . Blake, Mesdames C . Burke, Gibbons, ( E . N . ) T h a y e r , A . Fisher, W i l k s , Coad, Crocker, Petrie, and Messrs. A ' B e c k e t , Boswell, Brunton, W . Chapman, Denby, D u f f , ( D . ) Eberle, G . Jamison, D . Reed, Leman, Perry, P . Richings, Radcliffe, Stevens, W a r d e n , and ( B . ) Young. A m o n g the visiting actors new to the Philadelphia stage this year were Becom, w h o played the leading male rôle in The Stranger, Oranaska, and The Golden Farmer; M r . and M r s . C . T h o r n e appearing as supporting players with Becom in Ernest Maltravers ; Miss K a t e L u d l o w , comedienne ; G . F . B r o w n e as Dick T u r p i n in the melodrama of Rookiuood; Leonard, comedian; and M i s s J u l i a Dean, heroine.

1847 A m o n g the additional actors appearing at Peale's Philadelphia M u seum for 1 8 4 7 were M r s . Penson, Misses E . Eberle, E . W o o d , and Messrs. Elssler, Gallagher, ( N . ) Johnson, W . F . Johnston, Macklin, J . O . Sefton, Stuart, and ( E . N . ) T h a y e r . T h i s year to the regular stock company of performers the A r c h added M r s . Hilson and M r s . Wilkinson, and the W a l n u t added M r s . Bowers. T h e Italian Opera Company f r o m H a v a n a appeared f o r an engagement at the W a l n u t and was announced to consist of seventy-two people. T h e outstanding singers in this company included Mesdames T . Gerii, S. M a r i n i , F . Tedesco, and Messrs. L . Bataglini, P . Candi, J . Perozzi, and J . Piamontesi. [ 114]

THE ACTORS Particularly

numerous w e r e the n e w visiting stars for the year oí

1847: M r s . C o l e m a n Pope appeared in an engagement of nine performances at the A r c h , beginning J a n u a r y 13th, in the rôle of Jane Shore, J u l i a in The Hunchback, and P a u l i n e in The Lady of Lyons. D e B a r , the comedian, likewise played at the A r c h in the character of O l d D o d g e f r o m The Artful Dodger, and Satisfaction S k u n k in The Indian Girl. W i t h him, appeared M l l e . H . V a l l e e in the latter play as N a r r a m a t t a h , a part frequently taken by M i l e . Celeste. M i s s C . W e m y s s , presumably the daughter of Francis C . W e m y s s , f u l f i l l e d an engagement at the A r c h in the parts of J a n e Shore, Julie in Richelieu, and Bianca in Fazio. H e r father appeared t w i c e d u r i n g her engagement. J . B . Roberts, the tragedian, w i t h the support of M r s . A d a Stetson, acted for five nights at the A r c h in Pizarra, as w e l l as in Romeo and Juliet and other Shakespearean tragedies. M r s . F a r r e n came to the A r c h for sixteen performances, as E v a d n e , L u c r e c e B o r g i a , M a r y T u d o r , and A d e l g i t h a . A comedian of considerable proportions w a s C a p t a i n H a r v e y T u c k e t whose engagement of five nights began O c t o b e r 25th, first as Falstaff in Henry 11/ and then as D a z z l e in London Assurance. W a l t e r Shelley, Shakespearean actor, appeared four times at the A r c h , on each occasion in the different part of H a m l e t , B e v e r l y in The Ganiester, Richelieu and Shylock. C h a s . D . P i t t and E l d e r G . J . A d a m s , both Shakespearean players, also fulfilled engagements at the A r c h this year. It appears f r o m the records that the A r c h , to the exclusion of all other P h i l a d e l p h i a theatres, had the monopoly in bringing n e w visitors to its boards in the year of 1847, and it is to be remembered that W illiam E . B u r t o n w a s the lessee, manager, and enterprising spirit behind the operation of this theatre. A l s o the A r c h had the monopoly upon the ranks of n e w occasional actors appearing upon the Philadelphia stage this year. In the f o l l o w i n g list, M c K e o n

alone w a s at the W a l n u t and all the rest w e r e at the

A r c h : M i s s e s C l a r k e , H i l l , Jefferson, H . V a l l e e , and Messrs. G a r r e t son, M c K e o n , M o o r h o u s e , J . Scott, and T e l l i n g s .

1848 T h e year of 1848 witnesses on our record a great increase in the list of n e w names appearing upon the Philadelphia stage, not only in engagements, but also in stock. W i l l i a m E . B u r t o n , w i t h his accustomed [115]

T H E PHILADELPHIA T H E A T R E enterprising spirit, invited many new players to the Arch in this year. His stock company for the year included, besides himself, M r . and M r s . C . Howard, Mesdames J . B. Booth, J r . , ( T . B . ) Russell, Misses H i l l , Petrie, and Messrs. D. P. Bowers, Henkins, J . Owens, J . H. Robinson, and ( Ε . N . ) Thayer. A t E. A . Marshall's Walnut this year, the following regular players appeared: M r . and Mrs. J . Wallack, J r . , Misses Julia Daly, A . Fisher, and Messrs. A'Becket, W . Chapman, W . Leman, Nagle, Radclifïe„ P. Richings, and W . Wheatley. And, for the short season at Peale's Philadelphia Museum, the stock company there comprised M r . and M r s . F . S. Myers, Mesdames J . B. Booth, J r . , C. Burke, T . B. Russell, Misses Clark, Van Pelt, and Messrs. Allen, Daws, ( N . ) Johnson, ( J . A . ) Leonard, Martine, Moorhouse, Richardson, and Walcot. A new theatre opened in 1848. December 25, 1848, J . S. Silsbee, owner and acting manager, opened the Athenaeum National Museum at the corner of Seventh and Chesnut Streets. D. P. Bowers was the stage manager. Silsbee himself is to be remembered as the visiting comedian and portrayer of Yankee rôles who appeared on the Philadelphia stage by engagement. His company at the Athenaeum included M r . and Mrs. D . P. Bowers, M r . and M r s . J . S. Silsbee, Misses E. Eberle, Hall, Jenny West, Young, and Messrs. Bamford, Crocker, E . Dean, ( J . M . ) Field, ( J . R . ) Hall, R . Johnson, M c M i n n , E. Thompson, Walters, and West. T h e Italian Opera Company from Havana, Cuba, appeared at the Chesnut for four engagements, which totaled almost sixty performances. T h e names of the principals were Mesdames Boulard, Biscaccianti, Morra, Amalia Patti, Barili Patti, Teresa Truffi, and Messrs. Arnoldi, Benedetti, Rossicorsi, Morra, Salvator Patti, Rosi, and A . Valtellina. T h e new visiting actors were exceedingly many this year and, with few exceptions, appeared at Burton's Arch. They were Lover, Mortimer, T . B. Johnston, H . H . Paul, light comedians; Maurice Power, the Irish comedian; Miss Fanny Wallack, comedienne; Miss M a r y Ann Heron and J . Weaver, with the Heron Children, appearing in light comedies and farces; Mrs. Winstanley, in comedy repertoire as support for M r . and Mrs. J . Brougham; H . Grattan and W . Marshall, tragedians; M r s . E . S. Conner, tragedienne, appearing with her husband; Fenno, tragedian, appearing with Mrs. Farren ; and Brandon in tragedy repertoire as support for Macready. [ 116]

THE ACTORS A m o n g the occasional players w h o appeared in 1848 for the first time on the P h i l a d e l p h i a stage w e r e : M r s . F r a r y , M i s s Sinclair, M e s s r s . A . J . A d a m s , A t k i n s o n , J . B a k e r , B r a d s h a w , G r o s v e n o r , Johns, J . E . M c D o n o u g h , and Siple. 1849 At

Burton's A r c h

Street

f o r m e d the backbone of

Theatre

in

his c o m p a n y :

1849,

M r . and

the

following

Mrs.

Ν.

B.

Mesdames H . Cramer, H . Nicholls, W . H . Smith, Winstanley, F . W a l l a c k , E . W o o d , and M e s s r s . J . B a k e r , J . D u n n , W . and ( Ε . N . )

names Clarke, Misses

Marshall,

Thayer.

B u r t o n b r o u g h t C h a n f r a u , the Y a n k e e comedian, to the A r c h

this

year f o r an e n g a g e m e n t . A t the end of his engagement, C h a n f r a u w i t h J . O w e n s opened the N a t i o n a l for six nights to g i v e the n e w play of the Mysteries

and Miseries

of New

York,

b e g i n n i n g O c t o b e r 8, but

B u r t o n hurried and produced the same play on O c t o b e r 3, in anticipation of their plans. D u r i n g the short season at Peale's P h i l a d e l p h i a M u s e u m , f r o m A p r i l to J u l y , the actors w h o appeared w e r e M r . and M r s . D . P .

Bowers,

M e s d a m e s J . B . B o o t h , J r . , M . S. F o g g , C . H o w a r d , J . Russell, T h o m p son, Misses M . G a n n o n , M o r t i m e r , George F. Browne, D e Bar,

(D.)

E. Wood,

and

Messrs.

Belford,

E b e r l e , J . Jefferson, K a i m e s ,

Mc-

D o n o u g h , and Tidrr.arsh. F o l l o w i n g the s u m m e r recess, W . E . H o r n , as lessee, opened the Chesnut w i t h

a stock c o m p a n y ,

which

included

Mesdames

(C.)

Burke,

H a c k u r t , G . Jones, M . Jones, F . S. M y e r s , M i s s e s A . Fisher, L o g a n , and M e s s r s . C . F o s t e r , R . Johnson, K a i m e s , J . A . L e o n a r d , L o g a n , B. R o g e r s , and J . R . Scott. T h e additional visiting actors to our theatres in 1849 w e r e : in comedy, M r . and M r s . S l o a n , M e s s r s . J. O i l i e r , W o r r e l , S e y m o u r , and C .

W.

H u n t . In the repertoire of Irish comedy, in p a r t i c u l a r , M e s s r s . R e d m o n d , R y a n , B e l f o r d , and H u d s o n as n e w visiting actors bear w i t n e s s to the constant popularity of

that one phase of o u r theatre, and

take

their

places w i t h C o l l i n s and P o w e r , and the other Irish comedians. In the Y a n k e e comedy, w e have the n e w n a m e of M r s . J . P . A d d a m s , appeared w i t h her husband, the actor and w r i t e r of Y a n k e e and farces ( a m o n g them, Sam

Patch

in France)

who

comedies

; also, there is C h a n -

f r a u , w h o acted in the " M o s e " plays. F o r the serious play, w e have the n e w name of C o u l d o c k , an actor [117]

THE PHILADELPHIA THEATRE appearing w i t h M i s s Charlotte Cushman. T h e r e is also Farren, accompanying M r s . Farren, and M r s . Charles Dibdin Pitt, the comedienne, playing the leading comedy rôle on the same nights that her husband took the lead in tragedy. I n melodrama, Canfield and J . H . H a l l appeared, the latter in the equestrian spectacles of Eagle Eye, or the Steed of the Delawares, and the Horse of the Prairie, where K i n g Horse was really the hero. Littell, a heavy, played the part of Washington in Putnam, and B a y ley took the part of Washington in the new historical drama of Ben}. Franklin, or the Days of 1776, with Cartlick in the title rôle of the same play. T h e r e is one event in particular, which the present writer wishes to chronicle: the return of M i s s J e a n M a r g a r e t Davenport to the Philadelphia stage after an absence of eleven years. In 1 8 3 8 , under the tutelage of her mother, she was a child actress, attempting the Shakespearean rôles of Richard I I I and Shylock. B u t now, a woman, she comes back to Philadelphia as a gracious heroine. T h e r e is another absence of eleven years that must be noted in the reappearance of J . P . Addams. A m o n g the new occasional names for the year are those of M i s s B a r ber, Messrs. F r a n k Bowes, Vincent, Watkins, and Rogers—the latter known as the Stammering T r a g e d i a n , w h o stuttered through the rôle of Shylock. 1850 T h e company at the Chesnut for 1 8 5 0 included M r . and M r s .

(N.

B . ) Clarke, M r s . F . M y e r s , M i s s E . W o o d , and Messrs J . Baker, E l l s ler, C . Foster, B . Rogers, and M c M i l l a n . February 1 3 ,

1 8 5 0 , E . S. Conner took over Burton's A r c h Street

T h e a t r e . Burton dropped from sight at this time, going to N e w Y o r k , and his theatre changed its name to Conner's Arch. T h e actors playing there under the new régime were M r . and M r s . E . S. Conner, M r . and M r s . I. B . Phillips, Mesdames Altemus, J . Β . Booth, J r . , H . C r a m e r , E l l w e l l , Misses F . Cramer, F a n n y Gordon, Rose Merrifield, Wheeler, and Messrs. Bland, J . P . Brelsford, Kellogg, Keenan, Macleis, Joseph M e g a r y , B . G . Rogers, George Spencer, Stites, and C . W e b b . A t the W a l n u t this year, in the regular stock company there appeared M r s . Stephens, Misses A . Fisher, F . W a l l a c k , and Messrs. A ' B e c k e t , [118]

T H E ACTORS W . Chapman, Couldock, J . Dunn, ( W . S . ) Fredericks, P. Richings, and W . Wheatley. T w o Italian Opera Companies came to the Chesnut in 1850, one f r o m Havana, and one from N e w Y o r k , under the baton of M a x M a r e t z e k . T h e principals in the first company were Mesdames L . Bellini, Elisa Costini, Balbina Steffenone, and Messrs. F . Badiali, D . Lorini, and I. M a r i n i ; and in the second, the leads were Mesdames Bertucca, T r u f f i , A . Patti, Ν . Fitzjames, T . Parodi, and Messrs. Airgnone, Benevantano, Forti, Rosi, and Sanquirico. T h i s year, P. T . Barnum's Museum, at the corner of Seventh and Chesnut Streets, offered legitimate drama under the management of H e n r y Sanford. T h e actors regularly appearing at this theatre included M r . and M r s . ( E . N . ) Thayer, Mesdames Rogers, Mueller, Misses M o r t i m e r , A . Fisher, and Messrs. Ashmer, J . Baker, B. Rogers, and Germon. A m o n g the additional occasional actors at the Philadelphia theatres in 1 8 5 0 were M r s . Couldock ( w i f e of the stock actor) ; M r s . W a l k e r ; the Misses F . M o w b r a y , Stewart, A . Eberle, Chippendale, K . Horn, Millington, Miles, and Adderton; and Messrs. S. L . Sanford, Kingsmore, H a r v e y Ellis, Beechley, C . Montgomery, Sheble, E . W . Jones, Smead, Hemple, R y e r , and Reynolds. A m o n g the new visiting players this year were Kate and Ellen Bateman, four and six years of age respectively, who attempted Shakespeare. M r s . Barney Williams made her appearance this year with her husband, the comedian. Other additional comedians were Sir W i l l i a m Don in farces, Macarthy in Irish plays, H . Linden, in the " J a k e y " farces, and T . G . Booth. T o melodrama was added the name of W . R . Derr. J . P. Brelsford and Conway as leading men, Buchanan as a tragedian, and Madame Ponisi and Miss E . M a r i a Duret as leading ladies, complete the list of new names for the year, with one exception : we must not forget that Mademoiselle J e n n y Lind, the Swedish Nightingale, made her initial Philadelphia appearance in a concert at the Chesnut for one night, October 1 7 , 1850, with tickets selling at seven dollars, six dollars and five dollars a seat. A week or so later, the famous singer appeared at the Musical Fund H a l l for two evenings, with the lowest seats at four dollars. Jenny Lind's début in America had long been promised. Witness the effect of this promise in the titles of several dramatic sketches given [ 119]

THE PHILADELPHIA T H E A T R E in our theatres for a year or so before her advent. Barnum did not fail to keep his word that he would bring Jenny Lind to America. 1851 A complimentary benefit was given to Miss Virginia Howard at the Chesnut, February 22, 1 8 5 1 , and provides us with the mention of many new names. Those actors taking part in the benefit were Mrs. Howard, Miss Virginia Howard, and Messrs. W . A . Baker, C. Bussard, Cartmel, Coffee, E. Hedings, Highman, J . Irvin, J . R. Mason, Myers, S. Pancoast, W . Rohrman, Shepherd, S. Siple, J . Stewart, H. L . Thomas, and H . C. Wertz. Miss Davenport took over the Chesnut for an engagement, beginning March 1. She was supported by her own company including Messrs. John Gilbert, Mason, Savage and Ward, and had A . W . Fenno for her stage manager. T h e regular stock company which followed Miss Davenport's extended stay at the Chesnut included M r . and Mrs. Ellsler, Miss Fanny Wallack, Messrs. McDonough, ( J . H . ) Taylor, C. Moorhouse, G . C. Ryan, J . Owens, Lindon, Hildreth, ( R . ) Johnston and W . F. Wood. T w o months later (when the theatre opened on August 18) after the summer recess, the Chesnut was under the new direction of Fredericks as acting manager and Henry Wallack as stage manager, with the addition of Miss Anderton, and Messrs. Taylor, Dawson, and Scharf to the regular company. T h e National was opened for the summer, J u l y 15, 1 8 5 1 , with W . K . Johnston as stage manager, W . T . McKeon as acting manager. W . W . Hamblin was the treasurer and Denby the prompter. T h e company included M r . and Mrs. J . Ellsler, M r . and Mrs. Y . Leonard, Mesdames W . Gladstone, Mueller, Stephens, and Messrs. G . F . Browne, Brunton, Carson, Denby, Fisher, Fitzgerald, Hamblin, R . Johnston, Hildreth, G . Kamers, Langdon, McDonough, McKeon, D . McMillan, Nagle, J . Proctor, B. Rogers, Savage, and T . J . Worrell. Early in the year of 1851 the Walnut added Mrs. Germon and Messrs. Worrell, Browne, W . R. Goodall, and C. J . Smith to the stock company. When the theatre was opened, on August 18, following the summer, the actors at the Walnut were M r . and Mrs. Couldrock, M r . [ 120 1

THE ACTORS and Mrs. Seguin, Mesdames Bailey, Kinlock, J. S. Silsbee, Misses Chippendale, A . Goughenheim, J. Goughenheim, Millington, E. Reed, Wemyss, and Messrs. A'Becket, Bishop, W . Chapman, Brunton, ( E . L . ) Davenport, D . Eberle, Fitzgerald, ( R . ) Johnston, Langdon, M c Gowan, McKeon, W i l l i a m Reed, P. Richings, B. Rogers, B. Young, and T e r r y . W h e n the Arch opened on August 30, T . J. Hemphill was the lessee and Charles Burke, the stage manager. T h e following actors made up the company: M r . and Mrs. Lewis Baker, M r . and Mrs. W . G . Jones, M r . and Mrs. D . D a Costa, M r . and M r s . J. Herbert, M r . and Mrs. R. Morrell, M r . and M r s . A . Parker, Miss Cornelia Jefferson, M r s . M . Burke, and Messrs. W . Anderson, J. H . Boswell, P. Brown, C . Burke, J. H . Calladine, W . S. Clifford, J. English, J. S. Fannin, B. Jackson, J. Jefferson, N . Johnston, ( G . C . ) Ryan, and T . J. Worrell. T h e actors playing at Barnum's Museum after the summer recess, were: M r . and Mrs. D . P. Bowers, M r . and Mrs. E. N . T h a y e r , M r s . Cooper, M r s . Hackurt, Mrs. Wilkes, Miss Mortimer, and Messrs. J. H . Robinson, Savage, Carson, Stearns, J. A . Leonard, Quayle, and Williams. T h e new visiting players for the year of 1851, included M r s . W a r n e r and the Misses Julia Bennett, Susan Denin, and Heron, heroines; M a dame Anna Thillon, lead in opera; and Messrs. G . F. Marchant, and McVickers, comedians. 1852 In 1852, M r . and M r s . D . P. Bowers were added to the regular stock company at the W a l n u t . T o the regular players at James Quinlan's Chesnut were added J. H . T a y l o r and M r . and M r s . John D r e w . Husband and wife came this year to the Philadelphia stage, which they were later to captivate, and where they were to become the recognized leaders of the theatrical world in their family theatre, the Arch. T o the regulars at the Arch, this year of 1852, were added M r . and M r s . W a r d , and Brand, and when the theatre was reopened on August 21 by T . J. Hemphill, lessee, it had A . W . Fenno for stage manager, J. Ingles Matthias for treasurer, and the following company: Mesdames Da Costa, J. Gilbert, M . Jones, Wilkinson, Miss (Virginia) Howard, and Messrs. Cunningham, A . W . Fenno, Fisher, and D . S. Palmer. T h e National opened on M a y 22nd with the following players: M r . [ 121 ]

T H E PHILADELPHIA T H E A T R E and M r s . ( Y . ) Leonard, and Messrs. ( T . B . ) Johnston, Ε. N. Thayer, C. F . Wood, W . F . Wood, Sr., and W . F. Wood, J r . And, on J u l y 12th, Joseph C . Foster, as lessee and manager took over the National with eighty-six performers, promising a series of magnificent spectacles. T h e principals of the company included M r . and Mrs. J . C . Foster, Mesdames Ellsler, Gladstone, (I. B . ) Phillips, Place, and Messrs. Bayley, Brunton, Charles Foster, Burnett, N. Johnston, M . L . B. Richardson, ( B . G . ) Rogers, Shephard, and B. Young. T h e new visiting featured players for 1852 included: G . V. Brooke, Shakespearean tragedian ; Caroline Richings, lead in opera ; Lola Montez, the Countess of Lansfeldt, a famous dancer; M r s . Sinclair in support of G . Vandenhoff, the tragedian ; and Kate Denin in support of her sister, Susan Denin, the heroine. B. Hill and G . E . Locke, comedians, constitute the two principal occasional players for the year. 1853 During the year of 1853, the following players appeared regularly upon the boards at the Chesnut: M r . and Mrs. J . Gilbert, M r . and M r s . Tyrrell, Mesdames Cappell, Rose Merrifield, Miss Lizzie Weston, and Messrs. H. A . Davenport, Eytinge, A. W . Fenno, J . Jefferson, McFarland, and Roys. From the first of the year to the summer closing, the additions to the stock company at the Walnut included: Mrs. Hall, Miss Emma Fitzpatrick, and Messrs. Couldock and Jordan. With the reopening of the Walnut, September 6, 1853, Joseph O. Sefton supplanted Peter Richings as manager, and directed the following company: M r . and Mrs. France, Mrs. Duffield, Miss A . Ince, and Messrs. A'Becket, ( A . J . ) Adams, W . Chapman, McDonough, J . O. Sefton, Wheatleigh, and B. Young. From January 29, 1852, until the summer recess, Thomas J . Hemphill was the lessee of the Arch, with William S. Fredericks as manager, and J . I. Matthias as treasurer. The players were M r . and Mrs. Conrad Clarke, M r . and M r s . John Drew, Mesdames J . Herbert, Place, Wilks, Misses Matilda Heron, L . Steele, William, Wilson, and Messrs. Bradley, Dolman, Hall, Hamilton, H. P. Hickey, D . P. Palmer, Paullin, Roberts, Savage, Stone, Vanhorn, and W . Wheatley. In August, William Wheatley and John Drew took over the lease of the Arch. A t this time the principal players were M r . and Mrs. D. [ 122 ]

THE ACTORS P . Bowers, M r . and M r s . J o h n D r e w , M r . and M r s . ( F . D . ) Nelson, and Messrs. M c B r i d e , Ε . N . T h a y e r , and W i l l i a m W h e a t l e y . A m o n g the new visiting players f o r 1 8 5 3 w e r e M a d a m e

Marietta

Alboni in opera, and M r . and M r s . W . J . Florence in Irish Comedy. F a n n y M o r a n t , a new lead in heroine rôles, appeared on engagement supported by J a m e s Anderson. A n d for a period of several weeks in December, S. S. Sanford brought his burlesque opera company to the Chesnut. Sanford's troupe regularly occupied the building at the Southwest corner of T w e l f t h and Chesnut Streets, known as S. S. Sanford's Opera House. Here they played burlesque opera exclusively.

1854 T h e year of 1 8 5 4 brings a great many new names to the ranks of the stock players in the Philadelphia theatres. T o the A r c h this year, W m . S. Fredericks came as stage-and-acting manager. Messrs. Shewell and F . Nelson D r e w , and M i s s O l i v e L o g a n were the additions to the regular company at the A r c h this year. T h e following names comprised the principals in the company at the W a l n u t : M r . and M r s . Bellamy, M r . and M r s . D . P. Bowers, M e s dames J . Brougham, F . Nelson D r e w , M a d d o x , M i s s L a u r a M o w b r a y , and Messrs. Donaldson, G . H . Griffiths, H a r r i s , W . F . Johnson, J . E . Nagle, O ' B r i e n , and J o h n O w e n s . A t the W a l n u t , under the management of J o h n Sefton, the additional numbers of the company in 1 8 5 4 were M r . and M r s . J . Sefton, M e s dames H a c k u r t , Louisa H o w a r d , L a n g d o n , and Messrs. H . Farren, Perry, and W a l l i s . T h e National opened J u n e 3, 1 8 5 4 , for the summer, with a company composed of Mesdames Deering, ( Y . ) L e o n a r d , M i s s E . Deering, and Messrs. Ashmer, Chippendale, W . R . D e r r , W . R . Goodall, Lomas, M c B r i d e , M c K e o n , Shepard, and J o h n W e a v e r . T w o different troupes of English opera came to the Philadelphia theatres in 1 8 5 4 , one at the Chesnut f o r a week, beginning J u n e 6th, and the other at the W a l n u t f o r sixteen days, beginning October 30th. T h e opera company at the Chesnut, consisted of M m e . D e Marguerittes, M r s . Altemus, M r s . K i n g , M i l e . L o v a r n a v , and Messrs. A . G r a n v i l l e , Ferdinand M a y e r , and E . W a r d e n . T h e opera troupe at the W a l n u t had f o r its principals the Misses Pyne and Louisa Pyne, and Messrs. Borani and W . Harrison. In addition, there was an Italian Company at [123]

THE PHILADELPHIA T H E A T R E the Chesnut for a week beginning August 28th, under the direction of M a x Maretzek. T h e singers were Mme. Bertucca Maretzek, Signora Martini D'Ormy, Signor Neri Beraldi, and Signor Graziani. A new theatre opened its doors September 12, 1 8 5 4 : T h e City M u seum, Callowhill Street below Fifth, with the following players: M r . and Mrs. Ryner, Mesdames F. Ν. Drew, Ε. Ν. Thayer, Miss Hood, and Messrs. J . L . Gallagher, Hemple, J . E. McDonough, Langdon, Nagle, Β. J . Rogers, and ( T . J . ) Worrell. For 1854, the new visiting stars were Miss Agnes Robertson, comedienne; Lysander Thompson, comedian; Charles Henderson, tragedian; Garry Demotte, a player of melodrama; and George W . Kemble, also a player of melodrama. 1855 An abundance of new players came to Philadelphia in 1855, also, as a careful study of the stock companies will show. Perhaps, the greatest change in the stock companies was the transfer of M r . and Mrs. John Drew from the Arch to the Walnut for 1855. Apparently William Wheatley and John Drew dissolved the partnership which they had maintained for two years. For, in 1855, the Arch was known simply as Wheatley's Arch Street Theatre. T h e company at the Walnut for 1855 included M r . and Mrs. John Drew, Mesdames Duffield, Muzzy, Miss Bernard, and Messrs. H. A . Davenport, Perry, Shewell, and B. Young. During the week beginning November 19, 1855, a French Company appeared at the Walnut in plays of their own tongue, from writers as different as Corneille and Molière. T h e players were Misses Raphael, Sarah Felix, Lia Felix, Dinah Felix, and Messrs. L . Beauvallet, Cheri, J r . , Dieudonne, Latouche, and Randoux. T h e principal actors at the Arch for the year were M r . and Mrs. F . B. Conway, M r . and Mrs. F . N. Drew, M r . and Mrs. E . N. Tha-er, and Messrs. J . S. Clarke, ( J . R . ) Hall, and William Wheatley. S. E. Harris was the sole lessee and manager of the Chesnut in 1855, and, under his direction the following players appeared: M r . and Mrs. G . H. Griffiths, M r . and Mrs. J . J . Prior, Mesdames ( Ν . Η . ) Bannister, Rose Merrifield, Langdon, Estelle Potter, Misses Julia Dily, Gertrude Dawes, Little Lavinia Bishop, and Messrs. Edwards, S. E . Harris, Macarthy, (Charles) Mestayer, W . Olwine, Stone, and Studley. [124]

THE ACTORS A t S. M . Z u l i c h ' s C i t y M u s e u m , the f o l l o w i n g players acted under the m a n a g e m e n t of D . P . B o w e r s : M r . and M r s . D . P . B o w e r s , M e s dames W . H . H o u g h , ( C . ) W a t s o n , Misses A n n a Cruise, A n n i e L e e , W e l l s , and M e s s r s . W .

H . Bailey, C . C l a r k e , B y r n e , H e m p l e , T .

B.

Johnston, L i n g h a m , ( C . ) M estayer, S. Κ . M u r d o c k , and P a g e . B e g i n n i n g w i t h the month of A u g u s t , a G e r m a n C o m p a n y

played

at the M e l o d e o n , a variety hall at 201 C h e s n u t Street. D u r i n g

their

occupancy the place w a s k n o w n as the G e r m a n N a t i o n a l T h e a t r e . T h e i r p e r f o r m a n c e s w e r e infrequent, and their advertising did not note the names of the players. A m o n g the visiting players in Philadelphia in 1855 w e r e M i s s F a n n y V i n i n g , w h o played opposite her husband, E . L .

D a v e n p o r t ; S.

G l e n n , an actor in D u t c h c o m e d y ; M r . and M r s . W .

W.

H . Rees, M i s s

Rosalie A . D u r r a n d , and F . L y s t e r , English opera singers; B o u c i c a u l t , the comedian and w r i t e r of farces (see Used he appeared) ; and

G.

E.

Charles with

Up, a farce of his in w h i c h his daughter,

Miss

M.

A.

C h a r l e s , actors in Irish comedy. F o r ten performances beginning O c t o ber 15, 1855, M a r s h ' s Juvenile C o m e d i a n s occupied the W a l n u t .

This

w a s a company of " f o u r t e e n girls, three youths, and t w e l v e ballet child r e n , " w h o s e feature play w a s Beauty

and the

[125]

Beast.

A N N U A L CHRONOLOGICAL RECORDS

CHAPTER IV

ANNUAL CHRONOLOGICAL RECORDS THE

f o l l o w i n g h u n d r e d s of pages g i v e the day-by-day

plays in the P h i l a d e l p h i a theatres f r o m 1 8 3 5

t0

record of

the

1 8 5 5 inclusive. In this

list, the title of a play is starred w i t h an asterisk ( * ) w h e n e v e r the newspapers advertise t h a t the g i v e n p e r f o r m a n c e w a s the

first

Philadelphia

production of the play. W h e n e v e r possible, the cast of players f o r a firstnight p e r f o r m a n c e is printed in f u l l a f t e r the title of the play. B u t no cast of actors is included f o r r e g u l a r l y recurrent p e r f o r m a n c e s of old f a v o r i t e plays, since space forbids. Semicolons serve to separate the t w o or three pieces played at a theatre in one evening, such as the curtain-raiser, the play proper, and the after-piece. T h e titles of plays and the names of actors are printed in R o m a n type ; the rôles of characters are signified by

italics.

T h e f o l l o w i n g abbreviations f o r the theatres have been u s e d : W . - — W a l n u t Street or A m e r i c a n T h e a t r e C . — C h e s n u t Street T h e a t r e A . — A r c h Street T h e a t r e P . — P e n n s y l v a n i a or C o a t e s Street T h e a t r e N . — N e w N a t i o n a l or N a t i o n a l O.—Olympic

P. M . — P e a l e ' s Philadelphia A t h . — A t h e n a e u m National B.—Barnum's C. M . — C i t y

Theatre

Theatre Museum Museum

Museum Museum

G. N . — G e r m a n National Theatre M a m . C . — M a m m o t h Circus Building. JANUARY I.

1835

Thursday : W . — L o v e r ' s Q u a r r e l s ; D e e p , D e e p S e a ! ! * : American Sea Serpent—J. S e f t o n , Neptune—J. M . Brown, Cepheus— W . S e f t o n , Venus—Mary D u f f ; Night Hag. C . — V e n i c e Preserved; Esmerelda. [129]

THE PHILADELPHIA T H E A T R E 2. 3.

5. 6. 7.

8. 9. 10.

12.

13.

14. 15. 16. 17.

19.

W . — T h e Stranger; Deep, Deep Sea! ! C . — T h e Stranger ; Comfortable Lodgings. W . — N i g h t H a g ; Golden Farmer; In the Wrong B o x * : Dr. Plympton—Porter, Godfrey Fairfax—Wemyss, Isabella— M r s . Thorne. C . — T h e W i f e ; Forty Winks. Monday: W.—Hamlet ; Dumb Belle. C.—Hunchback ; In the Wrong Box. W.—Macbeth ; In the Wrong Box. C . — J a n e Shore ; T h e Mummy. W.—Virginius ; Amazon Sisters. C.—Gustavus I I I . * : Gustavus—Wood, Baron B'Jelk— Hamilton, Capt. Ankarstorm—Walstein, Oscar—Mrs. Rowbotham, Christian Engleheart—Burton, Madame Ankarstrom—Miss Pelham; Haunted Inn. W . — U n c l e Sam; Douglass; American Sea Serpent. C.—Jealous W i f e ; Sleeping Draught. W.—Damon and Pythias; In the Wrong Box. C.—Provoked Husband; Matrimony; Modern Antiques. W . — P i z a r r o ; T h e Rake's Progress*: Tom Rakewell—Jackson, Harry Markham—Wemyss, Sam Slop—J. Sefton, Ned Nokes—Connor, Fanny Moreland—Mary Duff. C.—Gustavus I I I ; Secret; John Jones. Monday: W . — T o w n and Country; Bohemian Mother. C . — F a z i o ; Ladies' A l a n * : Mr. Daffodil Tivod—Burton, Brigadier Bounce—Jones, Widow Wiggins—Mrs. Jones. W . — M a c b e t h ; The Rake's Progress. C.—Gustavus I I I ; M y Uncle J o h n * : Uncle John—Burton, Nephew Hawk—Hamilton, Niece Hawk—Mrs. Maywood. W.—Hunchback; The Rake's Progress. C.—Virginius; Ladies' Man. W . — W m . T e l l ; Good Looking Fellow; In the Wrong Box. C.—Hunchback; M y Uncle John. W.—Romeo and Juliet; Oh! Hush! !; Good Looking Fellow. C.—Stranger; Hundred-Pound Note. W.—Damon and Pythias; M a r y * : Arthur Morris—Connor, Young Langley—Wemyss, Simon Scentwell—J. M. Brown, Jemmy Miggleby—J. Sefton, Mary—Mary Diff. C.—Gustavus I I I ; Ladies' Man. Monday: W.—Othello; He is not Α-Miss * : Mr. Prettyman—J. Sefton, Fitzallan—Wemyss, Mrs. Aldgate—Mary Duff. C . — T h e W i f e ; Katharine and Petruchio. t 130]

CHRONOLOGICAL R E C O R D S : 1835 20.

21. 22. 23. 24. 26. 27. 28.

29. 30. 31.

W . — T h e W i f e ; Mary. C.—Blind Beggar of Bethnal Green * : Bess—Emma Wheatly, Lord IV ilford—Knowles, Albert—May wood, Ralph— Rowbotham; M y Uncle John. W.—Virginius; T h e Golden Farmer. C . — W i l d Oats; Gustavus I I I . W . — S t r a n g e r ; He is not Α - M i s s ; T h e Good Looking Fellow. C.—Blind Beggar of Bethnal Green ; Comfortable Lodgings. W . — I r o n Chest; Uncle Sam; He is not A-Miss. C.—Blind Beggar of Bethnal Green; T h e Review. W.—Othello; Kill or Cure! C . — W m . T e l l ; Gustavus I I I . Monday: W . — B r u t u s ; Kill or Cure! C . — W i l d Oats; Kill or Cure! W . — D a m o n and Pythias; He is not A-Miss. C.—Point of Honour; Gustavus I I I . W . — Z a n t h e * : Carlos—Connor, Don Leo—Jackson, Cosmo— Jones, Gonza—Huntley, Zanthe—Miss Duff, Felix— Mrs. Kent, Lenora—Miss Charnock, Francesca—Miss R u t h ; Kill or Cure! C . — A s You Like I t ; Kill or Cure! W.—Zanthe ; Nature and Philosophy. C.—Cinderella; John Jones. W.—Zanthe ; Kill or Cure ! C.—Wives as they W e r e ; No Song No Supper. W . — Z a n t h e ; Voice of Nature. C . — T h e Tempest ; Luke the Laborer.

FEBRUARY 2. 3. 4. 5.

6.

Monday: W.—Somnambulist ; Zanthe. C . — A Bold Stroke for a Husband; Modern Antiques. W . — Z a n t h e ; Uncle Sam. C.—Wedding G o w n ; Gustavus I I I . W . — Z a n t h e ; Kill or Cure! C.—Belle's Stratagem; John of Paris. W . — P a y for Peeping * : M a r y Duff to sustain three characters; Zanthe. C.—White Lady * : Gaveston—Walton, Sandy M'Phear— Rowbotham, George Brown—Hunt, Alie M'Phear—Mrs. Rowbotham, Louise—Mrs. Austen; Ladies' M a n . W . — Z a n t h e ; He is not A-Miss. C.—Fazio ; Perfection. [ 131 ]

THE PHILADELPHIA THEATRE 7. 9. 10. 11. 12. 13. 14. 16. 17·

18. 19· 20. 21. 23. 24. 25. 26. 27. 28.

W.—Zanthe ; Damp Beds * : Capí. Racket—Wemyss, M aria Fairlove—Mary Duff. C.—White Lady; The Mummy. Monday: W . — T o m and J e r r y ; Spoil'd Child. C.—Winter's T a l e ; Kill or Cure! W . — K i l l or Cure! Tom and Jerry. C.—White Lady; John Jones. W.—Spoil'd Child ; Zanthe. C.—All in the Wrong ; Sleeping Draught. W.—Married L i f e ; Tom and Jerry. C.—Married L i f e ; White Lady. W.—Charles I I ; Popping the Question; Therese. C.—Soldier's Daughter ; Clari. W.—Golden Farmer; Siamese T w i n s ; Tom Cringle. C.—Married L i f e ; White Lady; Luke the Laborer, last act. Monday: W , —Zanthe; Married Life. — T h e Tempest; Abon Hassan. W . —Married L i f e ; Zanthe. C. —Married L i f e ; Gustavus I I I . W , —Foundling of the Forest ; Siamese Twins. —All in the Wrong; T u r n Out. —A New Way T o Pay Old Debts ; Married Life. —Masaniello; Cinderella, last act; Master's Rival. —The Apostate ; Siamese Twins. —Soldier's Daughter ; The Rent Day. —Richard I I I ; Welsh G i r l * : Alfred—Connor, Julia— Mrs. Kent. C.—Fazio; Young Widow. Last night of present season. Monday: W.—Stranger; Uncle Sam. A.—Hero of the North; Sprigs of Laurel. W.—Hamlet ; Welsh Girl. A . — W i f e ; M y Uncle John. W.—Fazio; Zanthe. A.—Romeo and Juliet; Hundred-Pound Note. W.—Romeo and Juliet; Siamese Twins. A.—Virginius; Pleasant Dreams. W.—Soldier's Daughter; Zanthe. A.—Hero of the North; Deep, Deep Sea; John Jones. W.—Old Man's Curse * : Blanche—Miss Monier, Francis— Connor, Friboulet—Jackson, De Bercy—Senior, Melchoir—Kent ; Good Looking Fellow ; Tom Thumb. A.—Beggar of Bethnal Green ; Deep, Deep Sea. [ 132]

c.

c. w. c. w. c. w.

C H R O N O L O G I C A L R E C O R D S : 1835 MARCH 2.

3. 4. 5.

6.

7.

9.

10. 11.

12.

13. 14.

16.

Monday: W . — H u n c h b a c k ; O l d Man's Curse. A . · — W m . T e l l ; Deep, Deep Sea. W . — S h e W o u l d and She W o u l d N o t ; T o m T h u m b . A . — G u y M a n n e r i n g ; O l d and Young. W . — T o m Thumb. A . — C h a r l e s II ; Spoil'd C h i l d ; M u m m y . W . — A m a z o n Sisters; Weathercock; Beulah S p a * : Sidney Beauchamp—Thayer, Caroline Grantley—Miss Duff. A . — P o o r Soldier; Deep, Deep Sea. W . — R i c h a r d I I I ; Beulah Spa. A . — J a n e Shore ; O l d Gentleman * : Nicholas Oldham—Jones, Bell—Mrs. Rowbotham ; Pleasant Dreams. W . — R i c h a r d I I I , fifth act; Pet of the P e t t i c o a t s * : Paul— Mrs. Kent, Col. Belair—Jackson, Capt. Cannonade— Connor, Möns. Zephyr—J. Sefton, Job—J. M . Brown ; Zanthe. A . — C l a r i ; Actress of all W o r k ; Deep, Deep Sea. Monday: W . — M a c b e t h ; Somnambulist. A . — A Bold Stroke for a Husband ; Poor Soldier. W . — T h e Convent ; Zanthe. A . — J e a l o u s W i f e ; Gretna Green. W . — D a m o n and Pythias; Welsh G i r l ; Tristram S h a n d y * : Charles Mortrarn—Miss Meadows, Villars—Connor, Redtape—J. Sefton. A . — M u c h A d o about Nothing ; M y Friend the Governor * : Sequillo—Burton, Filissia—Mrs. T h a y e r ; Actress of A l l Work. W . — P e t of the Petticoats; M a j o r Jack D o w n i n g ; High Life below Stairs. A . — H o m e , Sweet H o m e ; O l d Gentleman; A Husband at Sight. W . — E v a d n e ; Tristram Shandy. A . — C l a r i ; M y Friend the Governor ; Dead Shot. W . — V i r g i n i u s ; T h e Executioner. A . — T h e Intemperate*: Ned Briggles—Burton, Reynolds— W a l t o n , Edward Boyce—Hamilton, Mary Boyce—Mrs. M a y w o o d ; Cupid * : Cupid—Burton, Mars—Walstein, Psyche—Mrs. Rowbotham; M u m m y . Monday: W . — L e a r ; Unfinished G e n t l e m a n * : Lord Totterly—Porter, Chas. Danvers—Warren, Billy Downey—J. Sefton, [ 133]

T H E PHILADELPHIA T H E A T R E

17. 18. 19. 20. 21. 23.

24. 25. 26. 27. 28. 30. 31.

Hon. Frisk Flarnmer—Blaike, Mary Chintz—Mrs. Kent. A . — W i z a r d Skiff * : Alexa, Alexis, Agata—three rôles—Mlle. Celeste, Constantine—Wood; Old Gentleman; Pleasant Dreams. W.—Venice Preserved; Tristram Shandy. A . — W i z a r d Skiff ; Cupid ; Ladies' Man. W . — J u l i u s Caesar; Unfinished Gentleman. Α . — W i z a r d Skiff; Kill or Cure; Wept of Wish-Ton-Wish. W . — K i n g J o h n ; Siamese T w i n s . A . — W e p t of \Y T ish-Ton-Wish ; Deep, Deep Sea; Wizard Skiff. W.—Apostate; Four Mowbrays. A . — W e p t of Wish-Ton-Wish ; M y Friend the Governor ; Wizard Skiff. W.—Richard I I I ; Welsh Girl. A.—Moorish P a g e * : Adhel—Mile. Celeste, Clodimir—Murdoch; John Jones; Forty Winks. Monday: W . — U n c l e Sam; Last Days of Pompeii*: Arbaces—Jackson, Glaucus—Connor, Lydon—Blaike, Socia—J. Sefton, Burbo—J. M . Brown, Nydia—Mary Duff, lone—Miss Fisher. A.—Moorish Page; Sprigs of Laurel; T h e Mummy. W.—Unfinished Gentleman ; Last Days of Pompeii. A.—Moorish Page; Sleeping Draught; Deep, Deep Sea. W.—Siamese T w i n s ; Last Days of Pompeii. A.—French Spy ; M y Uncle John ; Ladies' Man. W . — W e l s h Girl ; Last Days of Pompeii. A.—French Spy; Old Gentleman; Wizard Skiff. W . — G o o d Looking Fellow; Last Days of Pompeii. A . — W e p t of Wish-Ton-Wish ; Popping the Question ; Moorish Page. W.—Regent of France ; Last Days of Pompeii. A.—Death P l a n k * : Antonio—Mile. Celeste; John Jones; French Spy. Monday: W . — Z a n t h e ; Yard Arm and Y a r d A r m ; Beulah Spa. A . — M e r r y Wives of Windsor; Forty Thieves. W . — M a r r i e d L i f e ; Zanthe. A.—Masaniello; T h e Zoological G a r d e n s * : Dick Snapall— Walton, Peter Puddyfo ot—Burton, Zadie—Mrs. Conduit. APRIL

I.

Wednesday : W.—Regent

of

France; Popping the Question; Unfinished [ 134]

CHRONOLOGICAL R E C O R D S : 1835

2. 3.

4.

6.

7. 8.

9.

10. 11.

13.

14. 15. 16. 17. 18. 20. 21. 22.

Gentleman; Siamese T w i n s ; Somnambulist. A . — D r a m a t i s t ; Deserter of Naples * : Henry—Murdoch, Simpkin—Burton, Skirmish—Maywood, Louise—Mrs. Rowbotham. W . — A e t h i o p ; Judgment of Solomon ! ! ! A . — M a r r i e d L i f e ; W r e c k Ashore. W . — O l d M a n ' s Curse; Pet of the Petticoats; Harlequin Shipw r e c k * : Harlequin—Rasimi, Columbine—Mrs. Kent. A . — E d u c a t i o n ; Bombastes Furioso; Honest Thieves. W . — B e u l a h Spa; Forest of Rosenwald; Simpson and Company. A . — D a m o n and Pythias; Happiest Day of my L i f e . Last night of present season. Monday: W . — R e n t D a y ; T w o Gregories; Inn Keeper's Daughter. C . — J e a l o u s W i f e ; Ladies' M a n . W . — A e t h i o p ; Wandering Boys. C.—Venice Preserved ; Sleeping Draught. W . — A r d e s c h i * : Marquis Girotti—Thayer, Ardeschi—Connor, Emma Frielsperg—Mary D u f f , Annia—Mrs. Kent ; Therese. C . — W i v e s as they W e r e ; Clari. W . — G a m e s t e r ; L a d y of the L a k e .

C.—Soldier's Daughter; Gustavus I I I . W . — L o t t e r y T i c k e t ; Wandering Piper; T o m Cringle. C . — B e l l e ' s Stratagem ; T a m O'Shanter. W . — S c h o o l for Scandal; Merchant of Venice, the trial scene; Schinderhannes*: Schinderhannes—Connor, Peter the Black—Jackson, Hag of the Tomb—Mary D u f f . Last night of the season. C.—Hunchback; T h e Mummy. Monday: C.—Honeymoon; P e r s o n a t i o n * : Lord Henry-Mons. La Roche—-two rôles—Ternan, Lady Julia, Mme. La Gouvernasse—two rôles—Fanny J a r m a n ; Somnambulist. C . — S t r a n g e r ; Pleasant Dreams. C . — B r i d e of Lammermoor; Somnambulist. C.—Provoked Husband; M y Friend the Governor. C.—School for Scandal; John Jones. C . — H e a r t of Midlothian; M y W i f e ' s M o t h e r * : Mr. Felix Bud—Wood. Monday: C . — M e r c h a n t of Venice; Personation; Irish W i d o w . C . — R i c h a r d I I I ; M y W i f e ' s Mother. C . — U g o l i n o * : Ugolino—J. R . Scott, Angelica—Eliza Riddle, Serassi—Hamilton, Olympia—Mrs. Walstein ; M y Friend the G o v e r n o r ; Kill or Cure. [ 135]

THE PHILADELPHIA T H E A T R E 23. 24. 25. 27. 28. 29. 30.

C.—Virginius; Hunter of the Alps. C . — M o g u l T a l e ; Ugolino; M y W i f e ' s Mother. C . — U g o l i n o ; Family J a r s ; T o m Cringle. Monday: C.—Rendezvous; Born to Good L u c k ; Midnight Hour. C.—Pleasant Dreams; Nervous M a n and M a n of N e r v e ; Irish T u t o r . C.—Point of Honour; Gustavus I I I . C . — M y Friend the Governor; Irish Ambassador; Omnibus. MAY

1. 2. 4. 5. 6. 7. 8. 9. 11.

12. 13.

14. 15.

Friday: C.—Spectre Bridegroom; Married L i f e ; M y Uncle John. W . — J a c o b Faithful ; Day in Paris. C . — R i v a l s ; Teddy the T i l e r . Monday: W . — J a c o b Faithful ; Loan of a Lover. C.—Fortune's Frolic; St. Patrick's E v e ; Irishman in London. W . — J a c o b Faithful ; Day in Paris. C.—Sleeping Draught; Etiquette Run M a d . W . — L o a n of a Lover ; Jonathan in England ; Day in Paris. C . — A s Y o u Like I t ; Charles I I . W . — G r e e n Mountain B o y ; Loan of a Lover. C.—Nervous M a n and M a n of Nerve; More Blunders than One ; Family Jars. W . — Y a n k e e Pedlar ; T o m Cringle ; Lovers' Quarrels. C.—Comfortable Lodgings ; Born to Good Luck ; Animal Magnetism. W . — V i r g i n i u s ; Forest Rose; Hypocrite, last scene. C . — W i l d Oats; Irish Ambassador. Monday: W . — K n i g h t of the Golden F l e e c e * : Sy—Hill, De LunaConner, Blabastro—Hadaway, Donna Constantia—Miss Fisher, Victoria—Mary Duff ; Obid and Ovid ; Green Mountain Boy. C . — H e a r t of Midlothian ; Unfinished Gentleman. W . — K n i g h t of the Golden Fleece; Jonathan in England. C . — M e r c h a n t of Venice; Bold Dragoons. W . — K n i g h t of the Golden Fleece; Jonathan Doubikins. C.—Deserted V i l l a g e * : Morden—Murdoch, Mark—Wood, Grevious—Burton, Annette—Mrs. Rowbotham; Unfinished Gentleman ; Rendezvous. W . — K n i g h t of the Golden Fleece; Forest Rose. C . — T h e J e w ; Inkle and Yarico. W . — L i o n of the East * : Major Downing—Hill, Titler—Had[ 136]

CHRONOLOGICAL RECORDS: 1835

16. 18.

19. 20. 21. 22. 23·

25. 26. 27. 28.

29. 30.

away, Sarah—Miss A . Fisher, Nabby—Miss D u f f ; Day in Paris. C . — H a u n t e d I n n ; Deserted V i l l a g e ; Popping the Question. W.-—Lion of the E a s t ; Knight of the Golden Fleece. C . — I r o n Chest; Old Gentleman. Monday : W . — W i v e s as they W e r e ; Somnambulist. c . — J e w ; Deserted Village. w . - —Golden Farmer ; Y o u n g W i d o w . c . —Speed the Plough ; Inkle and Yarico. w . —Hunchback; Loan of a Lover. c . —Gamester ; Forty W i n k s . w . - —Lear ; Therese. c , — S t r a n g e r ; Chimney Piece. w . - —Gamester; G r e t n a Green. c , —Venice Preserved ; M u m m y . w . - —Honeymoon ; L u k e the Laborer. c . —Jealous W i f e ; Happiest Day of my L i f e . Monday: W.—Virginius; Married Life. C.—Provoked H u s b a n d ; Child of Nature. W . — Z a n t h e ; Loan of a Lover. C.—Englishmen in I n d i a ; Napoleon. W . — M u c h A d o about N o t h i n g ; Catharine and Petruchio. C . — H a u n t e d I n n ; Napoleon; Chimney Piece. W . — F a z i o ; Fortune's Frolic. C . — K n o w l e s ' Benefit, the companies of both theatres, Married L i f e ; T h e W i f e . Advanced prices : boxes, two dollars ; pit, one dollar; gallery, fifty cents. W . — R o m e o and Juliet ; Review. C.—Englishmen in I n d i a ; Napoleon; John Jones. W . — H e n r i e t t e * : De M. ο ην al—Connor, Deronz—D. Reed, Pionette—Thayer, Henriette—Emma Wheatly ; T u r n pike Gate. C.—School of R e f o r m ; W r e c k Ashore. JUNE

ι.

2.

3.

Monday: W . — H e n r i e t t e ; Hunchback, last three acts. C . — H e n r i Q u a t r e ; Queer N e i g h b o r s * : Barnaby—Burton; Day after the Fair. W . — R i c h a r d I I I ; A f f a i r of H o n o u r * : Major Linkey—Hadaway, Mad. Tourville—Mary Duff. C . — G u y Mannering ; Raymond and Agnes. W . — N e w W a y to Pay O l d Debts; Seventeen Hundred Y e a r s [ 137 ]

THE PHILADELPHIA THEATRE

4. 5. 6. 8.

9. 10. 11. 12. 13.

15. 16. 17. 18. 19.

A g o * : Egyptian—Jackson, Athenian—Connor, Blind Girl—Miss Duff, Sage—Miss A. Fisher. C.—Road to Ruin ; T h e Duel. W . — I r o n Chest; Seventeen Hundred Years Ago. C.—Hamlet; 102! W.—Merchant of Venice, first four acts; Seventeen Hundred Years Ago. C.—Foundling of the Forest ; Somnambulist. W.—Richard I I I ; Affair of Honour. C.—Married L i f e ; Napoleon, first part; The Duel. Monday: W.—Cherokee C h i e f * : European Dogs—Hector and Bruin, Cherokee Chief—Cony, Matilda—Mrs. Kent; Affair of Honour; Ourang O u t a n g * : Ourang Outang—Master Blanchard. C.—Wept of Wish-Ton-Wish; John Jones; Wizard Skiff. W.—Cherokee Chief ; Loan of a Lover ; Ourang Outang. C.—Sleeping Draught; Wizard Skiff; Chimney Piece. W.—Cherokee Chief; Lover's Quarrels; Ourang Outang. C.—Death Plank; 23 John St. ; French Spy. W.—Forest of Bondy; Affair of Honour; Ourang Outang. C.—Death Plank; Queen Neighbors; French Spy. W . — A f f a i r of Honour; Forest of Bondy; Ourang Outang. C.—Wept of Wish-Ton-Wish; M y Friend the Governor; Wizard Skiff. W.-—Forest of Bondy; Fighting by P r o x y * : Flinch—Hadaway; Monkeyana*: Monkey—Master Blanchard, Strappo—Reed, Philader—Hadaway, Dellora—Miss Α. Fisher. C.—Death Plank; Spirit B r i d e * : Zelia, Alcazes, Tofak— three rôles—Mlle. Celeste. Monday: W.-—Hermit's Prophecy ; Monkeyana. C.—Pleasant Dreams; Spirit Bride; Kill or Cure. W.—Richard of the Lion-Heart; Monkeyana. C.-—Forty Winks; Spirit Bride; Popping the Question. W.—Richard of the Lion-Heart; Monkey who has Seen the World. C.—Comfortable Lodgings ; Moorish Page ; Rendezvous. W.—Cherokee Chief; Fighting by Proxy; Monkey who has Seen the World. C.—Mogul T a l e ; Spirit Bride; John Jones. W.—Planter and his Dogs * : Dogs—Hector and Bruin, Cato— Cony, Aura—Mrs. Cooke; Fighting by Proxy; Ourang Outang. C.—Sleeping Draught ; Moorish Page ; Queer Neighbors. [ 138]

CHRONOLOGICAL R E C O R D S : 1835 20. 22.

23. 24.

25. 26. 27.

29.

30.

W . — P l a n t e r and his Dogs ; Don J u a n . C . — W e p t of Wish-Ton-Wish, first act ; French Spy, second act; M u m m y ; W i z a r d Skiff, first act. Monday: W . — M i s e r ' s D a u g h t e r * : Isaac—Jackson, Charles—Connor, Ann—Miss D u f f ; Maid and M a g p i e ; M y Neighbor's W i f e * : Somerton—Connor, Brown—Hadaway, Mrs. Somerton—Miss Duff. C . — B r u t u s ; Bold Dragoons. W . — O t h e l l o ; M y Neighbor's W i f e . C . — T o w n and C o u n t r y ; Happiest Day in my L i f e . W . — H u n t i n g Park J o c k e y ; From Six to S i x ; Don J u a n . C.—Housekeeper; Napoleon, first part; T o m and J e r r y , first part. W . — R i c h a r d I I I , fourth and fifth acts; Welsh G i r l ; D o n J u a n . C . — M o u n t a i n e e r s ; Virginius, fourth act; Gretna Green. W . — R i c h a r d I I I ; L u k e the Laborer. C . — H e n r i Q u a t r e ; Duel. W . — D a m o n and Pythias ; M a n with the Carpet Bag * : Wrangle •—Connor, Harriet—Miss A . Fisher; Oh, Hush. C . — I r o n Chest; Flying Dutchman. Monday:

W . — K i n g L e a r ; Oh, Hush. C . — N e w W a y T o Pay Old Debts; Henriette. W . — V i r g i n i u s ; Virginia M u m m y . C . — H a m l e t ; Chimney Piece.

JULY 1.

2. 3. 4.

6.

7.

We dn es day : W . — M a c b e t h ; Promissory Note. C . — K i n g Lear ; Forty Winks. W . — W m . T e l l ; Turnpike Gate. C . — T o w n and C o u n t r y ; 23 John St. W . — P i z a r r o ; Virginia M u m m y . C.—Othello ; Colonel's Come. W . — M y Neighbor's W i f e ; Merchant of Venice, fourth act ; Virginia M u m m y ; Oh, Hush. Last night of season. C . — R i c h a r d I I I ; John Jones. Last night of season. Monday: W . — S p e c i a l performance for the benefit of M r s . Cooke who is confined by severe indisposition, combined companies of both houses : Popping the Question ; Damon and Pythias, fourth and fifth acts ; Married L i f e . T o August 2 1 , inclusive, summer recess. [139]

THE PHILADELPHIA THEATRE AUGUST 22. 24. 25. 26. 27. 28.

29. 31.

Saturday: W.—Richard I I I ; M y Neighbor's Wife. C.—Married L i f e ; Ladies' Man. Monday: W . — N e w Way to Pay Old Debts ; Maid and Magpie. C.—Henri Quatre; Mummy. W.—Hamlet; Affair of Honor. C.—She Stoops to Conquer ; Comfortable Lodgings. W.—Brutus; M y Neighbor's Wife. C.—Bride of Lammermoor ; John Jones. W.—Richard I I I ; Siamese Twins. C.—Soldier's Daughter ; Bold Dragoons. W.—Virginius; Congress Hall * : Frederick—Ward, Sir John— Collingbourne, Miss Constant—Mrs. Conway, Maria—· Mrs. Knight. C.—Sweethearts and Wives; Gustavus I I I . W.—Othello; Affair of Honor. C.—Deserted Village; Kill or Cure. Monday: W.—King Lear; Congress Hall. C.—Hunchback; Forty Winks. SEPTEMBER

1. 2. 3. 4. 5.

7.

Tuesday: W.—Julius Caesar ; Mayor of Garrat. C.—School for Scandal ; 23 John St. W . — W m . T e l l ; In the Wrong Box. C.—Deserted Village; Mummy. W.—Damon and Pythias; Virginia Mummy. C.—Fazio; Forty Winks. W.—Macbeth; Young Reefer * : Barney—Reed, Julian—Mary D u f f ; Oh, Hush. C.—Wives as they Were ; Somnambulist. W.—Woman's Life * : Eugene—Connor, Bajazat—Hadaway, Isabelle—Mme. La Marc—Mme. Eugene—three rôles— Mary Duff ; Discoveries in the Moon * : Jim Crow—Rice, Dr. Herschel—Hadaway, Mrs. Fancy—Mrs. Knight, Nova—Miss Anderson. C.—Patrician and Parvenu*: De Mowbray—Walstein, Percy —Murdoch, S till ton—Jones, Dick—Burton, Ellen—Mrs. Walstein, Mary—Mrs. Thayer; Gustavus III. Monday: W.—Pizarro; Discoveries in the Moon. [ 140 J

CHRONOLOGICAL R E C O R D S : 1835

8. 9. 10. 11. 12.

14. 15. 16. 17.

18. 19.

21. 22. 23.

24.

C . — M a r r i e d L i f e ; Moonshine * : Skysail—Walstein, Cag— Murdoch, Tiuag—Burton, Tabitha—Mrs. Walstein; Old Gentleman. W . — W o m a n ' s L i f e ; Discoveries in the Moon. C.—Jonathan in England ; Moonshine ; Forest Rose. W.—Stranger ; Woman's Life. C.—Green Mountain Boy; Jonathan Doubikins ; Moonshine. W . — R o m e o and J u l i e t ; Discoveries in the Moon. C.—Patrician and Parvenu ; Jonathan Doubikins. W . — F a z i o ; Woman's L i f e ; Virginia Mummy. C.—Knight of the Golden Fleece; Moonshine; Hypocrite. W.—Skeleton W i t n e s s * : Danvers—Connor. Dormer—Porter, Wat erleg—Reed, Celia— M a r y D u f f ; Oh, Hush; Woman's Life. C.—Green Mountain B o y ; Lion of the East, first act; Forest Rose, first act; Knight of the Golden Fleece. Monday: W.—Alexander the Great ; Dead Shot. C.—Pizarro ; M y Aunt. W.—Hypocrite; Pitcairn's Island. C.—Rent D a y ; Brigand. W . — B i e n a * : O'Fetterern—Reed, Boan—Connor, Groggylust — M u z z y , Mrs. Boan—Mrs. Knight; Pitcairn's Island. C.—Rendezvous; Spring and A u t u m n ; Brigand. W . — B i e n a ; Dumb Savoyard and his M o n k e y * : Monkey— Gouffe, Maldechina—Porter, Pepino—Mad. Gouffe, Countess Maldechina—Mrs. Knight. C . — M o g u l T a l e ; Hazard of the D i e * : David—J. Wallack, Charles—Murdoch, Violette—Mrs. Walstein; M y Aunt. W.—Illustrious Stranger; T h e Secret; Jocko. C.—Rent Day ; Adopted Child ; John Jones. W . — W i l d Woman of our Village * : Richard—Connor, Barleycorn—Hadaway, Alice—Mrs. Knight; Dumb Savoyard and his Monkey. C.—Hazard of the D i e ; Spring and Autumn. Monday: W.—Pitcairn's Island; Lying Valet; Jocko. C . _ T h e W i f e ; T h e T u r n Out. W . — 1 0 2 ! ; Secret ; Three and Deuce. C.—School for Scandal ; T h e Secret. W.—Spirit of ' 7 6 * : Washington—Porter, Lafayette—J. G. Porter, Corniuallis—Wemyss, Andre—Connor, O'Clinker Reed, Columbia—Mary D u f f ; M y Neighbor's W i f e . C.—Gamester; Ladies' M a n . W.—Spirit of ' 7 6 ; Skeleton Witness. C . — W i f e ; Sleeping Draught. [ 141 ]

T H E PHILADELPHIA T H E A T R E 25. 26. 28. 29. 30.

W . — S p i r i t of '76 ; Wild Woman of our Village. C.—Macbeth ; Three Weeks after Marriage. W.—Spirit of ' 7 6 ; L o Z i n g a r o * : Lo Zingaro—Connor, Baron —Reed, Constanza—Mary Duff. C . — B e r t r a m ; Children in the Wood. Monday: W.—Spirit of '76 ; Young Widow ; L o Zingaro. C . — F a z i o ; Personation ; Animal Magnetism. W . — S p i r i t of '76; Secret S e r v i c e * : Fouche—Reed, Bernard— Connor, Therese—Mrs. Knight. C . — A l l in the Wrong ; Luke the Laborer. W.—Spirit of '76 ; L o Zingaro. C.—Stranger; M y Fellow C l e r k * : Tactic—Burton, Victim— Thoman, Fanny—Mrs. Walstein ; American T a r . OCTOBER

1. 2. 3.

5.

6. 7. 8. 9.

10.

Thursday : W . — W i l d Woman of our Village ; Lying Valet ; L o Zingaro. C.—Hunchback; M y Fellow Clerk. W . — M e r c h a n t of Venice; Cherokee Chief; Sylvester Daggerwood. C . — A s Y o u Like It ; 23 John St. W.—Seven C l e r k s * : Adolphe—Connor, Gustavus—Muzzy, Claude—Reed, Victorine—Mrs. Knight; Cherokee Chief. C.—Secret ; Shadow on the W a l l * : Evelyn—Ternan, Ν orris— Walton, Walton—Walstein, Billy—Burton, Cicely— M r s . Ternan ; Perfection. Monday: W . — F o u r Sisters ; Love Me, Love M y Dog * : Breaker—Cony, Seaforth—Connor, Sadluck—Knight, Mary—Mrs. Conway ; Perfection. C . — W o n d e r ! ; Shadow on the W a l l . W.—Seven Clerks ; Ourang Outang ; Love M e , Love M y Dog. C . — H e a r t of Midlothian ; M y Fellow Clerk. W . — T h e Exile ; Forest of Bondy. C.—Soldier's Daughter; Black Ey'd Susan. W . — E x i l e ; Cherokee Chief. C . — J a n e Shore ; Mummy. W . — D a m o n and Pythias; Gretna Green; Love M e , Love M y Dog. C.—Somnambulist; M a r y S t e w a r t * : Mary—Mrs. Ternan, Douglass—Ternan, Lindsay—Walton, M'Donald—Maywood, Lady Douglass—Miss Pelham; John Jones. W . — H y d e r A l i * : Selim—Cony, Kaloch—Master Blanchard, Hyder Ali—Reed, Fatima—Mrs. Conway; Ourang Ou[142]

CHRONOLOGICAL R E C O R D S :

12. 13· 14. 15.

16. 17.

19. 20. 21. 22. 2324.

26.

27.

1835

tang; Wild B o y * : Wild Boy—Connor, Karwinki—Porter, Carl—Hadaway, Countess—Mrs. Muzzy. C.—Honeymoon; Blind Boy. Monday: W.-—Aladdin ; Ourang Outang. C . — W i v e s as they Were ; Crossing the Line. W . — A l a d d i n ; Wild Boy. C.—Othello; Turnpike Gate. W . — H y d e r A l i ; Perfection; Forest of Bondy. C . — C u r e for the Heartache; Mummy. W.—Englishmen in India; Loan of a Lover; Murder of the Blind Boy * : Ruf us—Cony, Juliet—Mrs. Conway, Dog— Hector. C.—Damon and Pythias; Crossing the Line. W.—Forest of Bondy; M y Neighbor's W i f e . C.—Honeymoon ; M y Fellow Clerk. W.—Zenocles and the Greek Chief * : Zenocles—Cony, Simon— Hadaway, Selim—J. G . Porter, Old Malek—Mestayer, Abdallah—Reed, Hazarah—Brittenham, Korak—Stanley, Zerasmin—Miss Brittenham, Elimra—Mrs. Knight, Zelima—Mrs. Muzzy, Dogs—Hector and Bruin; Mountain Devil ; Secret ; Jack Robinson and his Monkey. C.—Romeo and Juliet ; Rhyme and Reason. Monday: W . -—Knight of the Golden Fleece; L o Zingaro. c . -—Hamlet ; Turnpike Gate. w . - —Seven Clerks; Green Mountain Boy; Lying Valet. c . -—Hunchback; Kill or Cure. w . - —Jonathan in England ; Knight of the Golden Fleece. C.-—School for Scandal; Hunter of the Alps. w . - —Lion of the East ; Wild Woman of our Village. c - —School for Scandal; Ladies' Man. w . - —Jonathan Doubikins ; Lion of the East. c - —Venice Preserved ; Rhyme and Reason. Cortez—-Muzzy, Guatimozin w . - —Infidel * : herma—Connor, — J . G . Porter, Argana—Hadaway, Magdelina—Mary D u f f , Zellabualla—Mrs. Knight; Note F o r g e r * : John— Porter, Cressfield—Reed, W atty—Hadaway, Diana— M r s . Muzzy, Phillis—Mrs. Conway. C . — R u l e a W i f e and Have a W i f e ; Mummy. Monday: W.—Isabella; Infidel. C . — M u c h Ado about Nothing; Day after the Wedding; John Jones. W . — G a m e s t e r ; Note Forger. C.—Wheel of Fortune; 23 John St. [ 143]

THE PHILADELPHIA T H E A T R E 28.

29.

30. 31.

W . — J a n e Shore ; Botheration ; Arab Chief * : Ismael—Connor, Ali Beg—Muzzy, Snaggs—Hadaway, Lanyard—Mrs. Conway. C.—Gamester; Second Thoughts * : Sudden—Burton, Jabber— Walton, Cecil—Cline, Isadora—Mrs. Maywood. W.—Adelgitha ; Robber's W i f e * : Redland—Connor, Briarly— Porter, Penfuddle—Collingbourne, O'Gig—Reed, Rose— Mrs. Duff. C . — E x i l e ; Second Thoughts. W.—Infidel ; Young Reefer. C.—Exile ; M a r y Stuart. W . — G i p s y of Ashburnham Dell * : Mowbray—Connor, Montgomery—Porter. Burtle—Hadaway, hovel—Reed, Rose — M r s . Conway; Arab Chief. C.—King's Fool critic. NOVEMBER

2. 3. 4. 5.

6. 7. 9.

10. 11. 12.

Monday : W.—Brigand ; Gipsy of Ashburnham Dell. C.—French Spy ; John Jones ; Kill or Cure. W.—French Washerwoman; Secret; Brigand. C.—Wizard Skiff; Gretna Green; French Spy. W.—Spoil'd Child; Lying Valet; Brigand. C.·—Death Plank ; Lovers' Quarrels ; Wizard Skiff. W . — T o w e r de Nesle * : Buriden—Connor, D'Aulnay—Muzzy, Orisini—Reed, Savois—Hadaway, Margaret—Mrs. Pritchard ; M y Neighbor's Wife. C.—Death Plank ; Sleeping Draught ; French Spy. W.-—Tower de Nesle ; Arab Chief. C.—Wept of Wish-Ton-Wish ; John Jones ; Wizard Skiff. W.—Richard I I I ; French Washerwoman. C . — W e p t of Wish-Ton-Wish; Spirit Bride. Monday: W . — I ' l l be your Second*: Placid—Knight, O'Bryan—Reed, Emma—Miss Charnock; T o u r de Nesle; Miser's Mise r i e s * : Weazle Wideawake—Hadaway, Jenny Ferretout — M r s . Conway. C.—French Spy, first act ; Spirit Bride. W . — N o t e Forger; Wild Woman of our Village; Miser's Miseries. C.—Devil's Daughter ; Rendezvous ; Kill or Cure. W.—Seven Clerks; Miser's Miseries; Fieschi*: Gerard—Porter, Liverwort—Knight, Madini—Mrs. Muzzy. C.—Devil's Daughter; Midnight Hour. W.—Fieschi; Miser's Miseries; Wreckers. [ 144]

CHRONOLOGICAL R E C O R D S : 1835 13.

14..

16.

17.

18. 19. 20. 21.

23.

24. 25. 26. 27. 28.

30.

C . — D e v i l ' s Daughter; Fish out of W a t e r . W.—-Wreckers; R e v i e w ; Cherry Bounce. C . — W e p t of W i s h - T o n - W i s h ; Lovers' Quarrels ; Devil's Daughter. W . — M i l l e r and his M e n ; T u r n p i k e G a t e ; Spanish P i r a t e s * : Michael—Muzzy, Pedro—Reed, Snaggs—Hadaway, Bob — M r s . Conway. C.—Victoire * : Victoire—Pierre—Clarisse, three rôles—Mlle. Celeste, Washington—Walstein, Lavender—Burton; Spirit Bride. Monday: W . — D a m o n and Pythias; Spanish Pirates. C . — D r a m a t i s t ; T h r e e and the Deuce. W . — V i r g i n i u s ; Cherry Bounce. C . — L a u g h when you Can ; D a y after the Wedding ; Raising the Wind. W . — J o n a t h a n in England, second act; Kentuckian, first act; Möns. Tonson ; Catching an Heiress. C . — W i l d Oats ; Y o u n g W i d o w . W . — M a c b e t h ; Catching an Heiress. C . — B u s y B o d y ; Englishmen in India. W . — C a t c h i n g an Heiress; Siamese T w i n s ; Spanish Pirates. C . — C u r e for the Heartache; T h r e e and the Deuce. W . — R i c h a r d I I I ; Black Angus of the E v i l E y e * : Muchardus — M u z z y , Angus—Reed, Dusty—Hadaway, Marion— M r s . Knight. C . — W e p t of W i s h - T o n - W i s h ; French Spy. Monday: W . — O t h e l l o ; L o Zingaro. C.·—The W a y to get Married ; T h e Critic. W.—Pizarro. C . — L a u g h when you Can ; W h e r e shall we Dine ; J o h n Jones. W . — B r u t u s ; Wreckers. C . — P o o r Gentleman ; Weathercock. W . — N e w W a y T o Pay Old D e b t s ; Oh, H u s h ! ! C.—Secrets W o r t h K n o w i n g ; Englishmen in India. W . — I n f i d e l ; Golden Farmer. C . — W a y to get M a r r i e d ; Hunter of the Alps. W . — N e w W a y T o Pay O l d Debts ; Oh, Hush. C . — W i n H e r and W e a r H e r * : six characters by M r . Balls, Freeman—Cline, Modelove—Jones, Prim—Burton, Anne — M i s s W h e a t l e y ; T h r e e and the Deuce; M a t c h - M a k ing * : Shuffle—Balls, Emily—Miss Pelham. Monday: W . — K i n g Lear ; Therese. C . — P i z a r r o ; M y Aunt. [145]

THE PHILADELPHIA THEATRE DECEMBER 1.

2. 3. 4. 5. 7.

8. 9. 10. 11. 12. 14.

15. 16. 17. 18. 19.

Tuesday: W . — B o n e Squash Diavolo * : Diavolo—Rice ; Switchel—Hadaway, Ducklegs—Reed ; Gipsy of Ashburnham Dell. C . — H a z a r d of the Die; Spring and Autumn. W . — B o n e Squash Diavolo; ¡Miller and his Men. C . — C a r i b Chief ; Second Thoughts. W . — B o n e Squash Diavolo ; Black Angus. C — B e r t r a m ; T h e Wolf and the Lamb. W.—Virginius ; Bone Squash Diavolo. C . — V i r g i n of the Sun. W . — F a t a l Prophecies; Is He Jealous; Ambrose Gurnett. C . — H a m l e t ; Wolf and the Lamb. Monday: W . — J a c k Cade * : Cade—Addams, Say—Connor, Henry—Watson, Lacy—Porter, Helen—Mary D u f f ; Luke the Laborer. C . — M a r r i a g e of Figaro; No Song No Supper. W.—Botheration; Nature and Philosophy; Raising the Wind. C . — G u y Mannering; Old and Young. W . — J a c k Cade ; Weathercock. C . — A School for Grown Children; Illustrious Stranger. W . — V e n i c e Preserved ; Agreeable Surprise. C.—Cabinet; Spoil'd Child. W . — J a c k Cade; Perfection. C . — L o r d of the Manor ; Old and Young. W . — J a c k Cade; Agreeable Surprise. C . — M a r r i a g e of Figaro; N o ! Monday: W . — T w o Gregories; Kaspar Hauser * : Whittle—Hill, Grippswault—Connor, Danmer—Porter, Kaspar—Miss Waring; Jonathan in England, last two acts. C.—Cinderella ; Bombastes Furioso. W . — C r o w d e d Houses; Kaspar Hauser; Green Mountain Boy. C . — R o b R o y ; No Song N o Supper. W . — A d v e n t u r e * : Abner—Hill, Jack—Connor, Mulieka— M r s . Conway ; Forest Rose. C.—Cinderella, third act; Pet of the Petticoats; John Jones. W . — A d v e n t u r e ; Yankee Pedlar. C . — R i v a l s ; One, T w o , Three, Four, F i v e * : Harry, Teazle, Dr. Endall, Sam, an Actor—five rôles—John Reeve. W . — K a s p a r Hauser; Adventure, first act; Forest Rose, first act; Knight of the Golden Fleece, second act. C.—Sweethearts and wives; Catching an Heiress. W . — G r a y M a n of T o t t e n h a m * : Prince—Connor, Mark— Derivage, Willy—Hadaway, Rosamond—Miss Waring; [ 146]

CHRONOLOGICAL RECORDS: 1836

21.

22. 23. 24.

25.

26. 28. 29. 30. 31.

Crowded Houses; Love Laughs at Locksmiths. C . — W r e c k Ashore; One, T w o , Three, Four, Five. Monday: W . — G r a y M a n of Tottenham ; O - I - E - O - E ; Crowded Houses. C . — P a u l P r y ; Catching an Heiress. W . — G e o r g e Barnwell ; Note Forger. C.—Sweethearts and Wives ; One, T w o , Three, Four, Five. W . — I d i o t Witness; Nature and Philosophy; Poor Soldier. C . — H y p o c r i t e ; Catching an Heiress. W . — L o d o i s k a ; Cherry Bounce. C . — M a r r i e d Bachelor; Climbing B o y * : Jack—Reeve, Buzzard—Hamilton, Rebecca—Miss Pelham. W . — U d a and M a g n u s * : Carlmilhan—Porter, Magnus— M u z z y , Fompey—Hadaway, Heist—Clarke, Uda—Miss W a r i n g , Nora—Mrs. C o n w a y ; Harlequin H u r r y S c u r r y ; Secret. C . — W r e c k Ashore; M u m m y ; Bombastes Furioso. W . — U d a and Magnus. C . — P a u l Pry ; Cupid ; One, T w o , T h r e e , Four, Five. Alonday: W . — D a m o n and Pythias; Uda and Magnus. C.—Deserted Daughter; M u m m y . W . — W m . T e l l ; Uda and Magnus. C . — W a y to get Married ; Englishmen in India. W . — P i z a r r o ; Uda and Magnus. C . — L a u g h when you Can ; Children in the Wood. W . — V i r g i n i u s ; Uda and Magnus. C . — B o l d Stroke for a Husband ; Falls of Clyde. JANUARY

ι.

2.

4.

5.

1836

Fr iday : W . — I d a S t e p h a n o f f * : Graf—Porter, Cassimer—Connor, Molan—Hadaway, Aberto—Clarke, Ida—Miss Waring, Miriam—Mrs. M u z z y ; Weathercock. C . — C o l u m b u s ; Gretna Green. W . — I d a Stephanoff; Black Eyed Susan. C.—Deserted Daughter ; C a l l Again T o m o r r o w * : Dick— Balls. Melville—Thoman, Caroline—Mrs. Walstein. Monday: W . — I d a Stephanoff; Miser's Miseries; A r a b Chief. C.—Secrets W o r t h K n o w i n g ; A l l at C o v e n t r y * : Timothy— Balls, Bramble—Jones, Lively—Walton, Dora—Mrs. Rowbotham. W . — C h e r r y Bounce ; U d a and Magnus ; M y Neighbor's W i f e . C . — R e n t Day ; T h r e e and the Deuce. [147]

THE PHILADELPHIA T H E A T R E 6. 7. 8. 9.

11.

12. 13.

14. 15. 16. 18. 19. 20. 21.

22. 23. 25.

W.—Weathercock; Black Eyed Susan; Uda and Magnus. C.—Blind Bargain ; Call Again Tomorrow ; 23 John Street. W.—Douglass ; Purse ; T o m Thumb the Great. C.—Romeo and Juliet ; All at Coventry. W . — M a i d of Orleans ; Purse. C.—Blind Bargain ; A Roland for an Oliver. W . — F i s h out of Water ; Passion and Repentance * : Greenwell— Porter, John—Connor, Lubin—Hadaway, Susan—Miss W a r i n g ; Diamond Arrow. C.—Poor Gentleman ; Colonel's Come. Monday: W.—Richard I I I ; Nature and Philosophy. C.—Three and the Deuce; Venice Preserved, fourth act; John of Paris; How to Die for Love. W . — H a m l e t ; Diamond Arrow. C.—Virgin of the Sun ; Brigand. W . — N e w Way T o Pay Old Debts ; Hunting a Turtle * : Mailer—Connor, Levison—Wemyss, Timothy—Hadaway, Mrs. Turtle—Miss Waring. C.—Macbeth ; Ladies' Man. W . — I r o n Chest; Hunting a T u r t l e ; N o ! C . — M u c h Ado about Nothing; Rent Day. W.—Apostate; Hunting a T u r t l e ; Maid of Orleans. C.—Richard I I I ; Forty Winks. W.—Richard I I I ; Hunting a Turtle. C.—Alexander the Great; Wolf and the L a m b ; M y Friend the Governor. Monday: W.—Richard I I I ; Cherokee Chief; Maid of Orleans. C . — M a i d of J u d a h ; M y Uncle John. W.—Mountaineer ; Love M e , Love M y Dog ; Hunting a Turtle. C.—Massaniello; T h e Mummy. W.—Othello; Murder of the Blind Boy. C.—Road to Ruin; Kill or Cure. W.—Harlequin T o m the Piper's Son * : Apollo—Mrs. Conway, Tom—Collingbourne, Roger—Master Blanchard, Kilderkin—Cony, Patty—Miss Charnock; Diamond A r r o w ; Cherry Bounce. C . — M a i d of Judah ; 23 John Street. W . — W i l d Boy ; Harlequin T o m the Piper's Son. C . — F r a Diavolo ; John Jones. W.—Forest of Bondy; Harlequin T o m the Piper's Son. C.—Massaniello; Second Thoughts. Monday: W.—Woman's L i f e ; T h e Children of Chittigong*: Harry —Connor, Chittigong—Hadaway, Tom Cringle—Myers. [148]

CHRONOLOGICAL R E C O R D S : 1836 26.

27. 28.

29. 30.

C.—Cinderella; Forty Winks. W . — Y e l l o w K i d s * : Capt. Rocket—Porter, Twins—Hadawav, Mrs. Rocket—Mrs. M u z z y ; C h i l d r e n of C h i t t i g o n g . C . — B a r b e r of Seville; P l e a s a n t D r e a m s . W . — H e n r i e t t e the F o r s a k e n ; D i a m o n d A r r o w . C.—School for G r o w n C h i l d r e n ; Illustrious S t r a n g e r . W . — Y i r g i n i u s ; Y e l l o w Kids. C . — M o u n t a i n Sylph * : Donald—Wood, Hela—Brough, Christie—Walton, Eolia—Mrs. W o o d , Jessie—Mrs. Rowb o t h a m ; Sleeping D r a u g h t . W . — P i z a r r o ; Y e l l o w Kids. C . — F r a Diavolo; T h e Quaker. W.—Macbeth; C . — M o u n t a i n S y l p h ; M y F r i e n d the G o v e r n o r . FEBRUARY

I.

2. J· 4· 5· 6.

8.

9. 10.

11. 12.

^londay: W . — J a c k C a d e ; M y Poll and my P a r t n e r J o e * : Black Beard— M u z z y , Sculler—Porter, Henry—Connor, Mary—Miss Duff. C . — M a i d of J u d a h ; H a p p i e s t D a y of my Life. W . - —Jack C a d e ; M y Poll and my P a r t n e r J o e . C . — L o v e in a V i l l a g e ; G r e t n a G r e e n . w . - —Jack C a d e ; H u n t i n g a T u r t l e . c . — B a r b e r of Seville; Second T h o u g h t s . w . - — D a m o n and P y t h i a s ; H u n t i n g a T u r t l e . c . — R o b Roy M a c g r e g o r ; P a r t y W a l l . w . - - W i l l i a m Tell. c . — C i n d e r e l l a j Secret. w . - —Yellow K i d s ; Passion and R e p e n t a n c e ; T h r e e H u n c h b a c k s . c . - — F r a D i a v o l o ; F r e a k s and Follies * : Ned—Hamilton, Torn — B a r t o n , Rowland—Cline, Ellen—Mrs. Walstein. Monday: W . — H a m l e t ; M y Neighbor's W i f e . C.—Mountain Sylph; M u m m y . W . — P a s s i o n and R e p e n t a n c e ; M a i d of O r l e a n s ; C.—Guy Mannering ; T h e Waterman. W . — W h o O w n s the H a n d ? * : Fillipo—Connor, Manfredoni— M u z z y , Luponi—Clarke, Giovanni—Reed, Rosalvina— M i s s W a r i n g ; Ladies' M a n . C . — N o p e r f o r m a n c e in consequence of p r e p a r a t i o n f o r T h u r s day E v e n i n g . W . — M y Poll and my P a r t n e r J o e ; W h o O w n s the H a n d ? C . — L a S o n n a m b u l a * ; F r e a k s and Follies. W . — W h o O w n s the H a n d ? ; U d a a n d M a g n u s . [ 149]

T H E PHILADELPHIA T H E A T R E 13. 15. 16. 17· 18. 19· 20. 22.

23· 24. 25· 26. 27. 29.

C . — L a Sonnambula ; Forty Winks. W . — W h o Owns the H a n d ? ; Maid of Orleans. C . — L a Sonnambula; Ladies' M a n . Monday: W . —Rienzi ; Diamond Arrow. c . — L a Sonnambula; Illustrious Stranger. w . —Yellow Kids; Maid of Orleans; Three Hunchbacks. c . — L a Sonnambula; Sleeping Draught. w . —Rent D a y ; Brigand. c . — L a Sonnambula ; Popping the Question. w . —Wonder ; Ambrose Gwinnett. c . — L a Sonnambula ; M y Friend the Governor. w , —Pizarro; M y Aunt. c . — L a Sonnambula ; Secret Service. w . —Hazard of the Die; Wolf and the L a m b ; Nature and Philosophy. C . — L a Sonnambula; John Jones. Monday: W . — H a z a r d of the Die; Wolf and the Lamb. C . — L a Sonnambula; T h e T w a G h a i s t s * : Sir Alexander— Jones, Spout—Burton, Donald—M ay wood, Harriet— M r s . Walstein. W.-—Maid of Orleans; Ambrose Gwinnett. c.-— L a Sonnambula ; Secret Service. W.-—Hazard of the Die; M y A u n t ; Cherry Bounce. c . — L a Sonnambula ; T w a Ghaists. w . - —William T e l l ; Hunting a Turtle. c.-—La Sonnambula; Illustrious Stranger. W . -—Rienze ; Purse. C.-— L a Sonnambula ; T w a Ghaists. Last night of the season. w . - —Spring and Autumn ; Adopted Child ; Hazard of the Die. A.-— T h e Exile ; Weathercock. Monday: W . — T h e J e w e s s * : King—Muzzy, Haman—Connor, M ordecai—Porter, Levi—Hadaway, Vashti—Mrs. Muzzy, Esther—Miss Waring, Zaide—Miss Charnock ; Hunting a Turtle. A . — K i n g ' s Fool ; Second Thoughts. MARCH

1. 2.

Tuesday : W . — T h e Jewess; M y Neighbor's W i f e . A.—Hamlet ; Popping the Question. W . — T h e Jewess ; Fish out of Water. A.—Gamester; Hunter of the Alps. [150]

CHRONOLOGICAL RECORDS: 1836 3. 4. 5. 7.

8. 9. 10. 11.

12. 14.

15· 16. 17· 18. 19. 21. 22.

W . — T h e Jewess ; T h e Agreeable Surprise. A . — K i n g ' s F o o l ; Illustrious Stranger. W . — T h e Jewess ; M y Poll and my Partner Joe. A.—Hunchback, third, fourth, and fifth acts ; Henriette. W . — T h e J e w e s s ; Passion and Repentance. A.—Gamester of M i l a n ; John J o n e s ; T h e Critic. Monday: W . — T h e Jewess ; Perfection. A . — J u l i u s Caesar; M u m m y . W . — T h e Jewess ; Raising the W i n d . A . — R o m e o and J u l i e t ; Wolf and the Lamb. W . — T h e Jewess ; Dumb Belle. A . — T h e W i f e ; T h e Weathercock. W . — T h e Jewess ; Turnpike Gate. A . — H u n c h b a c k ; T h e Critic. W . — T h e J e w e s s ; Golden Farmer. A . — M e r c h a n t of Venice, trial scene ; M u c h Ado about Nothing, second act; Othello, second and third acts; Everybody's Husband * : Alexis—Abbott, Miss Tomkins—Mrs. Balls. W . — W i l d Oats; Broken H e a r t * : Alfred—Connor, Oliver— Hadaway, Agnes—Miss Duff. A . — P i z a r r o ; Brigand. Monday: W . — N o r m a n Leslie * : Leslie—Connor, Judge—Clarke, Moreland—Wemyss, Germaine—Porter, Grey—Collins, Crier —Stanley, Morton—Hadaway, Romaine—Crouta, Clairmont—Muzzy, Loring—Gibson, Foreman—Morton, Jailor—Germon, Kreutzer—Rüssel, Louise—Miss Duff, Rosalie—Miss W a r i n g , Mrs. Temple—Mrs. M u z z y , Miss Leslie—Miss Charnock, Airs. Hamilton—Miss Anderson, Flora Temple—Mrs. Cuvillier; Fish out of W a t e r . A . - -Rivals ; Critic. W . - -Norman Leslie; Cure for the Heart Ache. A . - -Second Thoughts ; Deep, Deep Sea. W . - -Norman Leslie; Broken Heart. A . - -School for G r o w n Children ; Deep, Deep Sea. W . - -Laugh when you Can ; T h e Jewess. A . - -Paul P r y ; Cupid. W . — -Perfection ; M y Aunt ; Norman Leslie. A . - -Sweethearts and W i v e s ; Catching an Heiress. W . — -Barbarossa ; Norman Leslie. A . - - M a r r i e d L i f e ; One, T w o , Three, Four, Five. Monday: W . — H e n r y I V , first part; T h e Jewess. A . — T h e Wreck Ashore ; One, T w o , Three, Four, Five. W . — T h e Jewess ; Norman Leslie. [151]

T H E PHILADELPHIA T H E A T R E 23. 24. 25.

26.

28.

29. 30. 31.

A . — M a r r i e d Bachelor; Cupid; Catching an Heiress. W.—Venice Preserved ; T o m and Jerry. A.—Deserted Daughter ; Secret Service. W . — M a c b e t h ; T h e Jewess. A . — T o m and Jerry ; Unfinished Gentleman. W . — T h e Spirit of the Black Mantle * : Wolf—Connor, Ossa— Collingbourne, Wit tie—Collins, Rowena—Mrs. Muzzy; Comfortable S e r v i c e * : Admiral—Porter, Simon—Hadaway, Mary—Miss W a r i n g ; Norman Leslie, Carnival Scene. A.—Bold Dragoons ; One, T w o , Three, Four, Five ; Quadrupeds. W . — T h e Jewess ; Norman Leslie. A . — T h e Court of L o v e * : Carlos—Wood, Pacomo—Burton, Eugenia—Miss Wheatly; Actor of all W o r k ; The Devil to Pay. Monday: W.—Jonathan in England ; Kentuckian, first act ; Comfortable Service. A.—Pleasant Dreams; French Spy. W.—Busybody ; J o b Fox, T h e Yankee Valet * ; Monsieur Tonson. A.—Fortune's Frolic; French Spy; Matrimony. W.—Richard I I I ; Fortune's Frolic. A . — M y Fellow Clerk; Wizard Skiff; Sleeping Draught. W . — R i p Van Winkle; Monsieur Mallet, post office scene; Job Fox, T h e Yankee Valet ; Kentuckian, first act. Α . — W e p t of Wish-Ton-Wish ; Wizard Skiff. APRIL

1. 2. 4.

5. 6.

Friday : W.—Caswallon ; Comfortable Service. Α . — W e p t of Wish-Ton-Wish ; Wizard Skiff. W.—Caswallon ; Spirit of the Black Mantle. A.—Moorish Page; French Spy. Monday: W . — H e n r y I V ; Sledge Driver * : Ivan—Scott, Grand Duke— Connor, Alexis—Hadaway, Foedova—Miss Waring. A . — I ' l l be your Second ; Moorish Page ; The Actor of all Work. W . — W h o Owns the Hand?; Maid of Orleans. A . — I ' l l be your Second; Spirit Bride; T h e Devil to Pay. W . — T h e Widow's Victim * : Twitter—Porter, Clipp, John, Strappado—three rôles—Hadaway, Jane—Miss Waring; T h e Youthful Queen ; Alberti Contradine. [152]

CHRONOLOGICAL RECORDS: 1836

7. 8. 9.

11.

12. 13. 14.

15.

16.

iS.

10. 20.

2:. 21.

A . — A Gentleman in D i f f i c u l t i e s * : Sedley—Burton, Piminey — M r s . Rowbotham; Spirit B r i d e ; Gretna Green. W . — T o u r de Nesle; T h e W i d o w ' s Victim. A . — D e a t h Plank ; A Gentleman in Difficulties ; Moorish Page. W.—Soldier's D a u g h t e r ; W h o O w n s the H a n d ? Α . — W e p t of W i s h - T o n - W i s h ; Death Plank. W . — T o u r de N e s l e ; French \Vasherwoman ; 23 John Street. A . — P r i n c e Lee B o o * : Lee Boo—Mile. Celeste, Pelewki— Cline, Mattley—WTalton, Cherokah—Miss Pelham; Wizard Skiff. Monday: W . — D i s o w n e d ; French T u t o r ; M i l i t a r y E x e c u t i o n * : Colonel — P o r t e r , Henry—Connor, Francois-—Hadaway, Maria— Miss W a r i n g . A . — P r i n c e Lee Boo ; W i z a r d Skiff. W . — H e a r t of Midlothian ; Tekeli. A . — M o o r i s h Page ; French Spy. W . — H e i r at L a w ; Hamlet, third act; M u m m y . A . — S p i r i t Bride ; Death Plank. W . — W h o O w n s the H a n d ? ; Fortune's Frolic. A . — Y e l v a * : Yelva—Mile. Celeste, Countess—Mrs. Maywood, Mina—Mrs. T h a y e r ; T h e Scotch Cooper * : Duncan — M a y w o o d , Sandy—Burton, Lizzy—Mrs. Rowbotham; Moorish Page. W . — N o performance in consequence of preparation for the Council of the Inquisition. A . — Y e l v a ; Scotch Cooper ; Moorish Page. W . — C o u n c i l of the Inquisition * : Cardinal—Muzzy, Eleazer— Connor, Prince—J. G . Porter, John—Hadaway, Rachel— Miss W a r i n g ; Cherry Bounce. A . — M a r i e de M o n t v i l l e * : Marie, Hugh, Chevalier—three rôles—Mlle. Celeste, Charles II.—Cline, Cromwell— Wood, Grinshaw—Rowbotham, Spandyke—Burton ; Spirit Bride. Monday: W . — C o u n c i l of the Inquisition ; Popping the Question. Α . — P a u l Pry ; Cupid. W . — C o u n c i l of the Inquisition; Y e l l o w Kids. A.—Sweethearts and W i v e s ; Catching an Heiress. W . — C o u n c i l of the Inquisition ; Cherry Bounce. A . — M a r r i e d Bachelor ; One, T w o , T h r e e , Four, Five ; Bold Dragoons. W . — C o u n c i l of the Inquisition; Diamond A r r o w . A . — W r e c k Ashore ; Quadrupeds. W . — C o u n c i l of the Inquisition; N o ! [ 153 ]

THE PHILADELPHIA THEATRE

23. 25.

26. 27. 28. 29.

30.

A . — B o l d Dragoons ; One, T w o , Three, Four, Five ; Quadrupeds. W . — C o u n c i l of the Inquisition ; Old Gentleman. A.—Climbing B o y ; Quadrupeds. Monday: W . — D r e a m at Sea * : Launce—Connor, Ralph—Muzzy, Alley —Porter, Tom—Hadaway, Anne—Miss W a r i n g ; Military Execution. A . — F r a Diavolo; Matrimony. W.—Council of the Inquisition ; Old Gentleman. A.—Masaniello; Mummy. W.—Council of the Inquisition ; Comfortable Service. A . — C o u r t of L o v e ; Pleasant Dreams. W . — D r e a m at Sea ; Popping the Question ; Somnambulist. A . — M a i d of Judah ; John Jones. W.—Circumstantial Evidence*: Ozzrand—Conner, Baron— M u z z y , Clauson—Porter, Tyrtillo—Hadaway, Louise— M r s . Willis; Council of the Inquisition. A . — B a r b e r of Seville; Kill or Cure. W . — P a u l Ulric * : Paul—Conner, Richard—Porter, Despard— M u z z y , Borei—Hadaway, Emily—Mrs. Willis, Mrs. Fife — M r s . M u z z y ; Gretna Green. Α.—Cinderella; Party Wall. MAY

2. 3. 4. 5. 6. 7. 9. 10. 11.

Monday : W . — W e n l o c k of Wenlock ; M a y Queen. A . — L a Sonnambula; I'll be your Second. W . — P a u l Ulric ; Lady and the Devil. A . — F r a Diavolo; Happiest Day of my Life. W . — P a u l U l r i c ; May Queen. A . — T h e E x i l e ; Hunter of the Alps. W . — J o n a t h a n in England ; Green Mountain Boy. A . — L a Sonnambula ; M y Fellow Clerk. W . — K n i g h t of the Golden Fleece ; Forest Rose. A . — L o v e in a Village; Sleeping Draught. W . — K a s p a r Hauser ; Jonathan Doubikins. A . — L a Sonnambula; Chimney Piece. Monday: W . — Y a n k e e Pedlar ; Knight of the Golden Fleece. A . — L a Sonnambula; Crossing the Line. W . — M a i d of Orleans; Circumstantial Evidence. A . — L a Sonnambula; No Song No Supper. W . — T h e Adventure( r ) ; Forest Rose, one act; Honest Thieves. A . — N o performance, so that orchestra might assist M r . and [ 154]

CHRONOLOGICAL R E C O R D S : 1836

12. 13. 14. 16.

17. 18. 19. 20. 21.

23.

24. 25. 26.

27. 28. 30.

M r s . W o o d in their rendition of " L a Sonnambula" at the Musical Fund Hall. W.—Kaspar Hauser; T h e Adventure(r)· A . — L a Sonnambula ; John Jones. W.·—Knight of the Golden Fleece; Green Mountain Boy. A . — L a Sonnambula; M r . and M r s . Jenkins. W . — Y a n k e e Pedlar; Hypocrite, two acts. A . — C o u r t of L o v e ; Married L i f e . Monday: W . — J o n a t h a n Doubikins, first act ; Old Gentleman ; Is H e J e a l o u s ? ; Jonathan in England, second act; Hypocrite, last act ; Forest Rose, first act. A . — R i c h a r d I I I ; Chimney Piece. W . — P i z a r r o ; Virginia M u m m y . A . — H a z a r d of the D i e ; Spring and Autumn. W . — T o w n and C o u n t r y ; Married R a k e * : Flighty—Murdoch, Mrs. Trick track—Miss W a r i n g ; Lottery Ticket. A.—School for Scandal; Personation; I'll be your Second. W . — V e n i c e Preserved; Bone Squash Diavolo. A.—School for G r o w n Children ; Pleasant Dreams. W . — D r e a m at Sea; Married R a k e ; Bone Squash Diavolo. A . — T h e W o n d e r ; Second Thoughts. W . — T h e D a u g h t e r ; Bone Squash Diavolo, first act; Virginia Mummy. A . — B e l l e ' s Stratagem ; Forest Rose. Monday: W.—Caradora*: Caradora—Murdoch, Ambrosia—Porter, Leonardo—Conner, Montargio—J. G . Porter, Bianca— Mrs. Willis; Oh! Hush! ! A . — J o n a t h a n Doubikins; Green Mountain Boy. W . — C a r a d o r a ; Bone Squash Diavolo. A.·—Knight of the Golden Fleece ; Forest Rose. W . — O t h e l l o ; Perfection. A . — A l l in the W r o n g ; Green Mountain Boy, first act; L u k e the Laborer. W . — R i c h a r d I I I ; M y Neighbor's W i f e . Α . — F a l l of the Alamo * : Peleg— Hill, Travis—Walton, Plymton—Rowbotham, Crockett—Hathwell, Santa Anna— Darley, Cos—Wilks, Mary—Mrs. Walstein ; Knight of the Golden Fleece; M r . and M r s . Jenkins. W . — B r u t u s ; T h e Daughter. A . — W i l d Oats ; Jonathan Doubikins. W . — B r i a n Boroihme ; 23 John Street. A . — P o o r Gentleman; Kaspar Hauser. Monday: W . — H a m l e t ; 23 John Street. [155]

THE PHILADELPHIA THEATRE 31.

A.—Secrets W o r t h Knowing; Englishmen in India. W . — N e w W a y T o Pay Old Debts; Lady and the Devil. A . — W a y to get M a r r i e d ; Call Again Tomorrow. JUNE

1. 2. 3. 4. 6. 7· 8. 910. II.

13.

14. 15·

16.

Wednesday : W.—Apostate ; 23 John Street. A . — L a u g h when you Can ; Matrimony. W . — K i n g L e a r ; Comfortable Service. A.—Dramatist ; Three and the Deuce. W . — R i c h a r d I I I ; Forty and F i f t y * : White—Hadaway, Mrs. White—Miss Waring. A.—Gambler's Fate ; Fortune's Frolic. W . — O t h e l l o ; M a y o r of Garratt. A . — H u n t e r of the A l p s ; French Spy; Fire and W a t e r . Monday : W . - —Iron Chest; T o m and Jerry, one scene. A.-—Brutus; M u m m y . W . - —Hamlet ; Forty and Fifty. A.-—My Fellow C l e r k ; Ugolino; Ladies' M a n . W . - —Julius Caesar ; Comfortable Service. A.-—Othello ; Chimney Piece. W . - —Richard I I I ; Forty and Fifty. A.-—Iron Chest; Sleeping Draught. W . - —Merchant of Venice ; Married Rake. A.-—Crossing the Line ; Ugolino ; Comfortable Service. W . - —Othello; M a y o r of Garratt. A.-—Provost of B r u g e s * : Berthulphe—J. R. Scott. Charles— Rowbotham, Bouchard—Wood, Constance—Miss Pelham, Ursula—Mrs. W a l s t e i n ; T h e Review. Last night of the present season. Monday: W.—Actress of P a d u a * : Angelo—Conner, Homodei—Muzzy, Rodolpho—J. G. Porter, Thisbe—Miss W a r i n g ; Brian Boroihme. C.—Jealous W i f e ; Happiest Day of my Life. W.—Actress of P a d u a ; Brian Boroihme. C.—Crossing the Line ; Napoleon, second part ; Comfortable Service. W.—Actress of Padua, Author's benefit; Brian Boroihme. C.—Borrowed Feathers * : Frank—Walton, Tom—Burton, Rosamond—Mrs. Walstein, Lucy—Mrs. Rowbotham; Napoleon, second part ; T o m Cringle. W.—Actress of P a d u a ; Brian Boroihme. [ 156]

CHRONOLOGICAL R E C O R D S : 1836 17. 18.

20.

21. 22.

23. 24. 25. 27.

28. 29. 30.

C . — L a u g h when you C a n ; O l d M a i d ; T h e M u m m y . W . — D r e a m at S e a ; Brian Boroihme. C.—Second T h o u g h t s ; Gustavus I I I ; J o h n Jones. W . — P o i n t of H o n o r ; Norman Leslie. C . — T h e Duddlestones * : Prince—Wood, Duddlestone—Burton, Queen Ann-—Miss Pelham, Dame Duddlestone—Mrs. J o n e s ; T h e W a n d e r i n g Minstrel. Monday: W . — B l a c k Eyed Susan ; Frank F o x Phipps ; T h e Last Nail * : Stark—Connor, Segismund—J. G . Porter, Rodolpho— M u z z y , Olfinger—Collingbourne, Lady Emmeline—Mrs. M u z z y , Agatha—Mrs. W i l l i s , Cherubini—Miss Waring. C . — F i r e and W a t e r ; French Spy ; Borrowed Feathers. W . — T o m and J e r r y ; T h e Last Nail. C . — F o r t u n e ' s F r o l i c ; W i z a r d S k i f f ; Wandering Minstrel. W . — L u c i l l e * : St. Cyr—Connor, Fernet—Porter, Schuyp— Hadaway, Lucille—Miss W a r i n g , Julie—Mrs. Willis; William T e l l , fourth act; Hunting a T u r t l e . C . — W e p t of W i s h - T o n - W i s h ; W i z a r d Skiff. W . — T h e Last Nail ; Lucille. C . — W e p t of W i s h - T o n - W i s h ; Devil's Daughter. W . — L u c i l l e ; T h e Last Nail. C . — F r e n c h Spy ; Devil's Daughter. W . — P o c a h o n t a s ; Hunting a T u r t l e . C . — Y e l v a ; Prince Lee Boo. Monday: W . — W o o d Demon ; Y o u n g W i d o w . C . — Y e l v a ; Prince Lee Boo. W . — F o r t y and F i f t y ; Wood Demon ; 23 John Street. C . — M o o r i s h P a g e ; Devil's Daughter. W . — C a r a d o r a ; Dick the Apprentice. C.—Crossing the L i n e ; Spirit B r i d e ; Comfortable Service. W . — W o o d Demon ; A Husband at Sight. C . — D e a t h P l a n k ; W a n d e r i n g Minstrel.

JULY ι. 2.

4.

Friday : W . — P o c a h o n t a s ; A Husband at Sight. C . — W i z a r d Skiff ; M y Fellow Clerk ; Moorish Page. W . — J u d g m e n t of Solomon; Is H e J e a l o u s ? ; Dick the Apprentice. C.—Escape of K i n g Charles the Second ; Devil's Daughter. Monday: [157]

T H E PHILADELPHIA T H E A T R E

6. 7. 8. 9. II.

W.—Liberty T r e e * : Gordon—Porter, Nat—Conner, Bill— Hadaway, Worston—Muzzy, Sally—Miss Charnock, Esther—Miss W a r i n g ; Black Eyed Susan. Last night of the season. C.—Second Thoughts; Napoleon, second act; Sprigs of Laurel. C.—Duddlestones ; Valentine and Orson. C.—Napoleon ; T o m Thumb the Great ; Botheration ; T h e Quadrupeds of Quidlemberg. C.—Crossing the Line ; Married L i f e ; Chimney Piece. C.—Botheration; T h e Gnome K i n g ; Quadrupeds of Quidlemberg. Monday: C.—Poor Gentleman ; Perfection. Last night of the season. J u l y 12, 1836 to August 19, 1836, inclusive. Theatres closed during summer recess.

AUGUST 20. 22. 23. 24. 25. 26. 27. 29. 30. 31.

Saturday : C . — M a r r i e d L i f e ; Gnome King. Monday: C.—Rent D a y ; Gnome King. C . — R o b R o y ; Comfortable Lodgings. C.—Point of Honor ; Masaniello, second and third acts. C.—Speed the Plough ; Rosina. C.—Mountaineers; Othello, T r a v e s t i e * : Othello—Burton, lago—Rowbotham, Roderigo—Brunton, Cassio—Walton, Desdemona—Mrs. Rowbotham. W . — F a t e of Calas; M a y Queen. C.—Soldier's Daughter; Othello, Travestie. Monday: W . — F a t e of Calas ; Somnambulist. C.—Hunchback ; Othello, Travestie. W . — F a t e of Calas ; Lady and the Devil. C.—Stranger; Comfortable Service. W . — T h e Bronze Horse * : Statue of King of China—D. Reed, Prince—Conner, Tojan—Wilks, Ping Sing—Hadaway, Tchin Kao—Porter, Koyan—J. G . Porter, Cloud King— Clark, Margelia—Miss Charnock, Peki—Mrs. Willis, Κ od Jan—Mrs. Durang, Lo Mangli—Miss Scott; M a n about T o w n * : Skirts—Hadaway, Aubrey—Conner, Topps— Wemyss, St. Ledger—Morton, Mowbray—J. G . Porter, Dr. Mandible—Mestayer, Lady Aubrey—Miss Charnock, Fanny—Mrs. Willis. C.—Jealous W i f e ; Cheap Boarding. [ 158]

CHRONOLOGICAL R E C O R D S : 1836 SEPTEMBER 1.

2. 3.

5.

6. 7. 8.

9. 10. 12.

13· 14. 15· 16. 17·

19.

20.

Thursday : W . — B r o n z e H o r s e ; M a n about T o w n . C . — T h e W i f e ; Cheap Boarding. W . — B r o n z e H o r s e ; M a n about T o w n . C . — W o n d e r ! ; N o Song No Supper. W . — B r o n z e H o r s e ; R a n s o m * : Duvalle—Porter, Edward— Conner, Le Blanc—Reed, Philippe—Hadaway, Pauline— M r s . Willis, Gertrude— M r s . Smith. C . — M e r c h a n t of Venice; M u m m y . Monday: W . — B r o n z e H o r s e ; Ransom. C . — D a m o n and Pythias; Cheap Boarding. W . — S t r a n g e r ; Bronze Horse. C . — O t h e l l o ; N o Song N o Supper. W . — H a m l e t ; Bronze Horse. C . — G l a d i a t o r ; Comfortable Service. W . — M u r d e r at the Black Farm * : Stafford — C l a r k e , Lookout— Porter, Reynolds—Conner, Whitesand—Hadaway, Ellen — M r s . Willis, Janet—Miss Charnock ; Bronze Horse. C . — G l a d i a t o r ; Raising the W i n d . W . — R i c h a r d I I I ; Bronze Horse. C . — G l a d i a t o r ; J o h n Jones. W . — M a c b e t h ; Bronze Horse. C . — B e l l e ' s Stratagem; T u r n Out. Monday: W.-— N e w W a y T o Pay Old Debts; Bronze Horse. c . — W e p t of W i s h - T o n - W i s h ; French Spy. w . - —Richard I I I ; Bronze Horse. c , — W i z a r d Skiff ; French Spy. w . - —Apostate; Bronze Horse. c . —Devil's D a u g h t e r ; Wept of W i s h - T o n - W i s h . w . - —Macbeth ; Bronze Horse. c , —Moorish P a g e ; Devil's Daughter. w . - — M u c h A d o about Nothing; Bronze Horse. c , —Prince Lee Boo ; W i z a r d Skiff. W . -—Mob, the O u t - L a w * : Mob—Conner, Jemmy—Hadaway, Pierre—Wemyss, Jerome—Preston, Agatha—Mrs. Preston ; Bronze Horse. C . — A n d r e a s Z e l l * : Andreas, Guiseppe, Henrico—three rôles — M l l e Celeste, Isaia—Miss Fisher; Devil's Daughter. Monday: W . — W i v e s as they W e r e ; Bronze Horse. C . — A n d r e a s Zell ; Devil's Daughter. W . — B r o n z e H o r s e ; M o b , the O u t l a w . [ 159]

T H E PHILADELPHIA T H E A T R E 21. 22. 23. 24.

26.

27. 28. 29. 30.

C . — T h e Dumb Sailor B o y ; Comfortable Service; Andreas Z e l l . W . — O t h e l l o ; Bronze Horse. C . — D u m b Sailor B o y ; Cheap B o a r d i n g ; Andreas Zell. W . — M o b , the O u t l a w ; Bronze Horse. C . — F l y i n g Dutchman ; Moorish Page. W . — H o n e y M o o n ; Bronze Horse. C . — F l y i n g Dutchman ; Devil's Daughter. W . — W a l t e r Brandt * : Audley—Conner, Brandt—Reed, Buddie — H a d a w a y , Una—Mrs. Preston, Margery—Mrs. Willis; Bronze Horse. C . — O r p h a n of Russia; M a n about T o w n ; Spirit Bride. Monday: W . — R u l e a W i f e and H a v e a W i f e ; Scene in a M a d H o u s e ; Bronze Horse. C.—Second Thoughts; Irish Ambassador; Rosina. W . — W a l t e r B r a n d t ; Bronze Horse. C . — J o h n Bull ; Mummy. W . — H u n c h b a c k ; Bronze Horse. C . — N e r v o u s man and M a n of Nerves ; Comfortable Service ; Irishman in London. W . — W a l t e r B r a n d t ; Bronze Horse. C . — T h e R i v a l s ; Irish T u t o r . W . — W a l t e r B r a n d t ; Mob, the Outlaw. C . — H a m l e t ; H o w do you M a n a g e ? * : Popjoy—Burton, Snooks—Faulkner, Mrs. Popjoy—Mrs. Rowbotham, Mrs. Snooks—Mrs. Thayer. OCTOBER

I.

3.

4. 5.

6. 7.

Saturday: W.—Skeleton R o b b e r * : Henrico—Conner, Rodolph—Porter, Shabrico—Reed, Roda—Mrs. Willis, Adriana—Mrs. Preston ; M o b , the O u t l a w . C . — S t . Patrick's Eve, Omnibus. Monday: W.—Clandestine M a r r i a g e ; M y Master's Rival. C.—Irish Ambassador; Irishman in London. W . — P a u l P r y ; Legion of Honor. C . — B o r n to Good Luck ; T e d d y the T i l e r ; Y o u n g W i d o w . W . — T e c u m s e h ; M y Master's Rival. C . — N e r v o u s M a n and M a n of Nerve ; Omnibus ; Raising the Wind. W . — H e i r at L a w ; Hundred-Pound Note. C . — S t . Patrick's E v e ; Irish T u t o r . W . — M a r r i e d and Single; Hypocrite, second and fifth acts. C . — J o h n B u l l ; Is H e Jealous? [ 160]

CHRONOLOGICAL RECORDS: 1 8 3 6 8. IO.

II. 12. 13I·*· 15· 17. 18. 19. 20. 21. 22. 24· 25· 26. 27. 28.

W . — R i c h a r d I I I ; M o b , the O u t l a w . C . — I r i s h Ambassador; Omnibus. Monday: W . — K i l l or C u r e ; Falls of C l y d e ; Removing the D e p o s i t e s * : T u r n i n g the Tables. C.-—The W e s t Indian ; Paddy C a r e y . W . - —Skeleton Robber; Mob, the O u t l a w . c . - —The R i v a l s ; Irishman in London. W . - —Hunchback; Bronze Horse. c . - —Rob R o y ; M u m m y . W . - —Fazio; Personation; M a n about T o w n . C.-—Born to Good Luck ; T h e Review ; W a t e r m a n . W . - —Macbeth ; Perfection. C.-—Etiquette; T e d d y the T i l e r ; Is H e J e a l o u s ? W . - —Jane Shore ; Swiss Cottage * : T e i k — H a d a w a v , Max— Conner, Lisette—Mrs. Willis. C . — L u c i l l e ; Loan of a L o v e r ; Young W i d o w . Monday: W . - —Winter's T a l e ; Somnambulist. C . - —Lucille; Loan of a L o v e r ; N o ! W . - —Othello ; Swiss Cottage. C . - - M a i d and M a g p i e ; M y M a s t e r ' s Rival. W . - —Venice Preserved ; Swiss Cottage. C . -—Lucille; Loan of a L o v e r ; Purse. W . - —Castle Spectre; T h r e e W e e k s after M a r r i a g e ; Personation. c . - —She Stoops to Conquer ; Swiss Cottage. W . - —Mob, the Outlav/; Swiss C o t t a g e ; Bronze Horse. c . - —Love in a V i l l a g e ; Swiss Cottage. W . - - P a u l P r y ; T u r n p i k e Gate. c . - —Ransom ; Comfortable Service ; Swiss Cottage. Monday : W . - —School for Scandal ; Somnambulist. c . - —Ransom ; Comfortable Service ; Loan of a Lover. W . - —Jane Shore; M a y Queen. C . - - L u c i l l e ; M y Husband's G h o s t * : Gilks—Keeley, Musket — W a l t o n , Fanny—Mrs. Rowbotham ; ' T w a s I. W . - —Scapegoat * : Pops—Barnes, Eustace—Porter, Molly— M r s . Preston; P i z a r r o ; Sprigs of L a u r e l . c . - —Ransom ; M y Husband's Ghost ; Swiss Cottage. W . - - Y o u t h f u l Q u e e n ; H e n r i e t t e ; Comedy of Errors. c . - —Farmer's S t o r y ; ' T w a s I. W . - —La F i t t e * : La Fitte—Conner, Martinez—Clarke, Gethedana—Crouta, Solomon—Hadaway, Reeado—Thompson, Sabastian—Myers, Theodore—Mrs. Willis, Cudgoe— Percival, Velasques—Morton, Alphonso—Woodhull, Constanza—Mrs. Preston, English Captain—Raffile, Locker— 1161]

T H E PHILADELPHIA T H E A T R E

29. 31.

Newton, Jackson—Porter, Governor—Durang, Johnston —Boswell, Barney—Josephs, Sergeant—Clemens, Officer Wilks, Soldier—Chappell, Oula—Mrs. Smith; Swiss Cottage. C.—Farmer's Story ; Loan of a Lover. W . — L a Fitte; Turning the Tables. C . — L u c i l l e ; Hide and S e e k * : Moses—Keeley, Mrs. Mordaunt—Mrs. Keeley; Swiss Cottage. Monday: W . — L a Fitte; Turnpike Gate. C . — T h e W i f e ; M a n about T o w n . NOVEMBER

1. 2. 3. 4.

5. 7.

8. 9. 10. 11. 12.

Tuesday: W . — L a Fitte ; M y W i f e and I. C . — T h e Stranger; Spring and Autumn. W . — L a Fitte; T h e Hotel. C . — P i z a r r o ; M y Aunt. W . — L a Fitte ; Turning the Tables. C . — T h e Gamester ; Dead Shot. W . — L a Fitte; Mrs. White, and Mrs. Peter AVhite * : Pepper— Porter, Brown—Wemyss, White—Hadaway, Kitty— M r s . Willis. C . — W o n d e r ; Second Thoughts. W . — L a Fitte; Mrs. White, and M r s . Peter White. C.—Hunchback; T h e Wolf and the Lamb. Monday: W . — L a Fitte: Cherokee Chief. C . — P o o r Gentleman ; Of Age Tomorrow. P.—Raising the Wind ; Charles I I ; Affair of Honor. W . — L a Fitte; Hyder Ali. C . — R i v a l s ; Wandering Minstrel. P . — H e i r at L a w ; M a n about T o w n . W . — L a Fitte; Cherokee Chief. C . — H e n r y I V ; Mummy. P . — R e n t Day ; Secret ; T w o Gregories. W . — W a l l a c e ; L a Fitte. C.—School for Scandal ; John Jones. P . — L u k e the Laborer ; Kill or Cure ; Lottery Ticket. W.—Zenocles; L a Fitte; Ourang Outang. C . — R o a d to Ruin ; Wandering Minstrel. P.—Therese; Rendezvous; Husband at Sight. W . — W a l l a c e ; L a Fitte. C.—Hypocrite; Scotch Cooper; Three Weeks after Marriage. P . — W r e c k Ashore ; Fortune's Frolic. [162]

CHRONOLOGICAL RECORDS: 1836 14.

15.

16.

17.

18. 19.

21.

22. 23.

24. 35.

Monday: W . — W a l l a c e ; Bronze Horse. C . — M a c b e t h ; Dead Shot. P . — G a m b l e r ' s F a t e ; Intrigue; M r s . White, and M r s . Peter White. W . — L e s t o c q * : Lestocq—Conner, Goloffkin—Woodhull, Demetrius—J. G . Porter, Elizabeth—Mrs. Preston, Catharine—Mrs. W i l l i s ; M r s . White, and M r s . Peter White. C . — H o n e y m o o n ; Rent Day. P . — W r e c k Ashore; Midnight Hour. W . — B i e n a ; Lestocq. C . — N e r v o u s M a n ; Omnibus; Waterman. P . — R i n a l d o R i n a l d i n i * : Rinaldo—Jackson, Hobbs—Logan, Peter—Watson, Ermeldine—Mrs. W a t s o n ; K i l l or C u r e ; Loan of a Lover. W . — W a l l a c e ; L a Fitte. C . — I r i s h Ambassador; Irish T u t o r ; Happiest Day of my L i f e . P . — R i n a l d o Rinaldini; Gambler's Fate. W . — L a F i t t e ; Mob, the Outlaw. C . — J o h n Bull ; T e d d y the T i l e r . P . — L o Z i n g a r o ; Rinaldo Rinaldini. W . — M r s . White, and M r s . Peter W h i t e ; L a Fitte; M a k e your W i l l s * : Ireton—-Porter, Septimus—Conner, Clara—Miss Charnock. C . — B o r n to Good L u c k ; Omnibus; Comfortable Service. P . — R i n a l d o Rinaldini; Bleeding Nun. Monday: W . — L e s t o c q ; M a k e your Wills. C . — K i n g O ' N e i l * : O'Neil— Power, Major—Walton, Count •—Rowbotham, Countess—Mrs. Maywood, Marchioness M r s . Rowbotham; Is H e J e a l o u s ? ; Crossing the Line. P . — A l o n z o the Brave and the Fair Imogine; N o ! ; L o Zingaro. W . — W a l l a c e ; Hunt a T u r t l e . C . — K i n g O ' N e i l ; Paddy C a r e y ; Y o u n g W i d o w . P . — I d i o t Witness; T w o Gregories; Bleeding Nun. W . — S a r d a n a p a l u s * : Sardanapalus—Conner, Salemenes—Porter, Pania—Morton, Belises—Clarke, Zarina—Mrs. Preston, Myrrha—Mrs. W i l l i s ; T h e Pilot. C . — I r i s h Ambassador; R e v i e w ; John Jones. P . — J o n a t h a n B r a d f o r d ; N o ! ; Idiot Witness. W . — M a i d of Cashmere * ; M a k e your Wills. C . — K i n g O ' N e i l ; T e d d y the T i l e r ; Comfortable Service. P . — J o n a t h a n B r a d f o r d ; Hide and Seek; Miller's M a i d . W . — M a i d of Cashmere; M a k e your W i l l s ; M r s . White, and M r s . Peter White. C . — N e r v o u s M a n ; M o r e Blunders than One. [ 163]

THE PHILADELPHIA THEATRE 26. 28.

29.

30.

P.—Ambrose Gwinett; Husband at Sight; Miller's Maid. W . — M a i d of Cashmere ; T h e Pilot. C.—St. Patrick's E v e ; More Blunders than One. P.—Jonathan Bradford ; Touch and T a k e ; Miller and his M e n . Monday: W . — M a i d of Cashmere ; Quite at Home * : Easy—Wemyss ; Vow of Silence*: Baron—Clarke, Rodolph—Conner, Edith—Mrs. Willis. C . — M a i d of Cashmere, the o p e r a * : Zelica—Mile. Celeste, Fatima—Mlle. Arreline, Haidef—Mad. Checkini, Zohrah—Möns. Checkini, The Schop Dar—Brinton, Almazaide—Mrs. Walstein ; M a n about T o w n ; Wandering Minstrel. P . — M a i d and Magpie; M y Neighbor's W i f e ; Miller and his Men. W.—Sardanapalus ; Vow of Silence. C . — M a i d of Cashmere; Happiest Day of my L i f e ; Sleeping Draught. P.—Iron Chest; Christine of Sweden; Gretna Green. W . — L a Fitte; Vow of Silence. C . — M a i d of Cashmere; N o ! ; Deaf as a Post. P.—Floating Beacon; T w o Gregories; Therese. DECEMBER

1.

2.

3.

5.

6.

Thursday: W . — L a Fitte; Maid of Cashmere. C . — M a i d of Cashmere ; Kill or Cure ; Make your Wills. P.—Gambler's Fate; Secret; Miller and his Men. W . — M r s . White, and Mrs. Peter White; Therese; Siamese Twins. C . — M a i d of Cashmere; Turning the tables; M y Fellow Clerk. P.—Poor Gentleman; Charles I I . W.—Zanthe ; Make your Wills. C . — M a i d of Cashmere ; Make your Wills. P.—Broken Sword ; Christine of Sweden ; Sandy and Jenny ; Bath Road. Monday: W . — G i l d e r o y ; State Secrets*: Hal—Conner, Gregory—Hadaway, Maud—Mrs. Durang; M r s . White, and Mrs. Peter White. C . — M a i d of Cashmere; Cramond Brig; Day after the Fair. P.—School of R e f o r m ; Spectre Bridegroom. W . — I o n * : Ion—Mrs. Ternan, Adrastus—Ternan, Ctsesiphon —Conner, Clemanthe—Mrs. Preston; Make your Wills. C . — M a i d of Cashmere ; Scotch Cooper ; Make your Wills. [ 164]

CHRONOLOGICAL R E C O R D S : 1836 7.

8. 9. 10.

12.

13.

14. 15.

16.

17. 19.

20.

P . — R i c h a r d I I I ; State Secrets. W . — I o n ; Swiss Cottage. C . — W e p t of Wish-Ton-Wish ; M a i d of Cashmere. P . — V i r g i n i u s ; Hunting a T u r t l e ; Christine of Sweden. W . — I o n ; Personation. C . — W e p t of W i s h - T o n - W i s h ; M a i d of Cashmere. P . — D a m o n and Pythias ; Sandy and Jenny ; Crossing the Line. W.-—Ion ; Perfection. C . — W e p t of Wish-Ton-Wish ; M a i d of Cashmere. P.—William Tell. W . — W i n t e r ' s T a l e ; M a r y Stuart. C . — M a i d of Cashmere ; French Spy. P . — N e w W a y T o Pay Old Debts; Love in a M i s t ; Lottery Ticket. Monday: W . — I o n ; Heart of Midlothian. C . — W i z a r d Skiff ; Moorish Page. P.—Othello; Young Widow. W.—The Minerali*: Martello—Denvil, Nicolo—Clarke, Marco—Percival, Pietro—Hadaway, Leila—Mrs. Preston, Annette—Mrs. W i l l i s ; Gilderoy. C . — M a i d of Cashmere; Moorish Page. P . — U g o l i n o ; Love in a Mist ; Fortune's Frolic. W . — S t a t e Secrets; T h e M i n e r a l i ; Hunting a T u r t l e . C . — M a i d of Cashmere; Mummy. P . — H a m l e t ; Adopted Child. W . — T h e M i n e r a l i ; Wallace. C.-—Flying Dutchman; French Spy. P.—Soldier's Daughter; T w o Gregories; Gretna Green. W . — M e r c h a n t of Venice; T h e Minerali. C . — M a i d of Cashmere; W i z a r d Skiff. P . — P i z a r r o ; Is H e J e a l o u s ? ; Intrigue. W . — R i c h a r d I I I ; M r s . White, and M r s . Peter White. C . — M a s a n i e l l o ; Devil's Daughter. P . — B r i g a n d ; Touch and T a k e ; Children in the Wood. Monday: W . — N e w W a y T o Pay Old Debts ; Quite at Home. C . — S t a g H a l l * : Melford—Wood, ¡Veiling—Thayer, Giles— Burton, Lady Melford—Mrs. Maywood, Lady Linton— M r s . Rowbotham; T h e P i c n i c * : Fluid—Burton, Mrs. Deputy—Mrs. Rowbotham. P . — M a c b e t h ; T u r n Out. W . — L a F i t t e ; Bronze Horse. C . — S t a g H a l l ; T h e T h r e e Gladiators, first time in this country, Gabriel, Antoine, and Jerome R a v e l ; Vol-Au-Vent. P . — B r u t u s ; Mischief Making. 1165]

THE PHILADELPHIA 21.

22.

23.

24.

26.

27.

28.

29.

30.

31.

THEATRE

W.—Skeleton Robber; T u r n i n g the Tables. C . — T h e Picnic; T h e T h r e e Gladiators; Vol-Au-Vent. P.—Richard I I I ; Family J a r s . W . — S o l d i e r ' s Daughter; T h e Minerali. C.—Happiest D a y of my L i f e ; Weathercock ; T h e First Fratricide! P . — R o b Roy ; Black E y ' d Susan. W . — M o b , the O u t l a w ; Bronze Horse. C . — T u r n i n g the T a b l e s ; Comfortable Service; T h e First Fratricide. P.—Broken S w o r d ; Is He J e a l o u s ? ; T u r n Out. W . — T h e Demon Statue * : Wolfgang—J. G . Porter, Stormo— Porter, Hans—Hadaway, Denny—Conner, Lestelle—Mrs. Preston, Barbara—Mrs. W i l l i s ; Black E y ' d Susan. C . — M a r r i e d L i f e ; Godenski. P.—Abaellino; Perfection; Mischief Making. Monday: W . — D e m o n Statue; Forty Thieves. C . — T a m O ' S h a n t e r ; Whirligig H a l l ; Bedouin Arabs. P.—Abaellino; Loan of a L o v e r ; Matheo Falcone. W . — V i r g i n i u s ; M a k e your Wills. C . — S t a g H a l l ; Godenski. P.—Abaellino; Clari. W.—Mountaineers ; Robinson Crusoe. C . — G r e e n M a n ; Vol-Au-Vent. P . — G e o r g e B a r n w e l l ; Crossing the L i n e ; Gretna Green. W . — L a F i t t e ; Savage of the Forest. C.—Point of H o n o r ; L a Fete Champetre; Italian Brigands. P . — P e r f e c t i o n ; Black Ey'd Susan; Mischief M a k i n g ; Loan of a Lover. W . — D e m o n Statue; Robinson Crusoe. C . — C r a m o n d B r i g ; P o n g o * : by the R a v e l f a m i l y ; John J o n e s ; Bedouin Arabs. P . — W r e c k Ashore; Hide and Seek; Fortune's Frolic. W . — G e o r g e B a r n w e l l ; Zembrica. C . — R i e v e r ' s Ransom ; Pongo ; Bedouin Arabs ; A l l the World's a Stage. P.—Gambler's F a t e ; Secret; A f f a i r of Honour. JANUARY

2.

1837

Monday: W . — B r o t h e r s of the Pyrenees * : Arrego—Conner, Joachim— Conner, Pedro—J. G . Porter, Gaspard-— Porter, Matteo — C l a r k e , Conrado—Myers, Beatrice—Mrs. Preston ; Zembuca. [ 166]

C H R O N O L O G I C A L R E C O R D S : 1837

3.

4.

5.

6.

7.

9.

10.

11.

12.

13.

14.

C . — H u n c h b a c k ; M a k e your W i l l s . P . — R i n a l d o R i n a l d i n i ; Bleeding N u n . W . — B r o t h e r of the Pyrenees; Zembuca. C . — A s Y o u L i k e It ; Ransom. P . — M i l l e r and his M e n ; M y Neighbor's W i f e ; T o u c h and Take. W . — D a m o n and P y t h i a s ; Paul, the Reprobate * : Paul—Clarke, Groggy—Porter, Lucy—Mrs. Preston. C . — P r o v o k e d H u s b a n d ; Ransom. P . — Y a n k e e L a n d * : Sago—Logan, Ostrand—Jackson, Matson—Watson, Mrs. Ashton—Mrs. Sefton ; Y o u n g W i d o w . W . — O t h e l l o ; M r s . W h i t e , and M r s . Peter W h i t e . C . — S e c o n d T h o u g h t s ; Gnome K i n g . P . — A m b r o s e G w i n e t t ; Therese. W . — P a u l , the Reprobate; Swiss C o t t a g e ; Black E y ' d Susan. C . — B e l l e ' s Stratagem ; Y o u t h f u l Queen. P . — C r o s s i n g the L i n e ; Hunting a T u r t l e ; Rinaldo Rinaldini. W . — B r a v o of V e n i c e * : Bravo—Conner, Duke—Porter, Palazzi—J. G . Porter, Contatino—Clarke, Memmo—Hadaway, Stephano—Wemyss, Rosabello—Mrs. W i l l i s ; Paul, the Reprobate. C . — S t r a n g e r ; W a n d e r i n g Minstrel. P . — V a m p i r e ; previous to play, an Introductory V i s i o n ; M o u n taineers. Monday: W . — B r i d e of Abydos ; Beggars of Cripplegate * : Henry Vili— Wemyss, Lambert—Conner, Osgood—Clarke, Lorell— H a d a w a y , Marion—Mrs. Preston, Millicent—Miss Charnock. C . — T h e W i f e ; Cheap Boarding. P . — V i l l a g e P h a n t o m ; D a y after the W e d d i n g ; Iron Chest. W . — B r a v o of V e n i c e ; Beggar of Cripplegate. C . — M u c h A d o about N o t h i n g ; A n i m a l Magnetism. P . — C u r f e w ; Vampire, with Introductory Vision. W . — B r a v o of Venice ; Bride of Abydos. C . — R o m e o and J u l i e t ; High L i f e below Stairs. P . — V a m p i r e , w i t h Introductory V i s i o n ; Irish T u t o r ; Innkeeper's Daughter. W . — L o w e n a of T o b o l s k a ; Budget of Blunders. C . — H u n c h b a c k ; Ladies' M a n . P . — O t h e l l o ; V a m p i r e ; Introductory Vision. W . — B r i d e of A b y d o s ; Bravo of Venice. C . — S c h o o l for Scandal ; Happiest D a y of my L i f e . P . — M a t r i m o n y ; Vampire, with Introductory V i s i o n ; D a y after the W e d d i n g . W . — T h e S h a d o w ; Budget of B l u n d e r s ; L o w e n a of Tobolska. [ 167]

THE PHILADELPHIA THEATRE

16.

17.

18.

19.

20.

21.

23.

24.

25.

26.

27.

28.

C . — M e r c h a n t of Venice; Perfection. P . — A C u r e for the H e a r t A c h e ; Ruffian B o y ! ! Monday: W . — W a l l a c e ; Cherokee Chief. C . — J e a l o u s W i f e ; Animal Magnetism. P . — B l u e Beard ; Lover's Quarrels. W . — M o u n t a i n D e v i l ; Budget of B l u n d e r s ; J a c k Robinson and his Monkey. C . — W o n d e r ; Y o u t h f u l Queen. P . — B l u e B e a r d ; Irish T u t o r ; Sprigs of L a u r e l . W . — K n i g h t s of the C r o s s ; O u r a n g O u t a n g . C . — H o n e y M o o n ; A Roland for an Oliver. P . — R a i s i n g the W i n d ; Blue Beard ; Secret. W . — V a l e n t i n e and O r s o n ; Knights of the Cross. C . — S t r a n g e r ; Scapegoat. P . — C h a r l e s I I ; B l u e Beard ; Bath Road. W . — M o u n t a i n D e v i l ; T u r n i n g the T a b l e s ; Valentine and O r son. C . — B o l d Stroke for a Husband ; Scapegoat. P . — T w o Friends ; B l u e Beard ; M a t r i m o n y . W . — T r i a l by Battle * : Ambrose—Porter, Rufus—Cony, Henry — B l a n c h a r d , Geraida—Miss P a c k a r d ; M r s . W h i t e , and M r s . Peter W h i t e ; Don J u a n . C . — B e l l e ' s Stratagem ; Perfection. P . — V a m p i r e ; Nature and Philosophy; Blue Beard. Monday: W.—Shakespeare's E a r l y D a y s ; Christine of P o l a n d ; Dramatist. C . — T w e l f t h N i g h t ; T h e D a u g h t e r * : Mary—Miss Tree, Wilson—Maywood, Fitzfaddle—Burton, Mrs. Delmore — M r s . Thayer. P . — F o r e s t of B o n d y ; O u r a n g Outang. W . — F o r e s t of B o n d y ; Richard I I I , scenes; W i l d Boy. C.—Duddlestones ; T h e Picnic. P.—Othello; Review. W . — D a m o n and Pythias; T h e Pilot. C . — C i n d e r e l l a ; State Secrets. P . — H y d e r A l i ; T w o Friends ; Monkeyana. W . — L a F i t t e ; Shadow. C.—Duddlestones; Vol-Au-Vent. P.—Zenocles ; Crossing the L i n e ; Monkeyana. W . — L a Fitte ; Shadow. C . — J o h n of P a r i s ; Brother and Sister. P . — V a l e n t i n e and Orson ; Knights of the Cross. W . — J u l i u s Caesar ; M a y o r of Garrett. C . — P i c n i c ; Godenski; Bedouin A r a b s ; State Secrets. P . — T r i a l by B a t t l e ; Cherokee C h i e f ; O u r a n g O u t a n g . [ 168]

CHRONOLOGICAL RECORDS: 1837 30.

31.

Monday: W . — W o o d m a n ' s H u t ; Savage of the Forest. C . — R o m e o and Juliet ; L a Fete Champetre. P . — T i m o u r the T a r t a r ; Actor of all W o r k ; Blue Beard. W . — W o o d m a n ' s H u t ; M a k e your W i l l s ; Shadow. C . — S t a g H a l l ; T h e First Fratricide; T h e Four Lovers. P . — R i c h a r d I I I ; Sprigs of Laurel. FEBRUARY

1.

2. 3.

4.

6.

7.

8. 9.

10.

11. 13.

Wednesday: W . — G i l d e r o y ; Woodman's Hut. C . — C l a r i ; T h e Four L o v e r s ; Bedouin A r a b s ; State Secrets. P . — R e v i e w ; Turnpike G a t e ; Blind Boy. W . — G o l d e n F a r m e r ; Fortune's Frolic. C . — P o i n t of H o n o r ; Pongo. P . — O t h e l l o ; Fortune's Frolic. W . — N e w W a y T o Pay Old Debts ; T h e Intrigue. C.—Apostate ; Godenski. P . — D r a m a t i s t ; Golden Farmer. W . — C a t a l i n e ; Hunting a T u r t l e . C . — F a z i o ; Harlequin and the M a g i c T r u m p e t * : by Ravel family. P . — E v i l E y e ; Peter W h i t e ; M u m m y . Monday: W . — H o f e r ; Little Red Riding H o o d ; M o b , the Outlaw. C . — R a v e l Family in Une Passion, Vol-Au-Vent and Bedouin A r a b s ; State Secrets; T h e Scapegoat. P.—Othello ; Adeline. W . — C l o s e d in preparation for new piece of Thalaba. C . — F a z i o ; Clari. P . — D a m o n and Pythias; Irish T u t o r . W.—Closed. C . — N o ! ; Möns. M a l l e t ; Kentuckian; Wandering Minstrel. P . — I r o n Chest; Weathercock. W.—Closed. C . — H e n r y I V ; M a n about T o w n . P . — H e i r at L a w ; Swiss Cottage. W.—Closed. C . — R i p V a n Winkle ; Scapegoat ; J o b Fox. P.—Mountaineers ; T h e Dumb Belle ; Agreeable Surprize. W.—Closed. C . — M ö n s . M a l l e t ; Jonathan in E n g l a n d ; Kentuckian. P . — H o f e r ; M u m m y ; Ambrose Gvvinett. Monday: W.—Closed. [ 169]

THE PHILADELPHIA

14.

15.

16. 17.

18.

20.

21. 22. 23· 24. 25·

27.

THEATRE

C . — B o r n to Good Luck ; Omnibus ; M a k e your Wills. P . — P a u l P r y ; Loan of a Lover. W.—Closed. C . — M o n s i e u r M a l l e t ; Rip V a n W i n k l e ; Job Fox. P . — T h e Robber's W i f e ; Triumph of Greece. W.—Closed. C . — N e r v o u s M a n ; Paddy Carey ; Waterman. P.—Sweethearts and W i v e s ; W h y don't she M a r r y ? ; T u r n pike Gate. W.—Closed. C . — I r i s h Ambassador; Irish T u t o r s ; State Secrets. P . — P e r f e c t i o n ; T o m Cringle; T u r n i n g the Tables. W.—Closed. C . — J o h n Bull ; M u m m y . P . — G o l d e n Farmer ; Day after the Wedding. W.—Closed. C . — W e s t Indian; Teddy the T i l e r . P . — G o l d e n F a r m e r ; Day after the Wedding. Last night of the season. Monday: W . — T h a l a b a * : Hareb—Proctor, M oath—Porter, Sambo— H a d a w a y , Ilafntt—Cunningham, Zalem—Warren, Ali-— Vache, Markalla—Wilks, Thalaba—Conner, Obka— Clemens, Abdalaa—Clarke, Olak—Myers, Friend of Fire—Chappel, Moadin—J. G . Porter, G ¡after—Watson, Zobi—Jackson, Zuliman—McConachy, Elchee—Mestayer, Soorah—Thompson, Shahnameh—Kirby, Onneah Stanley, Otieiza—Mrs. Willis, Marittima—Miss Packard, Rawla—Mrs. Greene, Zeinah—Mrs. Watson, Acratoon — M i s s S. Packard, Johohk—Miss Chester, Abusheher-— Miss Hichie; Irishman in London. C . — K i n g O ' N e i l ; Omnibus ; N o ! W , — T h a l a b a ; Crowded Houses. c . — N e r v o u s M a n ; Paddy C a r e y ; M a n about T o w n . w . — T h a l a b a ; Review. c . — B o r n to Good Luck ; Review ; State Secrets. w . — T h a l a b a ; Hundred-Pound Note. c . —Scape G o a t ; Richard I I I , first act; Tempest. w , — T h a l a b a ; Honest Thieves. c , —Irish Ambassador; Omnibus; Wandering Minstrel. w , —Thalaba ; Ruffian Boy. Anderson—Hamilton, c . — J o h n B u z z b y * : John—Burton, —Greville—Wood, Jingle—Faulkner, Mrs. Anderson— Miss Fisher, Cicelia—Mrs. W a l s t e i n ; Forty Winks. Monday: W . — T h a l a b a ; Lilian, the Show G i r l * : Maynard—Porter, Ev[ 170]

CHRONOLOGICAL RECORDS: 1 8 3 7

28.

erard—Conner, Diggs—Hadaway, M orris—Procter, Lilian—Mrs. Willis. C.—O'Flannigan and the Fairies * : O'Flannigan—Power, Ned •—Hamilton, Jack—Walton, White—Pearson, O'llara— Brunton, Cook—Watson, Doran—Lindsay, Pedlar—Thompson, Mary—-Mrs. Rowbotham, Kate—Miss Fisher, Widow—Mrs. Brood, Nancy—Miss Armstrong, Mrs. Flynn—Mrs. Walstein, Fairies—Misses Morgan, Lee and M e w , Eberle, and M a s t . Watson, Characters in the dream — H a t h w e l l , Watson, Carnes, Raffile, Jones and Craddock, M r s . Lee, Misses Fox, Brown, Stone and Lopez; High Life below Stairs. W . — T h a l a b a ; Lilian, the Show Girl. C.—Green M a n ; Tempest. MARCH

1. 2. 3.

4. 6.

7. 8. 9. 10. 11.

Wednesday: W . — T h a l a b a ; Lilian, the Show Girl. C.—O'Flannigan and the Fairies; M a r r i e d Bachelor. W . — T h a l a b a ; Lilian, the Show Girl. C.—O'Flannigan and the Fairies; T u r n Out. W . — T h a l a b a ; Mother's Dream * : Angelo—Conner, Fortune— Porter, Gobbo, Sr.—Hadaway, Gobbo, Jr.—Watson, Ida — M r s . Watson, Ferina—Mrs. Greene. C.—Weathercock; A r a b e l l a * : Arabella, Harry, Bridget, Travers—four rôles—Miss St. L u k e ; Yankee T a r * : Harvey — M a s t e r St. Luke, Eaton—Hamilton, Harriet—Pearson, Eugenia—Miss Fisher. W . · — T h a l a b a ; Mother's Dream. C.—O'Flannigan and the Fairies ; Irish T u t o r ; Fire and W a t e r . Monday: W . — W r e c k e r ' s D a u g h t e r * : Robert—Conner, Morris—Proctor, Edward—J. G. Porter, Stephen—Master Jackson, Marian—Mrs. Greene; Thalaba. C.—O'Flannigan and the Fairies; Omnibus; No! W . — W r e c k e r ' s Daughter; T h a l a b a . C.—O'Flahnigan and the Fairies; T e d d y the T i l e r . W . — W r e c k e r ' s Daughter ; T h a l a b a . C . — O ' F l a n n i g a n and the Fairies; Irishman in London; Fire and W a t e r . W . — W r e c k e r ' s Daughter; T h a l a b a . C.—Born to Good L u c k ; M a r r i e d Daughter; T u r n Out. W . — T h a l a b a ; Hofer. C.—Speed the Plough ; T h e Picnic. W . — T h e Spirit of the R h i n e * : Huntley—Conner, Ignatius— [ 171 ]

T H E PHILADELPHIA T H E A T R E

13.

14. 15. 16. 17. 18.

20.

21. 22.

23. 24.

Hadaway, Irma—Mrs. W i l l i s ; Thalaba. C.—O'Flannigan and the Fairies ; More Blunders than One. Monday: W . — N o r t h P o l e * : Montague—J. G . Porter, Ned—Conner, Cato—Proctor, Dip—Watson, Amelia—Mrs. Watson, Betty—Mrs. Willis; Z a Z e Z i Z o Z u * : ZaZeZiZoZu— Hadaway, ZiZi—Mrs. Willis, ZoZu—Mrs. Watson, ZuZu—Miss S. Packard, ZaZa—Miss Packard, Grosbac —Porter. C.—Pirate B o y * : Francisco-—Miss Watson, Cain—Hamilton, Hawkhurst—Walton, Templemore—Pearson; Raising the Wind. W . — N o r t h Pole ; Z a Z e Z i Z o Z u . C.—Pirate Boy ; Picnic. W.—Wrecker's Daughter; North Pole. C . — L a Sonnambula ; Rendezvous. W . — T h a l a b a ; Spirit of the Rhine. C.—Pirate Boy; Fire and Water. W . — T h a l a b a ; Lilian, the Show Girl. C.—Pirate Boy ; Rendezvous. W . — S t a r Spangled B a n n e r * : Howard—Vache, Madison—J. G . Porter, Go-a-head—Conner, Israel—Greene, Rimenito —Clarke, Hugh—Porter, Julia—Mrs. Watson, Rose— Mrs. Willis; Ion, T r a v e s t i e * : Ion—Walton, Medon— Porter, Ctesiphon—J. G . Porter, Cassander—McConachy, Adrastus—Greene, Chemanthe—Mrs. Willis; Lover's Quarrels. C.—Pirate Boy; Gretna Green. Monday: W.—Prophet of St. P a u l ' s * : Brandon—Conner, Dorset— Wemyss, Louis XII.—McConachy, Francis I.—Proctor, Andrei—Hadaway, Mary—Mrs. Greene, Stella—Mrs. Willis ; T o m Cringle. C.—Pirate Boy; Spoiled Child. W.—Prophet of St. Paul's; Star Spangled Banner; Ion, Travestie. C . — G u y Mannering ; Wandering Minstrel. W . — W h i c h is the Man ? ; Swiss Cottage ; T h e Middy Ashore * : Moreton—McConachy, Cringle—Proctor, Tonnish— Conner, Harry—Mrs. Willis. C.—Pirate Boy; Cinderella. W . — I o n ; Ion, Travestie. C . — L a Sonnambula; Scape Goat. W . — D a m o n and Pythias ; T h e Robber Chieftain * : Jack— Proctor, Tim—J. Greene, Danvers—McConachy, Ellen — M r s . Willis. [172]

CHRONOLOGICAL RECORDS: 1837 25.

27.

28. 29. 30. 31.

C . — L a Sonnambula ; Comfortable Service. W . — T h e H u t of the Red Mountain ; Spirit of the Rhine ; M i d d y Ashore. C . — L a Sonnambula; T h e G r e n a d i e r * : Fanny, Grenadier, Mrs. Popps—three r ô l e s — M r s . Gibbs, Doughty—Walton, IVill—Burton. Monday: W . — S i e g e of Missolonghi * : Miaulis—Conner, Ibrahim—Proctor, Beppo—Hadaway, Nimbo—Watson, Bauclis— Greene, Phedora—Mrs. G r e e n e ; Irishman in London. C . — L a Sonnambula; Grenadier. W . — W r e c k e r ' s Ashore; Star Spangled Banner. C . — L a Sonnambula ; Forty Winks. W . — M a r m i o n ; Hit or Miss. C . — L a Sonnambula; State Secrets. W . — T h r e e and the D e u c e ; M u m m y ; Thalaba. C.—Cinderella. W . — S i e g e of Missolonghi; Lilian, the Show G i r l . C . — D e r Freischutz; Grenadier. APRIL

I.

3.

4. 5. 6. 7. 8. 10. 11. 12. 13. 14.

Saturday : W . — K a t e K e a r n e y ; Robert the D e v i l ; Irishman in London. C . — O n e O ' C l o c k * : Rupert—Pearson, Hardyknute—Hamilton, Willikind—Burton, Rolph—Walton, Adriel—Mrs. Walstein, Clothilda—Mrs. M a y w o o d , Una—Mrs. Rowbotham ; Scape Goat. Monday: W . — S i e g e of Missolonghi ; Kate Kearney. Last night of the season. C . — O n e O ' C l o c k ; M a k e your W i l l s . C . — D a m o n and Pythias ; Black Eyed Susan. C . — O n e O'Clock ; Mummy. C . — O n e O ' C l o c k ; John Jones. C . — O n e O ' C l o c k ; Forty Winks. C . — O n e O ' C l o c k ; Pleasant Neighbors. Monday: C . — L a u g h when you Can ; T h r e e and the Deuce. C . — C u r e for the Heart A c h e ; Pleasant Neighbors; Raising the Wind. C . — P o o r G e n t l e m a n ; A Roland for an Oliver. C . — W i l d O a t s ; T w e n t y - T h r e e John Street. C.—Fontainbleau ; J o e M i l l e r * : Taciturn—Balls, Joe—Walton, Bob—Burton, Lucy—Mrs. W a l s t e i n ; T h r e e and the Deuce. [

173]

THE PHILADELPHIA THEATRE 15. 17. 18. 19. 20. 21. 22. 24. 25. 26. 27. 28. 29.

C . — O n e O ' c l o c k ; T h e Mummy. Monday: C . — M u c h Ado about Nothing; Pleasant Neighbors. C.—Stranger ; State Secrets. C . — A s You Like I t ; T h e Daughter; Pleasant Neighbors. C.—Ion ; Make your Wills. C . — T h e Wonder; Youthful Queen. C . — I o n ; John Jones. Monday: C . — I o n ; M a n about T o w n . C.—Provoked Husband; Barrack R o o m * : Marquis—Faulkner, Colonel—Lindsay, Bernard—Burton, Captain— Thayer, Clarisse—Miss Tree. C.—Belle's Stratagem ; Perfection. C.—Honey Moon ; A Roland for an Oliver. C.—Pleasant Neighbors ; T h e Ransom ; Youthful Queen. C.—Ion ; Barrack Room. Last night of the season. MAY

1. 2. 3. 4. 5. 6. 8. 9. 10. 11. 12. 13. 15. 16. 17. 18. 19. 20. 22. 23.

Monday: A . — P a u l Pry ; M a y Queen. A.—House R o o m * : Major—Burton, Cinnamon—Watson, Gustavus—Lindsay, Mrs. Dandleby—Mrs. Brood; Sweethearts and W i v e s ; Quadrupeds. A.—Second Thoughts ; M a y Queen ; Quadrupeds. A . — T h e Young Quaker; T o m T h u m b ; Quadrupeds. A . — T h e Hunchback; Turning the Tables. A.—House Room; N o ! ; T h e Deep, Deep Sea. Monday: A . — J o h n Bull ; Cheap Boarding. A . — H e n r i Quatre; Deep, Deep Sea. A . — R i v a l s ; Omnibus; N o ! A . — P i z a r r o ; Therese. A.—Nervous M a n ; Review; Rendezvous. A.—Irish Ambassador; Omnibus. Monday: A . — S t . Patrick's E v e ; Scape Goat. A . — M a y Queen; N o ! ; Black Eyed Susan. A.—Nervous M a n ; Gretna Green; State Secrets. A.—Speculation; T h e Old Oak Chest. A.—Irish Ambassador; Is He Jealous?; Comfortable Service. A . — B o r n to Good L u c k ; More Blunders than One. Monday: A . — H a m l e t ; High L i f e below Stairs. A.—Macbeth ; Cheap Boarding. [ 174]

CHRONOLOGICAL RECORDS: 1837 24. 25. 26. 27. 29. 30. 31.

A.—Speed the Plough; Wandering Minstrel. A . — R i c h a r d I I I ; Scape Goat. A . — B r i g a n d ; Spring and Autumn. A . — M y A u n t ; Rent D a y ; T h e W o l f and the Lamb. Monday: A . — L u c i l l e ; Loan of a Lover. A . — F a r m e r ' s Story; ' T w a s I. A . — L u c i l l e ; T w i c e K i l l e d * : Facile—Keeley, Fanny—Mrs. Keeley. JUNE

1. 2. 3. 5. 6. 7. 8. 9. 10. 12. 13. 14. 15. 16. 17. 19.

20. 21. 22. 23.

Thursday : A . — H i d e and Seek; Swiss Cottage; T w i c e Killed. A . — J u l i e * : Morrisseau—Keeley, Regent—R. Hamilton, Duke—Thayer, Adrian—Lindsay, Julie—Mrs. Keeley; Loan of a Lover. A . — J u l i e ; Swiss Cottage. Monday: A.—Honeymoon ; Pleasant Neighbors. A . — I o n ; Wandering Minstrel. A . — S t r a n g e r ; T h e L a d y of the L a k e * : Fitzjarnes—Lindsay, Roderick Dhu—R. Hamilton, Graeme—Brunton, Ellen— Miss Fisher, Blanche—Mrs. Rowbotham. A . — W r e c k e r ' s Daughter ; State Secrets. A . — B e l l e ' s Stratagem ; Barrack Room. A . — W r e c k e r ' s Daughter; Pleasant Dreams. Monday: A . — A s Y o u Like I t ; Y o u t h f u l Queen. A . — W r e c k e r ' s Daughter; Perfection. A . — R o m e o and J u l i e t ; Kill or Cure. A . — W o n d e r ! ; Barrack Room. A . — T h e Dumb Belle; French S p y ; T w i c e Killed. W . — R i c h a r d I I I ; Swiss Cottage. A . — T w e l f t h N i g h t ; One Hour * : Swiftly—Lindsay, O'Leary — F a u l k n e r , Julia—Miss T r e e , Mrs. Bevit—Mrs. Brood. Monday: W . — F a z i o ; Spoiled Child. A . — C i n d e r e l l a ; Luke the Laborer. W . — F r e n c h S p y ; Hunting a T u r t l e . A . — P a u l Pry ; Vol-Au-Vent ; T h r e e Gladiators. W — Richard I I I ; T u r n Out. A.—Sweethearts and Wives ; Godenski. W . — F r e n c h Spy; Welsh G i r l . A . — D e a f as a Post; Bedouin A r a b s ; Dumb Belle. W . — B l a c k Brig of Bermuda ; Spoiled Child. [175]

T H E PHILADELPHIA T H E A T R E 24. 26.

27. 28. 29. 30.

A.—Cinderella; Cheap Boarding. W . — B l a c k Brig of Bermuda ; Welsh Girl. A . — F i r e and Water ; Bedouin Arabs ; T h e Four Lovers ; Ladies' Man. Monday: W . — B l a c k Eyed Susan; New W a y T o Pay Old Debts, fifth act; Jane Shore, fifth act; Comfortable Service; Winning a Husband. A . — M a r r i e d Bachelor; Monsieur de Chaluman ; Jocko. W . — M a n a g e r in Distress; John B u l l ; Nature and Philosophy. Α . — L a Sonnambula; Charles V I I . W . — O t h e l l o ; Swiss Cottage. A . — K i l l or C u r e ; L a Fete Champetre; T h e Death of Abel; Scape Goat. W.—Virginius; Welsh Girl. A.—Idiot Witness ; Petticoat Government ; Forty Thieves. W.—Vision of the S u n * : King—Rice, Oratzuma—J. G. Porter, Koran—Conner, Warriors—J. Greene, Kent, Collingbourne, Crouta, Vache, W . Warren, Wilks, Clemens, McConachy, Tacmar—Porter, Oultampac—Proctor, Tycobra—Hadaway, Genie of the Harp—Miss Brittenham, Genius of the Ebon Wand—J. Addams, Zacateczas— Kirby, Ocelot—Myers, Imps of Oultampac—Joseph, Jackson, Collingbourne, S. Collingbourne, Rumac—Mrs. Proctor, Cassana—Mrs. Kent, Ocella—Miss M . A. Warren, Guiseppa—Miss Chester, Elise—Mrs. Smith, Oreana — M i s s Watson, Frivola—Miss Hichie, Anniolo—Miss Parker, Cora—Mrs. Willis, Alatali—Miss Angelica; Comfortable Service. A.—Petticoat Government; Comfortable Service; Italian Brigands. JULY

I.

3.

4. 5.

Saturday : W.—Vision of the Sun; Swiss Cottage. A . — I s He Jealous?; Monsieur de Chaluman; Bedouin Arabs; Petticoat Government. Monday: W.—Vision of the Sun ; Agreeable Surprise. A.—Ellen Wareham; T h e Ship L a u n c h * : Bunks—Burton, Stevens—Pearson, Polly—Mrs. Walstein ; T w o Thompsons. W . — S t a r Spangled Banner ; Vision of the Sun. A.—Actor of all Work ; French Spy ; Ship Launch. W.—Vision of the Sun ; Star Spangled Banner. [ 176]

CHRONOLOGICAL R E C O R D S :

6.

7.

8.

10.

11. 12. 13. 14. 15. 17. 18. 19. 20.

21. 22. 24.

25. 26. 27.

28. 29. 31.

1837

A . — M a i d of C a s h m e r e , the o p e r a ; S h i p L a u n c h . W . — V i s i o n of the S u n ; S t a r S p a n g l e d B a n n e r . A . — M a i d of C a s h m e r e , the o p e r a ; C r o s s i n g the L i n e ; M a k e your W i l l s . W . — V i s i o n of the S u n ; R i v a l P a g e s * : Louis—Rice, Marquis— J . G . P o r t e r , Victoire—Mrs. K e n t , Julie—Mrs. Proctor. A . — M a i d of C a s h m e r e ; A n i m a l M a g n e t i s m . W . — V i s i o n of t h e S u n ; P r e s u m p t i v e E v i d e n c e . A . — W e p t of W i s h - T o n - W i s h ; W i z a r d S k i f f . L a s t n i g h t of the season. Monday: W . — H a m l e t ; F a r m e r ' s S o n * : Chopstick—Walbourne, Tom— D a v i s , Jaws—Taylor, Billy—Jackson, Margaret—Miss Angelica. W . — R i c h a r d I I I ; F a r m e r ' s Son. W . — N e w W a y T o P a y O l d D e b t s ; F a r m e r ' s Son. W . — M a c b e t h ; F a r m e r ' s Son. W . — A p o s t a t e ; F a r m e r ' s Son. W . — R i c h a r d I I I ; M a y o r of G a r r a t . Monday: W . — T o m and J e r r y ; L ' A m o u r ; R i v a l Pages. W . — T h e N a v y F o r e v e r ; V i s i o n of the S u n . W . — O t h e l l o ; T h e N a v y Forever. W . — V e n i c e Preserved; T h e N a v y Forever. A.—The R o s e s of B a r o n de M a l e s h e r b e s ; T h e Bride; U.A.W.G. W . — J u l i u s C a e s a r ; Rival Pages. W . — K i n g Lear ; Review. Monday: W.—Peculiar Position*: Champignon—Hadaway, Carlo— C o n n e r , Countess—Mrs. H e r r i n g ; Thalaba; Q u e e r Subject. A . — T h e C o n j u r a t i o n ; T h e W i d o w a n d the R i d i n g H o r s e ; T h e S t r a i g h t W a y is the B e s t . W . — O t h e l l o ; Q u e e r Subject. W . — D o u g l a s s ; Q u e e r Subject. W . — D a m o n a n d P y t h i a s ; Spoiled C h i l d . A . — D i s s i p a t e d I n v a l i d s ; N a n t e the P o r t e r ; W a t c h m a n . L a s t performance. W . — P i z a r r o ; Infidelity. W . — W a l d e r , the R e v e n g e r ; C o m f o r t a b l e Service ; A d o p t e d Child. Monday: W.—Pickwick C l u b * : Pickwick—Porter, Tupman—Kent, Snodgrass—Rice, Winkle—Addams, Veller—Hadaway, Fat Boy—Conner, Slumkey—Proctor, Jingle—Stiggins, [177]

THE PHILADELPHIA THEATRE Fitzmarshall—three rôles—Wemyss, Emily—Mrs. tor, Biddy—Mrs. Kent; Welsh Girl. AU 1. 2. 3. 4. 5. 7.

8. 9. 10. 11. 12. 14. 15. 16. 17. 18. 19. 21. 22. 23. 24. 25. 26. 28. 29.

Proc-

GUST

Tuesday : W.—Pickwick Club ; Comfortable Service. W.—Pickwick Club ; Infidelity. W.—Pickwick Club; Queer Subject. W . — T o m and J e r r y ; Farmer's Son. W . — T h a l a b a ; Pickwick Club. Monday: W . — S t a r of Seville*: Carlos—A. H . Bannister, Pedro—Proctor, Alphonso—Addams, Hyacinth—Hadaway, Estrella— Mrs. Proctor, Fiorillo—Mrs. Kent; Spoiled Child. W . — S t a r of Seville; Children in the Wood. W . — S t a r of Seville; Queer Subject. W . — T h a l a b a ; Children in the Wood. W.—Hypocrite, second and fifth acts; Wandering Boys. W . — L a Fitte; Rival Pages. Monday: W.—Crichton ; Comfortable Service. W.—Crichton ; Rival Pages. W.—Crichton ; Welsh Girl. W.—Crichton; Queer Subject. W.—Crichton ; Rival Pages. W.—Crichton; Married Yesterday. C.—Every one has his Fault ; Wandering Minstrel. Monday : W.—Gladiator ; Wild Boy of Bohemia. C.—Charles I I ; One O'Clock. W.—French Spy ; Wild Boy of Bohemia. C.—Education ; T w o Thompsons. W.—Coriolanus; Jack Brag. C.—Point of Honor; May Queen. W.—George Barnwell ; Vision of the Sun. C . — P a u l P r y ; Ladies' Man. W.—Chamber of Death ; Vision of the Sun. C.—School of Reform ; Raising the Wind. W . — T h e Whistler ; Catching an Heiress. C.—Married L i f e ; The Picnic. Monday: W . — B r i a n Boroihme; Rival Pages. C.—Castle of Andalusia ; No Song, No Supper. W . — B r i a n Boroihme; Chamber of Death. C.—Foundling of the Forest; Happiest Day of my Life. [ 178]

CHRONOLOGICAL RECORDS: 1837 30. 31.

W . — B r o n z e Horse; M o b , the O u t l a w . C . — C i n d e r e l l a ; Pleasant Neighbors. W.—Gaulantus*: Gaulantus—Proctor, Baranicus—Conner, Mauclus—Porter, Laticus—Mrs. Proctor; T o m Cringle. C . — M ö n s . M a l l e t ; Kentuckian ; T w o Thompsons. SEPTEMBER

1.

2.

4. 5. 6. 7. 8. 9. 11. 12. 13. 14. 15.

16.

18. 19. 20. 21. 22. 23. 25. 26. 27.

Friday : W . — T h e W i z a r d of the M o o r ; Black Eyed Susan. C . — L a Sonnambula; T u r n O u t . W . — A l v a r d o of Spain ; L a Sonnambula, Travestie * : Elvino— Rice, Rodolpho—Conner, Alessio—Herbert, Notary— Myers, Amina—Hadaway, Liza—Mrs. Kent, Terese— M r s . H e r b e r t ; Spoiled Child. Last night of the season. Recess to introduce gas light. C . — R i p Van W i n k l e ; Jonathan in England. Monday: C . — L a Sonnambula; M u m m y . C . — M a r r i a g e of F i g a r o ; John Jones. C . — C i n d e r e l l a ; Abon Hassan. C . — L a Sonnambula; Masaniello, second and third acts. C . — C a s t l e of Andalusia ; Masaniello. C . — J o n a t h a n Doubikins ; M a k e your Wills ; Forest Rose. Monday: C . — K n i g h t of the Golden Fleece ; Forty and F i f t y ; Forest Rose. C . — W h o wants a G u i n e a ? ; Green Mountain Boy. C . — J o n a t h a n Doubikins; Forty and F i f t y ; Yankee Pedlar. C . — K a s p a r Hauser; Yankee P e d l a r ; Dumb Belle. C . — K n i g h t of the Golden Fleece; Speculations*: Wheeler— Hill, Ledger—Watson, Ellen—Mrs. Walstein ; T w i c e Killed. C . — K a s p a r Hauser; A D o w n East B a r g a i n * : Makepeace— Hill, Earnest—Thayer, Mrs. Missletoe—Mrs. Brood; Speculations; Yankee Pedlar. Monday: C . — T h e R i v a l s ; Of A g e T o m o r r o w . C . — W i l d O a t s ; Raising the W i n d . C . — A Cure for the Heart A c h e ; T u r n i n g the Tables. C . — T h e W a y to get M a r r i e d ; Haunted Inn. C . — E v e r y one has his Fault ; Sleeping Draught. C . — R o a d to R u i n ; Robert Macaire. Monday: C . — T h e W i f e ; Barrack Room. C . — A s Y o u Like I t ; T w i c e Killed. C . — I o n ; Married Bachelor. [ 179]

THE PHILADELPHIA T H E A T R E 28. 29. 30.

C.—Much Ado about Nothing; Youthful Queen. C.—Stranger; Perfection. C.—Honeymoon; Wrecker's Daughter.

OCTOBER 2.

3. 4. 5. 6. 7. 9. 10. 11. 12. 13. 14. 16. 17. 18. 19.

20. 21. 23. 24. 25. 26.

Monday: C.—Duchess de L a V a l l i e r e * : Duchess—Miss Tree, De Lauzune—Lindsay, Grammont—Thayer, De Bragelone— Wood, Madame de la Valliere—Mrs. Maywood, Madame de Vallancour—Mrs. Walstein ; Scape Goat. C.—Duchess de LaValliere; Cheap Boarding. P.—Hedwig. C.—Duchess de LaValliere; Married Life. C.—Hunchback; Pleasant Neighbors. C . — I o n ; Ladies' Man. C.—Wonder; Wrecker's Daughter. Monday: C.—Coriolanus; Wandering Minstrel. C . — L a Sonnambula; Deep, Deep Sea. C.—Macbeth; No Song, No Supper. C.—Coriolanus; Deep, Deep Sea. C.—Cinderella; Animal Magnetism. C.—Othello; John Jones. Monday: C.—Cato ; T u r n Out. C . — F r a Diavolo; Loan of a Lover. C.—King L e a r ; T w o Thompsons. C . — C o n f u s i o n * : Neville—Lindsay, Stilton—Burton, Jack— Thayer, Ellen—Mrs. Walstein, Sally—Mrs. Brood ; T w a Ghaists; The Barbers at C o u r t * : Maximus—Burton, Magnus—Thayer, Charles II.—Harrington, Rochester— Lindsay, Queen—Mrs. Walstein, Catharine—Miss Fisher. C . — C a t o ; T h e Barbers at Court. C.—Hamlet ; T h e Liar. Monday: C . — T h e Barbers at Court; Peacock and the C r o w ; Twice Killed. C.—Ladies' Man ; Peacock and the Crow ; Forty Winks. C . — J i m Crow in London * : Crow—Rice, Hector—Lindsay, Skinflint—Watson, Pop—Thayer, Holdfast—Eberle, Ellen—Miss Fisher ; Confusion. C.—Jim Crow in London ; T h e Barbers at Court ; Black and W h i t e * : Sambo—Rice, Canova—Watson, Julia—Mrs. Walstein. [ 180]

CHRONOLOGICAL R E C O R D S :

27. 28. 30. 31.

1837

C.—Sweethearts and W i v e s ; J i m Crow in London; Black and White. C.—Virjinny M u m m y ; T w a Ghaists; J i m Crow in London. Monday: C . — R o b Roy ; Peculiar Position. C.—Richard I I I ; Married Bachelor. NOVEMBER

1. 2. 3. 4. 6.

7. 8. 9. 10. 11. 13. 14. 15. 16. 17. 18.

20.

21.

Wednesday: C.—Provost of Bruges; Peculiar Position. C.—Hamlet ; T o m Cringle. C . — L a Sonnambula; Barbers at Court. C . — F r a Diavolo; A Gentleman in Difficulties. Monday: C.—Don J u a n * : Don Juan—Horn, Leporello—Brough, Masetto—Walton, Octavio—Pearson, Zerlina—Miss Horton, Elvira—Mrs. R. Hamilton, Anna—Miss Morgan ; John Jones. C.—Don J u a n ; Scape Goat. C . — D o n J u a n ; Spoiled Child. C . — D o n Juan ; Peculiar Position. C . — L o v e in a Village; T h e Father and S o n * : Marcello— Wood, Uberti—Brough, Madame Laurenti—Mrs. Maywood. C . — L o v e in a Village; Father and Son. Monday: C . — L a Sonnambula; Abon Hassan. C . — F r a Diavola; T u r n Out. W . — H a m l e t ; Welsh Girl. C.—Othello; Black Eyed Susan. W — Richard I I I ; Rival Pages. C . — K i n g L e a r ; Pleasant Neighbors. W . — A N e w W a y T o Pay Old Debts; Infidelity. C.—Damon and Pythias ; Turning the Tables. W . — M a c b e t h ; Mayor of Garrat. C.—Virginius; M y Own Ghost * : Button—Burton, Clipper— Harrington, Mrs. Button—Mrs. Brood, Mrs. Clipper— Mrs. Walstein. Monday: W.—Destruction of J e r u s a l e m * : Jewantus—Proctor, Fustavis —Rice, Judas—Bannister, Felix—Jackson, Titus—Kent, Canino—Hadaway, Amanthe—Mrs. Proctor, Areana— Mrs. K e n t ; Middy Ashore. C . — H a m l e t ; T h e Mummy. W.—Destruction of Jerusalem; Adventures of a Sailor. [181]

T H E PHILADELPHIA T H E A T R E 22. 23. 24. 25.

27. 28. 29. 30.

C — R i c h a r d I I I ; Weather Cock. W . — T h e Destruction of Jerusalem; Welsh Girl. C.—Brutus; The Barbers at Court. W . — T h e Destruction of Jerusalem ; Captain's not a Miss. C.—Macbeth; Animal Magnetism. W.—Destruction of Jerusalem; Infidelity. C.—William Tell ; M y Own Ghost. W.—Faith and Falsehood * : Pereaux—Rice, Jukes—Wemyss, Graves—Bannister, Dobbs—Hadaway, Jane—Mrs. Proctor, Arabella—Mrs. Kent; Destruction of Jerusalem. C.—Pizarro ; Twice Killed. Monday: W.—Faith and Falsehood; L a Fitte. C.—Broker of Bogota ; Ladies' Man. W.—Pleasant Neighbors; Faith and Falsehood; Gretna Green. C.—Broker of Bogota ; Pleasant Neighbors. W.—Faith and Falsehood; Skeleton Robber. C.—Gladiator; Cheap Boarding. W.—Faith and Falsehood; Paul Jones, the Pilot. C.—Gladiator; Dumb Belle. DECEMBER

ι. 2.

II.

Friday : W.—Gaulantus; Highways and Byeways. C.—Gladiator ; Peculiar Position. W.—Battle of Sedgemoor * : Monmouth—Rice, Kirk—Proctor, Fillerton—Bannister, Trombone—Hadaway, A quilla— Mrs. Proctor, Tabitha—Mrs. Kent; Captain's not a Miss. C.—Gladiator; Bold Dragoons. Monday: W . — T h e Demon of the Desert; Catching an Heiress. C.—Othello ; Forty Winks. W . — T h e Demon of the Desert; Queer Subject. C.—Richard I I I ; Wandering Minstrel. W.—Demon of the Desert; Pleasant Neighbors. C.—Metamora; Animal Magnetism. W.—Demon of the Desert; Battle of Sedgemoor. C.—Metamora; Make your Wills. W.—Demon of the Desert ; Love Laughs at Locksmiths. C.—Metamora; Whirligig Hall. W . — T h e Tiger at Large; T h e Demon of the Desert. C.—Metamora ; Sleeping Draught. Monday: [ 182]

CHRONOLOGICAL R E C O R D S : 1837

12. 13. 14.

15.

16. 18.

19. 20. 21. 22. 23·

25.

26.

W . — R i c h a r d I I I ; Demon of the Desert. C . — M a r i n o F a l i e r o * : Marino Faliero—E. S. Conner. W . — A p o s t a t e ; Demon of the Desert. C.—Mountaineers ; N o ! ; Weathercock. W . — O t h e l l o ; Demon of the Desert. C . — M a r i n o Faliero ; Promissory Note. W . — K i n g L e a r ; Love Laughs at Locksmiths. C . — T w o F i g a r o s * : Cherubino—H. Wallack, Almaviva— Pearson, Figaro—Walton, Susanetta—Miss T u r p i n , Susanna—Mrs. R . Hamilton; Dumb Belle; Married Bachelor. W . — R i c h a r d I I I ; M y Husband's Ghost. C . — O l d English G e n t l e m a n * : Broadlands—H. Wallack, Horace—Thayer, George—Lindsay, Guard—Hathwell, Fanny—Mrs. R . Hamilton, Sophy—Mrs. Walstein; T w o Figaros. W . — R i c h e s ; Review. C . — O l d English Gentleman ; T w o Figaros. Monday: W . — T h e T i g e r at L a r g e ; R u r a l F e l i c i t y * : Layton—Rice, Unit—Wemyss, Twaddle—Porter, Simon—Hadaway, Mrs. Colpepper—Mrs. Kent, Cecilia—Mrs. Proctor; T h e Beehive. c . — G u y M a n n e r i n g ; Old English Gentleman. w . - —Battle of Sedgemoor; R u r a l Felicity. c . — R o b Roy ; T w o Figaros. W . -—Sam Patch ; R u r a l Felicity. c , — L o v e in a V i l l a g e ; Old English Gentleman. W . -—Forest Rose ; Sam Patch. c . — F a z i o ; Ladies' M a n . W . -— W h o wants a G u i n e a ? ; Sam Patch. c . —Apostate; Sleeping Draught. W . -— T h e Saxon G i r l * : William II.—Rice, Prince—Smith Walter—Proctor, Robert—Percival, Tassai—Hadaway, Ghita—Mrs. Bannister, Editha—Mrs. Proctor, Margaret — M r s . K e n t ; T h e T i g e r at Large. C . — S t r a n g e r ; Dead Shot. Monday: W . — K o e u b a * : Diego—Vache, Donald—Rice, Mat—Kent, Isabella—Miss White, Frosine—Mrs. Proctor ; Set a Beggar on H o r s e b a c k * : Selim—Addams, S adi—Hadaway, Guiñare—Mrs. K e n t ; M y Husband's Ghost. C . — Z e m b u c a ; State Secrets; M a y Queen. W . — N o newspapers printed. C . — N o newspapers printed. [ 183]

THE PHILADELPHIA T H E A T R E 27.

28. 29. 30.

W . — F i r e R a i s e r * : White— Proctor, Hal—Kent, John—Hadaway, Joey—Herbert, Ruth—Mrs. Proctor, Catherine— Miss White; Masquerade; Sam Patch. C.—Bianca Viscounti*: Bianca—Miss Clifton, Guellio—Miss Fisher, Francisco—Wood, Sarpelloni—Conner, Rosana— Harrington, Pasqueli—Burton ; Twice Killed. W . — L a Fitte; Demon of the Desert. C . — T h e W i f e ; M y Own Ghost. W . — E l Hyder; Warlock of the Glen. C.—Bianca Viscounti ; Perfection. W . — F i r e Raiser ; Masquerade. C . — M a i d of Cashmere, opera; State Secrets. JANUARY

1.

2.

3. 4. 5. 6. 8.

9.

1838

Monday: W.—Margaret's G h o s t * : William—-Bannister, Solomon— Hadaway, Ben—Kent, Madeline—Mrs. Bannister, Catharine—Mrs. Proctor; King's Command * : Edward IV.— Rice, Simon—Hadaway, Edith—Mrs. Proctor, Lucy— Mrs. Kent; A Match in the D a r k * : Clements—Proctor, Courtney—Rice, Ellen—Mrs. Proctor. C . — M a i d of Cashmere, the opera; Scotch Cooper; Barbers at Court. W . — T h e Maiden's V o w * : Jacob—Marble, George—Bannister, Charles—J. Addams, Emily—Mrs. Proctor, Peggy— Mrs. Kent; King's Command. C.—Old English Gentleman ; Jim Crow in London. W.—Maiden's V o w ; Sam Patch. C . — M a i d of Cashmere, the opera; Bold Dragoons. W.—Maiden's Vow ; Virginia Mummy. C.—Maid of Cashmere, the opera ; Turning the Tables. W . — W h o want's a Guinea?; O h ! Hush; Sam Patch. C . — M a i d of Cashmere, the opera; Ladies' Man. W.—Margaret's Ghost ; Bone Squash Diavolo. C . — M a i d of Cashmere, the opera; The T w o Ghosts. Monday: W . — T h e Love C h a s e * : Wildlove—Porter, Wildrake— Wemyss, Trueworth—J. Rice, W alien—Bannister, Widow Green—Mrs. Bannister, Constance—Mrs. Proctor ; Faith and Falsehood. C . — M a i d of Cashmere, the opera ; State Secrets. W.—Othello ; A Match in the Dark. C . — M a i d of Cashmere, the opera ; The Strange Gentleman * : Gentleman—Burton, Charles—Lindsay, Tom—Walton, Mary—Mrs. Walstein. [ 184]

CHRONOLOGICAL R E C O R D S : 1838 10.

11. 12. 13. 15.

16. 17· 18. 19· 20. 22.

23· 24. 25. 26. 27. 29.

W . — T i g e r at L a r g e ; W i l l Watch, the Bold Smuggler * : Hugh —Proctor, IV ill Watch—Kent, Levi—Hadaway, Mary — M r s . Proctor ; Abon Hassan. C . — L a Sonnambula; Wandering Minstrel. W . — L o v e Chase; King's Command. C . — M a r r i e d L i f e ; N o Song, N o Supper. W . — L o v e Chase; W i l l Watch. C . — M a i d of Cashmere, the opera ; Adopted Child. W . — M a r g a r e t ' s Ghost; Abon Hassan. C.·—Maid of Cashmere, the opera; Castle of Andalusia. Monday: W.—Syracusan B r o t h e r s * : Lucinius—Bannister, Manacles—J. Rice, Dionysius—Proctor, Naxeus—Porter, Clothinia— M r s . Bannister; L i f e in P h i l a d e l p h i a * : Homo—Bannister, Mrs. Homo—Mrs. Bannister; Delicate Attentions. C . — L o v e Chase; Good Husbands M a k e Good Wives * : Gadfly—Wood, Faithful—Burton, Sidney—Walton, Mrs. Gadfly—Miss Fisher, Miss Careful—Mrs. Brood. w . - —Syracusan Brothers; Bee Hive. c - —Maid of Cashmere, the opera ; Perfection. W . - —Comedy of E r r o r s ; Sweethearts and Wives. c - —Richard I I I ; Strange Gentleman. W . - —Love Chase; Gulliver in Lilliput. C.-—Love Chase; Good Husbands M a k e Good Wives. W . - —Margaret's Ghost; Gulliver in Lilliput. c . - —Gladiator ; M u m m y . W . - —Comedy of E r r o r s ; Gulliver in Lilliput; Spoiled Child c - —Damon and Pythias; William T e l l . Monday: W . — L i l l i p u t i a n s in Kentucky; Gulliver in Lilliput; Sweethearts and Wives. C.-—Coriolanus ; Married Bachelor. W . - —Scotch Clans and Irish Chieftains; A Match in the Dark. c . - —King Lear ; Promissory Note. w - —Scotch Clans and Irish Chieftains; Pleasant Neighbors. c - —Gladiator; Waterman. w . - —Scotch Clans and Irish Chieftains; Industry M u s t Prosper. c . - —Coriolanus; Dumb Belle. W . - —Scotch Clans and Irish Chieftains; Delicate Attentions. c . - —Othello ; Therese. W . - —Scotch Clans and Irish Chieftains; Infidelity. C.-—Charles I I ; Masaniello. Monday: W . — L a w of the L a n d * : Platitude—Porter, Robson—J. Addams, Dodsworth—Bannister, Snail—Hadaway, Lucy— [185]

THE PHILADELPHIA THEATRE

30. 31.

M r s . Proctor, Florence—Mrs. K e n t ; Scotch Clans and Irish Chieftains. C . — M e t a m o r a ; T h e Liar. W . — V i r g i n i u s ; Star Spangled Banner. C . — W i l d Oats ; Crossing the Line. W . — O t h e l l o , second and fourth acts; Richard I I I , fifth act; Scotch Clans and Irish Chieftains. C . — M a c b e t h ; Pleasant Neighbors. FEBRUARY

1.

2. 3. 5.

6. 7· 8. 9· 10.

12.

13.

14. 15. 16. 17.

Thursday : W . — K o e u b a ; Set a Beggar on Horseback. C . — D a m o n and Pythias; T o m Cringle. W . — T h e R e v i e w ; Gaulantus. C.—Virginius ; Barbers at Court. W . — D e s e r t e d V i l l a g e ; Richard I I I , fourth and fifth acts. C . — W i l l i a m T e l l ; Therese. Monday: W , — G u y Mannering; Brigand. —Coriolanus ; Metamora. —Romeo and J u l i e t ; Delicate Attentions. — M a y Queen ; Zembuca. — F a z i o ; William T e l l . — O l d English Gentleman ; Bold Dragoons. —School for Scandal ; State Secrets. — M a i d of Cashmere, the opera ; T h e Liar. — M a c b e t h ; Queen Subject. — P a u l P r y ; Ladies' M a n . —Hunchback, omitting first act; Fazio, the mad scene; W i l liam T e l l . C . — M a i d of Cashmere, the opera ; Forty Winks. Monday: W . — W a l l a c e ; L a Fitte. C . — B a r b e r of Seville; State Secrets. W . — C l o s e d to prepare for new drama: " T h e Installation of the Knights of the G a r t e r . " C . — M a i d of Cashmere, the opera; Good Husbands M a k e Good Wives. W.—Closed. C . — L o v e in a V i l l a g e ; Scape Goat. W . — R i c h a r d I I I ; Delicate Attentions. C . — M a i d of Cashmere, the opera ; Botheration. W . — R i c h e s ; Queer Subject. C . — C i n d e r e l l a ; Barbers at Court. W . — A p o s t a t e ; M a y o r of Garret. [ 186]

c. w. c. w, c. w. c. w. c. w.

CHRONOLOGICAL R E C O R D S : 1838

19.

20.

21. 22.

23. 24.

26.

27. 28.

C.—Promissory Note ; Robert le Diable, one scene ; T h e Picnic ; Botheration. Monday: W . — T h e Battle of Poictiers * : Black Prince—J. Addams, Salisbury—Bannister, Audley—Rice, Force—Kent, Blunt— Proctor, Simple—Hadaway, France—Vache, Ribemont— Warren, Beaufleur—Porter, Joan—Mrs. Bannister, Mignette—Mrs. Proctor; Swiss Cottage. C . — B a r b e r of Seville; Wandering Minstrel. W . — B a t t l e of Poicters; Agreeable Surprise. C . — D u m b Belle; Robert le Diable, one scene; Good Husbands M a k e Good W i v e s ; Cheap Boarding. W . — B a t t l e of Poictiers; Weathercock. C . — C i n d e r e l l a ; John Jones. W . — B a t t l e of Poictiers ; Swiss Cottage. C . — M a k e j our Wills ; Robert le Diable, one scene ; Fish out of W a t e r ; Happiest Day of my L i f e . W . — B a t t l e of Poictiers ; M y Husband's Ghost. C.—Confusion ; Zembuca. W . — B a t t l e of Poictiers; Soldier's W i f e and Soldier's W i d o w * : Martin—Carpenter, Soldier—Dickenson, Husband— Vache, fVife—Mrs. Barrymore, Sisters—Misses Packard and A . Packard. C.—Botheration; Pleasant Neighbors; M i l l e r and his M e n . Monday: W . — I m p u l s e * : Impulse—Rice, Cabbage—Hadaway, Thornton—Porter, Sophia—Mrs. R i c e ; Soldier's W i f e and Soldier's W i d o w ; A Match in the D a r k . C . — L a Sonnambula; Fish out of W a t e r . W.—Soldier's W i f e and Soldier's W i d o w ; Swiss Cottage; Impulse. C . — M a i d of Cashmere, the opera ; Masaniello. W . — S c o t c h Clans and Irish Chieftains; Impulse. C . — L a Sonnambula; Bold Dragoons. MARCH

1.

2. 3.

Thursday : W . — J o n a t h a n and his Apprentices ; Soldier's W i f e and Soldier's W i d o w ; Battle of Poictiers. C . — M a i d of Cashmere, the opera; Masaniello. W . — J o n a t h a n and his Apprentices; Queer Subject. C . — L a Sonnambula; Scape Goat. W . — T h e T w o Conquerors on the Plains of Palestine; T h e Lady and the Devil. C . — W a l l a c e ; H o w to Die for Love ! ! [ 187]

THE PHILADELPHIA T H E A T R E 5. 6. 7· 8. 910.

12. 13. 14. 15. 16. 17.

19. 20. 21. 22. 23. 24.

Monday: W.-—Hofer; Star Spangled Banner. C.-—Barber of Seville; Mummy. W.-—Fire Raiser; Will Watch. c , —Love Chase ; Samuel Slick, Esq * : by the Cooke family. W.-—Thalaba; Black Eyed Susan. C.-—La Sonnambula ; Fish out of Water. W.-—Jonathan and his Apprentices ; T h e Secret. c , —Sweethearts and Wives ; Wallace. w . - —Mob, the Outlaw; La Fitte. c , —Good Husbands Make Good Wives; Miller and his Men. A Ivin—Mrs. Proctor, w . - —Clandare*: Clandare—Proctor, Blackcliff—J. Addams, Killoch—Kent, Ronald— Hadaway, Lady Lomond—Mrs. Bannister; Unfinished Gentleman ; Lady of the Lake. C . — F r a Diavolo ; Barbers at Court. Monday: W.—Lodoiska; Impulse. C . — M a n and W i f e ; Robert Macaire. W . — W a l l a c e ; Therese. C.—Love Chase ; May Queen. W.—Gilderoy; Hunting a Turtle. C.—She Would and She Would Not ; T h e Invincibles. W . — W a l l a c e ; The Picnic. C.—Pizarro ; Lover's Quarrels. W.—Bronze Horse; How to Die for Love. C.—Confusion; The Invincibles. W.—Brian Boroihme; Bronze Horse. C.—Dew D r o p * : Hela—Brough, Donald—Walton, Christie —Thayer, Moma—Crowley, Bailie—Hathwell, Ivy— Miss Armstrong, Jessamine—Mrs. Lee, Honeysuckle— Mrs. Harrington, Dew Drop—La Petite Augusta Maywood ; Fish out of Water. Monday: W.—Forest of Rosenwald ; Plot and Counterplot ; Sentinel. C . — D e w Drop; Forty Winks. W.—Faith and Falsehood; Hunting a T u r t l e ; Black Eyed Susan. C.—She Would and She Would Not ; T h e Invincibles. W.—Poor Gentleman; Courtship of Slick of Slickville. C . — D e w Drop; Botheration. W.—Damon and Pythias ; Black Eyed Susan. Last night of the season. C . — M a n and W i f e ; T h e Strange Gentleman. C . — D e w Drop; Ladies' Man. C . — D e w Drop; Turning the Tables. [ 188]

CHRONOLOGICAL R E C O R D S : 1838 26. 27. 28. 29.

30.

Monday: C . — D e w Drop ; T w i c e Killed. C . — P a u l P r y ; Invincibles. C . — D e w D r o p ; Wandering Minstrel. C . — G o o d Husbands M a k e Good W i v e s ; A Quiet D a y * : Somerday—Burton, Brian—Lindsay, Emma—Miss Fisher ; M a y Queen. C . — D e w D r o p ; M a k e your Wills. APRIL

2.

3. 4. 5. 6. 7. 9.

10. 11. 12. 13. 14. 16.

17.

Monday: W . — M a z e p p a * : Castellan—Amherst, Rudzloff—Foster, Olinska—Mrs. Cole, Abder Khan—Rodney, Mazeppa—Woolford, Premislaus—Cooke, J r . , Drolinski—Gates, Zemila M r s . H e r r i n g ; Pleasant Neighbors. C . — J o n a t h a n Doubikins ; A Quiet D a y ; Yankee Pedlar. W . — M a z e p p a ; Pleasant Neighbors. C . — G r e e n Mountain Boys ; Forest Rose ; Invincibles. W . — M a z e p p a ; Pleasant Neighbors. C . — K a s p a r H a u s e r ; Victorine. W . — M a z e p p a ; Gretna Green. C . — K n i g h t of the Golden Fleece; Jonathan Doubikins. W . — M a z e p p a ; Gretna Green. C . — K a s p a r Hauser ; Green Mountain Boy. W . — M a z e p p a ; Gretna Green. C . — P e a c e f u l Pelton ; Yankee Pedlar ; Speculations. Monday: W . — M a z e p p a ; Courtship of Slick of Slickville. C . — A Quiet D a y ; Kentuckian ; Monsieur Tonson W . — M a z e p p a ; Courtship of Slick of Slickville. C . — J o n a t h a n in England; Möns. M a l l e t t ; Barbers at Court. W . — M a z e p p a ; Henri and L o u i s e * : Characters by Messrs. Rodney, Percival, Gates, and M r s . Herring. C . — R i p V a n Winkle ; J o b Fox ; Fish out of W a t e r . W . — M a z e p p a ; Henri and Louise. C.—Weathercock ; Jonathan Doubikins ; Möns. Tonson. W . — M a z e p p a ; Henri and Louise. C . — H e n r y I V ; Möns. M a l l e t t ; Kentuckian. W . — M a z e p p a ; Henri and Louise. C . — C a s t l e Spectre; Cramond B r i g ; Spitfire. Monday: W . — M a z e p p a ; Little Red Riding Hood. C . — C a s t l e Spectre; Spitfire; Quadrupeds. W . — M a z e p p a ; Little Red Riding Hood. C . — C o n f u s i o n ; Spitfire; Quadrupeds. [ 189]

THE PHILADELPHIA T H E A T R E 18.

19. 20.

21. 23. 24. 25. 26. 27. 28. 30.

W . — A n afternoon performance at two o'clock of Mazeppa; Little Red Riding Hood. No evening performance. C.—Stranger; Cinderella; M y Young W i f e and my Old Umb r e l l a * : Gregory—Burton, Dinah—Mrs. Walstein. W . — M a z e p p a ; Little Red Riding Hood. C.—Good Husbands Make Good Wives; M y Young W i f e and my Old Umbrella; Spitfire. W . — M a z e p p a ; Little Red Riding Hood. C.—Stranger; T w o Queens*: Magnus—Burton, George— Walton, Christine—Miss A. Fisher, AlargareI—Mrs. T h a y e r ; Swiss Cottage. W . — M a z e p p a ; Little Red Riding Hood. C.—Fazio ; Spitfire. Monday: W.—Napoleon Bonaparte ; The Rich Poor Man ! C.—Fazio; Swiss Cottage. W.—Napoleon Bonaparte ; The Rich Poor Man ! C.—Castle Spectre; Family Jars. W.—Napoleon Bonaparte; High Road to Marriage. C.—Romeo and Juliet ; Turning the Tables. W.—Where does the Money Come from?; Napoleon Bonaparte. C.—Heir at Law ; T w o Queens. W.—Where does the Money Come from?; Napoleon Bonaparte. C.—Hamlet; Spitfire. W.—Cataract of the Ganges. C.—Cato ; T h e Mummy. Monday: W.—Cataract of the Ganges. C.—Macbeth ; Twice Killed.

MAY I.

2. 3· 4· 5·

Tuesday: W.—Cataract of the Ganges. C.—Henry V I I I ; Perfection. W.—Cataract of the Ganges. C.—Coriolanus; Hunter of the Alps. W.—Mazeppa. C.—Wonder; Ransom. W.—Mazeppa. C.—Wives as they Were ; Möns. Mallet ; Job Fox. W.—Mazeppa. End of season. C.—Sam Weiler ; Spitfire. [ 190]

CHRONOLOGICAL R E C O R D S : 1 8 3 8

7· 8. 910. II.

12. 14. IS· 16. 17· 18. 19. 21. 22. 23· 24. 25. 26. 28. 29. 30. 31·

Monday : C.—Sam Weiler ; Scape Goat. C.—Sam Weiler ; Twice Killed. C.—Sam W e i l e r ; M r . and Mrs. Pringle. C.—Sam Weiler ; The Spitfire. C — Sam W e i l e r ; Dumb Belle. C.—Sam W e i l e r ; Popping the Question; Bengal Tiger. Monday : C.—Paul Pry; Barbers at Court. C.—Magpie and M a i d ; May Queen. C . — W i l d Oats; Robert Macaire. C.—Speed the Plough ; Deaf as a Post. C.—Road to Ruin ; Victorine. C.—Virginius; Family Jars. Monday : C.—The W a y to get Married ; Robert Macaire. C.—William Tell ; Black Eyed Susan. C.—Englishmen in India; Sam Weiler. C.—Old English Gentleman; Of Age Tomorrow; Raising the Wind. C.—School of Reform ; Maid of Croissy. C.—Busy Body ; Spitfire. Monday : C.—Maid of Croissy; Unfinished Gentleman; The Critic. C.—Castle of Andalusia; State Secrets. C.—Ion ; No Song, No Supper. C.—Battle of Algiers ; Masaniello.

JUNE I.

2.

4. 5. 6. 7. 8. 9. II.

Friday : C.—Richard III ; Dumb Belle. C.—Lady of L y o n s * : Beausant—Harrington, Glavis—Lindsay, Damas—Faulkner, Melnotte—Wood, Madame Deschappelles—Mrs. Thayer, Pauline—Miss Fisher, Widow Melnotte—Mrs. Brood; Rosina. Monday: C.—Lady of Lyons ; No Song, No Supper. C.—Dew Drop; Guns without Shot. C.—Dew Drop ; Fish out of Water. C.—Lady of Lyons ; Spitfire. C.—Paul Pry ; Masaniello, last two acts. C.—Maid of Cashmere, the opera; Irish Tutor. Monday: C.—Richard III, three acts; Manager's D a u g h t e r * : Jane— [ 191 ]

T H E PHILADELPHIA T H E A T R E

12. 13. 14. 15. 16. 18. 19. 20. 21. 22. 23. 25. 26. 27. 28. 29. 30.

Miss Davenport, Dictator—Lindsay, Crogs—Eberle, Shanks—Jones, Miss Grand—Mrs. Walstein. C.—Dumb Belle; Manager's Daughter; Haunted Inn. C . — N o ! Spoiled Child; Black Eyed Susan. C . — F i r e and W a t e r ; Manager's Daughter; Family Jars. C.—Merchant of Venice; Spoiled Child. C . — D u m b Boy of Manchester; Manager's Daughter. Monday: C.—Hunchback ; Second Thoughts. C . — W i l d Oats; Spitfire. C.—Lover's Quarrels; Lady of Lyons; Dancing B a r b e r * : Barber—Burton, Lord-—Lindsay, Lady—Miss Fisher. C . — D u m b Belle; Folly as it Flies; Amateur Actors C . — L a d y of Lyons ; Barbers at Court. W.—Comedy of Errors; Jim Crow in London. C.—Fire and Water ; Point of Honor ; M y Aunt. Monday: w . - —The Last Pardon ; Bone Squash Diavolo. c . -—Lady of Lyons ; Married Rake. w . - —Oh! H u s h ! ! ; Sarcophagus. c - —Damon and Pythias; Forty Winks. w . - —Honeymoon ; J i m Crow in London. c . -—Poor Soldier; Idiot Witness; The Quaker. w . - —The Last Pardon ; Bone Squash Diavolo. c . -—Haunted Inn; Married Rake; Master's Rival. w . - —Syracusan Brothers; Black and White. c . -- T h e W i f e ; Spoiled Child. w - —Black and White ; Sylvester Daggerwood ; Bone Squash Diavolo. C . — A Cure for the Heart Ache; Idiot Witness. JULY

2.

3. 4. 5. 6.

Monday: W . — L e i l a * : Muza—Bannister, Almamen—Porter, Boabdil—• Davenport, Ferdinand—J. Rice, Leila—Mrs. Bannister, Isabella— Miss White ; Oh ! Hush ! ! C . — L a d y of Lyons; Married Rake; Wandering Minstrel. W . — L e i l a ; Black and White. C . — L a d y of Lyons ; Poor Soldier. W . — C r a d l e of Liberty ; L a Masque. C.—She Would be a Soldier ; John Jones. W . — M a c b e t h ; M y Husband's Ghost. C . — N o newspapers published today, and no advance notice given of program for Chesnut. W . — P i z a r r o ; Sudden Thoughts. [ 192]

CHRONOLOGICAL R E C O R D S : 1 8 3 8 7.

9. 10. 11. 12. 13. 14. 16. 17. 18. 19. 20. 21. 23. 24. 25. 26. 27. 28. 30. 31.

C . — L a d y of Lyons ; T h e Quaker. W.—Othello; N o ! C.—Dancing Barber; Does Y o u r Mother K n o w You're O u t * : Mizzle—Burton, Mrs. Stichly—Mrs. Thayer; T h e O r i g i n a l * : Jack—Burton, Emily—Mrs. Walstein ; Spitfire. Last night of season. Monday: W . — K i n g L e a r ; State Secrets. W . — N e w W a y T o Pay Old Debts; Every Body's Husband. W.—Apostate; Cad of the Buss. W . — J u l i u s Caesar; Black Eyed Susan. W.—Venice Preserved; Turnpike Gate. W.—Richard I I I ; W i f e ; Mayor of Garret. Monday: W . — P . P . , or the M a n and the T i g e r ; M y Aunt ; T h e Review. W.—Jonathan in England; Black Eyed Susan. W . — S a m Patch; Sprigs of Laurel. W . — L u k e the Laborer; Forest Rose. W.—Maiden's V o w ; Turnpike Gate. W . — S a m Patch; T u r n Out. Monday: W . — N o Song, N o Supper; Forest Rose.

W.—Virginius; T h e Bush Whacker * : Slanter—Marble, —Bannister, Moll—Mrs. Bannister. W . — L a d y of Lyons; Spitfire. W . — T h e Last Pardon; Rosina. W . — R o s i n a ; Spitfire. W.—Wallace. Monday: W . — L a d y of Lyons ; Pilot of the Ocean. W.—Othello; Frank Fox Phipps.

Rover

AUGUST 1. 2. 3. 4. 6. 7. 8.

Wednesday : W . — D a m o n and Pythias ; Hundred-Pound Note. W . — L a Fitte; State Secrets. W.—Richard I I I ; Spitfire. W . — D o u g l a s ; Mob, the Outlaw. Monday: W . — D o e s Y o u r Mother K n o w You're Out ? ; Simpson and Company ; Adopted Child ; Promissory Note. W . — L u k e the Laborer ; Does Y o u r Mother K n o w You're Out ? W . — T h e Jesuit's Colony * : Victor Ralle—Porter, Ravillac— Davenport, Voorn—Bannister, Outalissi-—Pickering, Pray [ 193]

THE PHILADELPHIA T H E A T R E

9. 10. 11. 13. 14. 15. 16. 17. 18. 20. 21. 22. 23. 24. 25.

27.

28. 29. 30. 31.

—Hadaway, Adnee—Mrs. Rice, Woika—Miss White; A Roland for an Oliver. W . — M y Husband's Ghost ; Rosina. W.—Coronation of Queen Victoria, a pageant * ; Sudden Thoughts; Our Mary Ann. W.—Coronation of Queen Victoria; Our Mary Ann ; A Roland for an Oliver. Monday: W.—Coronation of Queen Victoria; State Secrets; Poor Soldier. W.—Coronation of Queen Victoria; Sentinel; Does Your Mother Know You're Out ? W.—Coronation of Queen Victoria; Poor Soldier; Sentinel. W.—Coronation of Queen Victoria ; The Gentleman of Lyons * : Julian—Bannister, Dupuis—Wemyss, Valcour—Porter, Ernestide—Mrs. Bannister, Bridget—Mrs. La Forest. W.—Coronation of Queen Victoria; Sentinel; Does Your Mother Know You're Out ? W.—Coronation of Queen Victoria; Rory O'More. Monday: W.—Coronation of Queen Victoria; Rory O'More. W.—Coronation of Queen Victoria; Rory O'More. W.—Coronation of Queen Victoria; Rory O'More. W.—Coronation of Queen Victoria; Rory O'More. W.—Coronation of Queen Victoria; Rory O'More. W . — B o a t Builder's H o v e l * : Jack—Hadaway, Miers—Porter, Maria—Pickering, Broad head—Vache, Fanny—Mrs. La Forest; Rory O'Rlore. C.—Maids as they A r e ; Ladies' Man. Monday: W.—Caius Silius * : Caius—Parsons, Labantus—La Forest, Carteantus—J. G . Hall, Rtilus—Pickering, Leonbel— Porter, Florena—Mrs. Bannister; Confounded Foreigners. C.—Perfection ; John Jones ; Twice Killed. W.—Caius Silius; Spitfire. C.—Master's Rival ; Botheration ; Family Jars. W . — N i c k of the Woods; Confounded Foreigners. C.—Ransom ; Dumb Belle ; Deaf as a Post. W . — K i n g Lear ; Nick of the Woods. C.—Charles I I ; Raising the Wind. W . — M a c b e t h ; Nick of the Woods. C . — A Roland for an Oliver; T h e Mummy. SEPTEMBER

ι.

Saturday: W.—Othello; Nick of the Woods. [194]

CHRONOLOGICAL R E C O R D S : 1838 3.

4· 5· 6. 7· 8. 10.

II. 12. 13· 14. 15.

17.

18. 19.

20. 21. 22.

C.—Sweethearts and W i v e s ; Married Rake. Monday: W . - —Oranska ; Paul Jones. C.-—Young W i d o w ; Of A g e T o m o r r o w . W . - —Tom C r i n g l e ; Nick of the Woods. c . -—Youthful Queen ; Perfection. w . - —Brutus; Nick of the Woods. c . -—Fire and W a t e r ; Rip V a n W i n k l e ; Job Fox. w . - —Oranska ; Woman's the Devil. c . -—Jonathan Doubikins; Kentuckian ; Dumb Belle. W . - —Julius Caesar; Woman's the Devil. c . -—Jonathan in England ; Möns. Tonson. w . - —Lady of the L a k e ; Paul Jones. c . -—Henry I V ; Monsieur M a l l e t ; Militia Training. Monday : W . - —Rienzi ; Woman's the Devil. C.-—Richard I I I ; Of A g e T o m o r r o w . W . - —Coriolanus; Nick of the Woods. c . -- N e w W a y T o Pay O l d Debts; Spitfire. W . - —La Fitte ; Weathercock. c . -—Othello ; Dancing Barber. W . - —The Stranger. c . - —King L e a r ; Wandering Minstrel. w . - —Wallace. C.-—Hamlet; Ladies' M a n . W.--Hofer. Backer—Watson, C.-—Weak P o i n t s * : Wheedle—Burton, Jolly—Faulkner, Miss Agnes—Mrs. Walstein ; Gemini * : Edmond, Andre—two rôles—Burton, Tisserand—Walton, McQuehlon—Watson, Sophia—Mrs. Walstein; Comfortable Lodgings. Monday: W.—Rory O'More. C . — I r i s h Ambassador; Omnibus; N o ! W . — B l a c k Eyed Susan; Swiss Cottage. C . — N e r v o u s M a n ; T e d d y the T i l e r ; Wandering Minstrel. W . — A t h e n i a n Captive; Star Spangled Banner. C . — S t . Patrick's E v e ; Irish L i o n * : Moore—Power, Squabs — W a t s o n , Dixon—Lindsay, Mrs. Fitzjig—Mrs. Sharpe; John Jones. W.—Rory O'More. C . — B o r n to Good L u c k ; Irish L i o n ; No. W . — A t h e n i a n Captive; Irish Lion. C . — I r i s h Ambassador; Irish Lion. W . — S o l d i e r and Sailor * : Bombshell—Vache, Binnacle—Hield, Botch—Hadaway, Barbara—Miss W h i t e ; Irish Lion. [195]

THE PHILADELPHIA THEATRE 24. 25. 26. 27. 28. 29.

C.—Born to Good L u c k ; Irish Lion. Monday: W . — L a Bayadere; Swiss Cottage. C.—Rory O ' M o r e ; Weak Points. W . — L a Bayadere; Woman's the Devil. C.—Rory O ' M o r e ; Ladies' Man. W.—State Secrets; Spitfire; Catharine and Petruchio. C . — R o r y O ' M o r e ; Irish Lion. W . — L a Bayadere; Day after the Wedding. C.—Englishmen in India; Swiss Cottage. W . — L a Sonnambula ; Swiss Cottage. C.—Rory O ' M o r e ; T u r n Out. W . — L a Sonnambula ; Catharine and Petruchio. C . — R o r y O ' M o r e ; Omnibus.

OCTOBER 1. 2.

3. 4. 5. 6. 8. 9. IO.

Monday: W . — L a Bayadere; State Secrets. C.—Born to Good L u c k ; Irish T u t o r ; Highland Reel. W . — M o b , the O u t l a w ; Mischief Making. C.—White Horse of the Peppers*: Pepper—Power, Hano— Burton, Chesham—Harrington, Darby—Faulkner, Phelim—Walton, Magdalene—Mrs. Walstein, Agatha—Miss De B a r r ; Fish out of Water. W . — T i m o u r the Tartar ; Infidelity ; Yankee Duellist * : Jeremiah Hector—Dr. Valentine, Betsy—Miss White. C.—White Horse of the Peppers; Irish Lion. W . — R o r y O ' M o r e ; Mischief Making. C.—White Horse of the Peppers; Irish T u t o r ; Perfection. W . — L a Bayadere; T h e Lady and the Unknown. C.—White Horse of the Peppers; Irishman in London; Weathercock. W . — L a Bayadere; W h y did you Die? C.—Irish Ambassador; Rory O ' M o r e . Monday: W . — L a Bayadere; W h y did you Die? C.—One Hour ; Loan of a Lover ; He Would be an Actor. W . — L a Bayadere; Jenny Jones. C.—One H o u r ; Loan of a Lover; H e Would be an Actor. W . — T h e Avenger of B l o o d ! * : Richard—Hield, John—Burgress, Beauty—Hadaway, Matthew—Pickering, Maude— Miss Lee. C.—Barrack Room; He Would be an Actor; Swiss Cottage. [ 196]

CHRONOLOGICAL R E C O R D S :

11. 12. 13. 15.

16. 17. 18. 19. 20.

22.

23. 24. 25.

26. 27. 29.

1838

W.—The Avenger of Blood ; Virginia Mummy ; Miller and his Men. C.—Barrack Room; He Would be an Actor; Swiss Cottage. W.—Richard I I I ; Jim Crow in London; No Song, No Supper. C.—Handsome Husband; One Hour; Too Late for Dinner. W.—Hamlet; Bone Squash Diavolo. C.—One Hour; Handsome Husband; Too Late for Dinner. Monday: W.—Othello; Our Mary Ann. C.—Know your own Mind; Patter Versus Clatter * : Patter— C. Matthews, Parker—Watson, Polly—Miss Armstrong; Loan of a Lover. W.—Damon and Pythias; Loan of a Lover. C.—Barrack Room; Love in a Cottage; Patter versus Clatter. W.—Lady of Lyons; Why did you Die? C.—Love in a Cottage; Handsome Husband; Patter versus Clatter. W.—Macbeth; How do you Manage? C.—Know your own Mind; Patter versus Clatter. W.—Metamora; How do you Manage? C.—Love in a Cottage; Welsh Girl; He Would be an Actor. W . — M e t a m o r a ; H o w do you M a n a g e ?

C.—Welsh Girl; Patter versus Clatter; Handsome Husband; One Hour. Monday: W.—Lady of Lyons; William Tell. C.—St. Mary's E v e * : IVentworth—Murdock, Vaughan— Lindsay, Baggs—Walton, Chalk—Faulkner, Sharpe— Harrington, Darne Mayfield—Mrs. Brood, Mary—Miss De Barr, Madeline—Mlle. Celeste; Pleasant Neighbors. W.—Metamora; Our Mary Ann. C.—St. Mary's Eve; John Jones. W.—Gladiator; Why did you Die? C.—St. Mary's Eve; French Spy. W.—Lady of Lyons; Trick for T r i c k * : Tweezer—Porter, Trivet—Hield, Wigler—Hadaway, Clidper—Mrs. La Forest. C.—St. Mary's Eve ; French Spy. W.—Gladiator ; Trick for Trick. C.·—St. Mary's Eve ; French Spy. W.—Richard I I I ; Monsieur Jacques. C.—Child of the Wreck; St. Mary's Eve. Monday: W.—Gladiator ; Therese. C.—Child of the Wreck; Indian Girl. [197]

T H E PHILADELPHIA THEATRE 30. 31.

W.—Virginius; Rent Day. C.—Child of the Wreck; Indian Girl. W . — I o n ; Youthful Queen. C.—Susanne ; Child of the Wreck. NOVEMBER

1. 2. 3. 5. 6. 7. 8. 9. IO. 12. 13. 14. 15· 16. 17· 19·

Thursday: W.—Hamlet ; Trick for Trick. C.—Susanne ; St. Mary's Eve. W.—Woman's W i t ; Why did you Die? C.—Child of the Wreck; St. Mary's Eve. W.—Woman's W i t ; Heart of Midlothian. C . — T h e Mother * : Mother—Celeste, Captain—Murdock, Fringella—Miss Fisher ; French Spy. Monday: W . — L o v e Chase ; Agnes de Vere. C.—Rory O ' M o r e ; Perfection. W.—Avenger of Blood ; Our Mary Ann. C.—St. Patrick's Eve. Irish Lion. W.—Agnes de Vere; Avenger of Blood. C.—Irish Ambassador; Omnibus; Rendezvous. W . — B o a t Builder's Hovel ; Avenger of Blood. C.—White Horse of the Peppers; Teddy the T i l e r ; Weathercock. W.—Agnes de Vere; Boat Builder's Hovel. C.—Nervous M a n ; Irish Lion; T u r n Out. W.—Avenger of Blood; Naval Engagements. C.—Rory O ' M o r e ; More Blunders than One. Monday: w . - —Heart of Midlothian; Naval Engagements. c . —Irish Ambassador; Nervous M a n ; Rendezvous. W.-—Avenger of Blood; Naval Engagements. c , —Born to Good Luck; More Blunders than One; N o ! w . - —Dumb Boy of Manchester; Spoiled Child. c . — A Roland for an Oliver ; Of Age Tomorrow. W.-—Dumb Boy of Manchester; Manager's Daughter. c . — T h e Ransom ; Young Widow. w . - —Dumb Boy of Manchester; Manager's Daughter. c . —Youthful Queen ; No Song, No Supper. w . - —School for Scandal ; Richard I I I ; Actress of all Work. c . —Rendezvous ; Perfection. Monday : W.—Amilie *: Amilie—Madame Otto, General—Brough, Gervais—Bishop ; Naval Engagements. C.—Wandering Minstrel; Weak Points. [ 198]

CHRONOLOGICAL RECORDS: 1838 20. 21. 22. 23. 24. 26.

27. 28. 29.

30.

W . — A m i l i e ; T r i c k for T r i c k . C.—Comfortable Lodgings ; T u r n i n g the Tables. W . — A m i l i e ; H o w do you M a n a g e ? C . — S t a t e Secrets; Highland Reel. W.—Amilie; Our M a r y Ann. C . — D e a f as a Post ; Katharine and Petruchio. W . — A m i l i e ; Loan of a Lover. C . — M a r r i e d Rake ; Fish out of W a t e r . W . — A m i l i e ; N o Song, N o Supper. C.—Pleasant Neighbors. Monday : W.—Amilie; No! C.—Stranger. W . — A m i l i e ; Jenny Jones. C.—Wonder. W . — A m i l i e ; Swiss Cottage. C . — L a d y of L y o n s ; Ladies' M a n . W . — A m i l i e ; Catching an Heiress. C.—Velasco * : Velasco—Murdock, Ferdinand—Walton, Julio — W o o d , Carlos—Miss Fisher; Isadora—Mrs. Sharpe ; U and I * : Dick—Murdock, Puff—Burton, Dial—Lindsay, Lydia—Miss Fisher. W . — A m i l i e ; W h o ' s the M u r d e r e r ? C . — H o n e y Moon ; U and I. DECEMBER

I. 3. 4. 5. 6. 7. 8. 10.

11.

Saturday: W . — A m i l i e ; M i l l e r and his M e n . C . — R o b R o y ; Don Giovanni. W . — D a m o n and Pythias; Y o u t h f u l Queen. C . — S t . M a r y ' s E v e ; French Spy. W . — L a d y of Lyons ; Therese. C . — C h i l d of the W r e c k ; Indian G i r l . W . — M e t a m o r a ; Rosina. C.—Susanne ; Child of the W r e c k . W . — V i r g i n i u s ; Swiss Cottage. C . — T h e Mother ; M a i d of Cashmere. W . — G l a d i a t o r ; Blind Boy. C . — T h e M o t h e r ; M a i d of Cashmere. W . — M e t a m o r a ; Catharine and Petruchio. C . — W i z a r d S k i f f ; M a i d of Cashmere. Monday: W . — L a d y of L y o n s ; W i l l i a m T e l l . C . — I n d i a n G i r l ; W i z a r d Skiff. W . — F o u n d l i n g of the Forest; Hunter of the Alps. [ 199]

T H E PHILADELPHIA THEATRE

12.

13. 14. 15. 17. 18.

19· 20. 21. 22. 24.

2526.

27. 28.

29. 31.

C.—Child of A i r * : Agloe—Mile. Celeste; Turning the Tables. W . — M a i d of Mariendorpt * : Metta—Mrs. Shaw, General— Porter, Baron—Hall, Joseph—Burgess, Hans—Pickering, Rudolph—La Forest, Ahab—Vache, Adolpha—Mme. La Trust ; Agnes de Vere. C.—Child of A i r ; Sleeping Draught. W . — D r e a m of Fate; Uncle Sam. C.—Child of A i r ; Fish out of Water. W . — T o m and J e r r y ; Miller's Murder. C.—Child of Air ; Whirligig Hall. W . — T h e Mountain King; Lear of Private Life. C.—Star of the Forest; Child of Air. Monday: W . - —Virginius; Hamlet; M y Neighbor's Wife. —Star of the Forest ; Child of Air. W . - —Six Degrees of Crime!; T h e Romp. —Star of the Forest ; Child of Air. —Fazio ; Open House. C.-—Moorish Page ; Child of Air. —Miller's Murder; Dream of Fate. —Child of A i r ; Moorish Page. W . - —Lear of Private Life; M y Neighbor's Wife. —Wizard Skiff ; French Spy. W . - —Devil's Bridge; Broken Sword. —La Tentation ; St. Mary's Eve. Monday : W . - —Friar's Oak * : Darnley—Pickering, Dunleavy—La Forest, Margaret—Mrs. Hield, Ellen—Mrs. Knight; Open House. C.-—Bride of Lammermoor; T o m Noddy's S e c r e t * : Ormond —Lindsay, Noddy—Burton, Mary—Mrs. Walstein, Gabrielle—Miss De Barr. W . - —Friar's O a k ; T o m and Jerry. C - —Blue Beard ; T o m Noddy's Secret ; Spitfire. W . - —My Neighbor's W i f e ; Golden Farmer. —Velasco ; T o m Noddy's Secret. —Friar's Oak ; Golden Farmer. —Englishmen in India; Blue Beard. —Golden Farmer ; Open House. C.-—Velasco ; Whirligig Hall. —Golden Farmer; Swiss Cottage; Catching an Heiress. —Love and M u r d e r * : Jubb—Burton, Mrs. Frigid—Mrs. Sharpe, Mrs. Jumble—Mrs. Thayer, Laffet—Miss De Barr ; M y Friend the Governor. Monday:

cc.w.w.c.cc-

cw.cw.w.c.-

[200 J

CHRONOLOGICAL R E C O R D S : 1 8 3 9 W . — Z a m e o * : Tomac—Burgess, Zameo—Pickering, Celestine — M r s . K n i g h t ; He's not Α - M i s s ; Golden Farmer. C . — M a c b e t h ; Spitfire. JANUARY 1.

2.

3. 4. 5. 7. 8.

9.

10. 11. 12. 14.

15. 16.

1839

Tuesday : W . — O l i v e r T w i s t * : Oliver—Mrs. Knight, Burns—Burgess, Fagin—Porter, Claypole—La Forest, Sykes—Pickering, Nancy—Mrs. H i e l d ; Broken Sword. C . — B r i g a n d ; W o l f and the L a m b ; T o m Noddy's Secret. W . — O l i v e r T w i s t ; Swiss Cottage. C . — T h e S c h o l a r * : Bookworm—J. Wallack, Hans—Burton, Fred—Lindsay, Mrs. IVurtzburg—Mrs. Brood, Helen— Miss Fisher; Brigand. W . — D e v i l ' s Bridge; Friar's O a k . C . — W i v e s as they W e r e ; Husband at Sight. W . — D r e a m of F a t e ; T o m and J e r r y . C . — T h e W i f e ; W o l f and the Lamb. W . — D o n Pedro, T h e Cruel ; O l i v e r T w i s t . C . — T h e Scholar ; Rent Day. Monday: W . — D o n Pedro, T h e Cruel ; Broken Sword. C . — P i z a r r o ; M y Aunt. W.—Indian Prophecy*: Washington—Porter, Bishop— Kemble, Woodford—Rice, Menalva—Pickering, Marietta — M r s . H i e l d ; Spoiled C h i l d ; Volunteer. C . — M a i d of Mariendorpt; R i v a l Valets. W . — A Lesson for Ladies * : St. Val—Wemyss, Mathieu— Kemble, M'lle. Dellreux—Mrs. H i e l d ; Don Pedro, the Cruel. C . — M a i d of Mariendorpt ; R i v a l Valets. W . — D u m b M a n of Manchester; Lesson for Ladies; Foulah Slave. C . — B r i d e of Lammermoor ; W h i r l i g i g H a l l . W . — D u m b M a n of Manchester; Foulah Slave. C . — P a u l Pry ; Spitfire. W . — W i l d Boy of Bohemia; T h e Disowned and his Poor D o g Tray. C . — M e r r y W i v e s of W i n d s o r ; M ö n s . M a l l e t t ; Perfection. Monday: W . — A Lesson for Ladies; Irish T u t o r ; Children in the W o o d . C . — L a Sonnambula; Katharine and Petruchio. W . — T h e Last N a i l ; Is H e J e a l o u s ? ; Illustrious Stranger. C . — L a Sonnambula; Spitfire. W . — M a i d of Mariendorpt; Smuggler of Bootle Bay. [201 ]

THE PHILADELPHIA T H E A T R E 17. 18. 19. 21. 22. 23. 24. 25. 26. 28.

29. 30.

31.

C . — L a Sonnambula ; State Secret. W . — W i l d Boy of Bohemia; Smuggler of Bootle Bay. C . — L a Sonnambula; Wandering Minstrel. W . — D u m b Girl of Genoa; T h e Disowned and his Poor Dog Tray. C.—Amilie ; Fish out of Water. W.—Valentine and Orson; Irish Lion. C.—Amilie; Mummy. Monday: W.—Henriette; Cherokee Chief. C . — L a Sonnambula. W.—Forest of Bondy ; Valentine and Orson. C.—Amilie ; Dead Shot. W . — D u m b Slave; Obi. C.—Amilie; M y Friend the Governor. W . — D u m b Man of Manchester; The Disowned and his Poor Dog T r a y . C.—Amilie; Spitfire. W . — D u m b Slave; Valentine and Orson. C . — L a Sonnambula; Comfortable Service. W.—Hamlet ; A Maiden's Fame. C.—Amilie; Fish out of Water. Monday: W.—Charming Polly * : Nat—Hadaway, Pierce—Mossop, Partner—Grierson, Betty—Mrs. La Forest; Joan of Arc. C . — L a Sonnambula. W.—Melmoth, the Doomed ; Castle of Paluzzi. C . — F r a Diavolo; M y Friend the Governor. W . — T i t u s Andronicus * : Saturnius—Burgess, Bassanius—Rice, Titus—Bannister, Aaron—Pickering, Marcus Antonius— Porter, Clown—Hadaway, Young Lucius—Miss Lee, Tamara—Mrs. Hield, Lavinia—Mrs. Bannister; A Lesson for Ladies. C . — F r a Diavolo; Barbers at Court. W . — T i t u s Andronicus; Charming Polly. C . — F r a Diavolo ; Mummy. FEBRUARY

ι. 2. 4.

Friday: W . — T i t u s Andronicus; Maidens Beware; Mischief Making. C . — F r a Diavolo; Comfortable Service. W . — T i t u s Andronicus; The Lady and the Devil. C . — F r a Diavolo ; Turning the Tables. Monday: W . — E v i l Day * : Pierce—Mossop, Elliott—Porter, Hubert— [ 202 ]

CHRONOLOGICAL R E C O R D S : 1839

5. 6. 7. 8. 9. II. 12. 13·

14. 15·

16. 18. 19. 20. 21. 22. 23. 25.

26. 2".

J . B. Rice, Nicholas—Hadaway, Henry—Burgess, Jane— M r s . Knight, Margery-—Mrs. L a Forest; Rory O ' M o r e . C . — L a Sonnambula; Perfection. W . — J o a n of A r c ; M y Neighbor's W i f e ; Irish T u t o r . C . — C i n d e r e l l a ; Katharine and Petruchio. W . — W o o d Demon ; Venus in Arms. C.—Cinderella. W . — J o a n of A r c ; Poor Soldier. C.—Cinderella; Young Widow. W . — R e n t D a y ; Charming Polly. C . — G u y Mannering ; Day after the Wedding. W . — F o r t y Thieves ; M y Neighbor's W i f e . C.—Cinderella. Monday: W.-— F o r t y T h i e v e s ; Irish T u t o r . C . — M a i d of Cashmere; Dead Shot. w . - —Forty Thieves ; Venus in Arms. c . — M a i d of Cashmere ; M a y Queen. W , — F o r t y T h i e v e s ; Irish Lion. c . —Sweethearts and W i v e s ; Spitfire. w . — F o r t y T h i e v e s ; M y Neighbor's W i f e . c . — M a i d of Cashmere ; Comfortable Lodgings. w . —Forty Thieves ; T h e Lady and the Devil. c . — H o n e y Moon ; Wandering Minstrel. W.-— E l H y d e r ; Poor Soldier. c . —Rent D a y ; Mummy. Monday : w . . — E l H y d e r ; Spoiled Child. C , — M a i d of Cashmere ; Cramond Brig. w . - — E l Hyder ; Swiss Cottage. c . —Jealous W i f e ; Barbers at Court. W.-— E l H y d e r ; Catching an Heiress. c . — M a i d of Cashmere ; State Secrets. W . -— E l H y d e r ; Poor Soldier. c . — P a u l P r y ; Spitfire. w , —Forty T h i e v e s ; Review. c . — M a r r i e d L i f e ; Comfortable Lodgings. w . — T i m o u r the T a r t a r ; Is H e Jealous? c , — M a i d of Cashmere; Rival Valets. Monday: W . — T i m o u r the T a r t a r ; Nicholas Nickleby. C.—Soldier's Daughter; M y Friend the Governor. W . — T i m o u r the T a r t a r ; Nicholas Nickleby. C . — R a n s o m ; A Roland for an Oliver. W . — T i m o u r the T a r t a r ; Nicholas Nickleby. C . — W i v e s as they W e r e ; Y o u n g W i d o w . [ 203 1

T H E PHILADELPHIA T H E A T R E 28.

W . — T i m o u r the Tartar ; Nicholas Nickleby. C.—Laugh when you C a n ; Married Rake. MARCH

1. 2. 4.

5. 6. 7· 8. 9· II. 12. 13. 14. 15· 16. 18. 19. 20.

21.

Friday : W . — T i m o u r the T a r t a r ; Nicholas Nickleby. C . — G u y Mannering; No Song, No Supper. W . — F o r t y Thieves; Timour the Tartar. C . — R o b R o y ; Rosina. Monday : W.-—The Cataract of the Ganges; Review. C. —Isabella ; Fish out of Water. W.-—The Cataract of the Ganges; Nicholas Nickleby. C . —Lady of Lyons ; Master's Rival. W.-—The Cataract of the Ganges ; Catching an Heiress. c . — T h e Stranger; Deaf as a Post. W.-—The Cataract of the Ganges; Poor Soldier. c . —Jealous W i f e ; Family Jars. w . - —The Cataract of the Ganges ; Billy Button. c . —Jane Shore ; Dead Shot. w . - —The Cataract of the Ganges ; Billy Button. c. — M a i d of Mariendorpt ; Fish out of Water. Monday : W . - —The Cataract of the Ganges; Agreeable Surprise. C.-—Lady of Lyons ; Victorine. W . - —The Cataract of the Ganges ; Turnpike Gate. C.-—Isabella ; Deaf as a Post. W . - —The Cataract of the Ganges; Billy Button; Spoiled Child. C.-—Gamester ; Family Jars. W . - —Forty Thieves ; Agreeable Surprise. C.-—The Stranger; Dead Shot. W . - —The Cataract of the Ganges; Irish Tutor. C.- —Jane Shore ; Master's Rival. W . - —Lodoiska; T o m and Jerry. C.-—Venice Preserved ; A Day after the Fair. Monday : W.—Lodoiska; T o m and Jerry. C . — T h e Deformed ; T h e Invincibles. W.—Lodoiska; Agreeable Surprise. C . — T h e W i f e ; Young Widow. W . — E l Hyder; Lodoiska. .—Julietta Gordini * : Juliette—Miss Hildreth, Gordini— Harrington, Careffa—Lindsay, Lenoi—Thayer, Russell— Davenport, Agnes—Mrs. Thayer; Dead Shot. W.—Gaspardo the Gondolier; Lodoiska. [ 204 ]

CHRONOLOGICAL R E C O R D S : 1839 22. 23.

25.

26. 27.

28. 29. 30.

C . — J u l i e t t a Gordini ; Married Rake. W . — G a s p a r d o the Gondolier; Lodoiska. C . — H u n c h b a c k ; A Day after the W e d d i n g . W . — G a s p a r d o the Gondolier; Blue Beard. C . — G a s p a r d o ; Souter J o h n n i e * : Allan—Walton, Baillie— Watson, Johnnie—M ay wood, Marian—Miss Bunjie. Monday: W . — B l u e Beard ; Gaspardo. C . — D r a m a t i s t ; Gaspardo. W . — B l u e Beard ; Gaspardo. C . — L a u g h when you Can ; Gaspardo. W . — B l u e Beard ; T h e T i g e r Horde. C . — R o a d to Ruin ; R a f a e l , the Libertine * : Rafael—J. S. Balls, Maria—Miss A . Fisher. W . — T h e T i g e r H o r d e ; Gaspardo. C . — R a f a e l ; Perfection. W . — E l H y d e r ; Gaspardo. C . — W a y to get Married ; Dancing Barber. W . — B l u e Beard ; Forty Thieves. C.—Fontainbleau ; T h r e e and the Deuce. APRIL

1.

2. 3. 4. 5. 6. 8.

9. 10.

Monday : W . — P e t e r the G r e a t * : Dunder—Burton, Peter—Pickering, Baron—Rice, Stanmitz—Hadaway, Bertha—Mrs. Knight ; K i l l i n g no M u r d e r . C . — L a Sonnambula; T o u c h and T a k e . W . — P e t e r the G r e a t ; Killing no M u r d e r ; Love, L a w and Physic. C . — F r a D i a v o l o ; Fortune's Frolic. W . — R a k e ' s Progress; Love, L a w and Physic. C . — L a Sonnambula ; Married Rake. W . — R a k e ' s Progress ; Lottery T i c k e t ; X . Y . Z . C . — F r a Diavolo ; T h e Secret. W . — C o m e d y of Errors ; X . Y . Z . C . — L a Sonnambula ; A D a y after the W e d d i n g . W . — C o m e d y of E r r o r s ; Lottery T i c k e t ; T w o Gregories. C . — F r a D i a v o l o ; Dumb Belle. Monday: W.—-Plot and Counterplot; Hundred-Pound N o t e ; Peter the Great. C . — M a r r i a g e of F i g a r o ; Raising the W i n d . W . — L a d y of Lyons ; Forest Rose. C . — M a r r i a g e of Figaro ; Fortune's Frolic. W . — K i l l i n g no M u r d e r ; Brian Boroihme. [ 205 ]

THE PHILADELPHIA T H E A T R E 11. 12. 13. 15. 16. 1

7·

18. 19· 20. 22. 23. 24. 25. 26. 27. 29. 30.

C.—Marriage of Figaro. W . — T h e Sentinel; Spitfire; Golden Farmer. C.—Gaspardo ; Perfection. W . — P l o t and Counterplot; Lottery Ticket; Χ . Y . Z . C.—Conquest of Taranto ; M y Aunt. W.—William Tell ; The Pilot. C.—Marriage of Figaro; T h e Secret. Monday: W . —Peter the Great ; 'Tis all a Farce ; Mummy. C. —Cinderella; Married Rake. w , —Forest Rose; Therese; Unfinished Gentleman. c . —Cinderella; 'Twas I. w . —The School of Reform ; Honest Thieves. c . —Cinderella ; Weathercock. w . —Richard I I I ; Forest Rose. c . —Amilie; Rival Valets. w . —Virginius; Möns. Tonson. c . —Young Quaker; The Critic. w . — M r . Greenfinch; Here she Goes, There she Goes; Fire and W a t e r ; Nicholas Nickleby. C.—Amilie; 'Twas I. Monday: W . — L a Bayadere; M r . Greenfinch. C.—Love in a Village; La Sonnambula, first act. W . — L a Bayadere; Here she Goes, There she Goes; Möns. Tonson. C.—Amilie; The Waterman. W . — L a Bayadere; M r . Greenfinch. C.—Marriage of Figaro; Unfinished Gentleman. W . — T u r n Out; L a Bayadere. C.—Wheel of Fortune; Turn Out. W . — L o a n of a Lover ; Vermont Wool Dealer ; New W a y T o Pay Old Debts ; Fire Raiser. C.—Rent Day ; Rival Valets. W . — L a Bayadere; Here she Goes, There she Goes; Dead Shot. C . — L a Sonnambula ; Cramond Brig. Monday: W . — H e i r at L a w ; Bombastes Furioso ; Chaos is come Again. C.—Lady of Lyons; Chaos is come Again. W . — W i l d Oats; Rafael, the Libertine. C.—Golden Farmer ; Chaos is come Again. MAY

I.

W ednesday : W . — J u l i e ; Why did you D i e ? ; Gil Bias. [ 206 ]

CHRONOLOGICAL R E C O R D S : 1 8 3 9

2. 3. 4. 6.

7. 8. 9. 10. 11. 13.

14. 15. 16. 17.

18. 20. 21. 22.

C.—School for Scandal ; The Crown Prince. W.—Lady of Lyons; He's not A-Miss. C.—Cure for the Heart Ache; The Crown Prince. W.—Golden Farmer ; Mob, the Outlaw. C.—Busy Body; Rafael, the Libertine. W.—Irish Ambassador; Robber's W i f e ; Rory O'More, last act. C.—Know your own Mind ; William Tell. Monday: W.—Mob, the Outlaw, first part; Three Hunchbacks; Frightened to Death. C.—Deserted Daughter ; M y Fellow Clerk ; Man and the Tiger. W.—Wallace; Black Eyed Susan. C.—Lady of Lyons ; The Pilot. W.—Poor Gentleman ; T w o Gregories. C.—School for Scandal; Abon Hassan. W.—Rent Day ; Adopted Child. C.—Poor Gentleman ; Abon Hassan. W . — T h e Yankee Servant ; Militia Training; One, T w o , Three, Four, Five; Forest Rose. C.—Gretna Green; Dumb Belle; Raising the Wind. W.—High Life below Stairs; Frightened to Death; Bombastes Furioso. C.—Cinderella ; Barrack Room. Monday: W . — A s You Like I t ; Ella Rosenberg. C.—Richelieu*: Louis XIII—Lindsay, Richelieu—Harrington, Baradas—Davenport, Beringhen—Thayer, Julie— Mrs. Sharpe; Katharine and Petruchio. W . — H o f e r ; Review. C.—Maid of Cashmere; Married Rake. W.—Wallace ; The Pilot of the German Ocean. C.—Maid of Cashmere; Raising the Wind. W . — T h e Stranger ; Gilderoy. C . — L a Sonnambula ; Weathercock. W.—Paul P r y ; X . Y . Z. C . — L a Sonnambula; Barrack Room. W . — T h e Gambler's Fate; Jack's the L a d * : Jack—Conner, Polly—Mrs. L a Forest. C.—Maid of Cashmere ; Dumb Belle ; T w o Words. Monday: W.—John Jones; Hundred-Pound Note; Jack's the Lad. C . — L a Sonnambula ; Dead Shot. W.—Romeo and Juliet; Militia Training; Mob, the Outlaw. C.—Richelieu; M y Aunt. W.—Peter the Great ; Perfection ; Mummy. [207 ]

THE PHILADELPHIA THEATRE 23. 24. 25. 27. 28. 29. 30. 31.

C . — I o n ; A Day after the Wedding. W . — H u n c h b a c k ; Fortune's Frolic. C.—Love Chase; Youthful Queen. W . — L a d y of Lyons; T o m Cringle. C.—Lady of Lyons ; Perfection. W . — T o m and J e r r y ; Therese. C.—As You Like It ; Barrack Room. Monday: w . - —Rochester ; John Jones. c . —Evadne; Dead Shot. W.-—Rochester; High Life below Stairs. c . — T h e Stranger ; Deaf as a Post. w . - —Heir at Law ; Mob, the Outlaw. C -—Hunchback; Hercules, King of Clubs. w . - —Oliver T w i s t ; Mummy. c , —Jane Shore ; Hercules, King of Clubs. w . - —Oliver Twist ; 'Tis all a Farce. c . —Hunchback; A Day after the Fair.

JUNE I.

3. 4· 56. 7· 8. 10.

Ii.

Saturday: W.—Golden Farmer; T h e Monarch, the Minister, and the Mimic; Oliver Twist. C.—Evadne; A Day after the Wedding; Hercules, King of Clubs. Monday: W . - —Tekeli; Richard I I I . C.-—Olympic Devils; Weathercock; Fortune's Frolic. W . - —Maid of Orleans; La Pie Voluse. c . - —The Magpie and Maid ; T h e Critic. w . - —Virginius; Gambler's Fate. c . - —My Aunt ; 'Twas I ; Olympic Devils. W . - —Paul Pry; Möns. Jacques. c . - —Dumb Belle; T h e Emerald Isle; Olympic Devils. w . - —Hypocrite ; Chaos is come Again ; Peter, my Pipkin. c . - —Married Rake; Abon Hassan. w . - —Grace Darling ; T w o Thompsons ; Hypocrite. c . - —The Emerald Isle; Olympic Devils. Monday : W . — G r a c e Darling; Hundred-Pound Note; One Hundred and Two. C.—La Sylphide, second act; Midnight H o u r ; Gretna Green. W . — M ö n s . Jacques; T a m O'Shanter; Grace Darling. C.—La Sylphide ; Barrack Room. [208]

CHRONOLOGICAL RECORDS: 1839 12. 13. 14. 15. 17.

18. 19. 20.

21. 22. 24. 25. 26. 27. 28. 29.

W . — W a l l a c e ; Grace Darling. C . — L a Sylphide; T h e Secret; Midnight Hour. W . — G i l d e r o y ; Irish T u t o r . C . — L a d y of L y o n s ; Spoiled Child. W . — T h e Pilot ; Weathercock. C.—Perfection ; Fire and W a t e r ; M y Fellow Clerk. W . — G r a c e D a r l i n g ; Jack's the L a d ; J a m i e of Aberdeen. C . — Y o u t h f u l Queen; L a Sylphide; Wedding D a y . Monday: W . — B l a c k Eyed Susan ; Cabin Boy. C . — M y Little Adopted ; L a Petite Chaperon Rouge. W . — H o f e r ; J a m i e of Aberdeen. C . — L o v e Chase ; Gaspardo. W . — G r a c e D a r l i n g ; Cabin B o y ; Jamie of Aberdeen. C . — J o h n of Paris ; Waterman. W . — T o r t e s a the U s u r e r * : Angelo—E. S. Conner, Tortesa— Jackson, Isabella—Mrs. C r a m e r ; Floating Beacon. C.—Hundred-Pound N o t e ; Charles I I ; L a Petite Chaperon Rogue. W . — I r o n Chest; T h e Dream at Sea. C . — M u c h A d o about Nothing ; Victoria. W . — R i c h a r d I I I ; Loan of a Lover. C . — T h e L a d y of the L a k e ; A Hasty Conclusion. Last night of the season. Monday: W . — R i c h a r d I I I ; M a y o r of G a r r a t . W . — K i n g L e a r ; Chaos is come Again. W . — O t h e l l o ; Weathercock. W . — M e r c h a n t of Venice; Jack's the Lad. W . — H a m l e t ; Irish T u t o r . W . — N e w W a y T o Pay Old Debts ; Amateurs and Actors. JULY

1. 2. 3. 4. 5. 6. 8. 9. 10. 11.

Monday: W . — H a m l e t ; Hide and Seek. W . — O t h e l l o ; Raising the W i n d . W . — A p o s t a t e ; Review. W . — R i c h a r d I I I ; Plains of Chippewa. W . — I r o n Chest ; Wallace. W . — B r u t u s ; Review. Monday: W.—Closed. W . — P i z a r r o ; Perfection. W . — I s a b e l l a ; Swiss Cottage. W . — B o l d Stroke for a Husband ; Therese. [209]

T H E PHILADELPHIA T H E A T R E 12. 13. 15. 16. 17. 18. 19. 20. 22. 23. 24. 25. 26. 27. 29. 30. 31.

W.—Katharine and Petruchio; The Broken Sword; A after the Wedding. W.—Englishmen in India; Raymond and Agnes. Monday: W.—Tortesa the Usurer ; A Day in Paris. W . — L o a n of a Lover ; Rob Roy ; Bath Road. W.—Virginius ; Lucile. W.—Honest Thieves; Chaos is come Again. W . — T u r n i n g the Tables; T h e Queen's Horse. W . — T h e Idiot Witness; T h e Queen's Horse. Monday: W.—Damon and Pythias; The Robber's Wife. W.—Spitfire; Jamie of Aberdeen. W.—Mischief Making; Monsieur Tonson. W . — T u r n i n g the Tables; Irish Tutor. W.—Spitfire ; T h e Queen's Horse. W.—Monsieur Tonson ; Vol A u Vent. Monday: W.—Loan of a Lover ; T h e Lion King. W . — T u r n Out ; The Lion King. W.—Perfection; The Lion King.

Day

AUGUST 1. 2. 3. 5. 6. 7. 8. 9. 10. 12. 13. 14. 15. 16. 17. 19.

Thursday : W.—Weathercock ; The Lion King. W . — T h e Lady and the Invisible; T h e Lion King. W.—Black Eyed Susan ; The Lion King. Monday: W . — I s she a Woman?; The Lion King. W . — I s she a Woman ? ; The Lion King. W . — T u r n Out ; The Lion King. W.—Wallace ; The Lion King. W.—Pizarro ; State Secrets ; Man about T o w n ; Star Spangled Banner. W . — T o w n and Country; A Roland for an Oliver. Monday: W.—Castle of St. Aldobrand ; L a Fitte. W . — J o a n of A r c ; Therese. W.—Omreah ; Star Spangled Banner. W.—William T e l l ; Dream at Sea. W . — L a Fitte; Waterman. W . — R e n t D a y ; Hunting a T u r t l e ; Don Juan. Monday: W . — R o m a n z o * : Romanzo—E. S. Conner, Alphonzo—T. Matthews, Alonzo—Ν. Johnson, Italia—Mrs. Hunt. [210]

CHRONOLOGICAL R E C O R D S : 1839 20. 21. 22. 23. 24. 26.

27·

28. 29. 30. 31·

W.—Romanzo ; Perfection. W . — R o m a n z o ; Irish Tutor. W . — R o m a n z o ; Monsieur Tonson. W . — R o m a n z o ; Loan of a Lover. W . — R o m a n z o ; T h e Conquering Game. C . — T h e Soldier's Daughter; T h e Rent Day. Monday: W.-—Hamlet; T h e Conquering Game. c , —St. Mary's E v e ; T h e Critic. W.-—Pizarro; —Pizarro; T h e Conquering Game. C - —Indian G i r l ; St. Mary's Eve. W.-—Tortesa, the Usurer; Catching an Heiress. c . - —Child of the Wreck ; French Spy. W.-—Tortesa, the Usurer; T h e Conquering Game. c . - —Child of the Wreck ; Wizard Skiff. W.-—Pizarro; T h e Rum Old Commodore. c . - —Indian G i r l ; Wizard Skiff. W . -—Romanzo; Star Spangled Banner. c . - —The Force of Love ; Child of Air. SEPTEMBER

2. 3. 4. 5. 6. 7. 9. 10. 11. 12. 13.

Monday: W . — C a p t . Kyd ; Swiss Cottage. C.—Child of the W r e c k ; Child of Air. W . — C a p t . Kyd ; Rum Old Commodore. C.—Child of A i r ; French Spy. W . — C a p t . K y d ; Nipped in the Bud. C . — M a i d of Cashmere; M y Little Adopted; T h e Secret. W . — C a p t . Kyd ; Romanzo. C . — M a i d of Cashmere; Youthful Queen; T o m Noddy's Secret. W . — C a p t . Kyd ; Romanzo. C.—Child of the Wreck ; Wizard Skiff. W . — C a p t . K y d ; Bandit Dost. C . — L a Tentation; St. Mary's Eve. Monday: W . — T o r t e s a , the Usurer ; Raising the Wind. C . — L a d y of Lyons ; T u r n Out. W . — A n n Boleyn; Last M a n . C.—Hunchback; Rival Valets. W.—Englishmen in India; Miller and his Men. C.—Belle's Stratagem ; Weathercock. W . — C a p t . K y d ; Youthful Queen; Last Man. C.—Stranger ; Adopted Child. W . — P e r f e c t i o n ; Last M a n ; Romanzo. [211 ]

THE PHILADELPHIA THEATRE 14. 16. 17. 18. 19. 20. 21. 23. 24. 25· 26. 27. 28. 30.

C.—Romeo and Juliet ; Tom Noddy's Secret. W.—Ann Boleyn; Youthful Queen. C.—Much Ado about Nothing ; Luke the Laborer. Monday: W.—Virginius; Nipped in the Bud. C . — L a Sonnambula ; Gretna Green. W.—Gladiator ; Ask no Questions. C . — L a Sonnambula ; Perfection. W.—Damon and Pythias; Padlock. C.—Fra Diavolo ; The Secret. W.—Metamora; The Conquering Game. C.—Cinderella; Wedding Day. W.—Gladiator; Rum Old Commodore. C.—Fra Diavolo ; Rival Valets. W.—Metamora; Padlock. C.—Cinderella ; Chaos is come Again. Monday: w . - —Othello ; Therese. c.-—Marriage of Figaro; Luke the Laborer. w . - —Richelieu ; Love Laughs at Locksmiths. C - —Love in a Village; Married Rake. w . - —Richelieu; Nipped in the Bud. c.-—Marriage of Figaro; Chaos is come Again. W . -—Richelieu; Ask no Questions. C.-—Native Land. w . - —Richelieu; Padlock. c - —Native Land ; Spoiled Child. W . -—Richelieu ; The Conquering Game. C - —Fra Diavolo; Cramond Brig. Monday: W.—Richelieu ; William Tell. C.—Hamlet; Shocking Events. OCTOBER

1. 2. 3.

4.

Tuesday : W.—Metamora ; Rum Old Commodore. C.—Wheel of Fortune ; Shocking Events. W.—Mazeppa; The Romp. C . — N e w Way T o Pay Old Debts ; Chaos is come Again. W.—Blanche of N a v a r r e * : Count—Conner, Philip—N. Johnson, Isabel—Miss Murray, Blanche—Mrs. Hunt; Freemason. C.—King Lear ; Gretna Green. W.—Mazeppa; The Romp. [212 ]

CHRONOLOGICAL R E C O R D S : 1839 5. 7. 8. 9· 10. I I.

12.

14. 15. 16. 17. 18. 19. 21. 22.

23. 24.

25.

C . — N e w W a y T o Pay O l d Debts; A Hasty Conclusion. W . — P a u l P r y ; Sweethearts and Wives. C . — R i c h a r d I I I ; T h e Secret. Monday: W . - —His First Champagne; Peter the Great. C.-— M a c b e t h ; Shocking Events. w . - —Peter the G r e a t ; M a y o r of Garratt. —Merchant of Venice; T h e K i n g and the Mimic. w . - —Plots; His First Champagne. C.-—Othello; T h e K i n g and the Mimic. w . - —Plots; State Secrets. c . - — H a m l e t ; A Hasty Conclusion. W . - —Nipped in the B u d ; His First Champagne; T h e M u m m y . c . - —The Iron Chest; T o m Noddy's Secret. W . - —Whigs and D e m o c r a t s * : Major—Burton; Peeping T o m of Coventry. C . — L a d y of L y o n s ; T h e K i n g and the Mimic. G . N . — H u m o r i s t i c h e Studien; D e r Schauspieler W i d e r W i l l e n ; Der A l t e Teldherr. Monday: W . — E m i g r a n t ; Peeping T o m of Coventry. C . — B e l l e ' s Stratagem ; L u k e the Laborer. W . — R o b i n s o n C r u s o e ; W a n d e r i n g M i n s t r e l ; M u r d e r at the Inn. C.—Conquest of T a r a n t o ; Barrack Room. W.-—Paul P r y ; J o h n Jones. C . — C i n d e r e l l a ; Chaos is come Again. W . — W h i g s and Democrats ; Wandering Minstrel. C . — C i n d e r e l l a ; T h e K i n g and the Mimic. W . — S w e e t h e a r t s and W i v e s ; Irish T u t o r ; State Secrets. C . — L a Sonnambula; G r e t n a Green. W . — B u t H o w e v e r ! ; D e r W ä c h t e r ; Love, L a w and Physic. C . — L a Sonnambula; Shocking Events. Monday: W . — K n i g h t of the Golden Fleece ; N e w Notions. C . — F i d e l i o ; A Hasty Conclusion. W . — K n i g h t of the Golden Fleece ; Jonathan in England ; N e w Notions. C . — F i d e l i o ; T h e King and the Mimic. W . — K n i g h t of the Golden Fleece; Forest Rose. C . — F i d e l i o ; Agreeable Surprise. W . — L o a n of a L o v e r ; A W i f e for a D a y * : Nathan—Hill; N e w Notions. C . — F i d e l i o ; Perfection. W . — A W i f e for a D a y ; Y a n k e e Pedlar. [213]

c,

THE PHILADELPHIA T H E A T R E 26. 28. 29. 30. 31.

C . — L a Sonnambula ; Waterman. W.—Seth S l o p e * : Seth—Hill, Belmont—Lennox; Nipped in the Bud ; A W i f e for a Day. C.—Fidelio; Agreeable Surprise. Monday: W . — M a n and W i f e ; Yankee Pedlar. C . — L a Gazza Ladra; T h e Secret. W.—Cramond Brig; Forest Rose; Seth Slope. C . — L a Gazza Ladra; Agreeable Surprise. W.—Kaspar Hauser; Nipped in the Bud; Seth Slope. C . — L a Gazza Ladra; Blue Devils. W . — T h e Tourists; Lady of Munster; Jonathan in England. C . — L a Gazza Ladra; T u r n Out. NOVEMBER Friday : W.—Kaspar Hauser; A W i f e for a Day. C . — L a Gazza Ladra; The Crown Prince. W . — N e w Notions; Seth Slope; Lady of Munster; Yankee Pedlar. C . — L a Gazza Ladra; Barrack Room. Monday: W . — D e r Freischutz ; Clari. C.—Country G i r l ; The Widow Wiggins; Blue Devils. W . — D e r Freischutz; Cramond Brig. C . — T h e Will ; T h e Widow Wiggins. W . — D e r Freischutz ; T h e Will. C.—Country G i r l ; The Widow Wiggins; Fire and Water. W . — D e r Freischutz ; The Warlock of the Glen. C.—Irish W i d o w ; The Widow Wiggins; Spoiled Child. W . — D e r Freischutz ; The Secret. C . — T h e Will ; Dead Shot. W . — M a r r i a g e of Figaro; Der Freischutz. C.—Englishmen in India; The Widow Wiggins. Monday : W . — M a r r i a g e of Figaro ; Der Freischutz. C . — M a n and W i f e ; Mischief Making; Fire and Water. W.—Cinderella; Loan of a Lover; Der Freischutz. C.—Englishmen in India; Mischief Making. W.—Cinderella; The Secret. C.—Single L i f e ; T h e Widow Wiggins. W.—Cinderella; No Song, No Supper. C . — M a n and W i f e ; Dead Shot. W . — F r a Diavolo; Swiss Cottage. [214]

CHRONOLOGICAL R E C O R D S : 1839

16. 18.

19· 20. 21. 22. 23· 25.

26. 27. 28. 29. 30.

C . — S i n g l e L i f e ; Irish W i d o w . W . — F r a D i a v o l o ; C r a m o n d Brig. C . — C o u n t r y G i r l ; W i d o w W i g g i n s ; Mischief M a k i n g . Monday: W . - — M a r r i a g e of F i g a r o ; F r a D i a v o l o ; C h a r l e s X I I . c , — H u n c h b a c k ; Chaos is come Again. w . - —Battle of A u s t e r l i t z ; L o a n of a L o v e r . c . -— C a t o ; T u r n i n g the T a b l e s . w . - —Battle of A u s t e r l i t z ; T h e W a r l o c k of the G l e n . C.-— H u n c h b a c k ; T h e K i n g and the M i m i c . w . - —Innkeeper's D a u g h t e r ; B a t t l e of A u s t e r l i t z . c . - —Richelieu ; G r e t n a G r e e n . w . - —Is H e J e a l o u s ? ; Battle of A u s t e r l i t z ; Idiot W i t n e s s . C.-— T h e S t r a n g e r ; T u r n i n g the T a b l e s . W . - —Jacques S t r o p * : Macaire—Lennox, Jacques—Hadaway, Duval—Harrison ; Doctor Dilworth. C . — R i c h e l i e u ; T h e K i n g and the M i m i c . Monday: W . -—Richelieu ; D o c t o r D i l w o r t h . C ,—Ion ; T h e Liar. w . - —Richelieu; Dead Shot. c . — V i r g i n i u s ; Shocking Events. W.-—Macbeth ; Hunting a T u r t l e . C , — R i c h e l i e u ; Chaos is come Again. W . - — M e t a m o r a ; Jacques Strop. c . — R o m e o and J u l i e t ; T h e Secret. W . - — H a m l e t ; Dead Shot. c . — H a m l e t ; Blue Devils. W.-—Metamora ; William Tell. c . — T h e W i f e ; K a t h a r i n e and Petruchio. DECEMBER

2.

3· 4· 5· 6. 7·

Monday: W . - —Gladiator; M y Neighbor's W i f e . C , — C o r i o l a n u s ; Clari. W . - —Richelieu ; Robber's W i f e . C.-— T h e W i f e ; T h e K i n g and the M i m i c . w . - —King L e a r ; G r e t n a G r e e n . C - — B r u t u s ; M a r r i e d Rake. W . - — G l a d i a t o r ; Robber's W i f e . C.-— D a m o n and Pythias ; L o t t e r y T i c k e t . W . - —Lady of Lyons ; M y Neighbor's W i f e . c . - —Richelieu ; Spoiled C h i l d . W . - —Richelieu; T h e r e s e . [215]

THE PHILADELPHIA THEATRE 9.

10. 11. 12. 13. 14.

16.

17· 18.

19· 20. 21.

2324.

25· 26.

27· 28.

30.

C . — W i v e s as they W e r e ; Merchant of Venice. Monday : W . — S e a Captain * : Norman—Kirby, Lady Arundel—Mrs. W. Sefton, Onslow—Neafie; Bachelor's Buttons. C . — P i z a r r o ; D r . Dilworth. W . — C r a m o n d B r i g ; Forty T h i e v e s ; Bachelor's Buttons. C . — T o w n and C o u n t r y ; D r . Dilworth. W . — L o a n of a L o v e r ; Forty Thieves. C . — O t h e l l o ; Lottery Ticket. W . — B l a c k Eyed Susan; Fortv Thieves. C . — N e w W a y T o Pay Old" Debts ; T h e Secret. W . — C r a m o n d B r i g ; Forty Thieves. C . — I r o n Chest; T h e K i n g and the Mimic. W . — L o v e * : Duke—Powell, Catharine—Mrs. W . Sefton; Forty Thieves. C . — C h i l d of Nature; Lucile; Dead Shot. Monday: — M a r m i o n ; Dead Shot. — D a m o n and Pythias ; Doctor Dilworth. — L o v e ; Marmion. — R e n t D a y ; Black Eyed Susan. — M a r m i o n ; T h e Daring M a n . — L o v e ; A Roland for an Oliver. — L o v e ; Marmion. — L o v e ; Lottery Ticket. — L o v e ; Marmion. — L a d y of Lyons ; Mountaineers. — L o v e ; Marmion. — T h e Deformed ; Lady of Lyons. Monday : —Jacques Strop; Secret Mine. — L o v e ; L'Automate. —Black Eyed Susan; Secret M i n e . — L u c i l l e ; Harlequin and Mother Goose. —Secret Mine ; Mother Shipton. — S n o w Storm; Harlequin and Mother Goose. —Secret M i n e ; Mother Shipton. — S n o w Storm ; Harlequin and Mother Goose. —Secret M i n e ; Mother Shipton. — S n o w Storm; Harlequin and Mother Goose. —Secret M i n e ; Mother Shipton. —Napoleon Bonaparte's Invasion of Russia ; Harlequin and Mother Goose. Monday : W . — T w o Drovers ; Siege of Tripoli. C . — R i c h a r d I I I ; Chaos is come Again. [216]

w. C. w. c. w. c. w. c. w. c. w. c.

W.c, W.c, W.c. w.c, W.c. w.c.

CHRONOLOGICAL R E C O R D S : 1840 31.

W . — T w o D r o v e r s ; Siege of T r i p o l i . C . — H a m l e t ; A D a y a f t e r the W e d d i n g . JANUARY

1.

2. 3.

4.

6.

7· 8. 9· 10. II. 13·

14. 15· 16. 17· 18. 20.

21.

1840

Wednesday: W . — K e n i l w o r t h ; Billy B u t t o n . C . — K i n g J o h n ; A g r e e a b l e Surprise. W . — K e n i l w o r t h ; Billy B u t t o n . C . — P i z a r r o ; T h e C r o w n Prince. W . — K e n i l w o r t h ; Billy B u t t o n . C . — T o w n and C o u n t r y ; T h e L i t t l e Back P a r l o r * : Tubbs— T . Placide, Snooks—Thayer, Lucy—Miss A . Fisher. W — R o b R o y ; Is the P h i l a d e l p h i a n D e a d ? * : Perkins—Hadaway. C . — M a c b e t h ; T h e L i t t l e Back P a r l o r . Monday: W . - - W o m a n ' s W i t ; Forty Thieves. C - - C h i l d of the W r e c k ; I n d i a n G i r l . w . - -Siege of T r i p o l i ; Is the P h i l a d e l p h i a n D e a d ? c . - - S t . M a r y ' s E v e ; Child of the W r e c k . w . — - P i z a r r o ; T h e Adopted Child. c . - - T h e Lost B a t t l e ; I n d i a n G i r l . w . - - G e o r g e B a r n w e l l ; Secret M i n e . C . - - T h e Lost B a t t l e ; F r e n c h Spy. w . - - J a n e S h o r e ; Secret M i n e . c - - T h e Lost B a t t l e ; F r e n c h Spy. W . - -Der Wächter ; Mummy. c . - -Soldier's D r e a m ; M ö n s . Jacques ; St. M a r y ' s E v e . Monday : W . - — H u n c h b a c k ; A m a t e u r s a n d Actors. c . - —Soldier's D r e a m ; Child of A i r . w . - —Love ; P e r f e c t i o n . C.-—Soldier's D r e a m ; Child of A i r . w . - —Rory O ' M o r e ; H o f e r . c . - —Child of the W r e c k ; F r e n c h Spy. w . - —Tekeli ; Is the P h i l a d e l p h i a n D e a d ? c . - — M a i d of C a s h m e r e ; T h e Lost B a t t l e . w . - —Luke the L a b o r e r ; T e k e l i . C.-— M a i d of C a s h m e r e ; St. M a r y ' s Eve. W . - —Luke the L a b o r e r ; R o r y O ' M o r e . C.-— W i z a r d Skiff ; L a T e n t a t i o n . Monday : W . — B l u e Beard ; D o n J u a n . C . — C o u n t r y G i r l ; W i d o w W i g g i n s ; T h e L i t t l e Back P a r l o r . W . — J a c k S h e p p a r d , the H o u s e B r e a k e r ; D e a d Shot. [217]

THE PHILADELPHIA T H E A T R E 22. 23. 24. 25.

27. 28. 29. 30. 31.

C.—Englishmen in India; Mischief Making; Lottery Ticket. W.—Sweethearts and Wives ; Peter the Great. C . — M a n and W i f e ; Widow Wiggins. W.—Forest Rose; Yankee Bill Sticker * : Bill—Bowman, Mrs. Ledger—Mrs. Wilks. C.—Heart of Midlothian ; T h e Middy Ashore. W . — L a Bayadere; Dr. Dilworth. C.—Irish W i d o w ; Foreign Airs and Native Graces; Fire and Water. W.—Wallace ; Golden Farmer. Last night of performing until Monday, February 3. C.—Love ; T h e Crown Prince. A . — T h e Seven Female Soldiers; Die Schleichhändler. Monday: C.—Irish W i d o w ; Foreign Airs and Native Graces; Fire and Water. C . — T h e Country G i r l ; Foreign Airs and Native Graces; T h e Secret. C . — T h e Pet of the Petticoats; Widow Wiggins; The Weathercock. C . — T h e Pet of the Petticoats; Foreign Airs and Native Graces; Married Rake. C.—Heart of Midlothian; T h e Pet of the Petticoats. FEBRUARY

I. 3.

4. 5.

Saturday : C.—Irish W i d o w ; Foreign Airs and Native Graces; T h e Middy Ashore. Monday: W.—Sadak and Kalasrade*: Sadak—Mrs. W . Sefton, Semaek —Neafie, Mustapha—Barry, Amurath—Matthews, M isti ar—Powell, Dum Dum—Kirby, Mahoud—McBride, Smutta—Hadaway, Rainbow—Lennox, Sentinel— Plumer, Gheber—La Forest, Kezlar—Burgess, Kalasrade — M r s . Hunt, Adehl—Miss Matthews, Fairy—Miss Lee, Hobaddan—Mrs. Wilks, Odez—Miss Price, Murad— Wilks. C.—Comedy of Errors; Children in the Wood; Naval Engagements. W.—Sadak and Kalasrade. C.—Lovers' Vows ; Child of Nature. W.—Sadak and Kalasrade. C.—Romantic W i d o w * : Marquis-—Ranger, Albright—W. F. Johnson, Ernestine—Mrs. Sharpe; Dead Shot; Naval Engagements. [ 218 ]

CHRONOLOGICAL R E C O R D S : 1840 6. 7. 8. 10.

11. 12. 13. 14. 15. 17.

18. 10. 20. 21. 22. 2425. 20. 2".

W . — S a d a k and Kalasrade. C.—Romantic W i d o w . W . — S a d a k and Kalasrade. C.—Romantic W i d o w . W . — S a d a k and Kalasrade. C . — L a Sonnambula ; Dead Shot. Monday: W . — S a d a k and Kalasrade ; J a c k Sheppard. C . — L a Sonnambula ; Waterman. A . — D i e Brilleninsel * ; Die Reise von Berlin nach Potsdam. W . — S a d a k and Kalasrade; J a c k Sheppard. C . — M a i d of Cashmere; St. M a r y ' s Eve. W . — S a d a k and K a l a s r a d e ; J a c k Sheppard. C . — W i z a r d Skifï ; L a Tentation. W . — S a d a k and Kalasrade; J a c k Sheppard. C.—Soldier's D r e a m ; Indian G i r l . W . — S a d a k and Kalasrade; J a c k Sheppard. C . — T h e Lost Battle; Child of A i r . W . — S a d a k and Kalasrade; D e w Drop. C.—Irish W i d o w ; Foreign Airs and Native Graces; T h e Little Back Parlor. Monday: W . — S a d a k and Kalasrade ; D e w Drop. C . — T h e Frontier M a i d * : Natalie, Neataluk, Sam Rivers— three rôles—Mlle. Celeste; French Spy. A, —Die Brilleninsel ; H e r r und Sclave. W . - —The Happy M a n ; Loan of a L o v e r ; D e w Drop. C.-—The Frontier M a i d ; French Spy. W . - —Sadak and Kalasrade ; D e w Drop. c - — T h e Frontier M a i d ; Child of the Wreck. w . - —Sadak and Kalasrade ; D e w Drop. C, —St. M a r y ' s E v e ; N a v a l Engagements. W - —Sadak and Kalasrade; D e w Drop. c - —Soldier's Dream ; W i z a r d Skiff. w . - —The W h i t e Eagle ; D e w Drop. C . — F l y i n g Dutchman ; Susanne ; T h e Frontier M a i d . Α.-—The Seven Female Soldiers; Die Schleichhändler. Monday: W . — T h e W h i t e Eagle ; Is the Philadelphian Dead ? C.—School for Scandal ; N a v a l Engagements. W . — J a c q u e s Strop; T h e Happy M a n ; T w o Drovers. C . — T h e Faithful P a g e ; T h e Ransom. W . — J a c k Sheppard; N e g r o Doorkeeper. C.—Richelieu ; T u r n i n g the Tables. W . — T h e r e s e ; Irish T u t o r . C . — T h e W i f e ; A Roland for an Oliver. [219]

THE PHILADELPHIA THEATRE 28. 29.

W . — A l i c e G r a y ; Paddy Murphy's Weather A l m a n a c ; Review. C . — T h e Stranger; T h e King and the Mimic. W . — T h e Lear of Private L i f e ; W h o ' s the Murderer? C . — L o v e ; Agreeable Surprise.

MARCH Monday : W . — A l i c e G r a y ; Paddy Murphy's Weather Almanac. C . — I o n ; M a i d of Croissy. W . — T h e W h i t e Eagle ; Death Token. C . — P r o v o k e d Husband; M a i d of Croissy. W . — J a c q u e s Strop ; T h e Happy M a n . C . — C a t o ; Lady of Lyons. W . — T h e Rivals ; T h e Siamese T w i n s . C . — H u n c h b a c k ; Chaos is come Again. W . — T h e Chain of Guilt ; L a Fitte. C . — R i c h e l i e u ; Dead Shot. W . — S c h o o l of R e f o r m ; Hunters of the Pyrenees. C . — L o v e ; T h e Roman Actor ; N o !

Monday :

W . — H e n r i Q u a t r e ; Philadelphia F i r e m a n * : Old Grubs—La Forest. C . — L a Sonnambula; Cramond Brig. W . — S i x Degrees of C r i m e ; Damon and Pythias. C . — T h e Faithful Page; Mrs. W h i t e ; Rival Valets. W . — B r o t h e r and Sister; Handsome Husband; Sadak and Kalasrade. C . — T h e C r o w n Prince; Roof Scrambler; Mrs. White. W . — R i c h a r d I I I ; Damon and Pythias. C . — M a i d of Croissy; Roof Scrambler; Mrs. W h i t e . W . — H a m l e t ; Dead Shot. C . — L a d y of the Lake ; N o ! ; Roof Scrambler. W . — C r a d l e of Liberty; Cherry and Fair Star. C . — M a i d of Croissy; Roof Scrambler; Mrs. White.

Monday :

W . — R i c h a r d I I I ; Cherry and Fair Star. C . — S p e e d the Plough ; Naval Engagements. W . — O t h e l l o ; Bachelor's Buttons. C . — R o m a n t i c W i d o w ; A D a y after the W e d d i n g ; Scrambler. W . — J a c q u e s Strop ; Loan of a Lover. C . — R o m a n t i c W i d o w ; Rival V a l e t s ; Mrs. W h i t e . W . — T h e r e s e ; A Quiet Day. [ 220 ]

Roof

CHRONOLOGICAL RECORDS: 1840

20. 21. 23.

24. 25· 26. 27. 28. 30. 31.

C . — L e Preux Chevalier * : Chevalier—Ranger, Frederick— Davenport, Priscilla—Mrs. B r o o d ; Romantic W i d o w . W . — S a d a k and Kalasrade ; A Quiet D a y . C.—Artist's W i f e ; Poor Gentleman. W.-—Ambrose G w i n e t t ; J o a n of A r c . C . — T h e Gentleman and the U p s t a r t ; Artist's W i f e . Monday: W.-—Battle of A u s t e r l i t z ; W a r l o c k of the G l e n . c . — D e r Freischutz, in German ; Roof Scrambler. w . —Romanzo; O l d Oak Chest. c . — D e r Freischutz; M r s . White. w , —Battle of Austerlitz; A Quiet D a y . c . — D e r Freischutz ; Roof Scrambler. W.-—Ambrose Gwinett ; Old Oak Chest. c . — D e r Freischutz ; M y Fellow Clerk. w . - —Paul J o n e s ; Brutus. c . — D e r Freischutz ; Roof Scrambler. W.-—Pizarro. c . — D e r Freischutz; A Roland for an Oliver. Monday: W.—Snakes in the G r a s s ; Irish L i o n ; J o a n of A r c . C . — M a i d of Croissy ; T h e Wcathcrcock. W . — O l d Oak Chest; D e w Drop. C . — M e r c h a n t of Venice; T h e Foundling; Roof Scrambler. APRIL

1. 2. 3. 4.

6.

7. 8. 9.

Wednesday: W.-—Point of Honor ; T h e Exile. C . — T o m Noddy's Secret; T h e K i n g and the Mimic. W . — R o b Roy ; W a r l o c k of the G l e n . C . — M a r r i e d Rake ; Lottery T i c k e t . W . — R i c h a r d I I I ; Black Eyed Susan. C.—Soldier's Daughter ; T h e Roof Scrambler. W . — M o n s i e u r Jacques ; M y Neighbor's W i f e ; R u m O l d Commodore. C.—Shipwreck ; Simpson and Company. Monday: W . — T h e Light Ship ; But, However ! C.—Charles I ; Bachelor's Buttons; N a v a l Engagements. W . — T h e Light Ship; W a n d e r i n g Minstrel. C . — M a i d of Croissy ; A Roland for an Oliver. W . — T h e Light Ship; H u m b u g * : Manager—Burton. C . — D r a m a t i s t ; Happy M a n ; T h e Foundling. W . — T h e Light Ship; Humbug. [221 ]

THE PHILADELPHIA 10. 11.

13. 14. 15. 16. 17.

18.

20.

21. 22. 23. 24. 25. 27.

28. 29. 30.

THEATRE

C.—Shipwreck ; M y Fellow Clerk. W . — T h e Light Ship; Humbug. C . — N e w W a y T o Pay Old Debts ; T h e Roof Scrambler. W . — E m i g r a t i o n * : Ned—Burton, Boyce—Lennox, Jack— Neafie, Leighton—Edwards, Mary—Mrs. W . Sefton ; M y Neighbor's W i f e ; Humbug. C . — G o b l i n P a g e ; M r s . White. Monday: W . — B e g o n e Dull C a r e ; A Good Night's R e s t ; Humbug. C . — G o b l i n Page ; Chaos is come Again. W . — E m i g r a t i o n ; Begone Dull Care. C . — C u r e for the Heart A c h e ; N a v a l Engagements. W . — T h e Light Ship; A Quiet D a y ; Humbug. C.—Hamlet; No! W . — E m i g r a t i o n ; A Good Night's R e s t ; Humbug. C . — M e r c h a n t of Venice; ' T w a s I. W . — R u m Old Commodore; T h e Dark L a d y * : tVinkey— Burton ; A Good Night's Rest. C . — R i c h a r d I I I ; Agreeable Surprise. W . — S t a g H a l l ; Little Sins and Pretty Sinners; T h e Dark Lady. C . — I r o n Chest ; Lady of Lyons. Monday: W . — P a u l , the Patriot ; T h e Maniac Lover. C.—Postillion of L o n j u m e a u * : Chapelon—Wilson, Biju— Ginbeli, Madelaine—Miss Shireff; Dumb Belle. W . — T h e Maniac L o v e r ; Charles X I I ; Cramond B r i g ; Napoleon Bonaparte's Invasion of Russia. C.—Postillion of Lonjumeau; T h e Little Back Parlor. W . — D a m o n and Pythias; A Good Night's Rest. C.—Postillion of Lonjumeau; M r s . White. W . — G l a d i a t o r ; W h a t Have I Done? C.—Postillion of Lonjumeau ; M y Uncle John. W . — T h e L a d y of Lyons ; Bold Dragoons. C.—Postillion of Lonjumeau; A Day after the Wedding. W . — V i r g i n i u s ; Bold Dragoons. C.—Postillion of Lonjumeau; M a i d of Croissy. Monday: W . — M e t a m o r a ; Paul Jones. C.—Postillion of Lonjumeau; Touch and T a k e . W . — D a m o n and Pythias; W h a t Have I Done? C . — F r a Diavolo ; T u r n i n g the Tables. W . — R i c h e l i e u ; Gladiator. C . — L a Sonnambula ; M y Uncle John. W . — M e t a m o r a ; T h e Little Back Parlor. C.—Postillion of Lonjumeau; Loan of a Lover. [ 222 ]

CHRONOLOGICAL RECORDS: 1840 MAY 1. 2. 4. 5. 6. 7. 8. 9.

11. 12. 13. 14. 15. 16. 18.

19. 30

Friday : W.—Richelieu; A Good Night's Rest. C.—Postillion of Lonjumeau; Midas. W . — O t h e l l o ; T h e Little Back Parlor. C.—Postillion of Lonjumeau ; Cramond Brig. Monday: W . — K i n g Lear ; Pizarro. C.—Happiest Day of my L i f e ; Midas. W . — T h e Maniac Lover. C . — W i v e s as they Were ; Naval Engagements. A . — T h e Swiss Family.* W . — U g o l i n o ; Children in the W o o d ; Adopted Child. C . — T h e Rivals; T h e Roof Scrambler; M y Uncle John. W.—Ambrose Gwinett ; Bold Dragoons. C . — L a u g h when you C a n ; T h e King and the Mimic. W.—Caswallon ; Ugolino. C . — D i e Schweitzer Familie, by the German Company ; Is He Jealous ; T h e Roof Scrambler. W . — F a i n t Heart never won Fair L a d y ; Nipped in the B u d ; If the Cap fits you, wear it. C . — T h e Dropping Well of Knaresborough ; T h e Married Rake. Monday: W . — H i s Last Legs; Love's Frailities; Fortunate Couple. C . — E l l e n Wareham ; T h e Crown Prince. W . — R o b e r t Macaire; Jacques Strop. C.—Country G i r l ; Widow Wiggins; No W . — R o b e r t Macaire; Jacques Strop. C . — T h e Soldier's Daughter; Foreign Airs and Native Graces; Fortune's Frolic. W . — E d g a r d the Idiot ; M y Young W i f e and my Old Umbrella. C.—Irish W i d o w ; Mischief Making; Naval Engagements. W . — E d g a r d , the Idiot; A Good Night's Rest. C . — A s You Like I t ; Wedding Day. W . — V i c t o i r e ; Frightened to Death; Turning the Tables. C . — B o l d Stroke for a Husband ; Fire and Water. Monday: W.—Perfection ; Black Eyed Susan ; Winning a Husband. C.—Irish W i d o w ; Curiosity Cured * : five rôles by Mrs. Fitzwilliam ; Touch and Take. W . — E d g a r d , the Idiot; Swiss Cottage. C.—Ladies' Club ; Curiosity Cured ; T h e Dead Shot. W . — T h e Man in the Iron M a s k ; Winning a Husband. C.—-Ladies' Club; Widow Wiggins; Latin, Love and W a r . Γ 223 ]

THE PHILADELPHIA THEATRE 21. 22. 23. 25. 26. 27. 28. 29. 30.

W . — T h e Man in the Iron M a s k ; Swiss Cottage. C.—The Soldier's Daughter; Mischief Making; No! W.—Corsair's Revenge ; Disguise ; The Miller's Maid. C.—Bold Stroke for a Husband ; Curiosity Cured. W.—Country G i r l ; Nicholas Nickleby; Corsair's Revenge. C.—Ladies' Club; Foreign Airs and Native Graces; Widow Wiggins. Monday: W.—Iron Chest; William Tell. C.—Jonathan in England ; Middy Ashore; Loan of a Lover. W . — T h e Sentinel ; Six Degrees of Crime. C.—Secrets Worth Knowing; Love Laughs at Locksmiths. W . — T h e Giant of Palestine. C.—Heir at L a w ; Honest Thieves. W . — T h e Giant of Palestine; If the Cap fits you, wear it; Nipped in the Bud. C.—Touch and T a k e ; Kentuckian; Möns. Mallet. W.—Faint Heart never won Fair Lady; The Giant of Palestine. C.—Rip Van Winkle ; Job Fox ; M y Fellow Clerk. W . — T h e Giant of Palestine. C.—Merry Wives of Windsor; Kentuckian.

JUNE 1. 2. 3. 4. 5. 6. 8. 9. 10.

Monday: W . — I f the Cap fits you, wear it; Little Back Parlor; Sorcerer. C.—Henry I V ; Möns. Mallet; Fortune's Frolic. W.—Bold Dragoons; Sorcerer. C.—Midnight Hour ; Roof Scrambler. W.-—Faint Heart never won Fair Lady; Marco Bombo. C.—Master's Rival ; The Critic. W.—Nipped in the Bud ; Rum Old Commodore ; Marco Bombo. C . — T h e King and the Mimic; M y Aunt. W . — T r u t h ; Sorcerer. C . — ' T w a s I ; Agreeable Surprise. W.—Little Back Parlor; Cramond Brig; Gig Gig. C.—Dramatist; Charles II. Monday: W.—Henriette; T h e Vampire. C.—Lucille; Bengal Tiger. W . — N o Advertisement. C.—Castle Spectre; No Song, No Supper. W.—Richard I I I ; Omnibus. C.—Wild Oats; Master's Rival. [ 224 ]

CHRONOLOGICAL R E C O R D S : 1840 11. 12. 13. 15.

16. 17. 18. 19. 20. 22. 23. 24. 25. 26. 27. 29.

30.

W.—Henriette; Devil's Daughters. C . — L a d v of Lyons ; Roof Scrambler. W . — N o Bill Received. C.—George Barnwell; A Good Night's Rest; Little Back Parlor. W . — T h e Falls of Clyde; Hamlet, Travestie; Bleeding Nun of Lindenberg. C . — L a u g h when you Can ; A Good Night's Rest. Monday: W.—Hamlet ; Loan of a Lover. C.—Closed in preparation for engagement of Mile. Fanny Elssler. W . — N e w W a y T o Pay Old Debts; Pleasant Neighbors. C.—Closed. W.—Richard I I I ; M y Neighbor's W i f e . C . — A Good Night's Rest; L a T a r e n t u l e * : Lauretta—Mile. Elssler, Luidgi—Möns. Silvain. W . — T h e Stranger; Perfection. C . — A Good Night's Rest ; L a Tarentule. W.·—The Apostate; Dead Shot. C . — M y Uncle John : L a Tarentule. W.—Othello ; M a y o r of Garratt. C . — T h e Secret ; L a Tarentule. Monday: W . — K i n g Lear ; Lovers' Quarrels. C . — N o ! ; L a Tarentule. W.—Distressed Mother; Rain, Old Commodore. C.—L'Amour. W.—Oroonoko ; Little Back Parlor. C . — F i r e and W a t e r ; L'Amour. W.—Richard I I I ; Nipped in the Bud. C.—Mrs. White; L'Amour. W.—Douglas ; T w o Greens. C.—Mrs. White; L'Amour. W.—Merchant of Venice, first act; Mountaineers, cavern scene; Richelieu, first act; Review. C.—Wedding D a y ; L'Amour. Monday: W . — L a d d e r of L o v e ; Comfortable Service; Valentine and Orson. C.-—Day after the Wedding ; L ' A m o u r . W.—Conquest of T a r a n t o ; T h e Purse. C . — N o Advertisement. A . — D i e Humoristichen Studien. [ 225 ]

T H E PHILADELPHIA T H E A T R E JULY 1. 2.

3. 4. 6. 7. 8. 9. 10. 11. 13. 14. 15. 16. 17. 18. 20. 21. 22. 23. 24. 25. 29.

W ednesday : W.—Adelgitha ; Wreck Ashore. C.—Chaos is come Again ; L a Svlphide, ballet. W . — W i l l i a m T e l l ; L a Fitte. C . — D u m b Belle; L a Sylphide. W.—Mountaineers; Black Eyed Susan. C . — D u m b Belle; L a Svlphide. W . — D y i n g G i f t ; Patriotism. C . — I s H e Jealous?; L a Sylphide. Monday: W.—Closed. C . — I s He Jealous?; La Sylphide. W.—Closed. C.—Closed. W.—Closed. C.—Closed. W . — D y i n g G i f t ; Pleasant Neighbors. C . — I s He Jealous?; La Sylphide. W.—Patriotism; T w o Greens. C.—Closed for the season. W . — D e a t h Token * : Felix—Percival, Belair—Kirby, Mnrtelle — M i s s Murray, Justine—Miss Mathews; M y Neighbor's Wife. Monday: W . — H u n t e r of the Pyrenees; Lovers' Quarrels. W . — I d i o t Witness; T w o Greens. W . — T h e White F a r m ; A f f a i r of Honor. W . — M i l l e r and his M e n ; O h ! Hush!! W . — H u n t e r of the Pyrenees; T h e Secret. W . — T h e Inn-Keeper of Abbeville; O h ! Hush!! Monday: W . — T h e Evil Eye ; T o m and Jerry, Cribb's scene ; Dumb Girl of Genoa. W . — T h e Inn-Keeper of Abbeville; Bombastes Furioso. W . — M a t h e o Falcone; T h e Little T i g e r ; Bee Hive. W . — W i l d Oats; Bombastes Furioso; T w o Brothers. W . — A l p i n e Hunters; T h e Pet of the Admiral; T h e Little Tiger. W . — F l o a t i n g Beacon ; Turnpike Gate. Last night of the season. Coates St. Theatre.—Warlock of the Glen ; Young Widow ; Love in Humble Life. Benefit of Mrs. St. Clair.

[ 226 ]

CHRONOLOGICAL R E C O R D S : 1840 AUGUST ig.

20. 21. 29. 31.

Wednesday ; Coates St. Theatre.—Rented by T . Placide to produce the grand national drama, T h e Battle of Tippecanoe*: Harrison— Pickering, Harry—Thoman, David—Placide, Heartwell — H . Eberle, O'Prattle—Kelly, Beck—Eberle, Clorinda M r s . L a Forest, Sally—Mrs. T h o m a n ; T w o Gregories. Coates.—Id. Coates.—Id. C.—School for Scandal ; Popping the Question. Monday: N . — T h e Rivals; A Roland for an Oliver. C . — W e a k Points; A Kiss in the D a r k ; Turning the Tables. SEPTEMBER

1. 2. 3. 4. 5. 7.

8. 9. 10.

11.

Tuesday : N.—Patrician and Parvenu; Swiss Cottage. C . — M a r r i e d L i f e ; A Kiss in the Dark ; Chaos is come Again. N . — T o m Noddy's Secret; Married Rake; Wandering Ministrel. C . — W e a k Points; Our M a r y A n n ! ; Perfection. N . — L a d y of Lyons; A Roland for an Oliver. C.—Single L i f e ; Our M a r y A n n ! ; Fire and Water. N . — T o m Noddy's Secret; Swiss Cottage; Married Rake. C.—Single L i f e ; Married Life. N . — O l i v e r T w i s t ; Dumb Belle. C . — R u r a l Felicity ; A Kiss in the Dark ; Ladder of Love. Monday: N . — M u c h Ado about Nothing; Lottery Ticket. C . — T h e Duke's Bride ; Lottery Ticket ; Ladder of Love. A . — T h e Provost of P a r i s * : Emanuel—Mathews, Zuroc— Kirby, Hugues—Hunt, Eric—Percival, Zabina—Mrs. Hunt, Clotilde—Miss Hudson; Young Widow. N . — O l i v e r T w i s t ; Dumb Belle. C . — R u r a l Felicity; Fashionable Friends; Uncle John. A.—Provost of Paris; Virginia Mummy. N . — O l i v e r T w i s t ; Married Rake. C.—Single L i f e ; Married L i f e . Α.—Provost of Paris ; Oh ! Hush ! ! N . — L a d y of Lyons; T o m Noddy's Secret. C . — T h e Duke's Progress; Fashionable Friends; T h e Conquering Game. A.—Provost of Paris; Bone Squash Diavolo. Ν . — T h e W i f e ; More Blunders than One. [ 227 ]

THE PHILADELPHIA T H E A T R E

12. 14.

15. 16. 17. 18.

19.

21. 22. 23. 24. 25. 26. 28. 29.

C.—Weak Points; Our Mary A n n ; Simpson and Company. A.—Young W i d o w ; Bone Squash Diavolo; Virginia Mummy. N.—Nicholas Nickleby; T h e Poor Soldier. C.—Poor Jack * : Tim—Buckstone. A.—Bone Squash Diavolo; Jim Crow in London. Monday : N.—Henry I V ; Swiss Cottage. C.—Conquering Game ; T h e Magpie. A . — T h e S i x e s * : Rudolph—Kirby, Elfina—Mrs. La Forest; T w o Gregories. N . — T h e W i f e ; More Blunders than One. C.—King John; Scan. Mag. A . — T h e Sixes; Pleasant Neighbors. N.—Henry I V ; Möns. Mallet. C.—Comfortable Service ; Simpson and Co. A . — T h e Sixes; M y Neighbor's Wife. N.—King L e a r ; Kentuckian. C.—Nicholas Nickleby; Perfection; Scan. Mag. A.—Turning the Tables; Perfection; Nipped in the Bud. N.—Venice Preserved; More Blunders than One. C . — T h e Innkeeper of Calais, in the French language; Popping the Question; Uncle John. A.—Provost of Paris; T h e Sixes. N.—King L e a r ; Nicholas Nickleby. C.—Therese; Nicholas Nickleby. A . — N o w closed until after election, while preparations were in progress to fit this house as a melodramatic theatre. Monday: N.—Othello; The Critic. C.—Richelieu; Comfortable Service. N . — K i n g L e a r ; Nicholas Nickleby. C.—Damon and Pythias; Scan. Mag. N.—Hunchback; Susanne. C.—Lady of Lyons; Master's Rival. N . — M e r r y Wives of Windsor; Jonathan in England. C.—Metamora ; Lottery Ticket. N.—Julius Caesar; Nicholas Nickleby. C.—Richard I I I ; A Good Night's Rest. N.—King L e a r ; Militia Training; Kentuckian. C.—Gladiator ; Popping the Question ; Ladder of Love. Monday: N.—Poor J a c k ; Englishmen in India. C.—Broker of Bogota; Animal Magnetism. N.—Victorine; A Kiss in the D a r k ; M y Young W i f e and my Old Umbrella. C.—Broker of Bogota; T u r n Out. [ 228 ]

CHRONOLOGICAL RECORDS: 1840 30.

Ν . — M a r r i e d L i f e ; Poor Jack. C.—Richelieu ; Gladiator. OCTOBER

1. 2. 3. 5. 6. 7. 8. 9. 10. 12. 13. 14. 15. 16. 17. 19.

Thursday : N . — H e i r at L a w ; Out of Luck. C . — W i l d Oats ; Nicholas Nickleby. N.—Victorine; T h e Christening. C.—Jealous W i f e ; Scan. Mag. N.—Isabelle; Old Guard. C . — L o v e ; T h e Storm. Monday: N . — A Dream at Sea ; Isabelle. C.—Irish Ambassador; Irish T u t o r ; Dead Shot. N.-—Susanne; Nicholas Nickleby; A Roland for an Oliver. C.—Nervous M a n ; Irish L i o n ; T h e Storm. N.—Virginius ; Caméléon. C . — H o w to pay Rent; Irish Lion; Scan. Mag. N.—Washington ; Susanne. C.—Born to Good L u c k ; Irish T u t o r ; Animal Magnetism. N.—Washington ; Caméléon. C . — H o w to pay Rent; Omnibus; T u r n Out. N.—Washington; Married Rake. C . — H i s Last Legs; Omnibus; M y Aunt. Monday: N . — W a t e r Party; Nicholas Nickleby, first act; Washington. C . — H i s Last Legs; Irish Lion; Is H e Jealous? N . — P a u l P r y ; A Dream at Sea. C.—John Bull ; Master's Rival. N.—Richard I I I ; Susanne. C.—Irish Ambassador; Teddy the T i l e r ; Ladder of Love. W . — T h e Honey Moon ; A Roland for an Oliver. N.—Poor Soldier; Water Party. C . — R o r y O ' M o r e ; Lottery Ticket. W . — H o n e y M o o n ; A Roland for an Oliver. N.—Romantic W i d o w ; Artist's W i f e . C . — H i s Last Legs; Paddy Carey. W.—School for Scandal; Winning a Husband. N.—Patrician and Parvenu; A Dream at Sea. C.—St. Patrick's Eve ; How to pay Rent. W . — F a i n t Heart never won Fair L a d y ; T h e Rivals. Monday: N . — J o h n di Procida * : Procida—J. R . Scott, Fernando— Richings, Guiscardo—Graham, Governor—C. S. Porter, Isoline—Miss Cushman ; Budget of Blunders. [229]

THE PHILADELPHIA THEATRE

20. 21. 22. 23. 24. 26.

27. 28. 29. 30. 31.

C.—Irish Attorney; Paddy Carey. W.—Faint Heart never won Fair Lady ; Laugh when you Can. N . — L e Preux Chevalier; Oliver Twist. C.—Born to Good Luck ; Omnibus. W.—Othello ; Family Jars. N.—Father and Daughter; Budget of Blunders. C.—Irish Attorney; Irish Lion. W.—Married Rake ; Wives as they Were. N.—John di Procida; Le Preux Chevalier. C.—His Last Legs; Irish Tutor. W.—Paul Pry ; Faint Heart never won Fair Lady. N.—Romantic Widow; Möns. Tonson. C.—Irish Attorney; Happy Man. W.—Belle's Stratagem ; Review. N.—The Lover Husband; Humbug. C.—Rory O'More; Irish Haymakers. W.—Laugh when you Can ; The Innkeeper's Daughter. Monday: N.—Lady of Lyons; Blue Devils. C . — L a Sonnambula ; Popping the Question. W.—Romeo and Juliet ; Sprigs of Laurel. N.—Jane Shore; Humbug. C.—Cinderella; Married Rake. W.—Foundling of the Forest; Family Jars. N.—The Stranger; Place Hunter. C . — L a Sonnambula; Simpson and Company. W.—Comedy of Errors; Charles II. N.—The W i f e ; Humbug. C.—Fra Diavolo; Scan. Mag. W.—Innkeeper's Daughter; Comedy of Errors. N.—Pizarro; Katharine and Petruchio. C.—Lucille; Irish Haymakers. W.—Perfection ; Sprigs of Laurel. N.—Swiss Swains; Master Humphrey's Clock. C.—Guy Mannering; M y Neighbor's Wife. W.—Love and Madness ; Sweethearts and Wives. NOVEMBER

2.

3.

Monday: N.—Maid of Mariendorpt; Solomon Smink*: Buckstone. C.—Fra Diavolo; The Christening. W.—Seven's the Main; Last Man. N.—Swiss Cottage; Victorine. C.—Maid of Judah ; Dead Shot. [ 230 ]

Solomon—

CHRONOLOGICAL R E C O R D S : 1840 4. 5. 6. 7.

9.

10. 11. 12. 13. 14. 16.

17. 18. 19.

W . — H u n t i n g a T u r t l e ; T h e Last Man. N . — W r e c k Ashore; A Kiss in the Dark. C . — L a Sonnambula ; Poor Soldier. W . — F a i n t Heart never won Fair L a d y ; Last M a n . N.—Solomon Smink ; Le Dieu et la Bayadere. C.-—Maid of Judah ; T h e Quaker. W . — L o a n of a Lover ; Last M a n . N . — W r e c k Ashore ; Le Dieu et la Bayadere. C . — L a d y of Lyons ; No Song, No Supper. W . — L a s t M a n ; High L i f e below Stairs. N.—Peter Bell, the W a g o n e r * : Peter—Burton, Martin— Buckstone ; Othello. C . — F r a Diavolo ; T h e Waterman. W . — L a u g h when you Can ; T h e Last Man. Monday: N . — U p s and Downs * : Felix—Burton ; L e Dieu et la Bayadere, first act. C.—Englishmen in India; T h e Roof Scrambler. W . — G e o r g e Barnwell ; Deaf as a Post. N . — J o h n di Procida ; Wreck Ashore. C . — L a Tarentule ; T h e Christening. W . — L a s t Man ; Laugh when you Can. N . — M o r e Blunders than O n e ; L e Dieu et la Bayadere. C.—Closed. W . — O f Age T o m o r r o w ; M r . and M r s . Peter White. N . — R o b R o y ; Pleasant Neighbors. C . — L a Sylphide; Popping the Question. W.—Sailor's Revenge ; A Roland for an Oliver. N . — U p s and D o w n s ; Master Humphrey's Clock. C.—Closed. W.—Sweethearts and W i v e s ; Married Rake. N . — R o b R o y ; Peter Bell. C . — L a Sylphide ; Dead Shot. W . — G e o r g e Barnwell ; Sprigs of Laurel. Monday: N.—Irish Ambassador; Irish T u t o r . C . — L a Tarentule ; Shocking Events. W . — T h e Prize ; Deaf as a Post. N.—Nervous M a n ; Irish L i o n ; Susanne. C.—Closed. W . — F a i n t Heart never won Fair L a d y ; Innkeeper's Daughter. N.—O'Flannigan and the Fairies. C.—Nathalie ; Young Widow. W.—Perfection ; Black Eyed Susan. N.—O'Flannigan and the Fairies; Place Hunter. C.—Closed. [231 ]

THE PHILADELPHIA T H E A T R E 20. 21. 23.

24. 25. 26. 27. 28. 30.

W.—Winning a Husband ; A Day after the Wedding. N.—Nervous Man ; Wags of Windsor. C.—Popping the Question ; T o m Noddy's Secret. W . — I s He Jealous?; T h e Lady and the Devil. N.—O'Flannigan and the Fairies; Happy Man. C.—Nathalie; The Christening. W.—Honey Moon ; Ship Wreck. Monday: N.—White Horse of the Peppers; Happy Man. C.—Othello ; Petticoat Government. W.—Broken Sword ; Shipwreck. N . — H i s Last Legs; Irish Lion. C.—Metamora ; Tom Noddy's Secret. W.—Broken Sword ; Shipwreck. N.—White Horse of the Peppers; His Last Legs. C.—Virginius; M r . and Mrs. Pringle. W.—Archibald of the Wreck; Speed the Plough. N.—O'Flannigan and the Fairies; Happy Man. C.—Gladiator; She would be a Soldier. W.—Demon Dwarf ; Laugh when you Can. N.—Irish Attorney; Omnibus. C.—Richelieu ; The Christening. W . — R o b Roy; Is He Jealous? N.—Irish Attorney; Irish Ambassador. C.—Lady of Lyons; M r . and Mrs. Pringle. W.—Hunting a T u r t l e ; Comfortable Service. Monday: N . — G u y Mannering; Place Hunter. C.—King Lear ; Shocking Event. W.—Speed the Plough ; Demon Dwarf. DECEMBER

1.

2.

3.

Tuesday : N.—Devil's Bridge ; M y Sister Kate. C.—Damon and Pythias; Happiest Day in my Life. W.—Archibald of the Wreck ; Demon D w a r f . A.—Jonathan in England ; Ο. K . N.—Love in a Village ; Waterman. C.—Macbeth ; Therese. W.—Goblin Page; Married Rake. A . — N e w Notions; A W i f e for a Day. N . — G u y Mannering; More Blunders than One. C.—Marco Bombo; T o m Noddy's Secret. W.—Charles I I ; Goblin Page. A.—Jonathan in England ; T h e Secret. [ 232 ]

CHRONOLOGICAL R E C O R D S : 1840 4.

5.

7.

8.

9.

IO.

u.

12.

14.

15.

16.

Ν . — M a s a n i e l l o ; Blue Devils. C . — W i l d O a t s ; Flying Dutchman. W . — R o m e o and Juliet ; Goblin Page. A . — D o n e for a Hundred; Hypocrite. N . — M a s a n i e l l o ; T o m Noddy's Secret. C.—Popping the Question ; Dead Shot. W . — O f A g e T o m o r r o w ; Spoiled Child. Α . — C u t and come Again ; N e w Notions. Monday: N.—Masaniello. C . — M y Fellow C l e r k ; Fire and W a t e r . W.—Simpson and Company ; T h r e e and Deuce. A . — R a i l Road Depot; Lion of the Sea.* N . — D e v i l ' s Bridge; Dumb Belle. C . — N a v a l Engagements; Nicholas Nickleby. W . — S t r a n g e r ; Agreeable Surprise. Α.-—Cut and come Again ; Lion of the Sea. N.—Masaniello ; M o r e Blunders than One. C . — D a y after the W e d d i n g ; M y Fellow Clerk. W . — A g n e s deVrere ; T u r n Out. A . — K n i g h t of the Golden Fleece; Dead Shot. N.—Siege of Belgrade; Wandering Minstrel. C.—Popping the Question ; Ice Witch and Sun Spirit * : Harold—Murdock, Gruthioff—Henkins, Seveno—Davenport. W . — H e i r at L a w ; Woman's the Devil. A . — K n i g h t of the Golden Fleece; N e w Notions, N.—Siege of Belgrade; Swiss Cottage. C . — I c e W i t c h ; M r . and M r s . Pringle. W . — N a t u r e and Philosophy; A W i f e for a Day. A . — B e n the B o a t s w a i n * : Dionysius—Flynn, Dame—Mrs. Judah, Palmyra—Mrs. C a n t o r ; T r u e Hearts. N . — T h e Slave; Masaniello, first act. C . — I c e Witch and the Sun Spirit. W . — G r e e n Mountain Boy ; Agreeable Surprise. A . — R i c h a r d I I I ; Secret. Monday: N . — T h e Cabinet; T h e Slave. C . — I c e Witch and the Sun Spirit. W . — J o n a t h a n in England ; Jumbo J i m . A . — R i c h a r d I I I ; Highlander's Faith. N . — D u t c h Burgomaster; Merchant of Venice. C . — I c e W i t c h ; T u r n Out. W . — C u t and come Again ; Foreign Prince. A . — H a m l e t ; Dead Shot. N . — B r u t u s ; State Secrets. C . — I c e W i t c h ; L a Sonnambula. [ 233 ]

T H E PHILADELPHIA T H E A T R E

17.

18.

19.

21.

22.

23.

24.

25.

26.

28.

W . — W h e w ! Here's a G o ! ; W i f e for a Day. A . — N e w W a y T o Pay Old Debts; Sudden Thoughts. N . — L a d y of Lyons; Dutch Burgomaster. C.—Bride of Abydos ; Ice Witch. W.—Seth Slope; Uncle Pop. A.—Richelieu ; Ben the Boatswain. N.—Closed. C.—Englishmen in India; Ice Witch. W.—Virginny M u m m y ; Green Mountain Boy. A.—Hamlet ; T r u e Hearts. N . — T h e Naiad Queen * : Rupert—Shaw, Almagro—Boulard, Greenwald—Owens, Amphiboo—Oakey, Queen—Miss Cushman ; M y Sister Kate. C.—Bold Stroke for a Husband ; Ladies' Club. W.—Jonathan in England ; Bone Squash Diavolo. A.—Richard I I I ; Mayor of Garratt. Monday: N.—Naiad Queen ; T h e Sleigh Driver. C.—Irish W i d o w ; Perfection. W . — K n i g h t of the Golden Fleece; Richard I I I . A.—Norman Leslie; Ben the Boatswain. N.—Naiad Queen; More Blunders than One. C . — M r . and Mrs. Pringle; Christening. W . — K n i g h t of the Golden Fleece ; New Notions. A.—Norman Leslie; Highlander's Fate. N.—Naiad Queen ; Swiss Cottage. C.—Banished Star ; T o m Noddy's Secret. W . — N e w W a y T o Pay Old Debts ; Loan of a Lover. A.—Convict's Child ; Lion of the Sea. N.—Virginius; Joan of Arc. C.—Single L i f e ; Fortune's Frolic. W . — H a m l e t ; A Day in Paris. A.—Convict's Child ; Lion of the Sea. N.—Naiad Queen ; Dancing Scotchman. C . — A Kiss in the D a r k ; Widow Wiggins. W.—Richard I I I . A.—Norman Leslie ; T h e Secret. N.—Naiad Queen; Dancing Scotchman. C.—Ice Witch and the Sun Spirit. W . — N o advertisement. A.—Convict's Child ; Like Father, Like Son. Monday: N.—Naiad Queen ; T h e Deserter. C . — T o w n and Country; Nipped in the Bud. W . — N o r m a n Leslie. A.—Poor Dog T r a y ; T o m and Jerry. [ 234 ]

CHRONOLOGICAL R E C O R D S : 1841 29.

30.

31.

Ν . — N a i a d Queen ; T h e Deserter. C.—Lucille ; Therese. W . — N o r m a n Leslie. A . — P o o r Dog T r a y ; T r u e Hearts. N . — N a i a d Queen; T h e Sleigh Driver. C.—Castle Spectre; Agreeable Surprise. W . — N o r m a n Leslie. A . — D u m b M a n of Manchester ; Serpent Lady. N . — T o w n and Country; Der Nacht Wächter. C . — R u r a l Felicity ; Valentine and Orson. W . — N o r m a n Leslie. A . — D u m b Man of Manchester ; Serpent Lady. JANUARY

1.

2.

4.

5.

6.

7.

8.

9.

1841

Friday : W . — G e o r g e Barnwell ; Norman Leslie. A.—Phillip Quarl and his Monkey; T h e Sailor's Return. N . — T h e Naiad Queen. C . — B r i d e of Abydos; Ice Witch. W . — N o r m a n Leslie. A . — D u m b Man of Manchester; Serpent Lady. N . — T h e Naiad Queen ; Mother Goose. C.—Ice Witch ; Valentine and Orson. Monday: W . — N o r m a n Leslie. A.—Siege of Janina ; T o m Thumb. N . — T h e Naiad Queen ; T h e King's Word. C . — H i n t s for Husbands ; Rural Felicity. W . — N o r m a n Leslie. A.—Siege of Janina ; Black Eyed Susan. N.—Naiad Queen; Mother Goose. C.—Closed. W . — N o r m a n Leslie; George Barnwell. A . — W i l d Boy of Bohemia ; Forest of Bondy. N . — N a i a d Queen ; Mother Goose. C.—Closed. W.·—Romeo and Juliet ; Forty Thieves. A . — W i l d Boy of Bohemia ; Forest of Bondy. N . — N a i a d Queen ; Mother Goose. C.—Closed. W . — S t a r s and Stripes ; Philadelphia as it Is. A.—Smuggler's D o g ; Tomb Thumb. N.—Foundling of the Forest; Wreck Ashore. C.—Closed. W . — L a u g h when you Can ; Philadelphia as it Is. [ 235 ]

THE PHILADELPHIA T H E A T R E

11.

12.

13.

14.

15.

16.

18.

19.

20.

21.

A.—Siege of Janina ; Don Juan. N.—Maurice the Woodcutter; Mother Goose. C.—Closed. Monday: W.—Carpenter of Rouen ; Philadelphia as it Is. A.—Grateful Lion ; Death Struggle. N.—Norma ; More Blunders than One. C.—Norma. W.—Carpenter of Rouen; Philadelphia as it Is. A.—Forest of Bondy ; Don Juan. N.—Norma ; Place Hunter. C.—Norma. W.—Carpenter of Rouen; Catching an Heiress. A.—Forest of Bondy ; Don Juan. N.—Norma, King's Word. C.—Norma. W.—Carpenter of Rouen; Philadelphia as it Is. A . — T h e Foulah Slave ; Jack Robinson. N.—Norma; The Sleigh Driver. C.—Norma. W.—Carpenter of Rouen; P . P . P . P . A . — T h e Foulah Slave ; Jack Robinson. N.—Norma; Wandering Minstrel. C.—Norma. W.—Laugh when you Can; Carpenter of Rouen. A.—Clandare; A Night in the Pyrenees. N . — N o r m a ; Monster's Fate. C.—Norma. Monday: W.—Mazeppa; Turn Out. A.—French Spy; Grateful Lion. N.—Ataxerxes; Monster's Fate. C.—Norma. W.—Mazeppa ; T u r n Out. A.—Courier of the Ocean; Is He Jealous? N.—Artaxerxes; Monster's Fate. C.—Closed. W . — M a z e p p a ; P.P.P.P. A.—Hazard of the Die; T o m Cringle. N.—Norma ; Loan of a Lover. C.—Closed. W . — M a z e p p a ; P.P.P.P. A.—Courier of the Ocean; A Night in the Pyrenees. N . — N o r m a ; Yankee Valet. C.—Closed. [ 236]

CHRONOLOGICAL RECORDS: 1841 22.

23.

25.

26.

27.

28.

29.

30.

W . — M a z e p p a ; Like Father, Like Son. A.—Dumb Man of Manchester; Tom Cringle. N . — N o r m a ; John Jones. C.—Closed. W.—Mazeppa ; Carpenter of Rouen. A.—Courier of the Ocean ; Grateful Lion. N . — N o r m a ; Rob Roy. C.—Closed. Monday: W . — M a z e p p a ; Carpenter of Rouen. A.—Richard Turpin; Cherokee Chief. N . — M o n e y ; Mummy. C.—Norma. W.—Mazeppa ; Carpenter of Rouen. A.—Richard Turpin ; Cherokee Chief. N.—Mazeppa ; Carpenter of Rouen. C.—Norma. W.—Mazeppa ; Carpenter of Rouen. A.—Brazen Drum; Venus in Arms. N.—Rent D a y ; State Secrets. C.—Norma. W . — D o u g l a s ; P.P.P.P. A.—Brazen Drum; Venus in Arms. N . — A Grand Ball, no play. C.—Norma. W . — M a z e p p a ; Carpenter of Rouen. A . — T h e Foundling; Easy Joe Bruce. N . — A Promenade Concert, no play. C.—Norma. W.—Mazeppa ; Golden Farmer. A . — T h e Foundling; Lion of the Sea. N . — T h e Exile; Merchant of Venice, the trial scene. C.—Norma. FEBRUARY

1.

2.

Monday: W . — K a t e Kearney ; Flying Dutchman. A.—Bridge of T e r r o r ; Tommy T i t in Trouble. N . — M o n e y ; Killing no Murder. C.—Norma. W . — K a t e Kearney; Flying Dutchman. A.—Bridge of T e r r o r ; Tommy T i t in Trouble. N.—Rochester; 1841 and 1 8 9 1 . C.—Norma. [ 237 ]

THE PHILADELPHIA THEATRE 3.

4.

5.

6.

8.

9. 10.

11.

12.

13.

15.

16. 17. 18. 19.

20.

W . — K a t e Kearney; Flying Dutchman. A . — N o advertisement. N . — K i l l i n g no M u r d e r ; 1841 and 1891 C.—Norma. W . — K a t e Kearney; Flying Dutchman. A . — N o advertisement. N . — M o n e y ; 1841 and 1891. C.—Norma. W . — K a t e Kearney ; Jonathan in England. A . — N o advertisement. N . — R o c h e s t e r ; 1841 and 1891. C . — N o advertisement. W . — R a n s o m ; Flying D u t c h m a n . A . — N o advertisement. N . — F i r e m a n ' s L i f e ; 1841 and 1891. C . — N o advertisement. Monday: W . — R a i l Road Depot ; Zembrica. N . — F i r e m a n ' s L i f e ; 1841 and 1891. W . — B r i d e of A b y d o s ; Lilian. N . — S c h o o l for Scandal; 1841 and 1891. W . — W a l l a c e ; T h e Foundling of the Forest. N . — M o n e y ; 1841 and 1891. C . — W h e e l of F o r t u n e ; K i n g and the M i m i c . W . — R a n s o m ; Philadelphia as it Is. N . — Y o u n g Napoleon and his Father ; Y a n k e e Valet. C . — S o l d i e r ' s D a u g h t e r ; T u r n i n g the T a b l e s . W . — G e o r g e B a r n w e l l ; T o m and Jerry. N . — Y o u n g Napoleon and his F a t h e r ; 1841 and 1891. C . — N o advertisement. W . — T h e K i n g and the D e s e r t e r ; Rail Road Depot. N . — C h a r l e s II ; T e k e l i . C . — N o advertisement. Monday: W . — L i k e Father, L i k e Son ; French Spy. N . — U n c l e John ; Y o u n g Napoleon and his Father. W . — L i k e Father, L i k e S o n ; French Spy. N . — S e c r e t Service; Y o u n g Napoleon and his Father. W . — Z e m b r i c a ; French Spy. N . — T h e R i v a l s ; Y o u n g Napoleon and his Father. W . — B r i d e of A b y d o s ; Pirate of the Atlantic. N . — V i l l a g e D o c t o r ; Y o u n g Napoleon and his Father. W . — B r i d e of A b y d o s ; Pirate of the Atlantic. N . — V i l l a g e D o c t o r ; Agreeable Surprise. C . — S c h o o l for Scandal ; Ice W i t c h . W . — T h e Convict's Child ; Pirate of the A t l a n t i c . [ 238 ]

CHRONOLOGICAL R E C O R D S : 1841

22.

23. 24.

25. 26. 27.

Ν . — S p e e d the Plough ; Rival Soldiers. C . — T h e Honey Moon ; H o w to Die for Love. Monday: W . — T h e Stranger; Mob, the Outlaw. N . — M e r r y Wives of Windsor; Bandit Merchant. C . — H e i r at L a w ; Ice Witch. W . — T a l e of Blood ; Convict's Child. N.—Sweethearts and W i v e s ; Mummy. C . — B r i d e of Lammermoor; Katharine and Petruchio. W . — R o r y O ' M o r e ; Kate Kearney. N . — N e r v o u s M a n ; Happy M a n . C . — N o advertisement. W . — C a r p e n t e r of Rouen; Pirate of the Atlantic. N . — H i s Last L e g s ; Teddy the T i l e r . C . — B r i a n Boroihme; Roof Scrambler. W . — C a r p e n t e r of Rouen ; Stranger. N . — B o r n to Good L u c k ; Irish Lion. C . — B r i d e of Lammermoor; Roof Scrambler. W . — C a r p e n t e r of Rouen ; Mazeppa. N . — T h e R i v a l s ; His Last Legs. C . — L a u g h when you Can ; Ice Witch.

MARCH 1.

2. 3.

4. 5.

6. 8.

Monday: W . — L i l i a n ; Mazeppa. N . — G r a n d Ball in the theatre. C . — S c h o o l for Scandal; Last M a n . W . — W h i t e Horse of the Peppers; Mazeppa. N . — J a n e Shore ; Tekeli. C . — P o o r Gentleman; Gustavus I I I . W . — N e w W a y T o Pay Old Debts; F o u r Sisters. N . — H u n c h b a c k ; Yankee Valet. C . — N o advertisement. W . — H a m l e t ; W i d o w ' s Victim. N . — F a z i o ; Bandit Merchant. C . — N o advertisement. W.-—Mountaineers; Carpenter of Rouen. N . — L o v e Chase; J o a n of Arc. C . — N o advertisement. W . — R i c h a r d I I I ; M o b , the O u t l a w . N . — T h e W i f e ; Rake's Progress. C . — N o advertisement. Monday: W . — P i z a r r o ; Rail Road Depot. [239 ]

THE PHILADELPHIA THEATRE 9. 10. 11. 12. 13.

15. 16. 17. 18. 19. 20. 22. 23. 24. 25. 26. 27. 29. 30. 31.

N.—Rake's Progress; 1841 and 1891. W.—Carpenter of Rouen ; Like Father, Like Son. N.—Merry Wives of Windsor; Möns. Mallet. W.—Closed in preparation for performance of Rook Wood. N.—King Lear; Kentuckian. N.—Hamlet; But However. N.—Horse-Shoe Robinson; 1841 and 1891. W . — R o o k w o o d * : Turpin—La Forest, Tom—Russell, Titus —Charles Luke Fredericks, Jerry—Hadaway, Sybil— Mrs. Flynn, Hanassah—Mrs. La Forest, Barbara—Mrs. Charles, Lady Rookwood—Mrs. Plumer. Ν.—Rip Van Winkle; Horse-Shoe Robinson. Monday: W.—Rookwood. N.—Henry I V ; Horse-Shoe Robinson. W.—Rookwood. N.—Forty Winks; 1841 and 1891. W.—Rookwood. N . — T h e Genoese; Gil Bias. W.—Rookwood. N . — M a n and Wife ; Gil Bias. W.—Rookwood. N.—Forty Winks; Sweethearts and Wives. W.—Rookwood. N.—Night and Morning; Loan of a Lover. Monday: W.—Rookwood. N.—Night and Morning; State Secrets. W.—Rookwood. N.—Night and Morning; M y Friend the Governor. W.—Rookwood. N . — T h e New President*: Bambino—Burton; Spitfire. W.—Rookwood. N.—Night and Morning; New President. W.—Rookwood. N.—Night and Morning ; Turnpike Gate. W.—Rookwood. N.—Night and Morning; Money. Monday : W.—Rookwood. N.—Wrecker's Daughter ; Oliver Twist. W.—Rookwood. N.—Delusion; Spitfire. W.—Cataract of the Ganges; Widow's Victim. N . — T h e Quadroone; Forty Winks. [ 240 ]

CHRONOLOGICAL R E C O R D S : 1841 APRIL 1. 2. 3. 5.

6. 7.

8. 9. 10. 12.

13. 14. 15.

16. 17.

Thursday : W . — C a t a r a c t of the Ganges ; W i d o w ' s Victim. N . — N a i a d Queen; 1 8 4 1 and 1 8 9 1 . W . — C a t a r a c t of the Ganges ; Like Father, Like Son. N . — N a i a d Queen ; Loan of a Lover. W . — C a t a r a c t of the Ganges ; Rail Road Depot. N . — N a i a d Queen ; M y Friend the Governor. Monday: W . — F o r t u n e T e l l e r ; E l Hyder. N . — N a i a d Queen ; State Secrets. A . — L a d y of Lyons ; Deaf as a Post. W . — F o r t u n e T e l l e r ; E l Hyder. N . — N a i a d Queen ; T u r n p i k e Gate. A . — M a c b e t h ; Pleasant Neighbors. W . — F o r t u n e T e l l e r ; E l Hyder. N . — N a i a d Queen ; But H o w e v e r . A . — D a m o n and Pythias; Popping the Question. W . — F o r t u n e T e l l e r ; T i m o u r the T a r t a r . N . — L a d y of L y o n s ; T u r n i n g the Tables. A . — R i c h a r d I I I ; A Nabob for an Hour. W . — F o r t u n e T e l l e r ; T i m o u r the T a r t a r . N . — T h e r e s e ; Dead Shot. A.—Richelieu ; Pleasant Neighbors. W . — E l H y d e r ; T i m o u r the T a r t a r . N . — T i p p o o Saib. A . — M e t a m o r a ; Village Gossip. Monday: W . — M a z e p p a ; Carpenter of Rouen. N . — T i p p o o Saib. A . — G l a d i a t o r ; T u r n i n g the Tables. W . — M a z e p p a ; Carpenter of Rouen. N . — T i p p o o Saib. A . — R i c h e l i e u ; Irishman in London. W — B l a c k Castle of the D e s e r t ; P . P . P . P . N . — C a s w a l l o n ; Light Ship. A . — O t h e l l o ; Village Gossip. W . — B l a c k Castle of the Desert; P . P . P . P . N . — T i p p o o Saib. A . — V i r g i n i u s ; M y Aunt. W . — B l a c k Castle of the D e s e r t ; W i d o w ' s Victim. N . — T i p p o o Saib. A . — H a m l e t ; M r . and M r s . Pringle. W . — B l a c k Castle of the D e s e r t ; Ransom. [241 ]

T H E PHILADELPHIA T H E A T R E

19.

20. 21. 22. 23. 24. 26.

27. 28. 29. 30.

N.—Tippoo Saib. A . — P i z a r r o ; Deaf as a Post. Monday: W . — B l a c k Castle of the Desert; Gambler's Fate. N.—Tippoo Saib ; The Enchanted Chinese. A.—Venice Preserved ; William Tell. W.—Theatres closed in respect to memory of President Harrison, on day of funeral procession. W.—Ransom ; Mazeppa. N.—Tippoo Saib ; The Enchanted Chinese. A.—Broker of Bogota ; Village Gossip. W . — K a t e Kearney ; Loan of a Lover. N . — T h e Invasion of Russia. A.—Gladiator ; Married Rake. W . — D a m o n and Pythias ; King and the Deserter. N . — T h e Invasion of Russia. A . — L a d y of Lyons ; Therese. W.—Seven Voyages of Sinbad the Sailor ; Rail Road Depot. N . — T h e Invasion of Russia. A.—Damon and Pythias; Buckle of Brilliants. Monday: W.—Seven Voyages of Sinbad the Sailor; How to pay Rent. N.—Closed in preparation for new play. A.—Coriolanus ; Adopted Child. W.—Seven Voyages; How to pay Rent. A.—Richelieu; Gladiator. W.—Seven Voyages ; Like Father, Like Son. A . — M o n e y ; Naval Engagements. W.—Seven Voyages ; Like Father, Like Son. A . — W i l d Oats; Brutus. W . — L a d y of Lyons ; Wandering Boys. A . — M o n e y ; Deaf as a Post. MAY

I.

3.

4.

Saturday : W.—Rookwood; Oh! Hush! C . — L a Gazza Ladra; Delusion. A.—Stranger ; Popping the Question. Monday: W.—Rookwood. C . — L a Gazza Ladra; Η . Β. Α . — N e w W a y T o Pay Old Debts ; Black Eyed Susan. W.—Rookwood. C.—Don Giovanni; H. B. A.—Speed the Plough; Irish Tutor. [ 242 ]

CHRONOLOGICAL R E C O R D S : 1841 5.

6. 7.

8.

IO.

H.

12.

13.

14.

15. 17.

18. 19.

W . — R u m O l d Commodore; Kate Kearney. C . — D o n Giovanni. A . — R e n t D a y ; Last M a n . W . — R o o k w o o d ; R u m Old Commodore. C . — D o n Giovanni. A . — H e n r y I V ; Fashionable Friends. W . — R o o k w o o d ; Launch of the Mississippi. C . — D o n Giovanni ; Maid of Cashmere. A . — L a s t M a n ; Fashionable Friends. W . — A v e n g e r ; Launch of the Mississippi. N . — S e v e n Champions of Christendom. C . — L ' E l s i r e d ' A m o r e ; M a i d of Cashmere. A . — W o n d e r ; Love, L a w and Physic. Monday: W . — A v e n g e r ; Launch of the Mississippi. N.—Seven Champions of Christendom. C . — L ' E l s i r e d'Amore; M y Sister Kate. A . — W a n d e r i n g Minstrel ; Denouncer. W . — A v e n g e r ; Pizarro. N . — S e v e n Champions of Christendom. C . — L ' E l s i r e d ' A m o r e ; M a i d of Cashmere. A . — ' T w a s I ; Denouncer. W . — A v e n g e r ; Launch of the Mississippi. N . — S e v e n Champions of Christendom. C.—Zampa. A . — L a u g h when you Can ; Last M a n . W . — A v e n g e r ; Pizarro. N . — S e v e n Champions of Christendom. C.—Zampa. A . — D e n o u n c e r ; M r . and M r s . Pringle. W . — D a m o n and Pythias; Review. N . — N o advertisement. C.—Zampa. A.—Denouncer ; Last M a n . N o newspapers published. National Fast Day in memory of President Harrison. Monday: W . — A v e n g e r ; Carpenter of Rouen. C . — Z a m p a ; M y Sister Kate. A . — G u y Mannering ; Loan of a Lover. W . — B l a c k Eyed Susan. Review. C . — Z a m p a ; Married Rake. A . — T u r n O u t ; Buckle of Brilliants. W . — V i r g i n i u s ; Pet of the Petticoats. C . — Z a m p a ; L a Bayadere. A . — R o b Roy ; M y Aunt. [ 243 ]

THE PHILADELPHIA THEATRE 20. 21. 22. 24.

25. 26. 27. 28. 29. 31.

W.—Damon and Pythias ; Pet of the Petticoats. C.—L'Elsire d'Amore; Close Siege. A.—Englishman in India; Spirit of the Clyde. W.—Othello ; Adopted Child. C . — L a Gazza Ladra ; Close Siege. A.—Guy Mannering; Barrack Room. W.—Damon and Pythias; Black Eyed Susan. C.—Zampa; La Sylphide. A.—Lady of Lyons ; Pizarro. Monday: W.—King Lear ; Rail Road Depot. C.—Fra Diavolo ; La Sylphide. Α.—Red Mask ; Loan of a Lover. W.—Hamlet; Lady of Lyons. C.—L'Elsire d'Amore; La Sylphide. A.—Heir at L a w ; Swiss Cottage. W.—Love Laughs at Locksmiths ; Avarice. C.—Zampa. A.—Lady of Lyons ; Black Eyed Susan. W.—Adopted Child ; Dumb Belle. C.—Cinderella. A.—Richelieu ; Swiss Cottage. W . — N o advertisement. C.—Cinderella. A.—Romeo and Juliet ; Siege of Stralsund. W.—Lady of the Lake ; Fish out of Water. C.—Fra Diavolo; Faint Heart never won Fair Lady. Monday: W.—Lady of the Lake ; How to Die for Love. C.—La Sonnambula; Midas. A.—Sea Captain ; Wallace. JUNE

1.

2. 3. 4.

Tuesday : W.—Lady of the Lake ; Fish out of Water. C.—La Bayadere; M y Sister Kate. A.—The Pilot; Sea Captain. W.—Lady of the Lake ; How to Die for Love. C.—Closed. A.—Money; Star Spangled Banner. W.—Lady of the Lake ; Unfinished Gentleman. A.—Damon and Pythias; Pilot. W.—Lady of the Lake; Maurice the Wood Cutter. C.—Fra Diavolo ; Midas. A.—Virginius; Star Spangled Banner. [ 244 ]

CHRONOLOGICAL R E C O R D S : 1841 5. 7.

8. 9. 10. 11. 12.

14.

15.

16.

17.

18.

19.

W . — L a d y of the L a k e ; Maurice the Wood Cutter. C . — F r a Diavolo; Midas. A.—Simpson and Co. ; L a Fitte. Monday: W.—Ugolino ; Mathilde. C.—Norma. Α.—Richelieu; Irishman in London. W . — L a d y of the Lake ; Love Laughs at Locksmiths. C.—Norma. A.—Gladiator; Irish Tutor. VV.—Mathilde ; Maurice the Wood Cutter. C.—Norma. A . — M e t a m o r a ; Irishman in London. W . — U g o l i n o ; Fish out of Water. C.—Norma. A . — M o n e y ; Review. W . — R o b R o y ; Unfinished Gentleman. C . — W i v e s as they Were ; Roof Scrambler. A . — N o performance. W . — M a t h i l d e ; How to Die for Love. N . — B u y - I t - D e a r — ' T i s Made of Cashmere; Cat's Larder. C.—Norma. A . — L a T o u r de Nesle; L a Fitte. Monday: W . — W m . T e l l ; Unfinished Gentleman. N . — B u y It D e a r ; Cat's in the Larder. C.—Noima. A.—Aylmere; Irish Tutor. W . — L a d y of Lyons; Rail Road Depot. N . — B u y It Dear; Turned Head. C.—Charles II ; Victorine. A.—Aylmere ; Buckle of Brilliants. W . — M a t h i l d e ; T h e Pilot. N.—Humpback ; Turned Head. C.—Norma. A.—Aylmere. W . — P i z a r r o ; Black Eyed Susan. N.—Humpback; Unfortunate Miss Bailey. C . — M o n e y ; Faint Heart never won Fair Lady. A . — A y l m e r e ; Pleasant Neighbors. W . — I r o n Chest ; T h e Pilot. N.—Humpback; Puss in Boots. C.—Norma. A . — A y l m e r e ; Irishman in London. W . — L a T o u r de Nesle; Star Spangled Banner. [ 245 ]

in

the

T H E PHILADELPHIA T H E A T R E

21.

22. 23. 24. 25. 26. 28.

29. 30.

N . — P o o r Gentleman ; Humpback. C . — N o r m a ; Midas. A . — A y l m e r e ; Swiss Cottage. Monday: W.—Unfinished Gentleman ; T h e Flying Dutchman. N . — P u s s in Boots; Sam Parr. C . — N o r m a ; Last night of the season. A . — A y l m e r e ; Married Rake. W.—Sweethearts and Wives; Star Spangled Banner. N . — P u s s in Boots ; Sam Parr. A . — I o n ; Loan of a Lover. W.—Sudden Thoughts; Nicholas Nickleby. N . — S a m Parr ; Puss in Boots. A . — A y l m e r e ; T h e Irish Tutor. W.—Soldier's Son ; Turning the Tables. N . — P u s s in Boots ; Sam Parr. A . — M r s . Nomer ; Pleasant Neighbors. W.—Paul Pry; X.Y.Z. N . — B u y It Dear; Sam Parr. A . — M r s . Nomer; Presumptive Evidence. W.—School for Scandal ; Four Sisters. N . — S a m P a r r ; Mrs. Normer. A . — M r s . Nomer; Irish Lion. Monday: W . — I r i s h Lion; Mrs. Normer. Ν . — S t a r s in Phila. ; Mrs. Normer. A.—Isabelle; Mrs. Normer. W . — D r e a m at Sea; Mischief Making. N . — M r s . Normer; Humpback. A . — N o bill received. W . — I r i s h Lion ; Dream at Sea. N.—Stars in Phila.; Mrs. Normer. A.—Jonathan in England; Wandering Minstrel. JULY

1.

2. 3. 5.

Thursday: W . — D e a t h Token ; Unfinished Gentleman. N . — S a m P a r r ; Mrs. Normer. Last night of Olympic Company. A . — N o bill received. W . — D r e a m at Sea ; How to Die for Love. A . — N o bill received. W . — D e a t h Token ; Shipwreck. A . — N o bill received. Monday : W . — G l o r y of Columbus ; Shipwreck. [ 246 ]

CHRONOLOGICAL R E C O R D S :

6. 7. 8. 9. 10. 12. 13. 14. 15. 21.

1841

Ν.—Austerlitz ; Love will have its W a y . A.—Honey Moon; Faint Heart never won Fair Lady. — N o newspapers published. W.—Simpson and Co. ; Shipwreck. W.—Monsieur Tonson ; Jack Robinson and his Monkey. W . — L o v e , L a w , and Physic ; Jack Robinson. W . — D a y Well Spent; Shipwreck. Monday: W.—Waterman. W . — W a t e r m a n ; Jocko. W . — W i d o w ' s Victim; Jocko. W . — V i l l a g e L a w y e r ; Hofer. W . — I r i s h T u t o r ; Perfection.

AUGUST 10. 11. 12. 13. 14. 16. 18. 19. 20. 21. 23. 24. 25. 26. 27. 28.

Tuesday: A . — T h e r e s e ; Black Eyed Susan. A.—Stranger; Fish out of Water. A . — P i z a r r o ; Dumb Belle. A . — P i l o t ; T w o Gregories. A.—Robert Macaire; Frightened to Death. Monday: A . — N o advertisement. A . — M a i d of Croissy; Hide and Seek. A . — F o r t y and F i f t y ; Jacque Strop. A . — F o r t y and Fifty ; Jacque Strop. A.—Robert Macaire; L a Bayadere. N . — M o n e y ; Faint Heart never won Fair Lady. Monday: A . — F o r t y and Fifty ; La Bayadere. N.—Damon and Pythias; Faint Heart never won Fair Lady. A . — M a i d of Croissy ; L a Bayadere. N . — L a d y of Lyons; Love's Victory. A . — Y e l l o w Kids ; Nabob for an Hour. N.—Othello; Married Rake. A.—Damon and Pythias ; T o o Late for Dinner. N . — M e t a m o r a ; Turnpike Gate. Α . — Y e l l o w Kids ; Othello. N.—Virginius; Wandering Minstrel. W . — W a t e r Queen; Dead Shot. N.—Gladiator; Animal Magnetism. A . — K i n g Lear ; T w o Gregories. C . — M u c h Ado about Nothing; Faint Heart never won Fair Lady. [ 247 ]

THE PHILADELPHIA THEATRE 30.

31.

Monday: W.—Water Queen ; Young Widow. N.—Kentuckian ; Monsieur Mallet. A.—Virginius; Tekeli. C . — W i f e ; Louise. W.—Water Queen; Happy Man. N.—Jonathan in England. A.—Hamlet ; Therese. C.—Hamlet; Uncle John. SEPTEMBER

1.

2.

3.

4.

6.

7.

8.

9.

fVednesday: W.—Water Queen ; Catching an Heiress. N.—Henry IV. A.—King Lear ; Tekeli. C.—Faint Heart never won Fair Lady ; Nathalie. W.—Water Queen ; Pleasant Neighbors. N.—Rip Van Winkle; Animal Magnetism. A.—William Tell ; Fish out of Water. C.—Hamlet ; Shocking Events. W.—Water Queen; Catching an Heiress. N.—Perfection; Home Squadron. A.—Merchant of Venice; How to pay Rent. C . — L a Sylphide ; Shocking Events. W.—Pizarro ; Water Queen. N . — M y Fellow Clerk. A.—Water Witch ; T w o Gregories. C.—Othello ; Shocking Events. Monday : W.—Water Queen ; Blue Jackets. N.—Raphael's Dream ; Home Squadron. A.—Water Witch ; How to pay Rent. C . — T w o Queens; Nathalie. W.—Pizarro ; Water Queen. N.—Raphael's Dream; Home Squadron. A.—Blind Boy ; Water Witch. C.—John di Procida ; T w o Queens. W.—Lady of Lyons ; Water Queen. N.—Rent Day; Black Eyed Susan. Α.—Blind Boy ; Water Witch. C . — L a Tarentula ; Shocking Events. W.—Rob Roy ; Water Queen. N.—Raphael's Dream; Home Squadron. Α.—Charles II ; Water Witch. C.—John di Procida ; Nabob for an Hour. [248]

CHRONOLOGICAL R E C O R D S : 1841 10.

11.

13.

14.

15.

16.

17.

18.

20.

21.

22.

W . — B l u e J a c k e t s ; W a t e r Queen. N . — N o advertisement. A . — N o advertisement. C . — M a i d of Cashmere; N o ! W . — R i c h a r d I I I ; M y Aunt. N . — H e i r at L a w ; Harlequin's Olio. A . — R o o k w o o d ; Dick T u r p i n . C . — M a i d of Cashmere; Nabob for an H o u r . Monday: W . — K i n g L e a r ; Blue Jackets. N . — V a l s h a , the Saxon S e r f ; W i n n i n g a Husband. A . — R o o k w o o d ; Dick T u r p i n . C . — M a i d of Cashmere; D u m b Belle. W . — R o b R o y ; Iron Chest. N . — V a l s h a ; W i n n i n g a Husband. A . — R o o k w o o d ; Dick T u r p i n . C . — R e v e n g e ; Is H e J e a l o u s ? W . — R i c h a r d I I I ; Carpenter of Rouen. N . — V a l s h a ; Spoiled Child. A . — R o o k w o o d ; Dick T u r p i n . C . — L a T a r e n t u l a ; M y Sister Kate. W . — O t h e l l o ; M y Aunt. N . — V a l s h a ; Spoiled Child. A . — R o o k w o o d ; Dick T u r p i n . C . — W o n d e r ; M y Sister Kate. W . — U g o l i n o ; Carpenter of Rouen. N . — V a l s h a ; Home Squadron. A . — R o o k w o o d ; Dick T u r p i n . C . — N a t h a l i e ; T h e Secret. W . — G i o v a n n i in Phila. ; Red Riding Hood. N . — V a l s h a ; Nick of the Woods. A.—Rookwood ; Young Widow. C . — N o advertisement. Monday: W . — G i o v a n n i in Phila. ; M y A u n t . N . — V a l s h a ; Nick of the Woods. A . — S i x t e e n Y e a r s A g o * : Count—Watson, Farmer—Myers, Josephine—Mrs. L a Forest, Therese—Miss M . Price; Bank Monster. W . — G i o v a n n i in P h i l a . ; T h e Happy M a n . N . — N i c k of the Woods ; A D a y in N e w Y o r k . A . — S i x t e e n Y e a r s A g o ; Bank Monster. C . — N a t h a l i e ; A Roland for an Oliver. W . — C o u n c i l of T e n ; Bibboo. N . — N i c k of the W o o d s ; A D a y in N e w Y o r k . A . — F o r e s t Rose ; Masquerade. [ 249 ]

T H E PHILADELPHIA T H E A T R E 23.

24.

25.

27.

28.

29.

30.

C . — Y o u t h f u l Queen ; Zembrica. W . — C o u n c i l of T e n ; Bibboo. N . — N o performance. A . — F o r e s t Rose; Masquerade. C.—Simpson and Co. ; La Gipsey—two scenes. W . — G e o r g e Barnwell ; Hypochondriac. N.—Valsha ; A Speck of W a r . A.—Jonathan in England ; Bank Monster. C . — T h e W i f e ; A Roland for an Oliver. W . — C o u n c i l of Ten ; Giovanni in Phila. N . — T h e Ocean C h i l d * : Manderville—Roberts, Sturdy— Sherman, Harry—E. S. Conner, Dennis—E. Shaw, Jock— Miss A . Fisher, Mary—Mrs. G . Jones; Valsha, first act. A . — B a n k Monster; Jonathan in England. C.—School for Scandal ; M y Sister Kate. Monday: W . — N a i a d Queen; Happy Man. N.—Ocean Child; Barnaby Rudge * : Geoff ery—Roberts, Barnaby—Miss A . Fisher. A . — W o o l Dealer; Hypocrite, last act. C.—Barnaby Rudge ; Shocking Events. W . — N a i a d Queen ; Dead Shot. N.—Ocean Child ; Barnaby Rudge. Α.—Charles I I ; Black Ghost. C.—Barnaby Rudge; Youthful Queen. W . — N a i a d Queen; Pleasant Neighbors. N.—Ocean Child ; Rent Day. Α . — M r s . White; Black Ghost. C.—Barnaby Rudge; Dumb Belle. W . — N a i a d Queen ; Adopted Child. N.—Ocean Child ; Rent Day. A . — B a n k Monster ; Black Ghost. C.—Barnaby Rudge; Nabob for an Hour. OCTOBER

1.

2.

Friday : W . — N a i a d Queen; Adopted Child. N.—Barnaby Rudge; Ocean Child. A . — T w o Gregories ; Young Reefer. C . — N o advertisement. W . — M i c h a e l E r l ; Naiad Queen. N.—Douglas ; Ocean Child. A . — Y o u n g Reefer; Sam Slick. C . — F a z i o ; Barnaby Rudge. [ 250 ]

CHRONOLOGICAL R E C O R D S : 1841 4.

5.

6.

7.

8.

9.

11.

12.

I

14.

15.

Monday W . — N aiad Queen ; Rail Road Depot. N . — M o n e v ; Ocean Child. Α . — N e w W a y T o Pay Old Debts; Idiot Witness. C . — W e r n e r * : IVerner—Charles Mason, Ulric—Richings, Ida—Mrs. Lambert. W . — N a i a d Queen ; M y Aunt. N.—One Glass M o r e ; Ocean Child. A.—Richard I I I ; Young Reefer. C.—Provoked Husband; Valet de Sham. W.—Napoleon and the Patriot ; Naiad Queen. N.—One Glass M o r e ; Ocean Child. A.—Hunchback ; Broken Sword. C.—Charles X I I ; Valet de Sham. W.—Napoleon and the Patriot ; Naiad Queen. N . — O n e Glass M o r e ; Ocean Child. A . — T h e W i f e ; Bill Stickers and the Jersey Girl * : William— W . H. Smith, Marie—Mrs. Harrison. C.—Jealous W i f e ; Lottery Ticket. W.—Giovanni in Phila. ; Naiad Queen. Ν .—Paul P r y ; One Glass More. Α.—Othello; Bill Stickcrs. C.—Rent Day ; Pizarro. W . — B i l l Stickers; Naiad Queen. N.—Cabinet Secrets; Billy Taylor. A.—Richard I I I , fifth act; Bill Stickers. C.—Honey Moon ; Fish out of Water. Monday: W.—Seth Slope; Bill Stickers. N.—Cleopatra, Serpent of the Nile. Α . — M i l l e r ' s M a i d ; Bill Stickers. C . — M o n e y ; Brother Ben. W.—Jonathan in England ; W i f e for a Day. N . — N o advertisement. A.—Richard I I I , fifth act; Bill Stickers. C.—Venice Preserved ; Dumb Belle. W . — G r e e n Mountain Boy; Yankee Pedlar. N.—Cabinet Secrets; Billy Taylor. A.—Stranger; Bill Stickers. C . — M o n e y ; Aldgate Pump. W . — K n i g h t of the Golden Fleece ; W i f e for a Day. N . — M y Fellow Clerk ; Black Eyed Susan. A.—Hamlet ; How to pay Rent. C.—School for Scandal ; M r . H . W . — N e w Notions ; Hypocrite. [251 ]

THE PHILADELPHIA T H E A T R E

16.

18.

19.

20.

21.

22.

23.

25.

26.

27.

N.—Alexander the Great ; Osceola. A.—Evadue ; Blue Devils. C.—Hunchback; Fish out of Water. W . — N e w Notions; Hypocrite. N.—Money ; Nick of the Woods. A.—Julius Caesar; Rival Lovers. C . — N o performance. Monday: W.—Surgeon of Paris; Is He Jealous? N.—Lady of Lyons ; Cabinet Secrets. A.—First Fleet and the First F l a g * : Tom—W. H . Smith; Idiot Witness. C . — T w o Gentlemen of Verona ; Pleasant Neighbors. W.—Surgeon of Paris; Young Widow. N.—Richelieu ; Turning the Tables. A.—First Fleet and the First Flag; Idiot Witness. C . — T w o Gentlemen of Verona ; Animal Magnetism. W.—Surgeon of Paris; Blue Jackets. N.—Richelieu ; M y Fellow Clerk. A.—Miller's M a i d ; Ella Rosenberg. C.—Shocking Events ; Vol-Au-Vent. W.—Surgeon of Paris; Carpenter of Rouen. N.—Othello ; Weather Cock. A.—Woodman's H u t ; Blind Boy. C.—Pleasant Neighbors; Godenski. W.—Surgeon of Paris; Carpenter of Rouen. N.—Gladiator; Wandering Minstrel. A . — E l l a Rosenberg; Woodman's Hut. C.—Aldgate Pump ; Venetian Carnival. W.—Surgeon of Paris; Siege of Boston * : Sam—J. S. Jones. N.—Metamora ; Pizarro. A . — J a n e of the Hatchet ; Lilian. C.—Animal Magnetism. Monday: W.—Siege of Boston ; W i f e for a Day. N.—Jack Cade ; Katharine and Petruchio. A . — J a n e of the Hatchet ; Lilian. C . — A Roland for an Oliver; Invisible Harlequin. W.—Jonathan in England ; Siege of Boston. N.—Jack Cade; Ocean Child. A.—Victorine ; Jane of the Hatchet. C.—Aldgate Pump. W . — T h e Aethiop; M y Aunt. N . — J a c k Cade ; Black Eyed Susan. A.—Victorine; Lilian. C . — N o Gamester ; New Notions ; Last night of the season. [ 252 ]

CHRONOLOGICAL R E C O R D S : 1841 28.

29. 30.

W . — G r e e n Mountain Boy ; Surgeon of Paris. N . — J a c k C a d e ; Weather Cock. A . — R o r y O ' M o r e ; Victorine. W . — A Roland for an Oliver ; Perfection. N . — J a c k C a d e ; Raising the W i n d . A . — N o advertisement. W . — J e r s e y Girl ; Rail Road Depot. N . — K i n g L e a r ; Ocean Child. A . — N o advertisement. NOVEMBER

1.

2. 3. 4. 5. 6.

8.

9.

10. 11.

Monday: W . — Y a n k e e s in China ; Siege of Boston. N . — H a m l e t ; Gladiator. A . — P a r i s and London; Irish T u t o r . W . — Y a n k e e s in China ; Jonah. N . — O u t of Place ; Nick of the Woods. A . — P a r i s and London ; T w o Gregories. W . — T w o Gregories; Jersey Girl. N.—Snapping Turtles ; Raising the W i n d . A . — P a r i s and London ; H o w to pay Rent. W . — T w o Gregories; Charles X I I . N . — O u t of Place; M y O l d Woman. A . — I r i s h Ambassador ; Paris and London. W . — Y a n k e e s in C h i n a ; Charles X I I . N . — I r i s h W i d o w ; W i d o w Higgins. A . — N o bill received. W . — L o n d o n A s s u r a n c e * : Dazzle—Richings, Max—W. B. W o o d , Sir Haricourt—Lambert, Spanker—Chapman, Charles—Davenport, Cool—Rüssel, Lady Gay—Mrs. Flynn, Grace—Miss Wood, Pert—Miss A y r e s ; Rail Road Depot. N . — O u t of Place; M y Old Woman. A . — P a r i s and London ; Bone Squash Diavola. Monday: W . — L o n d o n Assurance ; A Roland for an Oliver. N.—Banished S t a r ; Snapping Turtles. A . — B o n e Squash D i a v o l a ; T o m and J e r r y . W . — L o n d o n Assurance; Animal Magnetism. N . — H e i r at L a w ; Foreign Airs and Native Graces. A . — F o r e i g n Prince; Irish Ambassador. W . — L o n d o n Assurance; Animal Magnetism. N . — I r i s h W i d o w ; W i d o w Higgins. A . — J i m C r o w in London ; Irish T u t o r . W . — L o n d o n Assurance; Pleasant Neighbors. [ 253 ]

THE PHILADELPHIA THEATRE

12.

13.

15.

16.

17.

18.

19.

20.

22.

23.

24.

25.

26.

27.

N . — M y O l d W o m a n ; W a n d e r i n g Minstrel. A . — L o s t Son ; Don J u a n . W . — L o n d o n Assurance; W i f e f o r a D a y . N . — S c o t c h W i d o w ; Snapping T u r t l e s . A . — F o r e i g n Prince ; Lost Son. W . — L o n d o n Assurance; A n i m a l Magnetism. N . — I r i s h W i d o w ; Out of Place. A . — N o bill received. Monday: W . — L o n d o n Assurance ; W i d o w ' s Victim. N . — L o n d o n Assurance; M r . and M r s . Pringle. A . — M i l i t a r y Execution; Blue Beard. W . — K a t e K e a r n e y ; Gambler's Fate. N . — L o n d o n Assurance; M r . and M r s . Pringle. A . — M a n i a c L o v e r ; Strange Gentleman. W . — L o n d o n Assurance; T h e Critic. N . — L o n d o n Assurance; M r . and M r s . Pringle. A . — M i l i t a r y Execution ; Don J u a n . W . — L o n d o n Assurance; Gambler's Fate. N . — T o m Noddy's Secret ; Ocean Child. A.—Rookwood. W . — L o n d o n Assurance; T h e Critic. N . — L o n d o n Assurance; Popping the Question. A.—Rookwood. W . — K a t e Kearney ; T h e Critic. N . — J o n a t h a n B r a d f o r d ; Lottery T i c k e t . A.—Rookwood. Monday: W . — W e a t h e r Cock ; Gambler's Fate. N . — L o n d o n Assurance ; Popping the Question. A . — R o o k w o o d ; Loan of a L o v e r . W . — F i r e R a i s e r ; W a r l o c k of the Glen. N . — L o n d o n Assurance; M r . and M r s . Pringle. A . — R o o k w o o d ; Irish T u t o r . W . — D e m o n Fire F l y ; A Roland for an Oliver. N . — L o n d o n Assurance ; T h e L a d y and the Devil. A . — M a z e p p a ; M y First Night in a Strange Bed Chamber. W . — D e m o n Fire F l y ; T h e Stranger. N . — L o n d o n Assurance ; Mischief M a k i n g . A . — M a z e p p a ; M y First Night in a Strange Bed Chamber. W . — W e a t h e r C o c k ; Faint Heart never won Fair L a d y . N . — L o n d o n Assurance; M i d d y Ashore. A . — M a z e p p a ; T w o Gregories. W . — G e o r g e Barnwell ; Bibboo. N.—Valsha; Mummy. A . — R o o k w o o d ; Mazeppa. [ 254 ]

CHRONOLOGICAL R E C O R D S : 1841 29.

30.

Monday: W.—Gilderoy ; Sprigs of Laurel. N . — L a T o u r de Nesle; Othello, Travestie. A . — M a z e p p a ; T w o Friends. \ V . — J a n e Shore ; Love Laughs at Locksmiths. N.—London Assurance; Majd of Croissy. A.—Conancheotah ; T h e Omnibus. DECEMBER

1.

2.

3.

4.

6.

7.

8.

i).

10.

Wednesday : W . — J e w e s s ; Harlequin Nuptials. N.—Dutch Burgomaster; State Secrets. A.—Conancheotah ; T w o Friends. W . — J e w e s s ; Mountaineers. N.—London Assurance ; Romeo and Juliet. A.—Conancheotah ; T w o Friends. C.—London Assurance; M y Sister Kate. W . — J e w e s s ; Hunter of the Alps. N.—School for Scandal ; Hunter of the Alps. A . — T i m o u r the T a r t a r ; Military Execution. C.—London Assurance; M y Sister Kate. W . — J e w e s s ; Warlock of the Glen. N.—Mable's Curse; Robert Macaire. A . — M a z e p p a ; Timour the T a r t a r . C.—London Assurance ; T h e Secret. Monday: W.—Christening; Murders of Messina. N.—Mabel's Curse; Wanted, a W i f e . A.—Philadelphia Assurance*: Squire—Thompson, Charles— Thoman, Flax—Mills, Mizzle— Myers, Nick—Williams, Grease—Mrs. Sexton, Fatty—Mrs. Thoman. C.—London Assurance ; T h e Secret. W.—Christening; Murders of Messina. N.—Wreck Ashore; Ladies' Man. A.—Philadelphia Assurance ; Swiss Cottage. C.—London Assurance; Married Rake. \V.—Christening ; Gustavus I I I . N . — E v a d u e ; Ruffian Boy. A.—Phila. Assurance; Swiss Cottage. C.—London Assurance; How to pay Rent, W . — M r . Midshipman Easy; Christening. N . — T o o Late for Dinner; Jacque Strop. A.—Phila. Assurance ; Clandare. C.—London Assurance; Weather Cock. W.—Murderers of Messina; Gustavus I I I . [ 255 ]

THE PHILADELPHIA T H E A T R E

Ii.

13.

14.

15.

16.

17.

18.

20.

21.

22.

N . — T h e Dream at Sea ; Wallace. A.—Phila. Assurance; Clandare. C.—London Assurance; How to pay Rent. W . — M r . Midshipman Easy; Gustavus I I I . N.—Jane Shore ; Sweethearts and Wives. A.—Phila. Assurance; Oh! Hush! C.—London Assurance ; Oliver Twist. Monday: W.—Rookwood. N.—Othello; John Jones. A.—Joan of A r c ; Hunting a Turtle. C . — T h e Rivals ; Lady of the Lake. W . — W a l l a c e ; Black Eyed Susan. N.—Richard I I I ; Ladies' Man. A.—Phila. Assurance ; Joan of Arc. C.—School for Scandal ; Lady of the Lake. W.—Rookwood. N.—King Lear ; State Secrets. A.—Phila. Assurance; Maniac Lover. C.—Road to Ruin ; M y Sister Kate. W.—Rookwood; M y Companion in Arms. N.—Hamlet; Jonathan Bradford. A.—Phila. Assurance ; Clandare. C.—School for Scandal ; T h e Secret. W.—Rookwood ; Christening. N.—Coriolanus ; Katharine and Petruchio. A . — H o w to pay Rent ; Oh ! Hush ! ! C.—Poor Gentleman ; How to pay Rent. W.—Rookwood ; Tom Cringle's Log. N.—Macbeth; M r . and Mrs. Pringle. Α.—Joan of Arc ; Oh ! Hush ! ! C.—Speed the Plough ; Lady of the Lake. Monday: W . — M a z e p p a ; Black Eyed Susan. N.—Venice Preserved ; Coriolanus, second act. A.—Floating Beacon ; Dumb Belle. C.—What will the World Say? W.—Foundling of the Forest; Is He Jealous? N.—Richelieu; Wags of Windsor. A.—Last Nail ; Luke the Laborer. C.—What will the World Say? W.—Mazeppa ; Rum Old Commodore. N.—Money ; Tom Cringle's Log. A.—Closed. C.—West Indian ; Wicklow Gold Mines. [ 256]

CHRONOLOGICAL R E C O R D S : 18-42 23.

24.

25.

27.

28.

29.

30.

31.

W . — M a z e p p a ; Turnpike Gate. N.—Closed. A.—Closed. C — W h a t will the W o r l d S a y ? W . — M a z e p p a ; Turnpike Gate. N . — B r u t u s ; Maurice the Woodcutter. A . — B r o n z e Horse; Harlequin of the Giants' Isle. C . — W h a t will the W o r l d S a y ? W . — M a r i o n ; M a r c o Bombo. Ν.—Cleopatra. Α . — B r o n z e Horse; Harlequin of the Giants' Isle. C . — W h a t will the W o r l d S a y ?

Monday:

W . — M a r i o n ; M a r c o Bombo. Ν.—Cleopatra. A . — B r o n z e Horse ; Mother Goose. C . — W h a t will the W o r l d S a y ? W . — M a r i o n ; Old Ironsides. N.—Cleopatra. A . — B r o n z e Horse; Harlequin of the Giants' Isle. C . — W h a t will the W o r l d S a y ? W . — B l u e B e a r d ; Old Ironsides. N.—Cleopatra. A . — B r o n z e Horse; Harlequin of the Giants' Isle. C . — H a m l e t ; Maid of Croissy. W . — B l u e B e a r d ; Old Ironsides. N.—Cleopatra. A . — B r o n z e Horse; Harlequin of the Giants' Isle. C . — M a c b e t h ; Manager's Daughter. W . — M r . Midshipman E a s y ; Is H e Jealous? N . — T o w n and Country ; Lottery Ticket. A . — B r o n z e Horse ; Harlequin of the Giants' Isle. C . — T h e Stranger; W h a t will the W o r l d S a y ?

JANUARY I.

1842

Saturday: N . — (Afternoon) W i l l i a m P e n n ; Home Squadron. ( E v e n i n g ) T h e M a g i c Head ; Ocean Child. C . — (Afternoon) A l a d d i n ; Robinson Crusoe. ( E v e n i n g ) M a c beth ; Robinson Crusoe. W . — (Afternoon) D e w D r o p ; O l d Hickory. ( E v e n i n g ) Siege of Boston ; O l d Ironsides. A . — (Afternoon and Evening) Descart; Harlequin or the F a i r One with the Golden Locks. 1 257 ]

THE PHILADELPHIA T H E A T R E 3.

4.

5.

6.

7.

8.

10.

11. 12. 13. 14. 15.

Monday: N.—William Penn ; The Magic Head. C.—Merchant of Venice ; What will the World Say ? W.—Gilderoy ; Warning Dream. A.—Descart ; The T w o Smiths. N.—William Penn ; The Magic Head. C . — T h e Avenger ; Robinson Crusoe. W . — D e w Drop; L a Sylphide. A.—Timour the Tartar ; The T w o Smiths. N.—William Penn; The Magic Head. C.—What will the World Say?; Maid of Croissy. W.—Gilderoy; Warning Dream. A . — N o advertisement. N.—Paul P r y ; Valsha. C.—Wives as they Were ; A Roland for an Oliver. W.—Warning Dream; Marion. A . — N o advertisement. N.—Paul P r y ; Valsha. C.—What will the World Say?; Manager's Daughter. W . — K a t e Kearney; Warning Dream. A . — N o advertisement. N . — T h e W i f e ; Peter Bell. C . — N o advertisement. W . — T o m and J e r r y ; Battle of New Orleans. A . — N o advertisement. Monday: N . — T h e Rivals; The Spitfire C.—Washington*: Washington—Richings ; What will World Say? W.—Zanthe ; Loan of a Lover. N.—Popping the Question; The Spitfire. C.—Romeo and Juliet ; Washington. W.—Zanthe ; Blue Jackets. N.—Popping the Question; T h e Spitfire. C . — T h e Devil's Bridge; Washington. W.—Faith and Falsehood ; Don Juan. N . — T h e Robbers; La Tour de Nesle. C.—Romeo and Juliet ; A Roland for an Oliver. W . — M r . Midshipman Easy; Don Juan. N.—Luke the Laborer; The Clown and the Cat. C . — A Cure for the Heartache; Devil's Bridge. W . — L a d y of Lyons ; Lost Heir. N . — T h e Stranger; Ocean Child. C.—Manager's Daughter ; Sergeant of Austerlitz. W . — T h e Stranger ; The Pilot. [ 258 ]

the

CHRONOLOGICAL R E C O R D S : 17.

18.

19.

20.

21.

22.

24.

25.

26.

27.

28.

29.

31.

1842

Monday: N . — S p e e d the P l o u g h ; Sleep W a l k e r . C . — W h i t e M i l l i n e r ; M y Sister K a t e . W . — R o m e o and J u l i e t ; Lost H e i r . N . — D o u g l a s ; W i l d Boy of Bohemia. C . — W h i t e M i l l i n e r ; M r s . White. W . — M e r c h a n t of V e n i c e ; Brigand. N . — S w e e t h e a r t s and W i v e s ; W a n d e r i n g Minstrel. C . — W i v e s as they W e r e ; Boarding School. W . — G i l d e r o y ; Star Spangled Banner. N . — C h a r l e s O ' M a l l e y * : Charles—J. Smith, Monsoon—W. Jones, Webber—Burton, Power—Wallach, Free—E. S h a w , Spitfire. C . — W h i t e M i l l i n e r ; O u r House at Home. W . — W a l l a c e ; T h e Pilot. N — Charles O ' M a l l e y ; Blind Boy. C . — W h i t e M i l l i n e r ; O u r House at Home. W . — I r o n C h e s t ; Star Spangled Banner. N . — T h e E x i l e ; T h e Prize. C . — C l a r i ; T h e Brigand. W . — T h e Robbers ; L a T o u r de Nesle. Monday: N . — W i l d O a t s ; Family J a r s . C . — R o b e r t K y d ; W h i t e Milliner. W . — L a T o u r de N e s l e ; Golden F a r m e r . N . — H o n e y M o o n ; Fish out of W a t e r . C . — C l a r i ; Robert K y d . W . — L o s t Heir; Thalaba. N . — C h a r l e s O ' M a l l e y ; T w o Gregories. C . — I r i s h A m b a s s a d o r ; Brigand. W . — L a T o u r de N e s l e ; T h a l a b a . N . — T h e Rise of the R o t h s c h i l d s * : Rothschild—W. Jones, Timothy—Burton ; Charles O ' M a l l e y . C . — S e r g e a n t of A u s t e r l i t z ; M r s . W h i t e . W . — W o m a n ' s the Devil ; T h a l a b a . N . — A C u r e f o r the Heartache; M u m m y . C . — T h e Secret ; M a n a g e r ' s Daughter. W . — T h e Stranger; Thalaba. N . — T h e G r e e n Eyed M o n s t e r ; M i l l e r ' s M a i d . L a s t night of the season. C . — W h a t will the W o r l d S a y ? ; Victorine. W . — T h a l a b a ; L a Fitte. Monday: C . — M y Sister K a t e ; H o w to pay Rent. W . — N a t u r e and Philosophy; T h e Carpenter of Rouen. [ 259 ]

THE PHILADELPHIA THEATRE FEBRUARY 1. 2. 3. 4. 5. 7. 8. 9.

10. 11. 12. 14. 15. 16. 17. 18. 19. 21. 22.

Tuesday : C.—Faint Heart never won Fair Lady; The Brigand. W.—Agnes de Vere; T o m and Jerry. C.—Faint Heart never won Fair Lady ; The Review. W.—Pizarro. C.—The Ransom; M y Wife's Dentist * : Dick—Richings. W . — T h e Carpenter of Rouen ; Phila., as it Is. C.—Faint Heart never won Fair Lady ; My Wife's Dentist. W.—Rob Roy ; Love and Madness. C.—Sergeant of Austerlitz ; M y Wife's Dentist. W . — T h e Brigand ; The Jersey Girl. Monday: C.—Rent Day ; The Secret. W.—Rail Road Depot ; Warlock of the Glen. C.—No performance. W . — T h e White Farm; Day after the Wedding. C.—Nina S f o r z a * : Nina—Mrs. Seymour, Doria—Richings, Ugone—Wood, D'Estalo—Charles, Brigitta—Mrs. Thayer; Faint Heart never won Fair Lady. W . — T w o Gregories; Spoiled Child. C.—Nina Sforza. W . — T w o Gregories ; Spoiled Child. C.—Nina Sforza; The Secret. W.—Loan of a Lover; Rail Road Depot. C.—Guy Mannering; A Maiden's Fame. W.—Poor Soldier ; Sudden Thoughts. Monday: C.—Nina Sforza; Maid of Munster. W . — T h e Robbers. C.—Nina Sforza; A Roland for an Oliver. W . — T h e Robbers. C.—Nina Sforza; Fashionable Arrivals. W . — T h e Young Widow ; Tom Cringle's Log. C.—School for Scandal; Fashionable Arrivals. W.—Sudden Thoughts ; The Dream at Sea. C.—Fashionable Arrivals; Oliver Twist. W . — F o x and W o l f ; The Dream at Sea. C.—Fashionable Arrivals; Boarding School. W . — L a Fitte. Monday : C.—Clari ; A Maiden's Fame. W . — T h e Last Days of Pompeii. C . — M y Wife's Dentist ; Oliver Twist. W . — T h e Last Days of Pompeii. [ 260]

C H R O N O L O G I C A L R E C O R D S : 1842

23. 24. 25. 26. 28.

c-

—Home, Sweet Home ; Oliver T w i s t . W . - —The Last Days of Pompeii. C.-—Nina S f o r z a ; Home, Sweet Home. —Richelieu. —Guy Mannering; Simpson and Co. —The Last Days of Pompeii. —My Wife's Dentist; Green Eyed Monster. —Richard I I I ; L o Zingaro. Monday: C.—Home, Sweet Home; Boarding School. W.—Skeleton Witness.

w.cw.c.w.-

MARCH 1. 2. 3. 4. 5. 7. 8. 9. 10. 11. 12. 14. 15. 16.

Tuesday: C . — N o play. Dr. Lardner's lectures on the moon. W.—Skeleton Witness. C . — N o advertisement. W.—Wallace. A . — D i e Eifersuchtige F r a u ; Der Nachtwächter; Die Helden. C . — D r . Lardner's lectures. W.—Wallace. C . — M y Wife's Dentist ; Loan of a Lover. W . — L a s t Days of Pompeii; Manfredi. C . — D r . Lardner's lectures. W . — L a s t Days of Pompeii. Monday: C . — L o v e Chase ; M y W i f e ' s Dentist. W.—Manfredi. C . — D r . Lardner's lectures. W.—Surgeon of Paris; Irish Tutor. C.—Nicholas Nickleby; T h e Waterman. W . — T h e Secret; T h e Dead Shot. C . — D r . Lardner's lectures. W.—Surgeon of Paris. C . — L o v e Chase; Robber's W i f e . W.—Manfredi. C . — D r . Lardner's lectures. W . — W e r n e r ; Nick of the Woods. Monday: C . — L o v e ; Youthful Queen. W . — D a m o n and Pythias ; T h e Pilot. C.—Richard I I I ; M y W i f e ' s Dentist. W.—William Tell. C.—Nicholas Nickleby; M y W i f e ' s Dentist. W.—Virginius. [261 ]

THE PHILADELPHIA T H E A T R E 17. 18. 19. 21. 22. 23. 24. 25. 26. 28.

29. 30. 31.

C.-—Dr. Lardner's lectures. W.—Pizarro. C . — D r . Lardner's lectures. W . — T h e Young W i d o w ; Skeleton Witness. C . — D r . Lardner's lectures. W . — N i c k of the Woods. Monday: C . — D r . Lardner's lectures. W . — N i c k of the Woods; Last Days of Pompeii. C.—Closed. T o be opened March 23 by L . T . Pratt and W . E . Burton and their two companies. W . — N i c k of the Woods. C . — M o n e y ; State Secrets. W . — R a i l Road Depot ; St. George and the Dragon. W . — T h e Patrician and the Parvenu ; Rent Day. W 7 .—St. George and the Dragon ; Nick of the Woods. C.—Hunchback; His First Champagne. W . — S t . George and the Dragon; Nick of the Woods. C.—Paul Pry ; Charles O'Malley. W . — E l Hyder; Nick of the Woods. Monday: C . — M o n e y ; Innkeeper's Daughter. W.—Sherwood Forest ; Therese. A . — L a d y of Lyons ; L a T o u r de Nesle. C.—Henry I V ; Wandering Minstrel. W.—Sherwood Forest ; William Tell. A.—Damon and Pythias; Black Eyed Susan. C.—Jonathan in England ; Kentuckian. W.—Richard I I I ; Rail Road Depot. A . — P i z a r r o ; Raising the Wind. C . — R i p Van Winkle; Möns. Mallet. W . — N o bill received. A.—Virginius; M y Neighbor's W i f e . APRIL

1.

2. 4.

Friday : C . — K i n g L e a r ; His First Champagne. W.—Othello; Pleasant Neighbors. A . — H o f e r ; Family Jars. C . — M e r r y Wives of Windsor ; His Last Legs. W . — H a m l e t ; Dead Shot. A . — H o f e r ; Hazard of the Die. Monday: C.—Past and Present ; Pickwick Club. W . — N e w W a y T o Pay Old Debts ; Spitfire. [262 ]

CHRONOLOGICAL R E C O R D S : 1842 5. 6. 7.

8. 9. 11.

12. 13. 14.

15. 16. 18.

19. 20.

A . — H a z a r d of the Die ; Married Rake. C.—Charles O ' M a l l e y ; M r . and M r s . Pringle. W . — K i n g Lear ; Spitfire. A . — T h e Robbers ; Married Rake. C.—Past and Present ; Charles O ' M a l l e y . W . — R i c h a r d I I I ; T h e Review. A.—Charles I I ; Nick of the Woods. C . — M y Aunt ; T e n Thousand a Y e a r * : Aubrey—Wood, Titmouse—Burton, Kate—Mrs. G . Jones. W.—Sergeant's W i f e ; T h e Omnibus. A . — T h e Robbers ; Nick of the Woods. C . — T e n Thousand a Year ; Pickwick Club. W.—Spitfire; Bear Hunters of the Pyrenees. A . — W a l l a c e ; T h e Purse. C . — T h e Groves of Blarney ; Rosina. W . — T h e Omnibus; N e w Notions. A / — T h e Warrior of the W a v e ; T h e Carpenter of Rouen. Monday: C . — L a d y of Lyons ; Pickwick Club. W.—Sergeant's W i f e ; Yankee Pedlar. A . — W a r r i o r of the Wave ; Married Rake. C.—Macbeth ; Three Hats. W.—Jonathan in England ; W i f e for a Day. A . — W a r r i o r of the W a v e ; M y Neighbor's W i f e . C . — J a c k C a d e ; M y W i f e ' s Dentist. W.—Sergeant's W i f e ; New Notions. A.—Richelieu ; T h e Purse. C.—Richelieu; His First Champagne. W . — G r e e n Mountain B o y ; T h e Hypocrite. A.—Arnaldi * : Arnaldi—E. S. Conner, Celestina—Miss Porter; Blue Devils. C . — K i n g L e a r ; Rosina. W.—Jonathan in England ; Seth Slope. Α.—Arnaldi ; Spitfire. C.—Damon and Pythias; Metamora. W . — Jonathan in England; Seth Slope. Α.—Robber's W i f e ; Spitfire. Monday: C . — J a c k Cade ; Pickwick Club. W.—Richard I I I ; Robin Hood. A . — R e n t Day ; Pleasant Neighbors. C . — G l a d i a t o r ; M y Fellow Clerk. W . — B e r t r a m ; T u r n Out. A.—Carpenter of Rouen; W h a t Have I Done? C.—Othello; M u m m y . W . — M a c b e t h ; Pleasant Neighbors. [263 ]

THE PHILADELPHIA T H E A T R E 21. 22. 23. 25.

26. 27. 28. 29. 30.

A.—Arnaldi; Irish Lion. C.—Jack Cade; Gladiator. W . — T h e Apostate ; Poor Soldier. A.—Wallace; Irish Lion. C . — T e n Thousand a Year ; Groves of Blarney. W.—Merchant of Venice ; Mountaineers. A.—Heir at L a w ; The Robber's W i f e . C.—Romeo and Juliet. W . — B e r t r a m ; Nick of the Woods. A.—Sardanapalus ; Miser of Southwark Ferry. Monday: C . — T h e Bubbles of the Day ; Hobbs, Dobbs, and Stubs * : Hobbs—Burton. W.—Sweethearts and Wives; Skeleton Witness. Α.—Iron Chest; Oh! Hush!! C . — T h e Bubbles of the Day. W . — T h e Haunted Inn ; Hunting a Turtle. Α.—Richard I I I ; Oh ! Hush ! ! C.—Sweethearts and Wives ; Hobbs, Dobbs, and Stubs. W.—Hunting a Turtle ; Golden Farmer. A.—Othello; Bank Monster. C.—Paul P r y ; Black Eyed Susan. W.—Haunted Inn; Golden Farmer. A . — T h e Robbers ; Phila. Assurance. C.—Wild Oats; Tom Noddy's Secret. W . — T h e Padlock; Golden Farmer. Α . — N e w Way T o Pay Old Debts ; Blue Devils. C.—Secrets Worth Knowing; Poor Soldier. W.—George Barnwell ; T w o Gregories. Α.—Richard I I I ; The Purse. MAY

2.

3. 4. 5.

Monday: C.—Zanoni; Irish Tutor. W.—Golden Farmer; Surgeon of Paris. A.—Damon and Pythias ; Pleasant Neighbors. C.—Zanoni; Irish Tutor. W . — T o m and J e r r y ; Mob, the Outlaw. A.—Carpenter of Rouen ; Turnpike Gate. C.—Young Quaker; Turnpike Gate. W.—Golden Farmer; Mob, the Outlaw. A.—Lucille; Our Mary Ann. C.—Zanoni ; Young Widow. W.—Rogueries of Thomas; Floating Beacon. A.—Damon and Pythias ; Swiss Cottage. [264]

CHRONOLOGICAL R E C O R D S : 1842 6. 7. 9. 10. 11. 12. 13. 14. 16. 17. 18. 19. 20. 21. 23.

24. 25. 26. 27.

C.—Zanoni ; Young Widow. W . — C h a r l o t t e T e m p l e ; Valentine and Orson. A . — K i n g L e a r ; Pleasant Neighbors. C . — F o u n d l i n g of the Forest ; T u r n i n g the Tables. W . — B o z ; Kate Kearney. Last night of the season. A . — L a d y of Lyons ; Dead Shot. Monday: C . — T o m Noddy's Secret ; T u r n i n g the Tables. A . — S i x Degrees of C r i m e ; Minerali. C . — P o o r Gentleman; Ladies' M a n . A . — S i x Degrees of C r i m e ; Minerali. C . — N o bill received. A . — W i l l i a m T e l l ; Six Degrees of Crime. C . — N o advertisement. A . — B e a r Hunters of the Pyrenees; A Day in Paris. C . — N o advertisement. A . — G o l d e n F a r m e r ; Swiss Cottage. W . — M a r y , Queen of Scots ; Boz. A . — S i x Degrees of Crime ; L a T o u r de Nesle. W . — M a r y , Queen of Scots; Boz. Μ ο η day : A . — T h e Heir and Highwayman; Actress of all W o r k . W . — S t e w a r t ' s Capture; Ninth Statue. A . — H e i r and Highwayman ; Actress of all W o r k . W . — S t e w a r t ' s Capture; T h e Vagrant. A . — H e i r and Highwayman; Kabri. W . — S t e w a r t ' s Capture ; T h e Vagrant. A . — L o c h i n v a r ; Heir and Highwayman. W . — S t e w a r t ' s Capture; M a r y , Queen of Scots. A . — S i x Degrees of C r i m e ; Married Rake. W . — S t e w a r t ' s Capture; M a r y , Queen of Scots. A . — H u n c h b a c k ; Faith and Falsehood. W . — S t e w a r t ' s Capture; Ninth Statue. Monday: A . — W a l t e r L y n c h * : Walter—E. S. Conner, Roderick—C. Porter, Dominic—Gann, Anastacia—Miss Porter; A Roland for an Oliver. W . — D a m o n and Pythias; Stewart's Capture. A . — W a l t e r Lynch ; A Roland for an Oliver. W . — O t h e l l o ; T h e Floating Beacon. A . — S i x Degrees of C r i m e ; Faith and Falsehood. W . — W i l l i a m T e l l ; Apostate. A . — R i c h a r d I I I ; Pleasant Neighbors. W . — D a m o n and Pythias ; Stewart's Capture. A . — S i x Degrees of C r i m e ; A Father by Chance. W . — P i z a r r o ; Stewart's Capture. [ 265 ]

THE PHILADELPHIA THEATRE 28.

30. 31.

A . — L a Fitte ; Nick of the Woods. W . — N e w W a y T o Pay Old Debts, fifth act ; Clandare.

Monday:

A . — L a Fitte ; Nick of the Woods. W . — V i r g i n i u s ; Therese. A . — F a i t h and Falsehood; La Fitte. W . — F l o a t i n g Beacon ; Boz.

JUNE 1. Wednesday 2. 3. 4.

6. 7· 8. 9· 10. II. 13· 14. 15· 16. 17· 18.

:

A . — L a F i t t e ; Turnpike Gate. W . — I r o n Chest; Hamlet, third act. A.—Columbus ; Black Eyed Susan. W . — N i n t h Statue; Stewart's Capture. A.—Columbus ; A Father by Chance. W . — B o z ; How T o Pay Rent. A.—Rob Roy ; Honest Thieves. W . — R o b e r t M a c a i r e ; Stewart's Capture.

Monday:

A. —Forest Fiend ; Weathercock. W . -—Maid of Croissy; Bombastes Furioso. A. —Forest Fiend ; Comfortable Service. W . -—Robert M a c a i r e ; Good Night's Rest. A. —Lovers' Quarrels ; W i v e s as they W e r e . W . -— M y Young W i f e ; Stewart's Capture. A. —Perfection ; Comfortable Service. W . -—Maid of Croissy ; M y W i f e ' s Dentist. A . —Alfonso; Irish T u t o r . W . —Forty and Fifty ; M y W i f e ' s Dentist. A. — P i z a r r o ; Irishman in London. W . -—Robert M a c a i r e ; Jacques Strop.

Monday :

A.-—Alfonso ; King and the Deserter. W . - —Victorine; M y W i f e ' s Dentist. A.-—Comfortable Service; T h e Pilot. W . - —Rob R o y ; Hunting a T u r t l e . A, —The Pilot. W . - —Wizard of the H e a t h ; T o m and J e r r y . A.-—Adelgitha; Irishman in London. W . - —Boz ; W i z a r d of the Heath. A.-- R o b Roy. W . - —Two Gregories ; Haunted Inn. A.-—Point of Honor ; M i d d y Ashore. W . - —Raymond and Agnes; O h ! H u s h ! ! [ 266]

CHRONOLOGICAL RECORDS: 1842 20. 21. 22. 23. 24. 25. 27. 28. 29. 30.

Monday: A.—Adelgitha ; Catching an Heiress. W.—Quadrupeds ; Stewart's Capture. A.—Merchant of Venice, trial scene; Robert Emmet. W . — W h a t will the World S a y ? ; Quadrupeds. A.—Honey Moon ; Hunting a T u r t l e . W . — M a r y T u d o r ; Hunting a Turtle. A.—Robert Emmet; He Lies like T r u t h . W . — M a r y Tudor ; Pleasant Neighbors. A.—Raising the W i n d ; Brian Boroihme. W . — W h a t will Mrs. Jones S a y ? ; M a r y Tudor. A.—Adopted Child. W . — J a m i e of Aberdeen ; M a r y Tudor. Monday: A.—Robber's W i f e ; Horse and W i d o w . W . — T o w n and Country ; Stewart's Capture. A.—Brian Boroihme; Horse and W i d o w . W . — W i z a r d of the Heath ; Jamie of Aberdeen. A.—Hunchback ; Three Simpsons. W . — N e w W a y T o Pay Old Debts ; A Chip of the Old Block. A.—Alfonso; Three Simpsons. W . — M u n g o P a r k * : Karfa—Drisbach, Mungo—Davenport; Haunted Inn. JULY

1. 2. 4. 5· 6. 7· 8. 9· II.

Friday : A.—The Pilot ; Swiss Cottage. W . — M u n g o P a r k ; Haunted Inn. A.—Alexander the Great ; Star Spangled Banner. W . — T h e Daughter; Mungo Park. Monday: A.-—Hero of the North ; Vagaries of the Day. W . - —Mungo Park ; Marco Bombo. A.-—Frederick the Great; Star Spangled Banner. W . - —My Companion in Arms. A.-—A Roland for an Oliver; Perfection. W . - —Turn Out ; Lion of the Desert. A.-—Military Execution ; Fortune's Frolic. W . - —Young W i d o w ; Lion of the Desert. A.-—Six Degrees of Crime ; Middy Ashore. W . - —Lion of the Desert ; T w o Gregories. A.-—Sweethearts and Wives ; Nick of the Woods. W . - —Lady and the Devil ; Lion of the Desert. Monday: A.—Monev; Hundred-Pound Note. [ 267 ]

THE PHILADELPHIA T H E A T R E 12. 13. 14· 15. 16. 18. 19· 20. 21. 22. 23·

25. 26. 27. 28. 29. 30.

w . - —Lion of the Desert ; Mungo Park. A . —Englishman in India ; A Roland for an Oliver. W.-—Lion of the Desert ; Mungo Park. A . —School for Scandal ; Wandering Minstrel. W.-—Lion of the Desert ; Mungo Park. A . —Money ; Gretna Green. W.-—Idiot Witness ; T h e Beacon of Death. A . —Charles I I ; Englishman in India. W.-—Swiss Cottage ; A Day in Paris. A . —Rose of Arragon ; Promissory Note. W.-—Barrack Room; Snapping Turtle. Monday: A.-—Rake's Progress; Humbug. W . - —My Little Hotel ; Joseph Bragg. A.-—Rake's Progress ; A Roland for an Oliver. W . - —My Old Woman ; Belle of the Hotel. A.-—Ion ; No Song, No Supper. W . - —My Little Adopted ; Joseph Bragg. A.-- C h a r l e s I I ; T h e Pilot. W . - —Two Gregories ; Out of Place. A.-—Alexander the Great ; Promissory Note. W . - —A Kiss in the Dark ; Out of Place. A.-—Adrian and Orrilla; T o m and Jerry. W . - - L a d i e s ' Club; Belle of the Hotel. Monday : A.—Romeo and Juliet; Irish Tutor. W.—Fashionable Friends ; Married Yesterday. A.—Black Brig of Bermuda; Three Simpsons. W.—Ladies' Club; Widow Wiggins. Last night of the season. A . — T h e Rivals; No Song, No Supper. A.—Emilia; Weathercock. A . — N o advertisement. A.—Firemen of Phila. ; Jersey Girl. AUGUST

1. 2. 3. 4. 5. 6. 8.

Monday: A.—Country Girl ; Broken Sword. A.—Nervous Man ; M y Poll and my Partner Joe. A . — L a T o u r de Nesle ; Stewart's Triumph. A.—Gambler's Fate ; M y Poll and my Partner Joe. A . — E m i l i a ; Weathercock. A . — T w o Foscari ; Sailor's Dream. Monday: A . — S i x Degrees of Crime ; Miller and his Men. [268]

CHRONOLOGICAL R E C O R D S : 1 8 4 2 9. 10. 11. 12. 13. 15. 16. 17. 18. 19. 20. 22. 23. 24. 25. 26. 27.

A . — P a t r i c i a n and the Parvenu ; Animal Magnetism. A . — D u t c h Burgomaster; M a y Queen. A . — M a n and W i f e ; Wreck Ashore. A . — P a u l P r y ; Patrician and the Parvenu. A . — P i c k w i c k C l u b ; Quaker Girls. Monday: A . — M u c h A d o about Nothing; T h e Vampire. A . — M a c b e t h ; T h e Secret. A . — R i c h e l i e u ; Horse and W i d o w . Α . — R i c h a r d I I I ; T h e Secret. A.—Shoemaker of Toulouse; Irish T u t o r . A . — U g o l i n o ; Shoemaker of Toulouse. Monday: A.—Shoemaker of Toulouse; Adopted Child. Α . — M a g p i e and the Maid ; Irish Valet. A . — G a m b l e r ' s Fate ; Dead Shot. A . — T w o Firemen; Monday Baptist. A . — S e a Captain ; White Scarf. A . — K i l l or C u r e ; Quaker Girls. Last night of the season. SEPTEMBER

10. 12. 13. 14. 15. 16. 17. 19. 20. 21. 22.

23.

Saturday: A . — L o u i s e ; Spitfire. Monday: A . — V i r g i n i u s ; Crowded Houses. A . — M a u r i c e , the Woodcutter; Adopted Child. A . — M a u r i c e , the Woodcutter; Children in the W o o d . A . — V e n i c e Preserved; Simpson and Company. A . — M a c b e t h ; Dead Shot. A . — O t h e l l o ; Day after the Wedding. C . — M a n of the Wood ; Borrowed Feathers. Monday: A.—John J o n e s ; M y Master's Rival. C . — L a d y of Lyons; A Lover by Proxy. A . — P e t e r Bell ; D e Nacht Wächter. C . — W i v e s as they W e r e ; L u k e the Laborer. A . — B e l l e ' s Stratagem; T o o Late for Dinner. C . — R o b Roy ; A Lover by Proxy. A . — R o a d to Ruin ; Green Eyed Monster. C . — B r i d e of Lammermoor ; T h e N e w Footman. W . — B e l l e ' s Stratagem ; Nabob for an Hour. A . — S h e Stoops to Conquer; Robert Macaire. C . — M a n of the W o r l d ; N e w Footman. W . — S c h o o l for Scandal ; A Roland for an Oliver. [269 ]

T H E PHILADELPHIA T H E A T R E 24.

26.

27.

28.

29.

30.

A . — O l d English Gentleman ; Victorine. C . — B e l f o r d Castle ; N e w Footman. W . — R i v a l s ; Dumb Belle. Monday: A . — L o v e , L a w , and Physic; Woman's Life. C . — B e l f o r d Castle; N e w Footman. W . — M a c b e t h ; Windmill. A . — C h a r c o a l Burner ; Therese. C . — B e l f o r d Castle ; M y W i f e ' s Dentist. W . — H u n c h b a c k ; Windmill. A . — I s H e Jealous?; Dead Shot. C . — P e t e r and P a u l * : Paul—Andrews, Peter—M aywood ; N e w Footman. W . — G w i n n e t h Vaughan ; Windmill. A . — T h e T a m i n g of the Shrew ; Shoemaker of Toulouse. C . — P e t e r and Paul ; A Lover by Proxy. W . — G w i n n e t h Vaughan ; Windmill. A . — V i l l a g e Coquette ; La Sylphide, ballet. C.—Closed. W . — C a p e M a y W i l l ; T h e Review. OCTOBER

I.

3.

4·

5·

6.

7·

8.

Saturday : A . — M y s t e r i o u s Visitor; Nathalie. C.—Closed. W . — B a r r a c k Room; Cape M a y W i l l . Monday : A . — T h r e e Weeks after Marriage ; Nathalie. C . — D r . Lardner's lectures upon the French Revolution. W . — S i x t e e n String Jack ; Agreeable Surprise. A . — W r e c k Ashore; M u m m y . C . — D r . Lardner on French Revolution. W . — S i x t e e n String Jack ; Golden Farmer. A . — P i z a r r o ; Sudden Thoughts. C . — D r . Lardner on Physical Science. W . — S i x t e e n String Jack ; Dream of the Future. A . — G r u m b l i n g ; Cheap Boarding. C . — D r . Lardner, on French Revolution. W . — S i x t e e n String Jack ; Dream of the Future. A . — U g o l i n o ; Four Sisters. C . — D r . Lardner, on Physical Science. W . — S i x t e e n String Jack ; Golden Farmer. Α . — T h e Pilot ; Jersey Girl. C . — D r . Lardner, on French Revolution. W . — O l i v e r T w i s t ; Mob, the Outlaw. [ 270 ]

CHRONOLOGICAL R E C O R D S :

10.

11. 12. 13. 14. 15. 17.

18. 19. 20. 21. 22.

24.

25.

1842

Monday: Α . — T h e Gondolier ; Ben the Boatswain. C . — D r . Lardner, on French Revolution. W . — H a m l e t ; Lady of Lyons, musical burlesque. A . — N o advertisement. C . — L a d y of Lyons ; Borrowed Feathers. W . — M u c h Ado about Nothing; Oliver T w i s t . . A.—Agnes de Vere; Perfection. C.—Peter and Paul ; A Lover by Proxy. W . — H a m l e t ; Golden Farmer. A . — L o u i s e ; Agnes de Vere. C.—Abduction; Peter and Paul. W.—Richard I I I ; Sixteen String Jack. A.—Michael Earl ; Loan of a Lover. C.—Abduction ; M y Wife's Dentist. \ V . — T h e W i f e ; Mob, the Outlaw. A . — A Dream at Sea; Fire Raiser. C . — L o a n of a Lover; Abduction. W . — L a d y of Lyons ; Pizarro. Monday: A.—Retribution ; A Dream at Sea. C . — M a r i e du C a n g e * : M a r i e — M i l e . Celeste; Swiss Swains. W.—Othello ; Rail Road Depot. Α . — D a m o n and Pythias; Gondolier. C . — M a r i e du Cange; French Spy. W . — D a m o n and Pythias; T w i n Sisters. A.—Retribution; Maniac Lover. C . — M a r i e du Cange; French Spy. W . — M a c b e t h ; T w i n Sisters. A.—Richelieu ; Young Widow. C . — M a r i e du Cange; St. Mary's Eve. W . — V a g r a n t ; T w i n Sisters. A . — R o b R o y ; A Lover by Proxy. C . — M a r i e du Cange; St. Mary's Eve. W . — N i c k of the Woods ; Pretty Girls of Stilberg. A.—Capt. John Rock; Milford Castle. C.—Foreign A f f a i r s * : Baron—Andrews, Count—Mile. Celeste; Marie du Cange. W . — O l i v e r T w i s t ; Incendiary. Monday: A . — C o u r t Fool ; Capt. John Rock. C . — T h e B a n k e r * : Maxwell—Maywood, Clara—Miss Maywood ; Youthful Queen. W . — M e t a m o r a ; Pretty Girls of Stilberg. A.—Blood Red Knight ; T h e Vampire. C . — T h e Banker; Aladdin. [271 ]

THE PHILADELPHIA THEATRE 26. 27. 28. 29. 31.

W.—Richelieu ; Pretty Girls of Stilberg. Α.—Fair Philadelphia; Blood Red Knight. C.—Foreign Affairs ; Wept of Wish-Ton-Wish. A.—House Room; New Footman. C.—Foreign Affairs; French Spy. W.—Metamora; Pretty Girls of Stilberg. A.—Stranger ; Simpson and Company. C.—Wept of Wish-Ton-Wish ; Wizard Skiff. W.—Jack Cade ; Pretty Girls of Stilberg. A.—Fate of Calas; Miller and his Men. C.—Child of the Wreck; Wizard Skiff. W.—King Lear ; Pizarro. Monday: A.—Jane Shore ; Fate of Calas. C.—School for Scandal; Irish Lion. W.—Jack Cade ; Pretty Girls of Stilberg. NOVEMBER

1.

2.

3. 4. 5. 7.

8. 9.

Tuesday : A.—The Vampire; Sudden Thoughts. C.—The Rivals; Teddy the Tiler. W.—Lady of Lyons ; Pretty Girls of Stilberg. A.—Dumb Belle; Blue Devils. C.—London Assurance ; Red Gauntlet * : Peter—Maywood, Joshua—Andrews. W.—Virginius; Pretty Girls of Stilberg. A.—Dream at Sea ; Melmoth. C.—London Assurance; Irish Tutor. W.—Richelieu ; Gladiator. A.—Bellamira ; Tom and Jerry. C.—Born to Good Luck; Irish Tutor. W.—Jack Cade ; Therese. A.—Soldier's Daughter; Zembuca. C.—Wonder; Irish Lion. W.—Road to Ruin ; Meet me by Moonlight. Monday : Α.—Stag Hall ; Kill or Cure. C.—Love Chase ; Born to Good Luck. W.—King O'Neil ; Green Eyed Monster. A.—Begone Dull Care ; M y Own Ghost. C.—Irish Ambassador; Married Rake. W . — T h e West End ; Meet me by Moonlight. A.—Old English Gentleman; Stag Hall. C.—Hunchback; His Last Legs. W . — T h e West End ; Oliver Twist. [ 272 ]

CHRONOLOGICAL R E C O R D S : ίο.

11.

12.

14.

15.

16.

17.

18.

19.

21.

22.

23.

24.

25.

1842

Α . — S o m e t h i n g O r i g i n a l * : Jack—Burton, Solomon—Owens; Ladies' M a n . C . — L o v e C h a s e ; Irish A m b a s s a d o r . W . — T h e W e s t E n d ; A g r e e a b l e Surprise. A . — D r u n k a r d ' s P r o g r e s s * : Vernon—J. G . Porter, Patty— M r s . A l t e m u s ; Irish L i o n . C . — J e a l o u s W i f e ; Enthusiasm. W . — S h e W o u l d and she W o u l d N o t ; U n c l e J o h n . A . — L o v e ' s Disguises; Happy M a n . C . — H o n e y M o o n ; Omnibus. W . — S p e e d the P l o u g h ; T h e A n a t o m i s t . Monday: A . — F a t e of C a l a s ; H i s L a s t L e g s . C . — R i c h a r d I I I ; T h r e e Lovers. W . — L o n d o n Assurance ; T e d d y the T i l e r . A . — Z e m b u c a ; Omnibus. C . — N e w W a y T o Pay Old Debts ; T h r e e Lovers. W . — A s Y o u L i k e I t ; Irish L i o n . A . — N o advertisement. C . — K i n g L e a r ; R e v o l t of the A r a b s . W . — L o n d o n Assurance; Married Rake. A . — N o advertisement. C . — H a m l e t ; R e v o l t of the A r a b s . W . — L o n d o n Assurance ; A n a t o m i s t . A . — N o advertisement. C . — Y o u t h f u l Queen ; R e v o l t of the A r a b s . W . — L o n d o n Assurance ; S h a r r a t a h . A . — J o n a t h a n B r a d f o r d ; F a l l s of C l y d e . C . — R i c h a r d I I I ; M a y o r of G a r r a t . W . — L o n d o n Assurance ; R o r y O ' M o r e . Monday: A . — J o n a t h a n Bradford ; Lover's Revenge. C . — E n g l i s h m e n in I n d i a ; L i f e in the C l o u d s . W . — L o v e Chase ; Robert le D i a b l e , incantation scene. A . — O c e a n Child ; J o n a t h a n B r a d f o r d . C . — T h e B a n k e r ; M y W i f e ' s Dentist. W . — W o n d e r ; Omnibus. Α . — C h a r l e s O ' M a l l e y ; Ocean Child. C . — P r o v o k e d H u s b a n d ; L i f e in the C l o u d s . W . — M o n e y ; L a Bayadere. A . — F a l l s of C l y d e ; Ocean C h i l d . C.—Foreign Graces ; Aladdin. W . — S i x D e g r e e s of C r i m e ; P r e t t y G i r l s of Stilberg. A . — N o advertisement. C . — L i f e in the C l o u d s ; F l y i n g D u t c h m a n . W . — L o n d o n Assurance; R o r y O ' M o r e . [ 273 ]

THE PHILADELPHIA T H E A T R E 26.

28.

29.

30.

A . — N a t t y Bumpo; Ocean Child. C.—Inheritance ; Youthful Queen. W . — L o v e ' s Sacrifice; Omnibus. Monday: A . — N a t t y Bumpo ; Grumbler. C . — M i l l e r ' s Maid ; Flying Dutchman. W . — H e n r y I V ; Devil's Bridge. A . — N a t t y Bumpo; Incendiary. C.—Inheritance ; Phila. Assurance. W . — J o n a t h a n in England ; Kentuckian. A . — C l a n d a r e ; Natty Bumpo. C . — N o advertisement. W . — H e n r y I V ; Rail Road Depot. DECEMBER

1.

2.

3.

5.

6. 7. 8. 9. 10. 12. 13. 14.

Thursday : A . — N o bill received. C . — N o advertisement. W . — R i p Van W i n k l e ; Möns. Tonson. A . — N o bill received. C . — N o advertisement. W . — R i c h a r d I I I ; A Roland for an Oliver. A . — N o bill received. C . — N o advertisement. W . — M e r r y W i v e s of Windsor ; Möns. Tonson. Monday: C . — F i r s t night of the opera season, L a Sonnambula; A Day in Paris. W . — L o n d o n Assurance ; Love Laughs at Locksmiths. C . — L a Sonnambula ; A Dav in Paris. W . — R o b Roy ; Oliver T w i s t . C . — B a r b e r of Seville; Familiar Friend. W . — N o advertisement. C . — B a r b e r of Seville ; Familiar Friend. W . — N o advertisement. C . — B a r b e r of Seville ; L a Sonnambula, third act. W . — N o advertisement. C.—Postilion of Lonjumeau; Familiar Friend. W . — N o advertisement. Monday: C.—Postilion of Lonjumeau; A D a y in Paris. C.—Postilion of Lonjumeau; Familiar Friend. W . — J o h n Overy ; Pretty Girls of Stilberg. C.—Postilion of Lonjumeau ; Familiar Friend. W . — J o h n Overy ; Black Raven of the Tombs. [274 ]

CHRONOLOGICAL RECORDS: 1843 ι 5. 16. 17. 19. 20. 21. 22. 23. 24. 26.

27. 28.

29· 30. 31·

C.—Closed. W . — J o h n O v e r y ; Black Raven of the Tombs. C.—Israelites in Egypt. W . — J o h n Overy ; Black Raven of the Tombs. C.—Israelites in Egypt. W . — S a r a h , the J e w e s s ; Black Raven of the Tombs. Monday: C.—Israelites in Egypt. W . — S a r a h the J e w e s s ; Black Raven of the Tombs. C . — I s r a e l i t e s in Egypt. W . — S e n t i n e l ; Black Raven of the Tombs. C.—Israelites in Egypt. W . — S e n t i n e l ; Black Raven of the Tombs. C.—Israelites in Egypt. W . — S e n t i n e l ; Black Raven of the Tombs. C . — F r a Diavolo; Olympic Revels. W . — N o Song, No Supper; Black Raven of the Tombs. C . — I n h e r i t a n c e ; Faint Heart never won Fair L a d y . W . — B l a c k Raven of the T o m b s ; Richard I I I . Monday: c. — C i n d e r e l l a ; Faint Heart never won Fair L a d y . w. —Carpenter of Rouen ; Black Raven of the Tombs. c. — C i n d e r e l l a ; M y W i f e ' s Dentist. w. —Love L a u g h s at Locksmiths ; Black Raven of the Tombs. c. — B a r b e r of S e v i l l e ; Familiar Friend. w . —No advertisement. c. — C i n d e r e l l a ; A Day in Paris. w. —Carpenter of Rouen ; Black Raven of the Tombs. c. — N o r m a ; Y o u t h f u l Queen. w. —Pleasant D r e a m s ; Black Raven of the Tombs. c. — W a r d e n of G a l w a y ; L a d y of the Lake. w. —Surgeon of P a r i s ; Black Raven of the Tombs. JANUARY

2.

3· 4· 5· 6.

1843

Monday: C.-— W a r d e n of G a l w a y ; L a d y of the Lake. W . - —Surgeon of P a r i s ; Black Raven of the T o m b s . C.-—No performance. W . - —Surgeon of P a r i s ; Black Raven of the T o m b s . C.- —No performance. W . - —Love's F r a i l t y ; Black Raven of the Tombs. c.-—Guy M a n n e r i n g ; N o ! W . - —Love's F r a i l t y ; Black Raven of the Tombs. c.-—Rob R o y ; No Song, No Supper. W . - —Love's F r a i l t y ; Black Raven of the Tombs. [ 275 ]

THE PHILADELPHIA THEATRE 7. 9.

10. 11. 12. 13. 14. 16.

17. 18. 19. 20. 21. 23. 24. 25. 26.

C.—Devil's Bridge; No! W.—Mutiny of the Nore ; Black Raven of the Tombs. Monday: C.—Norma; Olympic Revels. W.—Conjuror; Alice Gray. O.—H-ll on Earth ; Kill or Cure. C.—Norma Rendezvous. W.—Richard I I I ; Seth Slope. O.—H-ll on Earth; Is She Married? C.—Norma; Rendezvous. W . — L a Tour de Nesle ; Pretty Girls of Stilberg. O.—Ladies' M a n ; H-ll on Earth. C.—Lady of Lyons; Riever's Ransom. W . — N e w Way T o Pay Old Debts ; Green Mountain Boy. O.—Christening; H-ll on Earth. C.—Norma ; Olympic Revels. W . — T o w n and Country ; Wife for a Day. O.—Christine of Sweden; H-ll on Earth. C.—Rendezvous; Ice Witch. W.—Mountaineers ; Yankee Pedlar. O.—Jack Sheppard; H-ll on Earth. Monday: C.—Norma; Ice Witch. W.—Hamlet; People's Lawyer. O.—Abelard and Heloise; Jack Sheppard. C.—Cinderella; Ice Witch. W.—Iron Chest; People's Lawyer. O.—Abelard and Heloise; Dead Shot. C . — L a Sonnambula; Olympic Revels. W.—Carpenter of Rouen ; Carli. O.—Sergeant's W i f e ; Abelard and Heloise. C.—Israelites in Egypt; Familiar Friend. W.—Paul Pry ; also, esquestrian troupe. C.—Masaniello ; Rendezvous. W.—Pleasant Dreams; Conjuror. C.—Masaniello; Olympic Revels. W.—Alice Gray. Monday: C.—Masaniello; Ice Witch. W.—Alice Gray. C.—Closed. W.—Surgeon of Paris; Dr. Dilworth. C.—Marriage of Figaro ; Masaniello. W.—Lucky Stars ; Secret Mine. C.—Marriage of Figaro ; Masaniello. W.—Paul Pry; Secret Mine. [276]

CHRONOLOGICAL R E C O R D S :

27. 28. 30. 31.

1843

C.—Stabat Mater. W.—Secret Mine; What will Mrs. Jones Say? C . — F r a Diavolo ; John of Paris. W . — L o v e Chase ; Omnibus. Monday: C . — F r a Diavolo ; John of Paris. W . — L o v e ' s Sacrifice; Irish Lion. C . — F r a Diavolo; Masaniello. W.—Love's Sacrifice ; Omnibus. FEBRUARY

1. 2. 3. 4. 6.

7. 8. 9· 10. II. 13· 14· 15· 16. 17· 18.

Wednesday : C . — N o r m a ; T h e Waterman. W.—Hunchback; Married Rake. C.—Marriage of Figaro ; T h e Waterman. W . — A l m a Mater; Irishman's Fortune. C . — D e r Freischutz; Familiar Friend. W . — A l m a M a t e r ; Irishman's Fortune. C . — D e r Freischutz ; Rendezvous. W.—Irish Ambassador; Alma Mater. Monday:

C.-—Blanche of Jersey. W . - —Alma M a t e r ; Shakespeare's Dream. C.-—Blanche of Jersey ; Fra Diavolo. w . - —Money; T w o Gregories. C.-—Blanche of Jersey; Der Freischutz. w . - —Ion; His Last Legs. c . -—Fra Diavolo ; Foreign Graces. w . - —Alma Mater; Shakespeare's Dream. c . - —La Sonnambula ; Foreign Graces. W . - —Money; Shakespeare's Dream. c . -—Norma; Rendezvous. w . - —Bubbles of the Day ; Love Chase. Monday : C.-—Zampa; Cramond Brig. W . - —Broken Heart; T w i c e Killed. C.-—Zampa; Cramond Brig. W . - —Paul Pry ; Curiosities. c . -—Zampa; Faint Heart never won Fair Lady. W . - —The Race Course; Lottery Ticket. C.-—Zampa ; Faint Heart never won Fair Lady. w . - —The Race Course ; Sweethearts and Wives. c . -—Norma ; Zampa. W . - —The Race Course; Broken Heart. c.-—Closed. End of operatic season. [ 277 ]

THE PHILADELPHIA T H E A T R E 20. 21. 22. 23. 24. 25. 27. 28.

W.—Merchant and Mechanic; Wreck Ashore. Monday: W.—Merchant and Mechanic ; Boots at the Swan. W.—Surgeon of Paris; Earthquake. W.—Wreck Ashore; Earthquake. W.—Married L i f e ; Oliver Twist. W.—Carpenter of Rouen ; Earthquake. W . — N a v a l Engagements; Black Raven of the Tombs. Monday: W . — N a v a l Engagements; Black Raven of the Tombs. W.-—Married L i f e ; Black Raven of the Tombs. MARCH

1. 2. 3. 4. 6. 7. 8. 9. 10. 11. 13. 14. 15. 16. 17. 18.

Wednesday: W.—Married L i f e ; Black Raven of the Tombs. W.—Black Raven of the Tombs ; American Enterprise. W.—Alice Gray ; Black Raven of the Tombs. W.—American Enterprise ; Black Raven of the Tombs. A.—Eugene Aram; Maid of Munster. Monday: W.—Brandywine Springs; Black Raven of the Tombs. A.—School for Scandal ; Spoiled Child. W . — T h e Sentinel ; Black Raven of the Tombs. A.—Eugene Aram; A Roland for an Oliver. W.—Blanche Heriot; Black Raven of the Tombs. A.—Steam Dentist ; White Horse of the Peppers. W.—Blanche Heriot; Black Raven of the Tombs. A.—Victorine ; Ostler, Robber and Inn-Keeper. W.—Blanche Heriot; Black Raven of the Tombs. A.—Victorine; Spoiled Child. W.—Lucky Stars; Black Raven of the Tombs. A . — N o advertisement. Monday: W.—Blanche Heriot; Hunters of the Pyrenees. A . — N o advertisement. W.—Blanche Heriot; Hunters of the Pyrenees. A.—Steam Dentist; Rugantino. W.—Blanche Heriot; Stratagem. A.—St. Cuthbert's Abbey; Bandit of Corsica. W.—Blanche Heriot; Black Raven of the Tombs. A.—St. Cuthbert's Abbey ; Jack Robinson and his Monkey. W . — L a Tour de Nesle ; Black Raven of the Tombs. A.—Climbing Boy ; Benevolent T a r . W.—Inch Cape Bell; Six Degrees of Crime. A.—St. Cuthbert's Abbey ; Bandit of Corsica. [ 278 ]

CHRONOLOGICAL R E C O R D S : 1 8 4 3

20. 21. 22. 23. 24. 25. 27. 28. 29. 30. 31·

Monday: W . — H u n c h b a c k ; Inch Cape Bell. A.—Tempter ; Forest Rose. W.—Irish Ambassador; Born to Good Luck. A.—Hamlet ; Richard III ; fourth and fifth acts. W.—Honey Moon; His Last Legs. A.—Hypocrisy Detected ; Don J u a n . W . — M a r r i e d L i f e ; Irish Tutor. A.—No advertisement. W.—Irish Ambassador; Youthful Queen. A.—No advertisement. W.—Irish Ambassador; Tom and Jerry. A.—Land of Washington ; Our Old House at Home. Monday: w . - —Conquest of Toronto ; T w i n Sisters. A.-—Therese ; Robber's W i f e . W . - —Irish Lion; Tom and Jerry. A.-—Richard III ; Tempter. W . - —Brutus; Inch Cape Bell. A.-—No advertisement. W . - —Merry Monarch ; T w i c e Killed. A. —Wraith of the Lake ; Tempter. W . - —Englishmen in India; Kill or Cure. A.-—Wraith of the Lake; Land of Washington. APRIL

I. 3. 4· 5· 6. 7· 8. IO.

Saturday: W . — T h e Race Course; Peter Bell. A.—Robber's W i f e ; Bombastes Furioso. Monday: W . - —Twin Sisters; Comedy of Errors. A.-—Vision of Home; Benevolent T a r . W . - —Merchant and Mechanic; Kill, or Cure. A.-—Richard III ; T w o Gregories. W . - —Comedy of Errors; T w i c e Killed. A.-—No advertisement. W . - —Recruiting Officer; Peter Bell. A.-—Masaniello; Queer Subject. W . - —Recruiting Officer; X.Y.Z. A.-—Masaniello ; T w o Gregories. W . - —Comedy of Errors; Oliver T w i s t . A.-—Masaniello; Queer Subject. Monday: W . — A s k no Questions ; T w o Barbers. A.—Rugantino ; Dumb Girl of Genoa. [ 279 ]

THE PHILADELPHIA THEATRE 11. 12. 13. 14. 15. 17. 18. 19. 20. 21. 22. 24. 25. 26. 27. 28. 29.

W.—Rivals; Loan of a Lover. A.—No advertisement. W.—Brutus; Dumb Man of Manchester. A.—No advertisement. W.—Macbeth; Dumb Man of Manchester. W.—Bride of Abydos ; Dumb Man of Manchester. W.—Bride of Abydos; Smuggler of Bootle Bay. Monday: W.—Bride of Abydos ; Forest of Bondy. W.—Richard I I I ; Smuggler of Bootle Bay. W.—King Lear ; Mayor of Garrat. W.—Julius Caesar; Wandering Minstrel. W.—Forest of Bondy; A Roland for an Oliver. W.—Dumb Man of Manchester; Exile of Erin. Monday: W.—Muleteer of Palermo ; Trial by Battle. A.—Richard I I I ; T w o Gregories. W.—Muleteer of Palermo; Trial by Battle. A.—Therese ; Forest Rose. W.—Much Ado about Nothing ; Muleteer of Palermo. A.—Champion of Cordova; Day after the Wedding. W.—Greek Patriots; Phantom Pilot. A.—Champion of Cordova ; Day after the Wedding. W.—Hamlet; Scan Mag. A.—Champion of Cordova. W.—Rob Roy; Pizarro. A.—Iron Chest; Assassin King.

MAY 1. 2. 3. 4. 5. 6. 8.

Monday: W.—Rule a W i f e and Have a W i f e ; Scan Mag. A.—Grace Huntley ; Dumb Girl of Genoa. W.—Suspicious Husband ; Katharine and Petruchio. A.—Charles I I ; Wreck Ashore. W.—Suspicious Husband ; Day after the Wedding. A.—Yankee Land ; Forest Rose. W.—Romeo and Juliet; Rule a Wife and Have a Wife. A.—Wool Pedlar ; Yankee Land. W . — N o advertisement. A.—Speculation ; Yankee Abroad. W.—Scan M a g ; Peter Wilkins. Α.—Richard I I I ; Wool Pedlar. Monday: W.—Scan M a g ; Peter Wilkins. [ 280 ]

CHRONOLOGICAL R E C O R D S :

9. 10. 11. 12. 13. 15. 16. 17. 18. 19. 20. 22. 23. 24. 25. 26. 27. 29. 30. 31.

1843

A . — N i c k of T i m e * : Obediah—J. S. Silsbee, Lucy—Mrs. Thoman ; Jonathan in England. W . — S c a n M a g ; Peter Wilkins. A.—Yankee Land ; Forest Rose. W.—Speed the Plough; Peter Wilkins. A . — N o advertisement. W . — P e t e r Wilkins; Sam Patch in F r a n c e * : Sam—Marble, Farmer—Philips. A . — N o advertisement. W . — S h e Stoops to Conquer; Peter Wilkins. W . — S a m Patch in France; Vermont Wool Dealer. Monday: W . — Y a n k e e Land ; Yankee in Time. W . — M u m m y ; Peter Wilkins. W . — M a r k e t Street Merchant * : Harford—Philips, Mapleton— Wheatley; Kit—Burton ; Ladies' M a n . W . — M a r k e t St. Merchant; Foundling of an Apple Orchard. W . — P e t e r Wilkins ; Vermonter. W . — M a r k e t St. Merchant ; Yankee Farmers. Monday: W.—Comfortable Lodgings ; Wool Pedlar. W.—Boston T e a Party ; Jonathan ¡11 England. W . — M a n and W i f e ; Forest Rose. W.—Comfortable Lodgings; X . Y . Z . W . — M a r k e t St. Merchant; Mummy. W.—Woman's L i f e ; Cousin Lambkin. Monday: W . — B r u t u s ; Scan M a g . W.—Richelieu ; Boarding School. W . — J a c k Cade; Dumb Belle. JUNE

1. 2. 3. 5. 6. 7. 8. 9. 10. 12.

Thursday : W . — M e t a m o r a ; Wags of Windsor. W . — J a c k Cade ; Young Widow. W.—Gladiator ; Therese. Monday: W.—Patrician's Daughter ; Abon Hassan. W.—Patrician's Daughter ; Boarding School. W . — O t h e l l o ; Valet de Sham. W.—Patrician's Daughter; Valet de Sham. W . — J a c k Cade; Lucky Stars. W . — L a d y of Lyons; Pizarro. Monday: W . — L o v e ' s Sacrifice ; Oliver Twist. [281 ]

THE P H I L A D E L P H I A T H E A T R E 13. 14. 15. 16. 17. 19. 20. 21. 22. 23. 24. 26. 27. 28. 29. 30.

W . — S t r a n g e r ; Star Spangled Banner. W . — S i x Degrees of Crime; Lucky Stars. W . — R o b Roy ; Woman's Life. W . — S h e Stoops to Conquer; Valet de Sham. W . — T o u r de Nesle; Star Spangled Banner. Monday: W . — T h a l a b a ; Pretty Girls of Stilberg. W . — S k e l e t o n Witness; Black Eyed Susan. W . — T h a l a b a ; L a Fitte. W . — P a u l Jones ; La Fitte. W . — L a s t Days of Pompeii ; Scan M a g . W . — W a l l a c e ; Nicholas Nickleby. Monday: W . — M a r r i e d Life ; Blanche Heriot. W . — L a s t Days of Pompeii ; Bombastes Furioso. W . — T o w n and Country; Pretty Girls of Stilberg. W . — L a s t Days of Pompeii ; Bombastes Furioso. W . — B e l l e ' s Stratagem ; T w o Barbers. JULY

I. 3. 4. 5. 6. 7. 8. IO. 15. 17.

18. 19·

20. 21.

Saturday : W . — C o m e d y of Errors; W a g e r . Monday: W . — S i e g e of Boston ; Pretty Girls of Stilberg. W . — G l o r y of Columbia; American Enterprise. W . — H e i r at L a w ; Wager. W . — D e r Nacht W ä c h t e r ; Sweethearts and Wives. W . — W i l d O a t s ; Green Eved Monster. W . — B e g o n e , Dull C a r e ; Charles O ' M a l l e y . Monday: W . — C u r e for the Heartache; Spitfire. Last night of the season. C . — L u c i a di Lammermoor. W . — T r u t h ; Black Raven of the Tombs. Monday: C.-—Lucia di Lammermoor. W . - —Binks, the Bagman; Black Raven. C - —Lucia di Lammermoor. W . - —Binks, the Bagman ; Black Raven. c.- —Lucia di Lammermoor. w . - —Our M a r y Ann ; Black Raven. C.-—Lucia di Lammermoor. W . — O u r M a r y Ann ; Black Raven. C - —Lucia di Lammermoor. W . - —Woman's Failing ; Black Raven. [282 ]

CHRONOLOGICAL R E C O R D S : 1843 22. 24.

25· 26. 27. 28. 29. 31.

C . — I l Puritani. W . — W o m a n ' s F a i l i n g ; T h r e e Lovers. Monday: — I l Puritani. —Binks, the B a g m a n ; T h e T h r e e Lovers. —Norma. W . - —Black R a v e n ; M a r r i e d M a i d . —Norma. —Valet de Sham ; M a r r i e d Rake. —Norma. — W o m a n ' s F a i l i n g ; Black Raven. — C u l p r i t ; Faint Heart never won Fair Lady. — O u r M a r y A n n ; T h r e e Lovers. —Belisario. —Lancers ; V o l - A u - V e n t . Monday: C . — N o r m a . L a s t night of the Italian opera. W . — L a n c e r s ; Harlequin and the Ocean I m p * : Smith, Firebrand—Barnes, Fireface—Parsloe, Miss Walters.

c.w.c.c. w.c, w.c, w.c. w.-

Leonardo-—• Clorinda—

AUGUST ι. 2. 3. 4. 5. 7. 8.

9. 10. 11. 12. 14. 15. 16.

Tuesday : W . — L a n c e r s ; Harlequin and the Ocean Imp. W . — B i n k s , the B a g m a n ; Harlequin and the Ocean Imp. W . — I n q u i s i t i v e Y a n k e e ; Harlequin and the Ocean Imp. W . — I n q u i s i t i v e Y a n k e e ; Harlequin and the Ocean Imp. W . — F r o l i c s of T h o m a s ; Harlequin and the Ocean Imp. Monday: W . — I r i s h L i o n ; Harlequin and the Ocean Imp. W . — C l a n d a r e ; G o l d B u g * : Fr'iendling—Charles, Legrand— T h o m p s o n , Jupiter—J. H . W h i t e , Old Martha—Mrs. Knight. W . — F r o l i c s of T h o m a s ; T h r e e Lovers. W . — F r o l i c s of T h o m a s ; Harlequin and the Ocean Imp. A . — P a t r i c i a n and P a r v e n u ; P . P . W . — I r i s h L i o n ; Harlequin and the Ocean Imp. A . — S c h o o l of R e f o r m ; Boots at the S w a n . W . — O u r M a r y A n n ; Black Raven. Last night of the season. A . — W o m a n ' s L i f e ; Sam W e i l e r . Monday: A . — M o n e y ; T h r e e Lovers. A.—Othello ; Vagrant. A . — N o advertisement. [ 283 ]

THE PHILADELPHIA THEATRE 17. 18. 19. 21. 22. 23. 24. 25. 26. 28. 29. 30. 31.

A.—Hawks of Hawk Hollow; Fire Raiser. A.—Hamlet ; Rendezvous. A.—Virginius ; Vagrant. Monday: A.—King Lear ; T w o Gregories. A.—Hamlet ; Secret. A.—The Stranger. A.—Soldier's Daughter. A.—Lady of Lyons ; Secret. A.—Patrick Lyon. Monday: A.—Pizarro ; Patrick Lyon. A.—Honey Moon ; Patrick Lyon. A.—Damon and Pythias ; Jack Robinson and his Monkey. Α.—William T e l l ; Rip Van Winkle. SEPTEMBER

1. 2. 4. 5. 6. 7. 8. 9. 11. 12. 13. 14. 15. 16.

Friday : A.—Othello ; Patrick Lyon. A.—Patrick Lyon ; Spectre Bridegroom. Monday : A.—Robbers; Patrick Lyon. A.—Black Eyed Susan ; King's Gardner. A.—Richard I I I ; Weathercock. A.—New Way T o Pay Old Debts ; Sudden Thoughts. C.—Man and Wife ; Lover by Proxy. A.—Italian Bride; Patrick Lyon. C.—Speed the Plough ; Married Rake. A.—Iron Chest ; Raising the Wind. C.—Wild Oats ; Valet de Sham. Monday: A.—Six Degrees of Crime ; Tour de Nesle. C.—She Stoops to Conquer ; Boots at the Swan. A.—Macbeth ; Turning the Tables. C.—Laugh when you Can ; Boots at the Swan. A.—Othello ; Poor Soldier. C.—Woman's L i f e ; Valet de Sham. A.—Julius Caesar ; Fortune's Frolic. C.—L'Ambassadrice. W.—Laugh when you Can ; Woman's Life. A.—King Lear; Romp. C.—L'Ambassadrice. W.—Rivals ; Artful Dodger. A . — N o advertisement. C.—L'Ambassadrice. [ 284 ]

CHRONOLOGICAL R E C O R D S :

18.

19.

20.

21.

22.

23.

25.

26.

27.

28.

29.

30.

1843

W . — S w i s s C o t t a g e ; G a b r i e l l e * : Chevalier—Field; Gabrielle— Miss C . Cushman. Monday: C . — L ' A m b a s s a d rice. W . — G a b r i e l l e ; T h e Last M a n . A . — B r u t u s ; M a y o r of G a r r a t t . C . — L ' A m b a s s a d rice. W . — K i n g ' s G a r d n e r ; Gabrielle. A.—Virginia M u m m y ; Jumbo Jim. C . — L ' A m b a s s a d rice. W . — G a b r i e l l e ; A r t f u l Dodger. A . — J i m C r o w in L o n d o n ; V i r g i n i a M u m m y . C.—L'Ambassadrice. W . — B i n k s , the B a g m a n ; G a b r i e l l e . A . — D a m o n and P y t h i a s ; O h ! H u s h ! ! C . — L e s D i a m a n s de la Couronne. W . — B o o t s at the S w a n ; C a r p e n t e r of R o u e n . A . — D u t c h Governor ; Mountaineers. C . — L e s M é m o i r e s du Diable. W . — G a b r i e l l e ; A r t f u l Dodger. Ν . — H o n e y M o o n ; Perfection. Monday: A . — S u r g e o n of P a r i s ; Shoemaker of T o u l o u s e . C . — L a F i l l e du Regiment. W . — G a b r i e l l e ; V a l e t de Sham. N.—Pizarro; M y Aunt. A . — S i x Degrees of C r i m e ; Bone Squash D i a v o l o . C . — L e s D i a m a n s de la Couronne. W . — A n t o n y and C l e o p a t r a ; Pretty G i r l s of Stilberg. Ν . — N o bill received. A.—Pizarro ; Jumbo Jim. C . — L e s D i a m a n s de la Couronne. W . — M a r r i e d R a k e ; A r t f u l Dodger. N.—Hamlet ; Young Widow. A.—Richard III ; Mummy. C . — N o advertisement. W . - — C a r p e n t e r of R o u e n ; Simpson and C o . N . — M e r c h a n t of V e n i c e ; C h i l d r e n in the W o o d . A . — D u t c h G o v e r n o r ; Douglass. C . — L e Postillion de L o n j u m e a u . W . — K i n g ' s G a r d n e r ; Gabrielle. Ν . — R i c h a r d I I I ; Irish T u t o r . A . — W a t e r W i t c h e s ; R a k e ' s Progress. C . — L a G r a c e de D i e u . W . — C a p t a i n Charlotte; Blue Anchor. N . — P i z a r r o ; M y Aunt. [ 285 ]

THE PHILADELPHIA T H E A T R E OCTOBER 2.

3.

4.

5.

6.

7.

9.

10.

11.

12.

Monday: A . — A W i f e for a D a y ; Iron Chest. C.—Les Diamans de la Couronne. W.—Boots at the Swan ; Blue Anchor. N.—Wild Oats; His Last Legs. A.—Seth Slope; Michael Erie. C . — L e Domino Noir. W . — L a d y of Lyons ; Blue Anchor. N.—Stranger; Irish Tutor. A.—Caius Silius; Golden Farmer. C . — L e Domino Noir. W . — H a m l e t ; Captain Charlotte. N . — T o w n and Country; Young Widow. A.—Stranger ; W i f e for a Day. C . — L e Grace de Dieu. W . — H e n r y I V ; Artful Dodger. N.—Honey Moon ; Village Lawyer. Α.-—Virginius ; Green Mountain Boy. C . — L a Fille du Regiment. W.—Venice Preserved ; Thumping Legacy. N.—Stranger; His Last Legs. A . — M a r y Stuart; Jonathan in England. C.—Anna Bolena. W . — D a y after the Wedding; Surgeon of Paris. N.—Macbeth; Irish Tutor. Monday: A.—Julius Caesar; Knight of the Golden Fleece. C.—Anna Bolena. W . — W i f e ; Blue Anchor. N.—Ruby R i n g s * : A rúndale—Matthews, Francis—Faulkner, Motley—Winnans, Adeline—Mrs. Abbott; Sergeant's Wedding. A.—Richard I I I ; Jackets of Blue. C . — L e Domino Noir. W.—Hunchback; Thumping Legacy. N.—Ruby Ring; Sergeant's Wedding. A.—Hamlet; Raising the Wind. C . — L e Domino Noir. W.—Suspicious Husband ; Blue Anchor. N.—Ruby Ring; Sergeant's Wedding. A.—Othello; Irishman in London. C.—Anna Bolena. W . — L a d y of Lyons; Little Devil's Share. N.—Ruby R i n g ; Sergeant's Wedding. [ 286 ]

CHRONOLOGICAL R E C O R D S :

13.

14.

16.

17.

18.

19.

20.

21.

23.

24. 25. 26.

1843

A . — T o w n and Country; Weathercock. C . — A n n a Bolena. W.—Katharine and Petruchio ; Little Devil's Share. N . — R u b y R i n g ; Sergeant's Wedding. A . — K i n g John ; Forest Rose. C.—Polichinel ; L e Gamin du Paris. W . — M a c b e t h ; M y W i f e ' s Second Floor. N.—Sergeant's Wedding; M y Valet and I. Monday: A.—Distressed Mother; Apostate. C.—Acteon. W . — H e n r y I V ; L a Sylphide, ballet. N.—Othello; M y W i f e ' s Second Floor. A.—Golden Fleece; Yankee Pedlar. C . — L a Perruche. W . — M a r r i e d L i f e ; Last Days of Pompeii. N . — M e t a m o r a ; M y Valet and I. A . — J u l i u s Caesar; T o m and Jerry. C . — L e Pre aux Clercs. W . — L i t t l e Devil's Share; Pretty Girls of Stilberg. Ν . — H a m l e t ; M y Wife's Second Floor. A.—Romeo and J u l i e t ; Green Mountain Boy. C . — L e Postillion de Lonjumeau. W . — W i f e ; Little Devil's Share. N . — G l a d i a t o r ; M y W i f e ' s Second Floor. A.—Jonathan in England ; Black Eyed Susan. C . — L e s Diamans de la Couronne. W . — M a r r i e d L i f e ; Day after the Wedding. N.—Damon and Pythias; M y Valet and I. A.—Macbeth ; W i f e for a Day. C.—Acteon ; L a Fille du Regiment. W . — L o v e ' s Sacrifice; M y Little Adopted. N . — K i n g L e a r ; Gladiator, first two acts. Alonday: A . — O p e n until end of week but not advertised. C . — M a c b e t h ; King's Gardner. W.—Charles I I ; Is He Jealous? N . — J a c k Cade; M y W i f e ' s Second Floor. C . — H a m l e t ; Married Rake. W.—Suspicious Husband; Little Devil's Share. N . — M a c b e t h ; W i d o w and Horse. C . — H a m l e t ; Married Rake. W . — H u n t e r of the Alps ; Charles I I . N . — M e t a m o r a ; M y Wife's Second Floor. C . — W e r n e r ; M y W i f e ' s Second Floor. W . — G e o r g e Barnwell ; Secret. [ 287 ]

THE PHILADELPHIA T H E A T R E 27. 28.

30.

31.

N . — J a c k Cade; M y Valet and I. C.—Richelieu; M y Wife's Second Floor. W . — L a u g h when you Can ; Carpenter of Rouen. N . — H a m l e t ; Sergeant's Wedding. C.—Richelieu ; M y Wife's Second Floor. W.—Simpson and Co.; Oh! Hush!! N.—Richelieu; Double-Bedded Room. A.—Scape Goat; A Kiss in the Dark. Monday: C.—Hamlet ; M y Wife's Second Floor. W.—Mountaineers ; Sweethearts and Wives. N . — T o u r de Nesle ; Golden Farmer. C.—Hamlet; M y Wife's Second Floor. W.—Mountaineers ; Sweethearts and Wives. N . — T o u r de Nesle ; Golden Farmer. NOVEMBER

1.

2. 3. 4. 6. 7. 8. 9. 10. 11. 13.

Wednesday: C.—Othello ; Daughter. W . — M a i d of Croissy; Hundred-Pound Note. N.—Black Eyed Susan ; M y Wife's Second Floor. C.—Richelieu ; Daughter. W . — N o advertisement. N.—Richelieu ; John Jones. C.—Virginius ; Capt. Charlotte. W . — N o advertisement. N.—Robert Bruce ; Golden Farmer. C.—Werner ; Little Devil's Share. W.—Occupied by Howe's circus. N.—Robert Bruce; Nick of the Woods. Monday: C.—Macbeth; Boots at the Swan. N.—Robert Bruce ; Swiss Cottage. C.—Othello ; Black Eyed Susan. N.—Stranger ; Is He Jealous? C . — M u c h Ado about Nothing ; Little Devil's Share. N . — W i d o w and Horse; M y Valet and I. C.—Love's Sacrifice ; Boots at the Swan. N.—Night Hag ; John Jones. C.—Lady of Lyons ; M y Wife's Second Floor. N.—Robbers ; Weathercock. C.—Speed the Plough ; Little Devil's Share. N.—Stranger; Is He Jealous? Monday: C.—Norma, with Italian Opera Co. [ 288 ]

CHRONOLOGICAL RECORDS: 1843 14. 15. 16. 17. 18. 20. 21. 22. 23. 24. 26. 27. 28. 29. 30.

Ν.—Mysteries of Paris. C.—Passion; Good Looking Fellow. N.—Mysteries of Paris. C . — L u c i a di Lammermoor. N.—Mysteries of Paris. C.—Hunchback; Boots at the Swan. N.—Mysteries of Paris. C.—Belisario. Ν.—Mysteries of Paris; Weathercock C.—Belisario. Ν.—Mysteries of Paris; Robert Bruce. Monday: C . — I l Puritani. Ν.—Jonathan in England ; Mysteries of Paris. C . — I l Puritani. Ν . — Y a n k e e Land ; Mysteries of Paris. C . — L u c i a di Lammermoor. N.—Forest Rose ; Mysteries of Paris. C . — I l Puritani. Ν.·—Wool Pedlar; Mysteries of Paris. C.—Richard I I I ; M y W i f e ' s Second Floor. N . — R e d Wood ; Mysteries of Paris. Monday: C . — G e m m a di Vergy. N.—Yankee Land ; Boston T e a Party. C . — G e m m a di Vergy. N . — H a p p y M a n ; King of the Mist. C . — I l Puritani. Last night of Italian Opera Co. N . — H a p p y M a n ; King of the Mist. C . — M u c h Ado about Nothing; Adopted Child. N . — H a p p y M a n ; King of the Mist. C . — T h e W i f e ; T h e Brigand. N . — M y W i f e ' s Second Floor; King of the Mist. DECEMBER

1. 2. 4. 5.

Friday : C . — P i z a r r o ; T h e Wolf and the Lamb. N T .—Our Old House at Home; King of the Mist. C . — W i l d Oats ; T h e Brigand. N . — W a l l a c e ; King of the Mist. Monday: C . — M y W i f e ' s Second Floor ; T h e Valet de Sham. N . — W a l l a c e ; King of the Mist. C . — H e n r y I V ; Boots at the Swan. N . — O u r Old House at Home ; King of the Mist. [ 289 ]

THE PHILADELPHIA T H E A T R E

11.

12. 13. 14. 15. 16. 18.

19. 20. 21. 22. 23.

C.—Monsieur Mallet; His Last Legs. N.—King of the Mist ; His Last Legs. C.—Irish Lion; Married Rake. N . — H o f e r ; King of the Mist. C . — M e r r y Wives of Windsor ; A Companion in Arms. N . — H o f e r ; King of the Mist. C . — A Companion in Arms ; Lucky Stars. N.—Old Virginia; Six Degrees of Crime. Monday: C . — M a n of the World ; His Last Legs. N.—Wallace; King of the Mist. A.—Honey Moon; Family Jars. C.—Laugh when you C a n ; A Companion in Arms. N.—Irish Attorney; King of the Mist. A.—Virginius; M y Fellow Clerk. C.—Carpenter of Rouen ; A Companion in Arms. N.—Happy Man ; King of the Mist. A.—Stranger; Bob Short. C.—Surgeon of Paris; Valet de Sham. N.—Jane Shore; King of the Mist. Α . — T h e W i f e ; Bob Short. C.—Catching an Heiress; Rail Road Depot. N.—Rob Roy ; King of the Mist. A.—Merchant of Venice; Rent Day. C.—Rose of Killarney; Carpenter of Rouen. N.—Blud-Da-Nowns ; King of the Mist. A.—John Bull ; A Nabob for an Hour. Monday: C.—Werner; Catching an Heiress. N . — K i n g of the Mist; Blud-Da-Nowns. A.—Rebel Chief ; Luke the Laborer. C . — T h e Bridal; Secret Service. N.—Blud-Da-Nowns; King of the Mist. Α.—Rebel Chief ; Bob Short. C . — T h e Bridal ; Secret Service. N.—Hercules of Brittany; King of the Mist. A.—Rebel Chief ; A Roland for an Oliver. C.—Hamlet ; Irish Lion. N.—Hercules of Brittany ; King of the Mist. A.—Rebel Chief ; George Barnwell. C . — N o program. N.—Weathercock; Hercules of Brittany. A.—Rebel Chief ; T h e Denouncer. C . — T h e Bridal ; Rose of Killarney. N.—Gilderoy ; Hercules of Brittany. A.—Rebel Chief ; Family Jars. [ 290 ]

CHRONOLOGICAL RECORDS: 1844 25.

26.

27. 28. 29. 30.

Monday: C . — G e o r g e Barnwell ; Sun Spirit. N . — H e r c u l e s of B r i t t a n y ; Santa Claus. A . — R e b e l Chief ; Crime and Repentance. C . — N o advertisement. N . — H e r c u l e s of B r i t t a n y ; Santa Claus. A . — P i z a r r o ; Crime and Repentance. C . — N o advertisement. N . — H e r c u l e s of B r i t t a n y ; Double-Bedded Room. A . — D a m o n and Pythias; Hide and Seek. C . — N o advertisement. N.—Skeleton Hand ; T w o Murderers. A . — L a d y of L y o n s ; M y Fellow Clerk. C . — N o advertisement. N . — R o m e o and Juliet ; T h e W r e n Boys. A . — T h e Bohemians; A House Divided. C.—Closed. N . — G i l d e r o y ; Santa Claus. A . — T h e Bohemians ; Möns. Jacques. W . — T h e Bohemians; Valet de Sham. JANUARY

1.

2. 3. 4.

5. 6.

8.

1844

Monday: W.—Bohemians ; Boots at the Swan. N . — H a n d y Andy * : Andy—Winnans, Squire—Gann, Nancy— M r s . Lewis, Bridget—Mrs. A . K n i g h t ; Santa Claus. A . — A n i m a l Magnetism ; Bohemians. W . — L a d y of Lyons ; Bohemians. N . — H a n d y A n d y ; Santa Claus. A . — R e b e l Chief ; Bohemians. W . — B o h e m i a n s ; A Roland for an Oliver. N . — H a n d y A n d y ; Santa Claus. A . — H u n c h b a c k ; Bohemians. W . — B o h e m i a n s ; Perfection. N . — B a y o n e t ; H a n d y Andy. A . — T h e W i f e ; Turtles. W . — B o h e m i a n s ; Rose of Killarney. N . — B a y o n e t ; H a n d y Andy. A . — S t r a n g e r ; Bleeding Nun. W . — M a r r i e d L i f e ; Bohemians. N . — M u r d e r of the Q u a r r y ; Handy Andy. Α.-—Husband's Revenge; Möns. Jacques. Monday: W . — S l e e p i n g B e a u t y ; Secret Service. N . — O s c e o l a ; Double-Bedded Room. [291 ]

THE PHILADELPHIA T H E A T R E 9. 10. 11. 12. 13. 15.

16. 17. 18. 19. 20. 22.

23. 24. 25.

A.—Love Chase ; Married Rake. W.—Sleeping Beauty ; A Roland for an Oliver. N.—Osceola; Handy Andy. A.—Perfection ; King's Gardner. W.—Sleeping Beauty; Rose of Killarney. N.—Murder of the Quarry; Handy Andy. A.—Barrach Room; Chamber of Death. W.—Sleeping Beauty; Naval Engagements. N.—Murder of the Quarry ; T h e Wren Boys. A.—Stranger; Married Rake. W.—Sleeping Beauty; Midnight Hour. N . — T h e Wren Boys; Kriss Kringle's Visit. A.—Charles X I I ; Black Eyed Susan. W . — T h e Rivals; Sleeping Beauty. N.—Iron Chest; King of the Mist. Α.—Charles X I I ; Ruffian Boy. Monday: W . — G i a f f e r ; Sleeping Beauty. N . — M y Wife's Second Floor; T h e Hercules of Brittany. A . — A Lesson for Ladies; Charles I I . W.—Giaffer ; Sleeping Beauty. N . — M y Wife's Second Floor; T h e Hercules of Brittany. A.—Othello; Irish Tutor. W . — N e w Way T o Pay Old Debts; T h e Pink of Politeness. N.—Double-Bedded Room; T h e Flying Machine. A.—Apostate; Jumbo Jim. W . — H a m l e t ; The Pink of Politeness. N.—Double-Bedded Room; Flying Machine. A.—Damon and Pythias; Sarcophagus. W.—Stranger ; Brigand. N.—George Barnwell; Flying Machine. A.—Merchant of Venice ; Foreign Prince. W.—Richard I I I ; Sleeping Beauty. N.—Valentine and Orson ; Loan of a Lover. A.—Jumbo Jim ; Rendezvous. Monday : W.—Julius Caesar; Place Hunter. N.—Wood Wolf of the Black Mountains; Valentine and Orson. A . — N e w Way T o Pay Old Debts ; Animal Magnetism. W.—Macbeth; Poor Soldier. N.—Ruby Ring ; Valentine and Orson. A.—Mountaineers ; Stranger. W . — K i n g Lear ; The Review. N.—Stranger; Fairly Hit and Fairly Missed. A.—Iron Chest; Raymond and Agnes. W.—Richard I I I ; Place Hunter. [292]

CHRONOLOGICAL RECORDS: 1844

26. 27. 29. 30. 31.

Ν.—London 'Prentices; Fairly Hit and Fairly Missed. A.—Ambrose Gwinette; Self Accusation. W.—Mountaineers; Sleeping Beauty. N.—London 'Prentices; Yankee Dentist. A . — E l H y d e r ; Valentine and Orson. W.—Apostate; American Valor. N.—Mysteries of N e w Y o r k ; London 'Prentices. A.—Sailor's Home ; T o u r de Nesle. Last night of the season. Monday: W . — B r u t u s ; Festival of St. Michael. N . — M e t a m o r a ; Mysteries of N e w York. W.—Apostate; Sleeping Beauty. N . — G l a d i a t o r ; Mysteries of New York. W . — O t h e l l o ; M a y o r of Garrat. N . — J a c k Cade ; Mysteries of New York. FEBRUARY

1. 2.

3. 5. 6. 7. 8. 9. 10. 12.

13. 14.

Thursday : W . — M e r c h a n t of Venice; T h e Lancers. N . — R u b y R i n g ; London 'Prentices. W . — I r o n C h e s t ; Boarding School.

N . — M u r d e r of the Glen ; Yankee Dentist. W . — K i n g John ; Mayor of Garrat. N.—Enchanted Lake and the Hall of Fate. Monday: W . — T o w n and Country ; Oliver T w i s t . N.—Enchanted L a k e ; Mysteries of New York. W.—Belle's Stratagem ; Sleeping Beauty. N.—Enchanted Lake ; London 'Prentices. W . — P e r k i n Warbeck ; Lover by Proxy. N.—Enchanted L a k e ; M y Wife's Second Floor. W . — P e r k i n Warbeck ; Brigand. N.—Repeal ; Enchanted Lake. W.—School for Scandal ; Rugantino. Ν . — R e p e a l ; Enchanted Lake. W . — R e p e a l ; L i f e in Philadelphia. N.—Charles I I ; Enchanted Lake. Monday: W 7 .—Married L i f e ; Faith and Falsehood. N . — F a z i o ; Bayonet. A.—Spy of St. M a r c ' s ; Kehama. W.—School for Scandal; Rubber of Life. N . — W r e n Boys; Enchanted Lake. A.—Spy of St. M a r c ' s ; Battle of Austerlitz. W.—Hunchback; Oliver T w i s t . [ 293 ]

THE PHILADELPHIA T H E A T R E

15. 16. 17. 19.

20. 21. 22. 23. 24. 26. 27. 28. 29.

N.—Charles I I ; Enchanted Lake. A.—Spy of St. Marc's; Battle of Austerlitz. W . — W i f e ; Last Days of Pompeii. N.—Frankenstein; Enchanted Lake. A.—Spy of St. Marc's; T w o Murderers. W.—She Stoops to Conquer; Last Man. N.—Frankenstein ; Enchanted Lake. A . — T h e Avenger; Nature and Philosophy. W.—Poor Gentleman; Perkin Warbeck. Ν.—Frankenstein ; Enchanted Lake. A . — T h e Avenger ; Spy of St. Marc's. Monday: W . — E v e r y one has his Fault ; Laugh when you Can. N.—Hercules of Brittany; Enchanted Lake. A.—Gold Seekers ; Kehama. W . — P o o r Gentleman ; Rubber of Life. N.—Enchanted Lake; Frankenstein. A . — N o advertisement. W . — E v e r y one has his Fault; Wanted, a Wife. N.—Enchanted Lake ; Frankenstein. A . — N o advertisement. W.—Money ; Ben the Boatswain. N.—Land of Washington ; Enchanted Lake. A . — N o advertisement. W.—Speed the Plough ; Ben the Boatswain. N.—Hercules of Brittany; Honest Thieves. A . — N o advertisement. W.—Honey Moon ; The Ostler and the Robber. N.—Alexander the Great ; French Spy. A . — N o advertisement. Monday: W.—Black Raven of the Tombs ; Secret Service. N.—Grecian Queen; Charles II. W.—Black Raven of the Tombs; Pretty Girls of Stilberg. Ν.—French Spy ; Honest Thieves. W.—Black Raven of the Tombs ; Place Hunter. N.—Honest Thieves; French Spy. W.—Black Raven of the Tombs; The Little Devil's Share. N.—Closed. MARCH

1. 2.

Friday: W . — N o advertisement. N.—Closed. W.—Black Raven of the Tombs ; Maid of Orleans. [294 ]

CHRONOLOGICAL R E C O R D S : 1844

4.

5. 6. 7. 8. 9. 11. 12. 13. 14. 15. 16. 18. 19. 20. 21. 22. 23. 25. 26.

Ν . — Y a r a , the Gipsy * : Count-—Matthews, Yara—Mrs. Lewis; Katharine and Petruchio. Monday: W . — H o n e y Moon ; Black Raven of the Tombs. N . — Y a r a ; Ben the Boatswain. W . — I r i s h L i o n ; Black Raven. N . — Y a r a ; Ben the Boatswain. W . — W i v e s as they W e r e ; Black Raven. N . — Y a r a ; Ben, the Boatswain. W . — F o u n d l i n g of the Forest; Black Raven. N . — Y a r a ; Jack's the Lad. W . — H e i r at L a w ; Black Raven. N.—Richelieu ; Y a r a . W . — F a i t h and Falsehood ; Black Raven. N . — P r i d e of the Ocean ; Y a r a . Monday: W . — N a v a l G l o r y ; A Roland for an Oliver. N . — Y a r a ; Pride of the Ocean. W . — N a v a l G l o r y ; Married Rake. N . — Y a r a ; Pride of the Ocean. W . — N a v a l Glory ; Wanted, a W i f e . N . — Y a r a ; Luke the Laborer. W . — N a v a l G l o r y ; Simpson and Co. N . — Y a r a ; Luke the Laborer. W . — N a v a l G l o r y ; High L i f e below Stairs. N.-—Katharine and Petruchio; Y a r a . W . — M a r r i e d L i f e ; Naval G l o r y . N.—Evil Eye ; Yara. Monday: W . — K i n g John ; Boarding School. N.—Esmerelda; Yara. W . — N e w W a y T o Pay Old Debts; T h e Pink of Politeness. N . — E s m e r e l d a ; Robinson Crusoe. W . — R i c h a r d I I I ; Agreeable Surprise. N . — E s m e r e l d a ; Falls of Clyde. W . — T o w n and C o u n t r y ; Lancers. N . — M a z e p p a ; Imp of the Elements. W . — H a m l e t ; Rendezvous. N . — M a z e p p a ; Imp of the Elements. W . — C y m b e l i n e ; M a y o r of G a r r a t . N . — M a z e p p a ; Imp of the Elements. Monday: W . — M a c b e t h ; M r . and M r s . White. N . — L i n d a ; T w o Queens. W . — A p o s t a t e ; Little Devil's Share. N.—Mazeppa; Lochinvar*: Lochinvar—Wareham. [295 ]

T H E PHILADELPHIA T H E A T R E 27. 28. 29. 30.

W . — I r o n Chest; Money. N . — L i n d a ; Thumping Legacy. W . — C y m b e l i n e ; Wanted, a W i f e . N . — L i n d a ; Robinson Crusoe. W . — J u l i u s Caesar ; Binks, the Bagman. N . — I m p of the Elements; Mazeppa. W . — R i c h a r d I I I ; Rubber of Life. N . — W a l l a c e ; Ladder of Love. APRIL

1.

2.

• 3.

4.

5.

6.

8.

9.

10.

11.

12.

Monday: W . — B e a u x Stratagem ; Oliver T w i s t . N . — F r e n c h Spy ; Plains of Chippewa. C.—Postillion of Lonjumeau. W . — P i n k of Politeness ; Yankee in France. N . — R o o k w o o d ; Columbia's Son. C . — L a Sonnambula. W . — K i n g Lear ; Yankee in T u n e . N . — R o o k w o o d ; Columbia's Son. C . — L a Sonnambula. W . — R i c h a r d I I ; Yankee in France. N . — R o o k w o o d ; Columbia's Son. C . — B a r b e r of Seville. W . — 1 7 7 7 ; Turnpike Gate. N . — R o o k w o o d ; T w o Queens. C . — F r a Diavolo. W . — S c h o o l for Scandal ; Sleeping Beauty. N . — R o o k w o o d ; Harlequin Statue. C . — F r a Diavolo. Monday: W . — W h e e l of Fortune ; Oliver T w i s t . N . — R o b e r t Emmet; Rookwood. C . — L a Sonnambula. W . — H o n e y Moon ; Swiss Cottage. N . — R o b e r t Emmet ; Fall of Algiers. C.—Cinderella. W . — J o h n B u z z b y ; Maid of Croissy. N . — R o b e r t Emmet ; Fall of Algiers. C.—Cinderella. W . — E v e r y one has his Fault ; T w i c e Killed. N . — R o b e r t Emmet ; Fall of Algiers. C . — A n n a Bolena. W . — A s Y o u Like I t ; Wandering Minstrel. N . — R o b e r t Emmet ; W o o l Pedlar. C . — A n n a Bolena. [ 296 ]

CHRONOLOGICAL R E C O R D S : 13.

15.

16.

ι 7.

18.

19.

20.

22.

23.

24. 25. 26. 27. 29. 30.

1844

W . — R i v a l s ; Comedy of E r r o r s . N . — I n f i d e l i t y ; Ben the B o a t s w a i n . C . — N o performance. Monday: W . — M a n and W i f e ; Blind M a n ' s B u f f . N . — B u r n i n g of the C a r o l i n e ; Bumps. C . — N o performance. W . — H e i r at L a w ; M u m m y . N . — O t h e l l o ; T o m , J e r r y and L o g i c ' s Visit to Philadelphia. C . — A n n a Bolena. W . — P a u l P r y ; C o m e d y of E r r o r s . N . — S t r a n g e r ; T o m , J e r r y , and L o g i c ' s V i s i t to Philadelphia. C . — A n n a Bolena. W . — M o n e y ; Blind M a n ' s B u f f . N . — V i r g i n i u s ; T o m , J e r r y , and L o g i c ' s Visit to Philadelphia. C . — A n n a Bolena. W . — A s Y o u L i k e I t ! W r e c k Ashore. N . — D a m o n and P y t h i a s ; Infidelity. C . — A n n a Bolena. W . — S e c r e t s W o r t h K n o w i n g ; Nicholas Nickleby. N . — J a n e S h o r e ; Robert E m m e t . C.—Norma. Monday: W . — A C u r e for the H e a r t A c h e ; Blind M a n ' s B u f f . N . — D o o m of the D r i n k e r ; T w o Queens. C . — F r a Diavolo. W . — E n g l i s h m a n in I n d i a ; G r e e n E y e d M o n s t e r . N . — D o o m of the D r i n k e r ; T w o Queens. C . — N o r m a ; last night of operas. W . — S w e e t h e a r t s and W i v e s ; M a r r i e d R a k e . N . — D o o m of the D r i n k e r ; T w o Queens. W.—Secrets Worth Knowing; M y Master's Rival. N . — T i m o u r the T a r t a r ; G a m m o n and G a l v a n i s m . W . — B e g o n e , D u l l C a r e ; A Kiss in the D a r k . N . — L a d y of L y o n s ; G a m m o n and G a l v a n i s m . W . — M a r r i e d L i f e ; Broken H e a r t e d . N . — H a m l e t ; H o p e and F e a r s . L a s t night of the season. Monday: W . — M u c h A d o about N o t h i n g ; B r i g a n d . W r . — S c h o o l f o r Scandal ; Boots at the S w a n . MAY

1. 2.

Wednesday : W . — W i v e s as they W e r e ; W a n t e d , a W i f e . W . — L o v e ' s Sacrifice; Pretty G i r l s of Stilberg. [ 297 ]

T H E PHILADELPHIA T H E A T R E 3. 4. 6. 7. 8. 9. 10. 11. 13. 14. 15. 16. 17. 18. 20. 21. 22. 23. 24. 25. 27.

28.

W . — L o v e Chase ; New Footman. W . — R o a d to Ruin; Haunted Hulk. Monday : W.—London Assurance ; Valet de Sham. W.—London Assurance ; M y Wife's Second Floor. W.—London Assurance ; Swiss Cottage. W.—London Assurance; Lancers. W . — N o advertisement. W.—London Assurance; Valet de Sham. N.—Wedding Breakfast ; Fortunio and his Seven Gifted Servants. Monday: W . — H e i r at L a w ; Maid of Croissy. N.—Wedding Breakfast ; Fortunio. W . — Y o u n g Quaker ; Yankee Land. N.—Wedding Breakfast ; Fortunio. W.—Speed the Plough; Tom Cringle. N.—Wedding Breakfast; Fortunio. W.—Castle Spectre; Hunter of the Alps. N.—Wedding Breakfast; Fortunio. W . — L a u g h when you Can ; Female Blue Beard. N.—Wedding Breakfast ; Fortunio. W.—Female Blue Beard; Ben the Boatswain. N.—Wedding Breakfast; Fortunio. Monday: W . — R i v a l s ; T o m Cringle. N.—Fortunio; Antony and Cleopatra. W . — M o n e y ; Carpenter of Rouen. N.—Fortunio; Antony and Cleopatra. W . — T h e Will ; T o m Cringle. N.—Fortunio; Curiosities of Literature. W . — S h e Stoops to Conquer; Black Eyed Susan. N.—Mischief Making ; Antony and Cleopatra. W . — L a d y of Lyons; T h e Pirate Dey. Ν.—Boots at the Swan ; Wedding Breakfast. W.—Hypocrite ; Pirate Dey. Ν . — W a t e r Party ; Married and Settled. C.—Norma. Monday: W . — P a u l P r y ; Middy Ashore. N . — N o performance. C.—Gustavus I I I , opera. W . — Y o u n g Scamp ; Star Spangled Banner. N.—Closed. C.—Gustavus I I I , opera. [ 298 ]

CHRONOLOGICAL R E C O R D S :

29. 30. 31.

1844

W . — T h e Ocean of L i f e ; Young Scamp. N.—Closed. C.—Gustavus I I I , opera. W . — T h e Ocean of L i f e ; Young Scamp. N . — H a m l e t ; Irish Tutor. C.—Gustavus I I I , opera. W . — B o l d Stroke for a Husband. N . — N o advertisement. C.—Gustavus I I I , opera. JUNE

I.

3.

4. 5. 6. 7. 8. 10. 11. 12. 13. 14. 15.

Saturday: W . — R i c h a r d I I I ; Rendezvous. C.—Gustavus I I I , opera. A . — A Chapter of Accidents ; A Kiss in the Dark. Monday: W . — N e w W a y T o Pay Old Debts; Grandfather Whitehead. C . — L a Sonnambula. A . — R e n t D a y ; So She Married. W . — B e r t r a m ; Last Man. C . — F r a Diavolo. Α . — C i t y W i v e s ; T h e Stranger. W.—Apostate ; Irish Lion. C.—Closed. A.—Sonnambulist ; City Wives. W . — T o w n and Country; Faint Heart never won Fair Lady. A.—Intemperate ; City Wives. W . — R i c h e s ; Pretty Girls of Stilberg. A.—Intemperate; Widow's Victim. W . — O l i v e r T w i s t ; Hercules of Brittany. A . — H e i r at L a w ; Spirit of the Fountain. Monday: W.—School of Reform ; Bold Dragoons. A . — R o b R o y ; Spirit of the Fountain. W . — M a r r i e d L i f e ; Hercules of Brittany. A.—She Stoops to Conquer; Spirit of the Fountain. W . — B o l d Stroke for a Husband; Married Rake. A . — L i g h t Ship ; Spirit of the Fountain. W . — M a n and W i f e ; Hercules of Brittany. Α.-—Rob Roy ; Spirit of the Fountain. W . — F a z i o ; Bold Dragoons. A . — P i z a r r o ; Maid or W i f e . W . — K i n g John ; Young Scamp. A . — M a c b e t h ; Light Ship. [299]

THE PHILADELPHIA THEATRE 17.

18. 19· 20. 21. 22. 24· 25-

26. 27·

28. 29.

Monday : w . - —Much Ado about Nothing ; Brigand. A.-—Shipwreck of the Medusa ; W i d o w ' s Victim. W . - —Othello; A Roland for an Oliver. A.-—Shipwreck of the Medusa ; Bathing. W . - —Julius Caesar ; A Day after the Wedding. A.-—No advertisement. W . - —Brutus; W o n d e r . A.-—Siamese T w i n s ; Shipwreck of the Medusa. W . - —Stranger; Mountaineers. A.-—Siamese T w i n s ; Confounded Foreigners. W . - —King John ; Married Rake. A.-—Confounded Foreigners ; Shipwreck of the Medusa. Monday: W . -—Merchant of Venice; Honey Moon. A , — N e w Actress ; Light Ship. W . -—Spring and A u t u m n ; Iron Chest. A , —Bathing; M u m m y . W . -—King John ; Married Rake. A , — N e w Actress; W e d d i n g Night. W . -—Richard I I I ; M y Aunt. A , —Wedding Night ; Confounded Foreigners. W . -—Jane Shore; G r a n d f a t h e r Whitehead. A , —Arabian Night's Entertainment; Billy Taylor. W . -—Bertram ; Pizarro. A , —Floating Beacon ; Siamese T w i n s . JULY

I.

2. 3· 4· 5· 6. 8.

Monday: W . -—Othello ; Y o u t h f u l Queen. A. —Beauty and the Beast ; Sold to the Devil. W . -—No record. A. —Beauty and the Beast ; Mother's Pets. W . —Fazio; Bold Dragoons. A . — W i d o w ' s Victim ; Beauty and the Beast. W . -—Beauty and the Beast ; Yankee Land. A. —Beauty and the Beast ; Native American. W.-—No newspapers published today. A . — N o newspaper. W.-—Beauty and the Beast ; W e p t of Wish-Ton-Wish. A. —Beauty and the Beast; Fazio. Monday: W . — B e a u t y and the Beast ; G r a n d f a t h e r Whitehead. A.—Printer's Apprentice ; Confounded Foreigners. [300]

CHRONOLOGICAL R E C O R D S : 1844 9. 10. 11. 12. 13. 15. 16. 17· 18. 19. 20. 22.

23· 24. 25. 26. 27.

29. 30. 31.

W . — N o advertisement. A . — N o advertisement. W . — B l a c k Raven; Irish Lion. A . — N o advertisement. W . — B l a c k Raven; Lancers. A.—Printer's Apprentice ; Sold to the Devil. W . — B l a c k Raven; A Day after the Wedding. A.—Printer's Apprentice; Sold to the Devil. W . — B l a c k Raven ; Perfection. A . — B a t h i n g ; Printer's Apprentice. Monday: w . - —Black Raven ; Young Scamp. A.-—Woman's L i f e ; Beauty and the Beast. W . - —Black Raven ; Faint Heart never won Fair Lady. A.-—Printer's Apprentice; Ocean Child, first act. W . - —Black Raven ; Place Hunter. A, —Printer's Apprentice; Ocean Child, first act. W . - —Wept of Wish-Ton-Wish ; Naval Engagements. A.-—Heart of Midlothian ; Spectre Bridegroom. W . - —Wept of Wish-Ton-Wish ; Naval Engagements. A.-—Woman's L i f e ; Ocean Child, first act. W . - —Young Scamp ; Washington. A.- —Printer's Apprentice; Heart of Midlothian. Monday: W , —Soldier's Daughter ; Vol-Au-Vent. A . —Dream at Sea ; John Tones. W , — T h e W i l l ; M a d as a ' M a r c h Hare. A . —Arabian Night's Entertainment ; Widow Bewitched. W , — A Roland for an Oliver ; Black Raven. A . —School for Scandal; Wool Dealer. W , —Closed. A . —John Bull ; Ocean Child, first act. W , —Closed. A . — D r e a m at Sea ; A Tragedy Rehearsed. Tombsamtifigaleo W.-—Munchausen*: Munchausen—Wells, —Barnes, Pantaloon—C. Foster, Columbine—Mrs. Howard ; T h e Lancers. A.—Richelieu in Love ; Sea Serpent. Monday: W.—Munchausen. A.—Richelieu in L o v e ; Sea Serpent. W.—Munchausen. A.—Richelieu in L o v e ; Sea Serpent. W.—Munchausen. A.—Richelieu in L o v e ; Sea Serpent. [301 ]

THE PHILADELPHIA THEATRE AUGUST 1.

2. 3.

5.

6. 7. 8. 9. 10. 12.

13. 14. 15. 16. 17. 19.

20. 21. 22. 23.

Thursday: W . — M u n c h a u s e n ; Perfection. A . — J o h n B u l l ; Sea Serpent. W . — M u n c h a u s e n ; Perfection. A . — B e a u t y and the Beast ; A T r a g e d y Rehearsed. W . — M u n c h a u s e n ; Y o u n g Scamp. A . — L o v e G i f t * : Peter—Burton, Mike—Burke, Mary—Mrs. B u r k e ; W o o l Dealer. Monday: W . — M u n c h a u s e n ; Y o u n g Scamp. A . — D e s e r t e r ; A T a l e of M y s t e r y . W . — M u n c h a u s e n ; Place Hunter. A . — L a d y of L y o n s ; L o v e G i f t . W . — M u n c h a u s e n ; Place Hunter. A . — B e a u t y and the Beast ; Partners and Friends. W . — M u n c h a u s e n ; Irish Lion. A . — V i c t o r i n e ; Rake's Progress. W . — M u n c h a u s e n ; Rendezvous. A . — L o v e G i f t ; Robert M a c a i r e . W . — M u n c h a u s e n ; D u m b Belle. A . — S m u g g l e r ' s Son ; Border Beagles. Monday: W . — M u n c h a u s e n ; Napoleon Bonaparte. A . — S m u g g l e r ' s Son ; W i l d Oats. W . — M u n c h a u s e n ; Napoleon Bonaparte. A . — H o n e y M o o n ; Robert Macaire. W . — M u n c h a u s e n ; Napoleon Bonaparte. A . — R i v a l s ; Border Beagles. W . — M u n c h a u s e n ; Napoleon Bonaparte. A . — S p e e d the Plough ; Smuggler's Son. W . — M u n c h a u s e n ; George B a r n w e l l . A . — R o m e o and Juliet ; Partners and Friends. W . — M u n c h a u s e n ; A W i f e ' s First Lesson. A . — S i m p s o n and Co. ; Devil's Head. Monday: W . — L o v e in Disguise ; Naiad Queen, the demon fight. A . — S m u g g l e r ' s S o n ; Devil's Head. W . — R u l e a W i f e and H a v e a W i f e ; W i l l i a m T e l l , second act. A . — Q u i d P r o Q u o ; W i d o w Bewitched. W . — T h e W i f e ; M i d d y Ashore. A . — Q u i d P r o Quo ; W h o owns the H a n d . W . — H u n c h b a c k ; L o v e in Disguise. A . — Q u i d P r o Q u o ; Smuggler's Son. W . — F a z i o ; Black Eyed Susan. [ 302 ]

CHRONOLOGICAL RECORDS: 1844

24. 26. 27. 28. 29. 30. 31·

A.—Quid Pro Quo ; Smuggler's Son. W.—Romeo and Juliet; Love in Disguise. A.—Ambrose Gwinett ; Devil's Head. Alonday: w . - —Othello ; T h e Pass Word. A.-—Open Sesame ; Smuggler's Son. W . - —Metamora; T h e Pass Word. A.-—Open Sesame ; Apostate. W . - —Richelieu ; Young Scamp. A.-—Open Sesame ; Foundling of the Forest. λ ν . - —Gladiator ; Grandfather Whitehead. A.-—Open Sesame ; Deserter. W . - —Richard I I I ; Perfection. A.-—Banker's Clerk ; Devil's Head. W . - —Jack Cade ; A Roland for an Oliver. A.-—Coroner's Inquest; Open Sesame. SEPT Ε ΑΙ Β ER

2. 3. 4. 5. 6. 7. 9. 10. 11. 12. 13. 14. 16. 17.

Monday: W.—Closed. Α.—Romeo and Juliet ; Open Sesame. A . — R o b Roy ; Open Sesame. A.—Grist to the M i l l ; Open Sesame. A . — G r i s t to the M i l l ; Open Sesame. A . — N e w Way T o Pay Old Debts ; Money Moon. W.—Damon and Pythias; New Footman. A . — L a T o u r de Nesle; Open Sesame. Alonday: W . — H a m l e t ; M a n about T o w n . A . — H a m l e t ; Three Weeks after Marriage. W . — J a c k Cade ; Valet de Sham. A . — L a d y of Lyons ; Lottery Ticket. λΥ.—Metamora ; Stranger. A.—Stranger; His Last Legs. W . — W i l l i a m T e l l ; Therese. A.—Merchant of Venice; Spectre Bridegroom. W.—Richelieu; Horatio Sparkins. A . — L o v e G i f t ; Grist to the Mill. W . — M a c b e t h ; Gladiator. A . — W e r n e r ; Amateur and Actors. Monday: W . — H e i r at L a w ; Sprigs of Laurel. A . — L a d y of Lyons ; Young Widow. W.—Speed the Plough ; Review. A.—Macbeth ; Papa Jerome. [ 303 ]

THE PHILADELPHIA T H E A T R E 18. 19. 20. 21.

23. 24· 25· 26. 27· 28.

30.

W . — H o n e y M o o n ; Sprigs of L a u r e l . A.—Hamlet. W . — P i z a r r o ; Robert M a c a i r e . A . — L a d y of Lyons ; S m u g g l e r ' s Son. W . — M o n e y ; Robert M a c a i r e . Α.—Othello. W . — P u t n a m * : Washington—J. W a l l a c k , Sr., W a l l a c k ; Perfection. A . — R i c h a r d I I I ; Papa Jerome.

Monday:

W . - —Putnam ; Young Scamp. A , —Putnam. W . - —Putnam ; Y o u n g Scamp. A , —Putnam. W . - —Putnam. A , —Putnam. W . - —Putnam ; N e w Footman. A , —Putnam. W . - —Putnam ; Valet de Sham. A , — P u t n a m ; Coroner's Inquest. W . - —Putnam ; M a n about T o w n . A , — P u t n a m ; Fickle One.

Monday:

W . — P u t n a m ; N e w Footman. A . — P u t n a m ; Coroner's Inquest.

OCTOBER I. 2. 3· 4· 5-

Tuesday:

W . - —Putnam ; Pleasant Neighbors. A , — P u t n a m ;; T u r n i n g the T a b l e s . W . - —Putnam ; Pleasant Neighbors. A , — P u t n a m ;; Outillissi. W . - —Putnam ; A Roland for an Oliver. A.-— P u t n a m ;; Beauty and the Beast. W . - —Putnam ; A Roland for an Oliver. A , — P u t n a m ;; Beauty and the Beast. W . - —Putnam ; Beauty and the Beast. A , —Putnam ; Yellow Dwarf.

7. Monday : 8. 9.

W . — P u t n a m ; Beauty and the Beast. A.—Putnam ; Yellow Dwarf. W . — P u t n a m ; Beauty and the Beast. A . — Y e l l o w D w a r f ; Beauty and the Beast. W . — P u t n a m ; Beauty and the Beast. A . — Y e l l o w D w a r f ; Beauty and the Beast. [ 304 ]

Zomoni—Mrs.

CHRONOLOGICAL R E C O R D S : 1844 10. 11. 12. 14.

15.

16. 17. 18. 19.

21.

22.

23. 24.

25. 26. 28.

W . — P u t n a m ; Love's Sacrifice. A . — Y e l l o w Dwarf ; Beauty and the Beast. W . — P u t n a m ; Poor Soldier. A . — Y e l l o w Dwarf ; Beauty and the Beast. W . — P u t n a m ; T h r e e Wives of Madrid. A . — P u t n a m ; Jonathan in England. Monday: W . — P u t n a m ; T h r e e Wives of Madrid. A . — S a m Slick ; Border Beagles. C . — M o u n t a i n Sylph. W . — P u t n a m ; T h r e e Wives of Madrid. Α . — S a m Slick; Wool Dealer. C . — R o b e r t M a c a i r e ; Blue Domino. W . — P u t n a m ; Merchant of Venice. A . — S a m Slick ; Border Beagles. C . — M o u n t a i n Sylph ; Blue Domino. W . — P u t n a m ; Iron Chest. A.—American Farmer ; T h e Field of Forty Footsteps. C . — M o u n t a i n Sylph ; Blue Domino. W . — P u t n a m ; Adelgitha. A . — Y a n k e e Land ; Yankee Magnetism. C . — Y o u n g W i d o w ; Christine of Sweden. W . — P u t n a m ; Richard I I I . A . — F i e l d of Forty Footsteps ; Bumps. C . — C o u n t r y G i r l ; Blue Domino. Monday: W . — P u t n a m ; Othello. A . — G r i s t to the M i l l ; Smuggler's Son. C . — N a t u r e and Philosophy ; Robber's W i f e . W . — P u t n a m ; N e w W a y T o Pay Old Debts. A . — R o b Roy ; Last Day. C . — B l a c k Eyed Susan ; Loan of a Lover. W . — P u t n a m ; Bertram. A.—School for Scandal ; Grist to the M i l l . C . — C o u n t r y Girl ; Our Old House at Home. W . — P u t n a m ; Richard I I I . A . — T h e Dancing Feather * : Morris—G. S. Conner, Blanche— M r s . Booth ; M y Friend, the Captain. C . — L a d y of Lyons ; Bamboozling. W.—Putnam. A . — D a n c i n g Feather; M y Friend, the Captain. C.—Christine of Sweden ; Bamboozling. W . — P u t n a m ; Brutus. A . — D a n c i n g Feather ; Y e l l o w D w a r f . C . — H e is not Α - M i s s ; Judith of M o n t Blanc. Monday: [ 305 ]

THE PHILADELPHIA THEATRE

29. 30. 31.

W.—Putnam; Married Life. A.—Dancing Feather ; Yellow Dwarf. C.—Othello i Grandfather Whitehead. W.—Closed. A.—Exchange no Robbery ; Yellow Dwarf. C.—Othello; Grandfather Whitehead. W.—Knights of the Dark Ages. A.—One Glass More ; L a Fitte. C.—Bone Squash Diavolo; Otello. W.—Knights of the Dark Ages. A.—Whigs and Democrats ; One Glass More. C.—Patrician's Daughter; Otello. NOVEMBER

1.

2. 4.

5. 6. 7. 8. 9. II.

Friday : W.—Knights of the Dark Ages. A.—Whigs and Democrats ; Yellow Dwarf. C.—Otello ; Patrician's Daughter. W.—Knights of the Dark Ages. A.—Yellow Dwarf ; La Fitte. C.—Otello ; Macbeth. Monday: W.—Knights of the Dark Ages. A.—Exchange no Robbery ; Yellow Dwarf. C.—Otello ; Grandfather Whitehead. W.—Knights of the Dark Ages. A.—Voice of Nature ; Dancing Feather. C.—Otello; Bone Squash Diavolo. W.—Knights of the Dark Ages. A.—One Glass More; City Wives and City Husbands. C.—Otello ; Lady of Lyons. W.—Knights of the Dark Ages; Mummy. A.—Vampire; Dunn Brown. C.—Otello; Virginia Mummy. W.—Knights of the Dark Ages; New Footman. A.—City Wives and City Husbands; Voice of Nature. C.—Stranger ; Möns. Jacque. W.—Knights of the Dark Ages ; Putnam. A.—City Wives and City Husbands; Vampire. C.—Richard I I I ; Le Chapeau du General. Monday: W.—Knights of the Dark Ages; Putnam. A.—Henry I V ; Nymphs of the Red Sea. C.—Grandfather Whitehead ; The President Incog. ; He is not A-Miss. [306]

CHRONOLOGICAL R E C O R D S :

12. 13. 14. 15. 16. 18.

19. 20. 21. 22. 23. 25.

26. 27. 28.

1844

W.—Knights of the Dark Ages; Putnam. A.—Kentuckian ; Lady of Lyons. C.—Macbeth; Blue Domino. W.—Knights of the Dark Ages; Putnam. A . — H e n r y I I I ; Nymphs of the Red Sea. C.-—Judith of Mont Blanc; T h e President Incog. W.—Clandare ; Putnam. A . — R i p Van Winkle; Nymphs of the Red Sea. C . — P i z a r r o ; Irish Tutor. W.—Clandare ; Putnam. A . — M a n of the World ; Nymphs of the Red Sea. C.—Virginius; Lottery Ticket. W . — W a r n i n g ; Putnam. A . — R i p Van W 7 inkle; Kentuckian. C.—George Barnwell ; Golden Farmer. Monday: W.—Horatio Sparkins; Putnam. A . — M e r r y Wives of Windsor ; Möns. Mallet. C.—School for Scandal ; Simpson and Co. W . — R i v a l s ; T o n Quewaschen. A . — W e r n e r ; Nymphs of the Red Sea. C . — D u m b Boy of the Pyrenees; T h e Stranger. W.—Rookwood. A . — M e r r y Wives of Windsor ; Nymphs of the Red Sea. C . — F a z i o ; Hunting a Turtle. W.—Rookwood. A . — R i p Van Winkle ; Kentuckian. C.—Romeo and Juliet ; Sleep Walker. W.—Rookwood. A . — K i n g L e a r ; Nymphs of the Red Sea. C.—Hunchback; T h e President Incog. W.—Rookwood ; Rascal Jack. A . — M u r d e r in the First Degree; Möns. Tonson. C.—Therese; Aladdin. Monday: W.—Rookwood; Rascal Jack. A.—Open Sesame ; City Wives. C . — H a m l e t ; Catching an Heiress. W.—Rookwood ; Sketches in India. A . — W e r n e r ; Murder in the First Degree. C . — L a d y of Lyons; Blue Domino. W.—Rookwood ; Sketches in India. A.—Open Sesame; Partners and Friends. C.—Macbeth ; Sleep Walker. W.—Rookwood ; Richard ye Thirde. A.—Nymphs of the Red Sea; Dunn Brown. [ 307 ]

THE PHILADELPHIA THEATRE 29. 30.

C.—Much Ado about Nothing; The President Incog. W.—Rookwood ; Richard ye Thirde. A.—Vampire ; Coroner's Inquest. C.—Lady of Lyons ; Sleeping Draught. W.—Rookwood ; Richard ye Thirde. A.—Momentous Question ; Drunkard's Progress. C.—Patrician's Daughter ; Wags of Windsor. DECEMBER

2.

3. 4. 5. 6. 7. 9.

10. 11. 12. 13.

Monday: W.—Jack Cade; Mrs. Singleton. A.—Magic Lamp in a New Light ; A Momentous Question. C.—Othello; John Jones. W.—Othello ; New Footman. A.—Magic Lamp; A Momentous Question. C.—Patrician's Daughter ; Sleeping Draught. W.—Richelieu ; Horatio Sparks. A.—Magic Lamp ; Momentous Question. C.—Lady of Lyons ; Catching an Heiress. W.—Metamora; Grandfather Whitehead. A.—Magic Lamp; Momentous Question. C.—Stranger ; Lottery Ticket. W.—Jack Cade; Man about Town. A.—Magic Lamp. C.—Lady of Lyons ; Grandfather Whitehead. W.—Gladiator; Mrs. Singleton. A.—Magic Lamp ; Robinson Crusoe. C.—Ion ; Honey Moon. Monday: W.—King Lear ; Wandering Minstrel. A.—Magic Lamp ; Robinson Crusoe. C.—Sixteen String Jack ; Golden Farmer. W.—Macbeth; Mummy. A.—Magic Lamp ; Robinson Crusoe. C.—Laugh when you Can ; G. T . T . W.—Brutus; Married Life. A.—Magic Lamp ; Robinson Crusoe. C.—Catharine and Petruchio ; G . T . T . W.—Jack Cade; A Roland for an Oliver. A.—Magic Lamp ; Yellow Dwarf. C.—Bamboozling; G . T . T . W.—Gladiator; Rival Pages. A.—Money; Wool Dealers. C.—Bamboozling; Robert Macaire. [ 308 ]

CHRONOLOGICAL R E C O R D S : 1844 u. 10.

ι·. iS. 19. 20. 21.

2J.

24. 25. 26. 27. 28. 30.

W . — H a m l e t ; Damon and Pythias, fourth and fifth acts. A . — M a g i c L a m p ; Three Degrees of Loafing. C . — W a g s of Windsor ; Otello. Monday: W . — J a c k Cade; Married Life. A.—Bohemian Girl, opera; Magic Lamp. C.—Otello; Sleeping Draught, W . — M o n e y ; Beauty and the Beast. A.—Bohemian G i r l ; Magic Lamp. C . — W a g s of Windsor; Otello. W.—Bohemian G i r l ; New Footman. A . — M a g i c L a m p ; Bohemian Girl. C . — D u m b Girl of Genoa; J i m Crow in London. W.—Bohemian Girl, drama; Horatio Sparks. A.—Bohemian Girl ; Sauve qui Peut. C.—Bone Squash Diavolo; Catching an Heiress. W.—Bohemian Girl, drama; Mummy. A.—Bohemian Girl, opera; Sauve qui Peut. C.—Bohemian Girl, opera. W.—Bohemian Girl, drama; Irish Lion. A.—Bohemian Girl, opera; Mad A n t h o n y * : Anthony —Paullin, Caroline—Mrs. Burke. C.—Bohemian Girl, opera. Monday: W.—Bohemian Girl ; Valet de Sham. A . — M a d Anthony; Robinson Crusoe. C.—Bohemian Girl. W.—Bohemian Girl ; Middy Ashore. A.—Doom of the Spy; Vermonter. C.—Bohemian Girl. W.—Bohemian Girl ; Harlequin and the Silver Tower. A.—Doom of the Spy ; Wife's First Lesson. C.—Bohemian Girl. W . — N o advertisement. A.—Doom of the Spy ; T w o Murderers. C.—Bohemian Girl. W . — N o advertisement. A.—Doom of the Spy ; Coiner's Cane. C.—Bohemian Girl. W.—Bohemian G i r l ; Harlequin and the Silver Tower. A.—Doom of the Spy; T h e Conscripts. C.—Bohemian Girl. Monday: W . — N o advertisement. A.—Black Wreckers; Harlequin's Festival. [309 ]

Wayne

THE PHILADELPHIA THEATRE 31.

C.—Bohemian Girl. W.—Bohemian G i r l ; Harlequin and the Silver Tower. A . — T h e Light Ship; Harlequin's Festival. C.—Bohemian Girl. JANUARY

1.

2. 3. 4. 6.

7· 8. 910. 11. 13· 14. 15. 16. 17. 18.

1845

Wednesday: W . — R u b b e r of Life; Harlequin and the Silver Tower. A.—Black Wrecker ; Harlequin's Festival. C.—Bohemian Girl. W.—Rubber of Life; Harlequin and the Silver Tower. A . — T h e Conscript ; Ole Bull. C.—Bohemian Girl. W.—Bohemian Girl, drama ; Harlequin and the Silver Tower. A . — D u m b man of the Rocks ; Harlequin's Festival. C.—Bohemian Girl. W.—Cesar de Bazan ; Harlequin and the Silver T o w e r . A.—Grumbling; State Secrets. Last night of the season. C.—Bohemian Girl. Monday : W.—Cesar de Bazan ; Harlequin and the Silver Tower. C.—Fra Diavolo. W.—Cesar de Bazan ; Richard ye Thirde. C.—Bohemian Girl. W.—Cesar de Bazan ; Richard ye Thirde. C . — L a Sonnambula. W.—Cesar de Bazan ; Richard ye Thirde. C.—Bohemian Girl. W.—Maldichina; Kabri. C . — F r a Diavolo. W.—Cesar de Bazan ; Richard ye Thirde. C . — L a Sonnambula. Monday : W.—Cesar de Bazan ; Black Eyed Susan. C.—People's Lawyer ; Green Mountain Boy. W.—Cesar de Bazan; Robert Macaire. C.—People's Lawyer ; A W i f e for a Day. W.—Cesar de Bazan; Sketches in India. C.—Green Mountain Boy ; Yankee Pedlar. W.—Cesar de Bazan; Sketches in India. C.—Jonathan in England ; A W i f e for a Day. W.—Cesar de Bazan; Black Eyed Susan. C.—Seth Slope; A W i f e for a Day. W . — H o n e y M o o n ; Cupid. C.—Jonathan Doubikins ; Yankee Pedlar. [310]

CHRONOLOGICAL R E C O R D S :

20.

21. 22. 23. 24. 25. 27. 28.

29· 30. 31·

1845

Monday: W . — O l d Heads and Young Hearts*: Littleton—Wheatley, Countess—Mrs. W . R. Blake; M r s . Singleton. C.—Seth Slope; New Notions. W . — O l d Heads and Young Hearts; Mummy. C.—Green Mountain Boy ; W i f e for a Day. W . — O l d Heads and Young Hearts ; Man about T o w n . C . — O l d Heads and Young Hearts; Perfection. W . — O l d Heads and Young Hearts; Wandering Minstrel. C . — O l d Heads and Young Hearts; Perfection. W . — O l d Heads and Young Hearts; T h e River God. C . — O l d Heads and Young Hearts; Shocking Events. W . — O l d Heads and Young Hearts ; Milliner's Holiday. C.—Old Heads and Young Hearts; Fortunio. Monday: W.-—Old Heads and Young Hearts; Milliner's Holiday. C , —Old Heads and Young Hearts; Fortunio. W.-—School for Scandal ; River God. c . —Old Heads and Young Hearts; Fortunio. W.-—Old Heads and Young Hearts; New Footman. c , —Old Heads and Young Hearts; Fortunio. W.-—Wives as they Were; Cesar de Bazan. c , —Busy Body ; Fortunio. w . - —Old Heads and Young Hearts; Horatio Sparkins. c , —Fortunio ; Young Widow. FEBRUARY

I. 3. 4. 5. 6. 7. 8. IO.

Saturday : W.—Jealous W i f e ; White Sergeant. C.—Fortunio; Christmas Carol. Monday: W . — O l d Heads and Young Hearts; Milliner's Holiday. C.—Hunchback; Christmas Carol. W . — E v e r y one has his Fault ; T h e Little Devil's Share. C.—Old Heads and Young Hearts; Christmas Carol. W.—Isabella; Rivals. C.—Rob R o y ; Born to Good Luck. W.—Isabella; Rivals. C.—Wonder. W.—Soldier's Daughter; Cesar de Bazan. C . — L a d y of Lyons ; A Roland for an Oliver. W . — B o l d Stroke for a Husband ; Foundling of the Forest. C . — N o advertisement. Monday: W . — O l d Heads and Young Hearts; Satan in Paris. [311]

THE PHILADELPHIA THEATRE 11. 12. 13. 14. 15. 17. 18. 19. 20. 21. 22. 24. 25. 26. 27. 28.

C.—Love's Sacrifice; Perfection. W.—Bold Stroke for a Husband; Satan in Paris. C.—Love's Sacrifice ; Dumb Girl of Genoa. W.—Satan in Paris; Simpson and Co. C.—Love's Sacrifice; Dumb Girl of Genoa. W.—Provoked Husband ; Maid of Croissy. C.—Love's Sacrifice ; Dumb Girl of Genoa. W.—Satan in Paris; Foundling of the Forest. C.—No advertisement. W.—Fazio; Satan in Paris. C.—No advertisement. Monday: W.—Fazio; Married Life. W.—Stranger; White Sergeant. W . — A l l in the Wrong; Day after the Wedding. W.—Cure for the Heartache ; Polkamania. W.—Lady of Lyons ; Polkamania. W.—Polkamania; Washington. Monday : W.—Othello; New Footman. W . — M y Wife and I ; Satan at Home. W.—Cure for the Heartache. W . — T o w n and Country; Wife for a Day. W.—Old Heads and Young Hearts ; Polkamania. MARCH

I. 3. 4. 5. 6. 7. 8. 10. 11. 12. 13. 14. 15. 17. 18.

Saturday : W.—Cesar de Bazan ; River God. Monday: W.—Poor Gentleman ; Satan in Paris. W.—Old Heads and Young Hearts; Matrimony. W.—Single Life; Hamlet, Travestie. W.—Cesar de Bazan ; Satan in Paris. W.—London Assurance; Loan of a Lover. W.—Single L i f e ; Matrimony. Monday: W.—Revolt of the Harem ; Horatio Sparkins. W.—Revolt of the Harem; Dumb Belle. W.—Revolt of the Harem; Milliner's Holiday. W.—Revolt of the Harem. W.—Revolt of the Harem ; New Footman. W.—Revolt of the Harem; Robert Macaire. Monday : W.—Revolt of the Harem ; Satan in Paris. W.—Revolt of the Harem ; The Rubber of Life. [312]

CHRONOLOGICAL R E C O R D S : 1 8 4 5 19. 20. 21. 22. 24. 25. 26. 27. 28. 29. 31.

W . — R e v o l t of the H a r e m ; Cesar de Bazan. W . — R e v o l t of the Harem ; Ostler and the Robber. W . — R e v o l t of the H a r e m ; Rose of Killarney. W . — R e v o l t of the H a r e m ; Rose of Killarney. A.—Emigrant's Daughter; T h e Lone Star. Monday: W.—Speed the Plough; Lise et Colin. A . — H e i r at L a w ; Lone Star. W . — F a i n t Heart never won Fair Lady ; Lise et Colin. A . — T h r e e Degrees of Loafing; Lone Star. W . — L o n d o n Assurance ; Lise et Colin. A . — G r e e n Bushes; His own Ghost. W . — B e r t r a m ; Lise et Colin. A . — G r e e n Bushes; His own Ghost. W . — T o w n and Country; Lise et Colin. A . — G r e e n Bushes; Yellow D w a r f . W . — P i z a r r o ; Lise et Colin. A . — G r e e n Bushes; Charles O ' M a l l e y . Monday: W.—Richard I I I ; Mummy. A . — M a r t i n Chuzzlewit ; Otello. APRIL

1. 2. 3. 4. 5. 7. 8. 9. 10.

11.

Tuesday: W . — H a m l e t ; M a n about T o w n . A . — M a r t i n Chuzzlewit ; Lone Star. W . — N e w W a y T o Pay Old Debts; Loan of a Lover. A.—Mysterious Stranger; Charles O ' M a l l e y . W . — K i n g L e a r ; Dumb Belle. A . — L a w y e r ' s Victim; W i l f u l M u r d e r . W . — N o advertisement. A.—Ireland's C u r s e ; Mysterious Stranger. W . — R i c h a r d I I I ; Perfection. A . — P u t n a m ; Ireland's Curse. Monday: W . — O t h e l l o ; Married Rake. A.—Secrets W o r t h K n o w i n g ; Exchange no Robbery. W . — O l d Heads and Young Hearts ; Y o u n g Scamp. Α . — W e l s h G i r l ; Yankee Lad. W . — H e i r at L a w ; Robert Macaire. A . — P u t n a m ; Welsh Girl. W . — B a t t l e of Germantown * : Washington—Richings Miss A . Fisher; Single L i f e . A . — P u t n a m ; Welsh Girl. W . — R i v e r G o d ; Battle of Germantown. [313]

Maria—

THE PHILADELPHIA T H E A T R E 12. 14. 15. 16. 17. 18. 19. 21. 22. 23. 24. 25. 26. 28.

29.

30.

A.—Putnam ; Thimble Rig. W.—Castle of Linburg; Battle of Germantown. A.—Putnam ; Bohea-Man's Gal. Monday: W.—Closed. A.—Bohea-Man's G a l ; Beauty and the Beast. W.—Closed. A.—Bohea-Man's Gal ; Beauty and the Beast. W.—Fashion * : Adam—W. R. Blake, Count—Wheatley, Seraphina—Miss S. Cushman ; Pleasant Neighbors. A.—Dunn Brown; Vermonter. W.—Fashion; Matrimony. A.—Macbeth; Bohea-Man's Gal. W.—Fashion; River God. A . — R i v a l s ; Bohea-Man's Gal. W.—Fashion; Dumb Belle. Α . — R o b Roy ; Bohea-Man's Gal. Monday: W.—Fashion ; Irish Lion. A.—Love's Sacrifice ; Beauty and the Beast. W.—Fashion ; Rendezvous. A.—Fashion, or How to Write a Comedy * : Author—Thayer, Manager—Burton ; Pizarro. W.—Fashion ; Young Scamp. A.—Fashion, or How to Write a Comedy ; Merchant of Venice. W.—Fashion ; River God. A.—Rent Day ; Green Bushes. W.—Fashion; New Footman. A.—Maid's Tragedy; Fashion, or How to Write a Comedy. W.—Fashion ; Wandering Minstrel. A.—Romeo and Juliet; Fashion, or How to Write a Comedy. C.—Green Mountain Boy; New Notions. Monday: W.—Fashion ; Perfection. A.—Hamlet ; Thimble Rig. C.—Youthful Queen ; W i f e for a Day. N . — T o w e r of Nesle ; A Mother's Murder. W.—Fashion ; P. P. A . — L a d y of Lyons ; Fashion, or How to Write a Comedy. C.—Kaspar Hauser ; W i f e for a Day. N . — T o w e r of Nesle; A Mother's Murder. W — Fashion; P. P. A.—Richard I I I ; His own Ghost. C.—Old Manor House; New Notions. N.—Werner ; A Mother's Murder. [314]

CHRONOLOGICAL R E C O R D S : 1845 MAY 1.

2.

3.

5.

6.

7.

8.

9.

IO.

12.

Thursday : W.—Fashion ; Loan of a Lover. Α.—Richard I I I ; Welsh Girl. C.—Kaspar Hauser ; Yankee Pedlar. N.—Stranger; A Mother's Murder. W.—Fashion ; Loan of a Lover. A . — M o n e y ; Bewitched. C.—American Farmer; Seth Slope. N . — N o advertisement. W . — D a m o n and Pythias ; American Enterprise. A . — L a d y of Lyons; Taming the Shrew. C.—People's Lawyer ; Cut and Come Again. N.—Robbers; Anthony Wayne. Monday: W.—Virginius ; Black Eyed Susan. Α . — H a m l e t ; Welsh Girl. C . — T h e Roué ; W i f e for a Day. N.—Robbers; Anthony Wayne. W . — M o n e y ; Binks, the Bagman. A . — M o n e y ; Yankee Lad. C.—Roué ; New Notions. N.—Deceiver Deceived ; Gipsy King. W.—Othello ; Valet de Sham. A . — E l d e r Brother; Matrimony. C.—Hypocrite; Rob Roy. N . — R o b Roy ; Outalissi. W.—Richelieu ; Midshipman Easy. A.—Wandering J e w ; Loan of a Lover. C . — F a l l of Kessichack; Cut and Come Again. N.—Corsair's Revenge ; Married Rake. W.—Secrets Worth Knowing ; American Enterprise. A.—Wandering J e w ; Swiss Cottage. C . — F a l l of Kessichack ; Cut and Come Again. N.—Gipsy King ; Weather Cock. W . — P i z a r r o ; Ben, the Boatswain. A.—Wandering J e w ; Lone Star. C . — F a l l of Kessichack ; American Farmer. N.—Richard I I I ; Corsair's Revenge. Monday: W.—Douglas ; Carpenter of Rouen. A.—Wandering J e w ; Sealed Sentence. C . — N e w Notions ; Yankee Pedlar. N . — N o advertisement. [315]

T H E PHILADELPHIA T H E A T R E 13.

14.

15. 16. 17. 19.

20.

21.

22.

23.

24.

26.

27.

28.

29.

W . — G a m e s t e r ; Ben, the Boatswain. A.—Innkeeper's Daughter ; Sealed Sentence. C . — C h a r l e s II ; Broken Sword. N . — N o advertisement. W . — B r u t u s ; Rob Roy. A . — W a l l a c e ; Innkeeper's Daughter. C . — N o advertisement. N . — N o advertisement. W . — S y l v i u s ; Adopted Child. A . — H o f e r ; Sealed Sentence. W . — R i c h e l i e u ; T h e O l d and Y o u n g Salt. A . — H o f e r ; Wallace. W . — E v a d n e ; O l d and Young Salt. A . — M e r c h a n t of Venice ; T a m i n g of the Shrew. Monday: W . — S c h o o l for Scandal ; P. P. A . — H a c k Driver ; Exciseman of Winchester. C.—Bohemian Girl. W . — E m e l i e Plater ; T h e Old and Y o u n g Salt. A.—Simpson and Co. C.—Bohemian Girl. W . — H e n r y I V ; Emelie Plater. A.—Sweethearts and Wives. C.—Bohemian Girl. W . — C a r p e n t e r of Rouen ; Emelie Plater. A . — T h e Jibbenainosay. C.—Bohemian Girl. W . — N e w W a y T o Pay O l d Debts ; Emelie Plater. A . — H e i r at L a w . C.—Bohemian Girl. W . — R i c h a r d I I I ; Polkamania. A.—Victorine. C.—Bohemian Girl. Monday: W . — K i n g Lear ; American Enterprise. A . — J e a l o u s W i f e ; Fazio. C.—Postillion of Lonjumeau. W . — J u l i u s Caesar; Ben, the Boatswain. A.—Soldier's Daughter ; Sweethearts and Wives. C.—Postillion of Lonjumeau. W . — H a m l e t ; Mummy. A . — R a c e Course; Victorine. C.—Bohemian Girl. W . — B e r t r a m ; Dumb Belle. A . — V e n i c e Preserved ; John Jones. C . — F r a Diavolo. [316]

CHRONOLOGICAL R E C O R D S :

30. 31.

1845

W.—Richard I I I ; Milliner's Holiday. A . — J a n e Shore; Wreck Ashore. C . — F r a Diavolo. W . — B r u t u s ; Mayor of Garrat. A.—Children in the Woods; Nick of the Woods. C.—Postillion of Lonjumeau. JUNE

2. 3. 4. 5. 6. 7. 9. 10. 11. 12. 13. 14. 16.

Monday: W . — T i m e Works Wonders ; New Footman. Α.-—Last Days of Pompeii ; Deaf as a Post. W . — T i m e Works Wonders ; Horatio Sparkins. A . — L a s t Days of Pompeii ; Deaf as a Post. W . — T i m e Works Wonders; River God. A . — P a u l Pry ; Race Course. C.—Leonora. W . — T i m e Works Wonders; Perfection. A . — T i m e Works Wonders; Children in the Wood. C.—Leonora. W . — T i m e Works Wonders ; Wandering Minstrel. A . — T i m e Works Wonders ; Oregon *. C.—Leonora. W.—Shoemaker of Toulouse ; Pleasant Neighbors. A.—Bronze Horse; Oregon. C.—Leonora. Monday: W.—Bronze Horse ; Adopted Child. A.—Bronze Horse ; Oregon. W.—Cesar de Bazan; Bronze Horse. A.—Bronze Horse; Oregon. C.—Leonora. W . — C e s a r de Bazan; Bronze Horse. A.—Bronze Horse; Oregon. C.—Leonora. W . — Y o u n g Napoleon and his Father; Bronze Horse. A . — H o f e r ; Oregon. C.—Leonora. W . — Y o u n g Napoleon and his Father; Bronze Horse. A.—Wallace ; Oregon. C.—Leonora. W . — U g o l i n o ; Bronze Horse. A . — O r e g o n ; Bronze Horse. C.—Leonora. Monday: W.—Irish Lion; Bronze Horse. [317 ]

THE PHILADELPHIA THEATRE

17. 18. 19. 20. 21. 23. 24. 25. 26. 27. 28. 30.

A.—Antigone; Oregon. C.—Leonora. W.—Bronze Horse; Polkamania. A.—Antigone ; Star Spangled Banner. C.—Leonora. W.—Speed the Plough; Bronze Horse. A.—Sheriff of the County ; Charles O'Malley. C.—No advertisement. W.—Bronze Horse; Lancers. A . — N o advertisement. C . — N o advertisement. W.—Young America ; Golden Farmer. W.—Young America; Matrimony. Monday: W . — L a d y of Lyons ; Young America. C.—Fra Diavolo. W.—Lady of Lyons ; New Footman. C.—Bohemian Girl. W.—Honey Moon ; Mummy. C.—Leonora. W.—Soldier's Daughter ; Battle of Germantown. C.—Bohemian Girl. W.—Young America; Bride of Lammermoor. C.—No advertisement. W.—Bride of Lammermoor ; Day after the Wedding. C.—Norma. Monday : W.—Fashion ; Young America. C.—Norma. JULY

1. 2. 3. 4. 5.

Tuesday: W.—Rural Felicity; Battle of Austerlitz. C.—Norma. W.—Golden Farmer ; Last Nail. C.—Dramatist. W.—Cure for the Heartache ; Last Nail. C . — A Veteran*: Gunshot—Richings, Josephine—Mrs. Knight. W.—Young America; Freedom's Last M a r t y r * . C . — A Veteran ; Traitor. A . — M y Wife's Out ; Lovers' Quarrels. W.—Rendezvous ; Freedom's Last Martyr. C.—Veteran ; Traitor. A.—Wandering Minstrel ; Miller's Maid. [318]

A.

CHRONOLOGICAL R E C O R D S :

7.

8. 9. 10. H. 12.

14. 15· 16. 17· 18. 19· 21. 22. 2324. 25. 26. 28.

29.

1845

Monday:

W . — H e n r i e t t a ; Freedom's Last M a r t y r . C.—No advertisement. A.—Loan of a Lover ; Broken Heart. W . — R o b e r t M a c a i r e ; Freedom's Last M a r t y r . A . — O u r Flag is Nailed to the Post ; Love, L a w and Physic. W . — H e n r i e t t a ; Battle of Germantown. A.—Pleasant Neighbors; Loan of a Lover. W . — R u r a l Felicity; W h i t e Sergeant. A . — T h e Seamstress; M y W i f e ' s Out. W . — N a i a d Q u e e n ; P. P. A . — T h e Seamstress; Young W i d o w . W . — N a i a d Q u e e n ; Young America. A.—Bank Clerk ; T h e Seamstress.

Monday:

W . - —Naiad Queen ; Young America. A.-—The Seamstress; N o ! W . - —Naiad Queen. A.-—Bank C l e r k ; No Song, No Supper. W . - —Naiad Q u e e n ; Perfection. A , —The Seamstress ; Devil to Pay. W . - —Naiad Q u e e n ; Horatio Sparkins. A, —No Song, No Supper ; Devil to Pa> W . - —Bottle I m p ; Dumb Belle. A.-—No Song, No Supper; Devil to Pay. W . - —Bottle Imp ; R u r a l Felicity. A.-—The Death Fetch ; Golden Farmer.

Monday :

W . — -Bottle Imp. A . - - M a i d and Magpie ; W i d o w Bewitched. W . — -Bottle Imp. A . - -Death Fetch ; M a i d and Magpie. W . - -Hunchback ; Polkamania. A . - -Fair S t a r ; Stranger. W . - -Macbeth ; Rendezvous. A . - -Foundling of the Forest ; Fair Star. W.— -Pizarro ; Battle of Germantown. A . - - M a i d and M a g p i e ; Fair Star. W . — -Romeo and Juliet ; M i d d y Ashore. A.- -Death Fetch ; Fair Star.

Monday :

W . — B r i d a l ; Asmodeus. A.—Buccaneer's Barque; Does your Mother Know Out? W . — B r i d a l ; Young America. A.—Buccaneer's Barque; Sealed Sentence. [319]

you're

THE PHILADELPHIA T H E A T R E 30. 31.

W . — R o b Roy ; Young Napoleon and his Father. Α.—Spy of St. M a r c ; Ole Bull. W.—Coriolanus; Love Chase. A.—Spy of St. Marc ; Death Fetch. AUGUST Friday : W . — F a z i o ; Bohemian Girl. A.—Spy of St. M a r c ; Mizzle, Bolt, and Cutaway. W . — W i l l i a m T e l l ; Black Eyed Susan. A.—Flying Dutchman; Spy of St. Marc. Monday : W . — Y o u n g Quaker ; Polkamania. A.—Flying Dutchman ; Maid of Palaiseau. W . — H a m l e t ; Rendezvous. A . — F a i r Star; Flying Dutchman. W.—Stranger ; Sweethearts and Wives. A . — D u m b Man of Manchester; Flying Dutchman. W.—Merchant of Venice; Charles I I . A.—Smuggler of Bootle B a y ; Spy of St. Marc. W.—Honey Moon ; Dumb Belle. A . — D u m b Man of Manchester; Murdered Waterman. W . — B e r t r a m ; Brigand. A.—Faustus; Cherokee Chief. Monday: W.—Romeo and Juliet; Young America. A . — V o w of Silence ; Cherokee Chief. W.—Soldier's Daughter; Paul Jones. A.—Ambrose Gwinett ; Hunting a Turtle. W . — W i l d Oats; Paul Jones. A . — D u m b Man of Manchester; Foulah Slave. W.—Belle's Stratagem ; Battle of Germantown. A . — R o b Roy ; M y Poor Dog T r a y . W . — O l d Heads and Young Hearts; Cesar de Bazan. A . — M y Poor Dog T r a y ; Flying Dutchman. W . — B r i d a l ; Paul Jones. A . — W i f e of Seven Husbands; T o m and Jerry. Monday: W.—Coriolanus; Rural Felicity. A . — F i r e Raiser ; Therese. W . — P i z a r r o ; Henriette. A.—Judgment of Solomon ; Macbeth, fifth act. W.—William Tell ; Black Eyed Susan. A.—Dream at Sea; Mrs. Caudle's Curtain Lectures. W . — O l d Heads and Young Hearts; New Footman. [ 320 ]

CHRONOLOGICAL R E C O R D S :

22. 23. 25. 26. 27. 28. 29. 30.

1845

A . — M a r g a r e t Catchpole; Mrs. Caudle's Curtain Lectures. W.—Fashion ; Brigand. A . — M a r g a r e t Catchpole; Mrs. Caudle's Curtain Lectures. W . — M a c b e t h ; Young America. A . — M a r g a r e t Catchpole; Mrs. Caudle's Curtain Lectures. Monday: W.—Hunchback; Horatio Sparkins. A . — M a r g a r e t Catchpole; Mrs. Caudle's Curtain Lectures. W.—Mountaineers ; M y Aunt. A . — M a r g a r e t Catchpole; Mrs. Caudle's Curtain Lectures. W . — M e r c h a n t of Venice; Robber's Wife. A.—Speed the Plough ; Margaret Catchpole. W — Dumb Belle; Robber's Wife. A . — M a r g a r e t Catchpole; Ambrose Gwinett. W . — P o i n t of Honor ; Soldier's Daughter. A.—Adelgitha ; Margaret Catchpole. W . — F a z i o ; Rob Roy. A . — M a r g a r e t Catchpole; Wild Boy of Bohemia. C.—Sheriff of the County; N o ! SEPTEMBER

1.

2. 3. 4. 5.

6. 8. 9.

Monday: W . — L a d y of Lyons ; Black Eyed Susan. A . — M a r g a r e t Catchpole; Wild Boy of Bohemia. C . — T h e W i f e ; Welsh Girl. W.—Fashion ; Valet de Sham. A . — M a r g a r e t Catchpole; M y Poor Dog T r a y . C.—Honey Moon ; Used Up. W.—Fashion ; M y Aunt. A . — M a r g a r e t Catchpole; Murdered Waterman. C . — L a d y of Lyons; Used Up. W . — B r i d a l ; Young Scamp. A . — M a r g a r e t Catchpole. C.—Romeo and Juliet; Irish Tutor. W . — R o m e o and Juliet; Pass Word. A . — M a r g a r e t Catchpole. C.—Faint Heart never won Fair L a d y ; A Day after the Wedding. W . — P o i n t of Honor ; Mountaineers. Last night of the season. A . — M a r g a r e t Catchpole. C.—School for Scandal ; Irish Tutor. Monday : A . — R e d Cross Knights. C . — H e n r y I V ; Welsh Girl. A . — R e d Cross Knights. [321 ]

THE PHILADELPHIA T H E A T R E 10. 11. 12. 13.

15. 16. 17. 18. 19. 20.

22. 23. 24. 25. 26. 27.

29. 30.

C.—Kentuckian; Who Is H e ? A . — R e d Cross Knights; Margaret Catchpole. C.—Yankee in England ; Critic. A.—Forest of Bondy; Margaret Catchpole. C . — M e r r y Wives of Windsor; Who Is He? A.—Forest of Bondy. C.—Kentuckian ; His Last Legs. A . — B i l l Jones; Forest of Bondy. C — R i p Van Winkle; Möns. Mallet.

Monday:

A . — B i l l Jones ; Dog of Montargis. C.—Gamester; No! A . — B i l l Jones; Dog of Montargis. C . — M u c h Ado about Nothing ; Gardner's Wife. A.—Richelieu; Lady of Lyons. C.—Stranger; Pleasant Neighbors. A . — D o g of Montargis. C.—Wonder ; Gardner's W i f e . A . — B i l l Jones; Margaret Catchpole. C . — A s Y o u Like I t ; Married Bachelor. A . — D o g of Montargis ; Ole Bull. C.—Merchant of Venice; Irish Tutor.

Monday:

A . — W i f e of Seven Husbands ; Margaret Catchpole. C . — M u c h Ado about Nothing ; Peter White. A.—Dream at Sea; Love G i f t . C.—Money ; Wicked Widow. A . — J a c k Sheppard ; Ole Bull. C . — A s You Like It ; Secret. A . — J a c k Sheppard; Hunting a Turtle. C . — M o n e y ; Welsh Girl. A . — J a c k Sheppard ; Hunting a Turtle. C.—Gamester ; Loan of a Lover. A . — J a c k Sheppard ; Oregon. C.—Stranger ; Honey Moon.

Monday:

A . — R i p Van Winkle ; Oregon. C . — L a Favorite. A.—Kentuckian; Jack Sheppard. C . — L e s Premières Armés de Richelieu.

OCTOBER I.

Wednesday :

W.—School for Scandal ; Young Widow. A . — H i s Last Legs; Jack Sheppard. [322]

CHRONOLOGICAL R E C O R D S :

2. 3. 4. 6.

7. 8. 9. 10. 11. 13.

14. 15. 16. 17. 18.

1845

C . — L a . Fille du Regiment. W . — W i f e ; Young Widow. A.—Yankee in England ; Jack Sheppard. C.—Robert le Diable. W.—Macbeth ; Mummy. A . — M e r r y Wives of Windsor ; Möns. Tonson. C . — L e Domino Noir. W.—Merchant of Venice; Wonder. A . — R i p Van Winkle ; Jack Sheppard. C.—Merchant of Venice; Wonder. Monday: W.—Romeo and Juliet; Black Eyed Susan. A . — J u l i u s Caesar ; Mariner and his Monkey. C . — L a Muette de Portici. W . — C u r e for the Heartache; Thimble Rig. A.—Damon and Pythias ; Mariner and his Monkey. C.—Vicomte de l'Etorieres. W — Bridal ; Thimble Rig. A.—Evadne ; Pilot. C.—L'Ambassadrice. W.—Speed the Plough ; Robber's W i f e . A . — P i z a r r o ; Mariner and his Monkey. C . — L a Jume. W.—Point of Honor; William Tell. A.—Douglass; Shoemaker of Toulouse. C . — L e s Hugenots. W.—Soldier's Daughter; Rob Roy. A.—Shoemaker of Toulouse ; Loan of a Lover. C . — L e s Hugenots. Monday: W . — O l d Heads and Young Hearts ; Poor Soldier. A . — J a n e Shore ; Jumbo Jim. C . — L a Sonnambula; M r . and Mrs. White. W.—Bertram ; High L i f e below Stairs. A . — J a c k Sheppard ; Sarcophagus. C.—Hunchback; Gardener's W i f e . W . — H a m l e t ; Thimble Rig. A . — M a r g a r e t Catchpole; J i m Crow in London. C . — L a Sonnambula ; King and I. W . — L a d y of Lyons ; Agreeable Surprise. A . — O t e l l o ; W i f e of Seven Husbands. C . — F r a Diavolo; King and I. W . — S t r a n g e r ; Deaf as a Post. A . — G r i s t to the Mill ; Jumbo J i m . C.—Stranger; Irish Tutor. W.—Coriolanus; High L i f e below Stairs. [ 323 ]

THE PHILADELPHIA THEATRE

20.

21. 22. 23. 24. 25. 27.

28. 29. 30. 31.

A.—Otello ; Alexander the Great. C.—Der Freischutz; King and I. Monday: W.—West Indian ; Deaf as a Post. A.—Change Makes Change * : Madeline—Mrs. Mowatt, Vanquish—Crisp ; Raising the Wind. C.—Der Freischutz ; John Jones. W.—Macbeth; High Life below Stairs. A.—Change Makes Change; Grist to the Mill. C.—Der Freischutz; No Song, No Supper. W.—Fazio; Wonder. A.—Change Makes Change; Marriage Squabbles. C.—Fra Diavolo; Married Rake. W.—Heir at Law ; William Tell. A.—Change Makes Change; Used Up. C.—Der Freischutz; Waterman. W.—Bridal ; Robber's Wife. A.—Change Makes Change ; Stranger. C.—Therese; Why don't she Marry? W.—Bohemian Girl ; Young Widow. A.—Change Makes Change ; Robert Macaire. C.—Der Freischutz; Cinderella, second act. Monday: W.—Fatal Dowry; Agreeable Surprise. A.—Bride of Lammermoor; Used Up. C.—Lady of Lyons; King and I. W.—Fatal Dowry ; Poor Soldier. A.—Bellamira ; Flying Dutchman. C.—Hamlet; 23 John Street. W.—Bohemian Girl ; opera ; Deaf as a Post. A.—Bellamira; Jack Sheppard. C.—Othello ; T w o Queens. W.—Maid of Croissy ; Wonder. A.—Alexander the Great ; Jack Sheppard. C.—Love, T w o Queens. W.—West Indian ; High Life below Stairs. A.—Muleteer of Palermo ; Jack Sheppard. C.—Macbeth; Gardener's Wife. Ν OF EM

I.

BER

Saturday: W.—Fatal Dowry ; Deaf as a Post. Α.—Bill Jones ; Obi. C.—Much Ado about Nothing ; Peter White. [ 324 ]

CHRONOLOGICAL R E C O R D S : 3.

4.

5.

6.

7.

8.

10.

11.

12.

13.

14.

15.

17.

18.

1845

Monday: W . — H a m l e t ; Y o u n g America. A . — S a m Slick ; Obi. C . — L o v e ; T w o Queens. W . — L a d y of L y o n s ; M u m m y . A . — Y a n k e e L a n d ; Sam Slick. C . — R o m e o and J u l i e t ; Follies of a Night. W . — M u c h A d o about N o t h i n g ; P . P. A . — A g n e s de V e r e ; Courting in Connecticut. C . — H a m l e t ; Secret. W.—Othello ; Young Widow. A . — Z a n o n a h ; Yankee L a n d . C . — M a c b e t h ; Chapter of Accidents. W . — L a d y of L y o n s ; Wandering Minstrel. A . — A g n e s de Vere ; A H a r d Subject. C . — S t r a n g e r ; Follies of a Night. W . — M a c b e t h ; A Roland for an Oliver. A . — Z a n o n a h ; Doolittle Family. C . — N o performance. Monday: W . — R o m e o and Juliet ; M r . and M r s . Pringle. A . — J o n a t h a n Bradford ; Fortune T e l l e r . C . — I l Puritani, in English. W . — V e n i c e Preserved ; M y A u n t . A . — J o n a t h a n Bradford ; Fortune T e l l e r . C . — P u r i t a n s ; T w o Queens. W . — L a d y of L y o n s ; M r . and M r s . Pringle. A . — R e d w o o d ; Yankee Abroad. C . — P u r i t a n s ; T w o Queens. W . — S t r a n g e r ; Faint Heart never won Fair L a d y . A . — N e r v o u s M a n ; Irish Lion. C . — P u r i t a n s ; Secret. W . — H a m l e t ; Faint Heart never won F a i r L a d y . A . — D e c l a r a t i o n of I n d e p e n d e n c e * : Ebenezer—Brougham; Jonathan B r a d f o r d . C . — L a Sonnambula; Irish T u t o r . W . — W i l d Oats ; Therese. A . — T o u r de N e s l e ; Cherokee Chief. C . — N o r m a ; Irish Dragoon. Monday: W . — W e d d i n g D a y ; Mountain D r o v e r . A . — K i n g and the Deserter ; Cherokee Chief. C . — B o h e m i a n G i r l ; Irish Dragoon. W . — U n c l e J o h n ; Mountain D r o v e r . A . — T o u r de Nesle; Idiot of the Shannon. [ 325 ]

THE PHILADELPHIA THEATRE 19. 20. 21.

22. 24.

25. 26. 27. 28. 29.

C.—Norma ; T w o Queens. W.—Ben the Boatswain ; Omandhaun. A.—Napoleon ; Tour de Nesle. C.—Bohemian Girl ; Irish Dragoon. W.—Nabob for an Hour ; Omandhaun. A.—Dumb Man of Manchester; Napoleon. C.—Love Spell ; Love, Law and Physic. W.—Secret Panel; Mountain Drover. A . — N e w Way T o Pay Old Debts; Philip Quarl and his Monkey. C.—Bohemian Girl; Irish Dragoon. W.—Forest of Bondy; Uncle Sam. A.—Napoleon; Murrell, the Land Pirate *. C.—Norma, first act ; Fra Diavolo. Monday: W.—-Simpson and Co. ; A Roland for an Oliver. A.—Murrell, the land Pirate. C.—Eva, the P a g e * : Eva—Miss Nelson, GuilJerschoff— Brougham; Born to Good Luck. W.—Charles II ; Faint Heart never won Fair Lady. A.—Murrell. C.—Rob Roy, opera ; John Jones. W.—Secret Panel ; La Bayadere. A.—Buried Alive; Nature and Philosophy. C.—Eva, the Page; Sweethearts and Wives. W.—Charles II ; La Bayadere. A.—False and True. C.—Town and Country; Tom More. W . — L a Bayadere; Mr. and Mrs. Pringle. A.—Jerry Murphy; Young Widow. C.—Card Drawer; Rent Day. W.—Raising the Wind ; La Bayadere. A.—Pilot ; Irish Stratagem. C.—Grandfather Whitehead ; Matrimony. DECEMBER

1.

2. 3.

Monday: W.—Animal Magnetism ; La Bayadere. A.—Maid of Frankfort; Wags of Windsor. C.—Venice Preserved ; Love, Law and Physic. W.—Cesar de Bazan ; Animal Magnetism. A.—Maid of Frankfort ; A Convenient Distance. C.—Julius Caesar ; Tom and Jerry in America. W.—Simpson and Co.; L a Sylphide, ballet. A.—Buried Alive; Irish Stratagem. [ 326]

CHRONOLOGICAL R E C O R D S :

4. 5. 6. 8.

9. 10. 11. 12. 13. 15. 16. 17. 18. 19. 20. 22. 23. 24.

1845

C.—Othello; Honey Moon. W.—Wedding Day ; Raising the Wind. A.—Emerelda Isle; Irish Tutor. C.—Grandfather Whitehead; Married Bachelor. W . — L a Bayadere ; Uncle John. A . — M a i d of Frankfort ; King and the Deserter. C . — L a d y of Lyons ; Black Hugh, the Outlaw. W . — L a d y of Lyons ; Swiss Cottage. A.—Felon's Last Dream ; Macbeth, second and fifth acts. C . — A Cure for the Heartache; T o m and J e r r y in America. Monday: W.—Venice Preserved ; Animal Magnetism. A.—Felon's Last Dream; Dancing Mad. C.—Theatre features a magician. W.—Charles II ; Family Jars. A.—Felon's Last Dream; Love, L a w , and Physic. W.—Stranger; Family Jars. A . — H a m l e t ; Dancing Mad. W . — L a d y of Lyons ; Abstraction. A . — K i n g L e a r ; Dancing Mad. W . — N o ! ; Abstraction. A.—Virginius; Budget of Blunders. W . — N o ! ; Young Napoleon and his Father. A.—Macbeth ; Budget of Blunders. Monday: W . — B r i d a l ; P. P. A.—Damon and Pythias, drama; Damon and Pythias, comedy. W . — B e r t r a m ; Family Jars. A.—Foundling of the Forest; High L i f e below Stairs. C.—Bohemian G i r l ; Irish Lion. W . — F a z i o ; Young Napoleon and his Father. A.—Virginius; T o m and Jerry in America. W . — O l d Heads and Young Hearts; Mummy. A.—Pizarro ; Mummy. W.—Macbeth ; Abstraction. A . — B r u t u s ; Mountain Devil. W . — M o n s e i g n e u r * : Monseigneur—Richings, La Barre— Wemyss ; Jonathan in England. A.—Richard 1 1 1 ; T o m and Jerry in America. Monday: W.—Monseigneur; High, Low, Jack, and the Game. A.—Green Monster; Irish Tutor. W.—Monseigneur; High, Low, Jack, and the Game. A.—Green Monster; Irish Tutor. W.—Monseigneur; High, L o w , Jack, and the Game. A.—Poor Gentleman ; Green Monster. [ 327 ]

THE PHILADELPHIA T H E A T R E 25. 26. 27. 29.

30. 31.

W.—George Barnwell ; Monseigneur. A.—Dancing Mad ; Green Monster. W.—Monseigneur; Young Widow. A.—Poor Gentleman ; Green Monster. W . — H i g h , Low, Jack, and the Game; Naiad Queen. A.—George Barnwell ; Green Monster. Monday: W . — F a t a l Dowry ; L a Bayadere. A . — A Wife's Revenge ; Green Monster. C . — I o n ; Charles II. W . — R e n t D a y ; Bohemian Girl. A.—George Barnwell ; Green Monster. C . — T w e l f t h Night; Gardener's W i f e . W . — H i g h , Low, Jack and the Game; Bohemian Girl. A . — T o u r de Nesle ; Green Monster. C.—Hunchback; Railway Mania. JANUARY

1.

2. 3.

5.

6. 7. 8. 9.

1846

Thursday : W.—Speed the Plough ; The Spell of the Cloud King. A.—Artisan of Lyons ; Fancy Stocks. C . — M u c h Ado about Nothing; T o m and Jerry. W.—Coriolanus; Bronze Horse. A.—Damon and Pythias ; Artisan of Lyons. C . — T w e l f t h Night; Railroad Mania. W.—Prairie Bird * : War Eagle—J. Wallack, J r . , Mahega— Leman, Prairie Bird—Mrs. J . Wallack, J r . ; Glorious Minority. A.—William Tell ; Artisan of Lyons. C.—Ion ; Honey Moon. Monday: W.—Prairie Bird ; Dumb Belle. Α.—Hamlet ; Khut Y e r Styk. C . — A r c a d e * : O'Slack—Brougham, Wigton—Owens, Miss Moss—Mrs. Thayer; Venus and Adonis. W.—Prairie Bird; P.P. A.—Bertram ; Green Monster. C.—Fleur de Marie; Arcade. W.—Prairie Bird ; Fiend of the Golden Rock. A.—Stranger; Green Monster. C.—Nervous Man ; T o m and Jerry in America. W.—Freedom's Martyrs; Prairie Bird. A . — B r u t u s ; Dog of Montargis. C . — T h e Rivals ; Venus and Adonis. W.—Battle of Germantown ; Prairie Bird. [ 328 ]

CHRONOLOGICAL R E C O R D S : 1846

IO. 12.

15.

14. 15. i(j. ι 7. 19.

20.

21. 22. 23. 24. 26.

27. 28.

A . — I o n ; Widow's Victim. C . — F l e u r de Marie ; T h e Rival Fakirs. W . — C u r e for the Heart Ache ; Pizarro. A.—Virginius ; T h e Felon's Last Dream. C . — C u r e for the Heartache; Rival Fakirs. Monday: W . — R o m e o and J u l i e t ; Prairie Bird. A . — M a c b e t h ; Therese. C . — P o o r Gentleman ; Rival Fakirs. W . — O l d Heads and Young H e a r t s ; George Barnwell. A.—Susan Hoplev ; Widow's Victim. C . — J o h n Bull ; Rival Fakirs. W . — L a d y of Lyons ; Abstraction. A.—Susan Hopley; Ion. C.—Seven Castles ; Arcade. W . — M o n e y ; Robert Macaire. A . — A r t i s a n of Lyons; Susan Hopley. C . — H e i r at L a w ; Seven Castles. W . — S t r a n g e r ; Black Eyed Susan. C . — N e r v o u s M a n ; Seven Castles. A . — J a c k Sheppard ; Irish Dragoon, W . — V e n i c e Preserved ; M y Aunt. A.—Susan Hopley ; A b d - E l Kader. C . — F r a n k l i n ; Seven Castles. Monday: W . — T h e Deformed ; Loan of a Lover. A . — J a c k Sheppard ; Abd-El Kader. C . — F r a n k l i n ; Seven Castles. W . — M o n e y ; Swiss Cottage. A . — J a c k Sheppard ; A b d - E l Kader. C . — F r a n k l i n ; Irishman in London. Last night of the season. W . — M u c h A d o about Nothing; School for Scandal. A . — S u s a n Hopley; A b d - E l Kader. W . — H a m l e t ; Loan of a Lover. A . — T i m o u r the T a r t a r ; Irish Dragoon. W . — L a u g h when vou Can ; Perfection. A . — T i m o u r the T a r t a r ; Bank Clerk. W . — L a u g h when you Can ; Elder Brother. A . — T o m Cringle's L o g ; W i d o w ' s Victim. Monday: W . — H e n r y I V ; Young Widow. Α.—Closed. W . — L a d y of Lyons ; Rent Day. Α.—Closed. W . — E l d e r Brother; His Last Legs. A.—Closed. [ 329 ]

T H E PHILADELPHIA THEATRE 29. 30. 31·

W . — F a z i o ; Heir at L a w . Α.—Closed. W . — C o r i o l a n u s ; H i g h Life below Stairs. A.—French Spy ; J u m b o J i m . W.—Rendezvous ; T h e Enchantress. A.—French Spy ; J u m b o Jim. FEBRUARY

2. 34· 56. 7910. II. 12. 13. 14. 16.

17· 18. 1920. 21.

Monday: A . — D e a t h T o k e n ; Sarcophagus. W . — T h e Enchantress. A . — D e a t h T o k e n ; Bone Squash Diavolo. W . — T h e Enchantress. A . — O t e l l o ; M o u n t a i n Devil. W . — T h e Enchantress. A . — O t e l l o ; Zelina. W . — T h e Enchantress. A.—Zelina ; Bone Squash Diavolo. W . — T h e Enchantress. A . — O t e l l o ; Highland Whistler. Monday : W . — T h e Enchantress. A.—Red Riven ; J i m C r o w in London. W . — T h e Enchantress. A.—Highland W h i s t l e r ; Bone Squash Diavolo. W . — T h e Enchantress. Α . — O t e l l o ; Clari. W . — T h e Enchantress. A.—Blind Boy ; Sarcophagus. W . — T h e Enchantress. A.—Clari ; T h e Rival Jim Crows. W . — T h e Enchantress. A.—Esmerelda ; Foreign Prince. Monday : W . — T h e Enchantress. A. —Esmerelda ; Maurice, the W o o d - C u t t e r . W , —Surgeon of Paris ; Rogantino. A. —Richard I I I ; Esmerelda. W . —Richard I I I ; D u m b Belle. A. —Foundling of the Forest; Beacon of Death. W . — H a m l e t ; Loan of a Lover. A. —Cricket on the H e a r t h ; Maurice, the W o o d - C u t t e r . W . — T h e W a y T o Pay O l d Debts; High Life below Stairs. A . —Cricket on the H e a r t h ; Beacon of Death. W , —Othello; Deaf as a Post. [ 330]

CHRONOLOGICAL R E C O R D S : 1846

23.

24· 25· 26. 27. 28.

A.—Cricket on the Hearth; Seven Castles of the Passions. Monday: W . - —King John ; Perfection. A . —Our Native L a n d ; Broken Heart. W . -—Riches; Therese. A.-—Beacon of Death ; Seven Castles. W . - —Richard I I I ; Agreeable Surprise. A.-—Woman's F a t e ; Bear Hunters. W . - —Venice Preserved ; Swiss Cottage. A.-—Ocean Child ; Broken Heart. W . - —Julius Caesar ; Young W i d o w . A.-—Irish Dragoon; Ocean Child. W . - —Damon and Pythias ; Mountaineers. A.- —Peter Wilkins ; Ocean Child. MARCH

2. 3. 4. 5. 6. 7. 9.

10.

11.

12. 13.

Monday: W . — T h e Enchantress. A . — P e t e r Wilkins ; Sam Slick. W . — T h e Enchantress. A . — D u t c h Burgomaster; Ambrose Gwinnett. W . — T h e Enchantress. A . — S h e Stoops to Conquer; T h e Celestial Empire. W . — T h e Enchantress. A . — D u m b M a n of Manchester ; Peter Wilkins. W . — T h e Enchantress. A . — W o m a n ' s F a t e ; T h e Celestial Empire. W . — T h e Enchantress. A.—Cricket on the Hearth; Celestial Empire. Monday: W . — T h e Enchantress; Midnight Hour. P . M . — K a t e Kearney; Young W i d o w . A . — N i c k of T i m e ; W i z a r d of the W a v e . W . — T h e Enchantress ; Rent Day. A . — H o n e y Moon ; Wreck Ashore. P . M . — K a t e Kearney; Y o u n g W i d o w . W . — T h e Enchantress; T h e Last M a n . A.—Stranger ; W i z a r d of the W a v e . P . M . — K a t e Kearney; Love in Humble L i f e . W . — T h e Enchantress; T h e Last M a n . A . — V a l s h a ; Cricket on the Hearth. P . M . — K a t e Kearney; Dutchman in Love. W.—Enchantress; Laugh when you Can. A . — O r a n a s k a ; Valsha. P . M . — K a t e Kearney; Ole Bull. [331 ]

THE PHILADELPHIA T H E A T R E 14. 16.

17. 18. 19. 20. 21. 23.

24. 25. 26. 27. 28. 30.

31.

W.—Bertram ; Enchantress. A.—Valsha ; Nick of the Woods. P . M . — K a t e Kearney; Simpson and Co. Monday: W.—Enchantress. A.—Valsha ; Nick of the Woods. P.M.—Agnes de Vere; Dutchman in Love. W.—Enchantress. A.—Crockett in Texas ; Valsha. P.M.—Agnes de Vere; Ole Bull. W.—Enchantress. Α.—Golden Farmer; Broken Heart. P.M.—Grandfather Whitehead ; Simpson and Co. W . — H e i r at L a w ; Rent Day. A.—Oranaska ; Valsha. P.M.—Cricket on the Hearth; Love in Humble Life. W.—Surgeon of Paris. A.—Yankee in Jersey ; Charles O'Malley. P.M.—Cricket on the Hearth; Spectre Bridegroom. W.—Bohemian Girl, drama. A.—Kiss in the Dark ; Wizard of the Wave. P.M.—Cricket on the Hearth; Pleasant Neighbors. Monday: W . — E v e r y one has his Fault; M r . Singleton. A . — P a u l Pry ; Actress and the Artist. P.M.—Cricket on the Hearth; Rendezvous. W.—Enchantress. A.—Maiden Aunt ; Zanoni. P.M.—Cricket on the Hearth; Spectre Bridegroom. W . — P a u l P r y ; Jacques Strop. A.—Maiden Aunt ; Zanoni. P.M.—Cricket on the Hearth; Dead Shot. W.—Gisippus ; Jacques Strop. A.—Maiden Aunt ; Sweethearts and Wives. P.M.—Cricket on the Hearth; Young Reefer. W.—Virginius; Jacques Strop. A.—Cricket on the Hearth ; Twice Killed. P.M.—Grandfather Whitehead; Kate Kearney. W.—Othello ; Agreeable Surprise. A.—Emigrant's Daughter ; Crimson Crimes * : Fright—Burton. P . M . — M a i d of Croissy; Cricket on the Hearth. Monday : W . — W e r n e r ; Laugh when you Can. A.—Three Degrees of Loafing ; Crimson Crimes. P . M . — M a i d of Croissy; Dumb Belle. W . — M a c b e t h ; M r . Singleton. [ 332 ]

CHRONOLOGICAL RECORDS: 1846 A . — P o o r Gentleman ; Fairy of the Golden Wheat Sheaf. P.M.—Sweethearts and W i v e s ; Dead Shot. APRIL 1.

2. 3. 4. 6.

7.

8. 9. 10.

11.

13.

14. 15.

Wednesday : W.—Enchantress; Lady of the Lake. A . — S w a m p F o x * : Marion—Becom, Mrs. Motte—Mrs. Greene; Crimson Crimes. P . M . — O r p h a n Madelene; Simpson and Co. W . — K i n g L e a r ; Poor Soldier. A . — S w a m p Fox ; Crimson Crimes. P . M . — O r p h a n Madelene; Y o u can't M a r r y your Grandmother. W . — E n c h a n t r e s s ; Battle of Germantown. A . — S w a m p Fox ; Cricket on the Hearth. P . M . — O r p h a n Madelene; Cricket on the Hearth. W . — P i z a r r o ; Lady of the Lake. A . — S w a m p Fox ; Fairy of the Golden Wheat Sheaf. P . M . — L u c i l l e ; Lady of the Lions. Monday: W . — V e n i c e Preserved ; Robert Macaire. A . — S w a m p F o x ; Miseries of Human Life. P . M . — T w o Queens; Lucille. W . — B r u t u s ; Stranger. A . — S w a m p F o x ; Miseries of Human L i f e . P . M . — C r i c k e t on the Hearth ; T w o Queens. W . — L o n d o n Assurance; T h e M i l l of St. Aldervon. A . — S w a m p F o x ; Miseries of Human L i f e . P.M.—Sweethearts and W i v e s ; Spectre Bridegroom. W . — G i s i p p u s ; M i l l of St. Aldervon. A . — S w a m p F o x ; Miseries of Human L i f e . P . M . — C r i c k e t on the Hearth; Orphan Madelene. W . — W e r n e r ; Soldier's Daughter. A . — S w a m p Fox ; Charles O ' M a l l e v . P . M . — C r i c k e t on the Hearth; Ole Bull. W . — L o n d o n Assurance; Glorious Minority. A . — S w a m p Fox ; Broken Heart. P . M . — C r i c k e t on the Hearth; T w o Queens. Monday: W.—Enchantress ; Swiss Cottage. A . — S w a m p F o x ; Mother Goose and the Golden E g g . P . M . — K a t e Kearney; Cricket on the Hearth. W . — E n c h a n t r e s s ; Loan of a Lover. A . — N o bill received. P . M . — N o advertisement. W . — G i s e l l e ; Glorious Minority. [ 333 ]

THE PHILADELPHIA T H E A T R E

16. 17. 18. 20.

21. 22. 23. 24. 25. 27.

28.

29.

30.

A.—Swamp Fox ; Mother Goose. P.M.—Maidens, Beware!; Cricket on the Hearth. W.—Griselle; Glorious Minority. A.—Ernest Maltravers. P.M.—Maidens, Beware!; Cricket on the Hearth. W.—Giselle; Mummy. A.—Ernest Maltravers. P . M . — L o a n of a Lover; Paul Pry. W.—Giselle ; Perfection. A.—Swamp Fox ; John di Procida. P.M.—Cricket on the Hearth; T w o Queens. Monday: W.—Giselle; Midnight Hour. A.—Jack Sheppard ; Ella Rosenberg. P . M . — F a t e of Ambrose; Dumb Belle. W . — L a Sonnambula; Glorious Minority. A.—Monseigneur ; Jack Sheppard. P . M . — F a t e of Ambrose; Maidens, Beware! W.—Giselle; M r . Singleton. A.—William Tell ; Swamp Fox. P.M.—Cricket on the Hearth ; Perfection. W . — L a Bayadere ; Robert Macaire. A.—Cesar de Bazan ; Avenger. P . M . — P a u l P r y ; Maidens, Beware! W . — L a Bayadere ; Deaf as a Post. A.—Mother Goose ; Swamp Fox. P.M.—Cricket on the Hearth ; Perfection. W . — L a Bayadere ; Secret Service. A.—Anaconda ; Crimson Crimes. P.M.—Grandfather Whitehead; Dumb Belle. Monday: W . — L a d y of Lyons ; Jacques Strop. A . — L a d y of Lyons ; Anaconda. P . M . — B r e w e r of Preston; Paul Pry. C.—Don Pasquale ; A Kiss in the Dark. W.—Money ; Rent Day. A . — T o w n and Country ; Anaconda. P . M . — B r e w e r of Preston ; Maid of Croissy. C.—Don Pasquale; A Kiss in the Dark. W . — T h e Stranger ; Laugh when you Can. A.—Money ; Anaconda. P . M . — B r e w e r of Preston; The Cricket on the Hearth. C.—Don Pasquale; Miseries of Human Life. W . — E l d e r Brother ; M y Aunt. A.—Rob Roy; Anaconda. [334]

CHRONOLOGICAL R E C O R D S : 1846 P . M . — B l i n d Father and his Daughter; M y Aunt. C . — D o n Pasquale; Miseries of Human L i f e . MAY ι.

2.

4.

5. 6.

7.

8.

9.

11.

12.

Friday : W . — L a d y of Lyons; Elder Brother. A . — S h e Stoops to Conquer; Stranger. P . M . — M a i d e n s , B e w a r e ! ; Cricket on the Hearth. C . — D o n Pasquale ; Scape Goat. W . — P i z a r r o ; Heir at L a w . A . — R o m e o and Juliet ; T o m Cringle's Log. P . M . — B l i n d Father and his Daughter; Y o u can't M a r r y your Grandmother. C.—Bohemian G i r l . Monday: W . — W i t c h c r a f t ; Deaf as a Post. A . — G a m e s t e r ; T o m Cringle's Log. P . M . — L o v e r s , W i f e and Friend; Loan of a Lover. C.—Bohemian Girl. W . — W i t c h c r a f t ; Perfection. A . — C h e r r y and Fair Star; T o m and J e r r y . P . M . — C r i c k e t on the Hearth; Hunting a T u r t l e . W . — W i t c h c r a f t ; Y o u n g America. A.—Virginius ; Lady of Lyons. P . M . — L o v e r s , W i f e and Friend; T w o Queens. C . — B r e w e r of Preston, opera. W.—Witchcraft ; P.P. A . — C r i c k e t on the Hearth ; Cherry and Fair Star. P . M . — L o v e r s , W i f e and Friend; Love in Humble L i f e . C . — B r e w e r of Preston. W . — R o m e o and Juliet ; School for Scandal. A . — D e e d s of Dreadful Note; Cherry and Fair Star. P . M . — C r i c k e t on the Hearth; Lovers, W i f e and Friend. C . — B r e w e r of Preston. W . — M a c b e t h ; Y o u n g America. A . — W o m a n ' s L i f e ; Black Brig of Bermuda. P . M . — L o v e in Humble L i f e ; Cricket on the Hearth. C . — B r e w e r of Preston. Monday: W . — O t h e l l o ; N e w Footman. A . — U p s and O o w n s ; Greek Fire. P . M . — T h e Chimes; Swiss Cottage. C . — B r e w e r of Preston. W . — R i c h a r d I I I ; M i l l of St. Aldervon. [ 335 ]

THE PHILADELPHIA T H E A T R E

13.

14.

15.

16.

18.

19. 20.

21. 22. 23.

A.—Rent D a y ; Cricket on the Hearth. P . M . — T h e Chimes; Turning the Tables. C.—Brewer of Preston. W.—Apostate ; Young America. A.—Damon and Pythias; Did you ever Send your W i f e to Germantown ? * : Mr. Chesterfield Honeybun—Burton. P . M . — T h e Chimes. C.—Brewer of Preston. W.—Merchant of Venice; Pizarro. A . — C a r d Drawer ; Did you ever Send your W i f e to Germantown ? P.M.—Cricket on the Hearth; Turning the Tables. C.—Brewer of Preston. W.—Richard I I I ; New Footman. A . — T h e Mountaineers; Did you ever Send your W i f e to Germantown ? P.M.—Cricket on the Hearth; Hunting a Turtle. C.—Bohemian Girl. W.—Venice Preserved ; Did you ever Send your W i f e to Germantown ? A.—Card Drawer; Did you ever Send your W i f e to Germantown ? P . M . — P a u l Pry. C.—Elixir of Love; John of Paris. Monday: W . — O l d Heads and Young Hearts; Rory O'More. A.—Rent Day ; Cabin Boy. P . M . — K a t e Kearney. C.—Norma, first act; Don Pasquale, second act; Brewer of Preston, second act. W . — W e r n e r ; Did you ever Send your W i f e to Germantown ? Α . — N e w Way T o Pay Old Debts ; Cabin Boy. P . M . — T h e Chimes. W . — O l d Heads and Young Hearts ; Did you ever Send your W i f e to Burlington?*: Honeybun—Chapman. A.—Beggar on Horseback ; Cabin Boy. P . M . — T h e Chimes. W.—Jealous W i f e ; New Footman. A . — A Father's Malediction ; Cherokee Chief. P . M . — V i o l e t ; Hunting a Turtle. W.—School for Soldiers ; Therese. A.—Beggar on Horseback ; Father's Malediction. P . M . — V i o l e t ; Turning the Tables. W . — C u r e for the Heart Ache; Black Eyed Susan. A.—Bombardment of Matamoras ; Card Drawer. P . M . — T h e Chimes. [ 336 ]

CHRONOLOGICAL R E C O R D S :

25.

26.

27.

28.

29.

30.

1846

Monday: W . — W e r n e r ; D i d you ever Send your W i f e to B u r l i n g t o n ? A . — B o m b a r d m e n t of M a t a m o r a s ; B l a c k B r i g of B e r m u d a . P . M . — T h e C h i m e s ; Perfection. W . — M o n k e y ; Rent Day. A . — T o m C r i n k l e ' s L o g ; Cabin B o y . P . M . — S o m n a m b u l i s t ; Cricket on the H e a r t h . W . — F a s h i o n ; D i d you ever Send your W i f e to B u r l i n g t o n ? A . — B o m b a r d m e n t of M a t a m o r a s ; Irish T u t o r . P . M . — T h e Chimes; Maidens, B e w a r e ! W . — F a s h i o n ; D i d you ever Send your W i f e to B u r l i n g t o n ? A . — B o h e m i a n s ; Golden F a r m e r . P . M . — T h e C h i m e s ; M r . and M r s . Peter W h i t e . W . — F a s h i o n ; N ew Footman. A . — C r i c k e t on the H e a r t h ; J a c k Sheppard. P . M . — S o m n a m b u l i s t ; Cricket on the H e a r t h . W . — C a m p a i g n of the R i o G r a n d e ; M e r c h a n t of V e n i c e . A . — M a r c u s C u r t i u s ; Cabin Boy. P . M . — T h e D e s e r t e r ; L a d y of L y o n s .

JUNE 1.

2.

3.

4.

5.

6.

8.

Monday: W . — C a m p a i g n of the R i o G r a n d e ; L a d y of L y o n s . A . — M a r c u s C u r t i u s ; Honest T h i e v e s . P . M . — D a y in P a r i s ; He's not A - M i s s . C . — D o n Pasquale. W . — C a m p a i g n of the R i o G r a n d e ; F a z i o . A . — M a r c u s C u r t i u s ; Father's M a l e d i c t i o n . P . M . — H e ' s not Α - M i s s ; H u n t i n g a T u r t l e . W . — F a s h i o n ; C a m p a i g n of the R i o G r a n d e . A . — B o h e m i a n s ; E l l a Rosenberg. P . M . — J o h n J o n e s ; K a t e Kearney. W . — B r i d a l ; C a m p a i g n of the R i o G r a n d e . A . — R o b e r t Emmett ; Hunting a T u r t l e . P . M . — C a t c h i n g an Heiress; T w o Queens. W . — F a s h i o n ; C a m p a i g n of the R i o G r a n d e . A . — R o b e r t E m m e t t ; Bohemians. P . M . — M y Neighbor's W i f e ; M r . and M r s . P e t e r W h i t e . W . — R o m e o and J u l i e t ; C a m p a i g n of the R i o G r a n d e . A . — M a r g a r e t C a t c h p o l e ; Irish T u t o r . P . M . — M y N e i g h b o r ' s W i f e ; Cricket on the H e a r t h .

Monday: W.—Wyoming. A . — M a r g a r e t Catchpole ; Father's M a l e d i c t i o n . P . M . — B r e w e r of Preston, d r a m a ; Irish T u t o r . [ 337 ]

T H E PHILADELPHIA T H E A T R E 9.

10. 11. 12. 13. 15.

16. 17. 18. 19. 20. 22.

23. 24. 25.

W.—Wyoming. A.—Margaret Catchpole; Murdered Boatman. Last night of the season. P.M.—Catching an Heiress; The Trumpeter's Daughter. W.—Wyoming. P.M.—Trumpeter's Daughter; He's not A-Miss. W.—Wyoming. P . M . — A Day in Paris; Who's your Friend? W . — L a u g h when you Can ; La Bayadere, ballet. P . M . — W h o ' s your Friend? Madelon. W.—Douglas ; Wyoming. A.—Rookwood ; Dead Shot. P . M . — W h o ' s your Friend?; King's Command. Monday: W.—Enchantress ; Yankee Wool Dealer. A.—Rookwood; Honest Thieves. P.M.—Irish T u t o r ; 'Twas I. W.—Enchantress; Spectre Bridegroom. A.—Rookwood ; Swiss Cottage. P . M . — M a r r i e d Rake; T w o Gregories. W.—Enchantress; Mother and Child are Doing Well. A.—Margaret Catchpole; Bombardment of Paris. P.M.—Perfection; Frightened to Death. W.—Wyoming. A.—Spy of St. M a r c ; Bombardment of Matamoras. P . M . — ' T w a s I ; Married Rake. W . — W y o m i n g ; Mother and Child are Doing Well. A.—Spy of St. Marc ; Robert Emmett. P.M.—Nature and Philosophy; Frightened to Death. W.—Lessons for Lovers ; Campaign of the Rio Grande. Α.—Rebel Chief ; Spy of St. Marc. P . M . — D u m b Belle; Rendezvous. Monday: W.—Fashion ; Campaign of the Rio Grande. A.—King Eagle. P . M . — M a r r i e d Rake; Alpine Maid. W . — W i l d Oats; Pocahontas. A . — K i n g Eagle. P . M . — B l u e Domino; Vaudeville Sketches of India. W.—Douglas; Lessons for Lovers. A . — K i n g Eagle. P . M . — B l u e Domino; Sketches of India. W.—Werner ; L a Bayadere. A . — K i n g Eagle ; Spy of St. Marc. P.M.—Lancers; Irishman in London. [ 338 ]

C H R O N O L O G I C A L R E C O R D S : 1846 26.

27.

29.

30.

W . — A s Y o u L i k e I t ; Joan of A r c . Α . — P e t e r W i l k i n s ; Rebel Chief. P . M . — L a n c e r s ; Alpine Maid. W . — G e o r g e B a r n w e l l ; Lady of Lyons. A . — R o o k w o o d ; M a r r i e d Rake. P . M . — O n e H o u r ; Frightened to Death. Monday: W . — R i v a l s ; Robert Macaire. A . — E n c h a n t e r ; D u m b M a n of Manchester. P . M . — O n e H o u r ; W i d o w ' s Victim. W . — F a t a l D o w r y ; L a d y of the Lions. A . · — R o o k w o o d ; Dead Shot. P . M . — B l u e D o m i n o ; Faint H e a r t never w o n Fair L a d y . JULY

1.

2.

3.

4.

6.

7.

8. 9. 10. 11. 13.

Wednesday: W . — S m i l e s and T e a r s ; Devil's Bridge. P . M . — F a i n t H e a r t never won Fair L a d y ; W i d o w ' s Victim. W . — C h a r l e s X I I ; F"orty Thieves. A . — E n c h a n t e r ; M o u n t a i n M i n s t r e l Boy. P . M . — L a n c e r s ; Beauty and the Beast. W . — B e a r s not Beasts; W y o m i n g . A . — R o o k w o o d ; H o l e in the W a l l . P . M . — F a i n t H e a r t never won Fair L a d y . W.—Enchantress. A . — F e l o n ' s Last D r e a m ; Philip Q u a r l . P . M . — A l p i n e M a i d ; Sketches of India. Monday: W . — S p e e d the Plough ; Bears not Beasts. A . — S w a m p Fox ; Enchanter. P . M . — L o t t e r y T i c k e t ; Beauty and the Beast. W . — G i s i p p u s ; Joan of A r c . Last night of the season. A . — F e l o n ' s Last D r e a m ; Secret. P . M . — Z e p h y r i n a ; Beauty and the Beast. A . — M a c b e t h ; M a r r i e d Rake. P . M . — S k e t c h e s in I n d i a ; Beauty and the Beast. A . — P i z a r r o ; D u m b G i r l of Genoa. P . M . — A Roland for an O l i v e r ; Beauty and the Beast. A . — T h e W i f e ; Honest Thieves. P . M . — W i d o w ' s V i c t i m ; Beauty and the Beast. A . — R i c h a r d I I I ; Perfection. P . M . — M y W i f e ' s Second F l o o r ; T h e C r i c k e t on the H e a r t h . Monday: W . — P u t n a m ; D u m b Belle. [ 339 ]

THE PHILADELPHIA T H E A T R E

14. 15. 16. 17. 18. 20.

21. 22. 23. 24. 25. 27. 28. 29.

A.—Macbeth; Irish Post. P.M.—Alpine Maid ; Lend M e Five Shillings. W . — P u t n a m ; Lesson for Lovers. A.—Shoemaker of Toulouse; O h ! H u s h ! ! P . M . — L e n d M e Five Shillings; Brother and Sister. W . — P u t n a m ; Matrimony. A.—Richelieu; Irish Post. P.M.—Brother and Sister; Secret. W.—Child of Nature; Putnam. A.—Shoemaker of Toulouse ; Perfection. P . M . — M y Wife's Out; Deaf as a Post. W.—Child of Nature; Putnam. A.—Stranger; Tom Cringle's Log. P . M . — J o h n of Paris; Secret. VV.—Honey Moon; Putnam. Α . — B r u t u s ; Oh! Hush!! P . M . — P a u l P r y ; Seeing Holland. Monday: W . — B o l d Stroke for a Husband ; Satan in Paris. A.—Presumption ; Paul Pry. P.M.—Seeing Paris; Asmodeus in Paris. W.—London Assurance; Young Scamp. A.—Presumption ; Enchanter. P.M.—Asmodeus in Paris; Lend M e Five Shillings. W.—Satan in Paris; Somebody Else. A.—Bohemians. P . M . — H o m e Again; Governor's W i f e . W . — S h e Stoops to Conquer ; Somebody Else. A.—Flying Dutchman ; Planter and his Dog. P.M.—Governor's W i f e ; Deaf as a Post. W . — O l d Heads and Young Hearts; T h e Eton Boy. A.—Merchant of Venice ; T h e Review. P.M.—Asmodeus in Paris; T h e House Dog. W.—London Assurance ; Eaton Boy. A . — B u r g l a r ; Captain Stevens. P.M.—Cabinet Question; T h e House Dog. Monday: W.—Macbeth; Lessons for Lovers. P.M.—Secret; An Object of Interest. W.—Apostate ; Bears not Beasts. P . M . — A n Object of Interest; Did you ever Send your W i f e to Bristol ? W.—Hunchback; Husband at Sight. P.M.—Cabinet Question; Did you ever send your W i f e to Bristol? [340]

CHRONOLOGICAL RECORDS: 1846 30. 31.

W.—Richelieu ; Cesar de Bazan. P . M . — J o h n of Paris; New Footman. P . M . — L e n d M e Five Shillings; New Footman. AUGUST

I. 3. 4. 5. 6. 7. 8. 10. 11. 12. 13. 14. 15. 17. 18. 19. 20. 21.

Saturday: W . — L a d y of Lyons; Comedy of Errors. P . M . — G o l d e n Farmer; Married Bachelor. Monday: W . — H e n r y I V ; A Husband at Sight. P . M . — N a v a l Engagements; Perfection. VV.—Rip Van W i n k l e ; His Last Legs. P.M.—Charles I I ; Widow's Victim. W . — Y a n k e e in England ; Married Rake. P . M . — N a v a l Engagements; M y Fellow Clerk. W . — Y a n k e e in England ; Married Rake. P . M . — N a v a l Engagements; M y Fellow Clerk. W . — M e r r y Wives of Windsor ; Comedy of Errors. P . M . — M a t r i m o n y ; A Roland for an Oliver. W . — R i p Van Winkle; Comedy of Errors. P . M . — L o a n of a L o v e r ; One Hour. Monday: W.-—School for Scandal ; Young Widow. P . M . — M a t r i m o n y ; Beauty and the Beast. W . — M a r r i e d L i f e ; Mother and Child Doing W e l l . P . M . — M a r r i e d Rake; Beulah Spa! W . — Y a n k e e in Mississippi; T h e Chimes. P . M . — Y o u n g Scamp; A Roland for an Oliver. W . — Y a n k e e in Mississippi; Child of Nature. P . M . — Y o u n g Scamp; Of Age Tomorrow. W . — P o o r Gentleman ; Wizard of the Wave. P . M . — A Day after the Wedding; Beauty and the Beast. W . — W i z a r d of the W a v e ; Comedy of Errors. P . M . — O f Age T o m o r r o w ; Beulah Spa. Monday: W . — W i z a r d of the W a v e ; Lend M e Five Shillings. P . M . — E m i g r a t i o n ; Charles I I . W . — T h e Rivals; Lend M e Five Shillings. P . M . — L u k e the Laborer; M y Fellow Clerk. W . — W i z a r d of the W a v e ; Lend M e Five Shillings. P.M.—Mysterious L a d y ; M y Neighbor's W i f e . W.—Speed the Plough; A Husband at Sight. P . M . — T u r n i n g the Tables; T h e T w o Thompsons. W . — H o n e y M o o n ; Irish Lion. [341 ]

THE PHILADELPHIA THEATRE 22. 24. 25. 26. 27. 28. 29. 31.

P.M.—Naval Engagements; Widow's Victim. W.—Wizard of the Wave; Did you ever Send your Wife to Burlington ? P.M.—Grist to the M i l l ; Too Late for Dinner. Monday: W.—Bold Stroke for a Husband ; Last Man. P . M . — M y Wife's Second Floor; Swiss Swains. W.—Did you ever Send your Wife to Burlington?; Wizard of the Wave. P.M.—Victorine; Young Widow. W.—Closed. A.—Charles I I ; John Jones. P.M.—Faint Heart never won Fair Lady. A.—Der Nacht Wächter; Wandering Minstrel. P . M . — M y Wife's Second Floor; T w o Queens. A.—Der Nacht Wächter ; Dumb Belle. P.M.—Colin; The Truth a Lie. W.—Town and Country; Therese. A.—Nervous M a n ; Paul Pry. P.M.—Rival Pages; Sketches in India. Monday: W.—Nervous Man ; Teddy the Tiler. A.—French Spy; Dumb Belle. P . M . — T w o Friends; Young Widow. SEPTEMBER

1.

2. 3. 4. 5. 7.

Tuesday : W.—His Last Legs; How to Pay Rent. A.—Nervous Man ; French Spy. P.M.—Loan of a Lover; Fortunio. W.—Irish Ambassador; Young Scamp. A.—Lady of Lyons ; Raising the Wind. P . M . — T w o Friends; Fortunio. W.—Irish Ambassador; Irish Post. A.—Werner; Hunting a Turtle. P . M . — M y Fellow Clerk; Fortunio. W . — A Husband at Sight ; Born to Good Luck. A.—Stranger ; Actress of all Work. P.M.—Raising the Wind: Fortunio. W.—Irish Attorney; Born to Good Luck. A.—Fazio ; Of Age Tomorrow. P.M.—Gretna Green; Fortunio. Monday: W.—Hamlet; Lend Me Five Shillings. A.—King of the Commons * : James V—J. Wallack, Jr., [342]

CHRONOLOGICAL RECORDS: 1846

8. 9. 10. 11. 12. 14.

15. 16. 17. 18. 19. 21.

22. 23.

Madeleine—Mrs. J . Wallack, J r . ; Actress of all W o r k . P . M . — D r . Dihvorth ; Fortunio. W . — L a d y of Lyons; Married Rake. A . — K i n g of the Commons; Hunting a Turtle. P . M . — I s He Jealous?; Fortunio. W . — H o n e y Moon ; Deaf as a Post. A . — K i n g of the Commons ; Of Age Tomorrow. P . M . — D r . Dilworth; Fortunio. W . — T h e Stranger; Weathercock. A . — K i n g of the Commons; Of Age Tomorrow. P . M . — M a r r i e d Bachelor; M r . and Mrs. White. W . — T h e Inconstant; Lady of Lyons. A . — K i n g of the Commons; Poor Soldier. P . M . — S w i s s Swains; Cricket on the Hearth. W . — T h e Inconstant; M y Aunt. A . — K i n g of the Commons ; Poor Soldier. P . M . — M y Neighbor's W i f e ; Cricket on the Hearth. Monday: W . — G a m e s t e r ; Lend M e Five Shillings. A . — K i n g of the Commons; Ladies, Beware. P . M . — D r . Dilworth; Fortunio. W . — M u c h Ado about Nothing; Deaf as a Post. A . — K i n g of the Commons; Beauty and the Beast. P . M . — M a r r i e d Rake; Married Alive. W.—Hunchback; Pleasant Neighbors. A . — K i n g of the Commons ; Beauty and the Beast. P . M . — R i v a l Pages; Cricket on the Hearth. W . — G a m e s t e r ; Lend M e Five Shillings. A . — K i n g of the Commons ; Beauty and the Beast. P . M . — S e c r e t ; Married Life. W . — T h e Stranger; Honey Moon. A . — K i n g of the Commons; Actress of all Work. P . M . — G r e t n a Green; Fortunio. W . — S t r a n g e r ; Honey Moon. A . — T h e Stranger; Lady of Lyons. P . M . — M r . and Mrs. White; Married Life. Monday: W . — A s Y o u Like It ; A M a n without a Head. Α.—Richard I I I . P . M . — P a u l P r y ; Widow's Victim. W . — M e r c h a n t of Venice ; Wonder. Α.—Richard I I I . P . M . — W h o ' s Your Friend?; Bamboozling. W . — J e a l o u s W i f e ; Man without a Head. Α.—Richard I I I . P . M . — M a r r i e d L i f e ; Bamboozling. [ 343 ]

THE PHILADELPHIA T H E A T R E 24. 25. 26. 28.

29. 30.

W . — I o n ; Man without a Head. Α.—Richard I I I . P . M . — P a u l P r y ; Ladder of Love. W.—Hunchback; Follies of a Night. Α.—Richard I I I . P . M . — M a r r i e d L i f e ; Ladder of Love. W . — I o n ; Follies of a Night. Α.—Richard I I I . P . M . — I t ' s all very Fine, M r . Ferguson; T h e Golden Farmer. Monday : W . — M u c h Ado about Nothing; M y Aunt. Α.—Richard I I I . P . M . — M a i d of Croissy; 2, 4, 5, o! W . — W o n d e r ; M y Aunt. A.—Romeo and Juliet; Poor Soldier. P . M . — H u e and C r y ; Secret. W . — M a n without a Head ; Ernestine. A . — K i n g John ; Gardner's Wife. P.M.—Woman's a Wonder; 2, 4, 5, o ! OCTOBER

1.

2. 3. 5.

6. 7. 8. 9.

Thursday : W.—Cesar de Bazan ; Ernestine. Α.—Richard I I I . P.M.—Catharine and Petruchio; Woman's a Wonder. W . — M a r r i e d Rake ; Cesar de Bazan. A . — K i n g of the Commons; Hunting a Turtle. P . M . — M a i d of Croissy; Dumb Belle. W.—Cesar de Bazan ; Ernestine. A.—Macbeth ; Of Age Tomorrow. P.M.—Saturday Night; Woman's a Wonder. Monday: W.—Romeo and Juliet; Irish Tutor. A . — I s He Jealous?; Irish Tutor. P.M.—Wandering Boys; T r u e Use of Riches. W.—Love's Sacrifice; His Last Legs. A.—Married Rake. P.M.—Wandering Boys; M r . and Mrs. White. W . — F a z i o ; Born to Good Luck. A . — T h e Lady and the Devil. P.M.—Wandering Boys; Omnibus. W.—Fashion ; Happy Man. Α.—Dumb Belle. P . M . — W e l s h G i r l ; Dumb Belle. W . — E v a d n e ; Irish Attorney. [344 ]

CHRONOLOGICAL R E C O R D S : 1846

io..

12.

13. 14. 15. 16. 17. 19.

20. 21. 22.

23. 24. 26.

A.—Actress of all W o r k . P . M . — T h e Welsh G i r l ; Hue and C r y . W . — F a s h i o n ; Irish T u t o r . A.—Raising the W i n d ; Invisible Harlequin. P . M . — W a n d e r i n g Boys; Irish T u t o r . Monday: W . — H a m l e t ; Deaf as a Post. A . — L a d y and the Devil. P . M . — M a i d and Magpie; Colin. W . — L a d y of Lyons; M a n without a Head. A . — R o b Roy ; Wandering Minstrel. P . M . — M a i d and M a g p i e ; Colin. W . — K i n g of the Commons; N e w Footman. A . — W i l d Oats ; Beauty and the Beast. P . M . — M a i d and M a g p i e ; Family J a r s . W . — K i n g of the Commons; Married Rake. A . — T h e W i f e ; Is he a Ghost? P . M . — H a p p y M a n ; Irish Lion. W . — O t h e l l o ; Faint Heart never won Fair L a d y . A . — B r i g a n d ; Rent Day. P . M . — B o r n to Good L u c k ; Irish T u t o r . W . — K i n g of the Commons; Elder Brother. A . — P i z a r r o ; Rent Day. P . M . — B o r n to Good L u c k ; Hundred-Pound Note. Monday: W . — H a m l e t ; A Day after the Wedding. A.—Ernestine; Spring and Autumn. P . M . — E m e r a l d Isle; Dumb Belle. W . — O t h e l l o ; N e w Footman. A . — B r i g a n d ; Spring and Autumn. P . M . — E m e r a l d Isle; Irish T u t o r . W . — M a c b e t h ; Pleasant Neighbors. A.—Invisible Harlequin ; Grandfather Whitehead. P . M . — B a s h f u l Irishman; Irish T u t o r . W . — R i c h e l i e u ; Did you ever Send your W i f e to Burlington? A . — H u n t i n g a Turtle. P . M . — E m e r a l d Isle; Bashful Irishman. W . — K i n g L e a r ; Did you ever Send your W i f e to Burlington? A . — O f Age Tomorrow. P . M . — W e l s h G i r l ; Married Rake. W . — G l a d i a t o r ; Deaf as a Post. A . — I s He J e a l o u s ? ; Dumb Belle. P . M . — C r i c k e t on the H e a r t h ; D r . Dilworth. Monday: W . — D a m o n and Pythias; Lend M e Five Shillings. A . — C e s a r de Bazan; Ernestine. [ 345 ]

T H E PHILADELPHIA T H E A T R E 27. 28. 29. 30. 31.

P.M.—Ransom; Uncle Sam. W . — M e t a m o r a ; Wandering Minstrel. A.—Cesar de Bazan ; Spring and Autumn. P.M.—Ransom; Day after the Wedding. W.—Gladiator ; Faint Heart never won Fair Lady. A . — T h e Violet ; Cesar de Bazan. P.M.—Cricket on the Hearth ; Welsh Girl. W . — J a c k Cade; Married Rake. A.—Violet ; Ernestine. P.M.—Miseries of Human L i f e ; Dead Shot. W . — J a c k Cade ; Pleasant Neighbors. A.—Stranger ; Wonder. P.M.—Miseries of Human L i f e ; T o m Grig, the Lamplighter. W . — N o performance. A.—Richard I I I ; Siege of Monterey. P.M.—Cricket on the Hearth; 2, 4, 5, o ! NOVEMBER

2.

3. 4. 5. 6. 7. 9.

10. 11.

Monday : W.—Bohemian G i r l ; Man without a Head. A.—Rob Roy ; Siege of Monterey. P.M.—Sergeant's W i f e ; A Kiss in the Dark. W.—Bohemian Girl. A.—Iron Chest; Siege of Monterey. P.M.—Sergeant's W i f e ; Married Bachelor. W.—Brewer of Preston. A.—Hamlet ; Siege of Monterey. P . M . — M a i d and Magpie; Pleasant Neighbors. W.—Brewer of Preston. A.—Grandfather Whitehead. P.M.—Causes and Effects; Uncle Sam. W . — D o n Pasquale. A . — T o o Late for Dinner. P.M.—Causes and Effects; Hunting a Turtle. W.—Bohemian Girl. A.—Agnes de Vere. P.M.—Sergeant's W i f e ; Toothache. Monday: W.—Maritana. A.—Cricket on the Hearth. P . M . — F a i n t Heart never won Fair Lady; Toothache. W . — M a r i t a n a ; Wandering Minstrel. Α.—Dumb Belle. P . M . — T w o Friends; A Kiss in the Dark. W . — M a r i t a n a ; Lend Me Five Pounds. [ 346]

CHRONOLOGICAL R E C O R D S :

12.

13.

14.

16.

17.

18.

19.

20.

21.

23.

24.

25.

26.

27.

1846

A . — H u n t i n g a T u r t l e ; Spectre Bridegroom. P . M . — A s m o d e u s ; D r . Dilworth. W . — M a r i t a n a ; Lottery Ticket. Α.—Gardner's Wife. P . M . — G o o d Genius of the A t t i c ; Hunting a T u r t l e . W . — N o r m a ; Maritana. A . — R o b Roy ; Ladies, Beware. P . M . — G o o d Genius of the A t t i c ; Rendezvous. W . — N o r m a ; Maritana. A . — L a d y of the L i o n s ; Deserter. P . M . — C r i c k e t on the H e a r t h ; Toothache. Monday: W . — I r i s h Ambassador; T e d d y the T i l e r . A . — L a d y of the Lions; Spitfire. P . M . — P a u l P r y ; M y Neighbor's W i f e . W . — I r i s h Post; H o w to pay Rent. A . — H a m l e t ; Lady of the Lions. P . M . — K a t e K e a r n e y ; W h a t have I D o n e ? W . — M a i d of Croissy; M y Sister K a t e . A . — M a c b e t h ; L a d y of the Lions. P . M . — F o r t u n i o ; Bamboozling. W . — B o r n to Good L u c k ; H o w to pay Rent. A . — L o v e ' s Sacrifice ; Lady of the Lions. P . M . — K a t e K e a r n e y ; Miseries of H u m a n L i f e . W . — S o l d i e r of F o r t u n e ; Irish Post. A . — S t r a n g e r ; Honey Moon. P . M . — C r i c k e t on the H e a r t h ; W h a t H a v e I D o n e ? W . — S o l d i e r of F o r t u n e ; Irish Ambassador. A . — T o u r de Nesle ; Weathercock. P . M . — M a r r i e d L i f e ; Sayings and Doings. Monday: W . — M i d n i g h t Hour. A . — L a d y of Lyons. P . M . — L a d y of Lyons. W . — D i d you ever Send your W i f e to Burlington? A . — H u n c h b a c k ; L a d y of the Lions. P . M . — C r i c k e t on the H e a r t h ; M y Sister Kate. W . — C h i l d of Nature. A . — D o u g l a s ; T h e Stranger. P . M . — H o n e y M o o n ; M y Little Adopted. W . — P l e a s a n t Neighbors; Lottery T i c k e t . A . — F a z i o ; Wallace. P . M . — B e a u t v and the Beast; Rendezvous. W . — A Child of Nature. A . — L o v e ' s Sacrifice; Soldier's Daughter. P . M . — N o record. [ 347 ]

THE PHILADELPHIA T H E A T R E 28. 30.

W.—Robert Macaire. A.—Heir at L a w ; Mysteries of Odd Fellowship. P . M . — K a t e Kearney; M y Little Adopted. Monday: W . — M a n without a Head ; Deaf as a Post. A . — T o u r de Nesle; Magic Pills. P.M.—Lucille; The Watch-House. DECEMBER

1.

2. 3. 4. 5. 7.

8. 9. 10. 11. 12. 14.

Tuesday : W.—Artist's W i f e ; New Footman. A.—Wallace; Magic Pills. P.M.—Beauty and the Beast; All in the Dark. W . — L a d y of Lyons. A.—Wallace; Magic Pills. P.M.—Cricket on the Hearth ; Our M a r y Ann. W.—Pizarro. A.—Therese ; Magic Pills. P . M . — L a d y of Lyons. W.—Midnight Hour. A.—Charles X I I ; Hundred-Pound Note. P.M.—Augustus Durance; A Roland for an Oliver. Α.—Charles X I I ; Magic Pills. P . M . — M a y Queen; False Pretences. Monday: W.—Maritana ; Lottery Ticket. A.—Coriolanus ; Wallace. P . M . — G r i s t to the Mill ; Eton Boy. W.—Leonora; Man without a Head. A.—Richelieu ; Lady of Lyons. P.M.—Soldier's Daughter; Four Sisters. W.—Leonora ; Happiest Day of my Life. A.—Honey Moon ; Weathercock. P.M.—Satan in Paris; Loan of a Lover. W.—Leonora; Lend M e Five Pounds. A.—Therese; Aladdin. P.M.—Satan in Paris; Eton Boy. W.—Leonora ; Our Mary Ann. A.—Taming the Shrew ; Aladdin. P . M . — L o v e Chase; Somebody Else. W.—Bohemian G i r l ; Our Mary Ann. A . — E l l a Rosenberg; Aladdin. P.M.—Agnes de Vere; Fortunio. Monday: W.—Maritana ; Robert Macaire. [ 348 ]

CHRONOLOGICAL R E C O R D S :

15.

16.

17.

18.

19.

21.

22.

2.3.

24.

25.

26.

28.

29·

30.

1846

A . — S h e Stoops to Conquer; French Spy. P . M . — A u g u s t u s D u r a n c e ; False Pretences. W . — F r a Diavolo; Our Mary Ann. A . — F a z i o ; Irish Helps. P.M.—Stranger. W . — L u l i ; Lottery Ticket. A . — T a m i n g the S h r e w ; D u m b M a n of Manchester. P . M . — C r i c k e t on the H e a r t h ; Peter Smink. W . — L u l i ; Robert Macaire. A . — E l l a Rosenberg; Siege of Monterey. P . M . — T h e r e s e ; ' T w a s I. W . — L u l i ; Wandering Minstrel. A . — V o l u n t e e r ; L a Fitte. P . M . — M a y Q u e e n ; Bamboozling. W . — L u l i ; W i l l i a m Thompson. A . — L a F i t t e ; Volunteer. P . M . — L a d y of L y o n s ; Peter Smink. Monday: W . — R i c h e l i e u ; M a n without a Head. A . — W a n d e r i n g M i n s t r e l ; T h e Roll of the D r u m . P . M . — J e w e s s ; Watch-House. W . — M e t a m o r a ; W i l l i a m Thompson. A . — R o l l of the D r u m ; Volunteer. P . M . — J e w e s s ; O u r M a r y Ann. W . — J a c k Cade; Our M a r y Ann. A . — M o n t e z u m a ; Black Eyed Susan. P . M . — A s m o d e u s ; Dunn B r o w n . W . — P i z a r r o ; Y o u n g Scamp. A . — M o n t e z u m a ; Lady of the Lions. P . M . — W a n d e r i n g B o y s ; Cricket on the Hearth. W . — Y o u n g Scamp; Robert Macaire. A . — G u l l i v e r ; Montezuma. P . M . — C h r i s t m a s M o r n ; George B a r n w e l l . W . — A r t i s t ' s W i f e ; Happiest D a y of my L i f e . A . — G u l l i v e r ; Montezuma. P.M.—Christmas Morn. Monday: W . — J u l i u s Caesar ; Lend M e F i v e Pounds. A . — G u l l i v e r ; Montezuma. P . M . — C h r i s t m a s M o r n ; One H o u r . W . — I o n ; W a n d e r i n g Minstrel. A . — G u l l i v e r ; Montezuma. P . M . — C h r i s t m a s M o r n ; ' T w a s I. W . — K i n g J o h n ; M a n without a Head. A . — K i n g Lear ; Gulliver. P . M . — C h r i s t m a s M o r n ; Venus in A r m s . [ 349 ]

THE PHILADELPHIA THEATRE 31.

W.—Lady of Lyons; T w o Thompsons. A.—Gulliver ; Village Lawyer. P.M.—Christmas Morn; Cricket on the Hearth. JANUARY

1.

2. 4.

5. 6. 7. 8. 9. 11.

12. 13. 14.

1847

Friday : P.M.—Young Scamp; New Year's Morn. A.—The Chimes; Aladdin. W.—Alexander the Great ; Money. P.M.—Dunn Brown ; New Year's Morn. A.—Oliver Twist; Gulliver. W.—Robbers ; Did you ever Send your W i f e to Burlington ? Monday: P.M.—Kabri; Venus in Arms. Α.—The Slave; Blue Beard. W.—Gladiator; Pleasant Neighbors. P.M.—Faint Heart never won Fair Lady; Kabri. A.—Oliver Twist; The Chimes. W.—Richelieu; Highways and Byways. P.M.—What will my Wife Say?; Asmodeus. Α.—Closed. W.—Jack Cade; Highways and Byways. P.M.—What will my Wife Say?; Mr. and Mrs. White. W.—Macbeth; Happiest Day of my Life. Α.—Closed. P.M.—Look before you Leap; Peter Smink. W.—Damon and Pythias; Therese. A.—Beauty and the Beast; The Three Lovers. P . M . — T h e Cricket on the Hearth ; Kriss Kringle. W.—William T e l l ; Metamora. A.—Oliver Twist ; The Chimes. Monday: P.M.—Look before you Leap. W.—Broker of Bogota; Highways and Byways. A.—Oliver Twist ; Jack Robinson and his Monkey. P.M.—Look before you Leap. W.—Gladiator; Robert Macaire. A.—Dumb Man of Manchester; L a Perouse. P.M.—Charles I I ; T w o Queens. W.—Broker of Bogota; House Dog. A.—Hunchback; Jack Robinson and his Monkey. P.M.—Look before you Leap. W.—Jack Cade ; House Dog. A.—Stranger; Black Eyed Susan. [350]

CHRONOLOGICAL

15.

16.

18.

iy.

20.

21.

22.

25.

25.

26.

27.

28.

29.

30.

RECORDS:

1847

P . M . — L o o k before you Leap. W . — B r o k e r of Bogota; Pizarro. A . — L a d y of Lyons. P . M . — L o o k before you Leap. W — R i c h a r d I I I ; House Dog. A.—Hunchback. Alonday: P . M . — H e i r at L a w ; A Kiss in the D a r k . W . — I o n ; Deaf as a Post. Α.-—Love's Sacrifice, P . M . — W h a t will my W i f e S a y ? ; G r e t n a Green. W . — J e a l o u s W i f e ; M a n without a Head. A . — S o l d i e r ' s Daughter. P . M . — P e t e r and P a u l ; 2, 4, 5, o ! W . — W i f e ' s Secret ; T w o Thompsons. A . — J a n e Shore; Dumb M a n of Manchester. P . M . — P e t e r and P a u l ; T h e Secret. W . — W i f e ' s Secret; Lend M e Five Shillings. A . — S h e Stoops to Conquer ; French Spy. P . M . — W e l s h G i r l ; Dead Shot. W . — W i f e ' s Secret; Follies of a Night. A . — A s Y o u Like I t ; Stranger. P . M . — A s m o d e u s ; Venus in A r m s . W . — W i f e ' s Secret; Follies of a Night. A . — K a t h a r i n e and Petruchio; Actress of all W o r k . Monday: P . M . — T h e Son of Temperance. W . — W i f e ' s Secret; Robert Macaire. A . — S o l d i e r ' s D a u g h t e r ; Hunting a T u r t l e . P . M . — T h e Son of Temperance. W . — W i f e ' s Secret; Artist's W i f e . A . — T h e Chimes ; Village L a w y e r . P . M . — T h e Son of Temperance. W . — H u n c h b a c k ; Midnight Hour. A . — A g n e s de V e r e ; Gardener's W i f e . P . M . — T h e Son of Temperance. W . — W i f e ' s Secret; T w o Thompsons. A . — C r i c k e t on the Hearth ; Spectre Bridegroom. P . M . — L o o k before you Leap. W.—Gamester ; T h e Wonder. A . — R o l l of the D r u m ; Lady of the Lions. P . M . — K a t e K e a r n e y ; Cricket on the Hearth. W . — M e r c h a n t of Venice; T h e W o n d e r . A.—Oliver Twist. [351 ]

T H E PHILADELPHIA T H E A T R E FEBRUARY 1.

2.

3. 4. 5. 6.

8.

9. 10. 11. 12. 13.

15.

16.

Monday:

P . M . — W o l f and the Lamb; Toothache. W . — B o r n to Good Luck; House Dog. A.—Look before you Leap ; Ole Bull. P . M . — F a i n t Heart never won Fair L a d y ; Love and Misanthropy. W.—Irish Ambassador; Teddy the Tiler. A.—Family J a r s ; Richard I I I . P . M . — T h e Battle of L i f e ; Loan of a Lover. W.—Born to Good Luck; Irish Post. A.—Lady of the Lions; Richard I I I . P . M . — T h e Battle of L i f e ; Loan of a Lover. W.—Irish Attorney; Teddy the Tiler. A.—Look before you Leap ; Of Age Tomorrow. P . M . — T h e Battle of L i f e ; Venus in Arms. W.—Soldier of Fortune; Irish Post. A.—Look before you Leap ; Village Lawyer. P.M.—Battle of Life ; All in the Dark. W.—Soldier of Fortune; His Last Legs. A.—Infidelity; Nicholas Nickleby. Monday:

P . M . — P e t of the Petticoats; No Song, No Supper. W.—Irish Attorney; Happy Man. A.—Poor Gentleman ; Wreck Ashore. P.M.—Battle of L i f e ; 2, 4, 5, o! W.—Nervous Man ; Battle of Life. A.—Infidelity; Nicholas Nickleby. P.M.—Battle of L i f e ; You can't Marry your Grandmother. W.—Irish Ambassador; W i f e Hunters. Α.—Old Morgan ; Dumb Belle. P . M . — P e t of the Petticoats; Cricket on the Hearth. W . — B o r n to Good L u c k ; How to pay Rent. A.—Old Morgan ; Raising the Wind. P.M.—Swiss Cottage; Lady of Lyons. W . — K i n g O'Neil ; W i f e Hunters. A.—Old Morgan ; Raising the Wind. P.M.—Battle of L i f e ; Golden Farmer. W . — K i n g O'Neil ; W i f e Hunters. A.—Nicholas Nickleby; Old Morgan. Monday:

P . M . — Y o u can't Marry your Grandmother; Uncle Sam. W.—Romeo and Juliet; Happiest Day of my Life. A . — T h e Philadelphia Merchant; Oliver Twist. P.M.—Asmodeus; Alpine Maid. [ 352 1

CHRONOLOGICAL R E C O R D S : 1847

17.

1819. 20. 22. 23. 24. 25. 2b. 27.

W . — T h e W i f e ; Highways and Byways. A . — P h i l a . Merchant; Mummv. P . M . — T h e Chimes; Ole Bull. W . — F a z i o ; Robert Macaire. A.—Closed. P . M . — T h e Chimes; Spectre Bridegroom. W . — J e a l o u s W i f e ; Spring Gardens. P.M.—Sweethearts and W i v e s ; Village L a w y e r . W . — H u n c h b a c k ; Perfection. P . M . — A Day in Paris; Lady of the Lions. W . — F a z i o ; Laugh when you Can. Monday: P.M.—Sweethearts and W i v e s ; Lady of the Lions. W . — R i c h a r d I I I ; Spring Gardens. P . M . — W i f e ' s Revenge; A l l in the Dark. W . — R i c h a r d I I I ; T w o Thompsons. P . M . — E m e r a l d Isle; Ole Bull. W . — R i c h a r d I I I ; Lend M e Five Shillings. P . M . — H e i r at L a w ; Young W i d o w . W . — J e a l o u s W i f e ; Lottery Ticket. P . M . — T h e R i v a l s ; Village Lawyer. W . — R i c h a r d I I I ; M a n without a Head. P . M . — M a r r i e d L i f e ; False Pretences. W . — R i c h a r d I I I ; Wandering Minstrel. MARCH

1. 2. 3. 4. 5. 6. 8. 9. 10.

Monday: P . M . — C r i c k e t on the Hearth; Spectre Bridegroom. W . — R i c h a r d I I I ; House Dog. P . M . — C r i c k e t on the Hearth; Mesmerism. W . — R i c h a r d I I I ; T o o many Cooks Spoil the Broth. P . M . — K a t e Kearney ; Mesmerism. W . — W i f e ' s Secret; Wonder. P . M . — C r i c k e t on the Hearth; Kate Kearney. W . — B a t t l e of L i f e ; Young Scamp. P . M . — C r i c k e t on the Hearth; Kate Kearney. W.—W T eak Points; Irish Footman. P . M . — T h e Chimes; Mesmerism. W . — W e a k Points ; Cesar de Bazan. Monday: P . M . — P o o r Smike; Omnibus. W . — W h a t will the W o r l d S a y ? ; School for Soldiers. P . M . — P o o r Smike; A Kiss in the Dark. W . — W h a t will the W o r l d Say? Cesar de Bazan. P . M . — P o o r Smike; Naval Engagements. [ 353 ]

THE PHILADELPHIA THEATRE 11. 12. 13. 15. 16. 17. 18. 19. 20. 22. 23. 24. 25. 26. 27.

29.

30. 31.

W.—Jack Cade ; Too many Cooks Spoil the Broth. P.M.—Poor Smike; Mesmerism. W.—Bold Stroke for a Husband; Battle of Germantown. P.M.—Poor Smike; Mesmerism. W.—Lady of Lyons; Gwynneth Vaughn. P.M.—Poor Smike; Hunting a Turtle. W.—Werner; Gwynneth Vaughn. Monday: P . M . — T h e Chimes; Dew Drop, ballet. W.—Metamora ; Too many Cooks Spoil the Broth. P.M.—Kate Kearney; Dew Drop. W.—Jack Cade; House Dog. P.M.—Poor Smike; Irishman in London. W.—Gladiator ; T w o Thompsons. P.M.—Poor Smike; Mesmerism. W.—Broker of Bogota; Wind Mill. P.M.—Battle of Life; Cricket on the Hearth. W.—Richelieu ; Pizarro. P.M.—Battle of Life; Beauty and the Beast. W.—Virginius ; Therese. Monday: P.M.—Naval Engagements; A Day in Paris. W . — T h e Wind Mill; T w o Thompsons. P . M . — T w o Friends; Beauty and the Beast. W . — M a n without a Head ; Young Scamp. P.M.—Beauty and the Beast; The King and I. W.—Weak Points; Our Mary Ann. P.M.—Poor Smike; King and I. W.—Deaf as a Post; New Footman. A.—Dutch Burgomaster; Wandering Minstrel. P . M . — D e w Drop; Battle of Life. W.—Wandering Minstrel ; Too many Cooks Spoil the Broth. A.—Charles II ; Loan of a Lover. P.M.—Beauty and the Beast; Boots at the Swan. W.—Faint Heart never won Fair Lady; Mr. and Mrs. Peter White. A.—Second Thoughts; Dumb Belle. Monday: P . M . — T h e Chimes ; Boots at the Swan. W . — A Day after the Wedding; Happiest Day of my Life. A.—Second Thoughts; Dutch Burgomaster. P . M . — T h e Cricket on the Hearth ; Naval Engagements. W.—Pleasant Neighbors ; Lend Me Five Shillings. A.—Stag Hall ; Ladies' Man. P.M.—Battle of Life; The King and I. W.—Faint Heart never won Fair Lady; Young Scamp. [ 354 ]

CHRONOLOGICAL R E C O R D S : 1847 APRIL 1.

2.

3. 5.

6.

7.

8.

9.

10.

12.

13.

Thursday : P . M . — P o o r Smike; Boots at the Swan. A.—Soldier's Return ; Second Thoughts. W . — N a t u r e and Philosophy; M y Sister Kate. P . M . — B e a u t y and the Beast; B a ! B a ! B a ! A . — B l u e Devils; Broken Heart. W . — D i d you ever Send your W i f e to Burlington?; Lottery Ticket. P . M . — K a t e Kearney; Hunting a T u r t l e . A . — R a k e ' s Progress; Charles O ' M a l l e y . W.—Perfection; Wind Mill. Monday: P . M . — T h e F a i r One of the Golden Locks; T h e T w o Friends. Α . — B l u e Devils; Charles O ' M a l l e y . W . — H i g h w a y s and B y w a y s ; Deaf as a Post. C.—Norma. P . M . — T h e Fair One of the Golden Locks; N a v a l Engagements. A . — R a k e ' s Progress ; T w o Thompsons. W . — N a t u r e and Philosophy; T o o many Cooks Spoil the Broth. C . — F r a Diavolo. P . M . — T h e Fair One of the Golden Locks; Boots at the Swan. A . — T h e Lady and the D e v i l ; Broken Heart. W . — M y W i f e ' s Dentist; Loan of a Lover. C.—Postillion of Lonjumeau. P . M . — T h e Fair One of the Golden Locks; Born to Good Luck. A . — M e r c h a n t of Venice; Billy T a y l o r . W . — M y W i f e ' s Dentist; Married Rake. C . — L a Sonnambula. P . M . — T h e F a i r One of the Golden Locks; Born to Good Luck. A . — H u n c h b a c k ; Ladies' M a n . W . — M a n without a Head ; Valet de Sham. C.·—Maritana. P . M . — B o r n to Good L u c k ; Iron Lion. A . — F a z i o ; Paul Pry. W . — L e n d M e Five Shillings; Virginia M u m m y . C . — B r e w e r of Preston. Monday: P . M . — S n o w Storm; Irish T u t o r . A . — K i n g of the Commons ; Lost Letter. W . — O l d G u a r d ; Loan of a Lover. C.—Norma. P . M . — V o i c e of N a t u r e ; T h e Review. A . — L a d y of Lyons; Mysteries of Odd Fellowship. W . — O l d G u a r d ; Virginia M u m m y . [ 355 ]

THE PHILADELPHIA T H E A T R E 14.

15.

16.

17.

19.

20.

21.

22.

23.

24.

26.

C . — F r a Diavolo. Ρ . Λ 1 . — T h e Snow Storm; T h e Review. A . — K i n g of the Commons ; Shocking Events. W.—Swiss Cottage; Valet de Sham. C.—Postillion of Lonjumeau. P . M . — C a r d Player; Irish Post. A.—Bertram ; Sketches in India. W.—Somebody Else; Did you ever Send your W i f e to Burlington ? C . — L a Sonnambula. P . M . — T h e Fair One of the Golden Locks; T h e Attick Story. A.—Werner ; Shocking Events. W . — O l d Guard; Wandering Minstrel. C.—Maritana. P . M . — F a i r One of the Golden Locks; Grandfather Whitehead. A.—William T e l l ; Soldier's Daughter. W . — M y Wife's Dentist ; Lottery Ticket. C.—Brewer of Preston. Monday: P . M . — M a i d and Magpie; Cricket on the Hearth. A . — O u r Flag is Nailed to the Mast; Paul Pry. W . — N e w Way to Pay Old Debts; Somebody Else. C . — F r a Diavolo. P . M . — T w o Queens; Ransom. A.—School for Scandal ; Our Flag is Nailed to the Mast. W . — K i n g John ; Sam Patch in France. C.—Bohemian Girl. P . M . — M a i d and Magpie; Hunting a Turtle. A . — K i n g of the Commons; Sketches in India. W.—Richard I I I ; American Farmer. C.—Don Pasquale. P . M . — M a i d and Magpie; Hunting a Turtle. A . — T h e Rivals; The Lost Letter. W.—Apostate ; Backwoodsman. C.—Norma. P . M . — F a i n t Heart never won Fair Lady. A.—Bridal ; Dumb Girl of Genoa. W.—Venice Preserved ; Mayor of Garrat. C.—Bohemian Girl. P . M . — T h e T w o Friends. A.—Pizarro; Dumb Girl of Genoa. W.—Macbeth ; Backwoodsman. C.—Maritana. Monday: P.M.—Closed in preparation for a new series of dramas. A.—Honey Moon; Pizarro. 1 356 ]

CHRONOLOGICAL R E C O R D S :

27. 28. 29. 30.

1847

W . — L a d y of Lyons ; Somebody Else. C.—Bohemian Girl. A.—Feudal Times; Young Widow. W . — H a m l e t ; Loan of a Lover. C . — L a Sonnambula. A — F e u d a l T i m e s ; T h e King and I. W.—Gamester; Highways and Byways. C.—Masaniello. A.—Feudal Times; T h e King and I. W.—Inconstant; M y Aunt. C.—Don Pasquale. A.—Feudal Times ; T h e Mummy. W . — S t r a n g e r ; Wild Oats. C.—Masaniello. MAY

I.

3.

4.

5.

6.

7.

8.

Saturday: A.—Feudal Times ; T h e Deserter. W.—Stranger; Inconstant. C.—Cinderella. Monday: A . — G i z e l l e ; Hunting a Turtle. W . — R i e n z i ; Miller's Maid. C.—Masaniello. P.M.—Crock of G o l d ; Loan of a Lover. P . M . — C r o c k of G o l d ; T h e Omnibus. A.—Gizelle ; Young Widow. W . — R i e n z i ; Old Guard. C.—Cinderella. P.M.—Crock of G o l d ; Pleasant Neighbors. A.—Dumb Man of Manchester. W.—Fashion ; T h e Wind Mill. C.—Elixir of Love. P.M.—Crock of G o l d ; Day after the Wedding. A . — T h e Illustrious Stranger. W . — T o w n and Country ; Campaign of the Rio Grande. C.—Bohemian Girl. P.M.—Crock of G o l d ; False Pretences. A.—Hunting a Turtle. W . — O l d Heads and Young Hearts; L a Fille du Regiment. C.—Masaniello. P.M.—Crock of G o l d ; Cricket on the Hearth. A.—Oliver T w i s t ; Illustrious Stranger. W.—Gwynneth Vaughan ; Robert Macaire. C.—Marriage of Figaro. [ 357 ]

THE PHILADELPHIA T H E A T R E 10.

11.

12.

13.

14.

15.

17.

18.

19.

20.

21.

22.

P.M.—Battle of L i f e ; Pleasant Neighbors. A . — T o m Noddy's Secret; Gizelle. W . — J a c k Cade; Loan of a Lover. C . — D e r Freyschutz. P . M . — O u r Flag is Nailed to the M a s t ; Boots at the Swan. A . — T o m Noddy's Secret ; L a Sylphide. W . — B r u t u s ; House Dog. C . — F r a Diavolo. P.M.—Isabelle; Windmill. A.—Young W i d o w ; L a Sylphide. W.—Gladiator; Highways and Byways. C . — N o performance. P.M.—Crock of Gold; Dr. Dilworth. A.—John Jones. W.—Oralloosa ; Somebody Else. C . — M a i d of Cashmere. P.M.—Isabelle; 'Twas I. Α.—Ole Bull ; L a Sylphide. W.—Richelieu; William Tell. C.—Marriage of Figaro. P.M.—Isabelle; A l l in the Dark. A.—Adventures of an Umbrella; Pleasant Neighbors. W.—Oralloosa; Valet de Sham. C . — M a i d of Cashmere. Monday: P.M.—Blanche of Brandywine; Valet de Sham. A.—Hamlet; State Secrets. W.—Oralloosa; Cesar de Bazan. C . — M a i d of Cashmere. P.M.—Blanche of Brandywine; Day after the Wedding. A.—Robert Macaire; Adventures of an Umbrella. W . — J a c k Cade; Loan of a Lover. C.—Elixir of Love. P.M.—Blanche of Brandywine; Bamboozling. A.—Adventures of an Umbrella; A r t f u l Dodger. W . — M e t a m o r a ; Young Scamp. C . — M a i d of Cashmere. P.M.—Isabelle; Loan of a Lover. A . — J a c k Sheppard; A r t f u l Dodger. W.—Virginius; Robert Macaire. C . — L a Sonnambula. P.M.—Isabelle; T h e Secret. A.—Poor Gentleman ; Artful Dodger. W.—Broker of Bogota; Pizarro. C . — M a i d of Cashmere. P.M.—Crock of Gold; Bamboozling. [ 358 ]

CHRONOLOGICAL R E C O R D S : 1847

24.

25.

26.

27.

28.

29.

31.

A . — J a c k Sheppard; Drunken Corporal. W . — D a m o n and Pythias; Oralloosa. C . — M a i d of Cashmere. Monday: P.M.—Blanche of Brandywine; T o m Thumb. A.—Telemachus; Drunken Corporal. W . — K i n g of the Commons; Somebody Else. C.—Zampa. P.M.—Christmas Carol; Cricket on the Hearth. A . — T h e Jewess. W . — F a z i o ; Weak Points. C.—Zampa. P . M . — R a n s o m ; T o m Thumb. A . — T h e Jewess. W.—Hunchback; Too many Cooks Spoil the Broth. C.—Zampa. P.M.—Christmas Carol ; T o m Thumb. A.—Telemachus ; Jack Sheppard. W.—Jealous W i f e ; House Dog. C.—Zampa. P . M . — B a t t l e of L i f e ; Our M a r y Ann. A . — S i x Degrees of Crime ; Drunken Corporal. W . — L a d y of Lyons; Youthful Queen. C.—Zampa. P . M . — C a r d D r a w e r ; ' T w a s I. A . — T h e Jewess. W . — F e u d a l Times ; Merchant of Venice. C.—Zampa. Monday: P . M . — P a u l P r y ; Bamboozling. A . — N a t i v e Nobility; T h e Deserter. W . — W i n d m i l l ; H ouse Dog. C.—Mountain Sylph. JUNE

1.

2.

Tuesday : P . M . — C a r d D r a w e r ; M y Neighbor's W i f e . A . — N a t i v e Nobility; Invisible Prince. W . — M a n without a Head ; Deaf as a Post. C.—Mountain Sylph. P . M . — Y o u can't M a r r y your Grandmother; Alpine Maid. A . — N a t i v e Nobility; Invisible Prince. W . — N e w Footman ; Did you ever Send your W i f e to Burlington ? C . — L a Sonnambula. [ 359 ]

THE PHILADELPHIA T H E A T R E 3.

P.M.—Disowned; Boots at the Swan. A . — J a c k Sheppard; Invisible Prince. W.—Somebody Else; Lottery Ticket. C.—Zampa. 4. P.M.—Sweethearts and Wives; T o m Thumb. A.—Jemmy Twitcher in America ; Cerro Gordo * : Joe— Burke, Haus—Burton. W . — L o a n of a Lover; Pleasant Neighbors. C . — N o advertisement. 5. P . M . — K a t e Kearney; Our M a r y Ann. A.—Invisible Prince ; Cerro Gordo. W.—Highways and Byways; Valet de Sham. C.—Norma. Last night of the season. 7. Monday : P . M . — T h r e e Eras in a Woman's L i f e ; Miseries of Human Life. A.—Jemmy Twitcher in America; Invisible Prince. W.—Somebody Else; Wind Mill. 8. P.M.—-School for Scheming; Day after the Wedding. A.—Native Nobility; Invisible Prince. W . — L e n d M e Five Shillings ; Rendezvous. 9. P.M.—School for Scheming; Married Rake. A.—Laid up in Port ; Invisible Prince. W . — L o a n of a Lover ; T w o Thompsons. 10. P.M.—School for Scheming; Pleasant Neighbors. A.—Laid up in Port ; Invisible Prince. W.—Happiest Day of M y L i f e ; Valet de Sham. 11. P.M.—Soldier's Daughter ; Welsh Girl. A.—Speed the Plough ; Mischief Making. W.—Lottery Ticket; House Dog. C.—Das Goldene Kreutz; No. 777. 12. P.M.—Sweethearts and Wives; T h e Secret. A.—Laid up in Port; Invisible Prince. W . — N o advertisement. 14. Monday: P.M.—Roof Scrambler; You can't Marry your Grandmother. A.—Uncle John ; T o m and Jerry. W . — B o r n to Good Luck; Irish Post. 15. P.M.—Son of Temperance; Married Rake. A.—Drunkard's Fate ; Invisible Prince. W.—Irish Ambassador; Somebody Else. 16. P.M.—Roof Scrambler; Welsh Girl. A.—Drunkard's Fate; Mischief Making. W.—Nervous Man ; Teddy the Tiler. 17. P . M . — R o o f Scrambler; Faint Heart never won Fair Lady. A . — T i t for T a t ; Invisible Prince. W.—Soldiers of Fortune ; Young Scamp. [ 360 ]

CHRONOLOGICAL R E C O R D S : 1847 18. 19.

21.

22.

23. 24. 25. 26.

28.

29. 30.

P . M . — R o o f Scrambler; T w o Friends. A . — U n c l e John ; Loan of a Lover. W . — I r i s h Attorney; Omnibus. P . M . — W e d d i n g D a y ; Roof Scrambler. A . — J e m m y Twitcher in America; T o m and J e r r y . W . — B o r n to Good L u c k ; W i f e Hunters. Monday: P . M . — F a r m e r and the Baronet; T h e Most Unfortunate in the W o r l d . A . — T i t for T a t ; Picnic. W . — K i n g O ' N e i l ; Omnibus. P . M . — N a v a l Engagements; Roof Scrambler. A . — M a r g a r e t Catchpole ; Spoiled Child. W . — N e r v o u s M a n ; Happy M a n . P . M . — G o l d e n F a r m e r ; Alpine Maid. A . — T i t for T a t ; Illustrious Stranger. W . — S c h o o l for Scandal ; H o w to pay Rent. P . M . — M a r r i e d L i f e ; Widow's Victim. A . — Y e l l o w D w a r f ; Nicholas Nickleby. W . — F a s h i o n ; Rendezvous. P . M . — H o n e y M o o n ; Blue Domino. A.—Secret P a m p h l e t * ; Crimson Crimes. W . — L o n d o n Assurance; Pleasant Neighbors. P . M . — G o l d e n F a r m e r ; Dr. Dilworth. A . — M a r g a r e t Catchpole ; Yellow D w a r f . W . — P i z a r r o ; Somebody Else. Monday : P . M . — G o l d e n F a r m e r ; Sketches of India. A . — Y e l l o w D w a r f ; Monsieur de Chalumeau. W . — M a r r i e d L i f e ; Miller's M a i d . P . M . — G o l d e n F a r m e r ; Three Clerks. A.—Illustrious Stranger. W . — H o u s e D o g ; Last Days of Pompeii. P . M . — T w o of the B'hoys; Robert Macaire. A.—Pleasant Neighbors. W . — P l e a s a n t Neighbors; Last Days of Pompeii. JULY

1.

2.

Thursday : P . M . — K a t e Kearney; Sketches of India. A . — P l e a s a n t Neighbors. W . — H e i r at L a w ; Last Days of Pompeii. P . M . — P o o r Gentleman. A . — T h r e e Faced Frenchman. W . — S p e e d the Plough; Robert Macaire. [361 ]

Man

THE PHILADELPHIA T H E A T R E 3. 5.

6. 7. 8. 9. 10. 12.

13. 14. 15. 16. 17. 19.

20. 21.

P . M . — O u r Mary A n n ; Cherokee Chief. Α . — O l e Bull. W.—Comedy of Errors; Triumphs in Mexico. Monday: P . M . — L o a n of a Lover; Cherokee Chief. A.—Hunting a Turtle. W.—Pocahontas; Washington. P . M . — D u m b Man of Manchester; Welsh Girl. A.—Young Widow. W . — L a s t Days of Pompeii ; Washington. P.M.—Sketches of India; Philip Quarl and his Monkey. A.—Hunting a Turtle. W.—Robert Macaire; Washington. Last night of the season. P . M . — D u m b Man of Manchester; Pleasant Neighbors. A . — T h e King and I. P . M . — ' T w a s I ; Raphael's Dream. A . — Y o u n g Widow. P.M.—Shipwrecked Orphan; First Fratricide. A . — K i n g and I ; Möns, de Chalumeau. Monday: P.M.—Bleeding N u n ; Naval Engagements. A.—Invisible Prince. W.—Saffo. P . M . — W i n d M i l l ; Alpine Maid. A . — T w o of the B'hoys; Don Juan. W.—Hernani. P.M.—Cricket on the Hearth; Dead Shot. A.—Secret Pamphlet; Invisible Prince. W.—Hernani. P . M . — W i n d M i l l ; Our Mary Ann. A.—Secret Pamphlet; Beauty and the Beast. W.—Hernani. P . M . — H o m e Sweet Home; Virginia Mummy. A.—Dream at Sea; A Kiss in the Dark. W.—Hernani. P.M.—Sudden Thoughts; Printer's Devil. A.—Woman's L i f e ; T w o of the B'hoys. W.—Lombards at the First Crusade. Monday: P . M . — N o drama. A.—Laugh when you Can; Dutch Burgomaster. W . — T w o Foscari. A.—Sudden Thoughts; Blue Devils. W . — L a Sonnambula. A.—Dream at Sea; Actor and the Heiress*: Jack Carter— J . S. Bonsall. [362]

CHRONOLOGICAL R E C O R D S :

22. 23. 24. 26.

27. 28. 29. 30. 31.

1847

W . — L a Sonnambula. A . — L a d y of Lyons ; Nipped in the B u d . W . — N o performance. A . — H u n c h b a c k ; W i l l Brore. W.—Norma. A . — F a z i o ; Honey M o o n . W . — L a Sonnambula. Monday: A . — J a n e S h o r e ; W i l l Brore. W . — L o m b a r d s at the First Crusade. A . — N o advertisement. W.—Norma. Α . — H u n c h b a c k ; W i l l Brore. W . — L i n d a de C h a m o u n i x . A.—School for Scandal ; Raphael's D r e a m . W . — N o advertisement. A . — M o n e y ; Mischief M a k i n g . A . — D r e a m at Sea; W i l l Brore.

AUGUST 2.

3· 4· 5· 6. 7· 9· 10. I I.

12. Πι 4.

Monday: A . — P o o r G e n t l e m a n ; C a t c h i n g an Heiress. W.—Norma. A , —Speed the Plough ; Peter W h i t e . W . - —Hernani. A , — H e i r at L a w ; Y o u n g America. A.-—Jack Sheppard ; C a t c h i n g an Heiress. W . - —Norma. A, - W h i t e F a r m ; X . Y . Z . W . - —Romeo and J u l i e t , opera. A.-—Jack Sheppard ; W h i t e F a r m . W . - —Speed the Plough ; Swiss Cottage. A.-—Voice of N a t u r e ; Rascal J a c k . W . - —Heir at L a w ; Loan of a Lover. A , — P e t e r W h i t e ; Rascal J a c k . W . - —Poor G e n t l e m a n ; O u r M a r y A n n . A , — J a n e Shore ; Rascal J a c k . W . - —Child of N a t u r e ; Robert M a c a i r e . A.-—Richelieu ; Rascal J a c k . W . - — O u r M a r y A n n ; J u a n Romiro. A.-— H u n c h b a c k ; L a d y of Lyons. W . - —Swiss C o t t a g e ; J u a n R o m i r o . A.-—Joe the O r p h a n ; Lucky Stars. W . - — M a n w i t h o u t a H e a d ; L o a n of a L o v e r . [ 363 ]

THE PHILADELPHIA THEATRE 16.

17. 18. 19. 20. 21. 23.

24. 25· 26. 27. 28. 30.

31.

Monday: A . — R o m e o and Juliet ; L u c k y Stars. W . — R i v a l s ; Gambler's Fate. A . — P i z a r r o ; Joe the O r p h a n . W . — H e i r at L a w ; R o b e r t M a c a i r e . A . — L o v e ' s Sacrifice; Sketches in India. W . — D e a f as a Post ; Point of H o n o r . A . — H o n e y M o o n ; Richard ye T h i r d e . W . — R e n d e z v o u s ; Gambler's Fate. A . — T h e W i f e ; Golden Farmer. W . — W o n d e r ; O r p h a n of Blockley. A . — R a s c a l J a c k ; Joe the O r p h a n . W . — P o c a h o n t a s ; O r p h a n of B l o c k l e y . Monday: A . - — J a c k Sheppard ; D u m b G i r l of G e n o a . W . - —Binks the B a g m a n ; F r e n c h Spy. A . - — W e p t of W i s h - T o n - W i s h ; J a c k Sheppard. W . - — M a n w i t h o u t a H e a d ; F r e n c h Spy. A . - — W e p t of W i s h - T o n - W i s h ; D u m b G i r l of G e n o a . W . - — W o n d e r ; F r e n c h Spy. A . - — N i c k of the W o o d s ; A r t f u l D o d g e r . W . - —Bold Stroke for a Husband ; F r e n c h Spy. A . - — S i x D e g r e e s of C r i m e ; N i c k of the W o o d s . W . - —Asmodeus ; G a m b l e r ' s F a t e . A . -— B r i d e ' s J o u r n e y ; A r t f u l D o d g e r . W . - — M a i d e n s , B e w a r e ; French Spy. Monday: A . — B r i d e ' s Journey; Telemachus. W . — C o u n t r y G i r l ; Mischief M a k i n g . A . — B r i d e ' s J o u r n e y ; N i c k of the W o o d s . W . — L u c i l l e ; Binks, the B a g m a n . SEPTEMBER

1.

2. 34. 6.

Wednesday : A . — B r i d e ' s J o u r n e y ; M y s t e r i e s of Paris. W . — C o u n t r y G i r l ; F r e n c h Spy. A . — B r i d e ' s J o u r n e y ; M y s t e r i e s of Paris. W . — L u c i l l e ; Mischief M a k i n g . A . — B r i d e ' s J o u r n e y ; L i g h t Ship. W . — B i n k s , the B a g m a n ; A s m o d e u s . A . — B r i d e ' s Journey; Artful Dodger. W . — M a i d e n s , B e w a r e ; Mischief M a k i n g . Monday: A . — S t r a n g e r ; State Secrets. [364 ]

CHRONOLOGICAL RECORDS: 1847 7. 8. 9. 10. 11. 13. 14. 15. 16. 17. 18. 20. 21. 22. 23. 24. 25. 27. 28. 29.

W . — M a r r i e d R a k e ; Irish Lion. A . — R o m e o and J u l i e t ; Mummy. W . — H u s b a n d at Sight. A . — R o a d to Ruin ; Catharine and Petruchio. W.—Somebody Else. A . — J a n e Shore; Married L i f e . W . — K i n g ' s Gardener. A . — B l u e Devils; Wreck Ashore. W . — M i s c h i e f Making. A . — H u n c h b a c k ; An Object of Interest. W . — M a i d e n s , Beware! Monday: A . — L u c i l l e ; Scape Goat. W . — H a u n t e d Inn. A . — I r i s h Attorney; Smuggler's Son and the Exciseman's Daughter. W.—Asmodeus. A . — W i f e ' s Revenge; Smuggler's Son and the Exciseman's Daughter. W.—Somebody Else. A . — L u c i l l e ; Smuggler's Son and the Exciseman's Daughter. W . — D a y after the W e d d i n g ; King's Gardener. A . — W i f e ' s Revenge; Raphael's Dream. W . — A Husband at Sight. A . — U n d i n e ; Raphael's Dream. W . — W a n d e r i n g Minstrel. Monday: Α.—Undine; The Wife. W . — W e r n e r ; Married L i f e . A . — L o v e ' s Sacrifice; Undine. W . — O t h e l l o ; King's Gardener. A . — G a m e s t e r ; Undine. W . — M a c b e t h ; M y W i f e ' s Second Floor. A.—Lucrece Borgia; Undine. W . — K i n g of the Commons ; Maidens, Beware. A . — E v a d n e ; Undine. W . — R i c h a r d I I I ; Mischief Making. A.—Lucrece Borgia; Undine. W . — M e r c h a n t of Venice ; French Spy. Monday: A.—Stranger ; Lucrece Borgia. W . — I r i s h Ambassador; T e d d y the T i l e r . A.—Richelieu ; Lucrece Borgia. W . — B o r n to Good L u c k ; H o w to pay Rent. A . — L o a n of a Lover. [ 365 ]

T H E PHILADELPHIA T H E A T R E 30.

W . — I r i s h Attorney; Irish Post. A.—X.Y.Z. W.—Soldier's F o r t u n e ; W i f e Hunters. OCTOBER

1.

2. 4.

5· 6. 7· 8. 9II.

12. 13· 14. 15· 16. 18.

19. 20.

Friday : A . — A n Object of Interest. W . — W r o n g Passenger*: Dennis McCarthy—Collins; Happy Man. A.—You can't M a r r y your Grandmother. W . — W r o n g Passenger; Happy M a n . Monday : A.-—You can't M a r r y your Grandmother. W . - —Nervous M a n ; W r o n g Passenger. A.-—Loan of a Lover; An Object of Interest. W . - —Born to Good L u c k ; Irish Post. A.-—Raising the W i n d ; Miseries of H u m a n Life. W . - —Irish A t t o r n e y ; Husband at Sight. A.-—You can't M a r r y your Grandmother. W . - —Irish Ambassador; W r o n g Passenger. A.-—Raising the W i n d ; High Life below Stairs. W . - - K i n g O ' N e i l ; T e d d y the T i l e r . A.-—Loan of a Lover; High Life below Stairs. W . - - K i n g O ' N e i l ; T e d d y the T i l e r . Monday : A.-—Lady of Lyons ; X . Y . Z . W . - —Bohemian Girl, opera; Angel of the Attic. A.-—Hamlet; T w o Queens. W . - —Norma; Mischief Making. A.-—Inconstant ; Stranger. W . - —La Sonnambula; Pleasant Neighbors. A.-—Macbeth ; M y Aunt. W . - —Norma; O u r M a r y Ann. A.-—Loan of a Lover; Agnes de Vere. W . - —Barber of Seville. A.-—Dream at Sea; State Secrets. W . - —Barber of Seville ; W a t e r m a n . Monday : A.—Miseries of H u m a n Life; Smuggler's Son. W . — C i n d e r e l l a ; Masaniello. A . — T w o Queens; Miseries of H u m a n Life. W.—Postilion of L o n j u m e a u ; Masaniello. A . — N a v a l Engagements; Antony and Cleopatra, the interlude. W.—Postilion of Lonjumeau. [ 366 ]

CHRONOLOGICAL RECORDS:

21. 22. 23. 25. 26. 27. 28. 29. 30.

1847

A . — M a n without a H e a d ; W e d d i n g Day. W . — L a G a z z a L a d r a ; Did you ever Send your W i f e to Burlington ? A.—Kill or C u r e ; M a n without a H e a d . W . — F r a Diavolo ; Olympic Revels. A . — A n Object of Interest; M a n without a H e a d . W . — F r a Diavolo; Olympic Revels. Monday: A . — H e n r y I V ; Captain of the W a t c h . W . — F e u d a l T i m e s ; Somebody Else. A . — L o n d o n Assurance; Raising the W i n d . W.—Bridal ; Old Guard. A . — L o n d o n Assurance; T h r e e Weeks after Marriage. W . — W e r n e r ; M y W i f e ' s Dentist. A . — W h o ' s the C o m p o s e r ? * : Carina—Miss C l a r k e ; Lioness of the N o r t h . W . — F e u d a l T i m e s ; A Roland for an Oliver. A . — L o n d o n Assurance; M y Friend, the Captain. W . — K i n g of the Commons ; Rent Day. A.—London Assurance; Captain of the W a t c h . W . — T h e W i f e ; French Spy. NOVEMBER

I.

2. 34· 5· 6. 8. 9. 10. 11.

Monday: A . — H a m l e t ; T u r n i n g the Tables. W . — K i n g L e a r ; Did you ever Send your W i f e to Burlington? A . — O l d English G e n t l e m a n ; Humpback. W . — D a m o n and Pythias ; A Roland for an Oliver. A . — G a m e s t e r ; Snake Chief. W . — J a c k C a d e ; Valet de Sham. A.—Richelieu; Snake Chief. W . — O t h e l l o ; Pleasant Neighbors. A . — M e r c h a n t of Venice ; Snake Chief. W . — R i c h e l i e u ; Lottery Ticket. A . — W i f e ' s Revenge; Lucille. W . — M e t a m o r a ; Robert Macaire. Al 0 η day : A . — M a c b e t h ; Guerilla Chief and his Son. W . — J a c k Cade ; Perfection. A . — W i l d O a t s ; Guerilla Chief and his Son. W . — O t h e l l o ; Lottery Ticket. A . — H a m l e t ; Guerilla Chief and his Son. W . — G l a d i a t o r ; Jacobite. A . — H o n o r ; Ladies, Beware. W . — M a c b e t h ; Jacobite. [ 367 ]

THE PHILADELPHIA T H E A T R E 12. 13. 15.

16. 17. 18. 19. 20. 22. 23. 24. 25. 26. 27. 29. 30.

A . — H o n o r ; Ladies, Beware. W . — L a d y of Lyons; Pizarro. A . — L a d y of Lyons; Laugh when you Can. W . — J a c k Cade; Jacobite. Monday: A.—Gamester ; Inconstant. W.—Broker of Bogota; How to Settle Accounts with your Washerwoman. A . — L a d y of Lyons; Laugh when you Can. W . — M e t a m o r a ; Dead Shot. A.—Pizarro; Honey Moon. W . — J a c k Cade; Mischief Making. A.—Stranger; Oliver Twist. W.—Broker of Bogota; Jacobite. A . — M o n e y ; Deformed. W.—Venice Preserved ; Therese. A.—Richard I I I ; Ladies, Beware. W.—Gladiator ; Unfinished Gentleman. Monday: Α . — N e w Way T o Pay Old Debts ; Spoiled Child. W . — N o r m a ; King's Gardener. A . — K i n g L e a r ; Ladies, Beware. W . — L a Sonnambula; Dead Shot. A.—Iron Chest; Woman's Life. W . — L i n d a of Chamouni ; A Day after the Wedding. A.—Othello; Bottle. W . — L i n d a of Chamouni ; A Day after the Wedding. A . — T o w n and Country ; Bottle. W . — L a Sonnambula; Did you ever Send your W i f e to Burlington ? Α.—Richard I I I ; Bottle. W . — L i n d a of Chamouni ; Perfection. Monday: A.—Hamlet; Bottle. W.—Lucrezia Borgia; Our Mary Ann. A . — T h e C a v a l i e r * : Hargrave—Pitt, Mrs. Hargrave—Mrs. Burke; Bottle. W . — L i n d a of Chamouni; Lottery Ticket. DECEMBER

1. 2.

Wednesday : A.—Virginius; Guerrilla Chief. W.—Hunchback; Robert Macaire. A.—Cavalier; Katharine and Petruchio. W.—Lucrezia Borgia; Our Mary Ann. [ 368 ]

CHRONOLOGICAL R E C O R D S : 1 8 4 7 3. 4.

6. 7. 8. 9. 10. 11.

13. 14· 15. 16. 17· 18. 20. 21. 22. 23. 24· 25· 27.

28.

A . — D u t c h B u r g o m a s t e r ; Bottle. W . — L i n d a of C h a m o u n i , first t w o a c t s ; A n n a Bolena, last a c t . A . — M a c b e t h ; T r i a l by B a t t l e . W . — N o r m a ; Lottery Ticket.

Monday:

A . — M e r c h a n t of Venice ; L a d y of L y o n s . W . — L u c r e z i a Borgia. A . — E v a d n e ; T r i a l by B a t t l e . W . — L i n d a of C h a m o u n i ; D e a d Shot. A . — L u c r e c e B o r g i a , the d r a m a ; L a d i e s , B e w a r e . W . — B o r n to Good L u c k ; H o w to pay R e n t . A.—Love Chase; Lucille. W . — N e r v o u s M a n ; T e d d y the T i l e r . A.—Lucrece Borgia; Ransom. W . — I r i s h Ambassador; His Last Legs. A . — M a r y T u d o r ; Ransom. W . — W r o n g Passenger ; Deaf as a Post.

Monday:

A . - -Adelgitha ; Mary Tudor. W . - - R o r y O ' M o r e ; A R o l a n d for an O l i v e r . A . - - L o v e Chase ; Ransom. W . - - R o r y O ' M o r e ; V a l e t de S h a m . A . - - R o m e o and J u l i e t ; B a r r a c k R o o m . W . - - R o r y O ' M o r e ; Unfinished Gentleman. A.~- A d e l g i t h a ; Y o u t h f u l Q u e e n . W . - - S o l d i e r ' s F o r t u n e ; T e d d y the T i l e r . A . - - B l u e D e v i l s ; D r e a m at Sea. W . - - I r i s h A m b a s s a d o r ; Irish Post. A . - - F a t a l M a r r i a g e ; Lucrece Borgia. W . - -Rory O ' M o r e ; Happy M a n . A . - - R i c h a r d I I I . ; S m u g g l e r ' s Son. W . - - W h i t e Horse of the P e p p e r s ; H o w to pay R e n t . A . - - O t h e l l o ; T w o Queens. W . - - W h i t e H o r s e of the P e p p e r s ; H a p p y M a n . A . - - W i l l i a m T e l l ; T r i a l by B a t t l e . W . - - K i n g O'Neil ; M y W i f e ' s Dentist. A . - - N a i a d Queen. W . - - S o l d i e r of F o r t u n e ; M y W i f e ' s D e n t i s t . A . - - N a i a d Q u e e n ; L o a n of a L o v e r . W . - - W h i t e H o r s e of the P e p p e r s ; Irish A m b a s s a d o r . A . - - N a i a d Q u e e n ; L o a n of a L o v e r . W . - -Fatal Curiosity; Young America.

Monday :

A . - - N a i a d Queen ; Swiss Cottage. W . - - L i n d a of C h a m o u n i ; J a c o b i t e . A . - - N a i a d Queen; Sudden Thoughts. [ 369 ]

THE PHILADELPHIA THEATRE 29. 30. 31.

W . — L a Sonnambula; Pleasant Neighbors. A.—Naiad Queen ; Sudden Thoughts. W.—Maid of Artois; Turning the Tables. A.—Naiad Queen; Sudden Thoughts. W.—Linda of Chamouni ; Jacobite. A.—Naiad Queen; Sudden Thoughts. W.—Lucrezia Borgia; Turning the Tables. JANUARY

I. 3. 4. 5. 6. 7. 8. 10. 11. 12. 13. 14· 15· 17. 18.

1848

Saturday: A.—Mother and Child are Doing Well ; Naiad Queen. Monday: A.—Mother and Child are Doing Well; Naiad Queen. W.—Norma; Used Up. A.—Mother and Child are Doing Well; Naiad Queen. W.—Love Spell; Used Up. A.—Naiad Queen; Miseries of Human Life. W.—Lucrezia Borgia ; Jacobite. A.—Miseries of Human Life; Naiad Queen. W.—Love Spell. A.—Naiad Queen ; Smuggler's Son. W.—Merchant of Venice; Used Up. A.—Eighth of January * Naiad Queen. W.—Pizarro; Glory of Columbia. Monday: A.—Eighth of January; Naiad Queen. W.—Macbeth; Miller's Maid. A.—Pride of the M a r k e t * : Marion—Mrs. Booth; Naiad Queen. W.—Belle's Stratagem; Luke the Laborer. A.—Naiad Queen. W.—Gisippus ; Box and Cox * : Box—Andrews, Cox—Chapman. A.—Pride of the Market; Naiad Queen. W.—Stranger; Box and Cox. A.—Naiad Queen; Box, Cox, and K n o x * : Box—Burton. W . — A Cure for the Heart Ache ; Robert Macaire. A.—Pride of the Market; Box, Cox, and Knox. W.—Gisippus; French Spy. Monday: A.—Cavalier; Katharine and Petruchio. W.—Used U p ; Box and Cox. A.—Richard I I I ; Seeing the Elephant. W . — D a y after the Wedding; Dumb Belle. [ 370]

CHRONOLOGICAL R E C O R D S : 1848 j9. 20. 21. 22. 24.

25. 26. 27. 28.

29. 31.

A . — L a d y of L y o n s ; Honey Moon. W . — O l d G u a r d ; Perfection. A . — M o n e y ; T w o Gregories. W . — B o x and C o x ; Emigrant's Dream. A . — N e w W a y T o Pay O l d Debts; Y o u t h f u l Queen. W . — W h i t e Horse of the Peppers; Emigrant's Dream. A . — M a c b e t h ; Seeing the Elephant. W . — O l d Guard ; White Horse of the Peppers. Monday: A . — W e r n e r ; Rule a W i f e and H a v e a W i f e . W . — P . P . ; Macarthy M o r e . A . — S t r a n g e r ; Rule a W i f e and Have a W i f e . W . — M a c a r t h y M o r e ; Old G u a r d . A . — K i n g ' s Gardener; Animal Magnetism. W . — M a c a r t h y M o r e ; Emigrant's Dream. A . — L u c i l l e ; T w o Gregories. A . — D r e a m at Sea; Spoiled Child. W . — M a c a r t h y M o r e ; Happy M a n . W . — M a c a r t h y M o r e ; Happy M a n . W . — D u m b Belle; Happy M a n . A . — I r o n Chest; Somebody Else. W . — M a c a r t h y M o r e ; Fair One with the Golden Locks. A . — H u n c h b a c k ; Somebody Else. W . — O b e r o n ; Jacobite. FEBRUARY

1. 2.

3. 4. 5. 7.

8. 9.

Tuesday : A . — E v a d n e ; Where Shall I Dine? W . — O b e r o n ; Y o u n g America. A . — G e n e v i e v e * : Genevieve—Miss C . Wemyss, Arthur— Roberts; Kill or Cure. W . — O b e r o n ; Mischief Making. A . — G e n e v i e v e ; Kill or Cure. W . — O b e r o n ; Love, L a w , and Physic. A . — I r o n Chest; Loan of a Lover. W . — O b e r o n ; Box and Cox. A . — L u c i l l e ; Dream at Sea. W . — O b e r o n ; Fair One with the Golden Locks. Monday: A . — L a d y of Lyons ; Box and Cox. W . — H u n c h b a c k ; Fair One with the Golden Locks. A . — R o m e o and J u l i e t ; Black Eyed Susan. W . — R o m e o and J u l i e t ; Fair One with the Golden Locks. A.—Richelieu ; T o m Cringle's Log. [371 ]

THE PHILADELPHIA T H E A T R E 10. 11. 12. 14. 15. 16. 17. 18. 19. 21.

22. 23. 24. 25. 26. 28. 29.

W.—Lucrece Borgia ; Robert Macaire. A.—Octavia Bragaldi * : Francesco—Conner, Octavia—Mrs. Conner ; Weathercock. W . — J a n e Shore; Faint Heart never won Fair Lady. A.—Octavia Bragaldi; T h e Stranger. W.—Honey Moon ; Lucrece Borgia. A.—Octavia Bragaldi; T h e Pilot. W . — J a n e Shore; Fair One with the Golden Locks. Monday: A.—Douglass; Jumbo Jim. W.—Douglass ; French Spy. A . — T h e Forest Princess*: Powhatan—Conner, Pocahontas •«—Mrs. Conner; Virginia Mummy. W . — N o advertisement. A.—Forest Princess; Jumbo Jim. W.—Pizarro ; Fair One with the Golden Locks. A.—Forest Princess; Otello. W.—Love's Sacrifice; Kill or Cure. Α.—Otello; T o u r de Nesle. W . — J a n e Shore; Genevieve. Α . — M a n and W i f e ; Wallace; Bone Squash Diavolo. W . — L o v e Chase ; Genevieve. C.—Gemma di Vergy. Monday: A.—Naiad Queen ; Seeing the Elephant. W.—Coriolanus ; Love, Law, and Physic. C.—Gemma di Vergy. A.—Naiad Queen ; Spoiled Child. W . — W e r n e r ; Fair One with the Golden Locks. C.—Gemma di Vergy. A.—Naiad Queen; Sudden Thoughts. W . — H e i r at L a w ; Last of the Fairies. C.—Gemma di Vergy. A.—Naiad Queen ; Animal Magnetism. W.—Cesar de Bazan ; Oberon. C.—Gemma di Vergy. A.—Naiad Queen; Omnibus. W.—Hypocrite; Oberon. C.—Gemma di Vergy. A.—Naiad Queen ; Farmer's Daughter. W.—House Dog. Monday: A . — M y Boy Tom ; The Lonely Man of the Ocean. W.—Mischief Making; P.P. A . — M y Boy T o m ; T h e Lonely Man of the Ocean. W.—House Dog. [ 372 ]

CHRONOLOGICAL RECORDS: 1848 MARCH 1.

2. 3. 4. 6.

7. 8. 9. 10. 11. 13.

14. 15. 16.

17.

Wednesday : A.—Lonely Man of the Ocean ; Foreign Prince. W . — P . P . ; Mischief Making. C.—Lucia di Lammermoor. Α . — M y Boy T o m ; Otello. W — M i s c h i e f Making; P.P. C . — N o advertisement. Α.—Breach of Promise; Otello. W.—Used Up ; Perfection. C.—Lucia di Lammermoor. Α.—Lonely Man of the Ocean; Oh! Hush!! W . — Y o u n g America; Fair One with the Golden Locks. C.—Lucia di Lammermoor. Monday: Α . — T h e Secret Order; Oh! Hush!! W . — D a y after the Wedding; Perfection. C.—Lucia di Lammermoor. Α.—Secret Order; Jim Crow in London. W.—House Dog; Pleasant Neighbors. A.—Secret Order; Jim Crow in London. VV.—Angel of the Attic; Spoiled Child. C.—Lucrezia Borgia. A.—Breach of Promise; Oh! Hush!! W . — H o w to pay Rent ; Oberon. A.—Exiles of E r i n * : Pat—B, Williams; T h e Limerick Boy. W . — Y o u n g Scamp; Oberon. C.—Lucrezia Borgia. A.—Richard I I I ; Sprigs of Ireland * : Jerry—B. Williams. W.—Richard I I I ; His Last Legs. C.—Lucrezia Borgia. Monday: Α.—Othello; Teddy the Tiler. W . — K i n g of the Commons ; Waterman. C.—Lucia di Lammermoor. Α.—Brutus; Rake's Progress. W.—Hunchback; Wandering Boy. A.—King Lear; Tom More. W.—Bertram; Point of Honor. C.—Ernani. A.—Apostate; Wags of Windsor. W.—Faint Heart never won Fair L a d y ; Old and Young. C.—Lucia di Lammermoor. P.M.—Isabelle; T w o Gregories. A.—Irish Post; Born to Good Luck. [ 373 ]

THE PHILADELPHIA THEATRE

18.

20.

21.

22.

23.

24.

25.

27.

28. 29. 30.

W.—Romeo and Juliet ; Old and Young. C.—Emani. P . M . — T w o Queens ; Rendezvous. A.—Virginius; Rake's Progress. W.—William Tell ; Soldier's Daughter. C.—Ernani. P.M.—Cricket on the Hearth ; Box, Cox, and Knox. Monday: A . — T h e Wife ; Barrack Room. W.—Faint Heart never won Fair Lady; P.P. C.—Il Giuramento. P.M.—Lucille; An Object of Interest. A.—Horatii and the Curiatii*; Nothing. W . — A Roland for an Oliver. C.—Lucia di Lammermoor. P.M.—Agnes de Vere ; M y Neighbor's Wife. A.—Horatii and the Curiatii ; Nothing. W . — A Gentleman in Difficulties; Wandering Minstrel. C.—Il Giuramento. P.M.—Loan of a Lover; My Fellow Clerk. A.—Horatii and the Curiatii; Seeing the Elephant. W.—Old Guard ; Gentleman in Difficulties. C.—Lucrezia Borgia. P.M.—Isabelle; Crossing the Line. A.—Horatii and the Curiatii ; Seeing the Elephant. W.—Did you ever Send your Wife to Burlington?; Robert Macaire. C.—Il Giuramento. P.M.—Married Life; Hunting a Turtle. A.—Horatii and the Curiatii ; Doings in France. W.—Did you ever Send your W i f e to Burlington?; Robert Macaire. P.M.—Maid and Magpie; M y Neighbor's Wife. Monday: A.—Stranger; Horatii and the Curiatii. W . — L a Bayadere; Jacobite. P.M.—Pride of the Market; Box, Cox, and Knox. A.—Rob Roy Macgregor; Box, Cox, and Knox. W . — L a Bayadere; Jacobite. P.M.—Pride of the Market; Charles I I . A.—Horatii and the Curiatii ; Cork Leg. W . — L a Bayadere; Gentleman in Difficulties. P.M.—Pride of the Market; 'Twas I. A.—Love Chase; Horatii and the Curiatii. W . — L a Bayadere; P.P. [ 374 ]

CHRONOLOGICAL RECORDS: 1848

31.

P . M . — P r i d e of the M a r k e t ; W i d o w ' s V i c t i m . A . — M a c b e t h ; Honey Moon. W . — D i d you ever Send your W i f e to B u r l i n g t o n ? ; L a dere. P . M . — T h e r e s a ' s V o w ; Spectre B r i d e g r o o m .

Baya-

APRIL I.

3.

4.

5.

6.

7.

8.

IO.

11

12

13

1+

Saturday: A.—Lady of L y o n s ; L u c r e c e B o r g i a . W . — D i d you ever Send your W i f e to B u r l i n g t o n ? P . M . — I d i o t W i t n e s s ; T u r n i n g the T a b l e s . A . — H e n r y I V ; Seeing the Elephant. W . — H a m l e t ; G e n t l e m a n in Difficulties. P . M . — R o b b e r ' s W i f e ; A N a b o b f o r an H o u r . A . — P i z a r r o ; Mountaineers. W . — L a d y of L y o n s ; A R o l a n d f o r an O l i v e r . P . M . — R o b e r t M a c a i r e ; W i d o w ' s Victim. A . — L a d y of L y o n s ; W i l l i a m T e l l . W . — T h e R o b b e r s ; Perfection. P.M.—Jacobite; Young Widow. A . — H a m l e t ; B e a u t y and the Beast. W . — K i n g of the C o m m o n s ; F a i r O n e w i t h the G o l d e n L o c k s . P . M . — N a b o b f o r an H o u r ; Irish T i g e r . A . — W i l d O a t s ; Beauty and the Beast. W . — M e r c h a n t of Venice ; L a d y of L y o n s . P . M . — B o t t l e ; Irish T i g e r . A . — V e n i c e Preserved ; B i l l y T a y l o r . W . — O t h e l l o ; Deaf as a Post. P . M . — B o t t l e ; Irish T i g e r . Monday: A . — A C u r e f o r the H e a r t A c h e ; Swiss S w a i n s . W . — G l e n c o e ; Lottery Ticket. P . M . — F o l l i e s of a N i g h t ; K i l l or C u r e . A . — L a d y of L y o n s ; P a u l P r y . W . — M a c b e t h ; Windmill. P . M . — G r i s t to the M i l l ; M a n without a H e a d . A . — A C u r e f o r the H e a r t A c h e ; B i l l y T a y l o r . W . — L a d y of L y o n s ; L o a n of a L o v e r . P . M . — A s m o d e u s ; K i l l or C u r e . A . — J a c o b L e i s l e r ; Swiss S w a i n s . W . — S t r a n g e r ; Pizarro. P . M . — F o l l i e s of a N i g h t ; A n O b j e c t of Interest. A . — J a c o b L e i s l e r ; Beauty and the Beast. [ 375 ]

T H E PHILADELPHIA T H E A T R E

15.

17.

18.

19.

20.

21.

22.

24.

25.

26.

27.

28.

29.

W . — G l e n c o e ; Money. P . M . — G r i s t to the M i l l ; M y Little Adopted. A . — J a c o b Leisler; Dumb Belle. W . — R o b b e r s ; Gentleman in Difficulties. P . M . — B o o t s at the S w a n ; Kill or Cure. Monday: A . — J a c o b Leisler ; A Roland for an Oliver. W . — J u l i u s Caesar; A Husband at Sight. P . M . — S c h o o l for Scandal; Pet of the Petticoats. A . — J a c o b Leisler; Deep, Deep Sea. W . — H u n c h b a c k ; Windmill. P . M . — P e t of the Petticoats; Boots at the Swan. A . — J a c o b Leisler; Deep, Deep Sea. W . — S t r a n g e r ; Pizarro. P . M . — C h a r l e s X I I ; Captain of the W a t c h . A . — J a c o b Leisler; Honey Moon. W . — E u d o c i a ; Valet de Sham. P . M . — M y Little Adopted; A n Object of Interest. A . — J a c o b Leisler; Inconstant. W . — E u d o c i a ; Fair One with the Golden Locks. P . M . — C h a r l e s X I I ; Kill or Cure. A . — J a c o b Leisler; Lady of Lyons. W . — J a n e Shore ; Genevieve. P . M . — L o n d o n Assurance; D o w n among the Dead M e n * : Tompkins—Walcot. Monday: A . — P o o r Gentleman ; Turnpike Gate. W . — F a z i o ; Genevieve. P . M . — T o m M o r e ; T h e Limerick Boy. A . — A Glance at Philadelphia * : Jake y—Ownes ; Deep, Deep Sea. W . — E v a d n e ; Lady of Lyons. P . M . — S p r i g s of Ireland; Robber's W i f e . A . — A Glance at Philadelphia; T h i s House to be Sold. W . — W e r n e r ; Ernestine. P . M . — B o r n to Good L u c k ; Limerick Boy. A . — A Glance at Philadelphia; T h i s House to be Sold. W . — G i s i p p u s ; Dumb Belle. P . M . — I r i s h Post; Happy M a n . A . — H e i r at L a w ; Spectre Bridegroom. W . — O t h e l l o ; Love, L a w , and Physic. P . M . — I r i s h Lion; Irish T u t o r . A . — D u m b Belle; A Glance at Philadelphia. W . — C a v a l i e r ; Mountaineer. P . M . — I r i s h Ambassador; Born to Good Luck. [ 376 ]

CHRONOLOGICAL R E C O R D S :

1848

MAY 1.

2.

3.

4.

5.

6.

8.

9.

10.

11.

12.

13.

15.

Monday: A . — A G l a n c e at Philadelphia ; Swiss C o t t a g e . W . — C a v a l i e r ; Money. P . M . — C h a r l e s I I ; Omnibus. A . — P r i d e of the M a r k e t ; A G l a n c e at Philadelphia. W . — I r o n C h e s t ; Honey M o o n . P . M . — W e a t h e r c o c k ; Irish T u t o r . A . — P r i d e of the M a r k e t ; A G l a n c e at Philadelphia. W . — C a v a l i e r ; H u n t e r of the A l p s . P . M . — C r i c k e t on the H e a r t h ; T e d d y the T i l e r . A . — S p o i l e d C h i l d ; A G l a n c e at Philadelphia. W . — R o m a n c e and R e a l i t y * : Jack—Brougham, Barbara— M r s . W i n s t a n l e y , Blossom—Mrs. Brougham; Maidens, Beware. P . M . — I r i s h T i g e r ; Citizen and the Royalist. A . — S p o i l e d C h i l d ; A G l a n c e at Philadelphia. W . — R o m a n c e and R e a l i t y ; G e n t l e m e n in Difficulties. P . M . — E x i l e of E r i n ; Irish Ambassador. A . — A G l a n c e at Philadelphia; O m n i b u s . W . — R o m a n c e and Reality ; F a i r O n e w i t h the G o l d e n L o c k s . P . M . — E x i l e of E r i n ; M a r r i e d R a k e . Monday: A . — A G l a n c e at Philadelphia; R a i s i n g the W i n d . W . — R o m a n c e and Reality ; V a l e t de Sham. P . M . — C a v a l i e r ; F a i n t H e a r t never won F a i r L a d y . A . — W e l s h G i r l ; A G l a n c e at Philadelphia. W . — R o m a n c e and R e a l i t y ; O l d G u a r d . P . M . — I s a b e l l e ; Fashionable Society. A . — A G l a n c e at Philadelphia; T h i s H o u s e to be Sold. W . — R o m a n c e and R e a l i t y ; B a r r a c k R o o m . P.M.—Stranger; Young Widow. A . — A G l a n c e at Philadelphia; T h i s H o u s e to be Sold. W . — R o m a n c e and Reality ; B a r r a c k R o o m . P . M . — T h e r e s e ; F a i n t H e a r t never w o n F a i r L a d y . A . — A G l a n c e at Philadelphia; Swiss Cottage. W . — R o m a n c e and R e a l i t y ; M e t a m o r a , a burlesque. P . M . — H o n e y M o o n ; Fashionable Society. A . — W a t e r m a n ; A G l a n c e at Philadelphia. W . — R o m a n c e and Reality ; M e t a m o r a , a burlesque. P . M . — C a v a l i e r ; Captain of the W a t c h . Monday: A . — A R o l a n d f o r an O l i v e r ; A G l a n c e at Philadelphia. W . — I r i s h A m b a s s a d o r ; T e d d y the T i l e r . [ 377 ]

THE PHILADELPHIA T H E A T R E 16.

17.

18. 19· 20. 22.

23. 24. 25. 26. 27. 29.

30. 31.

P . M . — T h r e e Poisons; Weathercock. A.—Barrack Room; A Glance at Philadelphia. W.—Nervous M a n ; How to pay Rent. P . M . — D u m b Girl of Genoa; Some Things can be Done as well as Others * : Belton—Paul. A . — A Glance at Philadelphia; Dumb Belle. W.—Irish Attorney; Carbonari. P . M . — M a i d of Croissy; Some Things can be Done as well as Others. A . — L a d y and the Devil; Dumb Girl. W . — B o r n to Good Luck ; Carbonari. P . M . — L a u g h when you Can ; Captain of the Watch. A.—Welsh G i r l ; Mother and Child are Doing Well. W.—Irish Ambassador; Wrong Passenger. P.M.—Stranger; Box, Cox, and Knox. Α.—Dead Shot ; Welsh Girl. W . — D e a d Shot ; Wrong Passenger. P . M . — L a u g h when you Can ; Barrack Room. Monday: A.—King's Gardener; A Glance at Philadelphia. W.—Maidens, Beware ; King O'Neil. O.—Ein Deutscher Krieger ; Royalty in Distress. A . — A Glance at Philadelphia; Guerilla Chief. W.—Irish Attorney; Blacksmith of Hesse Cassel. A . — A Glance at Philadelphia; Guerilla Chief. W.—Soldier of Fortune ; Wrong Passenger. O.—Hinko; T w o Candidates. A . — A Glance at Philadelphia; The Bee and the Orange Tree. W . — K i n g O ' N e i l ; Happy Man. O.—Hinko; T w o Candidates. A . — T h e Bee and the Orange T r e e ; A Glance at Philadelphia. W.—Nervous M a n ; H o w to pay Rent. A.—Dead Shot ; A Glance at Philadelphia. W.—Irish Post; Happy Man. O.—Lola Montes; Griseldis. Monday: A . — T h e Subterraneous; A Glance at Philadelphia. W . — W r o n g Passenger ; Teddy the Tiler. O.—Five in One; Maid of Lorette. A . — T h e Subterraneous; A Glance at Philadelphia. W.—Enchantress ; Love, L a w , and Physic. A . — T h e Subterraneous; A Glance at Philadelphia. W.—Enchantress ; Hypocrite.

[ 378 ]

CHRONOLOGICAL R E C O R D S :

1848

JUNE 1. 2. 3. 5. 6. 7. 8. 9. 10. 12.

13. 14. 15· 16. 17. 19.

Thursday : W.—Enchantress; Fair One with the Golden Locks. A.—Subterraneous; A Glance at Philadelphia. W.—Enchantress ; New Footman. A.—Subterraneous; A Glance at Philadelphia. W.—Enchantress. A.—Pride of the Market ; A Glance at Philadelphia. Monday: W . — T h e Windmill. A.—Nervous Man ; Metamora, burlesque. W . — L o v e , Law, and Physic. A.—John Bull ; Metamora, Burlesque. C . — L a Sonnambula. W . — T w o Thompsons. A . — M o t h e r and Child are Doing Well ; Metamora, burlesque. C.-—La Sonnambula. W . — A Gentleman in Difficulties. A.—Irish Dragoon; Metamora, burlesque. C . — L a Sonnambula. W.—Maidens, Be\vare. A.—Irish Dragoons; Metamora, burlesque. C . — L a Sonnambula. W . — K i n g ' s Gardener. A . — O l d Guard ; Metamora, burlesque. C . — L a Sonnambula. Monday: W . — A Roland for an Oliver. A.—Irish T i g e r ; T o m and Jerry in America. C.—Lucia di Lammermoor. W.—Jacobite. Α . — T o m and Jerry in America; Sketches in India. C.—Lucia di Lammermoor. W . — P o o r Soldier. Α . — O l d Guard ; Boots at the Swan. C . — N o advertisement. W . — M y Master's Rival. A . — R i v a l s ; T o m and Jerry in America. W . — A Gentleman in Difficulties. A.—Fortune Teller ; Astrologer. W . — T h e Windmill. A.—Astrologer; Metamora, burlesque. Monday: W.—Enchantress. A . — J a c k Sheppard ; Richard ye Thirde. [ 379 ]

THE PHILADELPHIA THEATRE 20. 21. 22. 23. 24. 26.

27. 28. 29.

30.

W.—Enchantress. A . — J a c k Sheppard ; R i c h a r d ye T h i r d e . W.—Enchantress. A . — G o l d e n F a r m e r ; R i c h a r d ye T h i r d e . W.—Enchantress. A . — D r a m a t i s t ; W h i t e s and the B r o w n s . W.—Enchantress. A . — L a d y of L y o n s ; Boots at the S w a n . W.—Enchantress. A . — S t r a n g e r ; J a c k Sheppard. Monday:

W . — M o s e ' s V i s i t to Philadelphia * : Mose—Chapman, Sykessy—Nagle, Lize—Miss Fisher; M y Master's Rival. A . — M a c b e t h ; T h a t Rascal J a c k . W . — M o s e ' s V i s i t to P h i l a d e l p h i a ; D u m b B e l l e . A . — H o n e y M o o n ; J a c k Sheppard. W . — M o s e ' s V i s i t to P h i l a d e l p h i a ; L a n c e r s . A . — R o m e o and J u l i e t ; W h i t e s and the B r o w n s . W . — M o s e ' s V i s i t to P h i l a d e l p h i a ; D i d you ever Send your W i f e to B u r l i n g t o n ? A . — R o m e o and J u l i e t ; O ' D o n o g h u e * : Dan—J. D u n n , Kate — M r s . Burke. W . — M o s e ' s V i s i t to P h i l a d e l p h i a ; R o b R o y . A . — L a d y of L y o n s ; D r a m a t i s t . C . — S p e c t r e B r i d e g r o o m ; B o r n to G o o d L u c k . JULY

I.

Saturday:

W . — R o b e r t M a c a i r e ; M o s e ' s V i s i t to Philadelphia. A . — P i z a r r o ; O'Donoghue. C.—William T e l l ; Waterman. P . M . — C r i c k e t on the H e a r t h ; W h i c h is the M a n ? 3.

4.

5·

Monday:

W . — W a r l o c k of the G l e n ; M o s e ' s V i s i t to Philadelphia. A . — M e r c h a n t of V e n i c e ; A G l a n c e at Philadelphia. C.—Irish Lion; Four Mowbrays. P . M . — C r i c k e t on the H e a r t h ; T h e M o d e l of a W i f e . W . — E n c h a n t r e s s ; M o s e ' s V i s i t to Philadelphia. A . — S m u g g l e r ' s Son ; Philip Q u a r l . C . — A D a y in P a r i s ; H a p p y M a n . P . M . — M o d e l of a W i f e ; D a y a f t e r the W e d d i n g . W . — M a s a n i e l l o ; A G l a n c e at Philadelphia. A . — H u n c h b a c k ; Jakey's Marriage with Lize. C . — S w i s s C o t t a g e ; Irish T u t o r . P . M . — M o d e l of a W i f e ; D a y a f t e r the W e d d i n g . [ 380 ]

CHRONOLOGICAL R E C O R D S : 6.

7.

8.

10.

11.

12.

13·

14.

15.

17.

18.

19.

1848

W . — M a s a n i e l l o ; A G l a n c e at P h i l a d e l p h i a . A . — H a m l e t ; Jakey's Marriage with Lize. C.—Irish T u t o r ; Four Mowbrays. P . M . — D e a d S h o t ; Spectre B r i d e g r o o m . W . — M a s a n i e l l o ; A G l a n c e at P h i l a d e l p h i a . A . — R e b e l Chief ; J a k e y ' s M a r r i a g e . C . — B a t h R o a d ; B o x and C o x . P . M . — B o o t s at the S w a n ; Spectre B r i d e g r o o m . W . — M a s a n i e l l o ; A G l a n c e at P h i l a d e l p h i a . A . — R e b e l Chief ; J a k e v ' s M a r r i a g e . C.—Waterman ; Oh ! Hush!! P . M . — S u d d e n T h o u g h t s ; M y Neighbor's W i f e . Monday: W . — A r t f u l D o d g e r ; Bronze Horse. A . — G u e r i l l a C h i e f ; A G l a n c e at Philadelphia. C . — S p o i l e d C h i l d ; B o x and C o x . P . M . — O u r M a r y A n n ; M y Neighbor's W i f e . W . — A r t f u l D o d g e r ; Bronze Horse. A.—Mischief M a k i n g ; Jakey's Marriage. C.—Richard I I I ; Waterman. P . M . — S u d d e n T h o u g h t s ; Spectre B r i d e g r o o m . W . — I n d i a n G i r l ; A G l a n c e at Philadelphia. A.—Mischief M a k i n g ; Jakey's Marriage. C.—Spoiled Child; O h ! Hush!! P . M . — B o o t s at the S w a n ; P e r f e c t i o n . W . — I n d i a n G i r l ; A G l a n c e at P h i l a d e l p h i a . A.—Sudden Thoughts ; Jakey's Marriage. C . — H a p p y M a n ; L o v e in H u m b l e L i f e . P . M . — N o advertisement. W . — B r i d e ' s J o u r n e y ; A G l a n c e at P h i l a d e l p h i a . A.—Somebody Else; Jakey's Marriage. C . — G o l d e n F a r m e r ; Swiss C o t t a g e . P . M . — N o advertisement. W . — N i c k of the W o o d s ; B r i d e ' s J o u r n e y . A . — J a k e y ' s M a r r i a g e ; Forty Winks. C.—Richard I I I ; Waterman. P . M . — N o advertisement. Monday: W . — O l d H e a d s and Y o u n g H e a r t s ; A R o l a n d f o r an O l i v e r . A.—Macbeth. C.—Spectre Bridegroom; His Last Legs. W . — S c h o o l for Scandal; P . P . Α.—Othello. C . — B o o t s at the S w a n ; F o u r M o w b r a y s . W . — L o n d o n Assurance; N e w Footman. A . — D a m o n and P y t h i a s ; I n d i a n G i r l . [381 ]

THE PHILADELPHIA T H E A T R E 20.

21. 22. 24.

25. 26. 27. 28. 29.

31.

C.—Box and Cox ; Our M a r y Ann. W . — O l d Heads and Young Hearts; A Gentleman in Difficulties. A.—Pizarro ; Indian Girl. C.—Therese ; Young Scamp. W.—London Assurance; Lancers Α . — T h e Wife. C.—Spectre Bridegroom; Irish Tutor. W.—Laugh when you Can ; Grandfather Whitehead. A.—Shoemaker of Toulouse. C.—Venice Preserved ; Black Eyed Susan. Monday: W.—Speed the Plough; Volunteers' Departure and Return*. A.—Shoemaker of Toulouse. C . — N o advertisement. W . — R i v a l s ; Volunteers' Departure and Return. A.—Shoemaker of Toulouse. C.—Hamlet; Irish Footman. W . — H e i r at L a w ; Volunteers' Departure and Return. A.—Luke the Laborer ; A Glance at Philadelphia. C.—Fortune of W a r ; Siege of Vera Cruz. W.—Poor Gentleman ; A Gentleman in Difficulties. A.—Sudden Thoughts ; A Glance at Philadelphia. C.—Damon and Pythias ; Pizarro. W . — M r . and Mrs. White; Abou Hassan. A.—Jack Sheppard ; A Glance at Philadelphia. C.—Spectre Bridegroom ; A Glance at Philadelphia. W . — M r . and Mrs. White; Old Heads and Young Hearts, Last night of the season. A.—Jack Sheppard ; A Glance at Philadelphia. C.—Irish Footman; Young Widow. Monday: A.—Old Guard; A Glance at Philadelphia. C.—Maid of Croissy; A Glance at Philadelphia. Last night of the season. AUGUST

1. 2. 3. 4. 57.

Tuesday : A . — O l d Guard ; Jack Sheppard. A.—Sweethearts and W i v e s ; Miller's Maid. A.—Paul Pry ; Love's Changes. A.—Cesar de Bazan ; Bamboozling. A . — T h e Prophecy; M r . and M r s . White. Monday: A . — T h e Prophecy ; Bamboozling. [ 382 ]

CHRONOLOGICAL RECORDS: 1848 8. 9. 10. 11. 12. 14.

15. 16. 17. 18. 19. 21.

22. 23. 24. 25. 26. 28.

29. 30. 31.

A . — T h e Prophecy ; Used Up. A.—Richard I I I ; Raising the Wind. A . — N e w Way T o Pay Old Debts; A Day after the Wedding. A.—Cesar de Bazan ; Robert Macaire. A . — T h e Dream at Sea; Windmill. Monday: A.—Smuggler's Son. W . — I I Barbiere di Siviglia. Α . — O l d Guard. Α.—Valet de Sham. W . — I l Barbiere di Siviglia. A.—Smuggler's Son; Sudden Thoughts. Α.—Valet de Sham. W . — I l Barbiere di Siviglia. A.—Dancing Barber; Jocko. Monday: Α.—Windmill; Monsieur de Chalumeau. W . — I l Barbiere di Siviglia, first act; Lucia di Lammermoor, third act. Α.—Vol-au-Vent ; Death of Abel. W . — I I Barbiere di Siviglia. Α.—Miseries of Human L i f e ; Monsieur de Chalumeau. W . — I l Barbiere di Siviglia. A.—Jenny Lind at L a s t ; Harlequin Invisible. W.—Ernani, third act ; II Barbiere di Siviglia, second act. A.—Ladies, Beware; Vol-au-Vent. W . — E r n a n i , third act; Il Barbiere di Siviglia, second act. A.—Windmill; Jocko. W . — I l Barbiere di Siviglia. Monday: Α.—Robert Macaire; Harlequin Invisible. W . — T h e M i l l i o n a i r e * : Marston—Wheatley, Would Be— Richings, Swift—Chapman, Sinclair—Leman, Mrs. Lofty — M r s . Blake; N o ! A.—Raising the Wind. W . — T h e Millionaire; T w o Thompsons. A . — T u r n i n g the T a b l e s ; A Glance at Philadelphia. W . — T h e Millionaire; Love, L a w and Physic. A.—Used Up. W . — T h e Millionaire; Katharine and Petruchio. SEPTEMBER

I.

Friday : A.—Faint Heart never won Fair L a d y ; Jocko. W . — T h e Millionaire; Therese. [ 383 ]

THE PHILADELPHIA T H E A T R E 2. 4.

5. 6. 7. 8. 9. 11. 12. 13. 14. 15. 16. 18. 19. 20. 21. 22. 23.

A.—Monsieur de Chalumeau ; Faint Heart never won Fair Lady. W . — T h e Millionaire; Robert Macaire. Monday : A.—Cesar de Bazan. W . — J o h n Savile of H a y s t e d * : Savile—J. Wallack, J r . ; A Roland for an Oliver. A.—Cesar de Bazan. W . — J o h n Savile of Haysted ; A Husband at Sight. A.—Miseries of Human L i f e ; Used Up. W . — J o h n Savile of Haysted ; Dead Shot. A.—Miseries of Human L i f e ; Used Up. W . — F a t a l Dowry ; Ladies, Beware. A.—Laugh when you Can. W . — J o h n Savile of Haysted; Ladies, Beware. A.—Vol-au-Vent ; Weathercock. W.—William T e l l ; Bohemian Girl, opera. Monday: A . — L a d y of Lyons ; Smuggler's Son. W . — B o r n to Good L u c k ; Ladies, Beware. A.—Cesar de Bazan; Death Struggle. W.—Nervous M a n ; Happy Man. A . — O l d Honesty*: Toby—Raymond, Dame Bradshaw— Mrs. Hughes; Smuggler's Son. W.—Irish Attorney; Irish Post. A.—Dombey and S o n * : Dombey—Henkins, Susan—Mrs. Booth; Old Honesty. W.—Irish Ambassador; Box and Cox. A.—Dombey and Son; Sweethearts and Wives. W.—Soldier of Fortune; How to pay Rent. A.—Dombey and Son; Old Honesty. W . — R o r y O ' M o r e ; Lucille. Monday: A.—Dombey and Son ; Old Honesty. W.—Soldier of Fortune; Last Man. A.—Dombey and Son; Old Honesty. W.—Irish Ambassador; Abou Hassan. A.—Dombey and Son; Old Honesty. W . — W r o n g Passenger; Ladies, Beware. A.—Dombey and Son; A Glance at Philadelphia. W.—Irish Attorney; Zembuca. A.—Dombey and Son ; A Glance at Philadelphia. W . — K i n g O'Neil; Happy Man. A . — O l d Honesty; A Glance at Philadelphia. W . — K i n g O'Neil; Zembuca. [ 384 ]

CHRONOLOGICAL R E C O R D S : 1 8 4 8 25. 26. 27. 28. 29. 30.

Monday: A , —Dombey and Son ; Poor Pillicoddy * : W . -—Bohemian G i r l ; Ladies, Beware. A , —Dombey and Son ; Poor Pillicoddy. W . -— N o r m a ; Box and Cox. A , —Dombey and Son ; Poor Pillicoddy. W . -— M a r i t a n a ; Poor Pillicoddy. A , —Ladies, B e w a r e ; T w o Queens. W . -—Fra Diavolo ; Poor Pillicoddy. A , — M a r r i e d Bachelor; Smuggler's Son. W . -—Bohemian G i r l ; Poor Pillicoddy. A , —Old Guard ; Spoiled Child. W.-—Fra Diavolo ; Poor Pillicoddy.

Peter—Burton.

OCTOBER 2.

3. 4.

5· 6. 7. 9.

10. H. 12. 13·

Monday: A . — F a i n t Heart never won Fair L a d y ; Miseries of Life. W . — D a u g h t e r of the Regiment ; Poor Pillicoddy. A . — D r e a m at Sea; Old G u a r d . W . — D a u g h t e r of the Regiment ; Box and Cox. A . — L u k e the Laborer; Blue Devils. W . — L a Sonnambula; Ladies, Beware. C.—Norma. A . — R o m e o and J u l i e t ; Love in Humble L i f e . W . — L ' E l i s i r e d ' A m o r e ; Bohemian G i r l , third act. A . — S t r a n g e r ; T o m Cringle's Log. W . — D a u g h t e r of the Regiment. C . — L ' E l i s i r e d'Amore. A . — M a r y T u d o r ; Pizarro. W . — D a u g h t e r of the Regiment. Monday: A . — H u n c h b a c k ; Raising the W i n d . W . — A Roland for an Oliver. C . — L ' E l i s i r e d'Amore. Α . — L a d y of Lyons; T o m Cringle's L o g W . — L a d i e s , Beware. C.—Norma. A . — A d e l g i t h a ; Boots at the Swan. W . — P o o r Pillicoddy. C . — L ' E l i s i r e d'Amore. A . — G a m e s t e r ; Lucrece Borgia. W.—Therese. A.—Adelgitha; M a r y Tudor. [385 ]

Human

THE PHILADELPHIA THEATRE

14. 16.

17. 18. 19. 20. 21.

23.

24. 25. 26. 27. 28. 30. 31.

W.—Poor Pillicoddy. C.—Norma. A.—Wife's Revenge; Lucrece Borgia. W.—Abou Hassan. C.—Lucrezia Borgia. Monday: A.—Evadne ; T h e Pilot. W . — J a c k O'Both Sides. C.—Lucrezia Borgia. A . — T h e Stranger; Bold Stroke for a Husband. W.—Jack O'Both Sides. A.—Lady of Lyons; Honey Moon. W . — B o x and Cox. C.—Lucrezia Borgia. A.—Hunchback; Barrack Room. W . — J a c k O'Both Sides. A.—Black Eyed Susan ; A Glance at Philadelphia. W . — A Day after the Wedding. C.—Lucrezia Borgia. A . — T h e Fireman's Daughter*: Barney O'Boodle—Fenno, Marie Merrythought—Mrs. Howard; Rake's Progress. W.—Jack O'Both Sides. C.—Lucia di Lammermoor. Monday: A.—Welsh Girl ; Jenny Lind. W.—Love's M a r t y r * : Casimir—J. Wallack, J r . , Mariella— Miss A. Fisher ; Poor Pillicoddy. C.—Lucia di Lammermoor. A.—Nipped in the Bud ; Old Guard. W.—Love's Martyr; Jack O'Both Sides. C.—Lucrezia Borgia. A.—Married Rake; The Secret. W.—Love's Martyr; Love, Law, and Physic. C.—Lucia di Lammermoor. A.—Welsh Girl ; Trumpeter's Daughter. W.—Love's Martyr; Post of Honor. A.—Windmill; Dumb Belle. W.—Love's Martyr; Post of Honor. A.—Jenny Lind ; Raising the Wind. W.—Bridal ; Lady of the Lake. C.—Linda di Chamounix. Last night of the season. Monday : A.—Alpine Maid ; A Day after the Wedding. W.—Werner; Lady of the Lake. A.—Paul Pry; Jack Sheppard. W.—Fatal Dowry; Lady of the Lake. [386 ]

CHRONOLOGICAL R E C O R D S :

1848

NOVEMBER 1. 2. 3. 4.

6. 7. 8. 9. 10. 11.

13. 14. 15. 16. 17. 18.

20. 21. 22. 23.

tVednesday

:

A . — A n O b j e c t of Interest ; T u r n p i k e G a t e . W . — D e a d Shot; Poor Pillicoddy. A . — W e l s h G i r l ; T h e L a d y and the D e v i l . W . — J a c k O ' B o t h Sides; N o ! A . — F a i n t H e a r t never w o n F a i r L a d y ; D e a d Shot. W . — B o x and C o x ; T w o T h o m p s o n s . A . — B l a c k E y e d S u s a n ; L o v e in H u m b l e L i f e . W . — J a c k O ' B o t h S i d e s ; Post of H o n o r .

Monday:

A.—Naval E n g a g e m e n t s ; Secret. W . — P o s t of H o n o r ; P o o r Pillicoddy. A . — N a v a l E n g a g e m e n t s ; A n O b j e c t of Interest. W . — T w o Thompsons ; Jacobite. A . — S i m p s o n and C o . ; J a c k Sheppard. W . — L o a n of a L o v e r ; Post of H o n o r . A . — Q f _ A g e T o m o r r o w ; T w o Queens. W . — M a t r i m o n y ; Irish L i o n . A . — B l a c k Eyed S u s a n ; M a r r i e d Bachelor. W . — N a t u r e and Philosophy ; W a n d e r i n g M i n s t r e l . A . — J a c k Sheppard; Jenny Lind. W . — J a c o b i t e ; Irish L i o n .

Monday:

A . — N e r v o u s M a n ; M a r r i e d Bachelor. W . — L a d y of L y o n s ; J a c k O ' B o t h Sides. A.—Irish Ambassador; Welsh Girl. W.—Stranger. A.—Irish Ambassador; Paddy Carey. W . — I nconstant. A.—Nervous M a n ; Paddy Carey. W . — M o u n t a i n e e r s ; W i l d Oats. A . — S t . P a t r i c k ' s E v e ; T h e Secret. W.—Richelieu; Honey Moon. A . — S t . Patrick's E v e ; Paddy Carey. W . — I n c o n s t a n t ; Pizarro.

Monday:

Α.—Macbeth; Welsh Girl. W . — M a c b e t h ; P o s t of H o n o r . A . — S t r a n g e r ; John Jones. W . — M e t a m o r a ; Matrimony. Α . — O t h e l l o ; T h e Secret. W . — O t h e l l o ; J a c k O ' B o t h Sides. A . — W e r n e r ; D u m b Belle. W . — D a m o n and P y t h i a s ; J a c o b i t e . [ 387 ]

THE PHILADELPHIA THEATRE 24. 25. 27. 28. 29. 30.

A.—Merchant of Venice; Swiss Swains. W.—Gladiator; Poor Pillicoddy. A.—Richelieu; Jenny Lind. W.—Richelieu; Irish Lion. Monday: A.—King Lear; Trumpeter's Daughter. W.—King Lear; No! A.—The Stranger; Of Age Tomorrow. W.—Gladiator; T w o Thompsons. A.—Virginius; Faint Heart never won Fair Lady. W.—Virginius; Wild Oats. A.—Henry V I I I ; Blue Devils. W.—Jack Cade; Matrimony. DECEMBER

1. 2. 4. 5. 6. 7. 8. 9. 11. 12. 13.

Friday : A.—Lady of Lyons; Cesar de Bazan. W.—Richelieu ; Blanche of Paris. A.—Hamlet; A Day after the Fair. W.—Hamlet; Blanche of Paris. Monday : A.—Macbeth; The Woman Hater. W.—Jack Cade ; Box and Cox. A.—Henry I V ; Old Honesty. W.—Metamora; Wild Oats. C.—Linda di Chamounix. A.—Merry Wives of Windsor; The Woman Hater. W.—Jack Cade; Poor Pillicoddy. A.—Damon and Pythias ; T w o Queens. W.—Gladiator ; Deaf as a Post. C.—Linda di Chamounix. Α.—Brutus; Windmill. W.—Jack Cade; Post of Honor. A.—Evadne; Dumb Belle. W.—Broker of Bogota; Pizarro. C.—Lucia di Lammermoor. Monday: Α.—Love's Sacrifice. W.—Jack O'Both Sides; T w o Thompsons. A.—Hunchback. W.—Post of Honor; Deaf as a Post. C.—Norma. A.—Evadne. W.—Jacobite; P.P. [388]

CHRONOLOGICAL R E C O R D S : 14.

15. ib.

18.

19.

20. 21.

22. 23.

25.

26.

27.

28.

29.

3,0.

1848

Α.—The Wife. W . — N e w Footman ; Wandering Minstrel. C.—Norma. A . — W r e c k e r ' s D a u g h t e r ; K a t h a r i n e and Petruchio. W . — B o m b a s t e s F u r i o s o ; Poor Pillicoddy. A . — J a n e S h o r e ; F a i n t H e a r t never w o n F a i r L a d y . W.—Bombastes Furioso; P.P. C.—Norma. Monday: A . — P o o r Gentleman ; California Gold Mines. W . — J a c o b i t e ; Virginia M u m m y . A . — S w e e t h e a r t s and W i v e s ; C a l i f o r n i a G o l d M i n e s . W.—Robert Macaire; Jumbo Jim. C.—Ernani. A . — W e l s h G i r l ; Spectre B r i d e g r o o m . W . — P o s t of H o n o r ; Otello. A . — G i l d e r o y ; California Gold Mines. W . — O t e l l o ; Virginia M u m m y . C.—Ernani. A . — G i l d e r o y ; California Gold Mines. W . — O t e l l o ; F o r e i g n Prince. A . — R a g P i c k e r of P a r i s * : Rag Picker—W. M a r s h a l l , Dressmaker—Mrs. H o w a r d ; Ole Bull. W . — D e a f as a P o s t ; A G l a n c e at Philadelphia. C.—Ernani. Monday: A . — R a g P i c k e r of Paris ; Philadelphia in Spots * : Sam—C. Burke. W . — B o h e m i a n G i r l ; L a d y of the L a k e . C . — L u c r e z i a Borgia. A t h . — S o l d i e r ' s D a u g h t e r ; Dead Shot. A . — N o advertisement. W . — B o h e m i a n G i r l ; L a d y of the L a k e . A t h . — L a d y of L y o n s ; Swiss S w a i n s . A . — R a g P i c k e r of P a r i s ; Philadelphia in Spots. W . — B l a n c h e of P a r i s ; Cesar de B a z a n . A t h . — S t r a n g e r ; Spectre B r i d e g r o o m . A . — R a g P i c k e r of P a r i s ; Philadelphia in Spots. W . — L a d y of the L a k e ; Bone Squash D i a v o l o . A t h . — L o v e ' s Sacrifice; D u m b Belle. C . — I Lombardi. A . — A d o p t e d C h i l d ; Philadelphia in Spots. W . — H o f e r ; B o n e Squash D i a v o l o . A t h . — L u c r e t i a B o r g i a ; Siege of Stralsund. A . — R a g P i c k e r of P a r i s ; Philadelphia in Spots. [389]

THE PHILADELPHIA THEATRE W . — T h r e e Eras in Washington's L i f e * ; Virginia M u m m y . Ath.—Therese; Robert Macaire. C . — I Lombardi. JANUARY X.

2. 3.

4. 5.

6.

8.

9. 10.

11. 12.

1849

Monday: A . — R a g Picker of Paris; Philadelphia in Spots. W . — T h r e e Eras of Washington's L i f e ; Hofer. Ath.—Lucretia Borgia; A Ghost in Spite of Himself. C . — I l Barbiere di Siviglia. Α . — R a g Picker of Paris ; Philadelphia in Spots. W . — T h r e e Eras in Washington's L i f e ; Hofer. Ath.—Bold Stroke for a Husband ; Village Lawyer. A . — R a g Picker of Paris; Philadelphia in Spots. W . — T h r e e Eras in Washington's L i f e ; Bohemian Girl. Ath.—Golden Farmer; Box and Cox. C . — I l Barbiere di Siviglia; Last night of the season. A . — R a g Picker of Paris; Philadelphia in Spots. W . — T h r e e Eras in Washington's L i f e ; Lady of the Lake. Ath.—Rent Day ; Sudden Thoughts. A.—Hunting a turtle; Philadelphia in Spots. W . — C o u r t and C i t y * : Scruple—Richings; Three Eras in Washington's Life. A t h . — M o n e y ; M y Neighbor's W i f e . A . — T h e Crock of Gold * : Sarah—Mrs. Howard ; Philadelphia in Spots. W . — C o u r t and City; Post of Honor. Ath.—Deserter; Our M a r y Ann. Monday: A . — T h e Crock of Gold ; Slasher and Crasher * : Slasher— Burke, Crasher—Robinson. W . — C o u r t and City; A n Irish Engagement. Ath.—Animal Magnetism; Our M a r y Ann. A.—Slasher and Crasher; Crock of Gold. W . — J a c o b i t e ; An Irish Engagement. A t h . — M a i d of Croissy; Mother and Child are Doing Well. A.—Lavater, the Physiognomist*: Lavater—Thayer; Slasher and Crasher. W.—Madelaine * ; Laugh when you Can. Ath.—Wolf and Lamb ; M y W i f e ' s Second Floor. A . — R o b Roy Macgregor; Lady of the Lions. W . — W i l d Oats; Loan of a Lover. Ath.—Bold Stroke for a Husband; M y W i f e ' s Second Floor. A.—Masaniello; Slasher and Crasher. W . — C o u r t and C i t y ; Madelaine. [390]

CHRONOLOGICAL R E C O R D S : 1849 13. 15.

16. 17. 18. 19. 20. 22.

23. 24. 25. 26. 27. 29.

Ath.—Cesar de Bazan ; Dead Shot. A.—Haunted M a n ; A Glance at Philadelphia. W . — M a d e l a i n e ; T h e Chiffonier. Ath.—Midnight Watch ; Rendezvous. Monday: A.—Richard I I I ; Haunted Man. W . — M a d e l a i n e ; Chiffonier. Ath.—She Stoops to Conquer; W i l f u l Murder. A . — P i z a r r o ; Swiss Cottage. W.—Blanche of Paris; Chiffonier. Ath.—Cricket on the Hearth ; John Jones. A.—John di Procida ; Jack Sheppard. W . — L a u g h when you Can ; Deaf as a Post. Ath.—Point of Honor; T h e Secret. A . — J o h n di Procida; Jack Sheppard. W . — P o o r Pillicoddy; Madelaine. Ath.—Iron K i n g ; John Jones. A . — E l l a Rosenberg; Avenger. W . — B o x and C o x ; Post of Honor. Ath.—Honey Moon ; Animal Magnetism. A.—Warlock of the Glen ; Jack Sheppard. W . — M a t r i m o n y ; Djim-Kro-Ryce. Ath.—Speed the Plough; Dumb Belle. Monday: Α.—Masaniello ; Warlock of the Glen. W . — J a c k O ' Both Sides; Madelaine. Ath.—Poor Gentleman ; Poor Pillicoddy. A.—Lavater, the Physiognomist; Crock of Gold. W . — T w o Thompsons; Box and Cox. Ath.—Paul P r y ; Crimson Crimes. A.—Count of Monte Cristo * : Dantes—W. Marshall. W . — C o u n t of Monte Cristo *. Ath.—Pride of the Market; Poor Pillicoddy. A.—Count of Monte Cristo. W.—Count of Monte Cristo. Ath.—Pride of the Market; Lottery Ticket. A.—Count of Monte Cristo. W . — C o u n t of Monte Cristo. Ath.—Golden Farmer; A Kiss in the Dark. A.—Count of Monte Cristo. W . — C o u n t of Monte Cristo. Ath.—Merchant and his Clerks ; John Jones. Monday: A.—Count of Monte Cristo. W . — C o u n t of Monte Cristo. Ath.—No legitimate drama. [391 ]

T H E PHILADELPHIA THEATRE 30. 31.

A.—Count W.—Count A.—Count W.—Count

of of of of

Monte Monte Monte Monte

Cristo. Cristo. Cristo. Cristo.

FEBRUARY

2. 3· 5· 6. 78. 9· 10. 12.

13. 14. 15. 16. 17. 19.

20. 21.

Thursday : A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. Monday A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. A . - - C o u n t of M o n t e Cristo. W . - -Count of M o n t e Cristo. Monday : A . — M a n i a c Lover ; A Glance at Philadelphia. W . — C o u n t of Monte Cristo. A . — M a n i a c Lover; A Glance at Philadelphia. W . — C o u n t of M o n t e Cristo. A . — M i d n i g h t W a t c h ; A Glance at Philadelphia. W . — C o u n t of M o n t e Cristo. A . — M i d n i g h t W a t c h ; A Glance at Philadelphia. W . — C o u n t of M o n t e Cristo. A . — M i d n i g h t W a t c h ; A Glance at Philadelphia. W . — C o u n t of M o n t e Cristo. A.—Adopted Child ; A Glance at Philadelphia. W . — C o u n t of M o n t e Cristo. Monday: A.—Wacousta; Monte Cristy*: Dantes—Robinson. W.—Slasher and Crasher ; T o m and Jerry. A . — W a c o u s t a ; M o n t e Cristy. W.—Slasher and Crasher; T o m and Jerry. A . — W a c o u s t a ; M o n t e Cristy. [ 392 ]

CHRONOLOGICAL RECORDS: 1849 22. 23. 24. 26. 27. 28.

W.—Slasher and Crasher ; T o m and Jerry. A.—Wacousta ; Monte Cristy. W.—Slasher and Crasher; T o m and Jerry. A.—Wacousta; Monte Cristy. W . — P o s t of Honor; T o m and Jerry. A.—Wacousta; Charles II. W.—Slasher and Crasher ; Arabs of the Desert. Monday: A.—Dombey and Son ; Poor Pillicoddy. W . — A r a b s of the Desert ; No ! A.—Dombey and Son; Slasher and Crasher. W . — A r a b s of the Desert ; Madelaine. A.—Dombey and Son; Katharine and Petruchio. W . — A r a b s of the Desert ; Madelaine.

MARCH 1. 2. 3. 5.

6. 7. 8. 9. io. 12. 13.

Thursday: A.—Dombey and Son ; Poor Pillicoddy. W . — T o m and J e r r y ; Arab of the Niger. A.—Dombey and Son ; How to Pay your Washerwoman. W . — M a d e l a i n e ; Arab of the Niger. A.—Dombey and Son ; Your Life's in Danger. W . — T o m and J e r r y ; Arab of the Niger. Monday: A.—Carpenter of Rouen; T h e T w i n Brothers of the Blood Red C r o s s * : Wild Man of the Mountain—Canfield, DeLancy—Brandon, Bertha—Mrs. Burke. W . — E l d e r Brother; Wine Does Wonders. A.—Carpenter of Rouen ; T w i n Brothers. W . — L a d y of Lyons ; M y Aunt. A.—Seven Clerks; T w i n Brothers. W . — S t r a n g e r ; Wild Oats. A.—Seven Clerks; T w i n Brothers. W . — W a l t e r R a y m o n d * : Walter—Murdock, Okeama—Mrs. Blake ; Founded on Facts. A . — W a l t e r Brand ; T w i n Brothers. W . — W a l t e r Raymond ; Wine Does Wonders, A . — P a u l P r y ; T w i n Brothers. W . — W a l t e r Raymond ; Wine Does Wonders. Monday: A.—Crimson Crimes ; A Glance at Philadelphia. W . — W a l t e r Raymond; Honey Moon. A . — A Glance at Philadelphia; Jack Sheppard. W . — W a l t e r Raymond; Elder Brother. [ 393 ]

THE PHILADELPHIA THEATRE 14. 15. 16. 17. 19. 20. 21. 22. 23· 24. 26. 27. 28. 29. 30. 31.

A.—Physiognomist; Jakey's Visit to California*: Jakey—J. Owens, Lize—Mrs. Booth. W . — W a l t e r Raymond ; Laugh when you Can. A . — T w o Queens; Jakey's Visit to California. W . — L a d y of Lyons; Wine Works Wonders. A.—Queer Dilemmas; Jakey's Visit to California. W . — M o n e y ; Dramatist. A.—Queer Dilemmas; Jakey's Visit to California. W.—Venice Preserved ; Mountaineers. Monday: A, —Stranger; Bold Stroke for a Husband. W . - —Henry I V ; Slasher and Crasher. A.-—Hunchback; Faint Heart never won Fair Lady. W . -—Kentuckian; His Last Legs. A.-—Jane Shore ; Lucrece Borgia. W . - —Man of the World ; Kentuckian. A.-—Love's Sacrifice ; Barrack Room. W . -—Rip Van Winkle; His Last Legs. A.-—Jane Shore; Lucrece Borgia. W . -—Merry Wives of Windsor; Monsieur Mallet. Theodora—Mrs. Farren; A.-—Venetian*: Bravo—Marshall, Pizarro. W . — H e n r y I V ; Kentuckian. Monday: A.—Evadne; Venetian. W.—Romeo and Juliet; Laugh when you Can. A.—Venetian; Soldier's Daughter. W . — L a d y of Lyons; M y Aunt. A.—Venetian; T i m e Tries A l l * : Laura—Mrs. Farren, Bates—Baker. W.—Robbers; Founded on Facts. A.—Venetian ; Time Tries All. W . — M o n e y ; Dramatist. A.—Remorse * : Dorival—Farren, Madame Dorival—Mrs. Farren ; Venetian. W.—Stranger; Wild Oats. A.—Remorse; Venetian. W.—Robbers; Slasher and Crasher. APRIL

2. 3.

Monday: A.—Remorse; Mary Tudor. W . — M u c h Ado about Nothing; Cure for the Heart Ache. A.—Remorse; Time Tries All. W.—Millionaire; Gambler's Fate. [ 394 ]

CHRONOLOGICAL R E C O R D S : 1 8 4 9 4. 5. 6. 7. 9. 10. 11. 12. 13. 14. 16. 17. 18. 19· 20. 21. 23.

24. 25· 26.

A . — M a c b e t h ; Therese. W . — J u l i u s Caesar; Djim-Kro-Ryce. A . — J a n e Shore; Perfection. W . — P o o r Gentleman ; Madelaine. A . — W a l t e r Brand ; Undine. W . — W i l d O a t s ; Dramatist. A . — D o m b e y and Son ; Carpenter of Rouen. W . — R o m e o and Juliet ; W i n e W o r k s Wonders. Monday: A . — R i c h a r d I I I ; Hunting a T u r t l e . W . — I r i s h Ambassador; M y W i f e ' s Come. A . — H a m l e t ; W i d o w ' s Victim. W . — B o r n to Good L u c k ; H o w to pay Rent. A . — M e r c h a n t of Venice; Lady of Lyons. W . — N e r v o u s M a n ; M y W i f e ' s Come. A . — O t h e l l o ; W i d o w ' s Victim. W . — I r i s h Attorney; M a r y M e l v y n * . A . — W e r n e r ; Katharine and Petruchio. W . — R o r y O ' M o r e ; H o w to pay Rent. A . — M a c b e t h ; Antony and Cleopatra, farce. W . — B o r n to Good Luck ; M a r y M e l v y n . Monday: A . — R e v e n g e ; Ladies' Club. W . — S o l d i e r of Fortune ; M y W i f e ' s Come. A . — M u c h Ado about Nothing; T h e Brigand. W . — K i n g O ' N e i l ; Irish Post. A . — C a v a l i e r ; Brigand. W . — S o l d i e r of Fortune; W r o n g Passenger. A.—School of R e f o r m ; Brigand. W . — I r i s h Ambassador; Nervous M a n . A . — G a m e s t e r ; T h e D e l u s i o n * : Harleigh—Pitt, Marion— M r s . Pitt. W . — K i n g O ' N e i l ; T e d d y the T i l e r . A . — C a v a l i e r ; School of Reform. W . — I r i s h Attorney; Witch of Windemere. Monday: A . — E a g l e E y e * : Otahontas—J. H. Hall; LeBeau—Bernard, Coquese—Mrs. B u r k e ; Hunting a T u r t l e . W.—Enchantress. A . — E a g l e Eye ; Weather Cock. W.—Enchantress. A . — E a g l e E y e ; Done on Both Sides. W.—Enchantress. P . M . — L i n d a ; Somebody Else. A . — E a g l e E y e ; Done on Both Sides. W.—Enchantress. [ 395 ]

THE PHILADELPHIA THEATRE 27. 28. 30.

P . M . — L i n d a ; Handsome Husband. A.—Eagle Eye ; Loan of a Lover. W.—Enchantress. P . M . — L i n d a ; Handsome Husband. A.—Eagle Eye; Adopted Child. W.—Enchantress. P . M . — N o advertisement. Monday: A.—Putnam; Katharine and Petruchio. W . — F r a Diavolo; Witch of Windermere. P.M.—Milliner's Holiday; Four Sisters. MAY

1.

2. 3. 4. 5· 7.

8. 9.

10. 11.

Tuesday : A.—Putnam ; Done on Both Sides. W.—Bohemian Girl. P.M.—Milliner's Holiday; Four Sisters. A.—Putnam ; Wreckers of Norway. W.—Enchantress. P.M.—Lola Montes; Fashionable Arrivals. A.—Putnam; Maniac Lover. W . — L a Sonnambula; M y Wife's Come. P . M . — L o l a Montes; Fashionable Arrivals. A.—Rookwood ; Putnam. W.—Daughter of the Regiment; Enchantress, second act. P . M . — L i n d a ; Swiss Swains. A.—Rookwood ; Putnam. W.—Bohemian Girl ; Witch of Windermere. P . M . — L i n d a ; Swiss Swains. Monday: A.—Money; Ringdoves. W.—Dramatist; Day after the Wedding. P.M.—White Farm; Wedding Breakfast. A.—Rookwood ; Ringdoves. W.—Strangers; Wine Works Wonders. P.M.—White Farm; Wedding Breakfast. A.—Horse of the Prairie*: Matalaki—J. H. Hall, Capt. Howard—Mortimer ; Ringdoves. W.—Robbers; Witch of Windermere. P.M.—Roll of the Drum; Pat Lyon. A.—Horse of the Prairie; Ask no Questions. W.—Romeo and Juliet; M y Aunt. P.M.—Roll of the Drum; Handsome Husband. A.—Horse of the Prairie; Wallace. W . — M u c h Ado about Nothing ; Lady of Lyons. [396]

CHRONOLOGICAL R E C O R D S : 1 8 4 9 12. 14. 15. 16. 17·

18. 19. 21.

22. 23.

24. 25. 26. 28.

P . M . — A t t i c Story; Wedding Breakfast. A . — H o r s e of the Prairie; Rookwood. W . — W i l d Oats; Pizarro. P . M . — A t t i c Story; Wedding Breakfast. A . — M i s e r i e s of Human L i f e ; M y Husband's Ghost. W . — M o n e y ; Mountaineers. P . M . — D u c h e s s de la Vaubaliere; Windmill. A . — D u m b Belle; M y Husband's Ghost. W . — M a d e l a i n e ; Witch of Windermere. P . M . — D u c h e s s de la Vaubaliere; Windmill. A . — K a t h a r i n e and Petruchio; M r . and M r s . W h i t e . W . — W e r n e r ; Dead Shot. P . M . — A m e r i c a n Farmers; Crimson Crimes. A.—Everybody's Husband; Dead Shot. W.—Richelieu ; King's Gardener. P . M . — F l o w e r s of the F o r e s t * : Lavrock—Tidmarsh, Alfred— Crocker, Cheap John—Jefferson, Cynthia—Mrs. Bowers. A.—Everybody's Husband. W . — S c h o o l of R e f o r m ; Hunter of the Alps. P . M . — F l o w e r s of the Forest. A . — M a n i a c Lover. W . — C a v a l i e r ; Antony and Cleopatra, farce. P . M . — F l o w e r s of the Forest. Monday: A . — M i d n i g h t Watch. W . — H a m l e t ; Ladies' Club. P . M . — F l o w e r s of the Forest. A . — A s k no Questions. W . — A s Y o u Like I t ; Ladies' Club. P . M . — F l o w e r s of the Forest. A . — T h r e e Wives of Madrid * : Moreno—Thayer, Beatrice— M r s . Winstanley. W . — M o n e y ; Iron Chest. P . M . — A m e r i c a n Farmers; Somebody Else. A . — T h r e e Wives of Madrid. W . — W i v e s as they W e r e ; Victorine. P . M . — A m e r i c a n Farmers; Somebody Else. A . — D r . D i l w o r t h ; M y Husband's Ghost. W . — E v e r y o n e has his Fault ; Witch of Windermere. P . M . — W h o Speaks F i r s t ; Spectre Bridegroom. A . — W a l l a c e ; Double Bedded Room. W . — C o u n t of Monte Cristo. P . M . — W h o Speaks F i r s t ; Spectre Bridegroom. A . — B o r n to Good Luck ; Double Bedded Room. W . — O t h e l l o ; King's Gardener. P . M . — M e n t a l Electricity *. [ 397 ]

THE PHILADELPHIA T H E A T R E 29. 30. 31.

A.—Irish T u t o r ; Double Bedded Room. W.—Stranger; Wild Oats. P . M . — M e n t a l Electricity. A . — R o r y O ' M o r e ; Ringdoves. W . — M u c h Ado about Nothing; Perfection. P . M . — F o u r Sisters. A . — H i s Last Legs; Happy M a n . W . — M o n e y ; Dramatist. P.M.—Handsome Husband. JUNE

1.

2. 4.

5. 6. 7. 8. 9. 11.

12. 13.

Friday : A.—Born to Good Luck; Irish Dragoon. W.—Count of Monte Cristo; Irish Lion. P . M . — M y Wife's Out; Spectre Bridegroom. A.—Teddy the T i l e r ; Irish Dragoon. W.—Othello; Who Speaks First? P . M . — W h o Speaks First?; Milliner's Holiday. Monday: A.—Irish Attorney; Mabel's Curse. W.—Richelieu; Who Speaks First? P.M.—Beauty and the Beast; Four Sisters. A . — R o r y O ' M o r e ; Happy Man. W.—Gladiator; Poor Pillicoddy. P.M.—Beauty and the Beast; Who Speaks First? A . — R a g Picker of Paris; A Glance at Philadelphia. W . — J a c k Cade; Who Speaks First? P . M . — W h o Speaks First?; M y Neighbor's W i f e . A . — R a g Picker of Paris; A Glance at Philadelphia. W . — M e t a m o r a ; Witch of Windermere. P . M . — N o legitimate drama. A.—Carpenter of Rouen ; Ask no Questions. W.—Broker of Bogota; M y Wife's Come. A.—Children in the Wood ; Double Bedded Room. W . — J a c k Cade; Who Speaks First? Monday: A . — C h l o r o f o r m * : Aminabab—Logan, Pink Patter—Mrs. Winstanley; M r . and M r s . M a c b e t h * : Macbeth— Brougham, Lady Macbeth—Burton. W . — B o x and Cox. A.—Chloroform; M r . and M r s . Macbeth. W.—Slasher and Crasher. A.—Chloroform; Where's B a r n u m ? * : Mr. Smiler—Brougham, Spriggles—Burton. W . — W h o Speaks First? [ 398 ]

CHRONOLOGICAL RECORDS:

14. 15. 16. 18. 19. 20. 21. 22. 23. 27. 28. 29. 30.

1849

A . — C h l o r o f o r m ; Where's Barnum? W . — K i n g ' s Gardener. A . — C h l o r o f o r m ; Where's Barnum? W . — M y W i f e ' s Come. A.—Chloroform ; Where's Barnum? W . — W i t c h of Windermere. Monday: A . — J o h n B u l l ; Where's Barnum? W . — B r i d a l ; Victorine. A . — L o v e ' s Sacrifice; Chloroform. W.—Venice Preserved ; Robert Macaire. A . — J a n e Shore ; A Glance at Philadelphia. Last night of the season. W . — R o b Roy ; Witch of Windermere. W . — B e r t r a m ; Wonder. W . — W i l l i a m T e l l ; House Dog. W . — M u c h Ado about Nothing; Merchant of Venice, fourth act. Last night of the season. P . M . — F a i n t Heart never won Fair L a d y ; Rival Pages. P . M . — I d . , June 27. P . M . — A s m o d e u s ; Rival Pages. P . M . — A Husband at Sight; M y Little Adopted. JULY

2. 3. 4. 5. 6. 7. 9. 10. 11. 12. 13. 14. 16. 17. 18. 19.

Monday: P . M . — W i d o w ' s Victim; A r t f u l Dodger. P . M . — D i d you ever Send your W i f e to Germantown?; A r t f u l Dodger. P . M . — R o b e r t Macaire; Did you ever Send your W i f e to Germantown ? P.M.—Slasher and Crasher; Spirit of the Fountain. P . M . — I d . , J u l y 5. P . M . — O n e H o u r ; Eton Boy. Monday: P . M . — P i e r r e G a m o u c h e * : Pierre—De B a r ; Sketches in India. P . M . — H i s Last Legs; Loan of a Lover. P . M . — S t a t e Secrets; Did you ever Send your W i f e to Germantown ? P . M . — A g n e s de Vere ; Eton Boy. P . M . — H o n e y M o o n ; Married Rake. P . M . — F a i n t Heart never won Fair L a d y ; Eton Boy. P.M.—Soldier's Return; Jenny Lind. P . M . — D u m b Belle; J o l l y Cobbler. P.M.—Sketches in India; Chloroform. P . M . — I d . , J u l y 18. [ 399 ]

T H E PHILADELPHIA T H E A T R E 20. 21. 23. 24. 25. 26. 27. 28.

P.M.—Founded on Facts; Chloroform. P . M . — U n c l e Sam; Chloroform. Monday: P . M . — I r o n Chest; King's Gardener. P . M . — T h e r e s e ; King's Gardener. P . M . — W i l l i a m T e l l ; M y Fellow Clerk. P . M . — P r i d e of the M a r k e t ; A Glance at Philadelphia. P.M.—Cricket on the Hearth; Pride of the Market. P . M . — E t o n Boy; A r t f u l Dodger. Last night of the season.

AUGUST 15.

16. 17. 18. 20. 21. 22. 23. 24. 25. 27.

28. 29. 30. 31.

Wednesday: A.—Adopted Child ; John Dobbs * · Paternoster—Burton, Dobbs—Baker. C.—Black Eyed Susan. A . — A s Y o u Like I t ; John Dobbs. C . — D a y after the Wedding; Glance at Philadelphia. A.—Stranger; T h a t Rasçal Jack. C . — T w o Gregories. A.—Love's Sacrifice; M r . and M r s . White. C.—Agnes de Vere. Monday: A . — L a d y of Lyons ; Taken in and Done for * : Pewitt—Dunn. C . — L a d y of Lyons. A.—Katharine and Petruchio; Taken in and Done for. C . — L o v e in Humble L i f e ; John Bull in France. A.—Richelieu; Catching an Heiress. C.—Stranger. A.—Hunchback; Gentleman in Difficulties. C.—Ambrose Gwinett. A.—She Stoops to Conquer ; Poor Pillicoddy. C . — A Glance at Philadelphia. A . — P i z a r r o ; Taken in and Done for. C . — T w o Gregories; A Glance at Philadelphia. Monday: A.—Honey M o o n ; A Wonderful W o m a n * : Crepin— J . Dunn, Hortense—Mrs. Winstanley. C.—Shipwrecked Mariner. A.—Romeo and Juliet; A Wonderful Woman. C . — O l d Guard ; Jakey's Visit to his Aunts. Last night of the season. A . — L o v e Chase; Taken in and Done for. A.—Faint Heart never won Fair Lady ; A Wonderful Woman. A.—Cesar de Bazan; Adopted Child. [400]

CHRONOLOGICAL R E C O R D S : 1849 SEPTEMBER I.

3. 4. 5. 6. 7. 8.

10.

11. 12. 13.

14. 15· 17.

Saturday: A.—Idiot of the M i l l * : Lendormie—Miss Wallack, Franval — T h a y e r , Simon—J. Dunn ; Soldier and the Peasant. C . — L a d y of Lyons; M r . and M r s . White. Monday: A.—Idiot of the M i l l ; Luke the Laborer. C . — L a d y of Lyons ; Bobby Breakwindow. A.—Idiot of the M i l l ; Richard ye Thirde. C . — M y Poll and my Partner J o e ; Faint Heart never won Fair Lady. A.—Idiot of the M i l l ; Mammon and G a m m o n * : Smudge— J . Dunn. C . — M y Poll and my Partner J o e ; A Kiss in the Dark. A.—Idiot of the M i l l ; Mammon and Gammon. C . — M y Poll and my Partner J o e ; Loan of a Lover. A.—Cesar de Bazan ; Idiot of the M i l l . C . — M y Poll and my Partner J o e ; T u r n i n g the Tables. A.—Wardock K e n n i l s o n * : Ramble—Thayer, Wardock— M r s . Winstanley; Idiot of the M i l l . C . — M y Poll and my Partner J o e ; T h e Miser of Philadelp h i a * : Nat—C. Foster. Monday: A . — B r i a n Boroihme; Wardock Kennilson. C.—Love's Sacrifice; Miser of Philadelphia. W.—Soldier of Fortune; Born to Good Luck. A.—Wardock Kennilson; Cesar de Bazan. C.—Hunchback; Miser of Philadelphia. W . — N e r v o u s M a n ; Witch of Windermere. A . — B r i a n Boroihme; Taken in and Done for. C.—Honey Moon ; Miser of Philadelphia. W.—Irish Attorney; Perfection. A . — R o m e o and J u l i e t ; Wreckers of Norway. C . — M y Poll and my Partner J o e ; Miser of Philadelphia. W . — O ' G r a d y , the Irish G u a r d s m a n * : O'Grady—Collins; His Last Legs. A . — S h e Stoops to Conquer; Idiot of the M i l l . C . — H a m l e t ; Poor Pillicoddy. W . — O ' G r a d y ; How to pay Rent. A . — B r i a n Boroihme ; Warlock of the Glen. C.—Richard I I I ; Omnibus. W . — O ' G r a d y ; Teddy the T i l e r . Monday: A . — S t r a t h m o r e * : Strathmore—Marshall, Katharine—Miss W a l l a c k ; Everybody's Husband. [401 ]

THE PHILADELPHIA THEATRE

18. 19. 20. 21.

22. 24.

25. 26. 27. 28. 29.

C.—Macbeth ; Slasher and Crasher. W . — O ' G r a d y ; Teddy the Tiler. A.—Strathmore; Lawyer's Practice. C.—Pizarro; Make Your Wills. W . — O ' G r a d y ; His Last Legs. A.—Surgeon of Paris; Tom Cringle's Log. C.—Richard I I I ; Slasher and Crasher. W.—Born to Good Luck; Irish Post. A.—Widow's Victim ; Mose in California. C.—Richelieu ; Golden Farmer. W.—Soldier of Fortune; Irish Attorney. A.—Widow's Victim; Mose in California. C.—Sea King's Vow ; M y Poll and my Partner Joe, first and third acts. W.—Nervous Man ; Wonderful Woman. A.—Widow's Victim; Mose in California. C.—Infidelity; Sea King's Vow. W.—O'Grady. Monday: A.—Adopted Child ; New York as it Is. C.—The Fighting Brothers of Rome; A Day after the Wedding. W.—Irish Ambassador; Wonderful Woman. A.—Black Eyed Susan ; New York as it Is. C.—Fighting Brothers of Rome ; Omnibus. W . — K i n g O'Neil ; Who Speaks First ? A.—Jonathan Bradford ; Omnibus. C.—Fighting Brothers of Rome ; Philadelphia as it Is. W.—Irish Ambassador; Irish Post. A.—Jonathan Bradford; Irish Tutor. C.—Fighting Brothers of Rome ; Philadelphia as it Is. W.—Rory O ' M o r e ; His Last Legs. A.—Faint Heart never won Fair Lady; New York as it Is. C.—Fighting Brothers of Rome ; Philadelphia as it Is. W.—Irish Ambassador; Teddy the Tiler. A.—Widow's Victim ; New York as it Is. C.—Fighting Brothers of Rome ; A Glance at Philadelphia. W.—Born to Good Luck; Irish Post. OCTOBER

I.

Monday: A.—Poor Gentleman ; M y Sister Kate. C.—Faithful Slave; Crimson Crimes. W . — L a Fille du Regiment; Separate Maintenance. [ 402 ]

CHRONOLOGICAL R E C O R D S : 1 8 4 9 2.

3.

4.

5.

6.

8.

9.

10.

11.

12.

13.

A . — S p e e d the P l o u g h ; T h e Empire of H a y t i * : Faustin I.— J . Dunn. C . — P a u l P r y ; A Glance at Philadelphia. W . — T h e Bravo. A . — M y s t e r i e s and Miseries of N e w Y o r k * : Mose—T. Β. Johnston, Tobin—Hadavvay, Jack—Dunn; Empire of Hayti. C . — F i g h t i n g Brothers of R o m e ; W a t e r Witches. W . — L a F i l l e du Regiment; W o n d e r f u l W o m a n . A . — M y s t e r i e s and Miseries of N e w Y o r k ; Empire of Hayti. C . — F i g h t i n g Brothers of R o m e ; W a t e r Witches. W . — T h e B r a v o ; Slasher and Crasher. A . — M y s t e r i e s and Miseries of N e w Y o r k ; Double Bedded Room. C . — A N e w W a y T o Pay O l d Debts; M a k e your W i l l s . W . — L a Fille du Regiment ; Witch of Windermere. A . — M y s t e r i e s and Miseries of N e w Y o r k ; Idiot of the M i l l . C . — R i c h a r d I I I ; W a t e r Witches. W . — T h e B r a v o ; House Dog. Alonday: A . — M a m m o n and Gammon ; Mose and J a k e y * : Jakey— T . B . Johnston. C . — H a m l e t ; A Kiss in the Dark. W . — N o r m a ; W h o Speaks First? N . — M y s t e r i e s and Miseries of N e w Y o r k ; Mose and J a k e y in Philadelphia *. Α.—Id., Oct. 8. C . — M e r c h a n t of Venice; Faithful Slave. W . — B o h e m i a n G i r l ; Separate Maintenance. N . — I d . , Oct 8. A . — Y o u n g A m e r i c a ; Mose and Jakey. C . — A p o s t a t e ; Miser of Philadelphia. W . — N o r m a ; House D o g . N . — I d . , Oct. 8. A . — L o v e in Humble L i f e ; Mysteries and Miseries of N e w York. C . — R i c h a r d I I I ; W a t e r Witches. W . — N o r m a ; Bohemian G i r l , second and third acts. N . — F o r e i g n Prince; Mose and Jakey. A . — W h i t e F a r m ; Virginia M u m m y . C . — H u n c h b a c k ; Chloroform. W . — D o n Giovanni; Wonderful Woman. N . — V i r g i n i a M u m m y ; Mose and J a k e y . A . — C o m e d y of E r r o r s ; Slasher and Crasher. C . — R o m e o and J u l i e t ; Chloroform. [403 J

THE PHILADELPHIA THEATRE 15.

16.

17.

18.

19.

20.

22.

23.

24.

25.

26.

27.

29.

30.

W . — D o n Giovanni. Monday: A . — C e s a r de B a z a n ; W h o ' s your Friend ? C . — L a d y of L y o n s ; C h l o r o f o r m . W . — B o r n to G o o d L u c k ; Irish L i o n . A . — L u c k ' s A l l ; B l a c k E y e d Susan. C . — T h e W i f e ; Chloroform. W . — K i n g O'Neil ; Wonderful Woman. A . — W h o ' s your F r i e n d ? ; R o b e r t M a c a i r e . C . — L o v e ' s Sacrifice; C h l o r o f o r m . W . — R o r y O ' M o r e ; H o w to pay Rent. A . — P o s t of H o n o r ; M r s . H a r r i s . C . — R o m e o and J u l i e t ; C h l o r o f o r m . V V . — K n i g h t of A r v a * : Connor—Hudson; Irish L i o n . A . — G i l d e r o y ; Maniac Lover. C . — S c h o o l for Scandal ; Simpson and C o . W . — N e r v o u s M a n ; Irish S e c r e t a r y * : w i t h H u d s o n . A . — W h o ' s your F r i e n d ? ; M a n i a c L o v e r . C . — P i z a r r o ; Honey Moon. W . — K n i g h t of A r v a ; P e r f e c t i o n . Monday: A . — G i l d e r o y ; A D a y a f t e r the F a i r . C . — I o n ; U n c l e Sam. W . — O ' F l a n n i g a n and the Fairies ; B o x and C o x . A . — M e r c h a n t of V e n i c e ; T h e Sphinx. C . — P o o r Gentleman ; Married Life. W . — K n i g h t of A r v a ; N e r v o u s M a n . A . — H a m l e t ; B l a c k E y e d Susan. C . — B e n j . F r a n k l i n * : Washington—Bayley, Franklin—Cartl i c k ; A Kiss in the D a r k . W . — S t . P a t r i c k ' s E v e ; Irish D i p l o m a c y . A . — S u r g e o n of P a r i s ; Joe the O r p h a n . C . — B e n j a m i n Franklin; Omnibus. W . — O ' F l a n n i g a n and the F a i r i e s ; W i t c h of W i n d e r m e r e . A . — R a g P i c k e r of P a r i s ; F a i n t H e a r t never w o n F a i r L a d y . C . — B e n j . Franklin; Forty Thieves. W . — K n i g h t of A r v a ; Irish D i p l o m a c y . A . — S u r g e o n of P a r i s ; T h e Sphinx. C . — B e n j . F r a n k l i n ; U p s and D o w n s of a S t u d e n t ' s L i f e . W . — O ' F l a n n i g a n and the Fairies ; St. P a t r i c k ' s E v e . Monday: A.—Stranger; L u c r e c e Borgia. C . — B e n j . F r a n k l i n ; U p s and D o w n s of a Student's L i f e . W . — S t r a n g e r ; Jacobite. A . — E v a d n e ; L u c r e c e Borgia. C . — B e n j . F r a n k l i n ; U p s and D o w n s of a S t u d e n t ' s L i f e . [404]

CHRONOLOGICAL R E C O R D S : 1849 31.

W . — A s Y o u Like I t ; Box and Cox. A . — J a n e Shore; W o r l d Changed. C . — H e a r t s are T r u m p s ; Forty Thieves. W . — M a c b e t h ; Poor Pillicoddy. NOVEMBER

1.

2.

3. 5.

6.

7. 8.

9. 10.

12.

13.

14.

15.

Thursday : A . — H u n c h b a c k ; W o r l d Changed. C . — P i z a r r o ; Hearts are T r u m p s . W . — M o n e y ; John Dobbs. A . — M a r y T u d o r ; W o r l d Changed. C . — I n f i d e l i t y ; Hearts are T r u m p s . W . — H u n c h b a c k ; Jacobite. A.—Venetian ; Daughter of the Regiment, drama. C.—Alose in China * ; Black Raven of the Tombs. W . — M a c b e t h ; John Dobbs. Monday: A . — R o m e o and J u l i e t ; W o r l d Changed. C . — M o s e in C h i n a ; Black Raven of the Tombs. W . — H u n c h b a c k ; Witch of Windermere. A . — M a i d of M a r i e n d o r p t ; W o r l d

Changed.

C . — M o s e in C h i n a ; Black Raven of the Tombs. W . — G u y Mannering; Poor Pillicoddy. A . — H u n c h b a c k ; World Changed. C . — M o s e and Jakey's Visit to the Chesnut * ; Mose in China. W . — G u y Mannering; School of Reform. A . — M a i d of Mariendorpt; W o r l d Changed. C . — B l a c k Raven of the Tombs ; Mose in China. W . — G u y Mannering; Laugh when you Can. A . — L o v e Chase; W o r l d Changed. C . — H a m l e t ; J a c k Sheppard. W . — S t r a n g e r ; Honey Moon. A . — T h e W i f e ; Wreckers of N o r w a y . C . — M i n e r of Pottsville; Harlequin and Mother Goose. W . — G u y Mannering; Katharine and Petruchio. A . — L o v e ; Ask no Questions. C . — M i n e r of Pottsville; Mose in China. W . — M a c b e t h ; Dead Shot. A . — L o v e Chase; Adopted Child. C . — M i n e r of Pottsville; Mose in China. W . — H e n r y V I I I ; John Dobbs. A . — L o v e ; H o w to Pay your Washerwoman. C . — T h e Pride of the Ocean; Mose in China. W.—Henry V I I I ; P.P. A . — T h e W i f e ; Mammon and Gammon. [405]

THE PHILADELPHIA T H E A T R E

16. 17. 19.

20. 21. 22.

23. 24. 26.

27. 28. 29.

30.

C.—Female Forty Thieves; Harlequin and Mother Goose. W . — W i l d Oats; Cesar de Bazan. A . — L a d y of Lyons; Ringdoves. C.—Female Forty Thieves; Mose in China. W . — M u c h Ado about Nothing; Robert Macaire. A . — E v a d n e ; White Farm. C . — T h e Brigadier's Horse; Female Forty Thieves. W . — G u y Mannering ; Loan of a Lover. Monday: A.—Sam Patch in France ; Robert Macaire. C.—Brigadier's Horse; Naiad Queen. W . — I o n ; Perfection. A . — R a g Picker of Paris; White Farm. C.—Brigadier's Horse; Naiad Queen. W . — I o n ; John Dobbs. A.—Carpenter of Rouen; Soldier and the Peasant. C.—-Brigadier's Horse; Naiad Queen. W . — L a d y of Lyons; Honey Moon. A.—Hand of C a r d s * : Joe—Marshall, Lavjson—Baker, Bill —Clarke ; Weathercock. C.—Brigadier's Horse; Naiad Queen. W.—Honey Moon ; Cesar de Bazan. A.—Sam Patch in France; Hand of Cards. C.—Brigadier's Horse; Naiad Queen. W . — M u c h Ado about Nothing; Second Thoughts. A.—Sam Patch in France; Drunkard. C.—-Naiad Queen; Mad Anthony Wayne. W . — L a d y of Lyons ; Wild Oats. Monday: A.·—-Ireland as it Is; Rosina Meadows. C . — L o l a Montes; Richard ye Thirde. W.—-Daughter of the Regiment ; Cesar de Bazan. A.—Ireland as it I s ; Rosina Meadows. C . — H i s Last Legs; Richard ye Thirde. W . — F r a Diavolo; Wandering Minstrel. A.—-Rosina Meadows; Limerick Boy. C.—Spectre Bridegroom; Lola Montes. W.—Daughter of the Regiment ; Young Scamp. A . — T h e Match Woman of Philadelphia * : Horace—J. P. Addams, Skipper—Marshall, Frank—Watkins, Catharine—M rs. J . P. Addams ; Born to Good Luck. C.—Asmodeus; Rascal Jack. W.—Bohemian Girl. A.—Match Woman of Philadelphia; Mose in California. C.—Asmodeus ; Swamp Steed. W . — N o r m a ; House Dog. [406]

CHRONOLOGICAL RECORDS: 1849 DECEMBER I.

3.

4. 5.

6. 7. 8. IO.

π. 12. 13. 14. 15. 17. 18. 19.

Saturday: A . — M a t c h Woman of Philadelphia; Mose in California. C . — S w a m p Steed ; Lola Montes. W . — D o n Giovanni; Separate Maintenance. Monday: A . — M a t c h Woman of Philadelphia; Drunkard. C . — O l d Guard ; Joe, the Orphan. W . — N o r m a ; Box and Cox. A . — I d . , December 3. C . — I d . , December 3. W . — M a s a n i e l l o ; Jacobite. A . — O r a n g e Girl of V e n i c e * : Galliano—Marshall, Uberone —Clarke, Eugenia—Miss W o o d ; Wallace. C . — S w a m p Steed ; Sketches in India. W.—Masaniello. A.—Orange G i r l of Venice; Drunkard. C . — T h e Jewess; A Ghost in Spite of Himself. W . — D a u g h t e r of the Regiment. A . — I d . , December 6. C . — N i g h t Dancers; T h e Jewess. W.—Gustavus I I I , opera; John Dobbs. A . — O r a n g e G i r l of Venice; Hand of Cards. C . — N i g h t Dancers; Swamp Steed. W.—Gustavus I I I . Monday: A.—Darnley ; Promissory Note. C.—Mountain D e v i l ; Night Dancers. W . — K n i g h t of A r v a ; Irish Secretary, A . — D a r n l e y ; Hand of Cards. C . — N o advertisement. W . — W h i t e Horse of the Peppers; John Dobbs. A.—Closed. C . — N o advertisement. W . — M o r e Blunders than O n e ; St. Patrick's Eve. W . — K n i g h t of A r v a ; Loan of a Lover. W.—Soldier of Fortune; Irish Recruit. W . — I d . , December 14. A.—Soldier and Peasant ; Darnley. Monday: W . — H e n r y I V ; Poor Pillicoddy. A.—Richard I I I ; Antony and Cleopatra, comedietta. W . — R i p Van W i n k l e ; Möns. Tonson. A.—School of Reform ; Katharine and Petruchio. W . — R i p Van W i n k l e ; Kentuckian. [407 ]

T H E PHILADELPHIA T H E A T R E 20. 21. 22. 24.

25. 26. 27. 28. 29.

31.

A . — H a m l e t ; Hunting a T u r t l e . W . — M a n of the W o r l d ; Möns. Tonson. A . — I o n ; Dead Shot. W . — M e r r y W i v e s of W i n d s o r ; Monsieur Mallet. A . — M a c b e t h ; A n Object of Interest. W . — M e r r y Wives of Windsor; Kentuckian. A . — O t h e l l o ; Antony and Cleopatra, burletta. Monday: W . — M o n e y ; M y Aunt. A.—Serious Family * : Torrens—Watkins, Mrs. Mrs. Nicholls; Jack Sheppard. W . - —Stranger; W i l d Oats. A , —Serious Family ; Wreckers of N o r w a y . W . -— L a d y of Lyons; Honey Moon. A , — D o u g l a s s ; Rule a W i f e . W . — W i n e W o r k s Wonders; Dramatist. A , — P o o r Gentleman ; Y o u r Life's in Danger. W . -— M u c h Ado about Nothing; T h e Critic. A , — H e i r at L a w ; Poor Pillicoddy. W . -— T h e Robbers; P.P. A , — K r i s s Kringle ; Philadelphia Directory * : Hadaway, Brown—Thayer. Monday: W . — W a l t e r Raymond ; Laugh when you Can. A . — G i l d e r o y ; Bird of Passage. JANUARY

1.

2.

3.

4.

5.

Torrens—

Piccadilly—

1850

Tuesday : A.—Philadelphia Directory; Maniac Lover. W . — L a d y of Lyons; Dramatist. C.—Giselle. A . — S h e Stoops to Conquer; Philadelphia Directory. W . — R o m e o and Juliet; W i n e W o r k s Wonders. C . — T h e Vampire; Harlequin and the Monster of St. Michael. A . — N o advertisement. W . — C u r e for the Heart A c h e ; T h e Critic C . — B i r d of Passage; Harlequin and the Monster of St. Michael. A . — N o advertisement. W . — E l d e r Brother; W i l d Oats. C . — D a n c i n g Bears of Cashmere; Harlequin and the Monster of St. Michael. A . — N o advertisement. W . — V e n i c e Preserved ; M y A u n t . C . — G i s e l l e ; Harlequin and the Monster of St. Michael. [408]

CHRONOLOGICAL R E C O R O S :

7. 8. 9. 10. 11. 12. 14. 15. 16. 17. 18. 19. 21. 22. 23. 24. 25. 26. 28. 29. 30.

1850

Monday : W . — R i c h a r d I I I ; Swiss Cottage. C.—Midshipman Easv; Monster Harlequin. W . — M a c b e t h ; Spoiled Child. C.—Somnambulist; Monster Harlequin. W . — P e r f e c t i o n ; Richard I I I , fifth act. C . — B i r d of Passage; Monster Harlequin. W . — F o u r Mowbrays; Wonderful Woman. C.—Midshipman E a s y ; Monster Harlequin. W . — H u n t e r of the A l p s ; Swiss Cottage. C . — T i g e r Horde; Monster Harlequin. W . — M a c b e t h , trial scene; Bombastes Furioso. C . — M a r m i o n ; Monster Harlequin. Monday: W . — L o a n of a Lover. C . — M a r m i o n ; Monster Harlequin. W . — J o h n Dobbs. C . — M a r m i o n ; Monster Harlequin. W.—Pleasant Neighbors. C . — W i l l Watch ; Cesar de Bazan. W . — O u r M a r y Ann. C . — W i l l W a t c h ; B i r d of P a s s a g e .

W . — D u m b Belle. C.—Cesar de B a z a n ; Monster Harlequin. W . — D u m b Belle. C.—Philadelphia Fireman * ; W i l l Watch. Monday: W . — W i t c h of Windermere. C.—Philadelphia Fireman; Morgan, the Jersey W a g o n e r * . W . — W i t c h of Windermere. C.—Philadelphia Fireman; Morgan. W . — O u r M a r y Ann. C.—Philadelphia Fireman ; Morgan. W . — B o x and Cox. C.—Rake's Progress; Philadelphia Fireman. W.—Cousin Cherry. C . — M o r g a n ; Philadelphia Fireman. W.—Cousin Cherry. C . — M o r g a n ; Philadelphia Fireman. Monday: W.—Pleasant Neighbors. C . — T h e Three Guardsmen; Philadelphia Fireman. W.—Pleasant Neighbors. C . — T h e Three Guardsmen; Philadelphia Fireman. W.—Cousin Cherry. C . — T h e Three Guardsmen ; Philadelphia Fireman. [ 409 ]

T H E PHILADELPHIA THEATRE 31.

W.—Lottery Ticket. C . — T h e T h r e e G u a r d s m e n ; Philadelphia Fireman. FEBRUARY

1.

2. 4.

5· 6. 7· 8. 9· II.

12. 13· 14. 15. 16. 18.

19. 20. 21.

Friday : W . — S t a t e Secrets. C . — T h e T h r e e Guardsmen ; Philadelphia Fireman. W.—Mummy. C . — T h e T h r e e Guardsmen ; Philadelphia Fireman. Monday: W . —Irish Lion. c . —Lucrezia Borgiaj French Spy. w , —Cousin Cherry. c . —Lucrezia Borgia ; French Spy. w . - — W a n d e r i n g Minstrel. c . — P i z a r r o ; W e p t of W i s h - T o n - W i s h . w . —Lend M e Five Shillings. c . —Romeo and J u l i e t ; Indian Girl. w . —State Secrets. c . — T h e T h r e e Guardsmen ; W i l l W a t c h . w , —Lend M e Five Shillings. c . — E s m e r a l d a ; Black Brig of Bermuda. Monday: w . —Lottery Ticket. c . —Esmerelda ; Jack Sheppard. A . — O t h e l l o ; Limerick Boy. w . —No! c . —Esmerelda ; Black Brig of Bermuda. w . —Irish Lion. C . — E s m e r e l d a ; Life in Alabama. W.—Rendezvous. C . — R i c h a r d I I I ; Captain of the W a t c h . W.—No! C . — T h e Spectre Pilot; T h e T h r e e Guardsmen. W . — I t ' s Only M y Aunt. C . — T o u r de Nesle ; T h e Whistler. Monday: W . — I t ' s only my Aunt. C . — T o u r de Nesle ; T h e Whistler. W.—Rendezvous. C . — Z e l i n a ; Philadelphia Fireman. W . — S u d d e n Thoughts. C . — I v a n h o e ; T h e T h r e e Guardsmen. W . — D a y after the W e d d i n g . C . — R o b R o y ; Philadelphia Fireman. [410]

CHRONOLOGICAL R E C O R D S : 22. 23.

25.

26. 27. 28.

1850

VV.—Sudden Thoughts. C.—Ivanhoe; Morgan. W . — O l d Guard. C . — S e r i o u s F a m i l y ; Siege of C o m o r n . A . — O t h e l l o , third a c t ; Venice P r e s e r v e d , first a c t ; T h e W i f e , fourth act. Monday: W.—Rascal Jack. C.—Serious Family; Madeline. W.—Rascal Jack. C . — S a d a k and K a l a s r a d e ; W h o s e is I t ? W . — B o o t s at the S w a n . C . — L e a p Y e a r * : Walker—Baker; Serious F a m i l y . W.—Sudden Thoughts. C . — B o r n to G o o d L u c k ; L e a p Y e a r . MARCH

1.

2. 4.

5.

6.

7.

8.

9.

II.

Friday : W . — B o o t s at the S w a n . C . — M a d e l i n e ; Limerick Boy. W . — S p e c t r e Bridegroom. C . — R o r y O ' M o r e ; Sprigs of I r e l a n d . Monday: W.—No! C . — P a d d y ' s T r i p to A m e r i c a * ; I r e l a n d as it Is. A.—School for Scandal ; N e w Footman. W . — S p e c t r e Bridegroom. C . — I r e l a n d as it I s ; T e d d y the T i l e r . A . — T h e S t r a n g e r ; C r o s s i n g the L i n e . W . — D a y a f t e r the W e d d i n g . C . — R o r y O ' M o r e ; Happy M a n . A . — L a d y of L y o n s ; F a m i l y J a r s . W.—Rendezvous. C . — P a d d y ' s T r i p to A m e r i c a ; Irish Post. A . — R i c h e l i e u ; N i p p e d in the B u d . W . — B o o t s at the S w a n . C . — I r i s h A m b a s s a d o r ; Irish L i o n . Α . — L u c i l l e ; T h e Captive. W.—Rascal Jack. C . — R o b b e r ' s W i f e ; Irish T i g e r . A . — T h e L o v i n g W o m a n ; T o u r de N e s l e . Monday: W . — L a d i e s , Beware. C . — C a t c h i n g an H e i r e s s ; T h e L i m e r i c k B o y . A . — T h e Loving Woman ; Mike Martin. [411]

THE PHILADELPHIA THEATRE 12. 13. 14. 15. 16. 18.

19. 20. 21. 22. 23. 25.

26. 27.

W.—Spectre Bridegroom. C.—Asmodeus ; Omnibus. A . — T h e Loving Woman ; Mike Martin. W . — L a d i e s , Beware. C . — T h e Robber's W i f e ; Emerald Isle. A . — T h e Loving Woman ; Mike Martin. W . — N o legitimate drama. C.—Irish F a r m e r ; Sudden Reformation. A . — T h e Loving Woman ; Mike Martin. W . — N o legitimate drama. C.—Irish F a r m e r ; In and Out of Place. A.—Crossing the Line ; Mike Martin. W . — N o legitimate drama. C.—Lucrezia Borgia ; Zelina. A . — T h e Stranger; Kit Karson *. Monday: W.—Hunchback ; Ladies, Beware. C . — Z i n d e l * : Zindel—C. Foster, Doubar—Clark, Behran— Young, Arianthe—Miss Mowbray, Sylvane—Mrs. W a l k e r ; Faint Heart never won Fair Lady. A.—Rookwood ; Kit Karson. W . — L a d y of Lyons; Richard ye Thirde. C.—Zindel ; Serious Family. A.—Rookwood ; Kit Karson W . — T h e Stranger; Richard ye Thirde. C . — Z i n d e l ; Serious Family. A.—Rookwood ; Kit Karson. W . — T h e W i f e ; Soldier's Daughter. C.—Zindel ; Serious Family. A.—Siege of Corinth ; Kit Karson. W . — T h e Love Chase ; Honey Moon. C.—Zindel ; Serious Family. A.—Siege of Corinth ; Kit Karson. W . — L a d y of Lyons; Richard ye Thirde. C.—Zindel ; Serious Family. A . — T o u r de Nesle; Siege of Corinth. Monday: W . — E x t r e m e s * : Mark—Richings, Augustus—Wheatley, Patrick—Dunn, Mrs. Crosby—Miss Fisher; N o ! C . — Z i n d e l ; Grist to the M i l l . A.—Belle's Stratagem; W i l d Ducks. W . — E x t r e m e s ; Lend M e Five Shillings. C.—Zindel ; Leap Y e a r . Α.—Richelieu ; W i l d Ducks. W . — E x t r e m e s ; Rendezvous. C.—Zindel ; Leap Y e a r . [412]

CHRONOLOGICAL R E C O R D S : 1850 28. 29. 30.

A . — L o v i n g W o m a n ; Stranger. W . — E x t r e m e s ; State Secrets. C . — Z i n d e l ; Serious Family. A . — B l a c k Eyed Susan ; N e w Footman. W . — E x t r e m e s ; Box and C o x . C . — Z i n d e l ; Seven Clerks. A . — W i l d Ducks ; Sisters of Charity. W . — E x t r e m e s ; Rascal J a c k . C.—Zindel. A.—Sisters of C h a r i t y ; Personation. APRIL

1.

2.

3. 4. 5. 6.

8.

9-

10.

Monday: W . — E x t r e m e s ; John Dobbs. C . — Z i n d e l ; Valsha. A . — W a l l a c e ; J a c k Robinson. W . — E x t r e m e s ; Richard ye T h i r d e . C . — Z i n d e l ; Valsha. A . — J a n e Shore ; Lucrezia Borgia. W . — E x t r e m e s ; Slasher and Crasher. C . — Z i n d e l ; Valsha. A . — E v a d n e ; Lucrezia Borgia. W.—Extremes; P.P. C . — D u m b M a n of Manchester, first and second acts; Zindel. A.—Hunchback ; M a r y Tudor. W . — E x t r e m e s ; Uncle Sam. C . — Z i n d e l ; Serious Family. A . — L a d y of Lyons ; M a r y T u d o r . W . — E x t r e m e s ; Lend M e Five Shillings. C . — G r u b M u d g e and C o . * : Grub Mudge—Ellsler, Delia Mudge—M iss E . Eberle ; T h e Launch of the Susqueh a n n a * : Cotton—Ellsler, Harriet Ferguson—Miss E. Eberle. A . — V e n e t i a n ; Daughter of the Regiment. Monday : W . — E x t r e m e s ; Spectre Bridegroom. C . — L a u n c h of the Susquehanna; E l M e l e c h o r * : Faulkner— C . Foster, Diana—Mrs. Clarke. A . — G a m e s t e r ; Venetian. W . — E x t r e m e s ; House Dog. C . — L a u n c h of the Susquehanna; E l Melechor. Α . — W a l l a c e ; Black Eyed Susan. W . — E x t r e m e s ; Uncle Sam. C . — E l M e l e c h o r ; Launch of the Susquehanna. A . — Y o u t h f u l Queen ; J e n n y L i n d in Philadelphia. [413]

THE PHILADELPHIA THEATRE 11. 12. 13. 15.

16. 17.

18. 19. 20. 22.

23. 24. 25. 26. 27.

W.—Extremes. C . — E l Melechor ; Launch of the Susquehanna. A.—Blind Man's B u f f ; Barrack Room. W.—Extremes; Alarming Sacrifice. C.—Serious Family ; Alarming Sacrifice. A.—Blind Man's B u f f ; Personation. W.—Extremes; Alarming Sacrifice. C.—Hernani ; Alarming Sacrifice. A.—Black Eyed Susan. Monday: W.—Hunchback ; Alarming Sacrifice. C.—Who Speaks First?; Maseppa. A.—Youthful Queen. W.—Romeo and Juliet; Alarming Sacrifice. C.—Serious Family ; Maseppa. A.—Barrack Room. W . — L o v e ; No! C.—Trumpeter's W e d d i n g * : Tallboy—Baker, Lady Mary Montague—Miss A . Eberle; Maseppa. A.—Loving Woman. W . — T h e Stranger; Ladies, Beware. C.—Trumpeter's Wedding; Maseppa. A.—Wallace. W . — L o v e ; Jacobite. C.—Mazeppa. Α.—Blind Man's Buff. W.—Lady of Lyons; Corporal's Wedding. C.—Winning a Husband ; Mazeppa. A.—The Stranger. Monday: W . — M a i d of Mariendorpt; Corporal's Wedding. C.—Changes * ; Married Rake. A.—An Object of Interest ; King Rene's Daughter *. W . — T h e W i f e ; Alarming Sacrifice. C.—Changes; Trumpeter's Wedding. A.—King Rene's Daughter. W . — M a i d of Mariendorpt; Separate Maintenance. C.—Changes; High Life in Philadelphia.* A.—King Rene's Daughter; Tour de Nesle. W.—Belle's Stratagem; Ladies, Beware. C.—Changes; Alarming Sacrifice. A.—Loving Woman ; King Rene's Daughter. W.—Gamester; Love Chase. C.—Changes; Mazeppa. A.—King Rene's Daughter; Dumb Man of Manchester. W . — L o v e ; Alarming Sacrifice. [414]

CHRONOLOGICAL R E C O R D S : 1850

29.

30.

C . — C h a n g e s ; Pizarro. A.—Crossing the L i n e ; Struggle for L i f e and D e a t h * : ence Clevedon—E. S. Conner. Monday: W . — I r i s h Ambassador; N o Song, N o Supper. C.—Reprobate ; Mechanic and the Queen. A . — F o r e s t Princess; Struggle for L i f e and Death. W . — B o r n to Good L u c k ; M y Precious Betsy. C.—Changes; Will Watch. A . — K i n g Rene's D a u g h t e r ; Otello.

Clar-

MAY 1.

2.

Wednesday: W . — N e r v o u s M a n ; Irish Post. C . — K n i g h t of the Lion H e a r t * : Henry VIII—Clarke, Francis I—Reynolds, Heartly—Harrison, Richard— Baker, Lady Constance—Mrs. M y e r s ; A Quiet D a y . A . — J a c k Robinson and his M o n k e y ; Otello. W . — I r i s h Attorney; His Last Legs. C . — K n i g h t of the Lion Heart ; Quiet D a y . A . — D u m b M a n of M a n c h e s t e r ; J u m b o J i m .

3. 4.

6.

7.

8. 9. 10.

11.

W . — K i n g O ' N e i l ; W r o n g Passenger. C . — T h e Luprechaun; Changes. A . — F o r e s t Princess; Foreign Prince. W . — K i n g O ' N e i l ; Happy M a n . C . — K n i g h t of the Lion H e a r t ; Gentleman H a r r y , the T e r r o r of the Road. A . — L a Fitte; Mummy. Monday: W . — I r i s h H o n o r * : with Collins; H o w to pay Rent. C.—Gentleman H a r r y ; Quiet D a y . A . — L a Fitte ; Bone Squash Diavolo. W . — I r i s h H o n o r ; W r o n g Passenger. C.—Gentleman H a r r y . A . — L a F i t t e ; Bone Squash Diavolo. W . — I r i s h H o n o r ; Happy M a n . C.—Gentleman H a r r y . — L a Fitte ; Peacock and C r o w . W . — I r i s h H o n o r ; His Last Legs. C . — W h o is I t ? ; W i l f u l M u r d e r . Α . — L a Fitte; O h ! Hush! W . — S o l d i e r of F o r t u n e ; Irish Honor. C . — W h o is I t ? ; W i l f u l M u r d e r . A . — D a m o n and Pythias; Mysterious Knockings. W . — I r i s h Ambassador; Irish Honor. [415]

THE PHILADELPHIA THEATRE

13.

14. 15. 16. 17. 18.

20.

21. 22. 23. 24. 25. 27.

28.

C.—Hunter of the Pyrenees; Wilful Murder. A.—Virginius; Mysterious Knockings. Monday: W.—Serious Family; National Guard. C.—Hunter of the Pyrenees; Quiet Day. A.—Damon and Pythias ; Mysterious Knockings. W.—Serious Family; National Guard. C . — M y Poll and my Partner J o e ; Leap Year. A.—Cesar de Bazan ; Adopted Child. W.—Serious Family; National Guard. C.—An A w f u l Verdict; Knight of the Lion Heart. A.—Pizarro ; Mysterious Knockings. W.—Serious Family; Laugh when you Can. C.—An A w f u l Verdict; Knight of the Lion Heart. A.—Brutus ; Shoemaker of Toulouse. W.—Extremes; John Dobbs. C.—Serious Family; Things in the Next Century. A . — A New Way T o Pay Old Debts ; Mysterious Knockings. W.—Serious Family; Somnambulist. . C.—Knight of the Lion Heart, first and second acts; Last Nail. A.—Richard I I I ; Mysterious Knockings. Monday: VV.—Soldier of Fortune; Irish Lion. C.—Last Nail ; Sleeping Beauty. A.—Othello; Mysterious Knockings. W.—Knight of A r v a ; Irish Secretary. C.—Henriette; Pet of the Petticoats. A.—Apostate ; Lager Beer. W.—Serious Family; Alarming Sacrifice. C.—Leap Y e a r ; Sleeping Beauty. A.—Iron Chest; Lager Beer. W.—Serious Family; How to pay Rent. C.—William T e l l ; Pet of the Petticoats. A.—Dumb Girl of Genoa; Lager Beer. W.-—Serious Family; Irish Recruit. C.—Henrietta; Things in the Next Century. A.—Honey Moon; Mysterious Knockings. W.—Serious Family; Irish Recruit. C.—Soldier's Progress; The Flying Highwayman. A.—Trial by Battle ; The Stranger. Monday: W.—Love. C.—Soldier's Progress; Queen of the Abruzzi. A.—Fazio; An Object of Interest. W.—Belle's Stratagem. [416]

CHRONOLOGICAL R E C O R D S : 1850

29.

30. 31.

C . — Q u e e n of the Abruzzi ; Soldier's Progress. A . — G u y M a n n e r i n g ; Mysterious Knockings. W . — V i r g i n i a * : Virginius—Richings, Virginia—Miss Davenport; National Guard. C.—Soldier's Progress; No. 3 3 3 Locust S t r e e t * . A . — M a c b e t h ; J e n n y Lind at Last. W . — L a d y of L y o n s ; Amazing Sacrifice. C.—Soldier's Progress; No. 3 3 3 Locust Street. A . — R o m e o and Juliet ; Jenny Lind at Last. W . — V i r g i n i a ; W i t c h of Windermere. C . — M y s t e r i e s and Miseries of P h i l a d e l p h i a * ; No. 3 3 3 Locust Street. A.—School for Scandal ; Simpson and Co. JUNE

I.

3.

4. 5.

6. 7.

8. 10.

11.

Saturday: W . — L o v e ; M y Precious Betsy. C . — M y s t e r i e s and Miseries of Philadelphia; T o m and J e r r y . A . — G u y M a n n e r i n g ; Nature and Philosophy. Monday: W . — M a i d of Maricndorpt ; J o h n Dobbs. C . — W r o n g F l u e ; Queen of the A b r u z z i . A.—School for Scandal; Simpson and Co. W . — G a m e s t e r ; M y Precious Betsy. C . — M y s t e r i e s and Miseries of Philadelphia; T o m and J e r r y . A . — R o m e o and J u l i e t ; M y Sister Kate. W . — L o v e ; W i t c h of Windermere. C . — D u k e ' s W a g e r * ; Delicate Ground *. A . — L o n d o n Assurance; Nature and Philosophy. W . — L a d y of Lyons ; Alarming Sacrifice. C . — H u n c h b a c k ; Post of Honor. A . — L o n d o n Assurance; M y Sister Kate. W . — A d r i e n n e , the A c t r e s s * : Maurice—Wheatley, Adrienne — M i s s Davenport ; Honey Moon. C . — P i z a r r o ; A Ghost in Spite of Himself. A . — A s Y o u Like I t ; Henry V I I I , fourth act. W . — A d r i e n n e , the Actress; Slasher and Crasher. C . — B l a n c h H e r i o t ; N o . 3 3 3 Locust St. A . — G u y M a n n e r i n g ; Honey M o o n . Monday: W . — E x t r e m e s ; Lend M e Five Shillings. C . — Z a n t h e ; Blanch Heriot. A.—Mountaineers ; Paul Pry. W . — S e r i o u s F a m i l y ; Madelaine. C . — D u k e ' s W a g e r ; Romance and Burlesque. [417]

T H E PHILADELPHIA T H E A T R E 12.

13.

14.

15.

17.

18.

19.

20.

21.

22.

24.

25.

26.

27.

A . — L a d y of Lyons ; Robinson Crusoe. W . — E x t r e m e s ; M y Precious Betsy. C . — D e l i c a t e Ground ; Romance and Burlesque. A . — M e r c h a n t of Venice ; Robinson Crusoe. W . — E x t r e m e s ; Nature and Philosophy. C . — H o w to Die for Love ; Romance and Burlesque. A . — R a k e ' s Progress; Artist's W i f e . W . — S e r i o u s Family. C . — M a r r i e d Bachelor; A Coroner's Verdict. A . — O t h e l l o ; Katharine and Petruchio. W . — S e r i o u s Family; A Wonderful Woman. C . — D u k e ' s W a g e r ; Romance and Burlesque. A . — P a u l Jones; Is he Jealous? Monday: W . — O t h e l l o ; Nature and Philosophy. C . — D e v i l ' s D u c a t ; Romance and Burlesque. A . — V i c a r of Wakefield ; Paul Jones. W . — M a c b e t h ; Ladies, Beware. C . — W i l f u l M u r d e r ; Whose is It? A . — V i c a r of Wakefield ; Dream at Sea. W . — T h e Stranger; Jacobite. C . — D e v i l ' s D u c a t ; O u t on a Lark. A . — B r i d e ' s Journey; Island Ape. W . — M e r c h a n t of Venice ; Madelaine. C . — C u r e for the Heart A c h e ; O u t on a Lark. A . — V i c a r of Wakefield ; Bride's Journey. W . — L o n d o n Assurance; House Dog. C . — R e n t Day ; Mysteries and Miseries of Philadelphia. A . — L a d y of the Lake ; T u r n i n g the Tables. W . — L o n d o n Assurance; P . P . C . — O u t on a L a r k ; His Last Legs. A . — G u y Mannering; Lady of the Lake. Monday: W . — M a s a n i e l l o ; Somnambulist. C . — R o r y O ' M o r e ; T e d d y the Tiler. A . — T o m Cringle ; A Glance at Philadelphia. W . — M a s a n i e l l o ; Somnambulist. C . — M a h a r a j a h Surovy Seing * : Lanty Leary—Macarthy ; Irish T u t o r . A . — G o l d e n F a r m e r ; Virginia Mummy. W . — E x t r e m e s ; Rascal Jack. C . — T h a l a b a ; Irish W a g e r . A . — J a c k Sheppard ; Lola Montes. W.—Catspaw*: Burgonet—Wheatley, Appleface—Dunn, Mrs. Peachdown—Miss A . Fisher; Ladies, Beware. C . — I r i s h M . D . ; Thalaba. [418]

CHRONOLOGICAL R E C O R D S : 1850 28. 29.

A . — L o l a Montes ; A Glance at Philadelphia. W.—Serious Family; Wonderful Woman. C . — T h i r t y Years of a Woman's L i f e ; Ladies' M a n . A . — V i c a r of Wakefield ; J a c k Sheppard. W . — C a t s p a w ; Rascal J a c k . C . — P a t Rooney ; Mose in China. A . — B o r n to Good L u c k ; Irish Lion. JULY

1.

2. 3. 4.

Monday: W . — E x t r e m e s ; M y Precious Betsy. C . — K i n g O ' N e i l ; Honor and Honesty. A . — H i s Last L e g s ; Happy M a n . W . — S e r i o u s F a m i l y ; M a i d of Croissy. C . — I s a b e l l e ; Who's the Father? A . — R o r y O ' M o r e ; A Glance at Philadelphia. W . — L a u g h when you Can ; Madelaine. C . — D e v i l ' s D u c a t ; Queen of the Abruzzi. A . — I r i s h L i o n ; A Glance at Philadelphia. W . — S e r i o u s Family ; Gen. Washington. Last

night of

the

season.

5. 6. 8.

9. 10. 11. 12. 13.

15.

16.

C.—Philadelphia Boys and G i r l s in 1 7 7 6 ; W o r l d Reformed. A . — B o r n to Good Luck. C . — P h i l a . Boys and G i r l s in 1 7 7 6 ; W o r l d Reformed. Α . — R o b b e r ' s W i f e ; Irish Post. C . — D a m o n and Pythias; Phila. Boys and Girls in 1 7 7 6 . A . — R o b b e r ' s W i f e ; Star Spangled Banner. Monday: C . — R o b R o y ; W o r l d Reformed. A.·—Michael Earle ; Irish Post. C . — N i c k of the W o o d s ; A Glance at Philadelphia. A . — B r i a n Boroihme; A Kiss in the Dark. C . — W i l l i a m T e l l ; Phila. Boys and G i r l s in 1 7 7 6 . A . — R o r y O ' M o r e ; Irish Post. C . — N i c k of the W o o d s ; A Glance at Philadelphia. A . — B r i a n Boroihme; A Kiss in the D a r k . C . — D a m o n and Pythias; W o r l d Reformed. A . — S t . Patrick's E v e ; Invincible. C . — I r o n Chest; Nick of the Woods. A.—Democracy and A r i s t o c r a c y * : Robert Rattle—Breisford; Invincible. Monday: C . — R o s e of Ettrick Vale * : Steenie—McMillan. A.—Democracy and Aristocracy; Delicate Ground. C . — R o s e of Ettrick Vale. [419]

THE PHILADELPHIA T H E A T R E 17. 18. 19. 20. 22. 23. 24. 25. 26. 27. 29. 30. 31.

A.—Damon and Pythias ; Democracy and Aristocracy. C . — R e d Riever ; Tipperary Legacy * : Lanty—R. Ryan. A . — T h e W i f e ; Democracy and Aristocracy. C.—Wizard of the M o o r ; Tipperary Legacy. A.—Pizarro ; Democracy and Aristocracy. C.—Rose of Ettrick Vale; Irish Dragoon. A.—Faint Heart never won Fair L a d y ; Adopted Child. C.—Bride of Lammermoor; Irish Dragoon. A.—Richard I I I ; Star Spangled Banner. Monday: C . — R o b R o y ; Eddystone E l f * . A . — J u l i u s Caesar; Sudden Thoughts. C . — H i s Last Legs; M y Fellow Cleric. A . — L o l a Montes; Spirit of the Fountain. C.—Pizarro; Jakey in California. A.—Spirit of the Fountain; Charles I I . C.—Evadne ; Jakey in California. A . — B r u t u s ; Alpine Maid. C.—Nick of the Woods; A Glance at Philadelphia. A . — D u m b Belle; Esmerelda. C.—William T e l l ; Spectre Bridegroom. A.—Maurice the Woodcutter; Esmerelda. Monday: C . — T h e Robbers; Ole Bull. A.—Delicate Ground ; Fairy Lake. C.—Forty Years of L i f e ; A Glance at Philadelphia. A.—Cesar de Bazan ; Maurice the Woodcutter. C.—School for Scandal; Friend Waggles; Last night of the season. A.—Therese; M y Poll and my Partner Joe.

AUGUST 1. 2. 3. 5. 6. 7· 8. 9· 10.

Thursday : A.—Ambrose Gwinett ; Captain of the Watch. A . — N o advertisement. A . — T h e Drunkard; Dumb Belle. Monday: A.—Sweethearts and Wives; Spectre Bridegroom. Α . — P a u l P r y ; Ole Bull. A.—Grandfather Whitehead ; Faint Heart never won Fair Lady. Α . — T h e Drunkard ; Spectre Bridegroom. A.—People's L a w y e r ; Slasher and Crasher. A . — M u r r e l l , the Land Pirate; Lady of the Lions. [420]

CHRONOLOGICAL R E C O R D S : 1850 12. 13. 14. 15. 16. 17. 19.

20. 21. 22. 23. 24. 26.

27. 28.

29. 30. 31.

Monday: A . — S l a s h e r and C r a s h e r ; Ole B u l l . A.—People's L a w y e r ; Ship Carpenter of Kensington * : Didier —Baker, Blair—Brelsford. A . — J a c o b i t e ; Ship Carpenter of Kensington. A . — R i g h t must W i n at L a s t ; Ship Carpenter of Kensington. A . — R i p V a n W i n k l e ; Buried Alive. A . — J a c o b i t e ; Buried Alive. Monday: A . — R i p V a n W i n k l e ; Mose in China. W . — A s Y o u Like I t ; J o h n Dobbs. B.—Retribution. A . — G r a n d f a t h e r Whitehead ; M o s e in California. W . — B e l l e ' s Stratagem; P . P . A.—Sweethearts and W i v e s ; Irish T u t o r . W . — L e a p Y e a r ; Katharine and Petruchio. A . — N e w Y o r k as it I s ; W i d o w ' s Victim. W . — L e a p Y e a r ; Wonderful Woman. A . — J o n a t h a n B r a d f o r d ; N e w Y o r k as it Is. W . — L e a p Y e a r ; Lend M e Five Shillings. A.—Idiot Witness; Murrell. W . — P a s s i n g Cloud ; Leap Y e a r . Monday: A . — M y s t e r i e s and Miseries of N e w Y o r k ; Omnibus. W . — H u n c h b a c k ; Ladies Beware. B . — D u r i n g the w e e k : Broken S w o r d ; O u r M a r y A n n ; N o t to be D o n e ; M y Sister K a t e ; M a r r i e d L i f e . A.—Revolution ; Mysteries and Miseries of N e w Y o r k . W . — P a s s i n g C l o u d ; Honey M o o n . A . — A Kiss in the D a r k ; Mysteries and Miseries of N e w Y o r k . W . — R e t r i b u t i o n * : Briarly—McMillan, Alice—Miss Wallack; Something Else. A.—Revolution ; Irish Dragoon. W.—Retribution; Our Mary Ann. A . — M o d e l of a W i f e ; W i d o w ' s Victim. W . — E x t r e m e s ; Somebody Else. A . — G o l d e n F a r m e r ; People's L a w y e r . W . — R e t r i b u t i o n ; Eton Boy. SEPTEMBER

2.

3.

Monday: A . — Y a n k e e L a n d ; One Dollar on the Bank of Kentucky. W . — H a m l e t ; Eton Boy. B.—School for Scandal. Performance by candle light: [421 ]

THE PHILADELPHIA T H E A T R E

4. 5. 6. 7. 9.

10.

11.

12. 13.

14.

16.

î7·

A.—Sam Slick; Yankee in China. W . — N o performance. City in darkness from tremendous flood which put the gas works on the river out of running order. B.—School for Scandal. House brilliantly lighted by Barnum's Drummond light. A.—Walter Tyrrel ; The Vermonter. W.—Stranger ; Wine Works Wonders. B.—Lady of Lyons. A.—Sam Patch's First Visit to Europe; Yankee Pedlar. W . — L a d y of Lyons; M y Aunt. B.—Lady of Lyons. A.—Green Mountain Boy; Jonathan in England. W.—Gamester; Wonder. B.—Hunchback. Α.-—Damon and Pythias; American Farmer. W.—Money ; Dramatist. B.—Hunchback. Monday: A.—Wives as they W e r e ; Presumptive Evidence. W.·—Adrienne; Eton Boy. B.—Cricket on the Hearth ; Sudden Thoughts. A.—Virginius; Somebody Else. W.—Adrienne; Somebody Else. C.—Norma. B.—Cricket on the Hearth; Sudden Thoughts. A.—Jane Shore; Trumpeter's Daughter. W . — L o v e ; Jacobite. C.—Lucrezia Borgia. B.—Drunkard. A.—Six Degrees of Crime; Secret. W.—Hunchback; Ladies, Beware. B.—Broken Sword ; Loan of a Lover. A.—Six Degrees of Crime; Walter T y r r e l . W.—Apostate; Katharine and Petruchio. C.—Lucia di Lammermoor. Β.—Hunchback. Α.—Six Degrees of Crime; Trumpeter's Daughter. W . — L o v e ; House Dog. C.—Ernani. B.—Drunkard. Monday: A.—Somebody Else; M y Friend the Captain. W.—Apostate; Poor Pillicoddy. C.—Saffo. Β.—Cricket on the Hearth; Paul Pry. A.—Secret; Presumptive Evidence. [ 422 ]

C H R O N O L O G I C A L R E C O R D S : 1850

18.

19. 20.

21. 23.

24.

25.

26.

27. 28. 30.

W . — R o m e o and Juliet ; M y W i f e ' s Come. C . — L u c i a di Lammermoor. Β . — C r i c k e t on the H e a r t h ; Paul Pry. Α . — T h e Drunkard. W . — L a d y of L y o n s ; A Nabob for an Hour. C.—Norma. B . — M e r c h a n t of Venice; Swiss Cottage. A . — T h e Drunkard. W . — L o v e ; M y W i f e ' s Come. B . — M e r c h a n t of Venice ; Swiss Cottage. A . — I d i o t Witness. W . — L o v e ' s Sacrifice; Y o u t h f u l Queen. C . — I Puritani. Β . — Y o u n g Scamp ; Paul Pry. A . — S i x Degrees of C r i m e ; G o l d Seekers. W . — S t r a n g e r ; Y o u t h f u l Queen. B . — Y o u n g Scamp; Paul Pry. Monday: A . — S i x Degrees of Crime. W . — A p o s t a t e ; Poor Pillicoddy. C . — L u c r e z i a Borgia. B . — F o u r M o w b r a y s ; Cricket on the Hearth. A . — G o l d Seekers. W . — A d r i e n n e , the Actress; Spectre Bridegroom. C . — L a Favorita ! Β . — F o u r M o w b r a y s ; Cricket on the Hearth. A.—Macbeth ; Young Widow. W . — T h e B e t r o t h a l * : Count Jurdino—Wheatley, Salvator— Richings, Marsio—Couldock, Constanza—Miss F. Wallack, Filippia—Miss K . Horn, Marchioness—Mrs. Kinlock ; Ladies, Beware. B . — M a c b e t h ; Cricket on the Hearth. A . — S t r a n g e r ; Poor Cousin W a l t e r . W . — B e t r o t h a l ; Slasher and Crasher. B . — M a c b e t h ; Cricket on the Hearth. A . — P o o r Cousin W a l t e r ; Loan of a Lover. W . — B e t r o t h a l ; Alarming Sacrifice. B.—Sweethearts and W i v e s ; Agnes de Vere. Α . — T h e Robbers; Cold Stricken. W . — B e t r o t h a l ; House Dog. B.—Drunkard. A . — O t h e l l o ; M y Precious Betsy. W . — B e t r o t h a l ; Eton Boy. B . — P r i d e of B i r t h * : Ernest—Goodall, Greller— Baker, Bouquet—Rogers, Emeline—Miss Fisher; Chaos is come Again. [423 ]

THE PHILADELPHIA T H E A T R E OCTOBER 1.

2. 3. 4. 5. 7.

8. 9. 10. 11. 12. 14.

1516.

Tuesday : A.—Damon and Pythias ; M y Precious Betsy. W.—Betrothal ; Alarming Sacrifice. B.—Pride of Birth; Chaos is come Again. A.—Nick of the Woods; Poor Cousin Walter. W.—Betrothal; Friend Waggles. B.—Honey Moon. A.—Cold Stricken; Nick of the Woods. W.—Betrothal ; Friend Waggles. B . — T h e Pride of Birth. A.—Carpenter of Rouen ; Nick of the Woods. W.—Betrothal ; Slasher and Crasher. B . — T h e Pride of Birth. A.—Avenger's V o w ; Nick of the Woods. W.—Betrothal; Friend Waggles. B.—Miller and his M e n ; Swiss Cottage. Monday: A.—Stranger ; Lucretia Borgia. W . — T h e W i f e ; Friend Waggles. B.—Miller and his Men ; Barrack Room. A.—Jane Shore ; Lucretia Borgia. W.—Retribution ; Daughter of the Stars. B.—Miller and his Men ; The Daughter. A.—Evadne ; Lucretia Borgia. W.—Jealous W i f e ; Daughter of the Stars. B.—Miller and his Men ; T h e Daughter. A.—Gamester; Lucretia Borgia. W.—Retribution; Daughter of the Stars. B.—Miller and his M e n ; Turn Out. A.—Hunchback; Venetian. W . — L a d y of Lyons; Honey Moon. B.—Miller and his Men ; T u r n Out. A.—Venetian; Lucretia Borgia. W.—Venice Preserved ; Daughter of the Stars. B . — T h e Pride of Birth. Monday: A.—Remorse; Daughter of the Regiment. W.—Irish Fortune H u n t e r * : Gerald—Collins, Horn ; Teddy the Tiler. B.—Masaniello; Man without a Head. A.—Gamester; Venetian. W.—Irish Fortune Hunter; His Last Legs. B.—Masaniello; Man without a Head. A.—Remorse; Bold Stroke for a Husband. [ 424 ]

Alice—Miss

CHRONOLOGICAL RECORDS: 1850

17.

18. 19. 21.

22. 23. 24. 25. 26. 28.

29. 30. 31.

W.—Irish Fortune Hunter; H o w to pay Rent. B.—Masaniello; Chaos is come Again. A . — T o u r de Nesle; Venetian. W.—Irish Fortune Hunter; Irish Post. C.—Mademoiselle Jenny Lind, the Swedish Nightingale, to present her first Grand Concert. B.—Masaniello; Chaos is come Again. A.—Wrecker's Daughter; M a r y Tudor. W.—Serious Family; Irish Fortune Hunter. B.—Honey Moon. A . — B r i d e of Lammermoor; Daughter of the Regiment. W.—Serious Family; Irish Fortune Hunter. B.—Drunkard. Monday: A . — S i x Degrees of Crime ; T w o Galley Slaves. W . — E x t r e m e s ; Friend Waggles. B . — T h e Pride of Birth. A.—Poor Gentleman ; A Glance at Philadelphia. W . — E x t r e m e s ; Daughter of the Stars. B.—Cricket on the Hearth. A . — O n e Hundred and T w o ; Poor Pillicoddy. W . — C l a r i ; Cesar de Bazan. B.—Caught in a T r a p . A . — P a u l P r y ; A Glance at Philadelphia. W . — E x t r e m e s ; Eton Boy. B.—Caught in a T r a p . A.—Serious Family; A Glance at Philadelphia. W.—School of Reform. B.—Money. A.—Serious Family; A Glance at Philadelphia. W.—Serious Family; Charles X I I . B.—Drunkard. Monday: A.—Serious Family; Jakey's Marriage. W . — L a d y of Lyons; Mysterious Family. B.—Brigand ; Caught in a T r a p . A.—Serious Family; Drunkard. W . — S t r a n g e r ; Mysterious Family. B.—Brigand ; Caught in a T r a p . A.—Serious Family; Crimson Crimes. W . — A s Y o u Like I t ; M y Precious Betsy. B.—School of Reform. A.—Serious Family; Jakey's Marriage. W.—Hunchback; Mysterious Family. B.—Money. [ 425 ]

THE PHILADELPHIA THEATRE NOVEMBER ι.

2. 4.

5. 6. 7. 8. 9. 11.

12. 13. 14. 15·

Friday : A.—Rake's Progress; Live I n d i a n * : with J . Owens in three characters. W.—Money ; Daughter of the Stars. B.—Brigand ; Cricket on the Hearth. A.—Rake's Progress; Live Indian. W.—Venice Preserved ; Mysterious Family. B.—Drunkard. Monday : A.—Macbeth; Forest Rose. W.—Macbeth; M y Precious Betsy. B.—Madeline; Turn Out. A.—Carpenter of Rouen ; Nick of the Woods. W.—Romeo and Juliet ; Friend Waggles. B.—Madeline; Turn Out. A.—Avenger's Vow; Nick of the Woods. W.—London Assurance ; Eton Boy. B.—David Copperfield. A.—Gaulantus; Nick of the Woods. W.—London Assurance; Friend Waggles. B.—David Copperfield. A.—William T e l l ; Carpenter of Rouen. W.—Henry V I I I ; Honey Moon. B.—David Copperfield. A.—Gaulantus ; Oua Cousta. W.—Romeo and Juliet ; Slasher and Crasher. B.—David Copperfield. Monday: A.—Roman T r i b u t e * : Anthemius—Conner, Attila—Johnston, Endocia—Mrs. Conner; Forest Rose. W.—Love ; Ladies, Beware. B.—Forty Thieves ; Barrack Room. A.—Roman Tribute; T w o Galley Slaves. W.—Guy Mannering; Mysterious Family. B.—Forty Thieves; Barrack Room. A.—Roman Tribute; Loan of a Lover. W.—Romeo and Juliet; M y Precious Betsy. B.—Forty Thieves; Valet de Sham. A.—Roman Tribute; Drunkard. W.—Guy Mannering; Daughter of the Stars. B.—Forty Thieves ; Valet de Sham. A.—Six Degrees of Crime; Rosina Meadows. W.—Stranger; Much Ado about Nothing. [426]

CHRONOLOGICAL R E C O R D S : 1850 16.

18.

19. 20.

21. 22. 2.}. 25.

26.

27. 28. 29. 30.

Β . — F o r t y T h i e v e s ; Simpson and Co. A . — R o m a n T r i b u t e ; Virginia M u m m y . W . — G u y M a n n e r i n g ; Eton Boy. B . — F o r t y T h i e v e s ; Simpson and Co. Monday: A . — I r e l a n d as it I s ; Limerick Boy. V V . — F a z i o ; Platonic A t t a c h m e n t * : Thistledown—Chapman, Mary—Miss Miles. B . — F o r t y T h i e v e s ; Faint Heart never won Fair L a d y . A . — R o r y O ' M o r e ; Irish Lion. W . — L a d y of L y o n s ; Platonic Attachment. B . — F o r t y T h i e v e s ; Faint Heart never won Fair Lady. A . — B o r n to Good L u c k ; Sprigs of Ireland. W . — L a d y of Lyons ; A l a r m i n g Sacrifice. B . — F o r t y Thieves ; Robert Macaire. A . — I r e l a n d as it I s ; T e d d y the T i l e r . W . — N o advertisement. B . — F o r t y Thieves ; Robert Macaire. A . — P a d d v the Piper; Kate Kearney. W . — D a u g h t e r of the Stars ; Used Up. B . — F o r t y T h i e v e s ; Robert Macaire. A . — P a d d y the Piper; Kate Kearney. W . — P l a t o n i c Attachment ; Rough Diamond. B.—Drunkard. Monday: A . — P a d d y the P i p e r ; Irish T i g e r . W . — S e r i o u s F a m i l y ; Poor Pillicoddy. B . — F o r t y T h i e v e s ; Grist to the M i l l . A . — I r i s h Post; Paddy the Piper. W . — S e r i o u s Family ; Rough Diamond. B . — F o r t y T h i e v e s ; G r i s t to the M i l l . A . — I r i s h F a r m e r ; Broken Sword. W . — U s e d U p ; Jacobite. B . — F a i r One with the Golden Locks ; Barrack Room. A . — I r i s h F a r m e r ; A l i v e and Kicking. W . — A l a r m i n g Sacrifice; Rough Diamond. B . — F a i r One with the Golden L o c k s ; Cricket on the Hearth. A . — P a d d y ' s T r i p to A m e r i c a ; Happy M a n . W . — S i n g l e L i f e ; Rough Diamond. B . — F a i r One with the Golden Locks ; Simpson and Co. A . — P a d d y the Piper; Broken Sword. W . — S i n g l e L i f e ; Poor Pillicoddy. B . — F a i r One with the Golden Locks; Valet de Sham.

[427 ]

THE PHILADELPHIA T H E A T R E DECEMBER 2.

3. 4. 5.

6. 7. 9.

10.

11. 12. 13.

14. 16.

Monday: A.—People's Lawyer ; Buried Alive. W.—Single L i f e ; Used Up. B.—Drunkard ; Cricket on the Hearth. A.—Sweethearts and Wives ; Paddy the Piper. W . — B o x and Cox ; Rough Diamond. B.—Cesar de Bazan ; David Copperfield. A.—Irish Farmer; Ole Bull. W.—Serious Family ; Alarming Sacrifice. B.—Cure for the Heart Ache. A.—Breach of Promise; Sprigs of Ireland. W.—Single L i f e ; G i r a l d a * : Gil—Chapman, Giralda—Miss Anderson. B.—Rent Day. A.—People's Lawyer ; Wool Dealer. W.—Used U p ; Giralda. Β.—Faint Heart never won Fair Lady; Swiss Swains. A.—Murrell ; Ole Bull. W.—Jacobite ; Rough Diamond. B.—Drunkard; Man without a Head. Monday: A.—Retribution ; Widow's Victim. W.—Extremes; M y Precious Betsy. B.—Fair One with the Golden Locks; Valet de Sham. A.—Retribution; Adopted Child. W.—Riches, or the City Madam; School of Reform. B.—Sudden Thoughts ; Barrack Room. C.—Lucia di Lammermoor. Α.—Retribution; Shoemaker of Toulouse. W . — W r e c k Ashore ; Giralda. Β . — M y Sister Kate ; Swiss Swains. A.—Richard I I I ; Giralda. W.—Friend Waggles; Giralda. Β . — T h e Daughter; No Song No Supper. A.—Damon and Pythias; Ugolino. W.—Platonic Attachments ; Giralda. Β.—Nettlewig Hall * : Nettlewig—Thayer, Emily—Miss Mortimer; Perfection. C.—Don Giovanni. A.—Ugolino; Giralda. W.—Mysterious Family; Eton Boy. B.—Hop o' my Thumb ; Simpson and Co. Monday: Α.—Giralda; Wizard of the Wave. [ 428 ]

CHRONOLOGICAL R E C O R D S :

17.

18. 19.

20.

21.

23.

24. 25.

26.

27.

28.

1850

W . — W r e c k Ashore; Giralda. Β.—Nettlewig Hall. A . — G i r a l d a ; Wizard of the Wave. W . — C h i l d of A i r ; Ladies, Beware. B.—Nettlewig Hall. C.—Ernani. A . — G i r a l d a ; Wizard of the Wave. W . — C h i l d of A i r ; School of Reform. B . — H o p o' my Thumb ; M a n without a Head. A . — G i r a l d a ; Wizard of the Wave. W . — G i r a l d a ; Child of Air. B . — H o p o' my T h u m b ; M a n without a Head. A.—Mischief M a k i n g ; Wizard of the Wave. W . — C h i l d of A i r ; M y Precious Betsy. B . — H o p o' my T h u m b ; Nettlewig Hall. C.—Lucrezia Borgia. A . — A Poor Girl's Story; Wizard of the Wave. W . — C h i l d of A i r ; Rascal Jack. B . — H o p o' my Thumb ; No Song No Supper. C.—Lucrezia Borgia. Monday: A . — A Poor Girl's Story; Wizard of the Wave. W . — M o n e y ; Daughter of the Stars. B . — H o p o' my T h u m b ; Hypochondriac. C.—Norma. A.—Mischief Making; Wizard of the Wave. W . — L a d y of Lyons; Slasher and Crasher. B.—Cherry and Fair Star. A . — W i z a r d of the W a v e ; Harlequin and the Fairy of the Golden Wheatsheaf. W.—Dramatist ; Mountaineers. B.—Cherry and Fair Star. A . — A Poor Girl's Story; Harlequin and the Fairy of the Golden Wheatsheaf. W . — W i n e Works Wonders; Riches. B.—Cherry and Fair Star. C.—Ernani. A . — W i z a r d of the Wave ; Harlequin and the Fairy of the Golden Wheatsheaf. W . — S t r a n g e r ; Wild Oats. B . — Y o u n g Scamp; Cherry and Fair Star. A . — W i z a r d of the W a v e ; David and Goliath. W . — T h e Robbers; Friend Waggles. B.—Cherry and Fair Star; Charles I I . C.—Gemma di Vergy. [429]

THE PHILADELPHIA THEATRE 30.

31.

Monday: A.—Wandering Boys; David and Goliath. W . — M u c h Ado about Nothing; M y Aunt. B.—Cherry and Fair Star ; Married Man. C.—Norma. A.—Country G i r l ; David and Goliath. W . — T h e Robbers; Rascal Jack. B.—Cherry and Fair Star; Married Man. JANUARY

1.

2.

3. 4.

6.

7. 8.

9· 10.

H.

1851

Wednesday: W . — M o n e y ; Honey Moon. A.—Fire Raiser; Harlequin and the Fairy. B.—Kiss in the Dark ; Cherry and Fair Star. W . — W i n e Works Wonders; Mountaineer. A . — F i r e Raiser; Harlequin and the Fairy. B.—Matrimony; Cherry and Fair Star. C.—Lucrezia Borgia. W . — L a d y of Lyons ; Cure for the Heart Ache. A . — L a Fitte; Miser of Southwark Ferry. B.—Matrimony; Cherry and Fair Star. W.—Venice Preserved ; Giralda. A.—Drunkard ; Harlequin and the Fairy. B.—Hop o' my Thumb; Cherry and Fair Star. C.—Parisina. Monday : W.—Katharine and Petruchio. A.—Sketches in India; Harlequin and the Fairy. B . — T w o Friends ; Cherry and Fair Star. C.—Parisina. W.—Daughter of the Stars. A.—Broken Sword; Harlequin and the Fairy. B . — T w o Friends; Cherry and Fair Star. W.—Charles X I I . A . — L a Fitte; Broken Sword. B.—Cricket on the Hearth ; Cherry and Fair Star. C . — I l Giuramento. W.—Jacobite; M y Precious Betsy. A . — A Poor Girl's Story ; Harlequin and the Fairy. B.—Caught in a Trap ; Cherry and Fair Star. W . — B o x and C o x ; Spectre Bridegroom. A . — M o b , the Outlaw; Eighth of January. B.—Married M a n ; Cherry and Fair Star. C.—Ernani. W.—Charles X I I . [430]

CHRONOLOGICAL R E C O R D S : 1851

13.

14.

15.

16. 17.

18.

20.

21. 22. 23.

24.

A . — C o u n t r y G i r l ; T o u r de Nesle. B . — W a n d e r i n g Boys ; Cherry and F a i r Star. C . — I l Giuramento. Monday: W.—Giralda. A . — C a r p e n t e r of Rouen ; Sketches in India. B.—Soldier's Daughter; Cherry and F a i r Star. C . — L a Favorita. W . — D e a d Shot; Slasher and Crasher. Α . — S u r g e o n of P a r i s ; Spectre Bridegroom. B.—Soldier's Daughter; Cherry and Fair Star. C . — D o n Giovanni. W . — M y s t e r i o u s F a m i l y ; Rascal J a c k . Α . — S u r g e o n of Paris; Katharine and Petruchio. B . — L o v e r by P r o x y ; Cherry and F a i r Star. C.—Ernani. VV.—Cure for the Heart Ache. A.—Shoemaker of Toulouse ; Adopted Child. B . — N o t to be D o n e ; Cherry and Fair Star. W . — W i l d Oats. A . — C a p t a i n K y d ; Maniac Lover. B . — W a n d e r i n g Boys; Cherry and Fair Star. C . — L a Sonnambula. W . — M y s t e r i o u s Family. A . — C a p t a i n K y d ; Maniac Lover. B.—-Young W i d o w ; Cherry and Fair Star. C . — L a Favorita. Monday: W . — C a l a y n o s * : Calaynos—Murdock, Don Luis—Richings, Oliver—Wheatley, Don Miguel—A'Becket, Donna Alda — M i s s Anderson ; P . P . A . — R a g Picker of P a r i s ; Whites and Browns. B . — H o n e y Moon ; Aristocracy and Democracy. C . — I l Giuramento, third act; I Lombardi, third act. W . — C a l a y n o s ; Friend Waggles. A . — R a g Picker of Paris ; Wandering Boys. B . — T h e W o n d e r ; Deep, Deep Sea. W . — C a l a y n o s ; John Dobbs. A . — R a g Picker of Paris ; Weathercock. B . — C r i c k e t on the Hearth ; Deep, Deep Sea. W . — C a l a y n o s ; Poor Pillicoddy. A . — R a g Picker of P a r i s ; Black Eyed Susan. B . — W o n d e r ! ; Deep, Deep Sea. W . — C a l a y n o s ; M y Aunt. A . — B r i a n Boroihme; Gilderoy. Β . — T w o Friends; Charles I I . [431 ]

THE PHILADELPHIA THEATRE 25.

27.

28.

29.

30.

31.

W . — C a l a y n o s ; Rascal Jack. A . — B r i a n Boroihme ; Gilderoy. B . — W i v e s as they W e r e ; King's Gardener. Monday: W . — C a l a y n o s ; Lend M e Five Shillings. A . — S a t a n in Paris; Whites and Browns. B . — V i c a r of Wakefield ; Y o u n g W i d o w . W . — C a l a y n o s ; M y Precious Betsy. A . — S a t a n in Paris ; W h i t e s and Browns. B . — V i c a r of Wakefield ; Y o u n g W i d o w . W . — S c h o o l for Scandal ; Rough Diamond. A . — L o v e and Charity; Satan in Paris. B . — V i c a r of W a k e f i e l d ; Poor Pillicoddy. W . — C a l a y n o s ; Spectre Bridegroom. A . — S a t a n in Paris; Eton Boy. B . — V i c a r of Wakefield ; Poor Pillicoddy. C . — D o c t o r Wespe, in German. W . — C a l a y n o s ; A Nabob for an Hour. A . — Y o u t h f u l Days of Richelieu; Used Up. B . — V i c a r of Wakefield ; Gentleman in Difficulties. C . — D o c t o r Wespe. FEBRUARY

I.

3.

4.

5.

6.

7·

Saturday: W . — C a l a y n o s ; Honey Moon. A . — Y o u t h f u l Days of Richelieu; Rough Diamond. B . — V i c a r of Wakefield ; Gentleman in Difficulties. C . — D o c t o r Wespe. Monday: W . — M y Friend in the Straps * ; Box and Cox. A . — I r e l a n d as it Is; Jenny Lind in America. B . — L o n d o n Assurance. C . — W i l h e l m T e l l , in German. W . — M y Friend in the Straps; Sent to the T o w e r *. A . — I r i s h Farmer; Jenny Lind in America. B . — W i v e s as they W e r e ; Married Rake. W . — I d . , Feb. 4. A . — W a l l a c e ; T h e Secret. B . — G a m e s t e r ; W i d o w ' s Victim. W . — M y s t e r i o u s F a m i l y ; Sent to the T o w e r . A . — F o r t u n e ' s W h i m ; Jenny Lind in America. B . — V i c a r of W a k e f i e l d ; Simpson and Co. C . — D e r Pariser Taugenichts; Die Selbstmoerder. W . — J a c o b i t e ; Sent to the T o w e r . A . — P a d d y ' s T r i p to America; Limerick Boy. [ 432 ]

CHRONOLOGICAL R E C O R D S : 1851 8.

10.

11.

12. 13.

14. 15. 17.

18. 19.

20.

21. 22.

24.

Β . — C r i c k e t on the Hearth ; Valet de Sham. W . — R a s c a l J a c k ; Sent to the T o w e r . A .—Id., Feb. 7. B . — O l d Heads and Y o u n g H e a r t s ; Nature and Philosophy. W . — T h e Daughter of the Stars. A.—Presumptive Evidence; Bashful Irishman. B.—Israelites in Egypt. C.—Der Wirrwar. W . — A Wonderful Woman. A . — I r i s h Farmer ; Paddy the Piper. B.—Israelites in Egypt. W . — T h e Husband of my Heart. A . — S h a n d y M a g u i r e ; Jenny Lind in America. B.—Israelites in E g y p t . W . — T h e Husband of my Heart. A.—Shandy Maguire; Our Gal. B.—Israelites in Egypt. W . — B o x and C o x . A . — B o r n to Good L u c k ; Sprigs of Ireland. B.—Israelites in E g y p t . W . — P l a t o n i c Attachment. A . — S h a n d y M a g u i r e ; Sketches in India. B.—Israelites in Egypt. Monday: W . — F a z i o ; D a v i d Copperfield. A . — I r e l a n d as it I s ; Irish Post. B.—Israelites in E g y p t . W . — H u s b a n d of my H e a r t ; D a v i d Copperfield. A . — C o u r t Fool ; Irish Lion. B . — L a Sonnambula. W . — F a z i o ; D a v i d Copperfield. A . — S h a n d y M a g u i r e ; Irish T i g e r . B.—Bohemian G i r l . W . — L o v e ; D a v i d Copperfield. A . — R i c h e l i e u ; Broken Sword. B . — L a Sonnambula. W . — E x t r e m e s ; Giralda. A . — B o r n to Good L u c k ; Eton Boy. B.—Bohemian G i r l . W . — L o v e ; David Copperfield. A . — S h a n d y M a g u i r e ; Irish T i g e r . B . — L a Gazza Ladra. C.—Apostate ; Momentous Question. Monday: W . — N e r v o u s M a n ; Rascal J a c k . A.—Stranger; Wallace. [433 ]

THE PHILADELPHIA T H E A T R E 25.

26.

27.

28.

B . — L a G a z z a Ladra. W . — I r i s h Ambassador; H o w to pay Rent. A . — I r o n Chest; Ella Rosenberg. B . — D e r Freischutz. W . — R o r y O ' M o r e ; W i f e Hunters. A . — S i x Degrees of Crime ; Wandering Boys. B . — D e r Freischutz. C . — D a s Kaetchen von Heilbronn. W . — I r i s h Ambassador; His Last Legs. A . — T o u r de Nesle; T h e Pilot. B.—Bohemian Girl. C . — I d . , Feb. 26. W . — K i n g O ' N e i l ; Born to Good Luck. A . — T e m p l a r ; A Kiss in the Dark. B . — C h i l d of the Regiment. MARCH

I.

3.

4.

5.

6.

7.

8.

Saturday: W . — K i n g O ' N e i l ; Born to Good Luck. A . — T e m p l a r ; Pleasant Neighbors. B . — C h i l d of the Regiment. Monday: W . — S e r i o u s Family; Irish Post. A . — T e m p l a r ; Spectre Bridegroom. B.—Richard I I I . C . — H u n c h b a c k ; Forty and Fifty. W . — S e r i o u s Family; Irish Attorney. A . — W i v e s as they W e r e ; W i d o w ' s Victim. B . — N e w W a y T o Pay Old Debts. C . — L o v e ' s Sacrifice ; Dumb Belle. W . — S e r i o u s Family; W r o n g Passenger. A . — T e m p l a r ; Broken Sword. B . — I r o n Chest. C . — W i f e ; Sketches in India. W . — S e r i o u s Family; Friend Waggles. A . — S h e W o u l d be a Soldier; Idiot Witness. B.—Hamlet. C . — L o v e ' s Sacrifice; Forty and Fifty. W . — S o l d i e r of Fortune ; Nervous M a n . A . — R e n t Day ; Virginia M u m m y . B . — M e r c h a n t of Venice. C.—Adrienne, the Actress; Sketches in India. W . — I r i s h Guardian ; Happy M a n . A . — R i c h a r d I I I ; A Glance at Philadelphia. B.—Richard I I I . [434]

CHRONOLOGICAL RECORDS: 1851 10.

11.

12.

13.

14.

15.

17.

18.

19.

20.

21.

C . — E v a d n e ; Raising the W i n d . Monday: W . — L o v e Chase ; Katharine and Petruchio. A . — S a m Patch in France; M y Precious Betsy. B.—Hamlet. C . — L o v e ; M y Uncle John. W . — O l d Love and the N e w * : Camilla—Julia Bennett, Courtown—Couldock; M y Uncle John. A . — G r e e n Mountain B o y ; A W i f e for a Day. B.—Othello. C . — L o v e Chase ; M y Uncle J o h n . W . — B e l l e ' s Stratagem; Betsy Baker. A . — Y a n k e e in T i m e ; Idiot Witness. B.—Othello. C . — L a d y of L y o n s ; Day after the Wedding. W . — O l d Love and the N e w ; Mysterious Family. A . — Y a n k e e Land ; W o o l Dealer. B.—Apostate. C . — A d r i e n n e ; Forty and F i f t y . W . — A l l that Glitters is not G o l d ; Dead Shot. A . — S e t h Slope ; Yankee Abroad. B . — M e r c h a n t of Vcnicc. C . — B e l l e ' s Stratagem; Y o u t h f u l Queen. W . — A l l that Glitters is not G o l d ; Loan of a Lover. A . — F o r e s t Rose ; Seth Slope. B.—Richard I I I . C . — G a m e s t e r ; Dumb Belle. Monday: W . — H o u s e k e e p e r ; A l l that Glitters is not Gold. A.—People's L a w y e r ; His Last Legs. B . — K i n g Lear. C . — N o advertisement. W . — A l l that Glitters is not G o l d ; Loan of a Lover. A . — C h a r l o t t e Corday ; Forest Rose. B . — T h e Stranger. C.—Charlotte C o r d a y ; M y Uncle John. W . — I d . , M a r . 17. A . — C h a r l o t t e Corday ; Sam Slick. B.—Macbeth. C . — N o advertisement. W . — A l l that Glitters is not Gold ; A Roland for an Oliver. A . — C h a r l o t t e C o r d a y ; Yankee Land. B.—Brutus. C.—Charlotte C o r d a y ; Faint Heart never won F a i r L a d y . W . — A l l that Glitters is not Gold ; Belphegor. A . — K a s p a r H a u s e r ; Sam Patch. [ 435 ]

THE PHILADELPHIA THEATRE

22.

24.

25.

26.

27.

28.

29.

31.

B.—Richard I I I . C.—Love; Promissory Note. W . — I d . , Mar. 2 1 . A.—Charlotte Corday ; Yankee Pedlar. B.—Merchant of Venice. C.—Charlotte Corday; Wedding Ring. Monday: W.—Stranger; All that Glitters is not Gold. A.—Charlotte Corday ; Fire Raiser. B.—Macbeth. C.—Hunchback; Serious Family. W . — W i f e ; All that Glitters is not Gold. A.—Hamlet; Laughing Hyena. B.—Othello. C.—Adrienne; Naval Engagements. W.—Hunchback; Rascal Jack. A.—Fazio; Robert Macaire. B.—Hamlet. C.—Centurion's Daughter ; Dr. Dilworth. W.—Fazio; M y Precious Betsy. A.—Robbers; Widow's Victim. B.—Lady of Lyons. C.—Evadne; Promissory Note. W.—Lady of Lyons; Allow Me to Apologize. A.—Gambler's Fate ; Ugolino. Β.—Money. C.—Maid of Mariendorpt; Rough Diamond. W.—Romeo and Juliet ; Honey Moon. A.—Hamlet; Waterman. B.—Richelieu. C.—Love; Naval Engagements. Monday : W.—Evadne; Allow Me to Apologize. A.—Stranger; Lucretia Borgia. B.—King of the Commons. C.—School for Scandal; Virginia Mummy. APRIL

1.

2.

Tuesday : W.—Love Chase ; All that Glitters is not Gold. A.—Jane Shore; Lucretia Borgia. B.—Richelieu ; Pleasant Neighbors. C.—Adrienne; Wedding Ring. W.—Duke's Wager ; Allow M e to Apologize. [436]

CHRONOLOGICAL R E C O R D S : 1851

3. 4.

5. 7.

8.

A . — L a d y of Lyons; Daughter of the Regiment. B . — K i n g of the Commons. C . — N o advertisement. W . — D u k e ' s W a g e r ; Sent to the Tower. A.—Romeo and J u l i e t ; Rough Diamond. B.—School of Reform. W . — D u k e ' s W a g e r ; Faint Heart never won Fair Lady. A.—Philip de France and Marie de Meranie * : Marie—Mrs. Farren ; Daughter of the Regiment. B . — R o b Roy. W . — D u k e ' s W a g e r ; Betsy Baker. A.—Venetian ; Lucretia Borgia. B.—Pizarro ; Katharine and Petruchio. Monday: W . — I d . , April 2. A.—Philip of France and Marie de Meranie ; M y Precious Betsy. B.—Husband of my H e a r t ; Luke the Laborer. C . — T h e Robbers. W . — D u k e ' s W a g e r ; Box and Cox. A.—Gamester ; Venetian. B . — H u s b a n d of m y H e a r t ; L u k e the L a b o r e r .

9.

10.

11. 12. 14.

15.

W . — I n d i a n Q u e e n * : Ino—Miss Julia Dean, Zagreus—Couldock, Candaides—McMillan, Gyges—Dyott ; Friend Waggles. A . — E v a d n e ; Venetian. B.—Husband of my H e a r t ; Raymond and Agnes. W . — I n d i a n Queen ; T w i c e Killed. A.—Venetian ; Lucretia Borgia. B . — L o v e in a Maze * : Col. Buckthorne—Germon, Mrs. Buckthorne—Miss Fisher; Virginia Mummy. W . — H u n c h b a c k ; Love Chase. A.—Wrecker's Daughter ; M a r y Tudor. B . — L o v e in a Maze. W . — I n d i a n Queen; Faint Heart never won Fair Lady. A . — B r i d e of Lammermoor; M a r y Tudor. B . — L o v e in a Maze. Monday: W . — O l d Heads and Young Hearts; Jacobite. A . — S i x Degrees of Crime; School for T i g e r s * : Kiteflyer— Davenport, Stiff—T. Wemyss, Panels—Worrell, Fibber —Justice, Stiff—J. S. Baker, Crop—Mrs. Conner, Alexander—Miss Kinlock. B.—Romeo and Juliet. W.—Betrothal ; T w i c e Killed. [ 437 ]

THE PHILADELPHIA THEATRE

16. 17. 18. 19. 21.

22. 23. 24. 25. 26. 28.

29. 30.

A.—Richelieu ; M y Precious Betsy. B.—Belphegor. W.—Betrothal; Allow Me to Apologize. A.—Macbeth; Luke the Laborer. B.—Belphegor. W.—Betrothal; Spectre Bridegroom. A.—Cure for the Heart Ache ; Tour de Nesle. B.—Belphegor; Virginia Mummy. W.—Betrothal; An Object of Interest. A.—Charlotte Corday ; School for Tigers. B.—Belphegor. W.—Betrothal; Rascal Jack. A .—Id., April 18. B.—Honey Moon; No! Monday: W . — T h e World a xMask*: Galldove—Couldock, Teresa— Mad. Ponisi; An Object of Interest. A.—Harry Burnham; Swiss Cottage. B.—Bronze Horse ; Twice Killed. W . — T h e World a Mask; Betsy Baker. A.—Harry Burnham; Loan of a Lover. B.—Bronze Horse; Twice Killed. W . — T h e World a Mask ; Twice Killed. A.—Harry Burnham; School for Tigers. B.—Bronze Horse; Platonic Attachments W . — T h e World a Mask ; Box and Cox. A . — I d . , April 22. B.—Id., April 23. W . — I d . , April 2 1 . A . — I d . , April 23. B.—Id., April 23. W . — T h e World a Mask ; The Teacher Taught *. A . — I d . , April 23. B.—Id., April 23. Monday: W . — I d . , April 26. A.—Harry Burnham; The World's Fair. B.—Bronze Horse; Love, Law, and Physic. W . — I d . , April 26. Α.—Id., April 28. Β.—Id., April 28. W.—Retribution; All that Glitters is not Gold. A . — N o Song no Supper; That Odious Captain Cutter. B.—Bronze Horse; Presented at Court. [438]

CHRONOLOGICAL R E C O R D S : 1851 MAY 1.

2. 3. 5.

6. 7. 8. 9. 10. 12.

13. 14. 15· 16.

Thursday : W . — I d . , April 30. A . — T o u r de Nesle; T h a t Odious Captain Cutter. B . — I d . , April 30. W.—Riches ; T h e Day of Reckoning. A . — P e t of the Petticoats; World's Fair. B.—Bronze Horse. W.—Merchant of Venice; Robert Macaire. A.—Carpenter of Rouen ; World's Fair. B.—Bronze Horse. Monday: W . — H a m l e t ; Teacher Taught. A.—Shandy M a g u i r e ; Irish T i g e r . B.—Bronze Horse; Barrack Room. W.—Stranger ; Wonder. A.—Ireland as it I s ; Limerick Boy. B . — I d . , M a y 5. W . — M o n e y ; Katharine and Petruchio. A.—Fortune's W h i m ; Sprigs of Ireland. B.—Bronze Horse; Cricket on the Hearth. W . — M u c h Ado about Nothing; M y Aunt. A.—Irish Farmer; Our G a l . B . — I d . , M a y 7. W . — T o w n and Country; Dramatist. A.—Shandy Maguire; Paddy the Piper. B.—Duke's W a g e r ; Bronze Horse. W . — I d . , M a y 7. A . — H a p p y Man ; Limerick Boy. B . — T h e Drunkard. Monday: W.—Calaynos ; Box and Cox. A . — B o r n to Good L u c k ; Brian O ' L y n n . B . — A l l that Glitters is not Gold. W . — T o w n and Country; Cure for the Heart Ache. A . — H a m l e t ; Irish T u t o r . B . — I d . , M a y 12. W . — L a d y of Lyons; A l l that Glitters is not Gold. A.—Fortune's to H i m ; Brian O ' L y n n . B . — I d . , M a y 12. W.—School for Scandal; Teacher Taught. A.—Ireland as it I s ; Our Gal. B . — I d . , M a y 12. W . — W i n e Works Wonders; W i l d Oats. [439]

THE PHILADELPHIA THEATRE

17. 19.

20. 21. 22. 23. 24. 26.

27. 28. 29. 30.

31·

A.—Card Drawer; Irish Lion. B.—All that Glitters is not Gold ; Man without a head. W.—Venice Preserved; M y Aunt. A . — I d . , May 16. B.—Id., May 16. Monday: W.—Noble Heart; Patrician and Parvenu. A.—Virgin of the Sun ; Rough Diamond. B.—Id., May 12. W . — L o v e ; Betsy Baker. A.—Virgin of the Sun ; Swiss Cottage. B.—Wild Oats. W.—Rob Roy; Robert Macaire. A.—Truand Chief; Nick of the Woods. B.—Lady of the Lake. W.—Richard I I I ; Teacher Taught. A.—Virgin of the Sun ; Loan of a Lover. B.—Id., May 2 1 . W . — N e w W a y T o Pay Old Debts. A.—Virgin of the Sun ; Pizarro. B.—Id., May 2 1 . W . — I d . , May 22. A.—Day of Reckoning; Virgin of the Sun. B.—Lady of the Lake; Bronze Horse. Monday: W.—Faustus; Ladies, Beware. A.—Hamlet; I'll be your Second. B.—Married L i f e ; A Morning Call. W.—Faustus ; Jacobite. Α . — N e w Way T o Pay Old Debts ; My Fellow Clerk. B.—Idiot Witness; M r . and Mrs. Peter White. W.—Faustus; Rascal Jack. A.—Virginius ; Perfection. B.—Drunkard ; A Morning Call. W.—Faustus; Friend Waggles. A.—Gisippus; M y Fellow Clerk. B.—Id., May 28. W.—Faustus; Spectre Bridegroom. A.—Julius Caesar; Did you ever Send your W i f e to Frankford. B.—Old Heads and Young Hearts. W.—Faustus; M y Precious Betsy. A.—Gisippus; Ocean Child. B.—All that Glitters is not Gold. [440]

CHRONOLOGICAL RECORDS: 1851 JUNE 2.

3. 4. 5. 6. 7. 9.

10.

11. 12. 13. 14. 16.

17.

Monday: W.—Faustus; Box and Cox. A . — E v a d n e ; State Prisoner. B.—Negro Fidelity; L i f e in Alabama. W.—Faustus; Poor Pillicoddy. A.—Romeo and Juliet ; State Prisoner. B.—Cricket on the Hearth ; T w i c e Killed. W . — F a u s t u s ; Faint Heart never won Fair Lady. A . — L a d y of Lyons ; Chloroform. B . — A Morning Call ; Soldier's Daughter. W . — F a u s t u s ; A n Alarming Sacrifice. A . — F a z i o ; Chloroform. B . — A Morning C a l l ; Husband of my Heart. W . — F a u s t u s ; Adopted Child. A.—Astarte ; Chloroform. B.—Cricket on the Hearth ; Simpson and Co. W.—Faustus ; Boots at the Swan. A . — L a d y of Lyons ; Chloroform. B.—Married Life ; Sudden Thoughts. Monday: W.—Faustus ; Allow M e to Apologize. A.—Sweets and W i v e s ; Captive. B . — P a u l P r y ; Your Life's in Danger. W.—Faustus; Sent to the T o w e r . A.—People's Lawyer ; A Kiss in the Dark. B . — M y Poll and my Partner Joe. C . — L a d y of Lyons ; T h e Review. W . — F a u s t u s ; Rascal Jack. A.—Grandfather Whitehead ; Buried Alive. B . — I d . , June 10. W . — F a u s t u s ; M y Precious Betsy. A.—Breach of Promise; Lady of the Lions. B . — I d . , June 10. W . — F a u s t u s ; Without Incumbrances. A . — M u r r e l l ; Rip Van Winkle. B.—Speed the Plough. W . — I d . , June 13. A.—Spectre Bridegroom; Rip Van Winkle. B.—Cricket on the Hearth ; Your Life's in Danger. Monday: W . — M a c b e t h ; Betsy Baker. A . — D a y of Reckoning; Revolution. B.—Hamlet. W . — G u y Mannering; Without Incumbrances. [441 ]

THE PHILADELPHIA T H E A T R E

18. 19. 20. 21. 23.

24. 25.

26. 27. 28. 30.

A.—Revolution ; Rough Diamond. B.—Speed the Plough. W.—School for Scandal; Teacher Taught. A.—People's Lawyer; Rough Diamond. B.—Paul Pry. W . — G u y Mannering; Adopted Child. A.—Josey the Spartan ; Young Widow. B.—Lady of Lyons. W . — H e n r y V I I I ; London Assurance, last three acts. A.—Poor Gentleman ; Wool Dealer. B.—Valet de Sham; Magic Trumpet. W.—Romeo and Juliet; Ladies, Beware. A . — M u r r e l l ; Ocean Child. B . — I d . , June 20. Monday: W . — H a m l e t ; Box and Cox. A.—Othello; Young Widow. B.—Young Widow ; Magic Trumpet. W.—Othello; Alarming Sacrifice. A . — N o advertisement. B . — I d . , June 23. W . — C a e c i n n a * : Caecinna—Buchannan, Claudius—McMillan, Aria—Mad. Ponisi; Without Incumbrances. A.—Azael ; Somebody Else. B . _ T w i c e Killed. W.—Caecinna; Lend M e Five Shillings. A.—Azael ; Young Widow. B . — I d . , June 25. W.—Othello; A Morning Call. A.—Azael ; Somebody Else. B . — N o legitimate drama. W . — L a d y of Lyons; A Morning Call. A.—Azael ; Rough Diamond. B . — N o legitimate drama. Monday: W.—Paris and London. A.—Azael ; Ocean Child. B.—Cricket on the Hearth ; David Copperfield. JULY

1.

2.

Tuesday: W.—Paris and London. A.—Azael ; Swiss Swains. B.—Simpson and Co. W.—Paris and London. [ 442 ]

CHRONOLOGICAL RECORDS: 1851

3.

4.

5. 7.

8. 9. 10. 11. 12. 14. 15. 16. 17. 18. 19. 21. 22. 23. 24. 25.

A . — L a d y of Lyons; Azael. B.—Faint Heart never won Fair Lady. W . — I d . , June 2. A.—Azael ; Six Degrees of Crime. B . — I d . , June 2. C.—Hunchback; Hickety Pickety. W . — I d . , June 2. A.—Pleasant Neighbors ; Thalaba. B . — N o legitimate drama advertised. C.—Romeo and Juliet. W . — I d . , June 2. A . — A z a e l ; Thalaba. C.—Honey Moon. Monday: W.—Closed. A.—Azael ; Guy Mannering. C . — N o advertisement. A . — L a d y of Lyons ; Azael. A . — A l l that Glitters is not Gold ; Azael. A . — L a d y of Lyons; T o u r de Nesle. A . — A l l that Glitters is not G o l d ; Widow's Victim. A . — A l l that Glitters is not G o l d ; Broken Sword. C.—Romeo and Juliet. Monday: A.—School for Scandal ; Sketches in India. A.—Crimson Crimes; L i f e in Phila. N.—Elshie; Rake's Progress. A . — L a d y of Lyons; Used Up. N.—Michael E r i e ; Elshie. A . — N o play advertised. N.—Somebody Else; Elshie. A.—Broken Sword ; Perfection. N.—Mischief Making; Court Fool. A . — L a d y of Lyons; Michael Erie. N . — H e a r t of Midlothian ; Elf of the Rock. Monday: A.—People's Candidate; Michael Erie. N . — T r u a n d Chief; T o m and Jerry. A.—People's Candidate; Serious Family. N . — I d . , J u l y 19. A . — A l l that Glitters is not Gold ; T h e Maiden's Vow. N . — T h e Huntsman and the Spy; T o m and Jerry. A.—Family T i e s ; Maiden's Vow. N . — Y o u r Life's in Danger; Ivanhoe. A . — D o u g l a s ; Hugh and Cry. N.—Ivanhoe; Rough Diamond. [443]

THE PHILADELPHIA T H E A T R E 26. 28. 29. 30. 31.

A.—Family T i e s ; Hugh and Cry. N . — T h e Huntsman and the Spy; Koeuba. Monday: A.—Family T i e s ; Sam Patch in France. N . — N o advertisement. A.—Carpenter of Rouen ; Life in Alabama. N . — E l l a Rosenberg; Koeuba. A . — T o u r de Nesle; Life in Phila. N . — T h e Wraith of the Lake; Koeuba. A.—Richelieu; T h e Secret. N.—Ambrose Gwinett; T h e Wraith of the Lake. AUGUST

1. 2. 4. 5. 6. 7. 8. 9. 11. 12. 13. 14. 15. 16. 18.

19· 20. 21. 22.

23·

Friday : A . — N o advertisement. N.—Dark Doings ; Swamp Fox. A . — N o advertisement. N.—Cramond Brig; Carpenter of Rouen. Monday : N.—Pride of the Market; Margaret Catchpole. Ν.—Iron Chest; Rose of Ettrick Vale. N.—Isabelle; Black Sea Gull. N.—John Overy; Black Eyed Susan. N.—Peerless Pool ; William Tell. N.—Rob Roy; Dark Doings. Monday : N . — T h e Captain is not Α-Miss; Rory O'More. N.—Bronze Horse; Philadelphia Fireman. N.—Charles X I I ; M y Poll and my Partner Joe. N.—Laid up in Port; Dumb Man of Manchester. N.—Liberty, Equality, and Fraternity; The Saxon's Oath. N.—Carpenter of Rouen; Peerless Fool. Last night of the season. Monday: W . -—La Sonnambula. c.-—Azael ; Loan of a Lover. W . -—Fra Diavolo; Poor Pillicoddy. C.-—Azael ; Loan of a Lover. W . -—La Sonnambula; Loan of a Lover. c.-—Azael ; A Kiss in the Dark. W . -—Fra Diavolo; Rough Diamond. C.-—Id., August 20. w.-—Elixir of Love; Truand Chief. c-—Azael ; Rendezvous. w.-—Rob Roy; Truand Chief. [ 444]

CHRONOLOGICAL R E C O R D S : 1851 25.

26. 27. 28. 29. 30.

C . — I d . , August 22. Monday: W . — E l i x i r of L o v e ; A l l that Glitters is not Gold. C . — A z a e l ; Day after the Wedding. W . — P a u l i n e ; Loan of a Lover. C . — I d . , August 25. W . — D a u g h t e r of the Regiment; Rough Diamond. C . — A z a e l ; Ladies, Beware. W . — P a u l i n e ; Poor Pillicoddy. C . — I d . , August 27. W . — C i n d e r e l l a ; Slasher and Crasher. C . — A z a e l ; Lottery Ticket. W . — P a u l i n e ; Grimshaw, Bagshaw, and Bradshaw. C . — I d . , August 29. A . — W o m a n ' s W i t ; Somebody Else. SEPTEMBER

1.

Monday: W . — I r i s h Ambassador; Grimshaw, Bagshaw, and Bradshaw. C . — A z a e l ; T h e Secret. A . — W o m a n ' s W i t ; M y Prccious Betsy.

2.

3.

4.

5.

6.

8.

B.—Linda. W . — N e r v o u s M a n ; Irish Post. C . — A z a e l ; T h e Secret. A . — A l l that Glitters is not Gold ; Floating Beacon. B.—Linda. W . — K i n g O ' N e i l ; His Last Legs. C . — P o o r Gentleman ; Forty and F i f t y . A . — A l l that Glitters is not G o l d ; Black Eyed Susan. B.—Linda. W . — S e r i o u s F a m i l y ; H o w to pay Rent. C . — R i v a l s ; Ladies, Beware. A . — P r i n t e r ' s Apprentice; Ole Bull. B.—Linda. W . — S o l d i e r of Fortune; Happy M a n . C.—Serious Family ; M y Uncle John. A . — A l l that Glitters is not G o l d ; Y o u n g W i d o w . B.—Linda. W . — K i n g O ' N e i l ; H o w to pay Rent. C . — A z a e l ; T h e Secret. A . — P r i n t e r ' s Apprentice; M y Precious Betsy. B.—Linda. Monday: w . — W i l d Oats ; Angelo. C . — R o m e o and J u l i e t ; A Kiss in the Dark. [ 445 ]

THE PHILADELPHIA T H E A T R E

9.

10.

11.

12.

13.

15.

16.

17.

18.

19.

20.

A.—Madelaine; Spectre Bridegroom. B.—Woman's T r a i l s ; M y Husband's Ghost. W . — M o n e y ; Angelo. C.—Ad rienne; Ladies, Beware. A.—Madelaine ; Golden Farmer. B.—Id., Sept. 8. W.—Stranger; Daughter of the Regiment. C.—Love; Forty and Fifty. A.—Peeping in at 6 P. M. ; Ole Bull. B.—Happiest Day of my L i f e ; Hypochondriasis. W.—Wonder ; Cinderella. C.—Lady of Lyons ; Lottery Ticket. A.—Isabelle ; Peeping in at 6 P. M. B.—Id., Sept. 10. W . — L a d y of Lyons; M y Aunt. C.—Love's Sacrifice ; Pleasant Neighbors. A.—Isabelle; Grimshaw. B.—Woman's T r i a l s ; Three Shaws. W . — P i z a r r o ; Fra Diavolo. C.—Apostate ; Day after the Wedding. A.—Lucretia Borgia; Cousin Joe. B.—Id., Sept. 12. Monday: W . — M u c h Ado about Nothing; Three Shaws. C.—Adrienne; M r . and Mrs. White. A.—Married Rake. B.—Grace Huntley. W . — W i n e Works Wonders; Love Spell. C.—Much Ado about Nothing; Ladies, Beware. A.—Cousin Joe. B.—Id., Sept. 15. W . — M o n e y ; L a Sonnambula. C.—Love ; Twice Killed. A.—Three Shaws. Β.—Id., Sept. 15. W.—Dramatist; Rob Roy. C.—School for Scandal; M r . and Mrs. Peter White. A.—John Dobbs. B.—Id., Sept. 15. W.—School for Scandal; Katharine and Petruchio. C . — V a l e r i a * : Valeria—Miss Davenport, Claudius—Gilbert, Sillius—Taylor; Twice Killed. A.—Married Rake. B . — I d . , Sept. 15. W.—Venice Preserved ; Daughter of the Regiment. C.—Apostate; Day after the Wedding. [ 446 ]

CHRONOLOGICAL R E C O R D S :

22.

23.

24.

25.

26.

27.

29.

30.

1851

Β . — I d . , Sept. 15. Monday: W . — L a Bayadere ; Soldier's Daughter. C.—Valeria ; Forty and Fifty. A.—Mysterious Stranger. B.—Poor Cousin Walter ; Bloomers out in Force. W.—Delicate Ground ; L a Bayadere. C.—-Love's Sacrifice ; Box and Cox. A . — I d . , Sept. 22. B . — I d . , Sept. 22. W . — L a Bayadere; A Wonderful Woman. C.—Valeria; Sketches in India. A.—Lucretia Borgia. B . — I d . , Sept. 22. W . — L a Bayadere; Wonder. C . — I d . , Sept. 22. A.—Agnes de Vere. Β . — I d . , Sept. 22. W.—Delicate Ground; Who Speaks First? C.—Valeria ; M y Uncle John. A . — T h r e e Shaws; A Morning Call. B . — I d . , Sept. 22. W . — N a v a l Engagements; Three Shaws. C.—Merchant of Venice; Sketches in India. A . — I d . , Sept. 26. Β —Id., Sept. 22. Monday: W . — L o v e r by Proxy ; Rough Diamond. C . — L a d y of Lyons; Twice Killed. Α . — F a l l of Algiers; T h e Chisel * : Chisel— Burke. B . — T h e Maniac Lover. W . — L o a n of a Lover; Poor Pillicoddy. C.—Stranger; Wine Works Wonders. A . — I d . , Sept. 29. B . — I d . , Sept. 29. OCTOBER

1.

2.

Wednesday : W . — N a v a l Engagements; Who Speaks First? C . — H a m l e t ; M r . and Mrs. Peter White. A.—Cesar de Bazan ; People's Lawyer. B.—Fire Eater. W . — A l l that Glitters is not Gold. C . — T o w n and Country ; M y Aunt. A.—Printer's Apprentice; Three Shaws. [ 447 ]

THE PHILADELPHIA T H E A T R E 3.

4.

6.

7.

8.

9.

10.

11.

13.

14.

15·

Β .—Id., Oct ι . W.—Katharine and Petruchio. C . — M u c h Ado about Nothing; A Cure for the Heart Ache. A.—Poor Gentleman ; Young Widow. B . — P a u l Pry. W.—Honey Moon. C . — H a m l e t ; Sketches in India. A . — M u r r e l l ; New Footman. B.—Paul Pry. Monday: W.—Damon and Pythias ; Delicate Ground. C.—Hunchback; Ladies, Beware. A.—Damon and Pythias ; M y Young Wife. B.—Faint Heart never won Fair Lady. W.—Richelieu ; Faint Heart never won Fair Lady. C.—Romeo and Juliet; Dr. Dilworth. A.—Othello; Fire Eater. B . — I d . , Oct. 6. W.—Macbeth ; Who Speaks First ? C.—Love Chase ; Twice Killed. A.—Virginius; New Footman. B.—Adopted Child. W.—Damon and Pythias; A Lover by Proxy. C . — L a d y of Lyons; Dr. Dilworth. A.—Pizarro; Spectre Bridegroom. B.—Adopted Child. W.—Richelieu; Asmodeus. C.—Ion ; Forty and Fifty. A.—Student of M o r l a i x * : Eugene—Scott, Hortense—Mrs. A . F . Baker; Charles II. B . — A l l that Glitters is not Gold. W.—Macbeth ; Asmodeus. C.—Stranger; Honey Moon. A.—Student of Morlaix; Adopted Child. B . — I d . , Oct. 10. Monday: W.—Othello; Your Life's in Danger. C . — A s You Like It ; Dr. Dilworth. A.—Richard I I I ; A Kiss in the Dark. B . — I d . , Oct. 10. W . — J a c k Cade; Your Life's in Danger. C . — I o n ; Sketches in India. A . — H a m l e t ; A Man without a Head. B . — I d . , Oct. 10. W . — K i n g Lear; Naval Engagements. C . — A r m a n d * : Blanche—Mrs. Mowatt, Armand—Taylor; [448]

CHRONOLOGICAL R E C O R D S : 1851

16.

17.

18.

20.

21.

22.

23.

24.

25.

27.

28.

A Kiss in the Dark. A . — R o b Roy ; Children in the W o o d . B . — I d . , Oct. io. W . — J a c k C a d e ; A Lover by Proxy. C . — L o v e Chase; Lottery Ticket. A . — D a m o n and Pythias; W o o l Dealer. Β .—Id., Oct. i o . W . — G l a d i a t o r ; Asmodeus. C . — A r m a n d ; Faint Heart never won Fair L a d y . A . — B r u t u s ; Shoemaker of Toulouse. B . — I d . , Oct. 10. W . — J a c k C a d e ; Mysterious Family. C . — I d . , Oct. 1 7 . A . — M a u r i c e ; Michael Erie. B . — I d . , Oct. 10. Monday: W . — G l a d i a t o r ; Betsy Baker. C.—Irish Lion ; His Last Legs. A . — G o l d e n F a r m e r ; N e w Footman. B . — C h i l d of Nature. W . — M e t a m o r a ; M y Precious Betsy. C . — I r i s h L i o n ; His Last Legs. A . — T h e Chimes ; Somebody Else. B . — C h i l d of Nature. W . — J a c k C a d e ; Y o u r Life's in Danger. C . — C r o w n of Diamonds; Forty and F i f t y . A . — C e s a r de Bazan ; People's L a w y e r . B . — C h i l d of Nature. W . — M e t a m o r a ; Crown Prince. C . — S t . Patrick's E v e ; Irish Secretary. A . — F a l l of A l g i e r s ; Rough Diamond. B.—Bloomers out in Force; Perfection. W . — G l a d i a t o r ; Asmodeus. C . — C r o w n of Diamonds; M r . and M r s . White. A . — L e Diable a Paris; Buried Alive. B . — I d . , 23. W . — R i c h a r d I I I ; Crown Prince. C . — S t . Patrick's E v e ; T w i c e Killed. A . — J o a n d' A r c ; Ben, the Boatswain. B . — I d . , Oct. 23. Monday: W . — P a t r i c i a n ' s Daughter; T h r e e Shaws. C . — C r o w n of Diamonds ; A D a y after the Wedding. A . — R i p Van W i n k l e ; Ben, the Boatswain. B . — M i d n i g h t W a t c h ; Four Sisters. W . — L o v e ' s Sacrifice; Crown Prince. [449]

THE PHILADELPHIA THEATRE

29.

30.

31.

C.—Knight of Arva; Forty and Fifty. A.—Serious Family; Monsieur Jacques. B.—Midnight Watch; Miseries of Woman's Life. W.—Jealous W i f e ; Wonderful Woman. C.—Crown of Diamonds ; M y Sister Kate. A.—Serious Family; Joan d' Arc. B.—Id., Oct. 28. W.—Patrician's Daughter; All that Glitters is not Gold. C.—St. Patrick's Eve; His Last Legs. A.—Henriette; Cool as a Cucumber. B.—Id., Oct. 28. W.—Jealous W i f e ; Honey Moon. C.—Crown of Diamonds ; Sketches in India. A.—Isabelle ; Three Shaws. Β.—Id., Oct. 28. NOVEMBER

I.

3.

4.

5.

6.

7-

8.

Saturday: W.—Jane Shore ; Asmodeus. C.—Knight of Arva; M y Sister Kate. A.—Revolution ; Madelaine. B.—Id., Oct. 28. Monday: W . — M a r y Stuart; Rough Diamond. C.—Child of the Regiment; My Sister Kate. A.—Cool as a Cucumber ; Fortune's Whims. B.—Stage-Struck Yankee. W . — M a r y Stuart; Mysterious Family. C.—Serious Family; Irish Secretary. A.—Ireland as it Is; Brian O'Lvnn. B.—Id., Nov. 3. W . — I d . , Nov. ι. C.—Id., Nov. 3. A.—Shandy Maguire; Cousin Joe. B.—Id., Nov. 3. W.—Evadne ; Delicate Ground. C.—Irish Ambassador; Betsy Baker. A.—Ireland as it Is; Our Gal. B.—Id., Nov. 3. W.—Hunchback; A Figure of Fun. C.—Child of the Regiment; Betsy Baker. A.—Irish Tiger; Teddy the Tiler. B.—Id., Nov. 3. W . — M a r y Stuart ; A Figure of Fun. C.—Knight of Arva ; Betsy Baker. [450]

CHRONOLOGICAL R E C O R D S : 1851

10.

11.

12.

13.

14.

15.

17.

18.

19.

20.

21.

Α.—Id., Nov. 7. Β . — I d . , N o v . 3. Monday: W . — G r e e n Bushes ; M y Precious Betsy. C . — H e n r y V I I I ; Betsy Baker. A . — T h e Pilgrim of L o v e ; Yacht Race. B . — A Countess for an Hour. W . — I d . , Nov. 10. C . — M a c b e t h ; Jenny Lind. A . — P i l g r i m of Love ; Alive and Kicking. B . — I d . , Nov. 10. W . — F r e n c h S p y ; Crown Prince. C . — J e a l o u s W i f e ; Jenny Lind. A . — I r i s h F a r m e r ; Pilgrim of Love. B . — I d . , N o v . 10. W . — F r e n c h S p y ; Asmodeus. C . — H u n c h b a c k ; M r . and M r s . White. A.—Shandy Maguire; Our Gal. B . — I d . , N o v . 10. W . — F r e n c h S p y ; A l l that Glitters is not Gold. C . — W i n t e r ' s T a l e ; Jenny Lind. A . — B o r n to Good Luck ; T i m Moore, T h e Lion of the Day. B . — I d . , N o v . 10. W . — M a r i e du Cange ; French Spy. C . — M a c b e t h ; Jenny Lind. A . — R o r y O ' M o r e ; Cousin Joe. B . — I d . , N o v . 10. Monday: W . — I d . , Nov. 15. C . — W i n t e r ' s T a l e ; Lola Montes. A . — M a d e l a i n e ; Revolution. B.—Louise. W . — Y o u r Life's in D a n g e r ; Poor Pillicoddy. C . — I d . , N o v . 17. A . — R i p V a n Winkle ; Married Rake. B . — I d . , N o v . 17. W . — D e l i c a t e G r o u n d ; Rough Diamond. C . — I n g o m a r , the B a r b a r i a n * : Parthenia—Mrs. Warner, Polydor—C. Hill ; Lola Montes. A.—Isabelle ; Cool as a Cucumber. B . — I d . , N o v . 17. W . — M a r i e du Cange; T a m i n g a T a r t a r . C . — I n g o m a r ; D r . Dilworth. A . — H e n r i e t t e ; M y Y o u n g W i f e and my O l d Umbrella. B . — I d . , N o v . 17. W.—French Spy; Taming a Tartar. [451]

THE PHILADELPHIA THEATRE

22.

24.

25.

26.

27.

28.

29.

C.—Ingomar; Honey Moon. A.—Sixteen String Jack ; Buried Alive. B.—Id., Nov. 17. W.—Harvest H o m e * : Amy—Mad. Celeste, Popjoy—Richings ; Taming a Tartar. C.—Winter's T a l e ; Jenny Lind. A.—Sixteen String J a c k ; Every Inch a Sailor. B.—Id., Nov. 17. Monday : W . — I d . , Nov. 22. C.—Richard I I I ; Sketches in India. A.—Id., Nov. 22. B.—Midnight Watch ; Four Sisters. W.—Harvest Home; French Spy. C.—Love's Sacrifice ; Jenny Lind. Α.—Robber's Wife ; Wool Dealer. B.—Sweethearts and Wives. W.—Wept of Wish-Tom-Wish ; Taming a Tartar. C.—Crown of Diamonds ; Sketches in India. A.—Jonathan Bradford ; A Man without a Head. B.—Id., Nov. 25. W.—Wept of Wish-Ton-Wish ; French Spy. C.—Knight of Arva; How to pay Rent. A.—George Barnwell. B.—Separate Maintenance. W . — I d . , Nov. 22. C.—Virginius; Jenny Lind. A.—Wallace ; Forty Thieves. B.—Id., Nov. 27. W.—Harvest Home; Cabin Boy. C.—Rob Roy; M r . and Mrs. White. A.—Jonathan Bradford; Wallace. B.—All That Glitters is not Gold. DECEMBER

1.

2.

3.

Monday: W.—Calaynos; Three Shaws. C.—Macbeth; Betsy Baker. A.—Female Guard ; Honest Thieves. B.—Handsome Husband. W.—Amilie; Betsy Baker. C.—Guy Mannering; Omnibus. A.—Female Guard ; Adopted Child. B.—Id., Dec. ι. W.—Calaynos; Your Life's in Danger. [ 452 ]

CHRONOLOGICAL RECORDS:

4.

5.

6.

8.

9.

10.

11.

12.

13.

15.

16.

1851

C . — L a d y of Lyons; A Kiss in the Dark. A.—Female Guard ; Robber's Wife. B.—Woman's Trials. W . — A m i l i e ; A l l that Glitters is not Gold. C . — I d . , Dec. 2. A.—Female Guard ; Michael Erie. B . — I d . , Dec. 3. W.—Betrothal ; Robert Macaire. C.—Romeo and Juliet; A Kiss in the Dark. A.—Female Guard ; Black Eyed Susan. B.—Yankee Watchman. W . — F r a Diavolo; Rob Roy. C . — T h e Stranger; Honey Moon. A.—Female Guard ; Bottle Imp. B . — I d . , Dec. 5. Monday: W.—Bohemian G i r l ; Your Life's in Danger. C.—Actress of Padua; Promissory Note. A.—Love's Sacrifice ; Female Guard. B.—Bold Stroke for a Husband. W.—Bohemian G i r l ; Slasher and Crasher. C . — H a m l e t ; Promissory Note. A . — T h e W i f e ; Female Guard. B . — I d . , Dec. 8. W . — E x t r e m e s ; Pass Word. C.—Actress of Padua; Omnibus. A.—Romeo and Juliet; Female Guard. B.—Separate Maintenance. W.—Betrothal; Poor Pillicoddy. C.—Actress of Padua; Promissory Note. A.—Female Guard ; Honey Moon. B . — I d . , Dec. 10. W . — C h i l d of the Regiment; Robert Macaire. C . — A s You Like I t ; Betsy Baker. A.—Female Guard ; Bottle Imp. B.—Happiest Day of my Life. W.—Venice Preserved; Masaniello. C . — G u y Mannering; Jenny Lind. A.—Female G u a r d ; Carpenter of Rouen. B . — I d . , Dec 12. W.—Cinderella; Three Shaws. C.—School for Scandal ; Turning the Tables. A . — S i x Degrees of Crime; Jack's the Lad. B.—Stage-Struck Yankee. W.-—Extremes; Poor Pillicoddy. C . — R o b R o y ; Turning the Tables. [453 ]

T H E PHILADELPHIA T H E A T R E

17.

18.

19.

20.

22.

23.

24.

25.

26.

27.

29.

A . — S i x Degrees of Crime; Evil Eye. B . — I d . , Dec. 15. W . — D e r Freischutz; Masaniello, first and second acts. C . — G u y Mannering; Jenny Lind. A . — L u c i l l e ; Every Inch a Sailor. B . — I d . , Dec. 15. W . — B o h e m i a n G i r l ; Der Freischutz, the incantation scene. C . — H e n r y V I I I ; Simpson and Co. A . — L u k e the Laborer; Michael Erie. B . — F o u r Sisters. W . — E x t r e m e s ; Three C u c k o o s * : Col. Cranky—McKeon. C . — B a n k e r ' s W i f e ; Actress of Padua. A . — H u t of the Red Mountain; Bottle Imp. B . — I d . , Dec. 18. W . — S c h o o l of Reform; Robert Macaire. C . — B a n k e r ' s W i f e ; London Assurance. A . — H u t of the Red Mountain; Jack's the Lad. B . — I d . , Dec. 18. Monday: W . — S e r i o u s Family; A l l that Glitters is not Gold. C . — A z a e l ; Loan of a Lover. A . — B a r r a c k Room ; Wallace. B . — M a j o r Jones' Courtship *. W . — R e t r i b u t i o n ; Serious Family. C . — I d . , Dec. 22. A . — A Morning Call ; Cabin Boy. B . — I d . , Dec. 22. W . — Y o u r Life's in Danger; Swedish Patriotism. C . — A z a e l ; Promissory Note. A . — E v i l Eye ; Land Sharks and Sea Gulls. B . — I d . , Dec. 22. W . — E x t r e m e s ; Swedish Patriotism. C . — L a d y of Lyons ; Azael. A . — F a l s e Colors; Cabin Boy. B . — I d . , Dec. 22. W . — P a u l i n e ; Swedish Patriotism. C . — H a m l e t ; Jenny Lind. A . — C a r p e n t e r of Rouen ; Swan of Beauty. B . — I d . , Dec. 22. W . — I d . , Dec. 26. C . — S t r a n g e r ; Honey Moon. A . — W a r l o c k of the Glen ; Black Eyed Susan. B . — I d . , Dec. 22. Monday: W . — H u n c h b a c k ; Three Cuckoos. C . — S t r a n g e r ; Honey Moon. [454]

CHRONOLOGICAL R E C O R D S : 1852

30.

31.

A . — J o h n Overv ; Crossing the Line. B . — I d . , Dec. 22. W . — L o v e Chase; Deeds of Dreadful Note. C . — M o n e y ; Katharine and Petruchio. A . — W a l l a c e ; Warlock of the Glen. B . — I d . , Dec. 22. W . — L a d y of L y o n s ; Deeds of Dreadful Note. C . — T h e Robbers ; Rough Diamond. A . — T h e M u m m v ; Jumbo J i m . B . — I d . , Dec. 2 2 . ' JANUARY

1.

2. 3. 5.

6. 7. 8. 9. 10. 12.

13. 14. 15.

1852

Thursday : W.—Love. A.—Columbia's Son ; T h e M u m m y . C . — M o n e y ; Katharine and Petruchio. W . — D u k e ' s W a g e r ; Rough Diamond. A.—Pirate's Legacy ; J i m C r o w in London. C . — R o m e o and J u l i e t ; Cricket on the Hearth. W.—Duke's Wager. A . — I d . , J a n . 2. C . — T h e Robbers ; Forty and F i f t y . Monday: W . — N e w W a y T o Pay Old Debts ; Lend M e Five Shillings. A . — N o regular drama during engagement of Macallister the magician. C . — H a m l e t ; T u r n i n g the Tables. W . — H a m l e t ; T h r e e Shaws. C . — T o w n and Country; Cure for the Heart Ache. W . — N e w W a y T o Pay Old Debts ; Domestic Economy. C . — L a d y of Lyons ; Dramatist. W . — M e r c h a n t of Venice; A l l that Glitters is not Gold. C . — E l d e r Brother; Cure for the Heart Ache. W . — O t h e l l o ; Domestic Economy. C . — S t r a n g e r ; W i l d Oats. W . — R i c h a r d I I I ; Caught in his own T r a p . C.—Inconstant ; Elder Brother. Monday: W . — P i z a r r o ; Caught in his own T r a p . C . — H e n r y I V ; M y Uncle John. W . — O t h e l l o ; Caught in his own T r a p . C . — W i l d O a t s ; Dramatist. W . — W i l l i a m T e l l ; School of Reform. C . — R i c h a r d I I I ; Rough Diamond. W . — H a m l e t ; Fire-Eater. [455 ]

THE PHILADELPHIA T H E A T R E 16. 17. 19. 20. 21. 22. 23· 24. 26. 27· 28. 29. 30. 31·

C.—Venice Preserved; Honey Moon. W.—Hunchback; His Last Legs. C.—Hamlet; Turning the Tables. W.—Macbeth; Fire-Eater. C.—Apostate; Jenny Lind. Monday: w . —Naval Engagements ; Caught in his own Trap. c . —Julius Caesar; M y Aunt. w . —Asmodeus ; Domestic Economy. c . — N e w Way T o Pay Old Debts ; Jenny Lind. w . . —Mysterious Family; Deeds of Dreadful Note. c . —Betram ; Omnibus. w . —Katharine and Petruchio ; Three Cuckoos. c , —Richard I I I ; Day after the Wedding. w . —Charles X I I ; Fire-Eater. c . —Othello ; A Kiss in the Dark. w . —Robert Macaire ; Three Shaws. c . —Macbeth; M y Uncle John. Monday. W . -—Miller's Maid ; Caught in his own T r a p . C - —Venice Preserved ; Forty and Fifty. W . - —All that Glitters is not Gold ; Your Life's in Dange c . -—Iron Chest; Wild Oats. W . -—Charles X I I ; T w o Bonnycastles. c.-—Julius Caesar; Omnibus. W . -—Delicate Ground ; T w o Bonnycastles. —King John ; Betsy Baker. c.-—King W . - —Miller's Maid ; T w o Bonnycastles. c . -—Brutus; Dramatist. w . - —School of Reform; T w o Bonnycastles. c.-—Iron Chest; Stranger. FEBRUARY

2. 34. 5. 6. 7.

Monday : W.—Extremes; T w o Bonnycastles. C.—Shandy Maguire; Pilgrim of Love. W . — H e i r at L a w ; Pride of the Market. C.—Shandy Maguire; Limerick Boy. W.—Fashion ; Life in Alabama. C.—Ireland as it Is; Irish Lion. W . — W i l d Oats; Robert Macaire. C.—Ireland as it Is; Pilgrim of Love. W.—Extremes ; Caught in his own Trap. C.—Born to Good Luck; Rough Diamond. W.—Retribution; Bamboozling. [456]

CHRONOLOGICAL R E C O R D S :

9. 10. II. 12. 13· 14. 16.

17· 18. ly. 20. 21. 23· 24. 25. 26. 27. 28.

1852

C . — I d . , Feb. 6. Monday: w . - -Child of the Regiment; Pride of the Market. c - -Ireland and America; Our Gal. W . - -Child of the Regiment; Charles V I I . C - -Id., Feb. 9. W . - -L'EIisire d' Amore; T w o Bonnycastles. C - -Ireland and America; It's the Custom of the C o u n t r y * W . - -L'EIisire d' Amore ; Three Cuckoos. C - -Ireland as it Is; It's the Custom of the Country. W . - -La Sonnambula ; Naval Engagements. C - -It's the Custom of the Country; In and Out of Place. w . - -La Sonnambula; Deeds of Dreadful Note. c . - -Id., Feb. 13. Monday : W . - -Linda di Chamounix; Domestic Economy. c - -Crown of Diamonds ; Betsy Baker. w . - -Linda di Chamounix; Delicate Ground. c - -School for Scandal ; Knight of Arva. w . - -Linda di Chamounix; Caught in his own T r a p . C - -Crown of Diamonds; Irish Secretary. W . - -Linda di Chamounix ; T w o Bonnycastles. c . - -John Bull ; How to pay Rent. w . - -Norma ; Three Shaws. c - -Daughter of the Regiment; Irish Secretary W . - -Norma; Slasher and Crasher. c . - -John Bull ; How to pay Rent. Monday: W . — P a u l Clifford; Poor Pillicoddy. C.—Daughter of the Regiment; His Last Legs. W . — P a u l Clifford ; T w o Bonnycastles. C . — L o v e ; Knight of Arva. W . — P a u l Clifford ; Three Cuckoos. C.—Black Domino; 1 0 2 ! W — Paul Clifford; House Dog. C.—St. Patrick's E v e ; M y Uncle John. W . — P a u l Clifford; Momentous Question. C.—Black Domino; Forty and Fifty. W — Paul Clifford ; I've Eaten my Friend *. C.—St. Patrick's E v e ; His Last Legs. A.—Otello; Virginia Mummy. MARCH

I.

Al on day: W.—Serious Family; I've Eaten my Friend. [ 457 ]

THE PHILADELPHIA T H E A T R E

2. 3. 4. 5. 6. 8.

9. 10. 11. 12.

13. 15.

16. 17.

C.—Black Domino; 1 0 2 ! A.—Momentous Question ; Charcoal Burner. W.—Nervous M a n ; I've Eaten my Friend. C.—Knight of A r v a ; Irish Lion. A . — T h e Devil and the Deserter ; Broken Sword. W.—Soldier of Fortune; His Last Legs. C.—Black Domino; Pleasant Neighbors. A.—Truand Chief ; Charcoal Burner. W . — K i n g O'Neil ; House Dog. C.—Richelieu; T o u r de Nesle. A.—Broken Sword ; Idiot Witness. W.—Happy M a n ; Born to Good Luck. C.—Crown of Diamonds; H o w to pay Rent. A.—Artist's W i f e ; Lion of the Sea. W . — I d . , Mar. 5. C.—Knight of A r v a ; Katharine and Petruchio. A.—Carpenter of Rouen ; Lion of the Sea. Monday: W . — A s You Like I t ; Caught in his own T r a p . C.—Evadne; Married Rake. A . — T w o Bonnycastles ; Mother's Blessing. W.—School for Scandal ; Loan of a Lover. C.—Love's Sacrifice ; Married Rake. A.—Artist's W i f e ; Hall of Fate and the Enchanted Lake. W.—She Stoops to Conquer; Delicate Ground. C.—Fazio ; Cesar de Bazan. A . — T w o Bonnycastles; Hall of Fate. W . — M u c h Ado about Nothing; Loan of a Lover. C.—Lady of Lyons; Honey Moon. A.—Momentous Question ; Hall of Fate. W.—Ladies' B a t t l e s * : Countess—Julia Bennett, Gustavus— Richings; A l l that Glitters is not Gold. C.—Lucretia Borgia ; Chloroform. A . — T w o Bonnycastles; Hall of Fate. W.—Ladies' Battle; Somebody Else. C . — I d . , Mar. 12. A . — M a i d of Switzerland; Hall of Fate. Monday: W.—Ladies' Battle; Queensbury Fete. C.—Fazio; Faint Heart never won Fair Lady. A.—-Damon and Pythias; Donation Concerts. W . — I d . , M a r . 15. C.—Romeo and Juliet ; Chloroform. A.—Othello ; Donation Concerts. W.—Ladies' Battle; Fair One of the Golden Locks. [458]

CHRONOLOGICAL R E C O R D S :

18.

19. 20. 22.

23. 24.

25. 26. 27. 29.

30. 31.

1852

C.—Hunchback; Gentleman in Difficulties. A.—Virginius; Donation Concerts. W.·—Much Ado about Nothing; Fair One with the Golden Locks. C.—Ion ; Faint Heart never won Fair Lady. A . — M a c b e t h ; Donation Concerts. W . — T w e l f t h Night; Fair One of the Golden Locks. C . — L o v e ; Simpson and Co. A . — I n g o m a r ; Student of Morlaix. W . — I d . , M a r . 19. C.—Adelgitha ; Chloroform. A . — I n g o m a r ; Shoemaker of Toulouse. Monday: W . — T h e Painter of B r i e n n e * : Napoleon—Couldock, Clotilde — M i s s Wemyss ; Robert Macaire. C.—School for Scandal ; Gentleman in Difficulties. A . — P i z a r r o ; Charles II. W.—Painter of Brienne ; All that Glitters is not Gold. C.—School for Scandal ; Forty and Fifty. A.—Richelieu; Maid of Switzerland. W.—Comedy of Errors; Painter of Brienne. C.—School for Scandal ; Married Rake. A.—Helos, the H e l o t * : Helos—J. R. Scott; T w o Bonnycastles. W . — R i v a l s ; Painter of Brienne. C . — M u c h Ado about Nothing; Gentleman in Difficulties. A . — H e l o s ; Charcoal Burner. W . — S h e Stoops to Conquer; Serious Family. C.—Love's Sacrifice ; Pleasant Neighbors. Α . — H e l o s ; Charles X I I . W . — T w e l f t h Night ; Somebody Else. C.—Love's Sacrifice; 1 0 2 ! Α . — H e l o s ; Adopted Child. Monday: W.—Othello ; Box and Cox. C . — L a d y of Lyons ; Day after the Wedding. A.—Forest of Bondy; Ourang Outang. W . — N e w W a y T o Pay Old Debts ; Lend M e Five Shillings. C . — L a d y of Lyons; Dr. Dilworth. A.—Butcher's Dog of Ghent. Ourang Outang. W . — M a c b e t h ; Domestic Economy. C . — M u c h Ado about Nothing; Queen's Husband. A.—Forest of Bondy; Three Thieves. [ 459 ]

THE PHILADELPHIA THEATRE APRIL 1.

2. 3. 5.

6. 7. 8. 9. 10. 12.

13. 14. 15· 16.

Thursday : W.—Iron Chest; Caught in his own Trap. C.—Patrician's Daughter ; Pleasant Neighbors. A.—Butcher's Dog of Ghent ; Three Thieves. W.—Hamlet ; House Dog.' C.—Love's Sacrifice ; School for Scandal. A.—Cross of Death ; Planter's Pest. W.—Serious Family; Comedy of Errors. C.—Lady of Lyons; Dr. Dilworth. A.—Id., Apr. 2. Monday: W.—Corsican Brothers; Three Shaws. C.—Patrician's Daughter; Queen's Husband. A.—Soldier's Return ; Old Toll-House. W.—Corsican Brothers; Poor Pillicoddy. C.—Ingomar ; Simpson and Co. A.—John Jones; Omadhaun. W.—Corsican Brothers; House Dog. C.—Id., Apr. 6. A.—Jack Robinson and his Monkey; 102! W.—Corsican Brothers; A Duel in the D a r k * . C.—Wild Oats; M y Uncle John. A.—Jack Robinson and his Monkey; Omadhaun. W . — I d . , April 8. C.—Stranger; Katharine and Petruchio. A.—Bloodhounds; T w o Bonnycastles. W.—Corsican Brothers; Tender Precautions. C.—Cure for the Heart Ache; Dramatist. A.—Bloodhounds ; Angel of the Attic. Monday: W.—Id., Apr. 10. C.—Hamlet ; Betsy Baker. A.—Maid of Switzerland ; Ourang Outang. W.—Id., Apr. 8. C.—Money; M y Aunt. A.—Stranger; Napoleon. W.—Id., Apr. 8. C.—Lady of Lyons ; Simpson and Co. A.—Forest of Bondy; Planter's Pest. W.—Corsican Brothers; T w o Bonnycastles. C.—Elder Brother; Cure for the Heart Ache. A.—Knights of the Cross; Momentous Question. W.—Corsican Brothers; His Last Legs. C.—Macbeth; Forty and Fifty. [460]

CHRONOLOGICAL R E C O R D S : 1852 17. 19.

20.

21. 22.

23. 24. 26.

27. 28.

29. 30.

A . — D u m b Slave; Sentinel. W . — C o r s i c a n Brothers; A l l that Glitters is not Gold. C . — S t r a n g e r ; Elder Brother. A . — K n i g h t s of the Cross; Sentinel. Monday: W . — M a c b e t h ; T i t for T a t . C . — D e S o t o * : De Soto—Murdock, Ulah—Miss Anderton; A Kiss in the Dark. A . — H a m l e t ; Sentinel. W . — S c h o o l for Scandal ; A Duel in the Dark. C.—-De Soto; Queen's Husband. A . — R i c h a r d I I I ; Sentinel. W . — G u y Mannering; T i t for T a t . C . — D e Soto; Queen's Husband. A . — M o h a m m e d ; Spitfire. W . — A s Y o u Like I t ; Caught in his own T r a p . C . — D e Soto ; G r e a t Western. A .—Id., A p r . 2 1 . W . — H e n r y V I I I ; Honey Moon. C . — D e Soto; Queen's Husband. A . — M o h a m m e d ; Carpenter of Rouen. W . — I d . , Apr. 2 1 . C . — D e Soto; A Kiss in the Dark. A . — C o u r t F o o l ; Innkeeper's Daughter. Monday: W . — R o m e o and J u l i e t ; Three Shaws. C . — L o v e ; Matrimonial Prospectuses. A . — T h e Unknown ; Spitfire. W . — G u y M a n n e r i n g ; A l l that Glitters is not Gold. C . — B e l l e ' s Stratagem; Matrimonial Prospectuses. A . — T h e Unknown ; Innkeeper's Daughter. W . — L a d y of L y o n s ; Duel in the Dark. C . — A s Y o u Like I t ; Matrimonial Prospectuses. A . — T h e Unknown ; Paul Pry. W . — A c t r e s s of P a d u a ; T w o Bonnycastles. C . — V a l e r i a ; A Kiss in the Dark. A . — T h e U n k n o w n ; Haunted Inn. W.·—Banker's W i f e ; Actress of Padua. C . — A d r i e n n e ; Matrimonial Prospectuses. A . — M a i d of Switzerland; Haunted Inn. MAY

I

Saturday: W . — B a n k e r ' s W i f e ; London Assurance. C . — V a l e r i a ; Matrimonial Prospectuses. [461 ]

THE PHILADELPHIA THEATRE 3.

4. 5. 6. 7. 8. 10. 11. 12. 13. 14. 15· 17.

18. 19.

A.—Edith * ; Philadelphia Fireman. Monday: W.—Extremes; A Duel in the Dark. C.—Charlotte Corday; P.P. A . — I d . , May 3. W.—Corsican Brothers; Naval Engagements. C.—Maid of Mariendorpt; Queen's Husband. A . — I d . , May 3. W.—Faint Heart never won Fair Lady; Robert Macaire. C.—Charlotte Corday; Dead Shot. A.—Edith ; Guy Mannering. W.—Extremes ; Domestic Economy. C.—Love's Sacrifice; P.P. A.—Gilman's Wedding; Family Jars. W.—Norma ; A Duel in the Dark. C.—Ingomar; Rough Diamond. A.—Lady of Lyons ; Gilman's Wedding. W.—Corsican Brothers ; Katharine and Petruchio. C.—Ingomar; Dr. Dilworth. A.—Broken Sword; Harlequin Margery Daw. W.—Harvest Home; Caught in his own Trap. C.—Bianca Visconti ; P.P. A.—Flying Dutchman ; Perfection. W.—French Spy; Delicate Ground. C.—Adrienne; Matrimonial Prospectuses. A.—Family Jars; Flying Dutchman. W.—Taming a Tartar; A Duel in the Dark. C.—Ingomar; Forty and Fifty. A.—Truand Chief; Flying Dutchman. W.—French Spy; House Dog. C.—Adrienne; A Kiss in the Dark. A.—Wild Boy of Bohemia ; Carpenter of Rouen. W.—Wept of Wish-Ton-Wish; Taming a Tartar. C.—London Assurance; Clari. A . — N o advertisement. W.—French Spy; Taming a Tartar. C.—Apostate; P.P. A . — T h e Seven Escapes; Dumb Man of Manchester. Monday: W.—St. Mary's Eve; Domestic Economy. C.—De Soto; Queen's Husband. A . — N o advertisement. W.—St. Mary's Eve; Forest Rose. C.—De Soto; Matrimonial Prospectuses. W.—Marie du Cange; Forest Rose. C . — I d . , May 18. [462 ]

CHRONOLOGICAL R E C O R D S : 1852 20. 21. 22. 24.

25.

26. 27. 28. 29. 31.

W . — S t . M a r y ' s Eve ; A l l that Glitters is not G o l d . C . — M u c h A d o about Nothing; Chloroform. W . — L a Bayadere; W o n d e r f u l Woman. C . — D e Soto; Dramatist. W . — L a Bayadere; Forest Rose. C . — D e Soto; Queen's Husband. N . — D u m b M a n of Manchester; Adopted Child. Monday: W . — W i l l o w Copse; Deeds of Dreadful Note. C . — D e Soto ; Double-Bedded Room. N . — T r u a n d C h i e f ; Frederick the Great. W . — W i l l o w Copse; T h e Duel in the Dark. C . — H e n r y I V ; Queen's Husband. N . — I d i o t Witness; Dumb M a n of Manchester. W . — M a s a n i e l l o ; Forest Rose. C . — D e Soto; Chloroform. N . — A m b r o s e G w i n e t t ; Don J u a n . Last night of the season. W . — M a s a n i e l l o ; T h r e e Cuckoos. C . — D r a m a t i s t ; Swiss Cottage. W . — W i l l o w Copse; L a Bayadere. C . — T h e Inconstant; Elder Brother. W . — I d . , M a y 28. C . — H e n r y I V ; M y Aunt. Monday: W . — L o l a M o n t e z in Bavaria ; Deeds of D r e a d f u l Note. C . — P i z a r r o ; Faint Heart never won Fair L a d y . JUNE

I.

Tuesday : W . — L o l a M o n t e z in B a v a r i a ; T h r e e Shaws. C . — L a d y of Lyons ; A Day in Paris. W . — L o l a Montez in B a v a r i a ; Domestic Economy. C . — M o n e y ; Lucretia Borgia. W . — L o l a M o n t e z in B a v a r i a ; Caught in his own T r a p . C . — H o n e y Moon ; Double-Bedded Room. W . — L o l a M o n t e z in Bavaria ; T w o Bonnycastles. C.—School for Scandal; Faint Heart never won F a i r Lady. W . — L o l a Montez in Bavaria ; A Kiss in the D a r k . C.—Adelgitha ; W i l d Oats. Monday: W . — P i z a r r o ; Y o u r L i f e ' s in Danger. C . — G a m e s t e r ; William T e l l . W . — W i l l o w Copse; Deeds of Dreadful Note. C . — S t r a n g e r ; M y Aunt. W . — R i c h e l i e u ; A Kiss in the Dark. [463 ]

THE PHILADELPHIA T H E A T R E 10. 11. 12. 14. 15· 16. 17· 18. 19· 21. 22. 23. 24. 25. 26. 28.

C.—Inconstant; Lucretia Borgia. W . — J a c k Cade; House Dog. C.—London Assurance ; Pizarro. W.—Damon and Pythias; Lend M e Five Shillings. C.—London Assurance ; Dramatist. W . — J a c k Cade; Who Stole the Pocket-Book? * : Tipthorp— Chapman, Fanny—Miss Gougenheim. C.—Douglas; Chloroform. Monday: W , —Othello; Who Stole the Pocket-Book? c . —London Assurance; Waterman. w . —Willow Copse; Who Stole the Pocket-Book? c . —Stranger; His Last Legs. w , —Broker of Bogota; Caught in his own Trap. c . —Double-Bedded Room; Why don't she M a r r y ? w . —Jack Cade ; Duel in the Dark. c . — A Kiss in the Dark; Irishman's Fortune. w . —Virginius; Deeds of Dreadful Note. c . — R o r y O'More ; Spoiled Child. w . —Metamora ; A Kiss in the Dark. c . — R o r y O ' M o r e ; Rough Diamond; Last night of the Season. Monday: W . — H a m l e t ; Who Stole the Pocket-Book? W.—Richelieu; Three Shaws. W.—Gladiator; Our Clerks*. W . — M e t a m o r a ; Our Clerks. W . — H a m l e t ; T w o Bonnycastles. W.—Gladiator; Our Clerks. Monday: W . — N o legitimate drama. JULY

12. 13· 14. 15. 16. 17.

Monday: N.—Three Guardsmen ; Come at Last. C.—Love's Sacrifice ; Rough Diamond. N . — I d . , July 12. C . — T h e W i f e ; Wandering Boys. N.—Three Guardsmen; Spitfire. C.—Hunchback; Nix, the Cabman. N.—Six Fighting Brothers; Lola Montez. C.—Ion ; Nix, the Cabman. N.—Six Fighting Brothers; Your Life's in Danger. C.—Romeo and Juliet; Wandering Boys. N.—Six Fighting Brothers; Mose in China. [464]

CHRONOLOGICAL R E C O R D S : 1852 19.

20. 21. 22. 23. 24. 26. 27. 28. 29. 30. 31.

C . — P i z a r r o ; Rough Diamond. Monday: N . — T o u r de Nesle; Faithful Slave. C . — F a z i o ; Climbing Boy. N.—Id., July 17. C . — D o u g l a s ; Little Devil. N . — T h r e e Guardsmen; Lola Montez. C . — H o n e y M o o n ; Y o u n g Scamp. N . — R o b e r t K y d ; Y o u r Life's in Danger. C.—Climbing Boy ; Youth who never Saw a W o m a n *. N . — I d . , J u l y 22. C . — R o m e o and Juliet ; King's Gardener. N . — N o advertisement. C . — L a d y of Lyons ; J a c k Sheppard. Monday: N . — R e d R o v e r ; T o m and J e r r y . C . — T h e W i f e ; Wandering Boys. N . — T h e D r u n k a r d ; Black M u m m y . C.·—Gil B i a s ; Jack Sheppard. N . — M y Poll and my Partner J o e ; Catching an Heiress. C . — G i l B i a s ; Y o u n g Scamp. N . — R a k e ' s Progress; Faithful Slave. C . — L a d y of Lyons ; Youth who never S a w a W o m a n . N . — Y a n k e e J a c k ; Things in the Next Century. C . — F a z i o ; Blind Boy. N.—Philadelphia Locksmith; T o m and J e r r y .

AUGUST 2.

3. 4. 5. 6. 7. 9.

Monday: N . — V a l s h a ; M a k e your Wills. C . — H a m l e t ; Rough Diamond. N . — W i t c h Fiend of H u r l g a t e ; A Kiss in the D a r k . C . — N e r v o u s M a n ; Irish Lion. N . — P a t Lyon ; Yankee Jack. C.—Dombey and Son ; Bamboozling. N . — I v a n h o e ; Jenny Lind in T o w n . C.—Dombey and Son ; W i f e for an Hour. N.—Ivanhoe ; Black M u m m y . C.—Dombey and Son ; Great Mistake. N . — M i s e r of Philadelphia; Ivanhoe. C.—Dombey and Son; Stage-Struck Irishman. Monday: N . — G r e e k Slave ; Wallace. C.—Dombey and Son ; Serious Family. [465 ]

THE PHILADELPHIA THEATRE ΙΟ.

11. 12. 13. 14. 16. 17. 18. 19. 20. 21. 23.

24. 25. 26. 27·

28.

Ν.—William Tell ; Handsome Bachelors and Pretty Girls of Philadelphia. C.—Irish Emigrant and the Philadelphia Carman; Serious Family. N.—Lucretia Borgia; Miser of Philadelphia. C.—Id., Aug. io. Ν.—Bull-Fighter of Spain; Handsome Bachelors. C.—David Copperfield; Irish Emigrant and the Philadelphia Carman. N . — I d . , Aug. 12. C.—Id., Aug. 12. N.—Greek Slave ; Ball of Death. C.—The Fast M a n * : Edward—J. Brougham, Kate—Miss Celia Logan ; David Copperfield. Monday: N.—Enchantress. C.—Fast Man ; Bamboozling. N.—Enchantress. C.—Dombey and Son ; David Copperfield. Ν.—Enchantress. C.—Rendezvous; Rough Diamond. N.—Enchantress. C.—Crowded Houses ; Fortune's Frolic. N.—Enchantress. C . — M r . and Mrs. White; M y Neighbor's Wife. N.—Enchantress. C.—Spitfire; Wandering Minstrel. A . — T h e Wonder; Who do they Take me for? Monday: N.—Enchantress. C.—Our Mary Ann ; Midnight Hour. A.—Romeo and Juliet; T w o Bonnycastles. N.—Enchantress. C.—Young W i d o w ; How to Die for Love. A.—Jane Shore; Queen's Own. N.—Enchantress. C.—Ingomar ; Chloroform. Α . — T h e Wonder; Robber's Wife. N.—Enchantress ; Scott and Pierce * : Scott—Burnett. C.—The Italian Wife. A.—Wine Does Wonders; Faint Heart never won Fair Lady. N.—Philadelphia Fireman ; Scott and Pierce. C.—She Would and she Would Not; Miseries of Human Life. A.—Love ; Agnes de Vere. Ν.—Swamp F o x ; French Spy. [466]

CHRONOLOGICAL R E C O R D S : 1852

30.

31.

C . — I d . , A u g . 27. A . — P i z a r r o ; French Spy. Monday : N . — U n c l e T o m ' s Cabin; Swamp F o x . C . — O l d Heads and Y o u n g Hearts; Eton Boy. A . — H a m l e t ; Double-Bedded Room. W . — I r e l a n d as it I s ; Limerick Boy. Ν . — I d . , A u g . 30. C . — I d . , A u g . 27. A . — L a d y of Lyons ; French Spy. W . — I r e l a n d as it I s ; In and Out of Place. SEPTEMBER

1.

2.

3.

4.

6.

7.

8.

9.

Wednesday: N . — I d . , A u g . 30. C . — I d . , A u g . 30. A . — D r u n k a r d ; M o r e Blunders than One. W . — S h a n d y M a g u i r e ; Haunted Chamber. N . — U n c l e T o m ' s C a b i n ; Mose in China. C . — L o v e ' s Sacrifice; Miseries of Human L i f e . A . — D r u n k a r d ; Broken Sword. W.—Shandy Maguire; Our Gal. N . — J u l i u s C a e s a r ; Napoleon. C . — The W i f e ; Nature and Philosophy. A . — D r e a m at Sea; Broken Sword. W . — I t ' s the Custom of the C o u n t r y ; Haunted Chamber. N . — R o o k w o o d ; Napoleon. C . — R o m e o and Juliet ; Wandering Boys. A . — D a m o n and Pythias; W i d o w ' s Victim. W . — I d . , Sept. 3. Monday: N . — B u r i e d Alive ; Rookwood. C . — H a m l e t ; A n Irish Engagement. A . — I t a l i a n W i f e ; W i d o w ' s Victim. W . — G o d e n s k i ; F o u r Sisters. N . — I d . , Sept. 6. C . — O t h e l l o ; A n Irish Engagement. A . — H o n e y M o o n ; Ugolino. W.—Bamboozling. N . — W o o l D e a l e r ; Rookwood. C . — N e w W a y T o Pay Old Debts; Irish T u t o r . A . — J o a n of A r c ; Idiot Witness. W . — T w o Bonnycastles. N . — N a i a d Q u e e n ; W o o l Dealer. C . — M e r c h a n t of Venice; An Irish Engagement. [ 467 ]

T H E PHILADELPHIA T H E A T R E

10.

11.

13.

14.

15.

16.

17.

18.

20.

21.

22.

A.—Venice Preserved ; Boots at the Swan. W . — B o x and Cox. N.—Naiad Queen ; Spectre Bridegroom. C . — T o w n and Country; Irish Tutor. A.—Macbeth ; Joan of Arc. W . — P o o r Pillicoddy. N.—Naiad Queen; People's Lawyer. C.—Merchant of Venice; An Irish Engagement. A.—Drunkard ; Widow's Victim. W.—Bamboozling ; Robert Macaire. Monday: N.—Naiad Queen ; Handsome Widow. C.—Corsican Brothers. A.—Othello; Who do you T a k e me for? W . — T h r e e Shaws. Ν.—Naiad Queen; Ole Bull. C . — I d . , Sept. 13. A.—Richelieu; Wandering Minstrel. W . — N a v a l Engagements. N.—Naiad Queen; Lady of the Lions. C . — I d . , Sept. 13. Α.—Rob R o y ; Adopted Child. W . — A Kiss in the Dark. N . — I d . , Sept. 15. C . — I d . , Sept. 13. A . — M a u r i c e ; Double-Bedded Room. W . — F o u r Sisters. N.—Naiad Queen; A Ghost in Spite of Himself. C . — I d . , Sept. 13. A.—Damon and Pythias; Charles I I . W.—House Dog. N.—Toodles; Jonathan Bradford. C.—Corsican Brothers; Sketches in India. A.—Rob Roy ; Tom Cringle's Log. W.—Deeds of Dreadful Note. Monday: N . — T h e Stranger; T o u r de Nesle. C.—Child of the Regiment; Naval Engagements. A.—Masaniello; Used Up. W . — T h r e e Shaws. Ν.—Six Degrees of Crime; Mariette. C.—She Would and she Would N o t ; Good for Nothing. A.—Masaniello; State Secrets. W — Poor Pillicoddy. N.—Wallace; Black Eyed Susan. C.—Crown Diamonds; Good for Nothing. [468]

CHRONOLOGICAL R E C O R D S : 1852

23.

24.

25.

27.

28.

29.

30.

A.—Cross of Gold ; Masaniello. \ V . — Y o u r Life's in D a n g e r ; Robert Macaire. N . — S t r a n g e r ; T o u r de Nesle. C . — R o a d to R u i n ; Talcing by Storm. A . — M a c b e t h ; Children in the Wood. W . — T w o Bonnycastles. N . — R i c h e l i e u ; L a d y of Lyons. C . — C r o w n Diamonds ; T a k i n g by Storm. A . — N i c k of the W o o d s ; Review. W . — T h r e e - F a c e d Frenchman. N . — L a Fitte; Nick of the Woods. C . — H e n r y I V ; Good for Nothing. A.—Carpenter of R o u e n ; Nick of the Woods. W . — T h r e e - F a c e d Frenchman. Monday: N . — W i l d Boy of Bohemia; Forty Thieves. C . — B l a c k Domino; Sketches in India. A . — W i z a r d of the W a v e ; Wandering Minstrel. W . — N e r v o u s M a n ; Y o u r Life's in Danger. N . — M a r y T u d o r ; Forty Thieves. C.—School for Scandal ; Miseries of Human L i f e . A . — W i z a r d of the W a v e ; Queen's O w n . W . — S o l d i e r of Fortune; Y o u n g Couple. N . — W i l d Boy of Bohemia; J a c k Sheppard. C . — B l a c k Domino; A n Irish Engagement. A . — W i z a r d of the W a v e ; Boots at the Swan. W . — I r i s h Ambassador; Y o u n g Couple. N.—Manfredoni; Mary Tudor. C . — L a d y of Lyons ; Good for Nothing. A . — W a c o u s t a ; Shoemaker of Toulouse. W . — W h y don't she M a r r y ? ; W r o n g Passenger. OCTOBER

1.

2.

4.

Friday: N.-—Manfredoni; French Spy. C.—Enchantress; Valet de Sham. A.—Self-Accusation ; Seeing Hemple. W . — I r i s h Post; Happy M a n . N . — M a n f r e d o n i ; J a c k Sheppard. C . — S t r a n g e r ; Cesar de Bazan. A.—Surgeon of P a r i s ; Carpenter of Rouen. W . — I r i s h Post; Happy M a n . Monday : N . — C o u n t of M o n t e Cristo. C . — I d . , Oct. ι . [469 ]

THE PHILADELPHIA T H E A T R E

5.

6.

7.

8.

9.

11.

12.

13.

14.

15.

16.

A.—Stranger; Lucretia Borgia. W . — O l d School and the N e w ; Three Shaws. Ν . — I d . , Oct. 4. C.—Money ; Alarming Sacrifice. A.—Evadne; Bold Stroke for a Husband. W . — O l d School and the N e w ; Young Couple. N . — I d . , Oct. 4. C.—Daughter of the Regiment ; Alarming Sacrifice. A.—Stranger ; Lucretia Borgia. W.—Merchant of Venice; Loan of a Lover. N.—Id., Oct. 4. C.—School for Scandal ; Valet de Sham. A.—Lady of Lyons; Love Chase. W.—Merchant of Venice; His Last Legs. N . — I d . , Oct. 4. C.—Crown Diamonds; Good for Nothing. A.—Wrecker's Daughter; T h e Venetian. W . — H o w to pay Rent ; Young Couple. N.—Id., Oct. 4. C.—Love's Sacrifice; Katharine and Petruchio. A . — T h e Venetian ; Lucretia Borgia. W . — W i f e Hunter; Young Couple. Monday: N.—Mazeppa; Count of Monte Cristo, fourth and fifth acts. C.—Lola Montez in Bavaria; Sketches in India. A.—Hunchback; Love Chase. W . — V e r y Suspicious. N.—Mazeppa; Beauty and the Beast. C.—Lola Montez in Bavaria ; Taking by Storm. A.—Wrecker's Daughter; Lucretia Borgia. W . — V e r y Suspicious. N . — I d . , Oct. 12. C.—Lola Montez in Bavaria; Delicate Ground. A.—Jane Shore; T h e Venetian. W.—Novel Expedient. N . — I d . , Oct. 12. C.—Charlotte Corday; Delicate Ground. A.—Hunchback; Love Chase. W . — N o v e l Expedient. N . — I d . , Oct. 12. C.—Charlotte Corday; Forty and Fifty. A . — J a n e Shore; Mary Tudor. W . — F o u r Sisters. N . — I d . , Oct. 12. C.—Charlotte Corday ; Uncle John. A.—Bride of Lammermoor; Mary Tudor. [ 470]

CHRONOLOGICAL R E C O R D S : 1852 18.

19.

20.

21.

22.

23.

25.

26.

27. 28. 29. 30.

W . — N o v e l Expedient. Monday: N . — S h i p Carpenter of Philadelphia; T e r r o r of the Road. C.—Charlotte Corday; Alarming Sacrifice. A . — I n g o m a r ; A Morning Call. W . — P i l g r i m of L o v e ; Haunted Chamber. N . — I d . , Oct. 18. C . — M a r i t a n a ; Uncle John. A . — S t r a n g e r ; Venetian. W . — I r e l a n d as it Is; Brian O ' L y n n . N.—Seven Escapes ; M a d Anthony W a y n e . C . — M a r i t a n a ; T a k i n g by Storm. A . — I n g o m a r ; Lucretia Borgia. W . — S h a n d y Maguire ; Brian O ' L y n n . N . — M a d Anthony W a y n e ; Monster of St. Michael. C . — M a r i t a n a ; Lola Montez in N e w Y o r k . A . — M a r y T u d o r ; Venetian. W . — I r e l a n d as it I s ; Irish Lion. N . — T h r e e Guardsmen ; Spoiled Child. C . — L o l a Montez in Bavaria ; Lola Montez in N e w Y o r k . A . — B a n k r u p t ' s W i f e ; Ingomar. W . — I r i s h Broom M a k e r ; Brian O ' L y n n . N . — M a d Anthony W a y n e ; T o m and J e r r y . C . — L o l a Montez in Bavaria ; Charlotte Corday. A . — A d e l g i t h a ; T o u r de Nesle. W . — I r i s h Broom M a k e r ; O u r G a l . Monday: N . — T h e Triumphs of Rough and Ready ; T h r e e Guardsmen. C . — K i l l or Cure. A . — B a n k r u p t ' s W i f e ; Love Chase. W.—Postillion of Lonjumeau; Naval Engagements. N.—Closed. C.—Sketches in India. A . — L o v e ' s Sacrifice ; Dombey and Son. W.—Postillion of Lonjumeau; Novel Expedient. C . — I d . , Oct. 26. A . — J a n e Shore ; Ingomar. W . — L o u i s e M u l l e r ; Bamboozling. C . — G o o d for Nothing. A.—Gamester ; Lucretia Borgia. W . — L o u i s e M u l l e r ; T w o Bonnycastles. C . — V a l e t de Sham. A . — F a z i o ; Husband at Sight. W . — L o u i s e M u l l e r ; House Dog. C . — N o legitimate drama advertised. [471]

T H E PHILADELPHIA T H E A T R E A.—Wrecker's Daughter; Husband at Sight. W.—Louise Müller; Three Shaws. NOVEMBER 1.

2. 3. 4. 5. 6. 8.

9· 10. 11. 12. 13· 15.

Monday: C.—Valet de Sham. A . — T h e Stranger; Jane Shore. W . — H e n r i Ouatre; Novel Expedient. C.—Tender Precautions. A.—Adelgitha ; A Morning Call. W.—Henri Quatre; Box and Cox. C.—Delicate Ground. A.—Romeo and Juliet; Ingomar. W.—Fiorine; House Dog. C.—Kill or Cure. A.—Apostate; Orphan's Dream. W.—Fiorine; T w o Bonnycastles. C.—Tender Precautions. A.—Romeo and Juliet ; London Assurance. W . — L i n d a di Chamounix ; Novel Expedient. C.—Good for Nothing. A.—Isabella; Serjeant's Wife. W.—Linda di Chamounix; Robert Macaire. Monday: C.—Much Ado about Nothing; An Irish Engagement. A.—Macbeth; Double-Bedded Room. W.—Richelieu ; Three Shaws. C.—Wild Oats ; Tender Precautions. A.—Hamlet ; Queen's Own. W.—Damon and Pythias; Novel Expedient. C.—Cure for the Heart Ache; Irish Lion. A . — W e r n e r ; Used Up. W . — J a c k Cade; Miller of Whetstone. C.—Lady of Lyons. A.—Lady of Lyons; Rob Roy. W.—Macbeth; Miller of Whetstone. C.—Money. A.—Merchant of Venice; Pizarro. W . — H a m l e t ; Miller of Whetstone. C.—Belle's Stratagem. A.—Richard I I I ; Carpenter of Rouen. W . — J a c k Cade; Miller of Whetstone. Monday: C.—Perfection; Delicate Ground. [472 ]

CHRONOLOGICAL R E C O R D S : 1 8 5 2

16. 17.

18. 19. 20.

22.

2J. 24.

25. 26.

27.

29.

30.

A . — K i n g of the Commons; A Husband at Sight. W . — G l a d i a t o r ; Domestic Economy. C . — W e d d i n g D a y ; Good for Nothing. A . — K i n g of the Commons; Black Eyed Susan. W . — R i c h e l i e u ; Sent to the T o w e r . C . — A l a r m i n g Sacrifice; Wedding Day. A . — M a i d ' s T r a g e d y ; Wandering Minstrel. W . — G l a d i a t o r ; Bamboozling. C.—Delicate G r o u n d ; T o m Noddy's Secret. A . — W e r n e r ; Carpenter of Rouen. W . — J a c k Cade ; Betsy Baker. C . — I r i s h L i o n ; Tender Precautions. A . — K i n g L e a r ; Honey Moon. W . — D a m o n and Pythias; O u r N e w Lady's M a i d . C.—Perfection ; T o m Noddy's Secret. A . — B e r t r a m ; Double-Bedded Room. W . — G l a d i a t o r ; Our N e w Lady's M a i d . Monday: C.—Swiss Swains ; T o m Noddy's Secret. A . — G a s p a r d o ; Wallace. W . — M e t a m o r a ; Naval Engagements. C . — N a v a l Engagements; Swiss Swains. A . — R a g Picker of Paris; Cramond Brig. W . — H a m l e t ; Novel Expedient. C . — A s k no Questions ; Swiss Swains. A . — R a g Picker of Paris; Warlock of the Glen. W . — O t h e l l o ; Miller of Whetstone. C . — N a v a l Engagements; Good for Nothing. A . — I d . , N o v . 23. W . — M e t a m o r a ; Jacobite. C . — A s k no Questions; A n Irish Engagement. A . — R o s i n a M e a d o w s ; Wallace. W . — K i n g Lear ; Betsy Baker. C . — T e n d e r Precautions; Swiss Swains. A . — I r o n Chest; Robert Macaire. W . — B r o k e r of Bogota; N e w Footman. Monday: C . — A s Y o u Like I t ; Somebody Else. A . — G r e e n Mountain B o y ; Gaspardo. W . — R i c h a r d I I I ; W h o Speaks First? C . — R o m e o and Juliet ; Slasher and Crasher. A . — C h u r u b u s c o ; Green Mountain Boy. W . — V i r g i n i u s ; Miller of Whetstone.

[ 473 ]

THE PHILADELPHIA THEATRE DECEMBER 1.

2. 3. 4. 6.

7. 8. 9. 10. 11. 13.

14. 15. 16.

Wednesday: C.—Love's Sacrifice ; Somebody Else. A.—Yankee Land ; Churubusco. W.—Jack Cade; New Footman. C.—Hunchback ; Banker's Wife. A.—Hermit of the Rocks; Yankee Land. W.—Brutus ; Domestic Economy. C.—Stranger; Honey Moon. A.—Yankee Duellist; Green Mountain Boy. W.—Bertram; Three Cuckoos. C.—Actress of Padua ; Banker's Wife. A.—Stage-Struck Yankee; Wallace. W.—Lady of Lyons; Jacobite. Monday: C.—School of Reform; Slasher and Crasher. A.—Fireman's Daughter; Siege of Monterey. W.—Linda of Chamounix; Who Speaks First? C.—Heir at L a w ; Tender Precautions. A.—Rosina Meadows; Fire Raiser. W.—Lucy of Lammermoor ; Three Cuckoos. C.—School of Reform ; Swiss Swains. A.—Solomon Swop; Fire Raiser. W.—Linda of Chamounix ; Day after the Wedding. C.—Miller's Maid; Irish Tutor. A.—Hermit of the Rocks; Yankee Pedlar. W.—Lucy of Lammermoor ; Jacobite. C.—Miller's Maid ; Good for Nothing. A.—Telula ; Solomon Swop. W . — M a r t h a ; New Footman. C.—Honey Moon; Fortune's Frolics. A.—Telula ; Fireman's Daughter. W.—Martha ; Domestic Economy. Monday: C.—Dombey and Son ; Sketches in India. A.—People's Lawyer ; Toodles. W . — M a r t h a ; Ladies, Beware. C.—Dombey and Son; A Row at the Chesnut *. A.—Sweethearts and Wives ; Wool Dealer. W . — M a r t h a ; The Republican. C.—David Copperfield; A Row at the Chesnut. A.—Box and Cox Married and Settled ; Toodles. W.—Martha ; Ladies, Beware. C.—Romance and Reality. A.—Jonathan Bradford ; Ole Bull. [ 474 ]

CHRONOLOGICAL R E C O R D S : 1852 17.

18.

20.

21. 22. 23.

24. 25. 27.

28.

29. 30.

31·

W . — M a r t h a ; T h e Woman I Adore. C.—Romance and Reality; A R o w at the Chesnut. Α . — R i p Van W i n k l e ; M u r r e l l . W . — I d . , Dec. 1 6 . C.—Id., Dec. 1 7 . A.—Revolution ; Robert Macaire. W . — I d . , Dec. 16. Monday : C . — R o b e r t M a c a i r e ; Uncle John. A . — T h e Rivals ; Yankee in England. W . — M a r t h a ; Rough Diamond. C . — H e n r y I V ; Irish Emigrant. A . — L u c r e t i a Borgia ; Child of the Regiment. W . — M a r t h a ; Novel Expedient. C . — M a i d of Croissy; Irish T u t o r . A . — H o n e y Moon ; Stage-Struck Yankee. W . — L a Sonnambula; Y o u r L i f e ' s in Danger. C.—Simpson and Co. ; Forty and F i f t y . A . — D r u n k a r d ; Widow's Victim. W . — L i n d a of Chamounix; T h e W o m a n I Adore. C . — L a s t M a n ; Frightened to Death. A . — R o u g h and Ready ; Yankee Footman. W . — L a Sonnambula; Three Cuckoos. C . — K n i g h t of A r v a ; Robert Macaire. A . — R o u g h and Ready; Stage-Struck Yankee. W . — M a r t h a ; Jacobite. Monday: C . — B l a c k Domino; M r . and M r s . White. A . — F i r e m a n ' s Bride; Sketches in India. W . — L u c r e z i a B o r g i a ; T h e W o m a n I Adore. C . — I n g o m a r ; Knight of A r v a . A . — F i r e m a n ' s Bride; Forest Rose. W . — L u c r e z i a Borgia ; Ladies, Beware. C . — C a r l o , the Minstrel ; N a v a l Engagements. A.—Captain Kyd. W . — L u c r e z i a Borgia; T w o Bonnycastles. C.—Irish Secretary; Alarming Sacrifice. A . — I d . , Dec. 29. W . — L i n d a of Chamounix ; A Nabob for an Hour. C . — C a r l o , the M i n s t r e l ; Tender Precautions. A . — F o r e s t R o s e ; Rival Chieftains in Mexico. W . — M a r t h a ; Betsy Baker.

[475 ]

THE PHILADELPHIA THEATRE JANUARY I.

3.

4. 5· 6. 7· 8. 10.

11. 12. 13· 14· 15·

1853

Saturday: C.—School for Scandal ; Delicate Ground. A.—Yankee L a n d ; Rough and Ready. W . — L u c y of Lammermoor; M a d . Anna Bishop in the Provinces *. Monday: C.—Daughter of the Regiment; Irish Secretary. A.—Jonathan Bradford ; Toodles. W.—Belle's Stratagem; Naval Engagements. C.—Satan in Paris; Irish Emigrant. A.—Isabelle ; Sweethearts and Wives. W . — L o v e Chase ; T h e Woman I Adore. C.—Carlo, the Minstrel; Irish Emigrant. A.—Paul P r y ; Sixteen-Stringed Jack. W . — M u c h Ado about Nothing; T h e Three Cuckoos. C.—Road to Ruin ; Slasher and Crasher. A.—Breach of Promise; Buried Alive. W . — S h e Stoops to Conquer; W h o Speaks First? C . — T h e Devil's in I t ; Somebody Else. A.—Revolution ; Fairy Dew-Drop. W . — N o advertisement. C.—School for Scandal ; Valet de Sham. A.—Gilderoy; Sixteen-Stringed Jack. W.—Novel Expedient ; Jacobite. Monday: C.—Crown Diamonds; Knight of Arva. A.—Used U p ; Spectre Pilot. W . — H o n e y Moon ; Alarming Sacrifice. C.—Giant of the Cave; Delicate Ground. A . — T o w n and Country ; T h e Arch in an Uproar. W.—Soldier's Daughter; Domestic Economy. C . — M e r r y Wives of W i n d s o r ; Married Life. Α.—Richard III ; Spectre Pilot. W . — S h e Stoops to Conquer; Alarming Sacrifice. C.—Giant of the Cave; Slasher and Crasher. A.—Adopted Child; Frederick the Great. W . — S h e W o u l d and she W o u l d Not ; T h e Woman I Adore. C.—Wives as they W e r e ; Satan in Paris. A.—All that Glitters is not Gold ; Fireman's Bride. W . — S h e W o u l d and she W o u l d Not ; A Nabob for an Hour. C.—Golden Farmer; Good for Nothing. A.—Dumb M a n of Manchester; Gilderoy. W . — H o n e y Moon ; Deeds of Dreadful Note. [ 476 ]

CHRONOLOGICAL RECORDS:

17.

18. 19. 20. 21. 22. 24.

25. 26. 27. 28. 29.

31.

1853

Monday: C.—Id., Jan. 15. A . — C l o s e d for the season. W . — S h e W o u l d and she W o u l d N o t ; Y o u r Life's in D a n g e r . C . — H e ' s not Α - M i s s ; G o l d e n Farmer. W . — K a t h a r i n e and Petruchio; Rough D i a m o n d . C . — J e m m y T w i t c h e r in F r a n c e ; Sketches in India. W . — S h e W o u l d and she W o u l d N o t ; A Kiss in the D a r k . C . — T w o of the B'hoys ; Jemmy T w i t c h e r in France. W . — A Roland for an O l i v e r ; Jacobite. C . — W o m a n ' s R i g h t s ; He's not A - M i s s . W . — T h e R i v a l s ; Betsy Baker. C . — S t . M a r y ' s E v e ; T w o of the B'hoys. W . — K a t h a r i n e and Petruchio; Robert M a c a i r e . Monday: C . — S t . M a r y ' s Eve ; W o m a n ' s Rights. W . — D a u g h t e r of the Stars; A l l that G l i t t e r s is not G o l d . C . — I r i s h E m i g r a n t ; T w o of the B'hoys. W . — S c h o o l for Scandal ; T h e W o m a n I A d o r e . C . — H a n d y A n d y ; Siamese T w i n s . W . — T h e R i v a l s ; T h r e e Shaws. C . — H a n d y A n d y ; Review. W . — A n A l a r m i n g Sacrifice. C . — S i a m e s e T w i n s ; St. M a r y ' s E v e . W . — K a t h a r i n e and Petruchio. C . — M e r r y W i v e s of W i n d s o r ; Irish T u t o r . W . — A D a y after the W e d d i n g . A . — G i r a l d i F a z i o ; Rough Diamond.

Monday: C . — M a r r i e d L i f e ; T w o of the B'hoys. W . — H e n r y I V ; D a y after the W e d d i n g . A . — R o m e o and J u l i e t ; W o o l D e a l e r .

FEBRUARY I.

2.

3.

Tuesday: C . — M e r r y W i v e s of W i n d s o r . W . — S i m p s o n and C o . ; M ö n s . M a l l e t . A . — T h e W i f e ; Stage-Struck Y a n k e e . C . — W e p t of W i s h - T o n - W i s h ; A n O b j e c t of Interest. W . — H e n r y I V ; N e w Footman. A . — H u n c h b a c k ; Stage-Struck Y a n k e e . C . — W e p t of W i s h - T o n - W i s h ; D r . D i l w o r t h . W . — S i m p s o n and C o . ; Kentuckian. A . — L a d y of L y o n s ; Battle of Buena Vista. [ 477 ]

THE PHILADELPHIA T H E A T R E 4. 5.

7.

8. 9. 10. 11. 12. 14.

15. 16. 17. 18. 19. 21.

C.—Ask no Questions ; A Nabob for an Hour. W . — M e r r y Wives of Windsor; Novel Expedient. A.—Stranger ; Honey Moon ; Wool Dealer. C.—Wept of Wish-Ton-Wish; Dead Shot. W . — M e r r y Wives of Windsor; Kentuckian. A.—Charcoal Burner; Battle of Buena Vista. Monday: C.—Lady of Lyons ; Nature and Philosophy. W.—Advocate; Three Cuckoos. A.—Damon and Pythias; Philadelphia Fireman. C.—Romeo and Juliet ; Wandering Boys. W.—Advocate ; Ladies, Beware. A.—Carpenter of Rouen ; Adopted Child. C.—Love's Sacrifice; Young Scamp. W.—Jacobite ; Gemini. A.—Ingomar; Charles I I . C . — N o advertisement. W.—Advocate; Gemini. A.—Rob Roy ; Black Eyed Susan. C.—Hunchback; Little Devil. W.—Novel Expedient ; Alarming Sacrifice. A . — W i l l o w Copse ; Pizarro. C . — T h e W i f e ; Little Devil. W.—Mysterious Family; T h e Woman I Adore. A.—Willow Copse; Wallace. Monday: C.—Maid of Honor; Wandering Boys. W.—Sink or Swim ; Domestic Economy. A . — W i l l o w Copse; Shoemaker of Toulouse. C . — M a i d of Honor; Forest Rose. W.—Sink or Swim; Mysterious Family. A . — W i l l o w Copse; Good for Nothing. C.—Mattheo Falcone; Honey Moon. W . — T w o Bonnycastles ; Friend Waggles. Α . — W i l l o w Copse ; Dumb Belle. C.—Lady of Lyons; Little Devil. W.—Ladies, Beware; Three Cuckoos. A . — W i l l o w Copse ; Swiss Swains. C.—Douglas; Nature and Philosophy. W . — M y Precious Betsy. A . — W i l l o w Copse ; Charcoal Burner. C . — I o n ; Rob Roy. W . — ' T i s all a Farce. A . — W i l l o w Copse; Jack Sheppard. Monday: C.—Hamlet; Dead Shot. [ 478 ]

CHRONOLOGICAL RECORDS:

22. 23. 24. 25. 26. 28.

1853

W.—Hunchback; Sink or Swim. A.—She Would and she Would N o t ; Irish Emigrant. C . — W i l d Oats; Katharine and Petruchio. W . — F a z i o ; M y Precious Betsy. A.—Robber's W i f e ; Jack Sheppard. C . — E l d e r Brother; Dramatist. W . — T h e W i f e ; 'Tis all a Farce. A.—Satan in Paris; Irish Emigrant. C . — T h e Stranger; M y Aunt. W.—Hunchback; Friend Waggles. A . — B o r n to Good Luck ; Lady of the Lake. C.—Gamester; A Cure for the Heart Ache. W.—School for Scandal ; T h e Jenkinses. A . — R o r y O ' M o r e ; A Thumping Legacy. C . — T h e Robbers; Dead Shot. W.—Macbeth ; The Jenkinses. A . — L a d y of the Lake; Rory O'More. Monday: C.—Money ; Katharine and Petruchio. W . — L a Figlia del Regimentó ; T h e Jenkinses. A . — I o n ; Rory O'More. MARCH

I.

2. 3. 4.

5. 7.

8.

Tuesday: C.—Inconstant; Dramatist. W.—Advocate ; School of Reform. A . — S a t a n ; Irish Tutor. C.—Robbers ; Ladder of Love. W . — L a Cenerentola; M y Precious Betsy. A.—Agnes de Vere ; Born to Good Luck. C . — D e Soto; Ladder of Love. W . — I r o n Chest; Mysterious Family. A.—Isabelle; A Thumping Legacy. C . — T o w n and Country; Pizarro. W . — L a Sonnambula ; Sent to the Tower. A.—Sea and Land * : Poppy—J. Drew, Meg—Mrs. Irish American * : Larry—J. Drew. C . — D e Soto; Ladder of Love. W . — N o advertisement. A . — I d . , March 4. Monday: C . — H a m l e t ; Hunting a Turtle. W . — I I Barbiere di Siviglia; Novel Expedient. A . — W i l d Oats ; Irish American. C.—Stranger; Elder Brother. [ 479 ]

J . Drew;

THE PHILADELPHIA THEATRE

9. 10. 11. 12. 14.

15. 16. 17.

18. 19. 21.

22. 23. 24.

W . — H e i r at L a w ; Sink or Swim. A.—Much Ado about Nothing; Irish American. C.—De Soto; Hunting a Turtle. W . — L a Cenerentola; Three Cuckoos. A.—Cure for the Heart Ache; Irish American. C.—Laugh when you Can; New Footman. W.—Corsican Brothers; Robert Macaire. A.—Money; Irish American. C.—Henry I V ; Dead Shot. W.—Norma; An Alarming Sacrifice. A.—Lady of Lyons; Irish Tutor. C.—Ladder of Love; Uncle Sam. W.—Willow Copse ; Philadelphia Fireman. A.—Laugh when you Can; William Tell. Monday: C.—Dr. Dilworth ; Spectre Bridegroom. W.—White Slave of England * : Manly—Jordan, Mary— Mrs. Duffield ; The Jenkinses. A.—Belle's Stratagem ; Sea and Land. C.—The Veteran; Hunting a Turtle. W.—White Slave of England ; Sent to the Tower. A.—As You Like It; Alarming Sacrifice. C.—Veteran; New Footman. W.—White Slave of England ; Friend Waggles. A . — T h e W i f e ; Irish Tutor. C.—Evadne; Ladder of Love. W . — D r u m m i n g * : Roger—McKeon, Madelaine—Mrs. Duffield ; White Slave of England. A.—St. Patrick's Eve; Omnibus. C.—Love's Sacrifice; Our Mary Ann. W.—Drumming; Serious Family. A.—Much Ado about Nothing; Irish Emigrant. C.—Fazio; Walter Tyrrel. W . — I d . , March 17. A.—Serious Family; Jack Sheppard. Monday : C.—Love ; Our Mary Ann. W.—Go-To-Bed T o m ; Prima Donna. A.—Poor Gentleman; T w o of the B'hoys. C.—Ingomar; The Veteran. W.—Drumming; Serious Family. A . — L o v e ; Irish Engagement. C.—Ion; Lady and the Devil. W.—Corsican Brothers; Drumming. A.—Wild Oats; Alarming Sacrifice. C.—Lucretia Borgia; Clandare. [480]

CHRONOLOGICAL R E C O R D S :

25. 26. 28.

29. 30. 31.

1853

W . — L o v e ; Our Country Cousin. A.—Bold Stroke for a Husband ; Delicate Ground. C . — L a d y of Lyons; Hunting a Turtle. W . — W i l l o w Copse; Our Country Cousin. A . — C u r e for the Heart Ache; St. Patrick's Eve. C.—Richard I I I ; New Footman. W . — H e i r at L a w ; House Dog. A . — L a u g h when you Can ; St. Patrick's Eve. Monday : C . — T h e Bridal ; Forty and Fifty. W.—Nymphs of the Red Sea ; All that Glitters is not Gold. A . — T h e Rivals; Gilderoy. C.—Macbeth ; Spectre Bridegroom. W.—Nymphs of the Red Sea ; Advocate. A.—Sea and L a n d ; William Tell. C . — W e r n e r ; Ladder of Love. W.—Hypocrite; Nymphs of the Red Sea. A . — B o l d Stroke for a Husband; Irish American. C.—Stranger ; Veteran. W.—Nymphs of the Red Sea; Wandering Minstrel. A . — M o n e y ; Born to Good Luck. APRIL

1.

2. 4.

5. 6. 7. 8.

Friday : C.—Gisippus ; Honey Moon. W . — H e i r at L a w ; Nymphs of the Red Sea. A.—Belle's Stratagem ; Gilderoy. C . — K i n g of the Commons; Dead Shot. W.—Corsican Brothers; Nymphs of the Red Sea. A . — G i r a l d a ; Gilderoy. Monday: C.—Othello; Wind Mill. W.—Cesar de Bazan ; Undine. A.—Giralda ; Gilderoy. C . — K i n g of the Commons; Betsy Baker. W . — M o n e y ; Undine. A . — G i r a l d a ; World's Fair. C.—Merchant of Venice; Pizarro. W . — I d . , Apr. 4. A.—Giralda ; Jack Sheppard. C . — H e n r y I V ; Betsy Baker. W . — W r i t i n g on the W a l l ; Undine. A . — G i r a l d a ; Gilderoy. C . — W i n d Mill ; William Tell. W.—Richelieu ; Undine. [481 ]

THE PHILADELPHIA T H E A T R E 9. 11.

12. 13. 14. 15. 16. 18.

19. 20.

21. 22. 23. 25.

A . — G i r a l d a ; Jonathan Bradford. C.—Love Chase; Grandfather Whitehead. W . — C l a r i ; Undine. A.—Presumptive Evidence; Giralda. Monday: C.—George Barnwell ; Jenny Lind. W . — O u r Country Cousin ; Go-To-Bed Tom. A . — A s You Like I t ; Presumptive Evidence. C . — M y Little Adopted; Forest of Bondy. W . — ' T i s all a Farce ; Friend Waggles. A.—St. Patrick's Eve ; Good for Nothing. C.—Jenny Lind; T h e Cattle Stealer. W.—Ladies, Beware ; Your Life's in Danger. A.—She Stoops to Conquer; An Irish Emigrant. C.—Forest of Bondy; Three Thieves. W.—Novel Expedient. A.—She Would and she Would Not; An Irish Emigrant. C.—Butcher's D o g ; Three Thieves. W . — T w o Bonnycastles. A.—Ladies' Battle; Giralda. C . — M y Poor Dog T r a y ; Don Juan. W . — O u r Country Cousin; Wandering Minstrel. A.—She Stoops to Conquer; Jonathan Bradford. Monday: C.—Cross of Death ; Murdered Boatman. W.—Henry I V ; Betsv Baker. Α . — N e w Way T o Pay Old Debts ; Dumb Belle. C.—Love Chase; Swiss Swains. W.—Jacobite; Möns. Mallet. Α . — W i l l o w Copse; P.P. C . — M y r a A l w y n n * : M y ra—Miss Kimberly, Hastings— Roys; Cross of Death. W . — I d . , April 18. A.—Irish Engagement; Ladies' Battle. C . — M y r a Alwynn; Forest of Bondy. W . — T h r e e Shaws; Kentuckian. A . — W i l l o w Copse ; Dumb Belle. C.—Love's Sacrifice; M y Poor Dog Tray. W . — M e r r y Wives of Windsor. A . — W i l l o w Copse; Perfection. C.—Pauline; Dog of the Ferry House. W . — M e r r y Wives of Windsor. Α . — W i l l o w Copse; P . P . Monday: C.—Actress of Padua; Little Jockey. W . — M e r r y Wives of Windsor; Wandering Minstrel. [ 482 ]

CHRONOLOGICAL R E C O R D S : 1853 26.

27.

28.

29.

30.

Α . — J o h n Bull ; P.P. C . — P a u l i n e ; B u t c h e r ' s D o g of K e n t . W . — W r i t i n g on the W a l l . A . — S h o e m a k e r of T o u l o u s e ; Ladies' B a t t l e . C . — P a u l i n e ; Napoleon. W . — H e n r y I V ; A l a r m i n g Sacrifice. A . — J o h n B u l l ; A l a r m i n g Sacrifice. C . — P a u l i n e ; Napoleon. W . — M e r r y W i v e s of W i n d s o r ; F r i e n d W a g g l e s . A . — R o a d to R u i n ; Irish L i o n . C . — M a i d of H o n o r ; D o g of the F e r r y H o u s e . W . — T h e Jenkinses; M ö n s . M a l l e t . A . — R o a d to R u i n ; R o u g h D i a m o n d . C . — B a n k e r ' s W i f e ; D o g s of M o u n t St. B e r n a r d . W . — R i p V a n W i n k l e ; Kentuckian. A . — R a g Picker of P a r i s ; G i r a l d a . MAY

2.

3.

4.

5.

6.

7.

9.

10.

11.

Monday: C . — B o r n to G o o d L u c k ; Irish S w a n . W . — W r i t i n g on the W a l l ; D r u m m i n g . A . — R a g Picker of P a r i s ; Ladies' B a t t l e . C . — L o r d B a r n e y ; Limerick B o y . W . — E x t r e m e s ; G o o d for N o t h i n g . A . — R a g Picker of P a r i s ; Irish L i o n . C . — I r e l a n d as it I s ; O u r G a l . W . — I n g o m a r ; Washington. A . — R u l e a W i f e and H a v e a W i f e ; A n O b j e c t of Interest. C . — I r i s h Assurance and Y a n k e e M o d e s t y ; B r i a n O ' L y n n . W . — D e l i c a t e G r o u n d ; Robert M a c a i r e . A . — R u l e a W i f e and H a v e a W i f e ; Ladies' B a t t l e . C . — I n and O u t of P l a c e ; H a p p y M a n . W . — H a r v e s t H o m e ; B o x and C o x . A . — S h o e m a k e r of T o u l o u s e ; C h a r l e s I I . C . — I r e l a n d as it I s ; H a u n t e d C h a m b e r . W . — B e t r o t h a l ; Betsy Baker. A . — H u n c h b a c k ; C a r p e n t e r of R o u e n . Monday : C . — U n c l e Pat's Cabin ; O u r Jemima. W . — H u n c h b a c k ; G o o d for N o t h i n g . A . — B o l d Stroke for a H u s b a n d ; L a u g h w h e n you C a n . C . — U n c l e Pat's C a b i n ; H a p p y M a n . W . — L o v e ; O u r C o u n t r y Cousin. A . — H u s b a n d of my H e a r t ; R o r y O ' M o r e . C . — U n c l e Pat's C a b i n ; Irish T u t o r . [ 483 ]

THE PHILADELPHIA T H E A T R E

12. 13. 14. 16.

17. 18. 19. 20. 21. 23.

24. 25.

26. 27. 28.

W.—Evadne; House Dog. A.—Much Ado about Nothing; A n Object of Interest. C.—Uncle Pat's Cabin; Irish Assurance. W.—Lady of Lyons; Wandering Minstrel. A.—Belle's Stratagem; Husband of my Heart. C.—Uncle Pat's Cabin; Irish Lion. W.—Ingomar; Faint Heart never won Fair Lady. A.—St. Patrick's E v e ; Husband of my Heart. C.—Uncle Pat's Cabin; Sprigs of Ireland. W.—Madelaine ; Jacobite. A . — R a g Picker of Paris ; Gilderoy. Monday: C.—Crown Diamonds; M y Little Adopted. W.—Madelaine; The Woman I Adore. A.—Follies of a Night; Wallace. C.—Knight of A r v a ; Cavaliers and Roundheads. W . — L o v e Chase ; Sent to the T o w e r . A.—Heir at L a w ; Charles II. C.—Black Domino; Cavaliers and Roundheads. W.—Duke's Wager ; T h e Jenkinses. A.—Cesar de Bazan ; Follies of a Night. C.—Sea Captain; Raising the Wind. W.—Lady of Lyons ; Deeds of Dreadful Note. A.—Willow Copse; Husband of my Heart. C.—Daughter of the Regiment; Hunting a Turtle. W.—Duke's Wager; Rough Diamond. A.—Wild Oats; Irish Emigrant. C.—School for Scandal; Jenny Lind. W . — I d . , May 2 0 ; Last night of the season. A.—Rule a W i f e and Have a W i f e ; Follies of a Night. Monday: C.—Enchantress; Betsy Baker. A.—Old Heads and Young Hearts; Faint Heart never won Fair Lady. C.—Nervous Man ; 'Tis all a Farce. A.—Damon and Pythias; A Roland for an Oliver. C.—Carlo, the Minstrel; Windmill. A.—Old Heads and Young Hearts; A Roland for an Oliver. W.—Farewell benefit to P. Richings, stage manager; A Hopeless Passion ; A Roland for an Oliver. C . — T o w n and Country; Who Speaks First? A . — T o w n and Country ; Faint Heart never won Fair Lady. C.—Daughter of the Regiment; His Last Legs. W . — W i l l o w Copse; Charles I I . C.—St. Patrick's E v e ; Swiss Swains. A.—Nick of the Woods ; Gilderoy. [ 484 ]

CHRONOLOGICAL R E C O R D S : 1 8 5 3 30.

31.

Monday: C . — B l a c k Domino; T h e Secret. A.—School for Scandal. W . — O t h e l l o ; Friend Waggles. C . — K n i g h t of A r v a ; T h e Secret. A . — L o n d o n Assurance; Irish Blunders of Handy A n d y . W.—Richelieu ; Precious Betsy. JUNE

1.

2. 3. 4.

6.

7. 8.

9. 10.

11. 13.

Wednesday : C . — P r i d e of the M a r k e t ; M y Little Adopted. W . — H a m l e t ; Rough Diamond. A . — M u c h A d o about Nothing; Pizarro. C . — T h e G a m e s t e r ; A l l the World's a Stage. W . — N e w W a y T o Pay Old Debts; Wandering Minstrel. A . — W o n d e r ; Nick of the Woods. C . — D a u g h t e r of the Regiment; Nervous M a n . W . — T h e Stranger; Black-Eyed Susan. A . — M a r r i e d L i f e ; Box and Cox. C . — N o advertisement. W . — O t h e l l o ; Black-Eyed Susan. A . — M a c b e t h ; Black-Eyed Susan. Monday: C . — C r o w n Diamonds; W h o Speaks First? W . — S e r i o u s F a m i l y ; Y o u r Life's in Danger. A . — H a r v e s t H o m e ; Weathercock. C . — T h e R i v a l s ; Forty and F i f t y . W . — W r i t i n g on the W a l l ; Ladies, Beware. A . — H a r v e s t H o m e ; A Roland for an Oliver. C . — C a r l o ; the M i n s t r e l ; Knight of A r v a . W . — S h e Stoops to Conquer; Betsy Baker. A . — S i x Degrees of C r i m e ; Siege of Stralsund. C . — I n g o m a r ; Rival Pages. W . — H o n e y Moon ; Mysterious Family. A . — H e i r at L a w ; Virginia M u m m y . C . — N o advertisement. W . — H e i r at L a w ; O u r Country Cousin. A . — G i r a l d a ; Rory O ' M o r e . C . — R o b R o y ; Philadelphia Fireman. W.—Soldier's Daughter; Limerick Boy. Α . — L o n d o n Assurance; Robert Macaire. Monday: C . — H a m l e t ; W h o Speaks First? W . — N o advertisement. A.—Closed for the season. [485 ]

THE PHILADELPHIA THEATRE 14. 15. 16. 17. 18. 20. 21. 22. 23. 24. 25. 27. 28. 29. 30.

C.—The Stranger; M y Aunt. W . — T h e Jenkinses; Siamese Twins. C.—Elder Brother; Cure for the Heart Ache. W . — N o advertisement. C.—No advertisement. W.—Wept of Wish-Ton-Wish; Who Speaks First? C.—Wild Oats; Katharine and Petruchio. W . — T h e Woman I Adore; T w o of the B'hoys. A.—Omnibus; Drunkard. C.—The Robbers; Rival Pages. W.—Golden Farmer; T w o of the B'hoys. A.—Rake's Progress; A Glance at Philadelphia. Monday : C.—Wine Works Wonders; Dramatist. W.—St. Mary's Eve; Sketches in India. C.—Town and Country; M y Aunt. W . — A Nabob for an Hour; Your Life's in Danger. C.—De Soto. W.—Heir at L a w ; Sketches in India. C.—De Soto. W.—St. Mary's Eve; A Kiss in the Dark. C.—No advertisement. W . — A Nabob for an Hour; A Kiss in the Dark. C.—No advertisement. W.—She Stoops to Conquer; Irish Tutor. A.—Dumb Belle; A Glance at Philadelphia. Monday: C.—No advertisements in the newspapers. C.—Laugh when you Can ; Faint Heart never won Fair Lady. C.—Cesar de Bazan ; Irish Lion. C.—Sweethearts and Wives; Dumb Belle. JULY

1. 2. 4. 5· 6. 7. 8.

Friday : C.—Lucille; A Roland for an Oliver. A.—The Stranger; Ruffian Boy. C.—Robert Macaire; Used Up. A.—Married Rake; Irish Tutor. Monday: C.—Declaration of Independence; Bamboozling. C.—Declaration of Independence; A Wife for an Hour. C.—Declaration of Independence; A W i f e for an Hour. C.—Fast M a n ; Maid of Munster. C.—Dombey and Son; Irish Emigrant. [486]

CHRONOLOGICAL R E C O R D S :

g. 11. 12. 13. 14. 15. 16. 18. 19. 20. 21. 22. 23. 25. 26. 27.

1853

C.—Dombey and Son ; Dumb Belle. Monday: C.—David Copperfield ; Perfection. C.—Serious Family; Row at the Chesnut. C.—David Copperfield; Stage-Struck. C.—Romance and Reality; Dead Shot. C.—Dombey and Son; His Last Legs. C.—Romance and Reality; A R o w at the Chesnut. A.—Veteran of Austerlitz; Eton Boy. Monday: C.—Ireland as it Is; Yankee G a l . C.—Ireland as it Is; Irish Assurance. C.—Paddy the Piper; Irish Assurance. C.—Good for Nothing; Yankee Gal. C.—Shandy Maguire; Mischievous Annie. C.—Siamese T w i n s ; Mischievous Annie. A.—Irish T u t o r ; Born to Good Luck. Monday: C . — N o advertisement. N . — T h e Lost Ship; T h e Shadow. N.—Black Rangers; Irish Artist. N . — N o advertisement.

AUGUST 12. 20. 22. 23. 24. 25. 26. 27. 29. 30. 31.

Friday: C.—Adrienne, the Actress; Loan of a L o v e r ; Lola Montez. A . — M o n e y ; Widow's Victim. Monday: A . — O l d Heads and Young Hearts; Miseries of Human L i f e . C.—Lucretia Borgia ; Lady of Lyons. A.—Married L i f e ; Giralda. A.—Speed the Plough; Miseries of Human L i f e . A . — I d . , Aug. 20. A . — H e i r at L a w ; Taking by Storm. A.—Romeo and Juliet; Taking by Storm. Monday: A.—School for Scandal; Irish Emigrant. W . — A W i f e for a D a y ; Ladies, Beware. A.—Married L i f e ; Irish Emigrant. W.—Yankee Land ; A W i f e for a Day. C.—Poor Gentleman ; Box and Cox. Α . — J o h n Bull ; P.P. W.—Yankee Pedlar ; Forest Rose. C.—She Stoops to Conquer; Rough Diamond. [ 487 ]

THE PHILADELPHIA THEATRE SEPTEMBER 1.

2. 3. 5.

6. 7. 8. 9. 10. 12.

13. 14. 15· 16.

Thursday : A.—Poor Gentleman ; Taking by Storm. W.—Yankee Land ; Yankee in China. C.—The Rivals; M y Mamma's Pets. A . — T h e Rivals; Giralda. W.—Love and Larnin' ; New Notions. C.—Belle's Stratagem ; Love Chase. A.—Lady of Lyons; Irish Dragoon. W . — T h e Vermonter; Yankee Pedlar. C.—Merry Wives of Windsor ; Eton Boy. Monday: A.—Comedy of Errors; Irish Dragoon. W.—Hunchback; Box and Cox Married and Settled. C.—Daughter of the Regiment ; My Precious Betsy. A.—Comedy of Errors; White Horse of the Peppers. W.—Romeo and Juliet ; Poor Pillicoddy. C.—Man of Nerve; M y Precious Betsy. A.—Comedy of Errors; M y Friend in the Straps. W . — T h e Stranger ; Practical Man. C.—Black Domino ; Eton Boy. A .—Id., Sept. 6. W.—Lady of Lyons; Box and Cox Married and Settled. C.—Knight of Arva ; La Bayadere. A.—Comedy of Errors; Irish Ambassador. W.—Love ; Betsy Baker. C.—Crown Diamonds ; Cousin Joe. A.—Comedy of Errors; Rory O'More W.—Fazio; Box and Cox Married and Settled. C.—St. Patrick's Eve; La Bayadere. Monday: A.—Comedy of Errors; Irish Ambassador. W . — L o v e ; Maid of the Milking Pail. C.—Bohemian Girl ; Young Widow. A . — I d . , Sept. 6. W . — L a d y of Lyons ; Valet de Sham. C.—Serious Family ; La Bayadere. A . — I d . , Sept. 10. W . — I d . , Sept. 5. C.—Bohemian Girl ; Good for Nothing. A.—Comedy of Errors; Irish Tutor. W.—Ingomar ; Domestic Economy. C.—Soldier of Fortune ; L a Bayadere. A.—Comedy of Errors ; A.S.S. [488]

CHRONOLOGICAL R E C O R D S :

17. 19.

20. 21. 22. 23.

24. 26.

27. 28. 29. 30.

1853

W . — M a c b e t h ; Morning Call. C.—Bohemian G i r l ; Spectre Bridegroom. A.—Comedy of Errors; Taking by Storm. W . — I n g o m a r ; T o Paris and Back for Five Pounds. C.—Masaniello; Spectre Bridegroom. Monday: A . — I d . , Sept. 16. W.—Adrienne, the Actress; T o Paris and Back for Five Pounds. C.—Bohemian G i r l ; Faint Heart never won Fair Lady. A . — I d . , Sept. 7. W . — T h e Gamester ; Practical Man. C.—St. Patrick's E v e ; M y Precious Betsy. A . — I d . , Sept. 16. W . — I n g o m a r ; Miller of Whetstone. C . — F r a Diavolo ; Eton Boy. A.—Comedy of Errors; May Queen. W . — I d . , Sept. 19. C.—Irish Secretary; Spectre Bridegroom. A . — I d . , Sept. 22. W . — C a m i l l e * : Camille—Miss Davenport; Armand—Perry; Gustave—Eytinge; Ingomar; second and fifth acts. C . — F r a Diavolo; Young Widow. A . — T h e Stranger; May Queen. W . — C a m i l l e ; Miseries of Human Life. C.—Daughter of the Regiment; Knight of Arva. Monday : A . — P a u l Pry ; A l l that Glitters is not Gold. W . — F a z i o ; Miseries of Human Life. C.-—Uncle Tom's Cabin * : Torn—J. Gilbert, Harris—Fenno, Cute—J. Jefferson ; Legree—Mason, Topsy—Lizzie Weston, Eva—Little Louisa Parker. A.—Romeo and Juliet; A.S.S. W . — E v a d n e ; T w o Bonnycastles. C.—Uncle Tom's Cabin. A . — P a u l P r y ; M a y Queen. W . — I n g o m a r ; Obstinate Family. C.—Uncle Tom's Cabin. A . — O l d Heads and Young Hearts; Simpson and Co. W . — D u k e ' s W a g e r ; T o Paris and Back for Five Pounds. C.—Uncle Tom's Cabin. A.—Speed the Plough; P.P. W . — M u c h Ado about Nothing; Obstinate Family. C.—Uncle Tom's Cabin. [489]

THE PHILADELPHIA T H E A T R E OCTOBER I.

3.

4. 5. 6. 7. 8. 10.

11. 12. 13· 14· 15·

Saturday: A . — P a u l Pry ; White Horse of the Peppers. W.—Jealous W i f e ; Box and Cox Married and Settled. C.—Uncle Tom's Cabin. Monday: A.—Hamlet ; Omnibus. W.—Leonor de Guzman * : Leonor—Miss Dean, Don Pedro— Perry, Don Enrique—Wheatleigh, Don Juan—Adams; Obstinate Family. C.—Uncle Tom's Cabin. A.—Point of Honor; Rory O'More. W.—Leonor de Guzman ; Turning the Tables. C.—Uncle Tom's Cabin. A.—Pauline; Irish Ambassador. W.—Leonor de Guzman ; Sergeant's Wedding. C.—Uncle Tom's Cabin. A.—Pauline; Bashful Irishman. W.—Leonor de Guzman ; Domestic Economy. C.—Uncle Tom's Cabin. A.—Pauline; Thumping Legacy. W.—Leonor de Guzman; Follies of a Night. C.—Uncle Tom's Cabin. A . — I d . , Oct. 7. W . — I d . , Oct. 7. C.—Uncle Tom's Cabin. Monday: A.—Pauline; Irish Valet. W.—Richelieu ; Going to the Races * : Twiddle—Chapman. C.—Uncle Tom's Cabin. A . — I d . , Oct. 10. W.—Damon and Pythias; Sergeant's Wedding. C.—Uncle Tom's Cabin. A.—Pauline; Family Jars. W.—Hamlet ; Morning Call. C.—Uncle Tom's Cabin. A.—Pauline; M a y Queen. W.—Macbeth; Box and Cox Married and Settled. C.—Uncle Tom's Cabin. A.—Comedy of Errors; Pauline. W . — P i z a r r o ; Ladies, Beware. C.—Uncle Tom's Cabin. A.—Married L i f e ; More Blunders than One. W . — J a c k Cade; Going to the Races. [490]

CHRONOLOGICAL R E C O R D S : 1853 17.

18. 19. 20. 21. 22. 24.

25. 26. 27. 28. 29. 31.

C.—Uncle Tom's Cabin. Monday: A.—Serious Family ; All that Glitters is not Gold. W.—Othello ; T o Paris and Back for Five Pounds. C.—Uncle Tom's Cabin. A.—Serious Family; Family Jars. W.—Richelieu; Miseries of Human Life. C.—Uncle Tom's Cabin. A.—Serious Family; First Night. W . — G l a d i a t o r ; Ladies, Beware. C.—Uncle Tom's Cabin. A.—Serious Family ; Giralda. W.-—Jack Cade ; Betsy Baker. C.—Uncle Tom's Cabin. A.—Serious Family; Aline. W . — M e t a m o r a ; Going to the Races. C.—Uncle Tom's Cabin. A . — I d . , Oct. 2 1 . W.—Gladiator ; Jacobite. C.—Uncle Tom's Cabin. Monday: A.—Serious Family ; Laugh when you Can. W . — U n c l e Pat's Cabin ; Barney, the Baron. C.—Uncle Tom's Cabin ; Ireland as it Is. A.—Serious Family; Aline. W . — U n c l e Pat's Cabin ; Irish Assurance. C.—Irish Assurance; Uncle Tom's Cabin. A.—Serious Family ; White Horse of the Peppers. W . — U n c l e Pat's Cabin ; Shandy Maguire. C.—Yankee Gal ; Uncle Tom's Cabin. A.—Serious Family; Comedy of Errors. W . — U n c l e Pat's Cabin ; Born to Good Luck. C.—Ireland as it Is; Uncle Tom's Cabin. A.—Point of Honor; Serious Family. W . — L a w for Ladies ; Paddy Carey. C.-—Irish Brogue M a k e r ; Uncle Tom's Cabin. A.—Comedy of Errors; Serious Family. W . — N o advertisement. C.—Shandy Maguire; Uncle Tom's Cabin. Monday: A . — I d . , Oct. 29. W . — D i c k , the Newsboy * : Dick—B. Williams ; Limerick Boy. C.—Uncle Tom's Cabin. [491]

THE PHILADELPHIA T H E A T R E NOVEMBER 1. Tuesday : A.—Comedy of Errors; Serious Family. W . — I d . , Oct. 3 1 . C . — I d . , Oct. 3 1 . 2. A . — I d . , Nov. ι. W.—Dick, the Newsboy; Irish Tiger. C . — I d . , Oct. 3 1 . 3. A . — I d . , Nov. ι. W.—Ireland and America; Uncle Pat's Cabin. C . — I d . , Oct. 3 1 . 4. A . — I d . , Nov. ι . W.—Ireland as it Is; Ireland and America. C . — I d . , Oct. 3 1 . 5. A.—Hamlet; Family Jars. W.—Ireland as it Is ; Irish Assurance. C.—Uncle Tom's Cabin. 7. Monday: A.—Bleak H o u s e * : Carstone—W. Wheatley, Inspector—J. Drew, Lady Oedlock—Mrs. Bowers; A.S.S. C.—Nervous Man ; Going to the Races. 8. A.—Bleak House; Taking by Storm. W . — W r o n g Passenger; Teddy the Tiler. C.—Magic Well ; Faint Heart never won Fair Lady. 9. Α.—Bleak House; P.P. W.—Irish Guardian ; How to pay Rent. C.—Magic Well ; Eton Boy. 10. A.—Bleak House; Thumping Legacy. W.—Irish Ambassador; T w o Bonnycastles. C.—She Stoops to Conquer; Magic Well. 11. A.—Bleak House. W.—Irish Genius; Jacobite. C.—Married L i f e ; Magic Well. 12. A.—Bleak House; Irish Emigrant. W.—Irish Genius; Born to Good Luck. C . — I d . , Nov. i l . 14. Monday: A.—Cure for the Heart Ache ; Bleak House. W.—Irish Genius; Irish Guardian. C.—Uncle Tom's Cabin. 15. A . — W i l d Oats; Bleak House. W.—Irish Genius; Happy Man. C.—Uncle Tom's Cabin. 16. A.—Laugh when you Can; Bleak House. W.—Irish Genius; Teddy the Tiler. [492 ]

CHRONOLOGICAL R E C O R D S :

17. 18. 19. 21.

22. 23. 24. 25. 26. 28.

29. 30.

C.—Uncle Tom's Cabin. A.—Madelaine; Serious Family. W.—Irish Ambassador; Irish Genius. C.—Uncle Tom's Cabin. A .—Id., Nov. 17. W.—Fortune Hunter; Wrong Passenger. C.—Uncle Tom's Cabin. A . — P a u l P r y ; Madelaine. W.—Fortune Hunter; Soldier of Fortune. C.—Uncle Tom's Cabin. Monday: A.—Speed the Plough ; Madelaine. W . — H a m l e t ; Box and Cox. C.—Uncle Tom's Cabin. A . — M a r r i e d L i f e ; Madelaine. W . — L a d y of Lyons ; Obstinate Family. C.—Uncle Tom's Cabin. A . — H e i r at L a w ; Madelaine. W . — O t h e l l o ; Done on Both Sides. C.—Uncle Tom's Cabin. A . — I d . , Nov. 17. W . — I n g o m a r ; Spirit Rappings and Table Movings. C.—Uncle Tom's Cabin. A . — R o r y O ' M o r e ; Madelaine. W . — L a d y of Lyons ; Done on both Sides. C.—Uncle Tom's Cabin. A.—Comedy of Errors ; Serious Family. W.—Richard I I I ; T o Paris and Back for Five Pounds. C.—Uncle Tom's Cabin ; Water Witches. Monday : A.—Nationalities*: Carlton—-Thayer, Francis—Wheatley, Frederick—Shewell, John—Drew, Clarissa—Mrs. Nelson; H o w to pay Rent. W . — I n g o m a r ; Going to the Races. C.—Uncle Tom's Cabin. A.—Nationalities; Irish Ambassador. W.—Civilization ; Spirit Rappings. C.—Uncle Tom's Cabin. A.—Nationalities; His Last Legs. W.—Civilization ; Domestic Economy. C.—Uncle Tom's Cabin. DECEMBER

I.

1853

Thursday : A.—Nationalities; Thumping Legacies. [493 ]

THE PHILADELPHIA THEATRE

2. 3. 5.

6. 7.

8. 9. 10. 12.

13. 14.

15. 16.

W.—Lady of Lyons; Sentinel. C.—Curate's Daughter*: Abel—J. Gilbert, Fanny—Lizzie Weston, Grace—Miss Cappell; M y Precious Betsy. A.—Nationalities ; An Object of Interest. W.—Civilization ; Matrimony. C.—Curate's Daughter; Three Cuckoos. A.—Nationalities ; White Horse of the Peppers. W . — I d . , Dec. 2. C.—Curate's Daughter; Asmodeus. Monday: A.—Nationalities ; Time Tries All. W.—Robbers; Sentinel. C.—Curate's Daughter; Mother and Child are Doing Well. A.—Id., Dec. 5. W.—Robbers; Alarming Sacrifice. C.—Curate's Daughter. A.—Nationalities; Aline. W.—Elder Brother; Box and Cox Married and Settled. C.—A Cure for Coquettes*: Sarcasm—J. Gilbert, Count— H. A. Davenport, Lilly—Lizzie Weston; Curate's Daughter. A.—The Road to Ruin ; Born to Good Luck. W.—Robbers ; Going to the Races. C.—Id., Dec. 7. A.—Money ; Madelaine. W.—Elder Brother ; T w o Bonnycastles. C.—Id., Dec. 7. A.—The Gamester; Born to Good Luck. W.—Robbers; The Sea Fight. C.—A Cure for Coquettes ; Mother and Child are Doing Well. Monday: A.—The Road to Ruin ; More Blunders than One. W.—King of the Commons; The Sea Fight. C.—A Cure for Coquettes; Lah-Buy-It-Dear. A . — A Cure for the Heart Ache; Serious Family. W.—Lady of Lyons ; Alarming Sacrifice. C.—Married L i f e ; Lah-Buy-It-Dear. A.—Comedy of Errors; Serious Family. W.—King of the Commons ; Whitebait at Greenwich * : Buzzard—A'Becket, Small—Chapman. C.—Lady of Lyons ; L a Som-Am-Bull-Ah. A.—The Gamester; Irish Attorney. W . — T h e Stranger; Morning Call. C.—Poor Gentleman; La Som-Am-Bull-Ah. A.—Lady of Lyons; White Horse of the Peppers. [494]

CHRONOLOGICAL R E C O R O S : 1853

17.

19.

20.

21. 22. 23. 24. 26.

27. 28. 29. 30. 31.

W . — D a m o n and Pythias ; Wonder. C . — A Roland for an Oliver ; Happy Uncle T o m ' s Cabin. A . — P a u l P r y ; Irish Emigrant. W . — D a m o n and Pythias ; Katharine and Petruchio. C . — T o Paris and Back for Five Pounds. Monday: A . — L o v e Chase; First Night. W . — N a v a l Engagements; Whitebait at Greenwich. C.—Adrienne, the Actress; T o Paris and Back for Five Pounds. A . — L o v e Chase; His Last Legs. W . — C o r s i c a n Brothers; Honey Moon. C . — M a i d of Mariendorpt; Mother and Child are Doing Well. A . — L o v e Chase; First Night. W . — D a u g h t e r of the Regiment ; Robert Macaire. C . — L o v e s Sacrifice ; Spectre Bridegroom. A . — L o v e Chase; Madelaine. W . — C e s a r de Bazan ; A Roland for an Oliver. C.—Adrienne, the Actress; Jacobite. A . — L o v e Chase; Delicate Ground. W . — L o u i s e M u l l e r ; Whitebait at Greenwich. C . — C a m i l l e ; Eton Boy. A . — L o v e Chase ; Good for Nothing. W . — D a u g h t e r of the Regiment; Robert Macaire. C . — C a m i l l e ; T o Paris and Back for Five Pounds. Monday: A . — P a r i s and London. W . — E x t r e m e s ; T w o Buzzards. C . — L a d y of L y o n s ; Student of O x f o r d . A . — I d . , Dec. 26. W . — E x t r e m e s ; Going to the Races. C . — C a m i l l e ; T h r e e Cuckoos. Α.—Id., Dec. 26. W . — S c h o o l for Scandal ; Robert Macaire. C . — C a m i l l e ; T o Paris and Back for Five Pounds. A . — I d . , Dec. 26. W . — E x t r e m e s ; T w o Buzzards. C . — C a m i l l e ; M y Precious Betsy. A . — I d . , Dec. 26. W . — D a u g h t e r of the Regiment; Corsican Brothers. C . — M a s k s and Faces ; School for Scandal. A . — I d . , Dec. 26. W . — T w e l v e Labors of Hercules; Corsican Brothers. C . — C a m i l l e ; Spectre Bridegroom. [ 495 ]

THE PHILADELPHIA T H E A T R E JANUARY 2.

3. 4. 5. 6. 7. 9.

10. 11. 12. 13. 14. 16.

1854

Monday: A.—Paris and London. W.—Debutante. C.—Camille; Three Cuckoos. A . — I d . , Jan. ι . W . — I d . , Jan. ι. C.—Love ; Box and Cox. A . — I d . , Jan. 1. W.—Id., Jan. ι . C.—Hunchback; M y Precious Betsy. A . — I d . , Jan. 1. W.—Id., Jan. ι. C.—Adrienne, the Actress ; Eton Boy. A . — I d . , Jan. 1. W.—Id., Jan. ι . C.—Masks and Faces ; Evadne. A.—Paris and London ; A Roland for an Oliver. W.—Id., Jan. ι. C.—Masks and Faces ; Hole in the Wall. Monday: A.—Paris and London; Irish Attorney. W.—Id., Jan. ι. C.—Hot C o r n * : Eugene—A. H . Davenport, Kate—Little Louisa Parker, Eleanor—Lizzie Weston ; Sudden Thoughts. A . — W i l d Oats; Emigrant. W.—Id., Jan. ι . C . — I d . , Jan. 9. A.—Serious Family; Paris and London. W.—Id., Jan. ι. C.—Hot Corn; Cure for Coquettes. A.—Comedy of Errors; London and Paris. W.—Id., Jan. ι. C . — I d . , Jan. i l . A.—Love Chase; Serious Family. W.—Id., Jan. ι . C.—Hot Corn; A Roland for an Oliver. A.—Stranger; Honey Moon. W.—Id., Jan. ι . C.—Hot Corn; Golden Farmer. Monday: A.—Paul P r y ; Serious Family. W . — H e ' s not A-Miss. [496]

CHRONOLOGICAL RECORDS: 1854 17.

18. 19. 20. 21. 23.

24.

25. 26.

27. 28. 30.

31.

C . — H o t Corn ; Lady of Lyons. A . — M o n e y ; More Blunders than One. W . — H e ' s not A-Miss. C . — A Legend of the Chesnut St. Theatre * : Mother and Child are Doing Well. A . — T w e l f t h Night; Good for Nothing. W.—Obstinate Family. C . — A Legend of the Chesnut St. Theatre ; Hot Corn. A . — T w e l f t h Night; Delicate Ground. W . — I d . , Jan. 18. C . — T h e Rivals ; All that Glitters is not Gold. Α.-—Twelfth Night; P.P. W . — W h o Speaks First? C . — I d . , J a n . 18. A . — T w e l f t h Night; A Day W e l l Spent. W . — H e ' s not A-Miss. C . — P a u l P r y ; Hot Corn. Monday: A . — T w e l f t h Night ; Tender Precautions. W . — W h o Speaks First? C.—Perfection ; Golden Farmer. A . — T w e l f t h Night; More Blunders than One. W.—Obstinate Family. C . — F a i n t Heart never won Fair L a d y ; A l l that Glitters is not Gold. A . — T w e l f t h Night; Married Rake. W.—Delicate Ground. C . — P a u l Pry ; Hot Corn. A . — I d . , J a n . 23. W.—Delicate Ground. C . — A Legend of the Chesnut St. Theatre; Slasher and Crasher. A.—Speed the Plough; Irish Emigrant. W . — E t o n Boy. C . — T h e Rivals; Slasher and Crasher. Α . — T w e l f t h Night; Paul Pry. W . — E t o n Boy. C.—Romeo and Juliet ; Raising the Wind. Monday: A . — T w e l f t h Night ; Serious Family. W . — R o b e r t Macaire ; Wandering Minstrel. C.—People's L a w y e r ; Robert Macaire. A . — L o v e Chase; Honey Moon. W . — T o Paris and Back for Five Pounds. C . — T o o d l e s ; Robert Macaire. [ 497 ]

THE PHILADELPHIA THEATRE FEBRUARY 1.

2. 3. 4. 6.

7. 8. 9. 10. 11. 13.

14. 15. 16.

W ednesday : A.—Heir at L a w ; White Horse of the Peppers. W.—Delicate Ground. C.—Sweethearts and Wives ; Golden Farmer. A.—She Stoops to Conquer; Giralda. W . — T o Paris and Back for Five Pounds. C.—People's Lawyer; Raising the Wind. A.—Wild Oats; Irish Emigrant. W.—Id., Feb. 2. C.—Rip Van Winkle; Maid of Munster. A.—School for Scandal; P.P. W.—Wandering Minstrel. C.—Revolution ; Buried Alive. Monday: A.—Comedy of Errors; Paul Pry. W . — T w o Bonnycastles. C.—Woman's L i f e ; Ole Bull. A.—Love Chase; Serious Family. W . — I d . , Feb. 2. C.—Poor Gentleman ; Hole in the Wall. A.—Hunchback; Sketches in India. W . — T h e Woman I Adore. C.—Sweethearts and Wives ; Wool Dealer. A .—Id., Feb. 8. W.—Id., Feb. 8. C.—Jonathan Bradford ; Hunter of the Alps. Α . — T h e Rivals; P.P. W.—Lend Me Five Shillings. C.—Dumb Man of Manchester; Toodles. A.—Jane Shore ; Rory O'More. W.—Id., Feb. 10. C.—Murrell ; Eton Boy. Monday: A.—Jane Shore; Laugh when you Can. W . — W h o Speaks First? C.—Uncle Tom's Cabin. A.—Comedy of Errors; All that Glitters is not Gold. W.—Alarming Sacrifice. C . — I d . , Feb. 13. A . — T w e l f t h Night; Comedy of Errors. W . — T r y i n g it on *. C . — I d . , Feb. 13. A.—Jane Shore; Born to Good Luck. W.—Miseries of Human Life. [498]

CHRONOLOGICAL R E C O R D S : 1854 17.

18. 20.

21. 22. 23. 24. 25. 27.

28.

C — I d . , Feb. 13. A . — S h e Stoops to Conquer; Madelaine. W . — I d . , Feb. 1 5 . C . — I d . , Feb. 1 3 . A . — H u n c h b a c k ; A Roland for an Oliver. W . — B e t s y Baker. C.—Id., Feb. 1 3 . Monday: A . — J o h n Bull ; Tender Precautions. W . — L e n d M e Five Shillings. C . — I d . , Feb. 13. A . — T w e l f t h N i g h t ; Comedy of Errors. W . — T h e Woman I Adore. C.—Id., Feb. 13. A . — H y p o c r i t e ; A Day W e l l Spent. W . — A Soldier's Courtship. C.—Id., Feb. 13. A . — J a n e Shore; White Horse of the Peppers. W . — ' T w a s I. C.—Id., Feb. 1 3 . Α.—Hunchback; P.P. W . — T o Paris and Back for Five Pounds. C.—Id., Feb. 1 3 . A . — H y p o c r i t e ; A l l that Glitters is not Gold. W . — T r y i n g it on. C.—Id., Feb. 1 3 . Monday: A . — H y p o c r i t e ; Irish Ambassador. W . — A l a r m i n g Sacrifice. C.—Aethiop ; Hole in the W a l l . A.—Hypocrite ; Wandering Minstrel. W . — F r i e n d Waggles. C . — A e t h i o p ; Hunter of the Alps. MARCH

1.

2. 3.

W ednesday : A.—Hypocrite ; Madelaine. W . — T r y i n g it on. C.—Aethiop ; Robert Macaire. A . — H y p o c r i t e ; Wandering Minstrel. W . — F r i e n d Waggles. C.—Speed the Plough; Irish T u t o r . A.—Hypocrite; P.P. W . — E t o n Boy. C . — A e t h i o p ; Sweethearts and Wives. [ 499 ]

THE PHILADELPHIA THEATRE 4. 6.

7. 8. 9. 10. u. 13.

14. 15. 16. 17. 18. 20.

21.

A.—Hypocrite; Time Tries All. W.—Lend Me Five Shillings. C.—Aethiop; M y Neighbor's Wife. Monday: A.—Much Ado about Nothing; Omnibus. W.—Pleasant Neighbor. C.—Aethiop; Maid of Croissy. A.—Much Ado about Nothing; Thumping Legacy. W.—Pleasant Neighbors. C.—London Assurance; Tom and Jerry. A.—Much Ado about Nothing; Tender Precautions. W.—Delicate Ground. C.—Speed the Plough ; Tom and Jerry. A—Much Ado about Nothing; Time Tries All. W . — T o Paris and Back for Five Pounds. C.—Love in a Convent; Nicholas Nickleby. A.—Much Ado about Nothing; Good for Nothing. W . — T h e Double-Bedded Room. C.—Henry I V ; Love in a Convent, A.—Much Ado about Nothing; All that Glitters is not Gold. W.—Double-Bedded Room. C.—Drunkard; Nicholas Nickleby. Monday: A.—Lady of Lyons; Delicate Ground. W . — A Soldier's Courtship; Double-Bedded Room. C.—Romeo and Juliet ; My Neighbor's Wife. A.—Hypocrite; Madelaine. W.—Pleasant Neighbors; Double-Bedded Room. C.—Lady of Lyons ; Bombastes Furioso. Α.—Soldier's Daughter; AU that Glitters is not Gold. W.—Wandering Minstrel. C.—Ingomar; Maid of Croissy. A.—Hypocrite; Good for Nothing. W.—Trying it on. C.—Ion; Bombastes Furioso. A.—Jane Shore ; Laugh when you Can. W.—Debutante. C.—Armand; Faint Heart never won Fair Lady. A.—Soldier's Daughter; Rory O'More. W.—Double-Bedded Room. C.—Armand ; Honey Moon. Monday : A.—Hamlet; Irish Tutor. W.—Debutante. C.—Love Chase; Pet of the Petticoats. A.—Comedy of Errors; Serious Family. [500]

CHRONOLOGICAL R E C O R D S : X854

22. 23. 24. 25. 27.

28. 29. 30. 31.

W . — F r i e n d Waggles. C.—Camille; Young Widow. A . — R o m e o and J u l i e t ; Born to Good Luck. W.—Debutante. C . — L o v e ; M y Neighbor's W i f e . A . — M u c h A d o about Nothing; A n Object of Interest. W.—Double-Bedded Room. C . — L o n d o n Assurance ; Eton Boy. A . — T w e l f t h N i g h t ; His Last Legs. W . — P l e a s a n t Neighbors. C.—Adrienne, the Actress; Bombastes Furioso. Α . — R o m e o and J u l i e t ; M o r e Blunders than One. W.—Debutante. C . — M a s k s and Faces; Golden Farmer. Monday: A . — J e a l o u s W i f e ; Four Sisters. W . — T o Parents and Guardians. C . — T h e W i f e ; Perfection. A . — J e a l o u s W i f e ; T i m e Tries A l l . W . — I d . , M a r c h 27. C . — V a l e r i a ; M y Neighbor's W i f e . A . — B e l l e ' s Stratagem; Irish Emigrant. W . — I d . , M a r c h 27. C . — I n g o m a r ; Young W i d o w . A . — J e a l o u s W i f e ; Toodles. W . — P e t of the Public. C . — H u n c h b a c k ; Maid of Croissy. A . — B e l l e ' s Stratagem ; Toodles. W . — I d . , March 30. C.—Colombe's Birthday*: Colombe—Miss Davenport; Adrienne, the Actress. APRIL

I.

3.

4.

5.

Saturday: A . — J e a l o u s W i f e ; Toodles. W . — T o Parents and Guardians. C . — T h e Stranger ; Rough Diamond. Monday: A . — A s Y o u Like I t ; Toodles. W . — P e t of the Public. C.—Apostate; T h r e e Shaws. A . — I d . , April 3. W . — W a n d e r i n g Minstrel. C . — L o v e ' s Sacrifice; T o Paris and Back for Five Pounds. A . — I d . , April 3. [501 ]

THE PHILADELPHIA T H E A T R E

6. 7. 8. 10.

11. 12. 13. 14. 15. 17.

18. 19. 20. 21.

W . — J o h n Jones. C . — F a z i o ; Three Shaws. A . — A s You Like I t ; Poor Cousin Walter. W . — T h e Man about Town. C.—Masks and Faces; Honey Moon. A . — I d . , Apr. 6. W . — T h e Man about Town. C.—Wallace ; Camille. A . — A s You Like It ; Serious Family. W . — J o h n Jones. C . — T h e Gamester ; Pizarro. Monday: A.—Belle's Stratagem; Poor Cousin Walter. W . — T h e Man about T o w n . C . — M i l l y ; M y Neighbor's Wife. A . — T h e W i f e ; Toodles. W.—Double-Bedded Room. C . — M i l l y ; Three Shaws. A.—Jealous W i f e ; Wandering Minstrel. W.—Friend Waggles. C.—Andy Blake; John Jones. A . — F a z i o ; Irish Lion. W . — T o Parents and Guardians. C.—Andy Blake; Bob Nettles. A.—Poor Cousin Walter; Toodles. W . — B o x and Cox Married and Unsettled. C.—Bob Nettles ; Young Actress. A . — T h e W i f e ; Irish Lion. W . — I d . , Apr. 14. C . — M i l l y ; Young Widow. Monday: A . — F a z i o ; Follies of a Night. W.—Morning Call. C.—Forty and Fifty ; Invisible Prince. A . — J a n e Shore; Comedy of Errors. W . — T r y i n g it on. C . — I d . , Apr. 17. A.—Douglas; Satan in Paris. W . — T h e Three-Faced Frenchman. C.—Andy Blake; Invisible Prince. A.—Satan in Paris; Paul Pry. W . — I d . , Apr. 19. C . — A Day after the Wedding ; Invisible Prince. A.—Hypocrite; Madelaine. W . — I d . , Apr. 19. C.—Loan of a Lover ; Milly. [ 502 ]

CHRONOLOGICAL R E C O R D S : 1 8 5 4 22. 24.

25. 26. 27.

28. 29.

A . — S t r a n g e r ; Honey Moon. W . — I d . , Apr. 19. C . — E t o n Boy ; Devil's in it. Monday: A . — A s Y o u Like I t ; Irish Emigrant. W . — N o ligitimate drama. C . — P o o r Pillicoddy; Cupid in a Convent. A . — D o u g l a s ; Satan in Paris. W . — N o legitimate drama. C . — I d . , Apr. 24. A . — L a d y of Lyons ; T h e School for Tigers. W . — T h e Three-Faced Frenchman. C . — A Day after the Wedding; Bob Nettles. A.—Follies of a Night ; T h e School for Tigers. W . — N o legitimate drama. Continuation of the Ravel Family in ballets. C . — L o a n of a Lover ; Andy Blake. A . — S h e Stoops to Conquer ; T h e School for Tigers. W . — M o r n i n g Call. C . — Y o u n g W i d o w ; Invisible Prince. A . — D o u g l a s ; T h e School for Tigers. W.—Double-Bedded Room. C . — T h e Fox Hunt ; Young Actress. MAY

1.

2. 3. 4. 5.

Monday: A . — P l o t and Passion * : DeNeuville—Wheatley, Desmarets— Thayer, Marquis—D. P. Bowers, Madame de Fontanges — M r s . D . P. Bowers; Cousin Cherry. W . — L i f e in the W e s t * : Sharpe—Chapman, Eva—Mrs. Duffield, Fanny—Mrs. John Sefton ; A Storm in a T e a C u p * : Summerly—Perry, Jane—Mrs. Hackurt. C . — F o x Hunt ; Y o u n g Actress. A . — P l o t and Passion ; Laugh when you Can. W . — P o o r Gentleman ; Toodles. C . — F o x Hunt ; M illy. A . — I d . , M a y 1. W . — I d . , M a y 1. C . — I d . , M a y 1. A . — I o n ; T h e Lancers. W . — I n g o m a r ; Toodles. C . — P r i m a Donna; M i l l y . A . — P l o t and Passion ; Married Rake. W . — S c h o o l for Scandal ; A Storm in a T e a - C u p . C . — H e i r at L a w ; Nicholas Nickleby. [ 503 ]

THE PHILADELPHIA THEATRE 6. 8.

9.

10. 11. 12. 13. 15.

16. 17. 18. 19. 20. 22.

A.—Plot and Passion; Satan in Paris. W . — L i f e in the West ; Debutante. C.—Forty and F i f t y ; All that Glitters is not Gold. Monday : A.—Ion; Irish Tutor. W.—Extremes; Betsy Baker. C.—Nicholas Nickleby; Why don't she Marry? A.—Romeo and Juliet ; Wandering Minstrel. W.—Cabin and P a r l o r * : Walworth—Eytinge, Aunt—Mr Langdon ; Lone Star. C.—Eton Boy ; Three Shaws. Α.—Wives as they Were; Black-Eyed Susan. W.—Golden Farmer ; T w o of the B'hoys. C.—Heir at L a w ; Turned Head. A.—Plot and Passion; Toodles. W.—Cabin and Parlor ; Delicate Ground. C.—Turned Head ; Alpine Maid. A.—Maids as they Were; Black-Eyed Susan. W.—Wild Oats; All that Glitters is not Gold C.—Paul Pry; Alpine Maid. A.—Romeo and Juliet; Born to Good Luck. W.—Cabin and Parlor ; Toodles. C.—Katharine and Petruchio; Bombastes Furioso. Monday: A.—Love; Miseries of Human Life. W.—Born to Good Luck ; Barney the Baron. C.—Katharine and Petruchio; Black-Eyed Susan. A.—Wives as they Were; Black-Eyed Susan. W.—Irish Assurance; Limerick Boy. C.—Honey Moon; Black-Eyed Susan. A.—Sweethearts and Wives; Teddy the Tiler. W.—Shandy Maguire ; Barney the Baron. C.—Poor Gentleman ; An Alarming Sacrifice. A.—Hypocrite; Irish Emigrant. W.—Uncle Pat's Cabin ; Happy Man. C.—Heir at L a w ; M y Precious Betsy. A.—Id., May 17. W.—Paddy Carey; Brian O'Lynn. C.—Faint Heart never won Fair Lady; Turned Heads. A.—Sweethearts and Wives; Black-Eyed Susan. W . — I d . , May 19. C.—Paul P r y ; Luke the Laborer. Monday: A.—Love; Teddy the Tiler. W.—John Bull; Irish Assurance. C.—Naval Engagements; Uncle John. [ 504 ]

CHRONOLOGICAL R E C O R D S : 1 8 5 4 23. 24. 25. 26. 27.

29.

30. 31.

A . — G i r a l d a ; Rory O ' M o r e . W . — S h a n d y Maguire ; Uncle Pat's Cabin. C . — A n Alarming Sacrifice. A . — L o v e ' s Sacrifice ; Rough Diamond. W . — I r e l a n d as it I s ; Limerick Boy. C . — T o Paris and Back for Five Pounds. A . — J e a l o u s W i f e ; Irish Lion. W . — J o h n Bull ; Connecticut Courtship. C . — K a t h a r i n e and Petruchio. A . — M a n and W i f e ; Serious Family. W . — A s m o d e u s ; Irish L i o n ; Irish T u t o r . C . — M y Precious Betsy. A . — M a n and W i f e ; Gilderoy. W . — A s m o d e u s ; Robber's W i f e . C . — E t o n Boy. Monday: A.—Love's Sacrifice; Delicate Ground. W . — R o r y O ' M o r e ; T e d d y the Tiler. C . — A Kiss in the Dark. A . — E v e r y o n e has his Fault ; Gilderoy. W . — I r e l a n d and America; Omnibus. C . — N o advertisement. A.—Hunchback ; Toodles. W . — I r e l a n d as it I s ; Brian O ' L y n n . C . — N o advertisement. JUNE

1.

2. 3. 5.

6.

7.

Thursday : A . — E v e r y o n e has his Fault ; Miseries of Human L i f e . W . — M r s . Williams at Home ; Barney the Baron. A.—Nationalities ; Kate Kearney. W . — R e v i e w ; Irish Thrush and Swedish Nightingale. A . — I d . , J u n e 2. W . — I d . , J u n e 2. N . — D r u n k a r d ; W i d o w ' s Victim. Monday: A . — H a m l e t ; A D a y W e l l Spent. W . — I r e l a n d and America; Bashful Irishman. N . — L a d y of L y o n s ; A Kiss in the Dark. A . — S t r a n g e r ; Honey Moon. W . — K a t e Kearney; Irish Thrush and Swedish Nightingale. N . — H a m l e t ; A Day after the Wedding. C . — L a Sonnambula. A . — R u l e a W i f e and Have a W i f e ; Ladies' Battle. W . — D i c k , the Newsboy; K a t e Kearney. [ 505 ]

THE PHILADELPHIA T H E A T R E

8.

9. 10. 12.

13.

14.

15.

16.

17.

19.

20.

N.—Broken Sword; Luke the Laborer. C.—Id., June 6. A.—John Bull ; Sketches in India. W.—Irish Yankee * : Ebertezer O'Donohoo—B. Williams; Irish Lion. N.—Rake's Progress; Rough Diamond. C . — N o advertisement. A.—Isabelle ; Momentous Question. W.—Irish Yankee; Alive and Kicking. N.—Drunkard ; Spectre Bridegroom. A.—Rule a W i f e and Have a W i f e ; Momentous Question. W.—Dick, the Newsboy; Irish Yankee. N.—Floating Beacon ; Black-Eyed Susan. Monday: A.—Wives as they Were ; Black-Eyed Susan. W . — W i l l o w Copse ; Laugh when you Can. N.—Ugolino ; Dream at Sea. C.—Id.j June 6. A.—Plot and Passion; Ladies' Battle. W.—Hunchback ; Eton Boy. N.—Dream at Sea; American Farmer. C . — I d . , June 6. A.—Secrets Worth Knowing; Black-Eyed Susan. W . — A l l that Glitters is not Gold ; Debutante. N.—Broken Sword; Forty Winks. C.—Child of the Regiment. A . — I d . , June 14. W . — H e i r at L a w ; Bamboozling. N.—Idiot Witness; Family Jars. C.—Spectre Bridegroom; Married Rake. A.—She Stoops to Conquer; T h e Momentous Question. W.—Macbeth ; Double-Bedded Room. N . — H o w to Rule a W i f e ; T h e Rogueries of Thomas. C.—Our Man ; Loan of a Lover. A.—Road to Ruin ; T h e Momentous Question. W . — W i l l o w Copse ; Robert Macaire. N.·—Pizarro; Broken Sword. C . — T h e Secret; Irish Lion. Monday: A.—Rule a W i f e and Have a W i f e ; Gilderoy. W.—Closed. N.—Rookwood ; Family Jars. C.—School of Reform; Bridegroom. A.—Lucretia Borgia ; Paul Pry. W.—Closed. N . — I d . , June 19. [ 506 ]

CHRONOLOGICAL RECORDS: 1854 21.

22.

23.

24.

26.

27.

28.

29.

30.

C.—Speed the Plough ; Rough Diamond. A.—Comedy of Errors; Serious Family. W . — T h e Rivals ; No. ι Round the Corner. N.—Mazeppa; The Secret. C.—Loan of a Lover ; A Kiss in the Dark. A . — T h e Wonder; Madelaine. W . — P o o r Gentleman ; T o Paris and Back for Five Pounds. N . — I d . , June 21. C.—School of Reform ; Perfection. A.—Lucretia Borgia; Hypocrite. W . — O l d Heads and Young Hearts ; Bamboozling. N.—Putnam; T w o Fathers. C.—Cure for the Heart Ache; Betsy Baker. A . — T h e Wonder; Lucretia Borgia. W . — O l d Heads and Young Hearts; Friend Waggles. N.—Putnam; Mazeppa. C . — A Kiss in the Dark ; a Nabob for an Hour. Monday: A.—Venice Preserved ; How to pay Rent. W . — G a m e of L i f e ; Sergeant's Wedding. N.—Putnam; Mountain Robber. C.—Love's Frailties; Betsy Baker. A.—Bold Stroke for a Husband; T o o many Cooks Spoil the Broth. W . — G a m e of Life ; A Storm in a Tea-Cup. N . — I d . , June 26. C.—Yorkshire Brothers; Jacobite. A.—Jealous W i f e ; Lucretia Borgia. W . — G a m e of L i f e ; Stage-Struck Tailor. N.—Renegade's Horse; Mountain Robber. C.—Miller's Maid; Luke the Laborer. A.—Sweethearts and Wives; Honey Moon. W . — G a m e of Life ; Pet of the Public. N . — I d . , June 28. C . — T h e Maniac ; T h e Jacobite. A . — L o v e Chase; P.P. W . — O l d Heads and Young Hearts; Obstinate Family. N . — K i t Carson; Valentine and Orson. C.—Othello; Heir at Law. JULY

I.

Saturday : A.—Venice Preserved ; White Horse of the Peppers. W.—School for Scandal ; No. 1 Round the Corner. N . — I d . , June 30. [ 507 ]

THE PHILADELPHIA T H E A T R E 3.

4.

5. 6. 7. 8. 10. 11. 12. 13. 14. 15. 17. 18. 19. 20. 21. 22. 24. 25. 26. 27. 28. 29. 31.

C.—Yorkshire Brothers; A Phenomenon in a Smock Frock. Monday: A . — L a d y of Lyons ; Cousin Cherry. W . — T h e West End ; Last Man. Ν .—El Hyder; M a t o' the Glen. C.—Speed the Plough ; Betsy Baker. A.—Soldier's Daughter ; Lucretia Borgia ; Last night of the season. W . — T h e West End ; Going to the Races. Last night of the season. N.—Putnam; Raymond and Agnes. C.—Maniac; A Roland for an Oliver. N . — N o advertisement. Theatre totally destroyed by fire the night before. C.—Love's Frailties ; Fortune's Frolic. C.—Jacobite; Yorkshire Brothers. C.—School of Reform ; A Phenomenon in a Smock Frock. C.—Miller's Maid ; Fortune's Frolic. Monday: C.—-Green Mountain Boy ; T r u e Love never Runs Smooth. C.—Green Mountain Boy; Betsy Baker. C . — M a i d of Croissy; Box and Cox. C . — W i f e for a D a y ; Stage-Struck Yankee. C.—Therese; Forest Rose. C.—-Hermit of the Rocks; Loan of a Lover. Monday: C.—Cabin and Parlor; Day after the Wedding. C . — N o advertisement. C . — I d . , July 17. C.—Negro Fidelity; Nature and Philosophy. C.—Faithful Slave; M y Cousin Joe. C.—Negro Fidelity; Day after the Wedding. Monday : C.—Ireland as it Is; Mischievous Annie. C.—Irish Assurance; Lord Flanagan. C.—Paddy the Piper; Limerick Boy. C.—Ireland as it Is; Good for Nothing. C.—Sprig of Shillelah ; Lola Montez. C.—Irish Lion; Lord Flanagan. Monday : C.—Pet of the Petticoats ; Rival Pages. AUGUST

I.

Tuesday : C.—Pet of the Petticoats; Spectre Bridegroom. [ 508 ]

CHRONOLOGICAL R E C O R D S : 1 8 5 4 2. 3. 4. 5. 7. 8. 9. 10. 11. 12. 14. 15. 16. 17. 18. 19. 21. 22. 23. 24. 25. 26. 28. 29. 30. 31.

C . — T a k i n g by Storm ; Dumb Belle. C . — P r i d e of the Market ; Woman's W i t . C . — P r i d e of the Market ; Married Bachelor. C . — T h e Little Devil's Share ; Woman's W i t . Monday: C . — B o r n to Good Luck ; A Day in Paris. C . — W h o ' s the Composer?; T h e First Night. C . — H i s Last L e g s ; Irish Lion. C . — D o m b e y and Son; Peggy Green. C . — F a s t M a n ; Yankee Heiress. C . — D a v i d Copperfield; Sketches in India. Monday: C . — I d . , Aug. 10. C.—Bachelor of Arts ; Family J a r s . C.—Bachelor of A r t s ; Yankee Heiress. C . — F a s t M a n ; Peggy Green. C . — B o r n to Good L u c k ; Family J a r s . C . — M o n e y ; Yankee Heiress. A . — M o n e y ; Bobtail and Wagtail. Monday: C.—Lady of Lyons ; Forty Winks. A.—Romance and Reality; Bobtail and Wagtail. C . — M o n e y ; T w o Gregories. A . — R o m a n c e and Reality ; T h r e e Shaws. C.—Serious Family ; Madelaine. A . — I d . , Aug. 22. C . — M a d e l a i n e ; Irish T u t o r . A . — R o m a n c e and Reality ; Swiss Swains. C.—Hunchback ; Toodles. A . — I d . , Aug. 24. C . — L u c r e t i a Borgia ; Serious Family. A.—Romance and Reality; P . P . Monday: C . — M a r i a di Rohan. A . — S h e W o u l d and she Would Not ; John Dobbs. C . — L o u i s a Miller. Α.—Id., A u g . 28. W . — W h o ' s your Friend ? ; Lover by Proxy. C . — L o v e Chase ; Rob Roy. A . — R u l e a W i f e and Have a W i f e ; T h r e e Shaws. W . — A s Y o u Like I t ; Grandfather Whitehead. C . — I Puritani. A . — P a u l P r y ; Black-Eyed Susan. W.—Clandestine M a r r i a g e ; Ganem. [ 509 ]

THE PHILADELPHIA T H E A T R E SEPTEMBER 1.

2. 4.

5. 6.

7. 8. 9. 11.

12.

13.

14.

15.

Friday : C.—Lucrezia Borgia. A.—Hypocrite; Toodles. W.—London Assurance ; Ganem A.—Satan in Paris; More Blunders than One. W . — L a d y of Lyons ; Ganem. Monday: A . — T h e W i l l ; Irish Ambassador. W . — F a z i o ; Married Rake. C.—Lucia di Lammermoor. Α . — T h e Will ; Toodles. W.—Bertram ; Honey Moon C . — I Puritani. A.—She Would and she Would N o t ; More Blunders than One. W . — T h e W i f e ; Wandering Minstrel. C.—Richard I I I ; T w o Gregories. A . — T h e W i l l ; Presumptive Evidence. W.—Fazio ; Eton Boy. C.—Masaniello. A.—Paul Pry ; Presumptive Evidence. W . — L o v e ; Wandering Minstrel. C.·—Masaniello. A.—Hamlet; Swiss Swains. W.—Love's Sacrifice ; Ganem. C.—Lady of Lyons ; Black-Eyed Susan. Monday: A . — W i l d Oats; Irish Emigrant. W.—Camille. C . — N o advertisement. A.—Speed the Plough; First Night. W.—Camille. C . — L a Sonnambula. C . M . — H e i r at L a w ; Faint Heart never won Fair Lady. A.—Rule a W i f e and Have a W i f e ; Toodles. W.—Camille. C.—Hunchback; Omnibus. C . M . — A s You Like I t ; A Kiss in the Dark. A.—Married L i f e ; Somebody Else. W.—Camille. C.—Lucia di Lammermoor. C . M . — A l l that Glitters is not Gold ; Turning the Tables. A.—Jealous W i f e ; M y Precious Betsy. W.—Camille. [510]

CHRONOLOGICAL R E C O R D S : 1854

16.

18.

ig. 20.

21.

22.

23.

25.

26.

27.

28.

C.—Masaniello. C . M . — S t r a n g e r ; Sketches in India. A . — A p o s t a t e ; W h i t e Horse of the Peppers. W.—Camille. C . — F o r e s t Rose ; Family J a r s . C . M . — T o o d l e s ; W i d o w ' s Victim. Monday: A . — R o a d to Ruin ; Somebody Else. W.—Camille. C . — L u c i a di L a m m e r m o o r ; Last night of the opera company. C . M . — W i l l o w Copse, A.—Serious F a m i l y ; Black-Eyed Susan. W.—Camille. C . M . — W i l l o w Copse. A.—Apostate ; Born to Good Luck. W.—Camille. C . M . — W i l l o w Copse. C.—Soldier's Daughter ; Weathercock. A . — H y p o c r i t e ; A Roland for an Oliver. W.—Camille. C . M . — H o n e y M o o n ; T u r n i n g the Tables. C.—Spectre Bridegroom; Hermit of the Rock. A.—Serious F a m i l y ; A Roland for an Oliver. W.—Camille. C . M . — D e b u t a n t e ; W i d o w ' s Victim. C . — M y A u n t ; Green Mountain Boy. A . — S t r a n g e r ; Honey Moon. W.—Camille. C . M . — R o b b e r ' s W i f e ; Black-Eyed Susan. C . — T r u e Love never did R u n Smooth ; Lottery Ticket. Monday: A.—Serious F a m i l y ; Irish Emigrant. W . — L a d y of Lyons ; Ganem. C . M . — D r u n k a r d ; A n Object of Interest. C . — Y a n k e e Land ; W i f e for a D a y . A.—Serious Family ; Paul P r y . W . — S t . M a r c * : St. Marc—E. L . Davenport, Dianora—Mrs. Duffield ; Ladies at Home. C . M . — D r u n k a r d ; Faint Heart never won Fair Lady. C . — R o s i n a M e a d o w s ; Deaf as a Post. A . — S e r i o u s F a m i l y ; Irish Emigrant. W . — I d . , Sept. 26. C . M . — D r u n k a r d ; Crimson Crimes. C . — R o s i n a M e a d o w s ; Yankee Footman. Α.—Id., Sept. 26. W . — S t . M a r c ; Wandering Minstrel. [511 ]

THE PHILADELPHIA THEATRE

29.

30.

C.M.—Midnight Watch; Dumb Belle. C.—Yankee in England ; Loan of a Lover. A.—Nationalities; Irish Ambassador. W.—St. M a r c ; Eton Boy. C.M.—Midnight Watch; Perfection. C.—Damon and Pythias; Stage-Struck Yankee. A.—Serious Family ; Presumptive Evidence. W.—St. Marc; Going to the Races. C.M.—Toodles ; Black-Eyed Susan. C.—Rosina Meadows ; Rough Diamond. OCTOBER

2.

3.

4.

5.

6.

7.

9.

10.

Monday: A.—Serious Family; Toodles. W.—St. Marc ; Ladies at Home. C.M.—Drunkard ; House Dog. C.—Love's Sacrifice; Charles II. A.—Stranger ; Born to Good Luck. W . — I d . , Oct. 2. C.M.—Drunkard ; Virginia Mummy. C.—Romeo and Juliet ; Dumb Belle. A.—Belle's Stratagem; Love, Law, and Physic. W.—Othello ; T o Paris and Back for Five Pounds. C.M.—Drunkard; An Object of Interest. C.—Lady of Lyons ; Bamboozling. A.—Serious Family; Love, Law, and Physic. W.—Hamlet; Wandering Minstrel. C.M.—Stranger; Midnight Watch. C.—Fazio; Limerick Boy. A.—Laugh when you Can; Rory O'More. W . — T h e W i f e ; Black-Eyed Susan. C.M.—Cricket on the Hearth ; Soldier's Return. C . — T h e Wife ; Jack Sheppard. A.—Hamlet; Irish Tutor. W.—Brutus; Black-Eyed Susan. C.M.—Cricket on the Hearth; Turning the Tables. C.—Wandering Boys; Jack Sheppard. Monday: A.—Comedy of Errors; Rory O'More. W.—Damon and Pythias ; New Footman. C.M.—Cricket on the Hearth; Naval Engagements. C.—First Night; Toodles. A.—Comedy of Errors; Satan in Paris. W.—Pizarro; Ladies at Home. C.M.—Midnight Watch; Virginia Mummy. [512]

CHRONOLOGICAL RECORDS:

11.

12.

13.

14.

16.

17.

18.

19.

20.

21.

23.

1854

C . — J a c k Sheppard ; John Jones. A.—Comedy of E r r o r s ; Black-Eyed Susan. W.—Richelieu; Going to the Races. C . M . — N a v a l Engagements; Honey Moon. C . — J a c k Sheppard ; Good for Nothing. A . — M o n e y ; White Horse of the Peppers. W . — H a m l e t ; Married Rake. C . M . — H e i r at L a w ; Perfection. C.—French Spy ; First Night. A.—Jealous W i f e ; Born to Good Luck. W . — M a c b e t h ; Double-Bedded Room. C . M . — L a d y of Lyons; Crimson Crimes. C . — M o d e l of a W i f e ; New Y o r k as it Is. A.—Comedy of Errors; Cure for the Heart Ache. W . — D a m o n and Pythias ; A Roland for an Oliver. C.M.—Eustache, the Condemned ; Toodles. C.—French Spy; Jack Sheppard. Monday: A.—Comedy of Errors ; Serious Family. W . — O t h e l l o ; Ladies, Beware. C.M.—Eustache, the Condemned ; A n Object of Interest. C.—Lucrctia Borgia; Stranger. A . — C u r e for the Heart Ache; Good for Nothing. W . — J a c k Cade ; Valet de Sham. C.M.—Eustache, the Condemned; Virginia Mummy. C . — T h e Gamester ; Love Chase. A . — I d . , Oct. 16. W.—Richelieu ; T w o Buzzards. C.M.—Eustache, the Condemned; As like as T w o Peas. C . — J a n e Shore; Lucretia Borgia. A . — I d . , Oct. 16. W . — H a m l e t ; Box and Cox Married and Settled. C . M . — I d . , Oct. 18. C . — I n g o m a r ; Simpson and Co. A . — I d . , Oct. 16. W.—Virginius ; T o Paris and Back. C.M.—Eustache, the Condemned ; Midnight Watch. C . — J a n e Shore ; Stranger. A.—Hypocrite; Laugh when you Can. W . — J a c k Cade ; Domestic Economy. C.M.—Eustache, the Condemned ; Cricket on the Hearth. C.—Bride of Lammermoor; Daughter of the Regiment. Monday: A.—London Assurance. W . — G l a d i a t o r ; Ladies at Home. C.M.—Eustache, the Condemned; Friend Waggles. [513]

THE PHILADELPHIA THEATRE 24.

25.

26.

27.

28.

30.

31.

C.—Griselda; Deaf as a Post. A.—Id., Oct. 23. W.—King Lear; Going to the Races. C . M . — N o advertisement. C.—Griselda; Lawyer's Clerk. A.—Id., Oct. 23. W.—Metamora; A Roland for an Oliver. C . M .—Id., Oct. 23. C.—Griselda; the Recusant*: Madelaine—Mrs. Farren, Major IVentworth—Stuart, Tom—W. F. Johnson. A.—Id., Oct. 23. W.—Gladiator ; Wandering Minstrel. C.M.—Eustache, the Condemned; Budget of Blunders. C.—Id., Oct. 25. A.—Id., Oct. 23. W.—Jack Cade; Delicate Ground. C . M . — I d . , Oct. 26. C.—Griselda; Wrecker's Daughter. Α.—Id., Oct. 23. W.—Richard I I I ; T w o Buzzards. C.M.—Eustache, the Condemned; Death Struggle. C.—Venetian; Sergeant's Wife. Monday: Α.—Id., Oct. 23. W . — L a Sonnambula; Valet de Sham. C.—Griselda; Lucretia Borgia. C.M.—Rob Roy; From Village to Court. A.—Id., Oct. 23. W . — L a Sonnambula; Box and Cox Married and Settled. C.M.—Paul Pry; From Village to Court. C.—Venetian ; Rights of Women. NOVEMBER

1.

2.

3·

Wednesday: Α.—Id., Oct. 23. W.—Bohemian Girl ; Domestic Economy. C.M.—From Village to Court; Friend Waggles; Budget of Blunders. C.—Venetian ; Phenomenon in a Smock Frock. A.—Id., Oct. 23. W.—Bohemian Girl; T o Paris and Back. C.M.—Simpson and Co.; Dumb Belle. C.—Wrecker's Daughter ; Bride of Lammermoor. A.—Id., Oct. 23. W.—Maritana; Married Rake. [514]

CHRONOLOGICAL R E C O R D S :

4.

6.

7.

8.

9.

10.

11.

13.

14.

15.

1854

C . M . — A D a y after the W e d d i n g ; A Day in Paris. C . — A d e l g i t h a ; Rights of Women. A . — L o n d o n Assurance ; P . P . W . — M a r i t a n a ; Pleasant Neighbors. C . M . — A n Object of Interest; Our G a l . C . — I r i s h Sibyl and the Rebel C h i e f * : Marc Tape—W. F. Johnson, Nora—Mrs. F a r r e n ; A l l that Glitters is not Gold. Monday: A . — L o n d o n Assurance; Toodles. W . — C r o w n Diamonds; Ladies at Home. C . M . — R o b R o y ; F r o m Village to Court. C . — L i v e Indian ; Toodles. A . — L o n d o n Assurance; Good for Nothing. W . — C r o w n Diamonds ; Double-Bedded Room. C . M . — E u s t a c h e , the Condemned; Toodles. C . — L i v e Indian ; Poor Gentleman. A . — L o n d o n Assurance; Bobtail and Wagtail. W . — C r o w n Diamonds ; Delicate Ground. C . M . — P a u l P r y ; Black-Eyed Susan. C . — F o r t y W i n k s ; Faint Heart never won Fair Lady A . — L o n d o n Assurance ; T h r e e Shaws. W . — C r o w n Diamonds ; Eton Boy. C . M . — C r i c k e t on the H e a r t h ; A n Object of Interest. C.—Sketches in I n d i a ; A Glance at Philadelphia. A.·—London Assurance; T w o Great Rascals. W . — C r o w n Diamonds; T u r n i n g the Tables. C . M . — H e i r at L a w ; W i d o w ' s Victim. C . — B e t s y B a k e r ; A Glance at Philadelphia. A.—Id., Nov. 10. W . — C r o w n Diamonds; N e w Footman. C . M . — W i l l i a m T e l l ; Y o u r L i f e ' s in Danger. C . — L i v e Indian ; A Glance at Philadelphia. Monday: A . — C o m e d y of Errors ; Serious Family. W . — M a r i t a n a ; Obstinate Family. C . M . — A Story of the H e a r t ; Y o u r L i f e ' s in Danger. C.—Soldier's D a u g h t e r ; J a c k Sheppard. A . — S p e e d the P l o u g h ; Irish Emigrant. W . — F r a D i a v o l o ; Boots at the Swan. C . M . — S w e e t h e a r t s and W i v e s ; Faint Heart never won Fair Lady. C.—Id., Nov. 13. A . — P r o v o k e d H u s b a n d ; Ben Bolt. W . — B e g g a r ' s O p e r a ; M a r r i e d Rake. C . M . — C o i n e r ' s W i f e ; A s like as T w o Peas. [515]

THE PHILADELPHIA T H E A T R E 16.

17.

18.

20.

21.

22.

23.

24.

25.

27.

28.

C.—Stranger; Jack Sheppard. A.—Cure for the Heart Ache; A Roland for an Oliver. W . — F r a Diavolo; T o Paris and Back for Five Pounds. C.M.—William T e l l ; Irish Tutor. C.—Rookwood ; Limerick Boy. A.—Comedy of Errors; Serious Family. W . — C r o w n Diamonds; Rifle Brigade. C . M . — A Story of the Heart; A Moving Tale. C.—Rookwood ; Rough Diamond. A.—Provoked Husband; Black-Eyed Susan. W.—Beggar's Opera; Boots at the Swan. C.M.—Robbers; A Moving Tale. C.—Rookwood ; Jack Sheppard. Monday: A.—Jealous W i f e ; Ben Bolt. W.—Delicate Ground; M illy. C.M.—Robbers; Sketches in India. C.—Lonely Man of the Ocean ; Swiss Swains. A.—Stranger; Irish Ambassador. W.—Double-Bedded Room ; Young Actress. C.M.—Robbers; Irish Tutor. C.—Lonely Man of the Ocean ; M r . and Mrs. White. Α.—Othello; Ben Bolt. W . — T w o Buzzards; M illy. C . M . — T h i r t y Years of a Gambler's L i f e ; Poor Pillicoddy. C.—Id., Nov. 2 1 . A.—Serious Family; Ben Bolt. W.—Wandering Minstrel; T h e Devil's in it. C . M . — T h i r t y Years of a Gambler's L i f e ; T h e Devil's in it. C.—Idiot Witness; Lonely Man of the Ocean. Α.—John Bull ; Good for Nothing. W.—Andy Blake; Fairy Star. C.M.—Wonderful Woman; Golden Farmer. C.—Lonely Man of the Ocean; Jack Sheppard. Α.—Othello; Ben Bolt. W.—Eton Boy; Young Actress. C . M . — T h i r t y Years of a Gambler's L i f e ; Black-Eyed Susan. C.—Drunkard ; Lonely Man of the Ocean. Monday: A.—Provoked Husband; Irish Emigrant. W.—Ladies, Beware; Apollo in New York. C.M.—Hunchback; Heads or Tails. C.—Uncle Tom's Cabin. A.—Road to Ruin; Ben Bolt. W.—Married Rake; Apollo in New York. C . M . — T h e W i f e ; Sketches in India. [516]

CHRONOLOGICAL R E C O R D S : 1854 29.

30.

C . — I d . , N o v . 27. A . — S i n g l e L i f e ; Married Life. W . — L a d i e s at H o m e ; Apollo in N e w Y o r k . C . M . — L o v e ' s Sacrifice; Heads or T a i l s . C . — I d . , N o v . 27. A . — P r o v o k e d Husband ; Toodles. W . — O b s t i n a t e Family ; Apollo in N e w Y o r k . C . M . — L a d y of L y o n s ; Poor Pillicoddy. C . — M o m e n t o u s Question ; Warlock of the Glen. DECEMBER

1.

2.

4.

5.

6.

7.

8. 9. II.

Friday : A . — P o i n t of H o n o r ; Honey Moon. W . — U s e d U p ; Apollo in N e w Y o r k . C . M . — R o m e o and J u l i e t ; Laughing Hyena. C . — H o n e y M o o n ; T h r e e Shaws. A . — S i n g l e L i f e ; Married L i f e . W . — A M o r n i n g C a l l ; Y o u n g Actress. C . M . — B o x and C o x ; Robber's W i f e . C . — U n c l e T o m ' s Cabin. Monday: A . — M u c h A d o about Nothing; Ben Bolt. W . — A p o l l o in N e w York ; Y o u n g Actress. C . M . — H u n c h b a c k ; Laughing Hyena. C . — P e t of the Petticoats; A n Object of Interest. A . — N a t i o n a l i t i e s ; A Day W e l l Spent. W . — A p o l l o in N e w Y o r k ; Bob Nettles. C . M . — M o n e y ; A s like as T w o Peas. C . — M o m e n t o u s Question ; M i d d y Ashore. A . — N a v a l Engagements; Grandfather Whitehead. W . — U s e d U p ; Y o u n g Actress. C . M . — S h e Stoops to Conquer; Y o u r L i f e ' s in Danger. C . — N o advertisement. A . — C o m e d y of E r r o r s ; Serious Family. W . — A n d y B l a k e ; Bob Nettles. C . M . — S t r a n g e r ; Honey Moon. C . — N o advertisement. A . — M o n e y ; M o r e Blunders than One. W . — L o n d o n Assurance; Bob Nettles. C . M . — L u c r e t i a B o r g i a ; Loan of a Lover. A . — R o m e o and J u l i e t ; A Day W e l l Spent. W . — I d . , Dec. 8. C . M . — L u c r e t i a B o r g i a ; Paul Pry. Monday: A . — S i n g l e L i f e ; Married L i f e . [517]

THE PHILADELPHIA THEATRE

12.

13.

14.

15.

16.

18.

19.

20.

21.

22.

23.

W.—Camille. C . M . — F a z i o ; F r o m V i l l a g e to Court. A . — W i l d O a t s ; Irish Emigrant. W.—Camille. C . M . — S h e Stoops to C o n q u e r ; Faint Heart never won F a i r Lady. A . — R u l e a W i f e and H a v e a W i f e ; Black-Eyed Susan. W.—Camille. C . M . — F a s h i o n ; A s L i k e as T w o Peas. C . — G r a n d f a t h e r W h i t e h e a d ; Richard I I I ; Family J a r s . A . — H y p o c r i t e ; A Roland for an Oliver. W.—Camille. C . M . — F a s h i o n ; Poor Pillicoddy. C. —Family Jars. Α.—Wild Oats; P.P. W . — M a s k s and Faces ; A l l that Glitters is not G o l d . C . M . — F a s h i o n ; W i d o w ' s Victim. C . — I d . , Dec. 1 4 . A . — G a m e s t e r ; A D r e a m at Sea. W . — M a s k s and Faces; Black-Eyed Susan. C . M . — F a s h i o n ; Robert Macaire. C . — I d . , Dec. 1 4 . Monday: A.—Single L i f e ; Married Life. W . — L o v e ; B o x and C o x M a r r i e d and Settled. C . M . — F a s h i o n ; Y o u r L i f e ' s in Danger. C . — M r . and M r s . White. A . — S c h o o l for Scandal; M o r e Blunders than One. W . — C a m i l l e ; T o Paris and Back. C . M .—Id., Dec. 16. C . — I d . , Dec. 18. A . — B e l l e ' s S t r a t a g e m ; Born to G o o d Luck. W . — A d r i e n n e , the Actress; Double-Bedded Room C . M . — L a s t M a n ; Therese. C . — N o legitimate drama. A . — C o m e d y of E r r o r s ; Serious Family. W . — M a s k s and Faces; A Storm in a T e a - C u p . C . M . — E u s t a c h e ; O u r Country Cousin. C . — N o advertisement. A . — H y p o c r i t e ; Sketches in India. W . — R o m a n F a t h e r ; Ladies' Battle. C . M . - — R o b b e r s ; O u r Country Cousin. A . — F o r t u n i o and his Seven G i f t e d Servants; N a v a l Engagements. W . — I n g o m a r ; A s like as T w o Peas. C . M . — M a j o r Jones' Courtship ; Therese. [518]

CHRONOLOGICAL R E C O R D S : 1855 25.

26. 27.

28. 29. 30.

Monday: A . — F o r t u n i o ; Laugh while you Can. W . — H u n c h b a c k ; Eton Boy. C . M . — F o r t y Thieves; M a j o r Jones' Courtship. A . — F o r t u n i o ; Day after the Wedding. W . — L o v e ' s Sacrifice; House Dog. C . M .—Id., Dec. 25. A . — I d . , Dec. 23. \ V . — I d . , Dec. 23. C . M .—Id., Dec. 25. A . — F o r t u n i o ; Dumb Belle. W . — S c h o o l for Scandal ; Morning Call. C . M . — I d . , Dec. 25. A . — F o r t u n i o ; Perfection. W . — G a m e s t e r ; Lend M e Five Shillings. C . M . — I d . , Dec. 25. A . — F o r t u n i o ; Married Rake. W . — S t r a n g e r ; Honey Moon. C . M . — I d . , Dec. 25. JANUARY

1.

2.

3. 4. 5. 6. 8.

9.

1855

Monday: A . — F o r t u n i o ; Laugh when you Can. W . — L a d i e s ' Battle; Paul Pry. C . M . — F o r t y Thieves; M a j o r Jones' Courtship. A . — F o r t u n i o ; Faint Heart never won Fair Lady. W . — I Puritani. C . M . — I d . , J a n . 1. A . — F o r t u n i o ; Naval Engagements. W . — R i v a l s ; Poor Soldier. C . M . — I d . , Jan. 11. A.—Fortunio; P.P. W . — L u c r e z i a Borgia. C . M . — I d . , J a n . 1. A . — I d . , J a n . 2. W . — L u c r e z i a Borgia. C . M .—Id., J a n . 1. A . — F o r t u n i o ; William T e l l . W.—Norma. C . M . — L a s t M a n ; Forty Thieves. Monday: A . — F o r t u n i o ; School for T i g e r s . W . — M i d s u m m e r Night's D r e a m ; A Pleasant Neighbor. C . M . — V a m p i r e ; Paul Pry. A . — S a t a n in Paris; School for Tigers. [519]

T H E PHILADELPHIA T H E A T R E

10. 11. 12. 13. 15.

16.

17.

18.

19.

20.

22.

23.

W . — I d . , J a n . 8. C . M . — F o r t y Thieves; Vampire. A.—She Stoops to Conquer; School for Tigers. W.—Midsummer Night's Dream. C.M.—Fashion ; Vampire. Α . — W i l d Oats; Toodles. W . — I d . , J a n . io. C.M.—Virginia Mummy; Vampire. A.—Soldier's Daughter; A Roland for an Oliver. W . — I d . , J a n . io. C . M . — H i s Last Legs; Vampire. A.—Fortunio; Honey Moon. W . — I d . , Jan. 10. C . M . — R o b R o y ; Vampire. Monday: A.—Fortunio; William Tell. W . — I d . , Jan. 10. C . M . — M a d e l a i n e ; His Last Legs. C.—London Assurance ; Cool as a Cucumber. A.—Fortunio; Honey Moon. W . — I d . , Jan. 10. C . M . — M a d e l a i n e ; Faint Heart never won Fair Lady. C . — I d . , J a n . 15. A.—Comedy of Errors ; Fortunio. W . — I d . , Jan. 10. C . M . — S t r a n g e r ; Honey Moon. C.—Foundling of Paris; Loan of a Lover. A.—Serious Family; Fortunio. W . — I d . , J a n . 10. C . M . — J a n e Shore; Paddy Miles' Boy. C . — P e t of the Petticoats; Foundling of Paris. A.—Comedy of Errors; Fortunio. W . — I d . , Jan. 10. C.M.—Lucretia Borgia; Major Jones' Courtship. C.—David Copperfield ; Michael Erie. A . — I d . , J a n . 18. W . — I d . , J a n . 10. C . M . — J a n e Shore; Robert Macaire. C.—Hunchback; Rough Diamond. Monday: A.—Single L i f e ; Fortunio. W . — I d . , Jan. 10. C . M . — D o u g l a s ; Black-Eyed Susan. C.—Corsican Brothers ; Lost Son. A . — I d . , J a n . 19. [520 ]

CHRONOLOGICAL RECORDS: 1855

24.

25.

26.

27.

29.

30.

31.

W . — I d . , Jan. 10. C.M.—Lucretia Borgia; Youthful Days of Richelieu. C.—Corsican Brothers; Robber's Wife. A.—Apostate; Irish Emigrant. W . — I d . , Jan. 10. C . M . — J a n e Shore; Robert Macaire. C . — L a d y of Lyons; Michael Erie. A . — W i l d Oats; Toodles. W . — I d . , Jan. 10. C . M . — S h e Stoops to Conquer; Wandering Boys of Switzerland. C.—Romeo and Juliet ; Slasher and Crasher. A.—Cure for the Heart Ache; White Horse of the Peppers. W . — I d . , Jan. 10. C . M . — P o o r Gentleman; Madelaine. C.—Cricket on the Hearth ; Corsican Brothers. A.—Othello; Irish Tutor. W . — I d . , Jan. 10. C.M.—Romeo and Juliet; Toodles. C.—Satan in Paris; David Copperfield. Monday: A.—Child of Nature; Fortunio. W . — I J . , Jan. 10. C.M.—Carpenter of Rouen; Poor Pillicoddy. C.—Love and Larnin' ; Pride of Killarney. A . — O l d Heads and Young Hearts; Irish Emigrant. W . — I d . , Jan. 10. C . M . — I d . , Jan. 29. C . — A W i f e for a Day ; Love and Larnin'. A . — M o n e y ; More Blunders than One. W.—Id., Jan. 10. C . M . — I d . , Jan. 29. C.—Backwoodsman ; W i f e for a Day.

FEBRUARY 1.

2.

Thursday : A.—Comedy of Errors; Serious Family. W . — I d . , Jan. 10. C.M.—Hunchback; Our Country Cousin. C.—North and South ; Backwoodsman. A.—Apostate; Irish Emigrant. W . — I d . , Jan. 10. C.M.—School for Scandal; T w o Drovers. C.—Sam Patch ; North and South. [521 ]

THE PHILADELPHIA THEATRE 3.

5.

6.

7.

8.

9.

10.

12.

13.

14.

15-

A.—Ion; Irish Dragoon. W . — I d . , J a n . 10. C.M.—Carpenter of Rouen; Wandering Boys of Switzerland. C.—Yankee in T i m e ; Beacon of Death. Monday: A.—As You Like I t ; Irish Dragoon. W . — I d . , J a n . 10. C . M . — M a r i e ; Wandering Boys of Switzerland. C.—Fashion and Famine; W h i t e or Brown. A . — M o n e y ; Ben Bolt. W.—Id., J a n . 10. C.M.—Rob Roy; Perfection. C.—Fashion and Famine; Bamboozling. A.—Wives as they W e r e ; Good for Nothing. W . — I d . , J a n . 10. C . M . — M a r i e ; Möns. Jaques. C.—Fashion and Famine ; Naval Engagements. Α.—Cure for the Heart Ache; Married Life. W.—Id., J a n . 10. C . M . — S t r a n g e r ; Honey Moon. C.—Fashion and Famine; Presumptive Evidence. A.—Hypocrite; W i l l i a m T e l l . W . — I d . , Jan. 10. C . M . — V i r g i n i u s ; Spectre Bridegroom. C.—Lady's Stratagem; Fashion and Famine. A.—As You Like I t ; Luke the Laborer. W . — I d . , J a n . 10. C.M.—Honey Moon; Marie. C.—Jack Sheppard ; Presumptive Evidence. Monday: A.·—Ion ; Luke, the Laborer. W . — I d . , J a n . 10. C . M . — U n c l e Tom's Cabin. C.—Hamlet; Lady's Stratagem. A.—She Stoops to Conquer; Irish Emigrant. W . — O l i v e r Twist ; Eton Boy. C . M . — I d . , Feb. 12. C.—Richelieu ; T o Oblige Benson. A.—She Would and she Would Not; Good for Nothing. W . — W i l l o w Copse; T w o can Play at T h a t Game. CM.—Id., Feb. 12. C . — W i l l o w Copse ; T o Oblige Benson. Α.—Heir at L a w ; W h i t e Horse of the Peppers. W . — S t . George and the Dragon; Oliver T w i s t . CM.—Id., Feb. 12. C.—King L e a r ; Good for Nothing. [ 522 ]

CHRONOLOGICAL R E C O R D S : 18S5 16.

17.

19.

20.

21.

22.

23.

24.

26.

27.

28.

A . — A p o s t a t e ; Irish T u t o r . W . — W i l l o w Copse; House Dog. C . M . — I d . , Feb. 12. C . — W i l l o w Copse; Louis X I . A.—Hunchback ; Toodles. W . — S i x Degrees of C r i m e ; Lady of the Lake. C.M.—Id., Feb. 12. C . — L o u i s X I ; A l l that Glitters is not Gold. Monday: A.—Jealous W i f e ; Black-Eyed Susan. W . — F r a D i a v o l o ; Box and Cox Married and Settled. C . M .—Id., Feb. 12. C . — L u c r e t i a Borgia ; Y o u n g Scamp. A . — T h e W i f e ; Irish Ambassador. W . — C r o w n Diamonds ; Double-Bedded Room. C . M .—Id., Feb. 12. C . — I d . , Feb. 19. A . — S t r a n g e r ; Ben Bolt. W . — B o h e m i a n G i r l ; T w o Buzzards. C . M . — I d . , Feb. 12. C . — J a c k Sheppard ; Philadelphia Fireman. A . — H y p o c r i t e ; Luke, the Laborer. W . — B e g g a r ' s Opera; Domestic Economy. CM.—Id., Feb. 12. C . — U n c l e T o m ' s Cabin. Α . — W i l l i a m T e l l ; Rory O ' M o r e . W . — C r o w n Diamonds; Eton Boy. C . M . — I d . , Feb. 12. C . — I d . , Feb. 22. A . — C a s t l e Spectre; P . P . W . — G u y M a n n e r i n g ; T o Paris and Back. C . M . — I d . , Feb. 12. C . — I d . , Feb. 22. Monday: A . — C a s t l e Spectre; M o r e Blunders than One. W.—Cinderella. C . M .—Id., Feb. 12. C . — I d . , Feb. 22. A . — C o m e d y of E r r o r s ; Serious Family. W . — I d . , Feb. 26. C . M . — I d . , Feb. 12. C . — I d . , Feb. 22. A.—School for Scandal ; Thumping Legacy. W.—Id., Feb. 26. C . M .—Id., Feb. 1 2 . C . — I d . , Feb. 22. [ 523 ]

T H E PHILADELPHIA T H E A T R E MARCH 1.

2.

3.

5.

6.

7·

8.

9.

10.

12.

13.

Thursday : Α . — W i l d O a t s ; Rory O ' M o r e . W . — I d . , Feb. 26. CM.—Id., Feb. 12. C . — I d . , Feb. 22. A.—Stranger ; Serious Family. W . — I d . , Feb. 26. CM.—Id., Feb. 12. C . — I d . , Feb. 22. A . — C a s t l e Spectre; Ben Bolt. W.—Id., Feb. 26. C . M . — F a s h i o n and Famine; Laughing Hyena. C . — I d . , Feb. 22. Monday: A . — L a d y of Lyons; Irish Ambassador. W.—Id., Feb. 26. C . M . — F a s h i o n and Famine; Maid of Munster. C . — I d . , Feb. 22. A . — H a m l e t ; Irish T u t o r . W.—Id., Feb. 26. C . M . — F a s h i o n and Famine; Möns. Jacques. C . — I d . , Feb. 22. A . — J a n e Shore; O'Flannigan and the Fairies. W . — C i n d e r e l l a ; Obstinate Family. C . M . — F a s h i o n and Famine; Poor Pillicoddy. C . — I d . , Feb. 22. A . — I d . , M a r . 7. W . — C i n d e r e l l a ; Maritana, second act. C . M . — F a s h i o n and Famine ; Spectre Bridegroom. C . — I d . , Feb. 22. A . — R i v a l s ; Luke, the Laborer. W . — C i n d e r e l l a ; Waterman. CM.—Id., M a r . 6. C . — I d . , Feb. 22. A . — I d . , M a r . 7. W.—Id., M a r . 9. C . M . — L i t t l e K a t y ; O u r Country Cousin. C . — I d . , Feb. 22. Monday: A . — P i z a r r o ; O'Flannigan and the Fairies. W . — S t . M a r c ; Box and Cox. C . M . — L i t t l e K a t y ; Paddy Miles' Boy. C . — I d . , Feb. 22. A . — I d . , M a r . 12. [524 ]

CHRONOLOGICAL RECORDS: 1855

14.

15.

16.

17.

19.

20.

21.

22.

23.

24.

W . — O t h e l l o ; Married Rake. C . M . — L i t t l e K a t y ; Toodles. C . — I d . , Feb. 22. A . — I d . , M a r . 12. W . — E g y p t i a n * : Zabdas—E. L . Davenport, Zenobia—Mrs. Muzzy, Julia—Mrs. Duffield ; Obstinate Family. C . M . — L i t t l e K a t y ; Our Country Cousin. C . — I d . , Feb. 22. A . — P i z a r r o ; More Blunders than One. W.—Egyptian ; T w o Buzzards. C . M . — L a m p - L i g h t e r ; Four Sisters. C.'—Id., Feb. 22. A . — I d . , M a r . 15. W.—Egyptian ; Valet de Sham. C . M .—Id., M a r . 15. C . — I d . , Feb. 22. A . — P i z a r r o ; Laugh when you Can. W.—Egyptian ; Domestic Economy. C.M.—Fashion and Famine; Lamp-Lighter. C . — I d . , Feb. 22. Monday: A.—Castle Spectre; Irish Lion. W . — L o v e ' s Sacrifice; Caught in a T r a p . C . M . — D o u g l a s ; Virginia Mummy. C.—Pilgrim's Progress. A.—Comedy of Errors; Serious Family. W . — M u c h Ado about Nothing; Delicate Ground. C . M . — R i v a l s ; Faint Heart never won Fair Lady. C . — I d . , M a r . 19. A.—Hypocrite; Pizarro. W.—Hunchback; Going to the Races. C . M . — M a d e l a i n e ; Paul Pry. C . — I d . , M a r . 19. A.—Stranger; Honey Moon. W . — L o v e Chase ; Double-Bedded Room. C.M.—Midshipman Easy; From Village to Court. C . — I d . , M a r . 19. A.—Comedy of Errors; Serious Family. W.—Charity's Love * : Captain—E. L . Davenport, Charity— Miss Fanny Vinny; Black-Eyed Susan. C . M . — L u c r e t i a Borgia; Simpson and Co. C . — I d . , M a r . 19. A.—Hypocrite; Castle Spectre. W.—Charity's Love; Honey Moon. C . M . — J a n e Shore; Midshipman Easy. C . — I d . , M a r . 19. 1 525 ]

THE PHILADELPHIA THEATRE 26.

27.

28.

29.

30. 31·

Monday: A.—Night and Morning; Thumping Legacy. W.—As You Like I t ; T o Oblige Benson. C.M.—Wild Oats; As like as T w o Peas. C.—Id., M a r . 19. A.—Night and Morning; Irish Tutor. W.—Hamlet ; Wandering Minstrel. C.M.—Lady of Lyons; Paddy Miles' Boy. C.—Id., M a r . 19. Α.—Id., Mar. 27. W.—Love's Sacrifice ; T o Oblige Benson. C.M.—Hamlet ; Spectre Bridegroom. C.—No advertisement. Α.—Id., Mar. 26. W.—Othello; Obstinate Family. C.M.—Money; Möns. Jacques. C.—No advertisement. Α.—Id., Mar. 26. W.—Romeo and Juliet; He's not Α-Miss. C.M.—Stranger; My Aunt. A.—Night and Morning; Wandering Minstrel. W.—Stranger ; Charity's Love. C.M.—Richelieu; Midshipman Easy. APRIL

2.

3. 4. 5·

6.

7·

Monday: A.—Id., Mar. 31. W.—Love and Loyalty ; As like as T w o Peas. C . M . — H a m l e t ; Sketches in India. A.—Night and Morning; Irish Lion. W.—Love and Loyalty; T o Oblige Benson. C.M.—Town and Country ; Four Sisters. A.—Night and Morning; Irish Lion. W.—Love and Loyalty ; T w o can Play at T h a t Game. C.M.—Gamester; From Village to Court. A.—Id., M a r . 31. W . — H a m l e t ; Wandering Minstrel. C.M.—Stranger; Honey Moon. C.—Persecuted Dutchman; Vermont Wool Dealer. A.—Comedy of Errors ; Serious Family. W.—Love and Loyalty; Faint Heart never won Fair Lady. C.M.—Elder Brother; Dramatist. C.—Dutchman in Love; Foulah Slave. A.—Night and Morning; O'Flannigan and the Fairies. W.—Macbeth ; Dav after the Wedding! [ 526 ]

CHRONOLOGICAL RECORDS: 18SS

g.

10.

11.

12.

13.

14.

16.

17.

18.

19·

20.

C.M.—Robbers; Sketches in India. C.—Macbeth ; Dutch Actor, Monday : A . — M o n e y ; O'Flannigan and the Fairies. W . — L a d y of Lyons ; Opposite Neighbors. C . M . — E l d e r Brother; Dramatist. C.—Lady of Lyons ; Dutchman in Love. A.—Poor Gentleman; Toodles. W . — P i z a r r o ; Love Chase. C.M.—Macbeth ; Laughing Hyena. C.·—Wallace ; Soldier's Daughter. A.—Night and Morning; Irish Lion. W . — B r u t u s ; Day after the Wedding. C.M.—Romeo and Juliet; From Village to Court. C . — T o u r de Nesle; Dutchman in Court. A.—Comedy of Errors; Serious Family. W . — H a m l e t ; Obstinate Family. C . M . — M o n e y ; Dramatist. C.—Blind Orphan; Dutch Richard. A.—Rivals; Gilderoy. W.—Calaynos ; Morning Call. C . M . — W i n e Works Wonders; Katharine and Pctruchio. C.—Richelieu; Star-Spangled Banner. A.—Laugh when you Can; Castle Spectre. W.—Richard I I I ; Faint Heart never won Fair Lady. C . M . — M a c b e t h ; M y Country Cousin. C.—Dutchman in Love; Tour de Nesle. Monday: A . — H e i r at L a w ; Gilderoy. W.—Calaynos; St. George and the Dragon. C.—Six Degrees of Crime; Black-Eyed Susan. C.M.—Richelieu; As like as T w o Peas. A.—Comedy of Errors; Serious Family. W.—Richard I I I ; M y Aunt. C . M . — L a d y of Lyons; M y Precious Betsy. C.—Id., Apr. 16. A . — T o w n and Country; Robert Macaire. W.—Othello; T o Oblige Benson. CM.—Id., Apr. 13. C.—Persecuted Dutchman ; Pilot. A.—Speed the Plough; O'Flannigan and the Fairies. W . — N e w Way T o Pay Old Debts; Opposite Neighbors. C.M.—Robbers; As like as T w o Peas. C.—Rosina Meadows ; Long Tom Coffin. A . — I d . , Apr. 18. W.—Hamlet ; Morning Call. [ 527 ]

THE PHILADELPHIA THEATRE

21.

23.

24.

25.

26.

27.

28.

30.

C.M.—Much Ado about Nothing; Weathercock. C.—Ambition ; Crime, and Retribution ; Wallace. A.—Lucretia Borgia; Robert Macaire. W.—Othello; Box and Cox Married and Settled. C.M.—Stranger; Dramatist. C.—Six Degrees of Crime; Dutch Richard. Monday: A.—Town and Country; Irish Emigrant. W.—Midsummer Night's Dream. C.—Housebreaker and the Three Jacks; Dutch Actor. C . M . — T h e W i f e ; Möns. Jacques. A.—Id., Apr. 17. W . — I d . , Apr. 23. C.M.—Venice Preserved ; His Last Legs. C.—Robert Emmett; Three Jack Sheppards. A.—Knight of A r v a ; Wreck Ashore. W . — I d . , Apr. 23. C.M.—Wine Works Wonders; Therese. C.—Robert Emmett; M r . and Mrs. White. A.—Poor Gentleman ; Lucretia Borgia. W . — I d . , Apr. 23. C.M.—Rivals; Serious Family. C.—Robert Emmett; Dutchman in Love. A.—Id., Apr. 25. W . — I d . , Apr. 23. C.M.—Ingomar; Midshipman Easy. C.—Robert Emmett; Dutch Actor. A.—Lucretia Borgia; Wreck Ashore. W . — I d . , Apr. 23. C.M.—She Stoops to Conquer; Serious Family. C.—Robert Emmett; Three Jack Sheppards. Monday : A.—Knight of Arva; Black-Eyed Susan. W.—Masks and Faces; Eton Boy. C.M.—Adelgitha; Laughing Hyena. C.—Loan of a Lover; Sixteen-String Jack. MAY

1.

2.

Tuesday : A.—Comedy of Errors; Serious Family. W . — M a n of the World ; T o Oblige Benson. C.M.—Evadne; As like as T w o Peas. C.—No advertisement. A.—Ingomar; P.P. W.—Changes; Opposite Neighbors. [ 528 ]

C H R O N O L O G I C A L R E C O R D S : 1855

3.

4. 5.

7.

8. 9.

10. 11. 12.

14.

15. 16.

17.

18.

C . M . — L u c r e t i a B o r g i a ; M a j o r Jones' Courtship. C . — N o advertisement. A . — I n g o m a r ; O'Flannigan and the Fairies. W . — R o m e o and Juliet ; David Copperfield. C . M . — A d e l g i t h a ; Midshipman Easy. A . — T h e W a y to get M a r r i e d ; Nervous M a n . W . — L o v e ; Valet de Sham. C . M . — W r e c k e r ' s Daughter; Love Chase. A . — H u n c h b a c k ; Irish Emigrant. W . — R o a d to Ruin ; Robert Macaire. C . M . — V e n e t i a n ; Rights of Woman.

Monday:

A . — S t r a n g e r ; Cure for the Heart Ache. W . — H u n c h b a c k ; Going to the Races. C . M . · — J a n e Shore; Lucretia Borgia. A . — C o m e d y of E r r o r s ; Serious Family. W . — F a z i o ; M a s k s and Faces. C . M . — S t r a n g e r ; St. M a r y ' s Eve. A . — T h e W a y to get Married ; Knight of A r v a . W . — L o v e ' s Sacrifice; Robert Macaire.

CM.—Id.,

May 5.

A . — I d . , M a y 4. W . — S t r a n g e r ; Honey Moon. C . M . — W r e c k e r ' s Daughter; St. M a r y ' s Eve. A . — B o l d Stroke for a Husband; Courier of Lyons. W . — E v a d n e ; Toodles. C . M . — G a m e s t e r ; Clari. A . — W i l d O a t s ; Courier of Lyons. W . — A d r i e n n e , the Actress; T o Oblige Benson. C . M . — B r i d e of Lammermoor; Daughter of the Regiment.

Monday:

A . — I d . , M a y 9. W . — L u c r e t i a B o r g i a ; Bob Nettles. C . M . — I n g o m a r ; Lucretia Borgia. A . — C o m e d y of E r r o r s ; Serious Family. W . — I n g o m a r ; Toodles.

CM.—Id.,

May 12.

A . — M a n and W i f e ; Phantom Ship. W . — L o v e ' s Sacrifice ; Wandering Minstrel. C.M.—Stranger; Mary Tudor. A . — I d . , M a y 16. W . — A d r i e n n e , the Actress ; A M o r n i n g Call. C . M . — H u n c h b a c k ; Serious Family. A . — C r i t i c ; A N e w Comedy of E r r o r s * . W . — R o m e o and J u l i e t ; He's not A-Miss. C . M . — J a n e Shore; Honev Moon. '[ 529 ]

T H E PHILADELPHIA T H E A T R E 19.

21.

22.

23.

24.

25.

26.

28.

29.

30.

31.

A . — C r i t i c ; Phantom Ship. W . — L u c r e t i a Borgia; Robert Macaire. C . M . — I s a b e l l a ; Barrack Room. Monday : A . — C r i t i c ; Knight of A r v a . W . — M a s k s and Faces; A l l that Glitters is not Gold. C . M . — R i c h a r d I I I ; A n Object of Interest. A . — C o m e d y of Errors; Serious Family. W . — P e t of the Petticoats; Wandering Minstrel. C . M . — O t h e l l o ; Sketches in India. A . — F a i r American ; A N e w Comedy of Errors. W . — P e t of the Petticoats; Toodles. C . M . — N e w W a y T o Pay O l d Debts; Poor Pillicoddy. A . — F a i r American; Irish Lion. W . — M o n e y ; Eton Boy. C . M . — R i c h e l i e u ; Virginia M u m m y . A . — L u c i l l e ; Sweethearts and Wives. W . — M a s k s and Faces; Pet of the Petticoats. C . M . — H a m l e t ; A Kiss in the Dark. A . — P a u l P r y ; Dumb Girl of Genoa. W . — R o b R o y ; Bob Nettles. CM.—Id., M a y 21. Monday: A . — M a n and W i f e ; Lucille. W . — M a c b e t h ; Married Rake. C . M . — W e r n e r ; Forty Winks. A . — C o m e d y of Errors; Serious Family. W . — R o b b e r s ; M y Aunt. C . M . — M a c b e t h ; A Kiss in the Dark. A . — I d . , M a y 9. W . — S p e e d the Plough; Grist to the M i l l . C . M . — K i n g L e a r ; Forty Winks. A . — C u r e for the Heart A c h e ; Married Life. W . — O t h e l l o ; Perfection. C . M . — N e w W a y T o Pay Old Debts; Laughing Hyena.

JUNE 1.

2.

Friday: A.—Hypocrite; Child of Nature. W . — J a n e Shore; Grist to the M i l l . C . M . — M e r c h a n t of Venice; Iron Chest. A.—Sweethearts and W i v e s ; Dumb G i r l of Genoa. W . — H a m l e t ; Used Up. C . M . — R i c h a r d I I I ; Forty Winks. [ 530 ]

CHRONOLOGICAL R E C O R D S : 1855 4.

5.

6. 7.

8. 9. 11.

12.

13. 14.

15. 16.

18.

19.

20.

Monday: A . — C r i t i c ; Knight of A r v a . W . — T a k e that G i r l away * : Dangle—Shewell, Mrs. Dangle— Miss Bernard ; Knight of A r v a . C . M . — D a m o n and Pythias; T h e Crusaders. A.—Comedy of E r r o r s ; Serious Family. W . — L o n d o n Assurance; Wandering Minstrel. C M . — O t h e l l o ; Charles X I I . A . — M a r r i e d L i f e ; Lucille. W . — S i x Degrees of C r i m e ; T a k e that G i r l away. C . M . — H o n e y M o o n ; Satan in Paris. A . — C o m e d y of E r r o r s ; Serious Family. W . — C e s a r de Bazan ; Robert Macaire. C . M . — R o b R o y ; Paddy Miles' Boy. A . — W a y to get M a r r i e d ; Irish Emigrant. W . — W i l l i a m T e l l ; Married Life. C . M . — H e n r y I V ; Virginia M u m m y . A . — W i l d Oats; Knight of A r v a . W . — R o b R o y ; T a k e that G i r l away. C . M . — V i r g i n i u s ; Weathercock. Monday: A . — A s Y o u Like I t ; Irish Lion. W . — H u n c h b a c k ; T w o Buzzards. C . M . — B o h e m i a n G i r l ; Rough Diamond. A . — C o m e d y of Errors; Serious Family. W . — N o advertisement. C . M . — B o h e m i a n Girl. A . — M o n e y ; Irish T u t o r . C . M .—Id., J u n e | 2 . A . — J o h n B u l l ; Toodles. C . M . — D a u g h t e r of the Regiment; T w o Bonnycastles. W . — R i v a l s ; Robert Macaire. A . — I d . . J u n e 12. C . M . — D a u g h t e r ot the Regiment; Bohemian G i r l , first act. A . — S t r a n g e r ; Castle Spectre. C . M . — D a u g h t e r of the Regiment; Bohemian G i r l , second act. W . — A n d y Blake; Used Up. Monday: A . — C u r e for the Heart Ache; Hypocrite. C . M . — F r a Diavolo; T w o Bonnycastles. W . — M i l l y ; Used Up. A . — I d . , June 12. C.M.—Bohemian Girl. W . — L o v e and M o n e y ; Andy Blake. A . — B u s y Body; Miseries of Human L i f e . C . M . — F r a Diavolo; Rough Diamond. [531]

THE PHILADELPHIA T H E A T R E 21. 22. 23. 25.

26. 27. 28. 29. 30.

W . — L o v e and Money; Used Up. A . — I d . , June 20. C . M . — R o b Roy; Hole in the W a l l . W . — L o v e and Money ; Bob Nettles. A.—Busy Body ; Laugh when you Can. C.M.—Bohemian Girl. W . — L o v e and Money; Invisible Prince. A.—Ingomar; A Roland for an Oliver. C . M . — F r a Diavolo; Love in all Corners. W . — O l d Guard; Invisible Prince. Monday: A . — W a y to get Married; Rory O'More. C . M . — F r a Diavolo; Bohemian G i r l ; second and third acts. W . — B o b Nettles; Invisible Prince. A . — I d . , June 12. C . M . — C h i l d of the Regiment; Hole in the Wall. W . — U s e d Up ; Invisible Prince. A . — M o n e y ; Irish Emigrant. C . M . — C h i l d of the Regiment; Love in all Corners. W . — M i l l y ; Loan of a Lover. A.—Irish Ambassador; Hypocrite. C.M.—Cinderella; T w o Bonnycastles. W.—Swiss Cottage; Betsy Baker. A . — H e i r at L a w ; Irish Lion. C.M.—Daughter of the Regiment; Cinderella, first act. W.—London Assurance; There's Nothing in it. A.—Perfection; Sketches in India. C . M . — W i l d Oats; Love and Charity. W . — Y o u n g Actress; Andy Blake. JULY

2.

3. 4. 5. 6. 7.

Monday: A.—Nationalities ; Who Speaks First ? C.M.—Ireland as it Is; Mischievous Annie. W . — M a i d with the Milking Pail; Old Guard. A.—Comedy of Errors; Serious Family. C.M.—Irish Assurance; Mischievous Annie. W.—Wandering Minstrel ; Young Actress. A.—Nationalities; P.P. Last night of the season. C.M.—Ireland as it Is; Lessons for Husbands. W . — U s e d U p ; Young Actress. C . M . — Y o u n g Actress; Good for Nothing. C.M.—Shandy Maguire; Mischievous Annie. C . M . — N o advertisement. [ 532 ]

CHRONOLOGICAL R E C O R D S : 1855 9.

Monday: W . — A n engagement of the Ravel family in ballet. AUGUST

18. 20. 21. 22. 23. 24. 25. 27. 28. 29. 30. 31.

Saturday: A . — B o l d Stroke for a Husband; Toodles. Moiiday: A . — I n g o m a r ; Lend M e Five Shillings. A . — A n n i e Blake * ; A Roland for an Oliver. A . — I n g o m a r ; Toodles. G . N . — D i e Sieben Maecchen in U n i f o r m ; Humoristische Studieu. A . — A n n i e B l a k e ; T o Parents and Guardians. A . — J e a l o u s W i f e ; Sudden Thoughts. G . N . — T h e Prison. A . — W i l l o w Copse; A Roland for an Oliver. G . N . — T h e Circumnavigator against his W i l l . Monday: A.—Willow Copse ; T o Parents and Guardians. A . — W i l l o w Copse; Lend M e Five Shillings. A . — W i l l o w Copse; Sudden Thoughts. G . N . — C i t y and Country. A . — W i l l o w Copse; Perfection. G . N . — D a s Pfefferroisel. Α.—Annie Blake; P.P. SEPTEMBER

I. 3. 4. 5. 6. 7. 8.

IO.

Saturday: A.—The W i f e ; Peggy Green. Monday: A.—Much A d o about Nothing; Spectre Bridegroom. A . — A l l that Glitters is not Gold ; Laugh when you C a n . A . — H a m l e t ; A Kiss in the Dark. A . — W a y to get Married ; A l l that Glitters is not G o l d . W . — E x t r e m e s ; Lottery Ticket. A . — B r i d a l ; Sudden Thoughts. W.—Sorceress ; Lottery Ticket. A . — B r i d a l ; Spectre Bridegroom. W . — B l i n d M a n ' s Daughter; Sorceress. C . M . — M a r r i e d L i f e ; Wanted, One Thousand Milliners. G . N . — R i c h a r d ' s Wanderings. Monday: A . — B r i d a l ; Peggy Green. W.—Extremes. [ 533 ]

THE PHILADELPHIA T H E A T R E 11. 12. 13. 14.

15. 17.

18. 19. 20.

21. 22.

24.

25. 26.

C.M.—Soldier's Daughter; Swiss Swains. A . — W i l l o w Copse; M y Neighbor's W i f e . W.—Star of the North ; Three Shaws. C.M.—Poor Gentleman; Wanted, One Thousand Milliners. A . — B r i d a l ; M y Neighbor's W i f e . W.—Star of the North ; Lottery Ticket. C.M.—Married L i f e ; Milliners. A . — M o n e y ; Peggy Green. W . — S t a r of the North; Three Shaws. C.M.—Soldier's Daughter; Sketches in India. A.—Anne Blake; T o Parents and Guardians. W . — M a g n o l i a * : Silvertop—Richings, Magnolia-—Miss Richings; M r . and Mrs. White. C . M . — P o o r Gentleman; Lottery Ticket. A.—Ingomar; M y Neighbor's W i f e . W.—Love's Sacrifice ; Debutante. C . M . — D a v i d Copperfield ; Sketches in India. Monday: A.—Belle's Stratagem ; Rough Diamond. W.—Barney, the Baron ; Brian O'Lynn. C . M . — D a v i d Copperfield; How Stout You're Getting. A . — I o n ; A Kiss in the Dark. W.—Irish Assurance; Our Gal. C . M . — I d . , Sept. 17. A.—Bold Stroke for a Husband; Love in Livery. W.—Patience and Perseverance ; Born to Good Luck. C . M . — H o w Stout You're Getting; Milliners. A.—Ion ; Scan. Mag. W.—Patience and Perseverance ; O'Flannigan and the Fairies. C.M.—Faint Heart never won Fair L a d y ; How Stout You're Getting. A.—Cure for the Heart Ache; Satan in Paris. W.—Irish T u t o r ; Patience and Perseverance. C.M.—Organic Affection ; How Stout You're Getting. Α.—Paul P r y ; William Tell. W.—Shandy Maguire; Patience and Perseverance. C . M . — F a i n t Heart never won Fair L a d y ; A Glance at Philadelphia. Monday: A.—Love's Sacrifice ; Love in Livery. W.—Patience and Perseverance; Brian O'Lynn. C.M.—Toodles; A Glance at Philadelphia. A.—Provoked Husband; Satan in Paris. W . — F a i r y Circle; O'Flannigan and the Fairies. C . M . — F o r t y Winks; A Glance at Philadelphia. A.—Stranger; Honey Moon. [ 534 ]

CHRONOLOGICAL R E C O R D S :

27. 28. 29.

1855

W . — F a i r y Circle; Barney, the Baron. C . M . — T o o d l e s ; A Glance at Philadelphia. A.—Merchant of Venice; Scan. M a g . W . — F a i r y Circle ; Connecticut Courtship. C . M . — P o o r Gentleman; A Glance at Philadelphia. A.—Annie Blake ; All that Glitters is not Gold. W . — F a i r y Circle; Irish Tiger. C . M . — F i r s t Night; A Glance at Philadelphia. A.—Hamlet ; Love in Livery. W . — M u c h Ado about Nothing; Young Widow. CM.—Id., Sept. 28. OCTOBER

1.

2.

3. 4. 5. 6. 8.

9. 10.

Monday: A.—-Bridal ; Scan. Mag. W . — I n g o m a r ; M r . and Mrs. White. C.M.—Serious Family; A Glance at Philadelphia. A.—Still Waters Run D e e p * : Mildmay—Conway, Mrs. Mildmay—Mrs. Conway ; P.P. W.—Hunchback; Three Shaws. C . M . — I d . . Oct. ι. A.—Still Waters Run Deep; A Thumping Legacy. W.—Camille. CM.—Id., Sept. 28. A.—Still Waters Run Deep; Irish Secretary. W.—Camille. C . M . — H e i r at L a w ; A Glance at Philadelphia. A.—Still Waters Run Deep; T o Parents and Guardians. W.—Camille. C . M . — T o o d l e s ; Organic Affection. A.—Still Waters Run Deep; Scan. Mag. W.—Camille. C . M . — P a u l P r y ; A Glance at Philadelphia. Monday : A.—Still Waters Run Deep; M y Neighbor's W i f e . W . — H a m l e t ; M r . and Mrs. White. C . M . — H e i r at L a w ; Serious Family. A . — W i l d Oats; Scan. Mag. W . — R i c h a r d I I I ; Lottery Ticket. C . M . — N o advertisement. A.—Still Waters Run Deep; A Thumping Legacy. W.—Francesca da R i m i n i * : Malatesta—B. Young, Lanciotto — E . L . Davenport, Pepe—Perry, Guido da Ρ elenta— Hield, Francesca—Mrs. ( J . ) Drew, Paolo—A. H. Davenport ; Three Shaws. [ 535 ]

THE PHILADELPHIA T H E A T R E 11. 12. 13. 15.

16. 17. 18. 19. 20. 22.

23. 24. 25. 26.

27.

C . M . — N o advertisement. A.—Still Waters Run Deep; John Dobbs. W.—Francesca da Rimini ; Young Widow. G.N.—Marianna, a Woman of the People. A.—Still Waters Run Deep; Jacobite. W.—Francesca da Rimini ; William Tell. C.M.—Watchman ; Debutante. A . — I d . , Oct. 12. W . — I d . , Oct 12. C.M.—Watchman; A Glance at Philadelphia. Monday: A . — I d . , Oct. 12. W.—Beauty and the Beast; Rough Diamond. C . M . — N o advertisement. Theatre closed one week for redecoration. A . — I d . , Oct. 12. W . — I d . , Oct. 15. G.N.—Hinko. Α.—Id., Oct. 6. W.—Beauty and the Beast ; Loan of a Lover. A.—Still Waters Run Deep; Irish Secretary. W.—Beauty and the Beast; Love and Murder. A.—Still Waters Run Deep ; Deaf as a Post. W.—Beauty and the Beast ; Young Widow. A.—Still Waters Run Deep ; Sweethearts and Wives. W.—Beauty and the Beast; T w o Gregories. C.M.—'The W i f e ; Mehittable Ann. Monday: Α.—Still Waters Run Deep; Paul Pry. W.—Beauty and the Beast ; Wandering Minstrel. C.M.—Othello; Mehittable Ann. A.—Still Waters Run Deep; Laugh when you Can. W . — I d . , Oct. 22. C.M.—Richard I I I ; Lottery Ticket. A.—Still Waters Run Deep; Simpson and Co. W . — I d . , Oct. 19. C . M . — W e r n e r ; Loan of a Lover. A . — I d . , Oct. 19. W.—Beauty and the Beast ; Perfection. CM.—Id., Oct. 24. A . — I d . , Oct. 20. W.—Faint Heart never won Fair L a d y ; Day after the Wedding. C . M . — K i n g of the Commons; Mehittable Ann. A.—Stranger; Honey Moon. W . — M y Neighbor's W i f e ; New Footman. [536 ]

CHRONOLOGICAL R E C O R D S : 1855 29.

30. 31.

C . M . — I d . , Oct. 26. Monday: A . — H a m l e t ; M y Neighbor's W i f e . W . — S t i l l Waters Run Deep ; T h e T w o Gregories. C . M . — H a m l e t ; Mehittable Ann. A . — S t i l l Waters Run Deep ; T u r n i n g the Tables. W . — S t i l l Waters Run Deep; T w o Gregories. C . M . — H u n c h b a c k ; A l l the World's a Stage. A . — W e r n e r ; Love in Livery. W . — S t i l l Waters Run Deep; Married Rake. C . M . — M a c b e t h ; A l l the World's a Stage.

NOVEMBER 1.

2. 3. 5.

6. 7.

8. 9. IO.

Thursday: A . — S t i l l Waters Run Deep ; Faint Heart never won F a i r Lady. W . — S t i l l Waters Run Deep; Mother and Child are Doing Well. C . M .—Id., Oct. 3 1 . A . — W e r n e r ; Lend M e Five Shillings. W . — S t i l l Waters Run Deep; Eton Boy. C . M . — S t r a n g e r ; Pizarro. A . — W e r n e r ; Scan. M a g . W . — S t i l l Waters Run Deep ; Masks and Faces. C . M . — K i n g of the Commons; Loan of a Lover. Monday: A . — L a d y of Lyons; Toodles. W . — S e r i o u s Family ; Black-Eyed Susan. C . M . — N e w W a y T o Pay Old Debts; In and Out of Place. A . — F a z i o ; Paul Pry. W . — S e r i o u s Family ; Sweethearts and Wives. C . M . — M e r c h a n t of Venice; In and Out of Place. A . — H u n c h b a c k ; Irish Secretary. W . — S e r i o u s F a m i l y ; Rory O ' M o r e . C . M . — K i n g L e a r ; T h e Secret. Α . — T h e W i f e ; Jacobite. W . — S e r i o u s F a m i l y ; Toodles. C . M . — R i c h e l i e u ; T h e Secret. A . — J a n e Shore; Simpson and Co. W . — K n i g h t of A r v a ; Good for Nothing. C . M . — R i c h a r d I I I ; A l l the W o r l d ' s a Stage. A . — S t r a n g e r ; Honey Moon. W . — K n i g h t of A r v a ; Serious Family. C . M . — R i c h a r d I I I ; Simpson and Co. [ 537 ]

THE PHILADELPHIA T H E A T R E 12.

13. 14. 15. 16. 17. 19.

20. 21. 22. 23. 24. 26.

27.

Monday: A . — T h e Man of many F r i e n d s * : Popples—J. S. Clarke, Mrs. Popples—Mrs. Conway; Time Tries All. W . — N a v a l Engagements; Eton Boy. C . M . — J a n e t Pride; Young Widow. A . — M a n of many Friends; Still Waters Run Deep. W . — M a s k s and Faces; Mother and Child are Doing Well. C . M . — J a n e t Pride; Poor Pillicoddy. A . — W e r n e r ; Thumping Legacy. W . — P e t of the Petticoats; Blue Devils. CM.—Id., Nov. 12. A.—Love's Sacrifice; Sudden Thoughts. W . — G r i s t to the M i l l ; M r . and Mrs. White. C . M . — O l d Heads and Young Hearts; Poor Pillicoddy. A.—Hunchback; Turning the Tables. W . — T i m e Tries All ; Poor Pillicoddy. C . M . — P r i d e of the Market; Bob Nettles. A . — J a n e Shore; Spectre Bridegroom. W . — N a v a l Engagements; Pet of the Petticoats. C . M . — L o a n of a Lover; First Night. Monday: A.—Queensbury Fete ; Madelaine. W . — L e s Horaces; Le Dépit Amoureux. C . M . — M u c h Ado about Nothing; Lottery Ticket. A.—Still Waters Run Deep; Madelaine. W.—Angelo, the Tyrant of Padua; La Ligne Droite. C . M . — M o n e y ; Secret. A.—Queensbury Fete; Man of many Friends. W . — N a v a l Engagements; Les Droits de l'homme. C . M . — H a m l e t ; Mehittable Ann. A . — I d . , Nov. 13. W . — P e t of the Petticoats; Les Droits de l'Homme. C . M . — L a d y of Lyons; Young Widow. A.—Masks and Faces; Time Tries All. W . — B l u e Devils; Chapeau d'un Horloger. C.M.—Stranger; Katharine and Petruchio. A.—Richelieu; Sketches in India. W . — M a s k s and Faces; Le Tartuffe. C.M.—Romeo and Juliet; Simpson and Co. Monday: A.—Romeo and Juliet; Turning the Tables. W . — N o performance. C . M . — H a m l e t ; Young Widow. A . — I d . , Nov. 13. W.—Irish Ambassador; Poor Pillicoddy. C . M . — L a d y of Lyons; M y Aunt. [ 538 ]

CHRONOLOGICAL R E C O R D S : 1855 28. 29.

30.

Α.—Id., Nov. 24. W . — N e r v o u s M a n ; Happy M a n . C . M . — R o b b e r s ; M y Fellow Clerk. A . — M a s k s and Faces; Madelaine. W . — B o r n to Good Luck ; H o w to pav Rent. C . M . — W i l d Oats; M y Fellow Clerk. ' A . — M a c b e t h ; Four Sisters. W . — I r i s h Genius; Irish Ambassador. C . M . — M o n e y ; Dramatist. DECEMBER

I.

3.

4. 5. 6.

7. 8. 10.

11. 12.

13.

Saturday : A.—Macbeth ; Four Sisters. W . — I r i s h Genius; Born to Good Luck. C . M . — R o b b e r s ; Rough Diamond. Monday: A . — P l o t and Passion ; Queensbury Fete. W . — N e r v o u s M a n ; W r o n g Passenger. C . M . — D e Soto; M y Fellow Clerk. A . — P l o t and Passion ; Still Waters Run Deep. W . — I r i s h Fortune H u n t e r ; Happv M a n . C . M . — D e Soto; Poor Pillicoddy. A.—School of Reform ; Therese. W . — S e r i o u s Family ; Teddy the T i l e r . C . M . — D e Soto; Little Treasure. A . — L o v e Chase: Therese. W . — P a u l P r y ; Irish Genius. C . M . — D e Soto; Little Treasure. A.—School of Reform ; Plot and Passion. W.—Serious F a m i l y ; Love and Murder. C . M . — D e Soto; M y Aunt. A . — R o m e o and J u l i e t ; Alarming Sacrifice. W . — I r i s h Ambassador; Irish Genius. C . M . — D e Soto; Little Treasure. Monday: A . — S t i l l Waters Run Deep; Pizarro. W . — O t h e l l o ; T w o Gregories. CM.—Id., Dec. 8. A . — A n n i e Blake ; Pizarro. W . — P i z a r r o ; M r . and M r s . White. C . M . — D e Soto; Critic. A . — C a m i l l e ; A Roland for an Oliver. W . — R i c h e l i e u ; Three Shaws. C . M . — H a m l e t ; M y Fellow Clerk. A . — C a m i l l e ; Morning Call. [ 539 ]

THE PHILADELPHIA THEATRE

14. 15. 17.

18. 19. 20. 21. 22. 24.

25. 26. 27. 28. 29.

W.—Hamlet; Love and Murder. C.M.—Wine Works Wonders; Dramatist. A.—Id., Nov. 13. W.—Damon and Pythias ; Don't Judge by Appearances. C.M.—Stranger; Critic. A.—Damon and Pythias; Toodles. W.—Pizarro ; Don't Judge by Appearances. C . M . — D e Soto; Wine Works Wonders. Monday: A.—Camille; Scan. Mag. W.—Jack Cade ; Poor Pillicoddy. C.M.—Virginius; Pirate's Legacy. Α.—Richard I I I ; Married Rake. W.—Jack Cade; Married Rake. C.M.—Cricket on the Hearth ; How Stout You're Getting. A.—Wild Oats; Queensbury Fete. W.—Richard I I I ; Don't Judge by Appearances. C.M.—Janet Pride; Virginia Mummy. A.—Serious Family ; Still Waters Run Deep. W.—Richelieu; Spectre Bridegroom. C . M . — N o advertisement. A.—Cure for the Heart Ache; Lucretia Borgia. W.—Damon and Pythias; Nature and Philosophy. C.M.—Damon and Pythias; How Stout You're Getting. A.—Camille ; Sudden Thoughts. W.—Jack Cade; Family Jars. C.M.—Old Heads and Young Hearts; Rough Diamond. Monday: A.—Corsican Brothers. W.—Metamora ; Family Jars. C.M.—Ireland as it Is; Irish Tiger. A.—Id., Dec. 24. W.—Metamora ; Don't Judge by Appearances. C.M.—Ireland and America; Irish Tiger. A.—Id., Dec. 24. W.—Macbeth; Love and Murder. CM.—Id., Dec. 25. A.—Id., Dec. 24. W.—Gladiator ; Young Widow. C.M.—Ireland and America; Limerick Boy. A .—Id., Dec. 24. W.—Virginius; Caught in a Trap. C.M.—Ireland and America; The Irish Know Nothing. A.—Corsican Brothers; Alarming Sacrifice. W.—Gladiator; Family Jars. C.M.—Irish Assurance; The Irish Know Nothing. [ 540 ]

CHRONOLOGICAL R E C O R D S : 31.

1855

Monday: A . — C o r s i c a n B r o t h e r s ; A Kiss in the D a r k . W . — I r i s h E m i g r a n t ; Fortunio. C . M . — S h a n d y M a g u i r e ; Irish T i g e r .

[541 ]

T H E PLAY LIST

THE PLAY LIST T H E f o l l o w i n g list of plays is presented in compact f o r m and therefore has required abbreviation and punctuation which demand explanation. Parentheses are used to enclose three kinds of

recorded material :

first, the year of the nineteenth century w h e n the play w a s performed, ( 3 5 ) representing 1 8 3 5 ; second, the name of an author w h e n it is necessary to show that it is not certain whether the author named w r o t e the play whose performance is recorded, such as

(by J o h n

third, variant spelling of the play-titles, such as The rat(/),

J o n e s ) ; and

Mayor

of

Gar-

to signify that the name w a s spelled in both w a y s on different

occasions. Quotation marks are used to enclose comments on authorship made by the theatrical advertisements in the newspapers f o r the day of performance. C o m m a s and semi-colons are used a f t e r the notice of the year to separate days and months, respectively ; and semi-colons are used also to separate years. N u m e r a l s represent the months of the year. Asterisks note first performances in Philadelphia. A

hypothetical entry w i l l serve best to acquaint the reader w i t h a

w o r k i n g knowledge of this system of recording : The

Matt

of Townl(e)y,

or The

Season;

"adapted f r o m the novel

of the same name by a gentleman of this c i t y , " comedy

(by

Brown

W h i t e ) . ( 4 5 ) C . - 4 . 1 0 * , 16, 1 9 ; 6.5 ; W . - 8 . 7 ; ( 4 6 ) A . - 1 . 1 0 . Interpreted, this recording means that Townley

sometimes appeared

w i t h one less l e t t e r ; and that the authorship of the play is uncertain, f o r the newspapers say only that a gentleman of Philadelphia w r o t e the work.

F o r good reasons, the present

recorder suggests the name of

B r o w n W h i t e but makes allowance f o r the existence of a doubt. W e can be sure, however, that a play called The

Man

of Townley

appeared

f o r the first time in Philadelphia at the C h e s n u t Street T h e a t r e , A p r i l 1 0 , 1 8 4 5 , remaining f o r A p r i l 1 6 and 19, and returning to the Chesnut f o r J u n e 5 and to the W a l n u t f o r A u g u s t 8. N e x t year, the play appeared at the A r c h Street T h e a t r e , J a n u a r y 1 0 . Abaellino, the Great Bandit; Wm. Abd-el Kader, or The French in AlDunlap: (35) P.-12.24, 26, 27. giers: (46) A.-1.17, 19, 20, 21. [545 ]

THE PHILADELPHIA THEATRE Abelard and Heloise: (43) O.-i.ié, 17, 18. A bou Hassan; comic opera: (35) C.2 . 1 6 ; (37) C.-9.6, 1 1 . 1 3 ; (39) C.5.8, 9, 6.7; (38) W . - 1 . 1 3 ; (43) W.6.5; (48) W.-7.28, 9.19, 10.14. Abstraction: (45) \ V . - i 2 . n , 12, 1 9 ; (46) VV.-1.14. Acteon; opera: (43) C.-io.i6, 21. Actor and the Heiress; f a r c e : (47) A.•7.21. Actor of All Work: (36) A.-3.26, 4.4; (37) A.-7.4; (37) P.-1.30. Actress and the Artist: (46) A.-3.23. Actress of All YVork: (35) A.-3.7, u ; (38) W . - 1 1 . 1 7 ; (42) A.-5.16, 1 7 ; (46) A.-9.4, 7, 1 8 ; 10.9; (47) A.1.23. Actress of Padua; R. P. Smith: (36) VV.-6.13·, 14, 15, 1 6 ; ( 5 1 ) C.-12.8, io, i l , 1 9 ; (52) W.-4.29, 30; C.12.4; (53) C.-4.25. Adelgitha, or The Fruits of a Single Error; tragedy: (35) W.-10.29; (40) W.-7.I ; (42) A.-6.16, 20; (44) W . - 1 0 . 1 8 ; (45) A.-8.29; (47) A.12.13, 1 6 ; (48) A . - 1 0 . 1 1 , 1 3 ; (52) C.-3.20; 6.5; A.-10.23, 1 1 . 2 ; (54) C . - 1 1 . 3 ; (55) C.M.-4.30, 5.3. Adeline; ( J . H. Payne) : (37) P.-2.6. The Admirable Scot; see Crichton. The Adopted Child; by Samuel Birch: (35) C.-9.18; (38) C . - 1 . 1 2 ; (39) C.5-9. 9 1 2 ; (36) W.-2.27; (37) W.7.29; (38) W.-8.6 ; (40) W.-1.8, 5.6; (36) P . - 1 2 . 1 4 ; (41) A.-4.26; ( 4 1 ) W.-5.21, 27, 9.30, 10.1 ; (42) A.-6.25, 8.22, 9 . 1 3 ; (43) C . - 1 1 . 2 9 ; (45) W.-5.15, 6-9! (48) A.-12.29; (49) A.-2.17, 4.28, 8.15, 31, 9.24, li.13; (50) A.-5.14, 7.19, 1 2 . 1 0 ; ( 5 1 ) A . - 1 . 1 6 ; W.-6.6, 1 9 ; B.-10.8, 9; A . - 1 0 . 1 1 , 1 2 . 2 ; (52) A.-3.27; N.5.22; A.-9.IS; (53) A . - 1 . 1 3 , 2.8. Adrian and Orrilla; Diamond: (42) A.-7.23. f:

Adrienne, the Actress: (50) W . - 6 . 7 · , 8; 9.9, 10, 2 4 ; ( 5 1 ) C.-3.7, 13, 25, 4-1. 9-9, 1 5 ; (52) C.-4.30, 5 . i l , 1 3 ; (53) C.-8.12; W.-9.19, 22; C . - 1 2 . 1 9 , 22; (54) C.-1.5, 3.24, 3 1 ; VV.-12.20; (55) VV.-5.12, 17. The Adventure, or The Yankee in Tripoli; J . S. Jones: (35) VV.-12.16, 17, 18. The Adventurer: (35) W . - 5 . 1 1 , 12. Adventures of an Umbrella: (47) A.5.15, 18, 19. Adventures of a Sailor, or Fidelity Rewarded: (37) W . - 1 1 . 2 1 . Adventures on Christmas Eve; see Major Jones' Courtship. Advocate: (53) W.-2.7, 8, 1 0 ; 3.1, 29. The Aethiop, or The Child of the Desert; romantic d r a m a : (35) W . 4.2, 7 ; (41) W . - 1 0 . 2 7 ; (54) C.-2.27, 28; 3.1, 3, 4, 6. Affair of Honor; f a r c e : (35) VV.-6.2-6, 8, i l , 1 2 ; 8.25, 29; (40) W . - 7 . 1 5 ; P. 11.7, 1 2 . 3 1 . After the Storm; see Shipivreck. The Age ive Live in; see Pickwick Club. Agnes de Vere, or The Broken Heart: (38) W . - 1 1 . 5 , 7, 9; 1 2 - 1 2 ; (40) VV.12.9; (42) VV.-2.1 ; A.-10.12, 1 3 ; (43) VV.-2.13, 1 7 ; (45) A . - 1 1 . 5 , 7 ; (46) P.M.-3.16, 1 7 ; A . - 1 1 . 7 ; P.M.1 2 . 1 2 ; (47) A . - 1 . 2 7 ; 1 0 . 1 5 ; i l . 6 ; (48) P . M . - 3 . 2 1 ; (49) P . M . - 7 . 1 2 ; C.8.18; (50) B.-9.27; ( 5 1 ) A.-9.25; (52) A.-8.27; (53) A.-3.2. The Agreeable Surprise; farce by John O ' K e e f f e : (35) W . - 1 2 . 1 0 , 1 2 ; (36) W.-3.3; (37) W.-7.3; P.-2.10; (38) W.-2.20; (39) W . - 3 . 1 1 , 14, 1 9 ; (40) W.-12.8, 1 2 ; (39) C.-10.23, 26, 29; (40) C . - 1 . 1 , 2.29; 4 . 1 7 ; 6.5; 12.30; ( 4 1 ) N.-2.19; (42) VV.-10.3; i l . 1 0 ; (44) W.-3.20; (45) W.-10.16, 2 7 ; (46) W.-2.25; 3.28. >]

P L A Y LIST Agustus Durance, or The Life of a Gambler: (46) P.M.-12.4, 14. Aladdin, or The II·' onderful Lamp; operatic piece: (35) W . - 1 0 . 1 2 , 1 3 ; (42) C . - 1 . 1 ; 10.25; 1 1 . 2 4 ; (44) C.1 1 . 2 3 ; (+6) A . - 1 2 . 1 0 , i l , 1 2 ; (47) A.-1.1. Alarming Sacrifice; f a r c e : (50) VV.4.12, 13, 15, 16, 23, 27; C.-4.12, 13, 2 5 ; W . - 5 . 2 2 ; 6.6; 9.27; 10.1 ; 11.20, 2 8 ; 12.4; ( 5 1 ) VV.-6.5, 2 4 ; (52) C.10.5, 6, 1 8 ; i l . 1 7 ; 12.30; (53) A.1 . 1 0 , 12, 2 5 ; W . - 2 . 1 1 ; 3 . 1 1 ; A . - 3 . 1 5 , 2 3 ; VV.-4.27; A.-4.27; W.-12.6, 1 3 ; (54) VV.-2.14, 2 7 ; C.-5.17, 2 3 ; (55) A.-12.8, 29. Alberti Contradini, or The Dumb Brigand's Revenge; romantic melod r a m a : ( 3 5 ) VV.-4.6. Aldgate Pump ; farce : ( 4 1 ) C . - 1 0 . 1 3 , 22, 26. Alexander the Great, or The Rival Queen; tragedy, L e e : (35) VV.-9.14; (36) C . - 1 . 1 6 ; ( 4 1 ) N . - 1 0 . 1 5 ; (42) A.-7.2, 2 2 ; (44) N.-2.24; (45) A.10.18, 30; (47) VV.-1.1. Alfonso, or The Patriot Father; trage d y : (42) A.-6.10, 13, 30. Alias La Sonnambula ; see The Roof Scrambler. Alice Gray, or The Band of Crime: (40) VV.-2.28; 3 . 2 ; (43) W.-1.9, 21, 2 3 ; 3-3Aline; domestic d r a m a : (53) A . - 1 0 . 2 1 , 22, 25 ; 12.7. Alive and Kicking: (50) A . - 1 1 . 2 8 ; ( 5 1 ) A . - i i . I I ; (54) VV.-6.9. All at Coventry, or Love and Laugh: (35) C.-I.4*, 7. All in the Dark; see Rendezvous. All in the Downs; see Black Eyed Susan. All in the Wrong; farce, M u r p h y : (35) C . - 2 . I I , 1 8 ; 9.29; (36) A . - 5 . 2 5 ; (45) VV.-2.19. All that Glitters is not Gold; domestic

d r a m a : ( 5 1 ) VV.-3.14, 15, i6, 18, 19, 20, 2 1 , 22, 24, 2 5 ; 4.1, 30; 5.1, 1 4 ; B.-5.12, 1 3 , 14, 15, 16, 3 1 ; A.-7.9, II, 12, 2 3 ; VV.-8.25; A.-9.2, 3, 6 5 ; VV.10.2, 30; B . - 1 0 . 1 0 , i l , 1 3 , 14, 15, i6, 17, 1 8 ; V V . - 1 1 . 1 4 ; B . - 1 1 . 2 9 ; VV.-12.4, 2 2 ; (52) VV.-1.8, 2 7 ; 3-12, 2 3 ; 4.17, 2 7 ; 5-2°; (53) A . - 1 . 1 4 ; VV.-1.24; 3.28; A.-9.26; 1 0 . 1 7 ; (54) C . - 1 . 1 9 , 24; A.-2.14, 2 5 ; 3 . i l , 1 5 ; C.-5.6; VV.-5.12 ; 6 . 1 4 ; C . M . - 9 . 1 4 ; C . - 1 1 - 4 ; W.-12.15; (55) C . - 2 . 1 7 ; W . - 5 . 2 1 ; A.-9.4, 6, 28. All

the World's a Stage: ( 3 5 ) C.1 2 . 3 1 ; (53) C.-6.2; ( 5 5 ) C.M.-10.30, 31 ; 1 1 . 1 , 9. A lion· Me to Apologize: ( 5 1 ) VV.-3.28, 3 1 ; 4-2, 7. 1 6 ; 6-9Alma Mater: (43) W.-2.2, 3, 4, 6, 9. Alonzo the Brave and the Fair Imogene, or The Spectre Bride; by T . C. Dibdin: (35) P . - 1 1 . 2 1 . Alpine Hunters, or The Fatal Ravine: (40) VV.-7.24; (42) VV.-4.8; A . - 5 . 1 2 . Alpine Maid: (46) P.M.-6.22, 2 6 ; 7.4, 13 ; (47) P.M.-2.16; 6.2, 2 3 ; 7 . 1 3 ; (48) A . - 1 0 . 3 0 ; (50) A . - 7 . 2 5 ; (54) C . - 5 . 1 1 , 12. Alvardo of Spain; t r a g e d y , A . N. H . Bannister: (37) W.-9.2. Arnaldi, or The Brigand's Daughter ; melodrama by J a m e s R e e s : (42) A . 4.14*, 15, 20. Amateur Actors: (38) C.-6.21. Amateurs and Actors: (39) VV.-6.29; (40) VV.-1.13; (44) A . - 9 . 1 4 . Amazing Sacrifice: ( 5 0 ) VV.-5.30. The Amazon Sisters, or The Heroines of Mont Blanc: ( 3 5 ) W . - 1 . 7 ; 3.5. Ambition, Crime, and Retribution: (55) C.-4.20. Ambrose Giiinett, or A Tale of the Seaside; melodrama: (35) W.-12.5; (36) VV.-2.18, 2 3 ; (40) W . - 3 . 2 1 , 2 6 ; (36) P . - 1 1 . 2 5 ; ( 3 7 ) P . - 1 . 5 ; 2 . 1 1 ; (40) W . - 5 . 7 ; (44) A . - 1 . 2 5 ; 8.24;

THE PHILADELPHIA THEATRE (49)

1 0 . 1 9 , 2 3 ; ( 4 1 ) N.-8.28 ; 9.2 ; W . - 1 1 . 9 ,

N.-7.31;

10, 1 3 ; (42) A . - 8 . 9 ; (44) A . - 1 . 1 , 22;

(45) A.-8.12, 28; (46) A . - 3 . 3 ; C.-8.23;

(50) A . - 8 . 1 ;

(51)

(45)

(52) N.-5.26. American Siege

Courage of

Triumphant

;

Ann

Tripoli.

American

Enterprize,

or Yankee

Tars

Alieays

on Hand:

(43) W.-3-2,

Farmer;

2, 8 ;

(48)

A.-I.26,

(39) W.-9.10, 14.

Balena:

(43) C.-IO-7, 9, 12,

W.-12.3.

see Yankee

in Jer-

Annie

Blake,

or The Poor Dependant

(domestic d r a m a ) , R e v . W .

American

Farmers;

American

M onager ; see

American

Sea Serpent;

see Forest

Rose.

ton:

XYZ.

(55) A.-8.21, 23, 3 1 ; 9.14, 28;

see Deep,

Deep

Anthony

Wayne

Devildare; Tar,

The;

S. H.

Rowson:

Fidelity;

see Star

Tar's

Spangled American Amilie,

Antony

or The Love

Apollo

(51)

The or Wine

No Poison;

mime b a l l e t : (37) Anaconda,

or The

of

; by E d w a r d

Zeli,

or The

historical

drama:

C.-2.3 ;

20,

(41)

21; Blaie,

comedy,

19,

(48)

A.-

Irish

4.22;

the

the Tyrant

(47)

of Padua;

Magnetism;

tragedy:

C.-9.28;

(43) A . - 1 0 . 1 6 ;

(44)

A.-3.16;

f a r c e , by

10.8;

(41)

(49)

W.-

C.-10.10; (51)

C.-

C.-

Chief,

or Pirate

Arabs

of

the

East;

in three acts by H. J. (35)

W.-10.28,

31;

11.6;

W.-14. of the Desert:

(49) W.-2.24, 26,

27, 28. Mrs.

i . i o , 1 6 ; 10.13; A.-7.7, 1 ; C . - 1 1 . 2 3 ; (40)

(37) (42)

(52)

(36)

The

Arabella,

C.-

[

Arab

of the

Niger;

see

Mungo

Park.

I n c h b a l d : (35) 0 . - 5 . 8 , 9 . 2 8 ; (37) C.12.6;

W.-7.3; W.-6.19;

(50) A . - 5 . 2 1 ; W.-9.13. 1 6 ;

Conway:

W.-10.11;

(51) W.-9.8, 9; (55) W . - 1 1 . 2 0 . Animal

(48)

melodrama

Attic:

(39) (40)

2.22; B.-3.13; C.-9.13, 20;

Arab

(48) W . - 3 . 8 ; (52) A.-4.10. Angelo,

7.11; 12.22;

9.16, 20; (55) A . - 1 . 2 4 ; 2.2, 16.

C.-

W.-6.16, 19, 30. of

W.-1.15;

1 . 1 7 ; 5.15; A . - 1 1 . 4 ; (54) C.-4.3; A . -

Diamond;

( D . Boucicault) : (54)

4.12, 13, 19, 2 7 ; W . - 1 1 . 2 4 ; 12.7; (55) Angel

(36)

8.27; (46) W . - 5 . 1 3 ; 7-2«; (47)

Struggle; C.-9.17,

A.-1.11;

or The

D.

A . - 1 . 1 7 ; W.-I.27, 30; 3.26; 6.5; A . -

9.12. Andy

comedy by

t r a g e d y by R. L. Sheil :

W . - 4 . 2 1 ; 5.25;

Ravens-

Death (35)

N.-

W . - 1 1 . 2 7 * , 28, 29,

W.-2.20; 3.20;

W.-2.17;

Ceylon:

c r o f t : (42) W . - 1 1 . 1 2 , 17. Andreas

(44)

6 · ΐ ; 9-14; (37) W . - 7 . 1 4 ; 12.12; ( 3 8 )

(46) A.-4.25, 27, 28, 29, 30. Anatomist

York;

(54)

Apostate;

(35)

panto-

W.-7.17.

Serpent

; burletta b y J.

VV.-9.26;

30; 12.1, 4, 5.

W.-

12.2, 4.

in Nevi

Boucicault:

28, 29, 30; 12.ι ; (39) C.-1.18, 19, 22, 23, 24, 26; 4.18, 20, 23;

(43)

4 . 1 4 ; W . - 5 . 1 9 ; A . - 1 2 . 1 7 , 22.

o p e r a : (38)

W.-II.19, 20, 2 1 , 22, 23, 24, 26, 27,

L'Amour,

Cleopatra

5.20, 21, 23; (47) A.-10.20; (49) A . -

W.-1.27.

Test;

N.-

(45) A.-6.16, 17. and

M . Field:

(44)

Horse

5-3. 5-

Banner. Valor:

and his Terrific

( J a m e s R e e s ) : (45)

Antigone:

(35) C.-9.30. The American

;

Mars-

12.II.

Sea. American

13;

(44) C.-4-II, 12, 16, 17, 18, 1 9 ; ( 4 7 )

4;

sey.

The

Boleyn:

Anna

7-4; (+5) W.-5.3, 9, 26. American

W.-I2.I,

2.24; (49) A t h . - i . 8 , 19.

see

or

(35) C.-3.3.

5]

The

Discarded

Child:

PLAY LIST Arcade;

farce,

(46) The

(John

C . - 1 . 5 , 6,

Arch

Archibald Gang:

(53)

of the

or The

(40)

Wreck,

W.-U.25;

or

(35)

Aristocracy

Asmodeus

The

Α.-ι.ιι.

A. S. S.;

Press

12.1.

Gamester

W.-4.8; and

of

Mi-

(36)

A.-3.5.

Democracy:

(51)

by

The

Peer

Mrs.

Ritchie:

(51)

C.-3.17,

r8.

Artaxcrxes

:

and

A.

C.

the

P.M.-7.20,

f a r c e : ( 5 3 ) A . - 9 . 1 6 , 19, 2 1 , 27 ;

Assassin

King:

(43)

A starte:

(51)

A.-6.6.

Astrologer; B.-

O.

Peas-

The

farce:

Assassin

A.-4.29.

(48)

Laborer;

A.-6.16,

17.

see The

IVhite

(54)

(40)

Artist's

IV if e ;

N.-1.18,

19.

comedy:

(40)

(50)

A.-6.13;

(47)

(52)

A.-

by J . M . F i e l d :

(43)

W . - 9 . 1 5 * , 20, 23, 2 7 ;

10.5;

5 . 1 9 , 20, 2 1 ; 8.26, 2 8 ; 9.4; 7.10, 1 1 ;

(49)

as (55)

4.16, 1 9 ;

Peas:

the Hun;

A.-

il.15;

12.5, 1 3 ;

C.M.-3.26;

9.26;

5-15;

(37)

William (39)

W.-11.15; C.-9.19,

9.21;

(47)

or

(42)

Avenger,

see John

of

Robert

Austerlitz.

The

or The De

Leaguers

of

C.-1.14. Moor

Precida:

of Blood,

of

(44)

(46) A . - 4 . 2 3 ; (49)

Avenger

Sicily; Α.-2.ι6,

A.-1.19.

or Richard

and

the Idiot

11;

i l . 6 , 7, 8, 10, 1 3 ;

C.M.-

Shakespeare: (37)

C.-5.25;

A.-6.12;

(45)

see

Girl:

(38)

Hurdis W.-10.10*,

(41)

W.-5.8,

10, i l , 1 2 , 1 3 , 1 7 .

It;

4.19;

Tribute.

Adrets;

W.-5.26.

Avenger,

The

5.1.

Like

(41)

Austria:

W.-12.23,

W.-4.2;

P.M.-4.16;

see Roman

see Battle

Avarice:

17; C.M.-

(47)

12.

Des

Austerlitz;

( 4 8 ) \V.-

(54)

( 3 5 ) C . - 1 . 2 8 ; 5.6; 10.2;

(42)

(47)

Tal-

Macaire.

P . M . - 7 . 2 , 3, 28.

Two

10.18, 1 9 ;

by S e r g e a n t

Story:

Auberge

The

Dodger;

You

Attic(k)

The

C.-3.20,

3-5) 9·

like

The Attila

( 4 6 ) A . - 1 . 1 , 2, 3, 1 5 .

21 ; N . - 1 0 . 1 6 ; (46) W . - 1 2 . 1 , 26;

Artful

Captive;

fourd: (38) W.-9.19*, 21. (49) P . M . - 5 . l i ,

of Lyons:

W.1.26;

Athenian

Mowatt

C.-10.15, 17, 1 8 ;

Artisan

As

(46)

Farm. or

ant;

27;

Paris:

11.7.

1.20. Armand,

As

in

2 1 , 24.

in an Uproar:

Arde(s)chi, lan:

Brougham) :

14.

(39)

(44) 24;

Α.-ι.22;

(40)

(49)

C.19;

W.-6.26; W.-5.22;

Avenger's

(C. P.

V O V J ;

Clinch):

(50) A.-10.5 ; 11.6. An

Awful

W.-5.13;

W.-4.12, (46)

The

C.-1.3;

5.15,

Verdict;

Aylmere; Azael,

farce:

(50)

C.-

16. see Jack the

Ware:

Cade.

Prodigal

(51)

Son,

by

C.

A . - 6 . 2 6 , 27, 28, 3 0 ;

P. 7.1,

A.-8.I6; W.-10.30;

(50) A.-6.7; W.-

2, 3, 5 ; C . - 8 . 1 8 , 1 9 , 20, 2 1 , 22, 2 3 , 2 5 ,

8.19;

C.-10.13;

12.12;

26, 27, 28, 29, 3 0 ; 9 . 1 , 2, 6 ; 1 2 . 2 2 , 2 3 ,

11.29;

24, 2 5 ·

10.30;

(51)

(42)

W.-3.8;

4.22;

C.-4.28;

(53)

A.-3.15;

4.11 ;

(54)

5, 6, 7, 8, 2 4 ;

W.-8.30;

(55) A.-2.5, 1 0 ; W.-3.26; Ask

no

Questions

;

farce:

A . - 4 . 3 , 4, C.M.-9.13; A.-6.il.

Ba!

(39)

Bachelor's

W.-

9 Ί 7 , 2 6 ; ( 4 3 ) W . - 4 . 1 0 ; (49) A . - 5 . 1 0 , 22;

6.8;

(53) Asmodeus

il.12;

(52)

C.-11.24,

26;

C.-2.4. ;

see

Ba!

Ba!;

12.9, 1 0 ; Bachelor

see The

Buttons;

Village farce:

(40) W . - 3 . 1 7 ;

of Arts;

Lawyer. (39)

W.-

C.-4.6.

(John Brougham) :

(54) C.-8.15, 16. The

Little

Devil's

Share.

Backwoodsman: (55) 0 . - 1 . 3 1 ;

[:

(47) 2.1.

W.-4.22, ' 2 4 ;

THE PHILADELPHIA THEATRE Ball

of

Death;

see Bull

Fighter

Bam

10.1 ; ( 4 1 )

of

Barney,

Spain. Boozling:

12.12, 1 3 ; 12.18;

(44)

C.-10.24,

(47)

P . M . - 5 . I 9 , 22, 3 1 ; (52)

VV.-9.7, 1 1 ;

W.-2.7;

(48)

Barrack

Bandit

of Crime;

Dost,

C.-5.11,

The

A.-5.21 ;

(55)

V V . - 7 . 1 6 ; 10.ι ; (44) A.-12.15;

Suamp:

VV.-5.10, 16;

Girl

Rinaldo

Doom;

Star:

see

The

(40)

C.-12.23;

by

or Specie

S. S. S t e e l e : or a Friend

Kearney,

Necklace:

Shin-

(41)

and

(45)

The

Banker's

Wife:

Queen's

A.-7.12,

11.22.

P.M.-10.21,

15;

(44)

(46)

(51)

C.-12.19,

Bankrupt's

Barbarossa

Wife;

see

Battle

14;

W.-7.1.

(45) Battle

(38) A . - 3 . 5 ;

Brown:

2 °>

Bosworth

of

be a

Vista:

The

Field;

of Germantoiun,

Tracy's

Battle

The

see

She

see

Mar-

Rangers;

or A

Tale

28;

[

national drama W.-4.10,

W.-3.11.

of Life:

( 4 7 ) P.M.-2.3, 4, VV.-2.9; 3.4;

P.M.-

Battle

of Neiv

Orleans ;

(William

D u n l a p or C . E . G r i c e ) : (42) W . - i . S . The Battle

N.-9.27,

;

3.19, 20, 26, 3 1 ; 5.10, 28.

6.22;

( 3 9 ) C . - 1 . 3 0 ; 2.19. (41)

see

Soldier.

of Flodden

1-9; 4-3! (47)

C.W.-

23, 2 6 ; 11.3, 22; (38) C . -

Rudge:

Field;

(by W a l t e r L e m a n ) : ( 4 5 )

f a r c e : (37) C.-

i . I , 2.2, 1 6 ; 3 . 1 0 ; 4 . 1 0 ; 5.14;

W.-

A.-2.13,

(53) A . - 2 . 3 · , 5.

Chippewa

5, 6, 9, 10, 1 3 ; at Court;

(44)

i l , 1 2 ; 6.26; 7.9, 2 5 ; 8 . 1 4 ; (46) W . -

10.15, ' 6 Barbers

of Buena

The Battle

Rossini: (42)

N.-7.5;

mion.

( 3 6 ) C . - 1 . 2 6 ; 2.3; (38) C.-2.12, 1 9 ; (36) A.-4.29;

of

The Battle

12.7, 8, 9, 2 8 ; (44) C.-4.4; ( 4 7 )

melodrama:

III.

Battle

Would

20;

of o p e r a by

; m e l o d r a m a : (38) C . -

of Austerlitz;

Richard

Remorse.

; t r a g e d y by John

VV.-3.19. 0} Seville;

see

(44) A . - 6 . 1 8 , 2 5 ; 7.13.

(41)

The

A.-8.30.

Yesterday;

I.

3-23, 25; The

(52) W . - 4 . 3 0 ; 5 . 1 ; C.-12.2, 4.

Barnaby

C.M.-

(39) VV.-11.19, 20, 21, 2 2 ; (40)

Abduction,

The

and

of Algiers

Battle Clerk:

10.19*,

12.10;

(55)

5.31.

a

A.-1.23. Banker's

The

A.-4.11,

27;

(46)

or Married

Wife

Battle

A.-

in Need;

(42) C.-10.24, 2 5 ;

Clerk:

(35) Barber

Road,

My

(41)

vs.

c o m e d y by the author of

The

12,

A.-12.22;

Irishman:

Bathing: Monster,

Banker,

Bank

B.-5.5;

II.II,

A.-5.16;

(50)

VV.-6.5.

Lion

9.20*, 24, 25, 30; (42) A.-4.27.

Kate

B.-I0.7;

Bashful

Bath

plaster; The

P.M.-5.20; A.-3.22;

A.-

A.-3.20;

5.19.

A.-3.18. see

11;

(49)

(48)

2 2 ; ( 5 1 ) A . - 2 . 1 0 ; ( 5 3 ) A . - 1 0 . 6 ; (54)

Bandit's

Bank

(41) 10.15;

(47)

N.-11.8. The

6.11;

(42)

King. Banished

C.-5.25;

(39)

15;

1.10;

Rinaldini. The

(39)

A.-6.9,

il.2;

; see Dumb

Daughter;

(37)

Gray.

(51)

Bandit's

17;

»0.19;

(43)

C.-4.25·,

C.-

or The Hut in the

of Corsica:

(37)

(53)

Genoa.

Bandit

farce:

2 9 ; 9-25; (38) C.-10.10, l i , 1 6 ;

see Alice

(39) W.-9.7. The Bandit Merchant of

Room;

16;

10.27;

10.2.

VV.-10.24;

26.

C.-2.6. Band

(53)

C.-8.4,

7-4! ( 5 4 ) W . - 6 . 1 5 , 2 3 ; C . - 1 0 . 4 ; The

Baron:

( 5 4 ) VV.-5.15, 1 7 ; 6 . 1 ; (55) VV.-9.17,

25;

(46) P.M.-9.22, 2 3 ; I I . 1 8 ;

A.-8.4, 7 ;

C.-9.27, 28, 29, 30;

the

of

0]

the

of Poictiers, Garter;

or The

by W .

Knights

Barryniore:

PLAY LIST (38) W.-2.19, 20, 21, 22, 23, 24; 3.1. The

Baltic

of Sedgemoor,

Kirkiíood

and Monmouth:

Begone

Reynolds:

(37) \V.-

(42)

A.-11.8;

Tecum-

Belford

of

Tippecanoe

; by S.

S.

Bayonet:

Beacon

of

Death,

or

fVreckcr:

The Bear Hunters; (46)

The

Belle

tragedy

Scottish

Gold

Charles

C.-1.6, 2 1 ;

(36)

6.9;

C.-4.26;

(37)

4, 8, 9, 10, H ; W.-10.5, 7, 8, 9 ; 12.17 ί

2.6;

(45)

(50)

A.-3.25;

P.M.-7.2,

7, 8, 9, 10; 8.10, 1 4 ; A.-9.15, 16,

1 7 ; 10.14; 11.26; 12.ι ; (47)

il.13;

A.-7.15; (55)

(43)

Cowley:

A.-5.21;

(37)

(39)

VV.-6.30;

VV.-8.14;

(53)

5.12;

(48) A.-4.6, 7, ' 4 1 (49) P.M.-6.4, 5 ; X.-IO.I2, 13, 14, 15, 1 6 ;

Mrs.

(54)

12.20;

(44)

(48)

VV.-4.25,

W.-1.3; A.-3.29,

(55)

Belphegor;

W.-IO.15, 16, 17, 18, 19, 20, 22, 23, 24,

5.28,

8.20;

A.-3.14;

4.1;

3 1 ; 4.10;

10.4;

A.-9.17.

romantic d r a m a by Β . N.

16, 17, 18.

Beaux

Stratagem

h a r : (44) Bedouin

; by G e o r g e

Farqu-

Ben Bolt:

W.-4.1.

Arabs;

(54) A . - 1 1 . 1 5 , 20, 22, 23, 25,

28 ; 12.4; (55) A.-2.6, 21 ; 3.3.

ballet pantomime

by

Ben the Boatswain,

or Sailors'

Sweet-

the R a v e l F a m i l y : (36) C.-12.26, 30,

hearts;

31 ; (37) C.-1.28; 2.1, 6 ; A.-6.22, 24;

21;

7.1.

2 3 ; Ν.-3.4, 5, 6 ; 4-13; W . - 5 . i 8 ;

The Bee and the Orange Four

Wishes:

Beehive,

per;

(48)

Tree,

Beggar

of

W.-12.18;

Green;

(35)

Benevolent Bengal

see

Benjamin

Green;

'776:

W.-1.9*,

brand; on Horseback:

(46)

(35)

A.-5.20,

Tar:

Tiger:

Opera;

17,

W.-2.22, (45)

( 4 3 ) A.-3.17, 4.3. (38) C . - 5 . 1 2 ; (40)

C.-

Franklin,

or

by John G a y :

10-23;

(54)

Days

of

or The

Castle

]

of St.

Aldo-

a t r a g e d y (by W . G . S i m m s ) : C.-9.26; (45)

10.14; 12.16;

V V . - i i . i 5 , 18; (55) W.-2.22.

[5

The

(49) C.-10.24*, 25, 26, 27, 29,

12.3;

(42) VV.-4.19, 2 3 ;

22. Beggar's

(44)

30. Bertram,

10. Beggar

A.-10.10;

A.-12.11,

6.8.

of Bethnal

of Cripplegate:

(42)

(40)

27-

Pros-

by James S. K n o w l e s : (35) A.-2.28. Beggar

comedy:

VV.-5.10, 13, 25; i l . 1 9 ; ( 5 1 ) A.-10.25,

(40)-7.22.

Bethnal

Beggar

The

26.

Must

operatic f a r c e : (37)

The Blind

or

A.-5.25,

or Industry

(38) W . - 1 . 1 6 , 25; The

W.-

W.-1.11;

W e b s t e r : ( 5 1 ) W . - 3 . 2 1 , 22; B.-4.15,

25.

The

A.-

C.-9.11;

( 5 1 ) W . - 3 . 1 2 ; C . - 3 . 1 4 ; (52) C . - 4 . 2 7 ;

A.-1.8;

P.M.-3.20, 23, 24, 27; 4.2;

by

10.14; ( 4 ° ) VV.-10.23 ; (42) A.-9.21 ;

(44) A . - 7 . 1 , 2, 3,

(46)

Sir

(35) C . - 2 4 ; 4.10; (36) C.-9.10; (37)

(46) W . - 7 . 3 , 6, 28.

(45) A.-4.14, 15, 2 1 ;

(by

(42) VV.-7.19, 23.

Stratagem ;

VV.-9.22;

(52)

(44)

(43) C.-7.29 ; 11.17, 18. ;

of the Hotel:

Belle's

C.-2.3.

A.-2.25*. and the Beast:

or The

4, 6, 1 5 ; W.-7.4, 6, 8; A.-8.2, 7 ; 10.3,

3,

14;

W.-7.8;

29.

Nor-

W.-7.14;

by J. B. Buckstone:

not Beasts:

Beauty

(43)

Sedley) : (42) A . - 1 1 . 4 ; (45) A.-I0.28,

(42)

(46) A.-2.18, 20, 24; (55)

Bears

Belisario:

(44) N.-1.4, 5; 2.12.

wegian

Fred-

W.-4.13,

c o m e d y : (42) C.-9.24, 26, 27.

Bellamira

Steele: (+0) P.-8.19·, 20, 21. The

Castle,

Mine; Battle

c o m e d y by (40)

VV.-4.26.

of the Thames ; see

seh. The

Care;

erick

12.2, 7, 19. The Battle

Dull

of

or Days

(39)

VV.-8.12;

(44) VV.-6.4, 29;

W.-3.27;

5.29;

(46) A . - 1 . 6 ;

8.9;

W.-3.14;

THE PHILADELPHIA T H E A T R E (47) A . - 4 . 1 5 ; (48) W . - 3 . 1 5 ; (49) W.-6.Z1; (52) C . - 1 . 2 1 ; A . - 1 1 . 2 0 ; W . 1 2 . 3 ; (54) VV.-9.5. The Betrothal; by G . H. Boker: (50) W.-9.25·, 26, 27, 28, 30; 10.1, 2, 3, 4, 5 ; ( 5 1 ) W.-4.15, 16, 17, 18, 1 9 ; 12.5, 1 1 ; (53) W.-5.7. Betsy Baker; see My Precious Betsy. Beulah Spa: ( 3 5 ) W.-3.5», 6, 30; 4 4 ; (46) P . M . - 8 . 1 1 , 15. Beware a Bad Name; see Mr. H. Bewitched: (45) A.-5.2. Bianca Visconti, or The Heart Overtasked; by N. P. W i l l i s : (37) C.12.27*, 29; (52) C.-5.10. Bibboo, the Island Ape; pantomime: ( 4 1 ) W.-9.22, 2 3 ; 1 1 . 2 7 ; ( 5 ° ) A . 6.19. Biena, or The Maid of Cadiz and the Man of Kent: (35) W.-9.16*, 1 7 ; (36) W . - 1 1 . 1 6 . Bill Jones: (45) A.-9.13, 15, 16, 1 9 ; II.I. Bill Stickers and the Jersey Girl; domestic d r a m a : ( 4 1 ) A . - 1 0 . 7 · , 8, 9, i l , 12, 1 3 ; ( 4 1 ) W.-10.9, i l , 3 0 ; 1 1 . 3 ; (42) W.-2.5; A.-7.30, 10.8. Billy Button, or The Hunted Tailor; f a r c e : (35) Mammoth CÎrcus-1.5, 2.20; (39) W.-3.8, 9, 1 3 ; (40) W . 1 . 1 , 2, 3. Billy Taylor; f a r c e : ( 4 1 ) N.-10.9, 1 3 ; (44) A.-6.28; (47) A.-4.8; (48) A . 4.8, 12. Binks, the Bagman: (43) W.-7.17, 18, 24; 8.2; 9 . 2 1 ; (44) W.-3.29; (45) W.-5.6; (47) W.-8.23, 3 1 ; 9.3. Bird of Passage; f a r c e : (49) A . - 1 2 . 3 1 ; (50) C.-1.3, 9, 17. The Birthday of Freedom; see Irish Yankee. The Birthright; see The Sea Captain. Black and White, or The Protean Statue; f a r c e : (37) C.-10.26*, 2 7 ; (38) W.-6.29, 30; 7.3. Black and White, or The Mistakes of

[

a Morning; f a r c e : (35) Mammoth C i r c u s - 1 . 1 4 , 15. Black Angus, or The Evil Eye; melod r a m a : (35) W . - 1 1 . 2 1 , 12.3. Black Brig of Bermuda, or The Last Words of Bill Jones; melodrama: (37) A.-6.23, 2 4 ; (42) A.-7.26; (46) A.-5.9, 2 5 ; (50) C.-2.9, 12. Black Domino; opera by A u b e r : ( 5 2 ) C.-2.25, 2 7 ; 3.1, 3 ; 9.27, 29; 1 2 . 2 7 ; (53) C.-5.18, 30; 9.7. Black Eyed Susan, or All in the Downs, or The Fleet in Harbor; by D. W . J e r r o l d : ( 3 5 ) C.-10.7; (36) W . - 1 . 2 , 6; 6.20, 7.4; P.-12.22, 29; W . - 1 2 . 2 4 ; (37) W . - 1 . 6 ; 6.26; 9 . 1 ; (38) W.-3.7, 20, 2 2 ; (37) C.-4.4, l i . 5 ; (38) C.5.22, 6 . 1 3 ; (39) C . - 1 2 . 1 7 ; (40) C.7-3! (37) A . - 5 . 1 6 ; ( 4 1 ) A . - 1 . 5 ; 5.3, 26; 8 . 1 0 ; (38) W.-7.12, 1 7 ; 9.18; (39) W . - 5 . 7 ; 6 . 1 7 ; 8.3; 12.12, 24; (40) W . - 4 . 3 ; 5 · ι 8 ; i l . 1 8 ; (41) W . 5.18, 22 ; 6.17 ; 12.14, 20 ; ( 4 1 ) N.-9.8; 10.14, 2 7 ; (42) A.-3.29; C.-4.28; A.6.2; (43) W.-6.20; A.-9.5, 10.20; N.I I . ι ; C . - 1 1 . 7 ; (44) A . - 1 . 1 2 ; YV.5.23; 8.23; C.-10.22; (45) W . - 1 . 1 3 , 1 7 ; 5-5; 8.2, 20; 9 . 1 ; 10.6; (46) W.1 . 1 6 ; 5.23; A . - 1 2 . 2 3 ; (47) A . - 1 . 1 4 ; (48) A.-2.8; C.-7.22; A.-10.20; 11.4, 1 0 ; (49) C.-8.15; A.-9.25 ; 10.16, 2 4 ; (50) A.-3.28; 4.9, 1 3 ; ( 5 1 ) A.I.23 ; 9.3; 12.5, 27; (52) N.-9.22; A.I I . 1 6 ; ( 5 3 ) A . - 2 . 1 0 ; W.-6.3, 4 ; A . 6 -4i (54) A.-5.10, 12, 16, 2 0 ; C.-5.15, 1 6 ; N.-6.10; A.-6.12, 14, 1 5 ; 8 . 3 1 ; C.-9.9; A . - 9 . 1 9 ; C.M.-9.23, 30; W.10.6, 7 ; A . - 1 0 . 1 1 ; C . M . - 1 1 . 8 , 2 5 ; A . I I . 1 8 ; 1 2 . 1 3 ; W . - 1 2 . 1 6 ; (55) C.M.1 . 2 2 ; A . - 2 . 1 9 ; W.-3.23 ; C.-4-I6, 1 7 ; A.-4.30; W . - 1 1 . 5 . Black Ghost, or The Nigger Turned Physician: ( 4 1 ) A.-9.28, 29, 30. Black Hugh, the Outlaw: (45) C.-U.5. Black Mummy: (52) N.-7.27 ; 8.6. The Black Rangers, or The Night 2]

P L A Y LIST H a v i k i ; a legend of the VVissahickon: ( 5 3 ) N.-7.26*. Black Raven of the Tombs: (42) W . 1 2 . 1 4 , 15, 16, 17, 19, 20, 2 1 , 22, 23, 24, 26, 27, 29, 30, 3 1 ; (43) W . - 1 . 2 , 3, 4, 5, 6, 7 ; 2.25, 27, 28; 3.1, 2, 3, 4, 6, 7, 8, 9, 10, l i , 16, 1 7 ; 7.15, 17, 18, 19, 20, 2 1 , 25, 2 7 ; 8 . 1 2 ; (44) W.-2.26, 27, 28, 29; 3.2, 4, 5, 6, 7, 8, 9; 7.10, i l , 12, 13, 15, 16, 17, 2 4 ; (49) C.II.3, 4, 6, 8. Black Sea Gull: ( 5 1 ) N.-8.6. Black Ship of the Desert: (41) W.4.14, 15, 16, 17, 19. Black Smith of Hesse Cassel: (48) W . 5.23. Black Wreckers, or A Vision of the Sea: (44) A . - 1 2 . 3 0 ; (45) A . - 1 . 1 . Blackbourne the Avenger; see Retribution. The Blacksmith's Daughter; see The Light Ship. Blacksmith's Hovel; see l'on: of Silence. Blanche lleriot, or The Bell of Death; domestic and historical d r a m a : (43) W.-3.8, 9, 10, 1 3 , 14, 1 5 , 1 6 ; 6.26; (50) C.-6.8, 9. Blanche of Brandyv-ine: (47) P . M . 5.17, 18, 19, 24. Blanche of Jersey: (43) C.-2.6, 7, 8. Blanche of Nevarre; advertised as taken f r o m " J a m e s ' novel of Love": (39) W . - 1 0 . 3 * . Blanche of Paris: (48) VV.-12.1, 2, 2 7 ; (49) W . - 1 . 1 6 . Bleak House; by John B r o u g h a m : ( 5 3 ) A . - 1 1 . 7 * , 8, 9, 10, i l , 12, 14, 15, 16. Bleeding h'un, or The Spectre of the Convent: (35) P . - 1 1 . 1 9 * , 2 2 ; (36) P . - 1 . 2 ; (44) A . - 1 . 5 ; (47) P . M . - 7 . 1 2 . Bleeding Nun of Lindenberg : (40) W . 6.13. Blind Bargain, or Hear it Out: ( 3 5 ) C.-1.6, 8. The Blind Beggar of Bethnal Green;

[

by J . S. K n o w l e s : (35) C . - 1 . 2 0 · , 22, 2 3 ; A.-2.28. Blind Boy, or Sarmatia's Heir; by W m . D u n l a p : (35) C . - 1 0 . 1 0 ; (37) P . - 2 . I ; (38) W . - 1 2 . 7 ; ( 4 . ) A.-9.7, 8; 1 0 . 2 1 ; (42) N . - 1 . 2 1 ; (46) A . 2 . 1 2 ; (52) C.-7.30. Blind Father and his Daughter : (46) P.M.-4.30; 5.2. Blind Man's Bug; f a r c e : (44) W . - 4 . 1 5 , 18, 2 2 ; (50) A . - 4 . 1 1 , 12, 19. Blind Man's Daughter: ( 5 5 ) W.-9.8. Blind Orphan: ( 5 5 ) C.-4.12. Bloodhounds, or The Orphan's Grave: (52) A.-4.9, 10. Blood Red Knight: (42) A.-10.25, 26. Bloomers out in Force; f a r c e : ( 5 1 ) B.9.22, 23, 24, 25, 26, 2 7 ; 10.23, 2 4 . 2 5Blud-Da-Nouns; burletta: (43) N.12.16, 18, 19. Blue Anchor: (43) W.-9.30; 10.2, 3, 9, II. Blue Beard, or Female Curiosity; by W i l l i a m Dunlap ( ? ) : ( 3 7 ) C . - 1 . 1 6 , 17, 18, 19, 20, 2 1 , 30; (38) C . - 1 2 . 2 5 ; (39) W.-3.23, 25, 26, 27, 30; (40) W.-1.20; ( 4 1 ) vv.-12.29, 3 ° ; A . " • 1 5 ; (47) A.-I.4. Blue Devils, or The Grumbling Englishman; f a r c e : (39) C . - 1 0 . 3 0 ; 11.4, 29; (40) N.-10.26; 1 2 . 4 ; ( 4 1 ) A.1 0 . 1 5 ; (42) A.-4.14, 29; 1 1 . 2 ; (47) A.-4.2, 5; 7.20; 9 . 1 0 ; 1 2 . 1 7 ; (48) A . 10.4; 1 1 . 3 0 ; (55) VV.-11.14, 23. Blue Domino: (44) C . - 1 0 . 1 5 , 16, 17, 1 9 ; l i . 1 2 , 2 6 ; (46) P.M.-6.23, 24, 30; (47) P.M.-6.25. Blue Jackets: ( 4 1 ) W.-9.6, 10, 1 3 ; 10.20; (42) V V . - 1 . 1 1 . Blunders in a Bed Room; see Forty Winks. Boarding School ; by J . H . Payne ( ? ) : (42) C . - 1 . 1 9 · ; 2.19, 2 8 ; (43) W . 5.30; 6.6; (44) W . - 2 . 2 ; 3.18. Boat Builder's Hovel; comedy: (38) VV.-8.25*; 11-8, 9. i ]

THE PHILADELPHIA THEATRE Bob

Nettles;

see

To

Parents

and

Guardians. Bob Short: (43) A.-12.13, 14, 19. Bobby Breakieindoiv: (49) C.-9.3. Bobtail and Wagtail: (54) A.-8.19, 21 ; 11.8. Bohea-Man's-Gal ; burlesque: (45) A.-4.12, 14, 15, 17, 18, 19. The Bohemians, or The Reçues of Paris; melodrama by E. Sterling: (43) A.-12.29·, 30; W.-12.30; (44) A.-1.1, 2, 3; W . - 1 . 1 , 2, 3, 4, 5, 6; (46) A.-5.28 ; 6.3, 5 ; 7.22. The Bohemian Girl; opera by B a l f e : (44) A.-12.16, 17, 18, 19, 20, 21 ; C.-12.20, 2 i , 23, 24, 25, 26, 27, 28, 30, 3»; (45) C . - i . i , 2, 3, 4, 7, 9; C.5.19, 20, 21, 22, 23, 24, 28; 6.24, 26; W.-10.29; C.-11.17, 19, 2 1 ; 12.16; W.-12.30, 3 1 ; (46) C.-5.2, 4, 15; W . II.2, 3, 7 ; 12.12; (47) C.-4.20, 23, 26; 5.6; W.-10.11 ; (48) W.-9.9, 25, 29; «o-s; (49) W . - 1 . 3 ; 5.1, 5; 10.9, i i ( I I - 2 9 I ( S 1 ) B.-2.19, 2i, 27; W . 12.8, 9, 18; (53) C.-9.12, 14, 16, 19; (54) W . - 1 1 . 1 , 2 ; (55) W.-2.21; C.M.-6.11, 12, 13, 15 (Act 1 ) , 16 ( A c t 2), 19, 22, 25 (Acts ι and 2). The Bohemian Girl; d r a m a : (44) W . 12.18, 19, 20, 21, 23, 24, 25, 28, 3 1 ; (45) W . - 1 . 3 ; 8.1; 10.25; (46) W 3.21; (48) W.-12.24, 26. The Bohemian Mother: (35) W.-1.12. A Bohemian's Revenge; see Lo Zingaro. The Bold Dragoons: (35) C.-5.12; 6.22; 8.27; (37) C.-I2.2; (38) C.1.3; (36) A.-3.25 ; 4.20, 22; (38) C.-2.7, 28; (40) VV.-4.24, 25; 5.7; 6.2; (44) W.-6.10, 14; 7.3. A Bold Stroke for a Husband; by M r s . C o w l e y : (35) C.-2.2 ; 12.31; (37) C.-1.20; (40) C.-5.16, 22; 12.19; (35) A.-3.9; (39) W . - 7 . 1 1 ; (44) W . - 5 . 3 1 ; 6.12; (45) W.-2.8, 1 1 ; (46) W.-7.20; 8.24; (47) W . - 3 . 1 1 ; 8.26; (48) A.-10.17; (49) Ath.-i.2, [Î

1 1 ; A.-3.19; (50) A.-10.16; (51) B.12.8, 9; (52) A.-10.5; (53) A.-3.24, 30; 5.9; 6.27; (55) A . - 5 . 1 1 ; 8.18; 9.19. Bombardment of Paris: (46) A.-6.17. Bombardment of Matamoros and Repulse of the Mexicans; national d r a m a : (46) A.-5.23, 25, 27; 6.18. Bombastes Furioso; burlesque: (35) A.-4.3; C.-12.14, 25; (39) W.-4.29; 5.11; (40) VV.-7.21, 23; (42) VV.6.6; (43) A . - 4 . 1 ; VV.-6.27, 291 (48) W.-12.15, 16; (50) VV.-1.12; (54) C.-3.14, 16, 24; 5.13. Bone Squash Diavolo; by T . D. Rice: (35) W.-12.1*, 2, 3, 4; (36) W . 5.19, 20, 21, 24; (38) W . - 1 . 6 ; 10.13; (40) W.-12.19; (38) C-6.25, 28, 30; (40) A.-9.10, l i , 12; (41) A.-11.6, 8; (43) A.-9.26 ; (44) C.-10.30; i l . 5 ; 12.19; (4 6 ) A.-2.3, 6, 10; (48) A.2.19; VV.-12.28, 29; (50) A.-5.6, 7. The Bonnie Boy; see Gilderoy. Boots at the Sivan: (43) VV.-2.20; A.8.11; C.-9.10, 12, 22; W.-10.2; C.II.6, 9, 16; 12.5; (44) VV.-1.1 ; 4.30; N.-5-24; (47) P.M.-3.27, 28; 4.1, 7 ; 5 . 1 1 ; 6.3; (48) P.M.-4.15, 18; A.6.14, 23; P.M.-7.7, 12; C.-7.18; A.10.11; (50) W.-2.27; 3.1, 8; (51) W.-6.7; (52) A.-9.9, 29; (54) W.II.14, 18. Border Beagles, or The Tale of the Mississippi: (44) A.-8.10, 14; 10.14, 16. Born to Good Luck, or An Irishman's Fortune: (35) C.-4.27; 5.8; (36) C.10.4, 13; i l . 1 9 ; (37) C.-2.13, 22; 3.9; (38) C.-10.1; i l . 1 3 ; (40) C.I0.8, 20; (37) A.-5.20; (41) C.-2.25 ; (42) C.-11.4, 7 ; (43) W.-2.2, 3; 3.21; (45) C.-2.5; 11.24; (46) W.9 4 , 5; 10.7; P.M.-10.16, 17; W I I . 1 9 ; (47) W.-2.1, 3, 1 1 ; P.M.-+.8, 9, 10; VV.-6.14, 19 ; 9-28; 10.5; 12.8; (48) A . - 3 . 1 7 ; P.M.-4.26, 29; W.-

]

P L A Y LIST 5.18 ;

C.-6.30;

4.10, 14; 29;

10.15;

VV.-4.30;

A.-il.29;

21,

(49)

(50)

7.4;

28;

VV.-

W.-9.10,

19,

C.-2.28;

11.20;

W.-3.1;

(51)

A.-5.12;

( 5 2 ) C.-2.6, 7 ; W . - 3 . 5 , 6 ; C.-

6.17;

(53)

A.-7.23; 10;

6.1;

A.-6.29;

A.-2.14, il.14;

W.-9.11;

A.-5.28;

A.-2.24;

W.-10.27;

(54)

5.15;

3.2, 3 1 ; il.12;

A.-2.16;

C.-8.7,

18;

3.22;

C.-5.2; A.-12.8,

5.13;

A.-9.20;

VV.-

10.3,

13;

12.20; (55) W.-9.19; 11.29; 12.1. Borrowed

Feathers:

(42) C . - 9 . 1 7 ; The

Boston

(35) C.-6.15*, 20;

IO.II.

Boys

of '76;

see

Liberty

Boston

in 1775;

Boston

Tea

Brandyuine

Springs:

Bravery

Rewarded

(42)

Philadelphia

Fireman. The

Bravo,

or The Red

Mask;

der;

Bravo

of Venice;

by W . T . M o n c r i e f f :

( 3 5 ) W . - 1 . 7 » , 10, i l , The

Bravo's

Oath;

The

Brazen

Drum;

13.

see

Venetian.

by

S. S.

The

Brazilian

The

Breach

Ape; of

see

Pongo.

Promise;

see

Brevier

of

Preston:

(46)

Brewer

of

Preston;

comic

of

Second

Bottle:

(47)

12.3;

and

18;

2 9 ; C.-5.6, 7, 8, 9, i l , 1 2 , 1 3 , 14, W.-11.4,

( 3 6 ) C.-7.7, 9 ;

(38)

Brian

5;

(47)

Boroihme,

C.-4.10,

17.

or The Maid

of

14,

15,

(38)

16,

17;

VV.-3.17;

C.-2.25;

f a r c e by J . M . M o r t o n : A.-

(37) (39)

VV.-8.28, W.-4.10;

( 4 2 ) A.-6.24, 2 8 ;

9.10, 1 2 , 1 5 ;

VV.-i.i2*, 13, 17, 20; 2.4;

(50)

O'Lynn;

by S. D . J o h n s o n :

(51)

VV.-

20, 2 2 ;

(53)

(50)

20, 3 1 ;

( 5 5 ) VV.-9.17, 24.

(49)

Ath.-1.3j

VV.-1.24; 2.3, 1 4 ; 9.23;

12.3;

(51)

5.12;

VV.-1.10;

6.2, 2 3 ;

C.-

( 5 2 ) VV.-3.29; 9.9; 1 1 . 2 ;

W.-5.6; (54)

3.29;

4.8, 2 4 ; A.-6.3;

C.-1.3;

C.-8.30;

7.12;

(53)

VV.-11.21;

C.M.-12.2;

(55)

and

(52)

Cox

Married

A.-12.15;

and

(53)

W.-9.5,

Settled: 8,

10,

1 4 ; 10.1, 1 3 ; 12.7; (54) W.-4.14, 1 5 ; 10.19, 3 1 ; 1 2 . 1 8 ; Cox,

and

Knox;

f a r c e by W .

E.

3.18, 2 7 ; A.-3.28; Boy

of

Bridal,

(45) 24;

Clogheen;

see

Paddy

11.4;

(52)

C.-5.5;

or Maid's

VV.-7.28, 2 9 ; 12.15;

W.-10.19,

(54)

W.-5.19,

Tragedy;

(46)

8.16;

9.4;

W.-6.4;

by

(52)

VV.-11.17;

3.28; ( 5 5 ) A.-9.7, 8, 1 0 , 1 2 ; The

Bridal

Rose

of

the

of Ettrick

Bridals

Border;

10.8,

(47)

4 . 2 3 ; VV.-10.26; (48) V V . - 1 0 . 2 8 ;

A.(49)

(53)

C.-

10.1. see

The

Vale.

of Messina;

see John

di

Procida. The

Bride;

(37)

P.M.-5.19.

14;

J . S. K n o w l e s : ( 4 3 ) C . - 1 2 . 1 9 , 20, 2 3 ;

The

( 5 5 ) VV.-2.19.

B u r t o n ( ? ) : (48) A . - 1 . 1 4 , 1 5 ; P . M . -

Carey.

The

VV.-6.18;

VV.-3.12; 4.21.

A.-

Α . - ι . 2 4 , 25. Brian

18;

12.4;

(49)

(50)

A.-5.12*,

3.19, 2 3 ; 6 . 1 1 ; 10.22, 3 0 ; 1 2 . 3 ;

29; (41)

A.-7.9, 1 1 ;

2 . 7 ; C.-7.7, 10, 1 9 ; VV.-9.14, 2 6 ; 10.3, II.3;

Erin;

by J . S. K n o w l e s : ( 3 6 ) VV.-5.28; 6 . 1 3 ,

(45) W . - 7 . 1 8 , 19, 2 1 , 2 2 ;

Cox;

by 28,

(35)

A . - 1 2 . 6 , 1 2 , 19.

(48)

opera

P.M.-4.27,

Blun-

A . - 1 1 . 2 5 , 26, 27, 29, 3 0 ;

Imp:

(46)

Years'

Ten

(48) P.M.-4.7, 8·

(51)

Adam:

P.M.-6.8.

Oulton:

or A

C . - 2 . 1 5 , 1 7 , 24 ; 3.21 ; 8.28.

The

Steele:

( 4 1 ) A . - 1 . 2 7 * , 28.

Liberty.

f a r c e by VV. C.

VV.-10.8; 1 2 . 8 ;

Box,

(by R .

P. Smith) : (49) VV.-10.2, 4, 6.

Adolph

Botheration,

Box

W.-

(43) W.-3.6. ; see

( 4 3 ) V V . - 5 . 2 3 · ; N.-

see Cradle

Party:

11.26.

Box

by VV. T . M o n c r i e f f :

5-7, 1 3 . 14, 3 ' ! 6.3, 1 6 .

Thoughts.

Tree.

Bottle

Boz;

Bride (41)

by

Theodore

Körner:

A.-7.20. of Abydos:

(37) W.-1.9, 1 1 ,

W.-2.9, 18, 1 9 ;

(40)

13;

C.-12.17;

THE PHILADELPHIA THEATRE (41) C.-1.1 ; (43) W.-4.14, 15, 17. Bride of Lammermoor, or The Last Heir of Ravemvood: (35) C.-4.15; 8.26; (38) C.-12.24; (39) C.-1.10; (41) C.-2.23, 26; (42) C.-9.22; (45) W.-6.28; A.-10.27; (50) A.-10.19; ( 5 1 ) A.-4.12; (52) C.-10.16; (54) C.-10.21; 11.2; (55) C.M.-5.12, 15. The Bride of the Isles; see Vampire. The Bride's Revenge; see The Dark Lady. A Bridegroom from the Sea; see The ÌVreck Ashore. The Bride's Journey; melodrama: (47) A.-8.28, 30, 3 1 ; 9.1, 2, 3, 4 ; (48) VV.-7.14, 15; (50) A.-6.19, 20. The Bridge of Terror: (41) A.-2.1, 2. The Brigadier's Horse, or The Inn of Cervanne ; romantic drama (by James R e e s ) : (49) C.-11.17, 19, 20, 21, 22, 23. The Brigand: (35) C.-9.15, 16; (36) C . - 1 . 1 2 ; (39) C.-1.1, 2; (35) W . 11.2, 3, 4; (36) VV.-2.17; (38) W . 2.5; (36) A.-3.12; (37) A.-5.26; (36) P.-12.17; (42) W.-2.5; (43) C.-11.30; 12.2; (44) W . - 1 . 1 9 ; 2.8; 4.29; 6.17; (45) W.-8.9, 22; (46) A.-10.16, 20; (49) A.-4.17, 18, 19; (50) B.-10.28, 29 ; I i . ι . The Brigand's Daughter; see Arnaldi. The Briton Chief ; see Cas 17; 5-4, 8; C.-9.13, 14, 15, 16, 17, 18; (53) W.-3.10, 23; 4.2; 12.20, 30, 31; (55) C.-1.22, 23, 26; A.-12.24, 25, 26, 27, 28, 29, 31. Council of Ten, or The Venetian Bravo: (41) W.-9.22, 23, 25. Council of the Inquisition: (36) \V.4.16*, 18, 19, 20, 21, 22, 23, 26, 27, 29. Count of Monte Cristo; by G . H . A n d r e w s : (49) A.-1.24*, 25, 26, 27, 29. 30. 31; 2.1, 2, 3, 5, 6, 7, 8, 9, 10; W.-I.24*, 25, 26, 27, 29, 30, 31; 2.1, 2, 3. 5. 6, 7. 8, 9, 10. 12, 13, 14, 15, 16, 1 7 ; 5.26; 6.1 ; (52) N.-10.4, 5, 6, 7, 8, 9, 10 (Acts 4 a n d 5 ) . A Countess for an Hour: (51) B.-11.10, i l , 12, 13, 14, 15. Country Girl; comedy by D a v i d G a r r i c k : (39) C . - 1 1 4 , 6, 16; (40) C.1.20, 28; 5.12; W.-5.23; (42) A.-

!]

P L A Y LIST 8.1;

(44)

C.-10.19,

8.30;

9.2;

(50)

23;

(47)

A.-12.31;

3.18;

W.-

(51)

Courier

of Lyons:

Courier

of

(55) Α.-5.11,

the

Ocean:

(51)

Ι2.

(41)

A.-1.19,

comedy : (49)

W.-1.5*,

10.6, City;

6, 8,

30;

or King's (51)

Jester

(52)

and

Crimson

A.-4.24.

ful

Court

of Love;

22;

or

farce

(46)

A.-3.28*, A.-6.25;

Courtship

of

Samuel

Slick

Slick,

Cousin

Cherry; Joe;

Slickville;

3.12;

see

(53)

Cousin

Lambkin:

Cradle

of

(50)

(51)

C.-9.9; (43)

Liberty,

W.-1.25*, 16;

18; The

C.-7.21.

(38)

R.

Brig,

Ballangeich ma:

(36)

(39)

or

;

C.-12.5, 30;

C.-2.18;

10.29; 4.21;

N.-8.2; or

The

"historical 18,

The

of

Gold:

25.

Crockett

Scot;

Coleman

in Texas,

Glory:

(46)

of Gold:

(52)

of Death,

or

(46)

A.-2.19,

(37)

P.M.-4.3,

15, 2 6 ; A . - 5 . 7 ,

12, 2 9 ;

16;

P.M.-il.14,

10.24, 20, 2 4 ;

P.M.-ι.9,

3.1, 2, 4, (48)

Lone

Star's

A.-9.22. The

Dogs

of

(53)

Sala-

C.-4.18,

20.

5.1,

7.14;

14.

story

(52) A.-4.2, 3;

11.21;

5.8, 2 5 ;

(55)

"Tupper's

or The

Cross

P.M.-2.11;

W.-1.3;

A.-3.17.

7.8;

4.19;

H.

'9,

C.-9.10;

8, 9, 23.

7, 9, 10, i l , 13, 1 5 , 16, 18, 22, 24, 2 9 ;

30;

(45)

(49)

Α.-ι.6,

the Line,

Α.-ι.28;

(40)

VV.-11.17,

(47)

C.-2.13,

by

Cross

(47)

C.-4.19;

10, 1 4 ;

6.4; C . M . - 1 2 . 1 1 ,

of

16, 24, 3 1 ;

(39)

8.2; (50)

19, 2 1 ;

C.-10.12,

12.2,

Rehearsed; C.-10.31;

M. Ward."

A.-11.23,

12,

(54)

P . M . - 5 . 3 * , 4, 5, 6, 7, 8, 13, 2 2 ;

Admirable

P.M.-9.11,

31;

5.19;

(35)

(41)

( 3 6 ) W . - 8 . I 4 * , 15, 16,

A.-11.9;

31; 6.8,

A.-3.5,

W.-12.28;

(35)

7.11;

W.-12.30,

dramatized

23, 24, 25, 26, 2 8 ; A . - 4 . 3 ;

6.6;

A.-

5.24,

C.-5.28;

(36)

Crossing

28, 3 1 ;

A.-

(50)

W.-

3.7, 1 2 . 2 7 ; P . M . - 3 . 1 9 , 20, 2 i ,

8, 9, 14,

5.8;

W.-

(52)

Hearth:

25;

Tragedy

(44) A . - 7 . 2 6 ;

manca:

the

C.-10.1 ;

Sheridan:

(38)

Crock

Dread-

2,

W.-1.15;

or A

8.26;

(49)

of

10.13.

B.

A.-5.18,

19.

on

20, 2 1 ;

A.-12.25,

(40)

(43)

by

(43)

(39)

5.2;

drama

Philadelphia":

C.-4.14;

12.io, 13;

C.-3.9;

(51)

Crichton,

of dra-

(38)

(53)

C.-6.3 ; N.-9.21 ;

Scotch

C.-1.26;

ATH.-1.23;

2.14;

(40)

Gudeman

4-27; 9-28;

II.5, 16; 6.6;

14;

The

historical

6,

C.M.-

(55)

4.1,

A.-7.15;

6.4; 20;

Cramond

Cricket

Critic,

11.23;

W.-7.4;

30;

l~~s;

3.14.

17,

9.18;

by

W.-5.27. in

6.3,

(54)

Deeds

(49)

W.-1.21;

CM.-9.27;

A.-9.13, (54)

or Boston

b y S. E . G l o v e r :

(51)

(52)

farce:

17,

12.2;

(by \V. E. B u r t o n ) :

P.M.-5.16;

10.30;

( 5 4 ) A . - 5 . 1 ; 7.3. farce:

" • 5 , 15;

A.-11.5.

Esq.

26, 3 0 ; 2 . 5 ; Cousin

of

II.9;

Crimes,

Sote;

(47)

(45)

5.7, 8 ;

Repentance:

by James

in Connecticut:

2.7;

21;

16,

i l . ι , 28;

C.-1.2;

N . B a r k e r : ( 3 6 ) A . - 3 . 2 6 * ; 4 . 2 7 ; 5.14. Courting

comedy

Ath.-1.16; 10,

26.

; by Victor

A.-2.18 ; N.-7.18;

10.22;

(52) 9,

(49)

B.-9.9,

C.M.-I2.I8. Crime

12.

Fool,

Hugo:

7,

3;

(50)

B.-1.8,

14,

2 i , 23. Courtand

The

7.1,

23, 24, 25, 2 6 ;

I . I I.

Court

5.3;

P.M.-7.27;

A.-

30;

(37)

5, 19,

15;

P.M.-

8.19.

[ 563 ]

(35)

W.-2.21; A.-7.6;

P.-1.6, 9.12;

or Crowded 15;

26; (48)

4-27;

(36)

19,

A.-5.9;

A.-12.29;

21; (37)

(42)

(50)

29; 6.10;

P.-12.8, 28; C.-1.30;

P.M.-3.23; (51)

Houses:

C.-6.14,

W.-12.15,

(36) (38)

(36)

A.-

A.-3.5,

(52)

C.-

THE PHILADELPHIA THEATRE Croivn (54)

Diamonds: W.-II.6,

7,

(53)

C.-6.6;

8,

10,

9,

li,

9.9; 17;

(55) W.-2.20, 23. Crown 0/ Diamonds; comic o p e r a : ( 5 1 ) C.-I0.22, 24, 27, 29, 3 1 ; 11.26; (52) C.-2.16, 18; 3.5; 9.22; 10.8; (53) C . - 1 . 1 0 ; 5.16. The Crovin Prince, or The Buckle of Brilliants; burletta: (39) C.-5.1, 2 ; i l . 1 ; (40) C.-1.2, 25; 3 . 1 1 ; 5 . 1 1 ; (41) A.-4.24; 5.18; 6.15; (51) W . 10.23, 2 5i 28; i l . 1 2 . The Crusaders: (55) C.M.-6.4. Culprit: (43) C.-7.28. Cupid: (3S) A.-3.14·, 1 7 ; (36) A . 3.17, 22; 4.18; (35) C.-12.26; (45) W.-1.18. Cupid in a Convent; see Pet of the Petticoats. Curate's Daughter: (53) C.-12.1*, 2, 3, 5. 6, 7, 8, 9. A Cure for Coquettes, or The Student of Oxford; comedy by D. Boucicault: (53) C.-12.7*, 8, 9, 10, 12, 26; (54) C . - 1 . 1 1 , 12. A Cure for the Heartache ; "musical comedy," by T h o m a s M o r t o n : (35) C.-10.14; 11.20; (37) C . - 4 . 1 1 ; 9.20; (38) C.-6.30; (36) W . - 3 . 1 5 ; (37) P--I.I4I (39) C.-5.2; (40) C.-4.14; (42) C . - 1 . 1 4 ; N.-1.28; (43) W . 7.10; (44) W.-4.22; (45) W.-2.20, 26; 7.3; 10.7; C.-12.6; (46) W . - 1 . 1 0 ; C . - 1 . 1 0 ; 5.23; (48) W . - 1 . 1 4 ; A . 4.10, 1 2 ; (49) W.-4.2; (50) W . - 1 . 3 ; C.-6.20; B.-12.4; ( 5 1 ) W.-1.3, 16; A . - 4 . 1 7 ; W . - 5 . 1 3 ; C.-10.3; (52) C.1.6; 4.10, 1 5 ; I i . 1 0 ; (53) C.-2.25; A.-3.9, 2 5 ; C.-6.15; A . - 1 1 . 1 4 ; 12.13; (54) C.-6.23; A.-10.14, 1 7 ; i l . 1 6 ; ( 5 5 ) A . - I . 2 6 ; 2.8; S-7, 3 1 ; 6.18; 9.21; 12.21. Curfew, or Fisión of the Dead: (37) P.-1.10. Curiosity Cured, or Potvder For Peeping; f a r c e : (40) C.-5.18, 19, 22.

[

Curiosities: (43) W.-2.14. Curiosities of Literature ; f a r c e : (44) N.-5.22. The Custom of the Country: (52) C . 2.II*.

Cut and come Again: (40) A.-I2-5, 8; (40) W . - 1 2 . 1 5 ; (45) C.-5.3, 8, 9. Cymbeline; by W i l l i a m S h a k e s p e a r e : (44) W.-3.23, 28.

Damon and Pythias, or The Test of Friendship ; tragedy by John B a n i m : (35) W.-1.9, 17, 27; 3 . 1 1 ; 6.25; 7 . 6 ; A . - 4 4 ; W.-9.3 ; 10.9; 1 1 . 1 6 ; 12.28; C.-10.15; (36) C.-9.5; VV.-2.4; P.12.8; (37) W.-1.4, 2 5 ; 3.24; 7.27; C.4 4 ; i l . 1 7 ; P.-2.7; (38) C.-1.20; 2 . 1 ; 6.26; 12.3; W.-3.22; 8.1; 10.16; (39) C.-12.5, 16; W . - 7 . 2 2 ; 9.18; (40) C.9.22; 12.1; W.-4.22, 28; (41) A.-4.7, 24; 6.3; 8.26; W.-5.14, 20, 22; N.8.23; (42) W . - 3 . 1 4 ; A.-5.2, 5; C.4.16; W.-5.23, 26; A.-10.18; W . 10.18; (43) A.-8.30; 9.22; N.-10.20; A.-12.27; (44) A . - 1 . 1 8 ; N.-4.19; W . 9-7; " - 1 4 ; (45) W . - 5 . 3 ; A . - 1 0 . 7 ; 12.15; ( 4 6 ) A . - 1 . 2 ; 2.28; 5.13; w . 10.26, (47) W.-1.8 ; 5.22; 11.2; (48) A . - 7 . 1 9 ; C.-7.27; 9.7; 10.1 ; 12.13; ( 5 1 ) W.-10.6, 9; A.-10.6, 16; (52) A.-3.15; W.-6.11; A.-94, 17; W." • 9 . 19; (S3) A.-2.7; S.24, 25; W . 5.25; 10.10; 12.16, 1 7 ; (54) C.-9.29; W.-10.9, 14; (55) C.M.-6.4; W . 12.14, 2 1 ; A . - 1 2 . 1 5 ; C.M.-12.21. Damon and Pythias; f a r c e : (40) W . 3.10, 12; (41) W.-4.23; (45) A . 12.15. Damp Beds; f a r c e : (35) W.-2.7*. Dancing Barber; f a r c e (by W . E. Burton) : (38) C.-6.20·; 7 . 7 ; 9.12; (39) C.-3.29; (48) A.-8.19. Dancing Bears of Cashmere: (50) C.14. The

Dancing

Feather,

or Secrets

of

PLAY LIST Life in New York: (44) A . - 1 0 . 2 4 · , 25, 26, 2 8 ; i l . 5 . Dancing Mad, or The Christmas Party: (45) A.-12.8, io, 1 1 , 25. Dancing Scotchman: (40) Ν.-12.25, 26. The Daring Man: (39) VV.-12.18. The Daring Yankee; see Sam Patch. Dark Doings: ( 5 1 ) Ν.-8.1, 9· The Dark Lady (of Dooua), or The Bride's Revenge; melodrama in two acts by W . E. B u r t o n : (40) VV.-4.17*, 18. Darnley, or The Freebooters of Castle Keep: (49) A . - 1 2 . 1 0 , 1 1 , 15. Das Goldene Kreutz, or France in ¡S12-1815: (47) C . - 6 . 1 1 . Das Kaetchen von Heilbronn; romantic d r a m a in five acts: ( 5 1 ) C.-2.26, 27. Das Pfefferroisel, or The Mass in Frankfort in I2Q7'. (55) G.N.-8.30. The Daughter ; domestic drama in three acts by R. P. Smith: (36) W . 5.21*, 2 7 ; ( 3 7 ) C . - 4 . 1 9 ; (42) W . - 7 . 2 ; (43) C . - 1 1 . 1 , 2 ; (50) B.-10.8, 9; 12.12. The Daughter; "first time in America, founded on Scribe's La Lectrice, with Miss T r e e in title rôle": ( 3 7 ) C.-1.23*. The Daughter of Evil; see Devil's Daughter. Daughter of the Regiment, or The Gallant Twenty-First: (48) W.-10.2, 3, 6, 7 ; (49) W . - 5 . 4 ; A . - 1 1 . 3 ; VV.1 1 . 2 6 , 2 8 ; 1 2 . 6 ; (50) A.-4.6 ; 10.14, 1 9 ; ( 5 1 ) A.-4.2, 4 ; W.-8.27; 9.10, 2 0 ; (52) C.-2.20, 23 ; 10.6; (53) C.1 . 3 ; 5.20, 2 7 ; 6.3; 9.5, 24; W . - 1 2 . 2 1 , 24, 30; (54) C . - 1 0 . 2 1 ; (55) C . M . 5.12, 1 5 ; 6.14, 15, i6, 29. Daughter of the Stars: (50) W.-10.8, 9, 10, 1 2 , 22 ; 1 1 . 1 , 14, 22 ; 12.23 ; ( 5 1 ) VV.-1.7; 2 . 1 0 ; ( 5 3 ) W . - 1 . 2 4 . A Daughter's endorpt.

Love;

see Maid

of

Mari-

[

David and Goliath; sacred d r a m a by Hannah M o r e : (50) A . - I 2 . 2 8 , 30, 3 1 . David Copperfield; (by J o h n B r o u g ham) : (50) B . - 1 1 . 6 · , 7, 8, 9 ; 1 2 . 3 ; ( 5 1 ) VV.-2.17, ' 8 , '9. 20, 2 2 ; B.-6.30; (52) C.-8.12, 1 3 , 14, 1 7 ; 1 2 . 1 5 ; ( 5 3 ) C . - 7 . 1 1 , 1 3 ; (54) C . - 8 . 1 2 ; ( 5 5 ) C.1.19, 2 7 ; W . - 5 . 3 ; C . M . - 9 . 1 5 , 1 7 , 18. A Day after the Fair, or My Nervous Debility; a f a r c e : ( 3 5 ) C . - 6 . 1 ; (36) C . - 1 2 . 5 ; (39) C . - 3 . 1 6 ; 5 . 3 1 ; (48) A . - 1 2 . 2 ; (49) A . - 1 0 . 2 2 . Day after the Wedding; comedy: (35) C . - 1 0 . 2 6 ; i l . 1 7 ; (39) C.-2.8; 3 . 2 2 ; 4-5 ; 5-22; ( 3 7 ) P--I-9. " 3 ! 2-17, 1 8 ; (38) W . - 9 . 2 7 ; (39) W . - 7 . 1 2 ; (40) W . - 1 1 . 1 9 ; (39) C . - 6 . 1 ; 1 2 . 3 1 ; (40) C . - 3 . 1 7 ; 4.24; 6.29; 1 2 . 9 ; (42) W . 2.8; A . - 9 . 1 7 ; (43) A.-4.26, 2 7 ; W . 5.3; 10.7, 2 0 ; (44) W . - 6 . 1 9 ; 7 . 1 2 ; (45) VV.-2.19; 6.28 ; C.-9.5; (46) P.M.-8.14; VV.-10.19; P.M.-10.27; (47) W . - 3 . 2 9 ; P.M.-5.6, 1 8 ; 6.8; W . 9 . 1 6 ; 1 1 . 2 4 , 2 5 ; (48) W . - 1 . 1 8 ; 3.6; P.M.-7.4, 5 ; A . - 8 . 1 0 ; W . - 1 0 . 2 0 ; A.10.30; (49) VV.-5.7; C . - 8 . 1 6 ; 9.24; (50) VV.-2.21; 3.6; ( 5 1 ) C . - 3 . 1 2 ; 8.25, 2 6 ; 9.13, 2 0 ; 1 0 . 2 7 ; ( 5 2 ) C.1 . 2 2 ; 3.29; W . - 1 2 . 8 ; ( 5 3 ) W . - 1 . 2 9 , 3 1 ; (54) 0 . - 4 . 2 0 , 2 6 ; N.-6.6; C.-7.17, 19, 2 2 ; C . M . - 1 1 . 3 ; A . - 1 2 . 2 6 ; ( 5 5 ) W.-4.7, 1 1 ; 10.26. A Day in New York: ( 4 1 ) N.-9.21, 22. A Day in Paris; comedy: ( 3 5 ) W.-5.2, 5, 6, 1 5 ; (39) W . - 7 . 1 5 ; (40) W . 1 2 . 2 4 ; (42) A . - 5 . 1 2 ; VV.-7.15; C.12.5, 6, 12, 29; (46) P . M . - 6 . ι , 1 1 ; (47) P . M . - 2 . 2 0 ; 3 . 2 2 ; (48) C.-7.4; (52) C . - 6 . 1 ; (54) C.-8.7; C . M . - 1 1 . 3 . The Day of Reckoning ; by J . R . Planche: ( 5 1 ) W . - 5 . 2 ; A . - 5 . 2 4 ; 6.16. Day Well Spent; (by J o h n O x e n f o r d ) : ( 4 1 ) W . - 7 . 1 0 ; (54) A . - 1 . 2 1 ; 2 . 2 2 ; 6.5; 12.5, 9. The Days of Kirk and Monmouth ; see Battle of Sedgemoor. H

THE PHILADELPHIA THEATRE Days of Old; see Riever"s Ransom. The Days of 1776; see Benjamin Franklin. The Dead Shot: (35) A.-3.13; (40) A.-12.9, 15; (35) W . - 9 . 1 4 ; (36) C.n - 3 . 14; (37) C.-12.23; (39) C.I.22; 2.11; 3.8, 14, 20; (39) W.4.27; 11.26, 29; 12.16; (40) W.-1.21 ; 3.13; 6.19; 8.28; (41) W.-9.28; (39) C.-5.20, 27; i l . 8 , 14; 12.14; (4°) C.2.5, 8; 3.6; 5.19; 10.5; 11.3, 14; 12.5; (41) Ν.-4-·9; (42) W.-3-9 ; 4.2; A . 5.7; 8.24; 9.16, 28; (43) O.-1.17; (46) P.M.-3.25, 3 1 ; A.-6.13, 30; P.M.-10.29; (47) P.M.-1.22; 7.14; W . - 1 1 . 1 6 , 23; 12.7; (48) A.-5.20, 27; W.-5.20; P.M.-7.6; W . - 9 . 6 ; i l . ι ; A . I I . 3 ; Ath.-12.25; (49) Ath.-1.12; W.-5.16; A.-5.17; W.-11.12; A.12.20; (51) W . - 1 . 1 4 ; 3.14; (52) C.5-5; (53) C.-2.5, 2i, 26; 3.11; 4.2; 7.14. Deaf as a Post: (36) C.-11.30; (38) C.-5.17; 8.29; 11.22; (39) C.-3.6; 12.5, 28; (37) A.-6.22; (41) A.-4.5, 17, 30; (40) W.-11.9, 16; (45) A.6.2; 3; W.-10.17, 20, 29; 11.1 ; (46) W . - 2 . 2 1 ; 4.24; 5.4; P.M.-7.16, 23; W.-9.9, 15; 10.12, 24; 11.30; (47) W . - 1 . 1 8 ; 3.25; 4.5; 6.1; 8.18; 12.11; (48) W.-4.8; 12.7, 12, 23; (49) W . 1-17; (54) C.-9.26; 10.23; (55) A.10.19, 25. The Death of Abel; see The First Fratricide. The Death of the Moor: (35) M a m .

Death Struggle, or The Dying Gift: (54) C.M.-10.28. The Death Token, or The Murderer's Fate; melodrama: (40) W . - 7 . 1 1 ; C.-3.3*; (41) W.-7.1, 3; (46) A . 2.2, 3. Debutante: (54) W.-1.2, 3, 4, 5, 6, 7, 9, 10, i l , 12, 13, 14; 3.17, 20, 22, 25; 5.6; 6.14; C.M.-9.22; ( s s ) W . - 9 . 1 5 ; C.M.-10.12. Deceiver Deceived: (45) N.-5.6. The Deceived Angus; see IVatchman. Declaration of Independence ; national drama by John B r o u g h a m : (45) A . " • 1 4 * ; (53) C.-7.4, 5, 6. Deeds of Dreadful Note; see Crimson Crimes. The Deep, Deep Sea, or The American Sea Serpent, or Perseus and Andromeda: (35) W . - 1 . 1 * , 2, 8; A.-2.27, 28; 3.5, 7, 19, 24; (36) A.-3.15, 16; (37) A.-5.6, 9; C.-10.10, 12; (48) A.-4.18, 19, 25; (51) B.-I.2I, 22, 23·

(45) A.-7.19, 22, 26,

The Deformed, or Woman's Trial; by K. P. Smith: (39) C.-3.18; 12.21; (46) W . - 1 . 1 9 ; (47) A.-11.19. Delicate Attentions: (38) W.-1.15, 26; 2.6, 15. Delicate Ground, or Paris in 1793: (50) C.-6.5, 12; 7.15, 16, 19; (51) W.-9.23, 26; 10.6; il.6, 19; (52) W . - 1 . 2 9 ; 2.1?; 3.10; 5 . i l , 14; C.10.13, 14; II-3. 15. 18; (53) C.-1.1, 1 1 ; A.-3.24; W . - 5 . 5 ; A.-12.23; (54) A . - 1 . 1 9 ; W.-1.25, 26; 2.1; 3.8; A.3 . i l ; W . - 5 . 1 1 ; A.-5.29; W.-10.27; 11.8, 20; (55) W.-3.20.

31· Death Plank, or A True Tale of the Sea; by J. B. Buckstone: (35) A.3.28*; (36) A.-4.7, 8, 13; (35) C.6.10, l i , 13; 11.4, 5; (36) C.-6.30; 9.20, 21. The Death Struggle; see Andreas Zell.

The Deliverance of Switzerland ; see The Conjuration. Delusion: (41) N.-3.30; C.-5.1. The Delusion; comedy: (49) A.-4.20·. Democracy and Aristocracy, or The Rich and Poor of Neiu York: (50) A.-7.13*, 15, 16, 17, 18.

C.-1.3, 12, 13. The Death Fetch:

PLAY LIST Demon

Dwarf,

or

The

Vampirc

Bat:

De

(40) W.-11.26, 30; 12.ι. Demon The

Fire

Fly:

Demon

Doctor The

(41) W . - H . 2 4 , 25.

of

the

derer's

Sacrifice:

Demon

The

Denouncer Alte

one

(39)

Destruction

or

The

Hand

of

The

20, 21,

5.10;

(51)

Apprentice;

acts:

(51)

Der

25;

Devil's

C.-

The

Nacht

Der

Wächter

tVachter,

tures;

grand

(43)

W.-7.6;

fVirrivar,

ners; The

Deserted

Thomas

Holcroft:

the Free

(35)

Buccaneer:

18;

IVater; Cor-

Village: 9.2;

(35) (36)

Head:

Devil's

in it:

Deserter;

The

The

(42)

A.-

The

C.-5.13*, A.-3.23;

15,

Devil's Devil's

Deserter

m a i n o n e a c t : (35)

W.-6.11.

Air,

Fire,

and

(50)

C.-

drama:

(44) A.-8.17, 19, 24, 30. (54)

C.-4.22 ; W . - 1 1 . 2 3 ; Dice;

opera:

(53)

in the Dice ; s e e The

with

King

and

the

4;

Sylphide;

music by

Sixes. ballet

Schneitzhofer:

(39)

C.-6.IO, i l , 12, 15;

]

C.-5.22, 24, 25;

(42)

W.-1.1,

(47) P.M.-3.15, 16, 26.

Diamond

[;

La

(40) W.-2.15, 17, 19, 20, 21, 22 ; 3.31 ;

; domestic draA.-4.1*.

or

(38) C.-3.17*, 19, 21, 23, 24, 26, 28,

(41) of Naples

(40)

in the

Drop,

opera

(38)

Deserter. The

C.-

C.-1.18;

C.-1.7.

3 0 ; 6-5, 6 ; see

(38)

(40)

C.M.-11.23.

W.-2.3. The

:

or Earth,

romantic

Devil's

by

C.-12.28;

12-17;

C.-9.7;

6 - 1 7 , 1 9 ; 7-3-

Devi

8.29;

(39) Daughters

I I , 3Deserted

C.-ii.io,

2.12.

(36) C . - 1 . 2 ; (39) C.-5.6. Dcscart,

(35)

Ducat,

comedy

two

Tentation":

Devil's

August

"melodramatic Auber's

A.-3.3;

(51) C.-2.10.

Daughter;

;

W.-

W.-7.1.

from

Devil's

in all

c o m e d y i n five a c t s b y

von Kotzebue:

Daughter

(40)

(46) A.-8.27, 28.

or Confusion

(46)

(40)

14;

acts, t r a n s l a t e d

12.22;

Adven-

(42)

W.-1.3;

C.-1.12,

9 1 4 , 15- 17. 19. 2 3 ; Wächter.

Night's

N.-12.31;

W.-1.11; Der

A

(39)

(42)

l i , 12, 13; (36) C.-6.23, 24, 28; 7.2;

com-

c o m e d y : (39) W . - 1 0 . 1 9 ;

A.-

r o m a n c e in t w e l v e t a b l e a u x a n d

four

¡Villen;

; s e e Der

or

Devil's

Charles (45)

o p e r a b y S. J . A r n o l d :

8;

operaia

tVider

f a r c e by

11.28; (43) C . - 1 . 7 ;

Print-

in

A.-

Cabin

see

A.-3.26; 4.5;

W.-12.22;

N.-iz.i,

e d y i n o n e a c t : (39) A.-10.12. Der

to Pay;

Bridge;

(38)

C.-2.6.

Schauspieler

Devil

7.16, 17, 18.

or The

(52)

Demeraro;

W.-11.4,

(47)

comedy

of

C o f f e y : (36)

Scene).

er's

Devil

The by

(40) C.-3.23, 24,

Taugenichts,

W.-11.20·,

Boy.

B.-2.25, 26; W.-12.17, 18

(Incantation Der Pariser

15.

melodrama

and the Deserter:

Von

opera

23,

Devil

The in

A.-10.12.

5, 6, 7, 8, 9, i l , 1 2 ;

;

3.2.

Clerks.

musical d r a m a

; grand

of Jerusalem

b y X . H . B a n n i s t e r : (37)

5,

25, 26, 27, 28; ( 4 3 ) C.-2.3, 4, 8; (45) C.-10.18,

tragedy

C.-4.19*, 20,

21, 22, 23, 24, 25.

(37) C.-3.31; (39)

Weber:

romantic (52)

21, 22, 23, 24; 5.17, 18, 19, 21, 22, 23,

Mur-

W.-12.4,

; s e e Seven

Freischutz

H. Miles:

26; (53) C.-3.3, 5, 9; 6.22, 23 ; (55)

see

W.-12.24*, 26, 30.

Teldherr;

act:

or The

(37)

(36)

Der Der

;

12, 13, 28.

Statue,

Klishing:

historical

G.

C . M . - 1 2 . 3 , 4, 5, 6, 7, 8, 10, i l ,

of the Desert,

6, 7, 8, 9, i l , The

IVissahickon

Foster.

Demon

Soto; by

Arrow,

or

The

Postmaster's

THE PHILADELPHIA THEATRE Wife and The Mayor"] Daughter: (36) W.-1.9, 12, 21, 27; 2.15; 3.21. Dick, the Apprentice, or The Stage Struck Apothecary ; farce by A r t h u r M u r p h y : (36) W.-6.29; 7.2. Dick, the Newsboy; "new local d r a m a " ; comedy: (53) W . - 1 0 . 3 1 · ; 1 1 . 1 , 2; (54) W.-6-7, 10. Dick Turpin; see Richard Turpin. Did you ever Send your ( f i f e to Bristol f ; f a r c e : (46) P.M.-7.28, 29. Did you ever Send your Wife to Burlington? ; f a r c e : (46) W.-5-2o·, 25, 27, 28; 8.22, 25; 10.22, 23; 1 1 . 2 4 ; (47) W.-1.2; 4.2, 1 5 ; 6.2; 1 0 . 2 1 ; II.I, 26; (48) W.-3.24, 25, 3 1 ; 4 . 1 ; 6.29. Did you ever Send your Wife to Frantfordt; f a r c e : (51) A.-5.30. Did you ever Send your Wife to Germantownf; farce (by W . E. Burton) : (46) A.-5.13·, 14, 15, 1 6 ; W.-5.IÉ, 19; (49) P.M.-7.3, 4, i l . Die Brilleninsel, \The Isle of Spectacles] ; by August von Kotzebue, with music by F. Riemann: (40) A.2.io*, 17. Die Helden: (42) A.-3.2. Die Humoristischen Studien: (40) A.6.30. Die Reise von Berlin nach Potsdam; comedy in one act: (40) A.-2.10. Die Schleichhändler [The Smugglers]; comedy in f o u r acts: (40) A.-1.25; 2.22. Die Schweitzer Familie; see The Swiss Family. Die Selbstmoerder, or Self Murder: ( 5 1 ) C.-2.6. Die Sieben Maedchen in Uniform: (55) G.N.-8.22. The Discarded Child; see Arabella. Discoveries in the Moon, or Herschel Out Herscheled; by T . D. Rice: (35) W.-9.5· 7, 8, 10.

Disguise: (40) W.-5.22. The Dishonored Bill; see House Room. The Disowned, or The Prodigals; by R. P. Smith: (36) W . - 4 . 1 1 ; (47) P.M.-6.3. The Disowned and his Poor Dog Tray: (39) W.-1.12, 18, 23; (40) A.-12.28, 29. Dissipated Child; comedy in one act by August von Kotzebue: (37) A.7.27. Distressed Mother; by Ambrose Philips: (40) W.-6.23; (43) A.-10.16. Djim-Kro-Ryce ; burlesque: (49) W.I.20; 44. Doctor Dilworth; f a r c e : (39) W . II.23, 25; C.-12.9, 10, 1 6 ; (40) W.1.24; (43) W.-1.24; (46) P.M.-9.7, 9, 14; 10.24; i l . 1 1 ; (47) P.M.-5.13; 6.26; (49) A.-5.25; (51) C.-3.26; IO-7, 9, 1 3 ; 11.20; (52) C.-3.30; 4.3; 5.8; (53) C.-2.3; 3.14. Doctor Wespe; in German, a comedy in five acts by R. Benedia: (51) C.1.30, 3 1 ; 2.1. The Doctor's Discovery, or Enchanted P i e : (35) Mam.C.-i.7· Does your Mother Know you are Outf; farce (by W . E. Burton) : (38) C.-7.7*; W.-8.6, 7 l 14, 1 7 ; (45) A.-7.28. Dog of the Ferry House: (53) C.-4.23, 29. Dog of Montargis; see Forest of Bondy. The Doge of Venice; see Marino Fallero. Dogs of Mount St. Bernard: (53) C.4.30. The Dogs of Salamanca; see Cross of Death. Doings in France: (48) A.-3.25. Dombey and Son; domestic d r a m a by John Brougham: (48) A.-9-I4*, 15, 16, 18, 19, 20, 21, 22, 25, 26, 27; (49) A.-2.26, 27, 28; 3.1, 2, 3; 4.7; I]

PLAY LIST (52) C.-8.4, 5, 6, 7, 9, 1 7 ; A.-10.26; 0.-12.13, 1 4 ; (53) C.-7.8, 9, 1 5 ; (54) C.-8.10, 14. Domestic Economy: (52) W.-1.7, 9, 20; 2.16; 3 . 3 1 ; 5.6, 1 7 ; 6.2; l i . 1 5 ; 12.2, 1 1 ; (53) YV.-1.11; 2.14; 9.15; 10.6; 1 1 . 3 0 ; (54) W . - 1 0 . 2 1 ; 1 1 . 1 ; (55) W.-2.22; 3.17. Don Giovanni; farce: (38) C.-12.1. Don Giovanni; opera by Wolfgang Mozart: (41) C.-5.4, 5, 6, 7; (49) W.-IO.I2, 1 3 ; 12.ι ; (50) C . - 1 2 . 1 3 ; ( 5 1 ) C.-1.14. Don Juan, or The Libertine Destroyed: (35) W.-6.20, 24, 25; (37) W . - 1 . 2 1 ; (41) A . - 1 1 . 1 1 , 1 7 ; (42) W.-1.12, 1 3 ; (47) A . - 7 . 1 3 ; (52) N.-5-26; (53) C.-4.16. Don Juan; opera by Wolfgang Mozart:

(37)

C.-II.6*. 7,

8, 9 ;

(39)

W.-8.17; (40) W.-1.20; (41) A.-I-9, 12, J 3 ; (43) A.-3.22. Don Pasquale; opera by Gaetano Donizetti: (46) 0.-4.27, 28, 29, 30; 5.1, 18; 6 . 1 ; W . - 1 1 . 6 ; (47) C.-4.21, 29. Dun redro, the Cruel, or The Cobbler of Seville; melodrama: (39) W.-1.5, 7, 9· Donation Concerts; burletta: (52) A.3.15, 16, 17, 18. Done for a Hundred; see Seth Slope. Done on Both Sides: (49) A.-4.25, 26; 5.1 ; ( 5 3 )

W.-II.23, 2 5 .

Don't Judge by Appearances: (55) W.-12.14, 15, 19, 25. Doolittle Family; comedy by J . S. Silsbee: (45) A.-11.8*. Doom of the Drinker; by T . D. English: (44) N.-4.22*, 23, 24. Doom of the Spy: (44) A.-12.24, 25, 26, 27, 28. The Doomed Cren: ; see Uda and Magnus. The Doorkeeper Outfitted ; see Masquerade.

Double-Bedded Room: (43) N.-10.28; 12.27; (44) N.-1.8, 17, 1 8 ; (49) A.5.26, 28, 29; 6.9; 10.5; (52) C.-5.24; 6.3, 1 6 ; A.-8.30; 9.16; A . - i l . 8 , 20; (54) W.-3.10, l i , 13, 14, 18, 2 3 ; 4 . 1 1 , 29 ; 6.16 ; 10.13 ; 1 1 - 7 . 2 1 1 12.20; (55) W.-2.20; 3.20. Douglas, or The Noble Shepherd ; tragedy by John Home: (35) W.1.8; (36) W . - 1 . 7 ; (37) W.-7.26; (38) W.-8.4; (40) W.-6.26; (41) W.-1.28; N.-10.2; (42) N.-1.18; (43) A.-9.29; (45) W . - 5 . 1 2 ; A.10.10; (46) W.-6.13, 24; A . - 1 1 . 2 5 ; (48) A.-2.14; W.-2.14; (49) A.12.26; ( 5 1 ) A.-7.25 ; (52) C.-6.12; 7.20; (53) C.-2.18; (54) A.-4.19, 25, 2 9 l (55) C.M.-1.22; 3.19. Dovin East among the Dead Men; farce: (48) P.M.-4.22*. A Do 2 7 ; 6 . i i ; (53) C.-2.23 ; 3 . 1 ; 6.20; (55) C.M.-4.6, 9, 12, 21 ; 1 1 . 3 0 ; 12.13. The Dream at Sea, or The Haunted Cave: (36) W.-4.25*, 28; 5.20; 6.17; (39) W.-6.21; 8.15; (40) N.10.5, 13, 1 7 ; (41) N.-12.10; W.6.29, 30; 7.2; (42) W.-2.17, 1 8 ; A.10.15, 1 7 ; i l . 3 ; (44) A.-7.22, 26; (45) A.-8.20; 9.23; (47) A.-7.16, 21, 3 1 ; 10.16; 1 2 . 1 7 ; (48) A.-1.28; 2.5; 8.12; 10.3; (50) A.-6.18; (52) A.-9.3; (54) N.-6.12, 1 3 ; A.-12.16. Dream of Fate, or The Rich Jeiu of

THE PHILADELPHIA THEATRE Frankfort: (38) VV.-12.13, 20; (39) W . - 1 4 . See The Jewess. Dream of the Future: (42) W.-IO-5, 6. The Dropping Well of Knaresborough: (40) C.-5.9. The Drover from Upper Austria; see The City and Country. Drumming, or The Ways of Trade; comedy by J. Austin Sperry: (53) W.-3.17*, 18, 19, 22, 23; 5.2. The Drunkard, or The Fallen Saved; domestic drama by W . H. Smith: (49) A . - 1 1 . 2 4 · ; 12.3, 4, 6, 7 ; (50) A.-8.3, 8; B.-9.11, 14, 28; A.-9.I8, 19; B.-10.19, 2 6 ; A.-10.29; B.-II.2, 23; A . - 1 1 . 1 4 ; B.-11.2, 7 ; (51) A.1 4 ; B.-5.10, 28, 29; (52) N.-7.27; A.-9.ι, 2, 1 1 ; 12.23; (53) A.-6.17; (54) C.-3.11; N.-6.3, 9; C.M.-9.25, 27; 10.2, 3, 4; C.-11.25. The Drunkard's Doom; see The Last Nail. Drunkard's Fate: (47) A.-6.15, 16. Drunkard's Progress: (42) A . - 1 1 . 1 1 * ; (44) A.-11.30. The Drunken Corporal and the Mountain Robber: (47) A.-5.22, 24, 28. The Drunken Soldier: (35) M a m . C 1.14, 15. Dubar the Terrible; see The Tiger Horde. Dublin Days in IJ65; see Irish Honor. Duchess de la Valliere; by E d w a r d Bulwer-Lytton: (37) C.-10.2*, 3, 4. Duchess

de la Vaubaliere:

(49) P.M.-

5-14, 15· The Duddlestones, or The Queen and the Breeches Maker; comedy by W . T . Moncrieff: (36) C.-6.18·; 7.6; (37) C.-1.24, 26. The Duel, or My Two Nephews: (35) C.-6.3, 6, 26. A Duel in the Dark; f a r c e : (52) W . 4.8*, 9, 13, 14, 20, 28; 5.3, 7, 12, 25; 6.17.

[5

The Duel in the Mist; see Walter Brandt. The Duke's Bride, or Julie, Duchess de la Vaubaliere: (40) C.-9.7. The Duke's Progress: (40) C.-9.10. The Duke's Wager; by Frances A n n K e m b l e : (50) C.-6.5·, 11, 15; ( 5 1 ) W.-4-2, 3, 4, 5, 7, 8; B.-5.9; (52) W . '•2> 31 (53) VV.-5.18, 20, 2 1 ; 9.29. The Dumb Belle; f a r c e : (35) W . - 1 . 5 ; (36) W.-3.9; (41) W.-5.27; (37) P.-2.10; A.-6.22, 16; (41) A.-8.12; 12.20; (37) C.-9.14; 11.30; 12.14; (38) C.-1.25; 2.20; 5 . 1 1 ; 6.1, 12, 2 1 ; 8.29; (38) C.-9.6; (39) C.-4.6; 5-IO, 18; 6.6; (40) C.-4.20; 7.2, 3; (41) C.-9.13; (40) N.-9.5, 8; 12.8; (41) C.-9.29; 10.12; (42) W.-9.24; A.11.2; (43) W . - 5 . 3 1 ; (44) W.-8.10; (45) W . - 3 . 1 1 ; 4.3, 19; 5.29; 7.18; 8.8, 28; (46) W . - 1 . 5 ; 2.18; P.M.3.30; 4.20, 25; 6.20; W.-7.13; A.8.28, 31; P.M.-I0.2, 8, 19; A.-10.8, 24; i l . 1 0 ; (47) A.-2.10; 3.27; (48) W.-1.18, 28; A.-4.15, 29; W.-4.27; A.-5.17, 18; VV.-6.27; A.-10.27; 11.23; 12.9; Ath.-12.28; (49) Ath.-1.20; A . - 5 . 1 5 ; P.M.-7.17; (50) VV.-1.18, 19; A.-7.26; 8.3; (51) C.3-4, 15; (S3) A.-2.16; 4.18, 2i ; 6.25; C.-6.30; 7.9; (54) C.-8.2; C.M.9.28; C.-10.3; C . M . - 1 1 . 2 ; A.-12.28. The Dumb Boy of Manchester: (38) C.-6.16; W . - 1 1 . 1 4 , 15, 16. The Dumb Boy of the Mountains ; see The Broken Sword. The Dumb Boy of the Pyrenees: (44) A.-11.19. Dumb Brigand's Revenge; see Alberti Contradini. The Dumb Girl of Genoa, or the Bandit Merchant: (39) W . - 1 . 1 8 ; (40) VV.-7.20; (41) N.-2.22, 3 , 4 ; (43) A.4.10; 5.1; (44) C.-12.18; (45) C.2.11, 12, 13; (46) A.-7.9; (47) A.70]

P L A Y LIST 4.23,

24;

(50)

A.-5.23 ; (55)

The

8.23, 2 5 ;

Dumb

Girl

of

(48)

P.M.-5.16;

Portici;

see

Masa-

tain

Girl

of the

Inn;

see

of Manchester,

Heir:

(39)

A.-12.30,

31;

(43)

W.-4.12,

13,

8.6, 8, 1 3 ; 12.16; 7.6,

8;

(51)

(50)

(52)

Education, comedy

by

A.-

A.-4.3;

(37)

(45)

6.29;

5.5;

The

P.M.-

A.-4.26;

A.-5.15;

Egyptian; 3.14*, 1841

A.-

Dumb

Savoyard

Dumb

Lion;

Death

and

his

Monkey:

19. or

s e e Hyder

Ein

The

Grateful

and

Enemies; (35)

C.-8.22. Endorsing

;

see

The

(55)

W.-

Note. 16,

17.

I8QI;

farce:

of January (48)

(41)

N . - 2 . 2 * , 3,

; farce by L. A . W i l -

A.-1.8*,

Deutscher

10;

(51)

A.-

the

Cap-

10.17; (52)

Dutch

(55)

C . - 4 . 7 , 23, 2 7 .

Burgomaster

;

see

Peter

the

Dutch

Governor:

Dutch

Richard:

Dutchman 16;

in

(55)

( 4 3 ) A . - 9 . 2 3 , 29. (55)

C.-4.12,

Love:

(46)

C . - 4 . 6 , 9, H ,

21.

Dying

Gift;

see

Death

The

Dying

Gift;

see

The

(42)

wares:

or

The

(49)

Steed

Struggle.

the

Dela-

of

zetti:

see

the

Hand

of

Steel;

Ella

Putnam.

Earth,

Air,

Devil's

Fire,

and

Water;

see

Ducat.

Earthquake

Bruce;

(by

H.

H.

(55)

Mystery:

(37) 19,

20,

W . - 4 . 5 , 6, 7,

10;

(44)

18,

A.-1.26;

(54)

Weld):

A.-1.29*.

W.-8.22,

]

(47)

25.

by

Doni-

C.-5.5,

18;

V.

L'Elisir

James

Kenney:

more. Rosenberg; W.-5.13;

(46)

A.-4.20; (51)

Wareham;

by

(41) 6.3;

A.-10.20, 12.12,

A.-2.25;

17;

22; (49)

N.-7.29. drama

in

three acts by W . E. B u r t o n : (37)

A.-

7.3;

[.

comic opera C.-5.16;

(39)

Ella

C.-

II.

Love;

Α.-ι.19;

: ( 4 3 ) W . - 2 . 2 1 , 22, 24.

Joe

(53)

9;

nautical d r a m a : (50)

(46)

(51) D'A

and

and

W.-2.16,

(41)

W.-3.26;

4 . 8 * , 9, IO,

A . - 4 . 2 3 * , 24, 25, 26, 27,

Eye

(39)

El Melechor;

28. Eagle

5-28;

W.-12.7,

N.-7.3.

Minerali. of

5.1;

W.-1.4;

9. or Love

3.20, 2 9 ;

Elixir Eye,

the (45)

W.-1.24, 28; 4.30;

3.8; 6 . 1 5 ;

Hyder, 21;

P.M.-3.12,

O.-5.22.

Makes

C.-1.8, 10; 4.15, 1 7 ;

VV.-12.29;

14, 26.

The

(46)

C.M.-4.6, El

(48) Love

(49) W.-3.5, 13; (50)

C.-2.23;

Great.

or

comedy by John Fletcher:

A.-5.7;

Friend

Krieger:

Brother,

Man;

Ali.

s e e My

Actor:

(41)

Phila-

Morton:

by John W i l k i n s :

mer:

tain.

Easy

Friends Thomas of

15,

and

Elder

Slave,

Brown;

Dutch

The

of

I.IO.

(35) W.-9.17*,

Eagle

Maid

A . - 5 . I * , 3, 4, 5.

4, 5, 6, 8, 9, 10, 1 2 ; 3.8, 12, 1 6 ; 4 . 1 . Eighth

Boy ; s e e The

or

Effects

5.2;

(45)

(52)

Promissory

N.-5-22,

C.-2.10.

(40)

Fair

22;

of the Rocks:

Sailor

The

24;

Hank.

Dunn

or

11,

A.-3.5;

C.-4.4;

Man

Dumb

The

15,

Idiot:

Α.-ι.2,

1.13.

The

W.-5.I4,

the

delphia:

20;

Α . - ι . 1 5 ; (54)

Dumb

The

the N.-

the

22;

(46)

Α.-ι.12,

N.-S.14; (53)

(41) 14,

11.20;

(47)

or

W.-1.10,

(40)

25;

of (51)

>9· Edith,

Man

The

7 . 1 9 * , 22.

Moun-

Devil.

Dumb

Felon

The

Fiend

new national d r a m a :

Edgard,

Dumb

The

E l f , or

Rock;

niello. The

Eddystone

A . - 5 . 2 6 ; 6.2.

(40)

domestic

C.-5.11.

THE PHILADELPHIA Elshie,

or The Wizard

of the

Moor:

( 5 1 ) N.-7.15, 16, 1 7 .

8;

(46)

P.M.-10.19,

(47) P.M.-2.24;

Emigrant"s (46)

20,

22;

(50) C.-3.13.

Daughter:

(45)

(48) W.-1.20, 21,

Emigrants,

or

comedy: (39)

Englishmen

Abroad;

(38)

Emilie Plater, or The Polish (45)

Heroine;

W.-5.20*,

21,

22, 23.

(38)

C.-

(41)

A.-

C.-12.27;

(40) C . - 1 . 2 1 ; 9.11;

(39)

11.9;

(40)

A.-7.12, 1 5 ; C.-11.21;

C.-11.9,

12.18;

(39)

N.-9.28;

(42)

(43)

W.-3.31;

Enthusiasm: (42) C . - 1 1 . 1 1 . Emani; opera by Giuseppe (48)

C.-3.15,

26;

(51)

17,

I«;

Verdi:

W . 8.24,

or The Patriot's

Wife:

(42)

25; 12.17,

C.-1.10, 15.

Ernestine:

(46) W . - 9 . 3 0 ;

1 0 . 1 9 , 26,

A . - 7 . 2 8 ; 8.5.

2

9;

10.1, 3;

A.-

(48) W . - 4 . 2 6 .

Ernest Maltravers;

by L. H. Medina:

(46) A.-4.16, 17.

The Empire of Hayti; or Kingcraft in 1852; farce by T . D. English: (49) A . - 1 0 . 2 * , 3, 4.

The Enchanted Chinese, or A Fete at Pekin:

12.29;

A.-5.30;

C.-12.19, 21, 23; (50) C.-9.14;

P.M.-8.17.

by S . S. S t e e l e :

(36)

(44) W.-4.23.

W.-10.14.

Emigration, or The Progress of an Intemperate; domestic drama by W. E. Burton: (40) W.-4.11·, 14, 1 6 ;

Emilia,

12;

LI.19, 26;

9·27;

W.-7.13;

26.

(46)

5-23; 5.20;

Dream:

C.-5.23.

The Englishman's Fireside; see John Bull. Englishmen Abroad; see Emigrants. Englishmen in India; comedy: (35) C.5.26, 2 9 ;

A.-3.22;

A.-3.28.

Emigrant's

N . - 8 . 1 6 , 1 7 , 18, 19, 20, 2 1 , 23, 24, 25, 26; C.-10.1, 4; (53)

Emerelda Isle: (45) A.-12.4. The Emerald Isle, or The Witch of Killarney; by Mrs. Gibbs: (39) C.6.6·,

THEATRE

( 4 1 ) N.-4.19, 2 1 .

The Enchanted Isle; see The Tempest. The Enchanted Lake and the Hall of Fate, or The Wizard Priest: (44) N.-2.3, s, 6, 7, 8, 9, 1 0 , 1 3 , 1 4 ,

15,

1 6 , 1 7 , 19, 20, 2 1 , 22.

The Escape of King Charles the Second; see Marie de Montville. Esmerelda, or The Hunchback of Notre Dame; (by E. Fitzball): (35) C.-I.I;

(44)

A.-2.14,

16, 1 7 ;

13;

N.-3.18, (50)

19, 20;

(46)

C.-2.9, IL,

12,

A . - 7 . 2 6 , 27.

Etiquette ; see Etiquette Run Mad. Etiquette Run Mad: (35) C.-5.5. The Eton Boy; burletta: (46) W.-7.24,

The Enchanted Pie; see The Doctor's Discovery. The Enchanted Trumpet; see Harlequin and the Magic Trumpet.

25; P.M.-12.7, 10;

Enchanter:

7. 2 1 ; 1 1 9 ; 12-23; (54) C.-1.5; w . -

( 4 6 ) A . - 6 . 2 9 ; 7.2, 6, 2 1 .

The Enchantress ; operatic drama in three acts by B a l f e : (46) W . - 1 . 3 1 * ; 2.3, 4. 5, «ι 7, 9. 10. i ' , ι*. 13. H. 1 6 ; 3-2. 3. 4, 5, 6. 7. 9, 10. 13. »4. 1 6 , 1 7 , 1 8 , 2 4 ; 4 . 1 , 3, 1 3 , 1 4 ; 6 . 1 5 , 1 6 , 17; 74;

(48) W . - 5 . 3 0 , 3 1 ; 6 . 1 , 2, 3,

19, 20, 2 1 , 22, 2 3 , 2 4 ; 7 4 ;

(49)

4.23, 24, 2 5 , 26, 27, 2 8 ; 5.2, 4 ;

W.(52)

[:

14,

28;

(50)

1 0 . 2 4 ; N- 6 > 2.21;

(49) P.M-7.7, 12,

W.-8.31; 12-14;

9.2, (51)

(52) C.-8.30; 9 . 1 ;

1.27, 2 8 ;

C--2.II;

9,

( 5 3 ) C.-9.3,

W.-3.3;

C.-3.23;

4 . 2 2 ; 5.9, 2 7 ; W . - 6 . 1 3 ; 9.7, 2 9 ; 25;

12.25;

(55)

30;

A.-1.30;

W.-2.13,

23;

11.9, 4.30;

5.24; 1 1 . 2 , 12.

Eudocia,

or The Siege

tragedy:

of Damascus ;

(48) W.-4.20, 2 1 .

Eugene Aram: (43) A.-3.4, 7. Eustache, the Condemned: (54) C.M.:]

P L A Y LIST 10.14, 16, 17, 18, 19, 20, 21, 23, 25, 26, 27, 28; I I . 7 ; Ενa,

the Page:

Evadne,

or

(45) C . - 1 1 . 2 4 · , 26.

The

Statue;

5.27;

6.1;

(41)

(45)

W.-5.17;

10.9;

(47)

tragedy (39)

A.-10.15; A.-10.8;

(46)

C.-7.25;

A.-10.16; A.-10.9;

27; W . - 3 . 3 1 ; (52)

9-27;

act:

2. 3, +• 5, 6, ». 9. Ό .

24;

25; (52) W.-2.2, 6; 5.3, 6; (53) W . -

13;

5.3; 12.26, 27, 29; (54) W - 5 . 8 ;

(50) A . -

Faint

C.-3.17;

Mrs.

his

Elizabeth

8.19; 9.22;

(ss)

"•4,

(38)

Fault;

one

comedy

Inchbald: (46)

(42) C.-2.1, 2, 4, 9; 12.24, 26;

(37)

W.-3.23;

P.M.-5.8,

W.-2.4*. P.-7.20;

(44)

or Who's (44)

My

; see

The

Exile's

5.5; C . - 5 . 3 1 ; 6.4; A.-8.26; (53)

W.-

(36)

The

5;

C.M.-1.16;

W.-4.22 ;

3 20;

W.-4.6,

see Young

Quak-

Fair

Maid

of Philadelphia

; see

Edith. The

(43)

(48)

Fair

One

of the

Golden

see

see

Romanzo.

4.6, 2 1 ; 5.6; 6.1;

Caradora.

c o m e d y : (48)

29, 3o;

A.-3.10*. [ 573 ]

Locks:

(47) P.M.-4.5, 6, 7, 8, 9, io, 1 7 ; (48) W . - 1 . 2 9 ; 2.5, 7, 8, 12, 16, 22;

of Naples; Oath;

C.-

er.

5.4; (40) N.-1.30; W.-4.1 ;

of Erin;

8.7;

W.-

The Fair American; Daughter:

P.M.-5.5, 6.

Exiles

A.-9.28 ;

A.-7.19;

14; C-M.-9.20, 22; W.-10.26; A . - i l . ι .

(35)

N.-1.22.

Exile

C.-9.4;

C.-3.18;

il.3,

P.M.-6.27,

(52) C.-3.15, 18;

Α.-ι.2, melodrama:

or The Russian

Erin:

3.16, 20; 10.2;

26; C . - 1 1 . 8 ; C . M . - 1 1 . 1 4 ; 12.12; (55)

Turn-

Tables.

(35) W.-10.7, 8; C.-10.29, 30;

The

A.-8.30;

(50)

P.M.-

(54) C . - 1 . 2 4 ; 3.17; 5.19; C.M.-9.12,

Winchester ;

A.-9.ι, 2;

(47)

31;

5.13, 23 ; A.-5.26 ; C.-6.28 ; 9.19 ; 11.8 ;

A.-10.29;

W.-3.14.

of

7.14;

W.-3.27,

14,

P.M.-

4.4, 1 2 ; 6.4; B.-7.2, 3 ; 10.6, 7 ;

N.-3.16;

A.-4.7.

of

Executioner

(42)

(43)

3;

(49) A.-3.20;

10.8, 17, 18;

no Robbery, (45)

;

B.-11.18, 19; 12.6; ( 5 1 ) C.-3.20; W . -

(37)

( 5 1 ) A . - 1 2 . 1 6 , 24.

Exile

7.1,

(48) W . - 2 . 1 0 ;

11;

29; 12.16;

(49)

10.26;

(40)

2.2;

4.23; 6 . 1 7 ;

C.-

28;

P.-2.4;

A.-2.27;

P.M.-6.30;

P.M.-ι.5;

by

(54) A.-5.30; 6.1. by J. B. P h i l l i p s :

Exile,

(46)

(39)

comedy:

22

C.-5.29;

25;

Eye;

The

W.-11.26;

A.-11.22,

Evil

ing the

(41)

(45) W . - 3 . 2 5 ; C.-9.5; W . - 1 1 . 1 3 ,

(51)

The

The

17;

C.-2.15, 1 6 ; 7.28; (44) W . - 6 . 6 ; 7 . 1 6 ;

Day:

11.4;

Lady:

W-7.10;

Evil

Exciseman

I2 > 13, Η · Helos, the Helot, Slave; tragedy: 26, 27.

or the Messinian (52) A.-3.24*, 25,

Henri and Louise, or The Two Murderers; m e l o d r a m a : (38) W . - 4 . 1 1 · , 12, 13, 1 4 ; (43) N . - 1 2 . 2 8 ; (44) A.2 . 1 5 ; 12.26. Henri Quatre, or Paris in the Olden Times; musical play by T h o m a s Morton: (35) C.-6.1, 2 6 ; 8.24; (37) A . - 5 . 9 ; (40) W.-3.9. Henri Quatre; dramatic opera by Sir R. Bishop: (52) W . - i i . i , 2. Henriette, the Forsaken; by J . B. Buckstone: ( 3 5 ) W . - 5 . 3 0 ; 6 . 1 ; C.6.29; (36) W . - 1 . 2 7 ; 1 0 . 2 7 ; A . - 3 . 4 ; (39} W.-1.21; (40) W.-6.8, 11;

Bianca

(45)

24;

[: ¡]

W.-7.7,

9;

8.19;

(51) A.-10.30;

(50)

11.20.

C.-5.2I,

THE PHILADELPHIA THEATRE Henry IV; by W i l l i a m S h a k e s p e a r e : (36) W . - 3 . 2 1 ; 4 4 ; C.-11.9; (37) C . - 2 . 9 ; (38) C.-4.13; 9.8; (40) C.6.1; N.-9.14, 16; (41) N.-3.15; 9.1; A . - 5 . 6 ; (42) C.-3.29; VV.-11.28, 3 0 ; (43) W . - 1 0 . 5 , 16; C.-12.5; (44) A.-11.11, 13; (45) W . - 5 . 2 1 ; C.-9.8; (46) W . - 1 . 2 6 ; 8.3; (47) A . - 1 0 . 2 5 ; (48) A . - 4 . 3 ; 12.5; (49) VV.-3.19, 2 4 ; 12.17; (52) C.-1.12; 5.25, 2 9 ; 9.25; 12.21; (53) W . - 1 . 3 1 ; 2.2; C.3.11; 4 . 7 ; VV.-4.18, 20, 2 7 ; (54) C.3.10; (55) C.M.-6.8. Henry VIII ; by (38) C . - 5 . 1 ; V V . - n . 1 3 , 14; ( 5 1 ) VV.-6.20; VV.-4.23.

William Shakespeare: (48) A.-11.30; (49) (50) A . - 6 . 7 ; W . - 1 1 . 8 ; C.-11.10; 12.18; (52)

Hercules, King of Clubs; f a r c e : (39) C.-5 29, 3 0 ; 6, ι . Hercules of Brittany: (43) N.-12.20, 21, 22, 23, 25, 26, 27; (44) N.-1.15, 16; 2.19, 2 3 ; VV.-6.8, H , 13. Here she Goes, There she Goes, or The Old Clock: (39) VV.-4.20, 23, 27. Hermit of the Rocks, or Happy Results: (52) A.-12.2, 9 ; (54) C.-7.15; 9.21. Hermit's Prophecy, or Richard the Lion Hearted: (35) W.-6.15, 16. Hernanit or The Castilian Noble; o p e r a by G i u s e p p e V e r d i : (47) W . 7 1 3 , ' 4 , 15, 16; 8.3; (50) C.-4.13. See a l s o Ernani. The Hero of Lake George; see Marion. The Hero of Scotland; see IVallace. The Hero of Switzerland ; see William Tell. The Hero of Valley Forge; see Washington. The Hero of the North, or The Liberator of His Country; by B e n j a m i n C o l m a n : (35) A.-2.23, 27; (42) A . 7.4.

[

The Hero of the Prairie; see Kit Karson. The Heroine of the Wreck; see Grace Darling. The Heroines of Mont Blanc; see The Amazon Sisters. Herr und Sclave; d r a m a in t w o a c t s : ( 4 0 ) A.-2.17. Herschel Outherscheled; see Discoveries in the Moon. Hickety Pickety, or Harlequin and My Black Hen: ( 5 1 ) C.-7.3. Hide and Seek; f a r c e : (36) C.-10.29*; P - 1 1 . 2 4 ; 12.30; ( 3 7 ) A . - 6 . 1 ; (39) W . - 7 . 1 ; ( 4 1 ) A . - 8 . 1 8 ; (43) A.-12.27. High Life beloiv Stairs ; f a r c e by D a v i d G a r r i c k : (35) W . - 3 . 1 2 ; (37) C.1.11; 2.27; A . - 5 . 2 2 ; (39) VV.-5.11, 2 8 ; ( 4 0 ) VV.-11.6; ( 4 4 ) VV.-3.15; ( 4 5 ) W.-IO.I4, 18, 21, 3 1 ; A . - 1 2 . 1 6 ; (46) VV.-1.30; 2.20; A.-10.8, 9. High U f e in Philadelphia ; farce: (50) 0 . - 4 . 2 4 . High, Lovj, Jack, and the Game: (45) W.-12.22, 23, 24, 25, 27, 31. High Road to Marriage: (38) W.-4.25. Highland Reel; farce by John O ' K e e f f e : ( 3 8 ) C.-10.1 ; 11.21. Highland Whistler ; see Heart of Midlothian. Highlander's Faith: (40) A.-12.14, 22. A Highlander's Revenge; see Tiuo Drovers. Highways and Byeivays; comedy: (37) W . - 1 2 . 1 ; (47) W . - 1 . 5 , 6, 11; 2.16; 4.5, 2 8 ; 5.12; 6.5. The Hindoos of the Cavern; see The Secret Mine. Hinko, or King and Hangman ; by C h a r l e s B i r c h P f e i f f e r : (48) O.-5.24, 2 5 ; (55) G.N.-10.16. Hints for Husbands : (41) C.-1.4. His First Champagne, or Wine Works Wonders: (39) W . - i o . 7, 9, 11; (42) C.-3.25; 4.1, 14; ( 4 9 ) W.-3.5,

5]

PLAY LIST 9, io, 15; 4.7; 5.8; 12.27; (50) W.1.2; 12.26; (51) W.-1.2; 5.16; 9.16; C.-9.30; (52) A.-8.26; (53) C.-6.20; (55) C.M.-4.13, 18, 25; 12.13, 15. His

Last

Legs:

(40)

W.-5.11;

C.-

10.10, 12, 16, 22; Ν.-il.24, 25; (41) N.-2.25, 27; (42) C.-4.2; 11.9; Α.ιι.14 ; (43) W.-2.8; 3.22; Ν.-10.2, 6; C.-12.6; N.-12.6; C.-12.11; (44) A.-9.11; (45) C.-9.12; Α.-10.ι ; (46) W.-1.2S; 8.4; 9.1; 10.6; (47) W.2.6; 12.10; (48) W.-3.11; C.-7.17; (49) W.-3.ZO, 21; A-5.31; P.M.7.10; W.-9.13, 18, 27; C.-11.27; (50) W.-5.2, 9; C.-6.22; A.-7.1; C.-7.23; W.-10.15; (51) W.-2.27; Α.-3.17; W.-9.3 ; e.-10.20, 21, 30; (52) W." 1.15; C.-2.23, 28; W.-3.3; 416; C.6.15; W.-10.7; (53) C.-5.27; 7.15; Λ.-il.30; 12.2ο; (54) Α.-3.24; C.8.9; (55) C.M.-1.12, 15 ; 4·24·

His OïL-n Ghost: (45) A.-3.26, 27; 4.30. The History of Tittlebat Titmouse; see Ten Thousand a Year.

Hit or Miss; by Isaac Pocock: (37) W.-3.29. Ilohbs, Three

Dobbs, and Temperance

(42) C.-4.25*, 27.

Hofer,

or The

Tell

Stubs, or The Grocers; farce:

of the Tyrol:

(37)

W.-2.6; 3.10; C.-2.11; (38) W.-3.5; 9.15; (39) W.-5.14; 6.18; (40) W.1.15; (41) W.-7.15; (42) A.-4.1, 2; (43) N.-12.7, 8; (45) A.-5.15, 16; 6.12; (48) W.-12.29; (49) VV.-i. ι, 2.

Hole in the Wall; see Secret. Home Again, or The Sisters; domestic

drama (by E. Fitzball) : (46) P.M.7.22*.

Home

Squadron,

Home,

Sweet

or The

Female

Sail-

ors: (41) N.-9.3, 6, 7, 9, 17; (42) N-1.1. l'ache;

Home,

or The

Ranz

des

musical drama: (35) A.-

3.12; (42) P.M.-7.16. Honest

Thieves,

C.-2.23, 24, 28;

(47)

or The Faithful

Irish-

man; by Thomas Knight: (35) Α.4-3; (36) W.-S.II; (37) W.-2.24; (39) W.-4.17; 7.18; (40) C.-5.27; (42) A.-6.4; (44) N.-2.23, 27, 28; (46) A.-6.1, 15; 7.10; (51) A.-12.ι. Honey Moon; comedy by John Tobin: (35) C.-4.13 ; 10.10, 16; W.-5.23; (36) C.-11.15; W.-9.23; (37) C.1.18; C.-4.27; 9.30; (38) W.-6.27; C.-11.30; (39) C.-2.15; (37) A.-6.5; (40) W.-10.14, 15; il.21; (41) C.2.20; 10.9; A.-7.5 ; (42) N.-1.25; A.-6.22; C.-11.12; (43) W.-3.22; A.8.29; N.-9.23 ; 10.5; A.-12.11; (44) W.-2.24; 3.4; 4.9; 6.24; A.-8.13; 9.6; W.-9.18; C.-12.7; (45) W.I.18; 6.25; 8.8; C.-9.2, 27; 12.3; (46) C.-1.3; A.-3.10; W.-7.18; 8.21; 9.9, 18, 19; A.-11.20; P.M.-il.25; A.-12.9; (47) A.-4.26; P.M.-6.25; A.-7.24; 8.19, il.17; (48) A.-1.19; W.-2.11; A.-3.31; 4.20; W.-5.2; P.M.-5.12; A.-6.27; 10.18; W.II.17; (49) Ath.-1.19; W.-3.12; P.M.-7.13; A.-8.27; C.-9.12; 10.20; W.-11.9, 21, 22; (50) W.-3.22; A.5.24; W.-6.7; A.-6.8; W.-8.27; B.10.2, 18; W.-10.11 ; il.8; (51) W.I.1 ; B.-1.20; W.-2.1 ; 3.29; B.-4.19; C.-7.5 ; W.-10.4, 31; C.-10.11; 11.21; 12.6, 27, 29; A.-12.11; (52) C.-1.15; 3.11 ; W.-4.23; C.-6.3; 7.21; A.-9.7; II.19; C.-12.3, 11; A.-12.22; (53) Α.-ι.10; W.-1.15; A.-2.4; C.-2.16; 4.1; W.-6.9; 12.20; (54) Α.-ι.14, 31; C.-3.18; 4.6; A.-4.22 ; C.-5.16; A.-6.6, 29; W.-9.5; C.M.-9.21; A.9.23; C.M.-10.11; A.-12.1 ; C.-12.1 ; C.M.-12.7; W.-12.30; (55) Α.-ι.13, 16; C.M.-1.17; 2.8, 10; A.-3.22; W.-3.24; C.M.-4.5; W.-5.10; C.M.5.18; 6.6; A.-9.26; 10.27; 1110.

[ 587 ]

THE PHILADELPHIA THEATRE Honor: (47) A . - 1 1 . 1 1 , 12. Honor and Honesty; f a r c e : (50) C.7.1. Hop 0' my Thumb: (50) B.-12.14, 18, 19. 20, 23; ( S i ) B.-1.4. A Hopeless Passion: (53) W.-5.25. Hopes and Fears: (44) N.-4.27. Horatii and the Curiatii: (48) A.-3.2I, 22, 23, 24, 25, 27, 29, 30. Horatio Sparkins: (44) W.-9.13; H . 1 8 ; 1 2 4 , 1 9 ; (45) W . - 1 . 3 1 ; 3.10; 5.3; 7.17; 8.25. Horse of the Prairie: (49) A.-5.9*, io, I I , 12. Horse-Shoe Robinson; by Charles Dance: (41) N.-3.I2, 13, 15. Hot Corn, or Little Katy; by C. W. Tayleure: (54) C.-1.9·, 10, 1 1 , 12, 13, 14, 16, 18, 20, 2i, 25; (55) C.M.3.10, 12, 13, 14. The Hotel, or the Proof of the Pudding is in the Eating: (36) W.-11.2. Housebreaker and the Three Jacks: (55) C.-4.23. A House Divided: (43) A.-12.29. The House Dog; f a r c e : (46) P.M.7-24. 25; (47) W.-1.13, 14, 1 6 ; 2 . 1 ; 3.1, 1 6 ; 5.11, 27, 31 ; 6.11, 29; (48) VV.-2.26, 29; 3.7; (49) W.-6.22; 10.6, 10; 1 1 . 3 0 ; (50) W.-4.9; 6.21; 9.14, 28; (52) W.-2.26; 3.4; 4.2; 7; 5.13; 6.10; 9.17; 10.29; (53) W.3.26; 5 . 1 1 ; (54) C.M.-10.2; W.12.26; (55) W.-2.16. House Room, or The Dishonored Bill; farce: (37) A.-5.2* 6; (42) A.10.27. The Housekeeper ; comedy by D. Jerrold: (35) C.-6.24; ( 5 1 ) W.-3.17, 19· How do you Managet; f a r c e : (36) C.-9.30*; (38) W.-10.18, 19, 20; II.21. How Stout you're Getting: (55) C.M.9.17, 18, 19, 20, 2 1 ; 12.18. Ηοιυ to Die for Love; farce: (36) C.[:

1 . 1 1 ; (38) C.-3.3, 1 6 ; (41) C.-2.20; W . - 5 . 3 1 ; 6.2, 1 2 ; 7.2; (50) C.-6.13; (52) C.-8.24. Ho

(37)

C . - 9 . 1 4 , 1 6 ; ( 3 8 ) C.-4.4, 6 ; ( 3 9 ) 10.30; i l . ι ; (45)

W -

C.-4.29; 5.1;

in

1783;

K/iut Kill

Yer

Styk:

or Cure;

28,

29;

see

(41)

W.-10.10;

6.15;

(37Ì

W.-4.1,

3;

6.14, 2 8 ;

20;

P.M.-

11.7;

5.18;

(47)

(42)

W.-1.7;

5.7;

(46)

3.9, 10, i l , 12, 13, 14, 2 7 ; 4 . 1 3 ; 11.17,

19, 2 8 ;

(47)

P.M.-1.30;

3-3, 4. 5, 1 6 ; 4 - 3 ; 6-5! 7-1 ; ( 5 0 ) II.22, 23; Katharine

(54) and

A.-

A . - 6 . 2 , 3 ; W . - 6 . 6 , 7.

Petruchio

Garrick,

after

C.-1.19;

W.-5.27;

(46)

C.-1.26, A.-3.18;

;

by

David

Shakespeare: (38)

(35)

C.-11.22;

P.-11.10,

(43)

2.17;

P.M.-4.10,

C.-10.25; Killing

Kind

Impostors

she

W.-5.2;

12.17; C.-2.23;

10.13;

12.11;

(46) 9.8;

(44)

N.-3-2, 1 5 ;

P.M.-10.1 ;

12.2;

(48)

A.-12.15;

(49)

C.-

(47)

A.-

A.-1.17;

W.-

A.-2.28;

5 . 1 6 ; 8.20; W . - 1 1 . 1 0 ; A.-6.14;

(44)

W.-8.21;

4.13,

A.-12.18;

9.13;

(51)

W . - 1 . 6 ; A . - 1 . 1 5 ; W.-3.10; B.-4.5; W 10;

C-1.1; 28; 1 5>

9.19;

10.3;

W.-1.22; (53)

6.17; 25;

C.-12.30;

3.6;

(52)

C.-4.9;

5.8;

W . - 1 . 1 8 , 22, 2 S ;

C.-2.22,

W.-12.17;

C.-5.13,

(54)

(55) C . M . - 4 . 1 3 , 1 8 ; 11.23.

Kehama;

romantic

drama:

(44)

Queen The

or

The

Golden (40)

Kentuckian,

or

A

of

The

A.-

Trip

revision

West:

(35) W . - 1 1 . 1 8 ; (36) (37)

4.9,

13;

C.-2.8, 1 1 ; 9.6;

5.28,

30;

(42)

C.-3.30;

II.12,

(40)

(41)

16, 2 1 ;

to

Lion

8.31; N.-9.17,

N.-8.30;

W.-11.29; (45)

of

W . - 1 . 1 , 2, 3.

York; 31;

Days

C.-9.9,

Nena of

King

and

A.-6.13 ; II.17;

the

(44)

Hinko. l6>

27; 29;

King

and

Deserter:

(40)

\\-

W . - 2 . 1 3 ; 4.23; A.-8.5,

(46)

A . - 5 . ι , 31 ; ( 4 9 )

29;

(42)

(45)

A.-

P.M.-5.30;

(47)

Ath.-i.6.

the Mimic:

8, 9, 12, 17, 2 2 ;

(39)

C.-io.

11.20, 2 3 ;

12.3,

13;

(40) C.-2.28; 4 . 1 ; 5.7; 6.4;

(41)

C.-

2.10. Kingcraft

in

King

Eagle,

1852;

see

Empire

of

the

King

or The

Steed

of

the

John;

by W i l l i a m

Shakespeare:

(35)

W.-3.19;

(40)

C.-1.1 ;

9.15;

(43)

A.-10.14;

(44)

W.-2.3;

3.18;

6 . 1 5 , 22, 2 6 ;

(38)

C.-

ι.29.

26;

c.-

W.-3.I0;

Wild

( 4 6 ) A . - 6 . 2 2 , 23, 24, 25.

W.-12.30;

12;

see C.-10.15,

(41)

12.5;

W.-3.28,

(44)

Would

10.

Desert:

Elizabeth:

(45)

12.28, 2 9 ;

The

acts:

N . - 2 . 1 , 3.

P . M . - 3 . 2 4 , 25, 3 1 ; A . - 4 . 2 8 ,

7.8, The

(41)

Hayti.

2.12, 19. Kenilworth,

(47)

(52)

not.

Hangman;

N.-10.25;

W.-

21;

; see She

Would 1:

N.-10.30;

15,

f a r c e in t w o

and

(40)

4.4;

II-4-

( 3 9 ) W . - 4 . 1 , 2, 1 0 ; and

A.-

A.-8.27;

A.-2.2, 3;

12,

no Murder;

The

(37)

W.-3.31;

(48)

and

10.9;

2.9;

C.-10.20;

(42)

0.-1.9;

A.-10.22;

King

5.7,

the

28;

16;

(38) C . - 1 . 2 3 ;

King

(50)

of

A.-1.5.

10;

5.13; 11.30; W . - 7 . 1 2 ;

30;

Nick

8.29;

W.-9.26, 29; 12.8; (39) C . - 1 . 1 4 ; 2.5;

8.31;

12.19,

30.

f a r c e : ( 3 5 ) W . - 1 . 2 4 , 26,

24,

4.22;

il.i6,

I.23;

24;

4.21,

Woods.

W . - 2 . 1 , 3, 4, 5, 2 4 ; 4 . 2 2 ; 5 . 5 ;

(41)

21,

5;

l i . 2 , 10; (36) A . - 4 . 2 9 ; C . - 1 . 2 0 ; 12.ι ;

Kearney

6.3;

W.-3.20, W.-2.3,

(51)

A.-3.21. Kate

(49) (53)

Kentucky

Down

(35)

W.-5.7,

9.30; 22;

King

Lear;

(35)

(46)

(47)

by W i l l i a m

W.-3.16;

A.-

11.30;

A.-

C.-10.18;

W.-2.23; W.-4.20;

C.-7.1;

5.21; (36)

11.16;

A.-9.30; (52)

α-

Shakespeare: 6.29; W.-6.2;

W.-7.22;

8.31; (37) 12.14;

P L A Y LIST (38) C.-9.13; W.-7.9; 8.30; (39) C.10.30; W.-6.24; W.-12.4; (40) c.11.30; W.-5.4; N.-9.17, 19, 22, 26; (41) W.-3.10; 5.24; 9.13; N.-10.30; 1 2 . 1 5 ; A.-8.28; 9.1; (42) C.-4.1, 1 5 ; VV.-4.5; A.-5.6; W.-10.29; C.II.16; (43) W.-4.19; A.-8.21; 9.15; N'.-IO.2I; (44) W.-1.24; 4.3; A.11.22; W.-12.9; (45) VV.-4.3; 5.26; A . - 1 2 . 1 1 ; (46) W.-4.2 ; 10.23; A.12-30; (47) A.-11.23; (48) A.-3.15; 11.27; W.-11.27; ( 5 1 ) B.-3.17; W.10.15; (5 2 ) A . - i l . 1 9 ; W.-11.26; (54) W.-10.24; (55) C.-2.15; C.M.-5.30; 11.7. King of the Commons; by James White: (46) Α.-97*, 8, 9, io, 1 1 , 12, 14, 15, 16, 17, 18; 10.2; W." 10.14, 15, 1 7 ; (47) A.-4.12, 14, 2 1 ; W.-5.24; 9.23; 10.29; (49) VV.-3-13 ; 4.6; (51) B.-3.31; 4.2; (52) A.II. 15, 16; (53) C.-4.2, Ç; W.-12.12, 14; (55) C.M.-10.26, 27; 11.3. King O'Neil, or The Irish Brigade; melodrama by Mrs. Gore: (36) C.II.21*, 22, 24; (37) C.-2.20; (42) W . - 1 1 . 7 ; (47) W.-2.13; 6.21; 10.8, 9; 12.22; (48) W.-5.22, 25; 9.22, 2 3 ; (49) W.-4.17,20; 9.25; C.-10.16; (50) VV.-5.3, 4; C.-7.1; (51) W.2.28; 3 . 1 ; 9.3, 6; (52) W.-3.4. King of the Mist, or The Hartz Mountains: (43) N.-11.27, 28, 29, 30; 12.Ι, 2, 4, 5, 6, 7, 8, IL, 12, 13, 14, 15, 16, 18, 19, 20, 2 1 ; (44) N.1.13. King Rene's Daughter: (50) A.-4.22*, 23, 24, 25, 26, 30. The King's Command: (38) W.-1.1*, 2, 1 1 ; (46) P.M.-6.13. The King's Fool: (42) A.-10.24. See The Old Man's Curse. The King's Gardner: (43) A.-9.5; W.-9.19, 29; C.-10.23 ; (44) A.-1.9; (47) W.-9.9, 16, 2 1 ; 11.22; (48) A.1.26; 5.22; W.-6.10; (49) W.-5.17,

28; 6.14; P.M.-7.23, 24; (51) B.1.25; (52) C.-7.23. The King's Jester; see Court Fool. The King's fVord: (41) N.-1.4, 13. A Kiss in the Dark; farce: (40) C.8.31; 9.1, 5; 12.25; ^'•-9-29; 11.4; (42) W.-7.22; (43) A.-10.28; (44) W.-4.26; A.-6.1; (46) A.-3.21; C.4.27, 28; P.M.-10.2, 10; (47) P.M.1 . 1 8 ; 3.9; A.-7.16; (49) Ath.-1.26; C.-9.5 ; 10.8, 24; (50) A.-7.9, 1 1 ; 8.28; (51) B.-I.I ; A.-2.28; 6.10; C.8.20, 2 1 ; 9.8; A.-10.13; C.-10.15; 12.3, 5; (52) C.-1.23; 4.19, 24, 29; 5.13; W.-6.5, 9, 19; C.-6.17; N.8.3; W.-9.15; (53) W.-1.19; 6.23, 24; (54) C.-5.29; N.-6.5; C.-6.21, 24; C.M.-9.13; (55) C.M.-5.25, 29; A.9.5, 18; 12.31. Kit Karson, or The Hero of the Prairie; by W. R. Derr: (50) A.-3.I6*, 18, 19, 20, 21, 22; (54) N.-6.30; 7.1. The Knight of Ar< 7. 9. IO> I I . I 2 , 13, 14, 16, 17, 18, 19, 20, 2 1 ; 5.3, 4, 6 ; (39) VV.-10.2,

W.-1.1*,

4;

9, 23 ; 2.26.

(41)

VV.-i.i8, 19, 20, 21, 22, 23,

25, 26, 27, 29, 30; 2.27; 3.1, 2 ; 4.12,

Matchiuoman

or The

of Foote:

Lord Byron:

Cringle.

The

Mayor

VV.-5.31;

(54) N.-7.3.

Iron

(46)

A.-9.22, 23, 24, 28;

Samuel

M azeppa

Mat 0' the Glen:

A.-8.10;

(53)

12.25;

5.15;

6.24; 10.8; (40) YV.-6.20; A . - 1 2 . 1 9 ;

Clock:

il.13.

Master's

C.-8.23; 29;

l i . 1 8 ; (38) W . - 2 . 1 7 ; 7 . 1 4 ; (39) W . -

Paris.

Humphrey's

the

10.13. The

of Paoli;

Massacre

Master

(42)

12.5, 18;

in Frankfort

and

(36) VV.-5.2, 4 ; 8.27; 10.25;

C.-2.12;

A.-9.22, 23. The

A.N.-

(37)

Door

C.-

A.-

21, 2 5 ; i l . 3 , 13, 24; A . - I I . 2 3 , 29. The

(52)

(42)

5, 9;

Tinker:

or

W.-

(52)

Woodcutter:

12.24; W.-6.4,

W . - 1 2 . 1 5 , 16, 2 1 ; ( s s ) YV.-4.30; 5.8, Masquerade,

(49)

(53)

(41)

I.9;

by C h a r l e s R e a d e : (53) C.-

B.-1.2, 3;

(51)

Maurice,

Curtain;

(50)

4.26, 27, 28, 30; 5.1, H , 18, 19. Maurice:

III.

W.P.M.-

(48) W . - 1 1 . 9 , 21, 30;

Matrimonial

17;

see Gustavus

A.-5.7;

(46) W . - 7 . 1 5 ;

12.2, 3.

22;

(54) C.-9.7, 8, 15.

Ball;

8; 4 - 1 7 ;

of

Burglar's

Philadelphia,

Stronghold

13, 21 ; 12.20, 22, 23, 24 ; N.-1.26 ; A . -

; com-

II.24, 25, 26, 27, 29; 1 2 4 ;

(44)

N.-

edy by J. P. A d a m s : (49) A . - 1 1 . 2 9 * ,

3.21, 22, 23, 26, 29; (50) C.-4.15, 16,

30;

17,

Match

12.1, 3, 4. Making;

(35) Matheo

in one

act:

Falcone:

Mathilde:

(53) or

comedy:

19, 20, 26;

(52)

(5+)

N.-10.11,

N.-6.21, 22,

24· (36) P.-12.26;

(40)

The

C.-2.16. The

Castle

(35)

Mechanic

Peter

( 4 1 ) W.-6.7, 9, 12, 16.

Matrimony,

18,

12, 13, 14, 15. ' 6 ;

C.-11.28.

W.-7.22;

burg;

comedy

The

of

Lin-

C.-1.9;

(36)

Mechanic

and

his

Brother;

see

the

Queen:

(50)

; farce:

(42)

Paul. and

C.-4.29. Meet

A.-3.29; 4.25; 6 . 1 ; (37) P.-1.13, 20;

[

and

Me

by Moonlight

W . - 1 1 . 5 , 8. η

PLAY LIST Mehittable

Anne:

(55) C.M.-10.20, 22,

26, 27, 29; 1 1 . 2 1 . Melmoth the Doomed: (39) W . - 1 . 2 9 ; (42) A . - 1 1 . 3 . Mental Electricity ; f a r c e : (49) P.M.5.28, 29, (49) P.M.-5.28*, 29. Merchant and his Clerks: (49) Ath.1.27. Merchant and Mechanic: (43) W.2.18, 20; 4.4. The Merchant of Venice; by William Shakespeare: (35) W . - 4 . 1 1 ; 6.5; 7.4; 10.2; C.-4.20; 5 . 1 2 ; (36) C.9.3; A . - 3 . i l ; W . - 6 . 1 0 ; 1 2 . 1 6 ; (37) C.-1.14; (38) C . - 6 . 1 5 ; (39) W . 6.27; C.-10.8; 1 2 . 7 ; (40) W.-6.27; C . - 3 . 3 1 ; 4 . 1 6 ; N . - 1 2 . 1 5 ; ( 4 1 ) A.9.3; N . - 1 . 3 0 ; (42) C.-1.3, 1 8 ; W . 4.22; A . - 9 . 1 2 ; W . - 1 0 . 1 6 ; (45) A.4.23; 5 . 1 7 ; W.-8.7, 2 7 ; C.-9.20; W.10.4; C.-10.4; (46) W.-5.14, 30; A.-7.24; W.-9.22; (47) W . - 1 . 3 0 ; A.4.8; W.-5.29; 9.25; A . - 1 1 . 5 ; 12.6; (48) W . - 1 . 7 ; 4.7; A.-7.3; 1 1 . 2 4 ; (49) A . - 4 . 1 1 ; W.-6.23; C.-10.9; A.10.23; ( 5 ° ) A . - 6 . 1 2 ; W.-6.20; B.9.18, 1 9 ; ( 5 1 ) B.-3.7, 14, 2 2 ; W.-5.3; C.-9.27; (52) W . - 1 . 8 ; C.-9.9, 1 1 ; W.-10.6, 7 ; A . - 1 1 . 1 2 ; (53) C.-4.6; (55) C . M . - 6 . 1 ; A.-9.27; C . M . - 1 1 . 6 . The Merry Days of Charles II; see Charles II. The Merry Monarch: (43) W.-3.30. The Merry Mourners ; see Modern Antiques. The Merry Wives of Windsor; by William Shakespeare: (35) A.-3.30; (39) C . - 1 . 1 2 ; (40) C.-5.30; N.-9.24; ( 4 1 ) N.-2.22; 3.9; (42) C.-4.2; W . 1 2 . 3 ; (43) C . - 1 2 . 8 ; (44) A . - 1 1 . 1 8 , 20; (45) C . - 9 . 1 1 ; A . - 1 0 . 3 ; (46) W . 8.7; (48) A . - 1 2 . 6 ; (49) W.-3.23; 12.21, 2 3 ; (53) C . - 1 . 1 2 , 29; 2 . 1 ; W . 2.4, 5 ; 4.22, 23, 25, 28; C.-9.3. Mesmerism: (47) P.M.-3.2, 3, 6, i i , 12, 18.

The Messinian Slave; see Helos the Helot. Metamora, or The Last of the Wampanoags; by John A . Stone: (37) C.-12.6, 7, 8, 9; (38) C.-1.29; 2.5; W . - 1 0 . 1 9 , 20, 2 3 ; 12.5, 8; (39) W.9.19, 2 1 ; 10.1 ; 11.28, 30; (40) C.9.24; 1 1 . 2 4 ; W.-4.27, 30; ( 4 1 ) A.4 . 1 0 ; 6.9; N.-8.26; 10.23; (42) C.-4.16; W.-10.24, 2 7 ; (43) W . - 6 . 1 ; N.-10.17, 2 5 ; (44) N.-1.29; W.-8.27; 9 . 1 1 ; 1 2 . 5 ; (46) W . - 1 0 . 2 7 ; 12.22; (47) W . - 1 . 9 ; 3 . 1 5 ; 9 . 1 5 ; 11.6, 1 6 ; (48) W . - 1 1 . 2 1 ; (49) W.-6.7; ( 5 1 ) W.-10.21, 23; (52) W.-6.19, 24; 1 1 . 2 2 , 2 5 ; (53) W . - 1 0 . 2 1 ; (54) W.10-25; (55) W.-12.24, 25. Metamora, or The Last of the Pollyviogs: (48) W.-5.12, 1 3 ; A.-6.5, 6, 7, 8, 9, 10, 1 7 ; 12.5. Michael Erl; see The Maniac Lover. Midas, burletta; (by K a n e O ' H a r a ) : (40) C.-5.1, 4 ; ( 4 1 ) C . - 5 . 3 1 ; 6.4, 5, 19· Middy Ashore; f a r c e : (37) W.-3.22*, 2 5 ; 1 1 . 2 0 ; (40) C.-1.23 ; 2 . 1 ; 5.25; ( 4 1 ) N . - 1 1 . 2 6 ; (42) A.-6.18; 7.8; (44) W.-5.27; 8.21; 12.24; (45) W.7.26; (54) C.-12.5. The Midnight Assassin; see Paul, the Reprobate. The Midnight Assault; see The Italian Brigands. The Midnight Hour, or Ruse contra Ruse; by M r s . Elizabeth Inchbald: (35) C.-4.27, ι i . i ι ; (36) P . - 1 1 . 1 5 ; (39) C.-6.10, 1 2 ; (40) C.-6.2; (44) W . - 1 . 1 2 ; (46) W.-3.9; 4.20; 1 1 . 2 3 ; 12.4; (47) W . - 1 . 2 7 ; (52) C.-8.23. The Midnight Watch: (49) Ath.1 . 1 3 ; 2.14, i s , 1 6 ; A . - 5 . 2 1 ; (51) B.-10.27, 28, 29, 30, 3 1 ; i i . ι , 24; (54) C.M.-9.28, 29; 10.5, io, 20. Midsummer Night's Dream: (55) W.-I.8, 9, 10, II, 1 2 , 1 3 , 1 5 , 16, 1 7 ,

¡1

18, 19, 20, 22, 23, 24, 25, 26, 27,

THE PHILADELPHIA THEATRE 29. 30. 3 1 ; 2-1, 2. 3. 5, 7. 8, 9. 10. 1 2 ; 4.23, 24, 25, 26, 27, 28. Λ/ϋί Martin, or The Bold Irish Robber and Daring Highwayman: (50) A - - 3 . 1 1 , 12, 1 3 , 14, 1 5 . Milford Castle: (42) A . - 1 0 . 2 2 . Military Execution, or The Fatal Keepsake: (36) W - - 4 . 1 1 , 2 5 ; ( 4 1 ) A . - 1 1 . 1 5 , 1 6 ; (42) W.-7.7. Military Training, or A Real Down East Muster: (38) W.-9.8; (39) W . - 5 . 1 0 , 21 ; (40) N.-9.26. The Mill of St. Alderon, or The Two Galley Slaves: (46) W.-4.8, 9; 5.12. The Miller and the Coalman; farce: ( 3 5 ) M a m . C . - i . 2 i , 2 2 ; 2.19. The Miller and his Men; by I s a a c Pocock: (35) W . - 1 1 . 1 4 ; 1 2 . 2 ; (36) P . - 1 1 . 2 6 , 2 8 ; 1 2 . 1 ; (37) P . - 1 . 3 ; (38) C.-2.24; 3.9; (40) W . - 7 . 1 6 ; (42) A.8.8; 10.29; ( S ° ) B.-10.5, 7, 8, 9, io,

The Miner of Pottsville; melodrama: (49) C . - 1 1 . 1 0 , 12, 1 3 . The Minerali, or The Dying Gift: (36) W . - 1 2 . 1 3 * , 14, 1 5 , 16, 2 2 ; (40) W.-7.4, 9 ; (42) A.-5.9, 1 0 . Mirth and Music; see The IVandering Minstrel. Mischief Making; f a r c e : (36) P.-12.20, 24. 29; (38) W.-10.2, 4 ; (39) W . 2 . 1 ; 7.24; C . - 1 1 . 1 1 , 1 2 , 1 6 ; (40) C.1 . 2 1 ; 5.14, 2 1 ; ( 4 1 ) W.-6.29; N." • 2 5 ; (44) N.-5.23; (47) A . - 6 . 1 1 , 1 6 ; 7.30; W.-8.30; 9.2, 4, 10, 2 4 ; 1 0 . 1 2 ; I I . 1 7 ; (48) W . - 2 . 2 , 2 8 ; 3.1, 2 ; A . - 7 . 1 1 , 1 2 ; (50) Α . - 1 2 . 2 0 , 2 4 ; ( 5 1 ) N.-7.I8.

II. The Miller of Whetstone: (52) W . I I . 1 0 , i l , 12, 1 3 , 24, 30; ( 5 3 ) A . 9.22. The Miller's Holiday: (35) Mara.C.2.21. The Miller's Maid: (36) P . - 1 1 . 2 4 , 2 5 ; (40) W . - 5 . 2 2 ; ( 4 1 ) A . - 1 0 . 1 1 , 2 0 ; (42) N . - 1 . 2 9 ; C . - 1 1 . 2 8 ; (45) A.7-5; (47) W . - 5 . 3 ; 6.28; (48) W 1 . 1 0 ; A . - 8 . 2 ; (52) W.-1.26, 30; C.12.9, 1 0 ; (54) C.-6.28; 7.8. The Miller's Man and the Chevalier ;

C.N.-

see Solomon Smini. The Miller's Murder, or The Rose of Corbelle: (38) W . - 1 2 . 1 4 , 20. The Miller's Wife; see Giralda. The Milliner's Holiday: (45) W . - 1 . 2 5 , 2 7 ; 2 . 3 ; 3 . 1 2 ; 5.30; (49) P.M.-4.30; 5.1 ; 6.2. The Millionaire ; comedy (by W a l t e r L e m a n ) : (48) W.-8.28·, 29, 30, 3 1 ; 9.1, 2 ; (49) W.-4.3. Milly; see The Maid with the Milking Pail.

[

Mischievous Annie; f a r c e by W . T . Florence: (52) C.-7.22, 2 3 ; (54) C.7-24; (55) C.M.-7.2, 3, 6. The Miser of Eltham Green; see Man. The Miser of Philadelphia: (49) 9.8*, 10, i l , 12, 1 3 ; 1 0 . 1 0 ; (52) 8.7, I I . The Miser of Southwark Ferry, John Overy: (42) A . - 4 . 2 3 ; 1 2 . 1 3 , 14, 1 5 , 1 6 ; (50) A . - 1 . 3 ; N.-8.7; A.-12.29. B y Douglas rold. The Miser's Daughter: (35) 6.22.

Last

or W.(51) JerW.-

A Miser's Miseries; f a r c e by H. J . C o n w a y : ( 3 5 ) W . - 1 1 . 9 · , 10, 1 1 , 1 2 ; (36) W . - 1 . 4 . Miseries of Human Life: (46) A . 4.6, 7, 8, 9 ; C.-4.29, 3 0 ; P.M.-10.29, 30; i l . 1 9 ; (47) P . M . - 6 . 7 ; A.-10.6, 18, 1 9 ; (48) A . - 1 . 5 , 6 ; 8.23; 9.6, 7 ; 1 0 . 2 ; (49) A . - 5 . 1 4 ; ( 5 2 ) C.-8.27, 28, 3 1 ; 9.2, 2 8 ; (53) A.-8.22, 2 4 ; W . 9.24, 2 6 ; 1 0 . 1 8 ; (54) W . - 2 . 1 6 ; A . 5 . 1 5 ; 6 . 1 ; ( 5 5 ) A.-6.20, 2 1 . The Mistakes of a Morning ; see Black and White. The Mistakes of a Night; see She Stoops to Conquer.

5]

P L A Y LIST Mizzle,

Bolt,

(45) Mob,

and

Cutaway;

9.7;

in France: 10.1, 10.2;

or Jemmey

21;

li.18;

8.30;

(39)

(38)

W.-5.3,

W.-2.22;

3.6;

14;

A.-1.10;

(51) Model

7-3.

4,

Twitcher

( 3 6 ) W . - 9 . 1 7 , 20, 22, 3 0 ;

8, i l ,

W.-2.6;

5;

a

(54) 1.31;

20.

4.12;

P.M.-

(54)

C.-

C.-1.9;

or

The

; by John Duelling;

see

Folly

Monkey: Monkey

as

it

The

Mogul

Tale,

or

in an Air

Inchbald) : (35) Mohawk

Mohammed (52)

A

Cobbler's

Balloon;

C.-4.24; 6.18;

9.17.

Monkeyana:

Oranaska.

Momentous 12.2,

(52)

Question: 3, 4,

W.-2.27;

(54)

A.6.9,

12.5.

See

in

5;

(44)

(51)

A.-3.ι,

10,

16,

also

A.-

C.-2.22 ;

11;

17;

Lovers,

Friend. Mimic;

the

farce:

Monday

Minister,

(39)

Baptist,

Festival: Money;

or

(42)

and

the

Almshouse

A.-8.25.

comedy by L o r d Lytton:

(41) 104,

16;

12.22;

A.-4.28,

10.11,

13;

3 0 ; 6.2, 1 0 ; (42)

A.-7.11, 14; W.-11.23; 10;

A.-8.14;

(44)

W.-1.15,

W.-1.1; 1.20; 23,

20;

A.-7.30; W.-4.14;

W.-3.16,

(43)

or

1720;

31;

il.i ;

The

the

World:

W.-6.17, 15,

Paris

comedy: de

(45)

19. 16;

comic

(37)

A.-6.26;

7.10;

(48)

(46)

A.-4.21. or

ballet 7.1;

Robbers W.-12.20*,

Chaluman,

Village

pantomime:

(47)

A.-6.28;

A . - 8 . 2 1 , 2 3 ; 9.2.

Jacques;

farce:

C.-1.11;

(43) A.-12.30;

C.-11.8;

(51)

(38) (44)

A.-10.28;

il.19;

W.-12.24;

C.-2.8,

W.-

A.-1.6;

(55)

C.M.-

Mallet:

(36) W . - 3 . 3 1 ;

il,

8.31;

14,

1 3 ; 5-4; 9-8; ( 3 9 )

W.-2.7;

8.30;

3.27;

(44)

W.-12.17; 29; (48)

(49)

A.-5.7;

Monsieur

5.28;

C.-9.23,

4.28,

5.1;

29;

(39)

W.-6.13,

C.-

W.-2.22;

A.-5.2, 6; W . - 5 . 6 ;

(46)

has Seen

28;

C.-3.23,

4 . 1 8 ; 5.21; 9.20; A . - 1 2 . 1 3 ; (45)

; see

2-71 3-6. 9, 2 9 ; 4-23-

N . - 1 . 2 5 * ; 2.1, 4, 1 0 ; 3 . 2 7 ; 8 . 2 1 ; 6.17;

Ou-

1 0 . 2 7 ; (39) W . - 6 . 6 , 1 1 ; (40) W . - 4 . 4 ;

W.-6.1. The

see

P--I-2S, 26.

Monsieur

Monarch,

who

Holiday;

and

Mur-

Handf

the Bridegroom

22, 23, 24, 25, 2 6 ;

C.-11.30; Wife

the

the

W.-5.26.

(35)

Monsieur

4.15;

9.13;

his Double;

and

Monseigneur,

A . - 4 . 2 1 , 22, 23.

27;

and

owns

W.-6.17, 18;

(37)

Miles:

Mask, (46)

Monkey

(35)

see

A.-

C.M.-

Sorcerer.

Mrs.

Chief;

A.-4.9;

A.-6.13,

and

Monkey

(by

; t r a g e d y by G . II.

11.30;

1.5;

The

A.-8.19; (55)

Outang.

The

Flight

the

The

rang

A.12.9;

30.

see Who

The

Flies.

The

Monk,

(35)

2.2.

Modern

The

W.-5.24;

Merry

O'Keeffe:

22;

A.-12.8;

2.6; C.M.-3.29;

C.M.-11.20, The

C.-2.28;

C.-8.19,

10.8,

A.-8.30;

Antiques,

Mourners

il.12;

VV.-4.5; A.-8.20, 2 5 ;

A.-1.17;

derer;

Modern

The

(53)

10.5;

VV.-5.3, 4 ; C.-1.19,

10;

6.2;

10.12; C.M.-12.5;

(48)

12.23;

W.-5.7,

(52) C.-1.1 ; 4.13;

(41)

(53)

W.-11.1;

B.-3.28;

9.9, 1 7 ; C . - 1 2 . 3 0 ; 3.10, 3 1 ;

84;

31;

W.-1.1 ;

29;

Wife:

(50)

(37)

W.-3.9; 6, 2 i ,

(42)

of

12.23;

10.13.

The

B.-10.25,

(51)

the Outlaw,

The

farce:

A.-8.1.

N.-9.16;

(42)

C.-3.31;

W.-3.23;

12.21;

(45) (53)

(40)

Monsieur

A.-

N.-3.9;

(43)

C.-12.6;

C.-9.13;

(49)

W.-2.1;

4.19,

W.

Tonson;

T.

f a r c e in o n e a c t b y

Moncrieff:

(35)

W.-11.18;

(36)

W.-3.29;

(38)

C.-4.9, 1 2 ;

W.-5.14,

(39)

W.-4.19,

23;

7.24,

(40)

N.-10.23;

W.-

[
7 ; 4 · ' . 2, 3. 5, 6. 7 ; W . 9.27, 28, 29, 3 0 ; 1 0 . 1 , 2, 4, 5, 6, 7, 8, 9; (44) W . - 8 . 1 9 ; ( 4 5 ) VV.-7.11, 12, 14. «5, «6, 1 7 ; " · 2 7 ί (47) A . - 1 2 . 2 3 , 24, 25, 27, 28, 29, 30, 3 1 ; (48) A . I I. 3. 4, 5. 6. 7. 10, 1 1 , 12, 1 3 , 1 4 ; 2.21, 22, 23, 24, 2 5 ; (49) C . - 1 1 . 1 9 , 20, 2 1 , 22, 23, 2 4 ; ( 5 2 ) N.-9.9, io,

10.26, 27, 28, 30, 3 1 ; N . - 1 1 . 1 ; C.II.10; C.-11.24; N.-11.30; C.-12.4; (44) N . - 1 . 1 5 , 1 6 ; 2 . 7 ; W . - S . 7 ; (46) P . M . - 7 . 1 1 ; 8.24, 2 7 ; (47) W . - 9 . 2 2 ; (49) A t h . - 1 . 1 0 , l i . My Young Wife and my Old Umbrella: (38) 0 . - 4 . 1 8 * , 1 9 ; (40) W . 5 . 1 4 ; N.-9.29 ; (42) W.-6.8 ; ( 5 1 ) A.-10.6; 11.20. Myr(n)a Alwyn(n) ; t r a g e d y in acts: ( 5 3 ) C.-4.20, 2 1 . The Mysteries of Lurlei Berg ; see Naiad Queen.

five

I I , 1 3 . 14. 15. 16. 1 7 · The

The Mysteries and Miseries of New York; by T h a d d e u s W . M e i g h a n : (49) A . - 1 0 . 3 * , 4, 5, 6, 1 1 ; N.-10.8, 9i 1 0 ; (50) A.-8.26, 27, 28. The Mysteries and Miseries of Philadelphia: (50) C . - 5 . 3 1 ; 6.1, 4, 2 1 . The Mysteries of Nevi York: (44) N . - 1 . 2 7 , 29, 30, 3 1 ; 2.5. The Mysteries of Odd Fellowship: (46) A . - 1 1 . 2 8 ; (47) A . - 4 . 1 3 . The Mysteries of Paris; "adapted f r o m book of same name by F. C. W e m y s s , J a m e s G a n n , and J o h n S e f t o n " : ( 4 3 ) N . - 1 1 . 1 3 · , 14, 1 5 , 16, 17, 18, 20, 2 1 , 22, 23, 2 4 ; (47) A . 9.1, 2. The Mysterious Blunder; see Savage of the Forest. Mysterious Family: (50) W . - 1 0 . 2 8 , 29, 3 1 ; 1 1 . 2 , 1 2 ; 1 2 . 1 4 ; ( 5 1 ) W . 1 . 1 5 , 1 8 ; 2.6; 3 . 1 3 ; 1 0 . 1 8 ; 1 1 . 4 ; ( 5 2 ) W.-1.21; (53) W.-2.12, 1 5 ; 3.3; 6.9. The Mysterious Hermit; see Manfredi. The Mysterious Lady; see Zephyrina. Mysterious Knockings : (50) A . - 5 - ι ο , i l , 1 3 , 14, 1 7 , 18, 20, 24, 28. Mysterious Stranger: ( 5 1 ) A.-9.22. Mysterious Visitor: (42) A . - 1 0 . 1 . A Nabob for an Hour ; see Uncle Sam. The Naiad Queen, or The Mysteries [I

Ν ante the Porter; (37) Napoleon, nard: (36) II.19,

f a r c e by B e r k m a n n :

A.-7.27. or Passage

of Mt. St.

Ber-

(35) C.-5.26, 27, 29; 6.6, 2 4 ; C.-6.14, 20,

22;

IS!

7-4, 7 ;

(52)

(45)

A.-

A.-4.13 ;

N.-

9-3. 4· Napoleon, or The Deserter and His Dog: (53) C.-4.27, 28. Napoleon and the Patriot: (41) W.10.6, 7. Napoleon Bonaparte ; by H. J . A m herst: (38) W.-4.23, 24, 25, 26, 2 7 ; (44) W.-8.12, 13, 14, 1 5 . Napoleon Bonaparte's Invasion of Russia: (39) C . - 1 2 . 2 8 ; (40) \V.4.21. Nathalie; pantomime ballet: (40) C.II.18, 2 1 ; ( 4 1 ) C.-9.1, 6, 7, 2 1 ; (42) A . - 1 0 . 1 , 3. National Guard, or Bride and no Bride; comic o p e r a : (50) W . - 5 . 1 3 , 14, 15, 29. Nationalities, or John, Jean, and Jonathan; by J . Oakes P a r d e y : (53) A . - 1 1 . 2 8 * , 29, 3 0 ; 1 2 . ι , 2, 3, 5, 6, 7 ; (54) A.-6.2, 3 ; 9.29; 1 2 . 5 ; (55) A.-7.2, 4. The Native American: (44) A.-7.4. Native Land: (39) C.-9.26, 2 7 ; (46) A.-2.23. Native Nobility; burlesque by L . A . W i l m e r : (47) A . - 5 . 3 1 * ; 6.1, 2, 8. Natty Bumpo: (42) A . - 1 1 . 2 6 , 27, 29, 30.

!]

PLAY LIST Natural

Magic;

see

The

9.6; i l . 7 ; (55) A . - 5 4 , 10; W . - 1 1 . 2 8 ;

Chimney

12.3.

Piece. Nature

and

Philosophy:

12.8, 2 3 ;

(36)

P.-1.21; (42)

(35)

W.-1.11;

W.-6.27;

W.-1.31;

10.2t;

(45)

W.-1.29;

2.20;

(40)

(44)

W.-12.11; (46)

VV.-4.1,

ii.10;

(50)

Α.-6.ι, 5; W.-6.13,

(51)

B.-2.8;

2.7,

18;

(52)

(54)

6;

P.M.-

(47)

(48)

C.-9.3;

W.C.-

(55)

of

Neu:

Love;

13, 1 9 ;

or

The

f a r c e : (38) (40)

C.-2-3, 5, 20, 2 4 ;

4.6, 1 4 ; 5.5, 1 4 ; 12-8; ( 4 O (43)

W.-2.25,

27;

7.18,

19;

P.M.-8.3,

(47)

P.M.-3.10,

(46)

(44)

Comedy New

B.-12.13,

A . - 6 . 2 4 , 26.

of Errors:

Fanchon;

New

(55)

see

Footman:

24, 26, 2 8 ;

A.-

Mother's

(42)

A.-10.27;

0 . - 9 . 2 2 , 23,

(44)

W.-5.3;

9.7, 26, 3 0 ; 1 1 . 8 ; 12.3, 1 8 ; ( 4 5 )

12,

W.-

1 . 2 9 ; 2 . 2 4 ; 3 . 1 4 ; 4 . 2 5 ; 6.2, 2 4 ;

3.16;

(46) 31;

W.-1.11 ; 5, 6,

see

Blessing.

A.-4.28;

(44)

Wife;

f a r c e : (50)

Actress:

The

Freaks

W.-11.10,

his

5.18*, 23.

The Engagements,

Hall;

A New

w -

12.21. Natal

and

16, 17, 20.

17;

(53)

C.-7.20;

Maker

Nettlewig

C.-

6.19;

Net

Zembuca.

(37)

Λ.-2.16;

A.-11.26;

The

VV.-5.11, 15, 21, 2 9 ; W.-10.14,

3.25; 6.2;

21;

20;

P.M.-7.30,

12.ι ;

(47)

(48) W . - 6 . 2 ; 7.19;

6.22;

(50)

(51)

VV.-11.27; 1 2 . ι , 1 0 ; ( 5 3 ) W . - 2 . 2 ; C.-

C.-3.25, 2 9 ; W . - 9 . 2 7 ; 10.ι, 1 5 ;

(52)

3.10,

16, 2 6 ;

C.-9.20;

(55)

W.-10.27.

W.-1.19;

2.13;

5.4;

4.6;

914;

W . - 1 0 . 2 5 ; 11.22; C . - 1 1 . 2 3 ; 2 5 ; C . M . -

New

Lights

10.9, 1 1 ; A.-12.6, 23, 2 7 ;

New

Notions:

1.3; C . - 2 . 7 ; W . - i i . 1 2 , Naval

Glory,

(55)

A.-

17, 21.

or Decatur's

Triumph:

The

Navy

Forever:

Doorkeeper:

Negro

Fidelity;

(51) The

B.-6.2;

Nervous

(40) drama

acts:

and Man

of

10.5; i l . 1 6 ; 2 5 ;

2 1 ; A.-5.12, 1 7 ;

(38)

(37)

Nerve;

1 2 ; ( 4 0 ) C . - 1 0 . 6 ; N.-11.17, 2 0 ; N.-2.24 (46)

(42) A.-8.2;

C.-1.7,

16;

(45)

A.-8.29;

C.-

C.-2.15,

C.-9.18;

li.9, (41)

A.-Ii.13; W.-8.31;

A . - 9 . 1 ; ( 4 7 ) W . - 2 . 9 ; 6.16, 2 2 ; 12.9; (48) W.-5.16, 26; A.-6.5;

10.4; W.-

9.12; A . - i l . 1 3 , 16; (49) W.-4.11, 19; 9.il,

21;

10.19,

23;

(5°)

(51) W.-2.24; 3.7; 9.2; (52) C.-8.3; W.-9.27;

(53)

W.-5.1 ; W.-3.2;

C.-5.24;

Tutor.

(39)

W . - 1 0 . 2 1 , 22, 2 4 ;

( 4 0 ) W . - 1 2 . 2 2 ; A . - 1 2 . 2 , 5, 1 0 ; 13;

16;

(45)

C.-10.27;

C . - 1 . 2 0 ; 4.26,

(42) 30;

12. New

President;

New

Way

Philip

c o m e d y : ( 3 5 ) C . - 4 . 2 8 ; 5.7; ( 3 6 ) 9.28;

A

( 5 4 ) C.-7.20, 22.

Man

; see Irish

il.n;

farce:

(41)

N.-

3-24*, 25.

W.-12.26. in t h r e e

W.-10.9;

(52)

W.-10.15,

The

Negro

(54)

8, 2 0 ;

(41) 5.6,

( 3 7 ) W . - 7 . 1 8 , 19,

20.

104,

il.2;

W.-4.9,

( 4 4 ) W . - 3 . 1 1 * , 12, 13, 14, 15, 16.

28;

W.12.14;

7 . 1 2 ; A . - 1 0 . 2 0 ; ( 4 8 ) A.-11.6, 7 ;

22, 3 0 ;

A.-3.4,

8.21;

6-3; [ 623 ]

6.3;

to

Pay

Old

Massinger:

8.24;

Debts;

(35)

11.26, 2 8 ;

by

W.-2.19;

C.-6.25;

(36)

W . - 1 . 1 3 ; 5 . 3 1 ; 9 . 1 2 ; 12.19; P . - 1 2 . 1 0 ; (37) (38)

W.-6.26; 7.12; C.-9.11;

il.17;

VV.-7.10;

W.-2.3; (39)

10.2, 4 ;

12.12; W . - 4 . 2 6 ; 6.29;

C.-4.10;

VV.-6.16;

12.23;

A.-12.16;

(41) A.-5.3; 10.4; W . - 3 . 3 ; (42) 4.4; "•15;

A.-4.29; (43)

W.-5.28; W.-1.12;

C(40)

6.29;

A.-9.7;

W.C.(44)

W . - 1 . 1 7 ; A . - 1 . 2 2 ; 3 . 1 9 ; VV.-6.3; A . 9.6;

W.-I0.22 ;

A.-11.21;

(46)

(47)

W.-4.19;

1.21;

8.10;

(49)

(45)

W.-4.2;

W.-2.20; A.-11.22; C.-10.5;

5.23;

A.-5.19; (48)

A.-

(50)

Α.-

THE PHILADELPHIA 5.17; ( 5 1 ) B.-3.4; W.-5.23; A.-5.27; (52) W.-1.5, 7 ; C.-1.20; W.-3.30; C.-9.8; (53) A.-4.18; W.-6.2; (55) W.-4.19; C-M.-5.23, 3 1 ; 11.5. New Year's Morn: (47) P.M.-i.i, 2. New York as it Is; by B. A. Baker: (49) A.-9.24·, 25, 28, 29; (50) A.8-22, 23; (54) C.-10.13. The Nice Young Man; see Weak Points. Nicholas Nickleby; by E. Sterling: (39) W.-2.25, 26, 27, 28; 3.1, 5; 4.20; (40) W.-5.23; N.-9.12, 19, 22, 25; 10.6, 1 2 ; C.-9.17, 19; 10.1 ; 12.8; (42) C.-3.9, 16; (43) W.-6.24; (44) W.-4.20; (47) A.-2.6, 9; 6.24; (54) C.-3-9, " ι 5-5, 8. Nick of Time; Yankee d r a m a : (43) A.-5.8*; (46) A.-3.9. Nick of the Woods, or Kentucky in 1783, or The Jibbenalnosay; melodrama in three acts by L. H. M e d i n a : (38) VV.-8.29·, 30, 3 1 ; 9.1, 4, 5, 1 1 ; (41) N.-9.18, 20, 21, 22; 10.16; 11.2; (42) W.-3.12, 19, 22, 24, 25, 26; A.-4.6, 7; W.-4.23; A.5.28, 30; 7.9; W.-10.21 ; (43) N." • 4 ; (45) A.-5.31; (46) A.-3.14, 1 6 ; (47) A.-8.26, 27, 3 1 ; (48) W.-7.15; (50) C.-7.9, H, 13, 26; A.-10.2, 3, 4, 5; " - S , 6, 7 ; (S») A.-5.21; (52) A.-9.24, 25; N.-9.25; (53) A.-5-28; 6.2. The Nigger turned Physician; see Black Ghost. Night and Morning: (41) N.-3.20, 22, 23. 25, 26, 27. Night and Morning; by John Brough a m : (55) A.-3.26*, 27, 28, 29, 30, 31, 4-2, 3, 4. 5, 7, i l · Night Dancers: (49) 0.-12.7, 8, 10. Night Hag, or St. Swithin's Chair: (35) W . - 1 . 1 , 3; (43) N.-11.9. The Night Hawks; see The Black Rangers.

[

A

THEATRE

Night in the Forest; see Two Words. A Night in the Pyrenees: (41) A.-1.16, 21. A Night in Whales ; see Jonah. A Night of Adventures ; see Vol-auVent. A Night's Adventures ; see Der Wächter. Nina Sforza; t r a g e d y : (42) C.-2.9*, 10, l i , 14, 15, 16, 24. Ninth Statue, or The Irishman of Bagdad: (42) W.-5.16, 2 1 ; 6.2. Nipped in the Bud; f a r c e : (39) W . 9.4, 16, 25; 10.11, 26, 30; (40) W.5.9; 28; 64, 25; A.-9.17; C.-12.28; (47) A.-7.22; (48) A.-10.24; (50) A.-3.7. Nix, the Cabman: (52) C.-7.14, 15. No!, or The Glorious Minority: (35) C.-12.12; (36) C.-10.17; 11.30; W.1 . 1 4 ; 4.22; P.-11.21, 23; (37) c . 2.8, 20; 3.6; 1 2 . 1 2 ; A.-5.6, 10, 16; (38) W.-7.7; 11.26; C.-6.13; 9-I7I i l . 1 3 ; (40) C.-3.7, 1 3 ; 4.15; 5.12, 2 1 ; C.-6.22; (41) C.-9.10; (43) C.1-5, 71 (45) A.-7.14; C.-8.30; 9.15; W.-12.12, 1 3 ; (46) W . - 1 . 3 ; 4.11, 15, 16, 2 1 ; (48) W.-8.28; 11.2, 27; (49) W.-2.26; (50) W.-2.12, 1 5 ; 3.4, 25; ( 5 1 ) B.-4.19· No Male Visitors Allowed; see Congress Hall. No. I Round the Corner: (54) W.6.21; 7.1. The Noble Shepherd; see Douglass. Noble Heart: ( 5 1 ) W.-5.19. Non Imprisonment for Debts; see Fireman of Philadelphia. Norma; opera by Bellini: (41) N.1 . 1 1 , 12, 13, 14, 15, i6, 20, 21, 22, 23; C.-1.11, 12, 13, 14, 15, i6, i8, 25, 26, 27, 28, 29, 30; C.-2.1, 2, 3, 4, 6, 7, 8, 9, 10, 12, 14, 16, 18, 19, 2 1 ; (42) C.-12.30; (43) C.-1.9, 10, Π

P L A Y LIST II, 13, 16; 2.1, II, 17; 7.2s, 26, 27, 31; I I . 1 3 ; (44) C.-4.20, 23; 5.25; (45) C.-6.28, 30; 7.1; II.15, 18, 22; (46) C.-5.I8; W . - I I . I 3 , 14; (47) C.-4.5, 12, 22; 6.5; W.-7.23, 27; 8.2, 5; 10.12, 14; 11.22; 12.4; (48) W . - I . 3 ; 9.26; C.-I0.4, IO, 13; 12.12, 14, 16; (49) W.-10.8, 10, 1 1 ; 11.30; 12.3; (50) C.-9.10, 18; 12.23, 30; (52) W.-2.20, 21; 5.7; (53) W . - 3 . 1 1 ; (55) W.-1.6. Norman Leslie; domestic drama by F. C. Wemyss founded on Fay's novel of that name: (36) VV.-3.14*, 15, 16, 18, 19, 22, 25, 26; 6.18; (40) VV.-12.28, 29, 30, 3 1 ; A.-12.21, 22, 25 ; (41) W . - I . I , 2, 4, 5, 6. North and South, or The Pedlar and the Planter; comedy: (55) C.-2.1, 2. North Pole, or A Tale of the Frozen Sea: (36) W.-3.13·, 14, 15. No Song no Supper; by Prince H o a r e : (35) C.-1.30; 12.7, 15; (36) C.-9.2, 6; (37) C.-8.28; 10.11 ; (38) C.-5.30; i l . 1 6 ; W.-7.23; 10.12; 11.24; (36) A.-5-3; (39) W . - 1 1 . 1 4 ; (40) C.-6.9; 11.6; (42) A.-7.20, 27; W.-12.23; (43) C.-1.6; (45) A.-7.15, 17, 18; C.-10.21; (47) P.M.-2.8; (50) W . 4.29; B.-12.12, 2 1 ; (51) A.-4.30. Not to be Done: (50) B.-8.26 ; (51) B.-1.16. Note Forger: (35) W·-10.24, 27; l i . 1 0 ; 12.22. Nothing: (48) A.-3.21, 22. Nothing like Wheedling; see Weak Points. No. 33 Locust Street; f a r c e : (50) C.-5-29*, 3°. 3 1 ; 6-8. Novel Expedient: (52) VV.-10.13, '4, 16, 26; i l . ι , 5, 9, 23; 12.21; (53) W . 1.8; 2.4, 1 1 ; 3.7; 4.14. Nymphs of the Red Sea: (44) A . - 1 1 . 1 1 , 13, 4. 15. 19. 20, 22, 28; (53) VV.-3.28, 29, 30. 3 1 ; 4·', 2·

The Oath; see 11 Giuramento. Oberon, or The Enchanted Horn: (48) W . - 1 . 3 1 ; 2.1, 2, 3, 4, 5, 24, 25; 3.9, 10. Obi, or Three Fingered Jack; pantomime: (39) VV.-1.23; (45) A.-11.1, 3. Obid and Ovid: (35) W.-5.11. An Object of Interest: (46) P.M.-7.27, 28; (47) A.-9.11; 10.ι, 5.23; (48) P.M.-3.20; 4.13, 20; A.-11.1, 6 ; 12.21 ; (50) A.-4.22; 5.27; (51) VV.-4.18, 21, 25; (53) C.-2.2; A.-5.4, 1 1 ; 12.2; (54) A.-3.23; C.M.-9.25; 10.4, 16; 1 1 4 , 9; C.-12.4; (55) C. M.-5.21, 26. Obstinate Family: (53) VV.-9.28, 30; 10.3; 11.22; (54) VV.-I.I8, 19, 24; 6.30; il.13, 30; (55) W.-3, 7, 14, 29; 4.12. The Ocean Child; melodrama: (41) N.-9.25*, 27, 28, 29, 30; 10.1, 2, 4, 5, 6, 7, 26, 30; i l . 1 8 ; (42) N.-1.1, 15 ; A.-il.22, 23, 24, 26 ; (44) A.-7.16, 17, 19. 25; (46) A.-2.26, 27, 28; (51) A.-5.31; 6.21, 30. The Ocean of Life: (44) W.-5.29, 30. Octavia Bragaldi; tragedy by Charlotte M. S. Barnes: (48) A.-2.10*, n , 12. O'Donoghue; "new legendary d r a m a " : (48) A.-6.29*; 7.1. O'Flannigan and the Fairies: (37) Ç.-2.27*; 3.1, 2, 4, 6, 7, 8, 1 1 ; (40) N.-11.18, 19, 21, 26; (49) VV.-10.22, 25. 27; (55) A.-3.7, 8, 10, 12, 13, 14; 4-7, 9. 19 ; 5-3; W.-9.20, 25. O'Grady, the Irish Guardsman: (49) W.-9.13*, 14, 15, 17, 18, 22. Of Age Tomorrow; musical f a r c e : (36) C.-11.7; (37) C.-9.18; (38) C.-5.24; 9.3, 10; 11.14; (40) W . - 1 1 . 1 1 ; 12.5; (46) P.M.-8.13, 15; A.-9.5, 9, 10; 10.3, 23; (47) A.-2.4; (48) A.-11.9, 28. Oh! Hush!! or The Verginny Cupids; "Ethiopian o p e r a " : (35) W . - 1 . 1 6 ; 6 27, 29; 7.4; 9.4, 12; 11.26, 28;

THE PHILADELPHIA (36) W.-5.23; (38) W.-1.5; 6.26; 7.2; (40) VV.-7.16, 18; A.-9.9; (41) W.-5.1; A.-12, 11,^17, 18; (42) A.4.25,26; W.-6, Ι8; Λ Α.-9.22; VV.-IO.28; (46) A.-7.I4, I8 ; (48) A.-3, 4, 6, 9; C.-7.8, 1 2 ; (50) A.-5.9. O-I-E-O-E; see Catching an Heiress. Ο. K . : (40) A.-12.1. Old and Young, or The Four Mowbrays: (35) A.-3.3, 5; W.-3.20; C.-12.8, 11; (48) W.-3.16, 1 7 ; C.7.3, 6, 18; (50) W.-1.10; B.-9.23, 24. The Old and Young Salt: (45) W.5.16, 17, 20. The Old Clock; see Here she goes, There she goes. Old Drury in an Uproar ; see A Row at the Chesnut. Old English Gentleman; comedy: (37) C.-12, 15*, 16, 18, 20; (38) C.-1.2; 2.7; 5.24; (42) A.-9.24; 11.9; (47) A.-I 1.2. The Old Gentleman: (35) A.-3.6, 12, 16, 26; C.-5.16; 9.7; (36) W.-4.23, 26; 5.16. Old Guard: (40) N.-10.3; (47) W.4.12, 13, 16; 5.4; 10.26; (48) W.1.19, 22, 25; 3.23; 5.9; A.-6.10, 1 4 ; 7.31 ; 8.1, 15; 9-3°; IO-3, 24; (49) C.-8.28; C.-12.3, 4; (50) W.-2.23; (55) W.-6.23; 7.2. Old Heads and Young Hearts; comedy by D. Boucicault: (45) W.-1.20*, 21, 22, 23, 24, 25, 27, 29, 31 ; C.-1.22, 23, 24, 25 27 28 29; W.-2.3 10, 28; C.2.4; VV.-34; 4.8; 8.15, 2 1 ; 10.13; 12.18; (46) W.-1.13; 5.18; 20; 7.24; (47) W.-5.7; (48) W.-7.17, 20, 29; (51) B.-2.8; W.-4.14; B.-5.30; (52) C.-8.30; 9.1; (53) A.-5.23, 25; 8.22; 9.29; (54) W.-6.23, 24, 30; (55) A.-130; C.M.-11.5; 12.22. Old Hickory: (42) W.-1.1. Old Honesty: (48) A.-9.13* 14, 16, 18, 19, 20, 23 ; 12.5. [ι

THEATRE

Old ironsides: (41) W.-12.28, 29, 30; (42) W.-1.1. Old Love and the New: (51) W.-3.11*, 13. Comedy. Old Maid; farce by A. M u r p h y : (36) C.-6.16. Old Manor House; comedy: (45) C.4.30. Old Morgan: (47) A.-2.10, 11, 12, 13. Old Man's Curse: (35) VV.-2.28*; 3.2; 4.3; C.-10.31; (36) A.-2.29; 3.3. The Old Oak Chest: (37) A.-5.18; (40) W.-3.24, 26, 31. Melodrama. Old School and the New: (52) W.10.4, 5. Old Times in Virginia; see Yankee Pedlar, Old Toll House, or The Carrier and his Dogs: (52) A.-4.5. Old Virginia, or Southern Chivalry: (43) N.-12.9. Ole Bull; farce by Charles Burke: (45) A.-1.2; 7.30; 9.20, 24; P.M.-3.14, 1 7 ; 4.10; (47) A.-2.1 ; P.M.-2.17, 24; A - 5 1 4 ; 7-3; (48) A.-12.23; (50) C.-7.29; A.-8.6, 1 2 ; 12.4, 7 ; (51) A.-9.4, 10; (52) N.-9.14; A.-12.16; (54) C.-2.6. Oliver Twist, or The Almshouse Boy, or The Parish Boy's Progress: (39) W.-I.I*, 2, 5; 5.30, 3 1 ; 6.1; (49) N.-9.5, 8, 9; 10.20; (41) N.-3.29; C . - 1 2 . 1 1 ; (42) C.-2.18, 22, 23; W.10.8, IL, 22; IL.9; 12.6; (43) W.2.23; 4.8; 6.12; (44) W.-2.5, 14; 4.1, 8; 6.8; (47) A.-12, 5, 9, IL, 30; 2.15; 5.8; IL.18; (55) W.-2.13, 15. Olla Podrida: (35) A.-4.1, 4; C.-4.18. Olympic Devils, or Orpheus and Eurydice: (39) C.-6.3, 5, 6, 8. Olympic Revels: (42) C.-12.23; (43) C.-1.9, 13, 1 8 , 2 1 ; (47) W.-10.22, 23. Omandhaun ; see My Poor Dog Tray. Omnibus; comedy: (35) C.-4.30; (36) C.-10.1, 5, 8; IL.16, 19; (37) C.-2.13, i]

P L A Y LIST 20, 24; 3.6; (40)

(38) C.-9.17, 29;

C.-10.9,

13;

(41)

(40)

10, 20;

A.-il.30;

N.-11.27;

(37) (40)

Orange

W.-6.10;

The

Order

rick's

I I . 1 2 ; A . - I I . 1 5 ; W.-1I.22, 26;

(43)

Oregon,

W.-I.28,

(47)

P.M.-3.8;

(46)

5.4;

A.-2.25;

W.-7.9;

Girl

P.M.-I0.7;

W.-6.I8,

21; (49)

9.15, 25; A-9.26; C.-10.25;

(50)

C.-

C.-I2.2, 4,

10;

A.-8.26;

(51)

One

(39)

Dollar

farce: One

Seven;

The

;

Inn

(41)

8; (44) A.-10.30, 31; One

Hour,

or The

A.-6.17*;

comedietta:

Keeper

of

Orphan

Madelene,

N.-10.5, 6, 7,

The

Orphan

of Blockley:

The

Orphan

of Geneva;

(38) C.-10.8, 9, 12, 13, 20;

The

Orphan

of Russia;

Ball:

Dream:

(52)

Grave;

see

or The

Veteran

domestic drama: (50) A.-10.23; (52) C.-2.25; 3.1,27; A.-4.7. See also under H, play called

Orpheus

and

see

Therese. Yelva.

A.-11.4. Bloodhounds.

Eurydice:

see

Olympic

Osceola,

or

The

Florida

IVar

(by J. H. Sherburne):

Chief;

(41) N.-

10.15*; ( 4 5 ) N.-1.8, 9.

O'clock,

IVood

or

The

Demon:

Knight

and

the

(37) C . - 4 . 1 * , 3, 5, 6,

Ostler Ostler,

7, 8, 15 ; 8.21. Two,

19,

Four,

22, 26;

21, 25; 4.20, 22;

farce:

House;

Five: (36)

(39)

(35)

the

Robber:

Robber,

and

opera:

Otello;

A.-3.19,

(45)

W.-3.20.

Inn-keeper:

(43)

(44)

C.-10.28, 29, 30,

31; i l . ι , 2, 4, 5, 6, 7 ; 12.14, 16, 17;

A.-5.10.

( 4 5 ) A.-3.31; 10.16, 18; (46) A.-2-4,

(38) W.-12.19, 24,

5, 7,

28. Open

and

A.-3.9; (44) W.-2.24.

Three,

C.-12.17, Open

3, 9.

(47) W.-8.20,

Devils.

Progeny;

102.

One,

of the

2,

see

Orphan's and Tizo,

Child

P.M.-4.1,

Orphan's

One

(40)

21.

il.ι.

Carnival

or The

(46)

(46) P.M.-6.27, 29; 8.8; 12.28; (49)

his

Spitfire":

by Thomas Southerne:

Oroonoko;

P.M.-7.7. and

(55)

C.-7.7*.

(37)

One Hundred

Dream;

W.-6.24.

see

More:

Pat-

farce: "first time in

Original;

Regiment:

Glass

Emigrant's

A m e r i c a , by the a u t h o r of

Calais. One

The

Affection;

(38) of Kentucky

see St.

C . M . - 9 . 2 1 ; 10.5.

(50) A.-9.2.

for

or

Organic

W.-8.14.

on the Bank

Day;

16; 9.27, 29.

10.3; (54) A . - 3 . 6 ; W.-5.30; C.-9.13. Omreah:

of the

Eve.

(45) A.-6.6*, 7, 9, i o , i l , 12, 13, 14,

C.-

(52) C.-1.21, 28; (53) A . - 3 . 1 7 ; 6.17;

(49) A.-12.5*,

domestic drama; (by J. M. Field):

(48)

A.-5.6;

3.12;

P.M.-5.1;

of Venice:

6, 7, 8.

C.-

31;

(42)

11.7;

A.-5.io,

" I

(48)

A.-2.17,

18;

3.2, 3;

W.-12.20, 21, 22; (50) A.-4.30; 5 . 1 ; Sesame:

(44)

A.-8.26,

27,

28,

29, 31 ! 9-2, 3, 4, 5. 7; 11-25, 27. Opposite

Neighbors:

(52)

7.3; tragedy

by

R.

M.

or

The

Mohawk

6.4, (41)

Chief;

tragedy by J. B. Phillips: (38) W.9.3, 6;

10.13;

10.14;

Bird:

(47) W.-5.13, 15, 17, 22. Oranaska,

by William Shakespeare :

W.-1.19, 24;

(55) W.-4.9, 19;

5.2. Oralloosa;

A.-2.28.

Othello;

9.21;

A.-4.14;

C.-9.6;

(36)

W.-1.20;

10.18; 8.27;

VV.-1.5; 11

6.28;

7.19,

C.-

(37)

C.5.25;

A.-j.ii; 10.8;

(36)

12.12; (37) P.-1.12, 24; 2.2, 6;

(46) A.-3.13, 19.

[

(31.-11.3,4, 6, iS.

Emmet,

or The Hero of

Bannister:

s, 1 9 ;

N.-7.22,

Robert Seas;

9,

10,

(42)

il,

(55)

Robert

or The

12,

A.-6.21·, 20;

(46)

C . - 4 . 2 4 , 25, 26,

27,

or

The

see Captain le

Witch

Fiend:

(52)

23.

Kyd,

2.5;

W.-1.14;

2.9;

A.-8.11,

(49)

W.-

W.-11.16; (51)

12,

3.22;

20;

5.5;

12.18;

9.11,

C.-12.20,

3.10; 5.5; 24,

20; 8.11,

12.5,

A.-11.27;

VV.-12.21,

20, 2 1 ;

Robert

28;

W . - 5 . 5 , 9, 1 9 ;

the Devil:

Robin

Hood;

(42)

A.-6.11;

(54)

W.C.M.-

Diable;

Wizard

of

the

opera

by

Giocomo

14.

(by Leonard MacNally) :

Crusoe;

(by

(36)

W.-12.28,

(42)

C.-1.1 ;

Isaac Pocock) :

30;

(39)

(44)

W.-10.15;

N.-3.19,

28;

1 2 . 7 , 9, 1 0 , ι ι , 23 ; ( 5 0 ) A . - 6 . ι ι ,

Rochester,

or

Merry

of

Paris;

of

see

Thomas:

of

II.

See also The

Rogueries

A.-

12.

Days

see Charles

Rogues

hemians. (54)

The

II;

The

Bo-

Chiffonier. (42)

W.-5.5;

N.-6.16.

A Roland

for

an Oliver;

(37)

C.-1.18;

C.-11.14;

VV.-8.8,

2.26;

W.-8.10;

10.14,

15;

N.-8.31;

Kyd.

6.7,

(37) VV.-4.1.

W.-4.18.

Robinson

C.-1.8;

Kyd,

5.8, 7;

1 . 3 0 ; C . - 1 . 3 0 , 31 ; 3.1 ; W . - 6 . 1 7 ;

The

Ireland;

28.

Robert

2.17;

30;

21;

W.-1.22;

Charles

C.-1.23.

Robert

N.-4.8,

6;

A.-8.25;

Robert

H.

C.-7.2;

W.-

12.14,

B.-11.20, 21, 22;

W.-1.24; ιι.6;

W.-1.14; (46)

A.-10.17;

W.-5.3,

ιι;

W.-9.19,

W.-6.1;

12.19,

P.M.-7.4; (50)

13;

W.-7.2,

(48)

A."

12.16, 19 ; ( 5 5 ) C . M . - 1 . 2 0 , 24 ; A . - 4 . 1 8 ,

)

2

12.1;

W.-9.2 ;

(41)

(45)

25;

P.M.-4.4;

(53)

13;

W.-6-4, 7,

11.28 ;

W.-1.12,

A.-11.19;

C.-

6.29;

des

C.-2.12;

Α.-10.25;

P.M.-6.30;

25;

6.19;

10;

12.13;

7.8;

11.6 ;

(52)

C.-1.3;

19;

17;

A.-3.27;

20, 2 1 ;

P.-2.14;

A.-6.4

(47)

(51)

(35)

Ν.

5;

A.-3.26;

or The

23;

2

C.-7.29;

Wife,

by

4.6, 2 3 ;

28;

12.1.

·35 ; U

1.15;

(42)

A.-8.9,

C.-10.15; 4.9;

Auberge (38)

W.-5.12,

(44)

3.15;

A.-

(49)

Pocock:

(43)

(40)

Ν.-12.4;

A.-9-23;

(5°)

Isaac

(37) Ι2

or The C.-9.23;

5.16,21;

(42)

C.-10.2.

(37)

8.14,21;

3.24,

'S!

(3S) 0 . - 2 . 1 7 , 2 0 , 2 2 ; (45)

Macaire,

Adrets:

22;

(47)

Robber's

by

(43)

W.-I2.5,

C.M.-4.7,

Bohe-

5;

31;

(52)

6.18;

C.M.-11.18,

11.28;

28;

12.29;

W.-I2.28,

of

N.-1.13,

N.-5.3,

W.-4.5,

5.9;

A.-9.28;

7,

(45)

(48)

31;

2.26;

Forest (42)

A.-4.5,

N.-11.10;

VV.-1.2;

The

or The

Schiller:

W.-2.14, 9.3;

Robert

A.-5.18;

Clandare. The

Meyerbeer: VV.-11.2r;

20;

W.-3.24·.

The Robber The

THEATRE

C.-9.21, 24;

31 ;

C.-12.18;

ιι.12; 9.3;

ιι,

farce: (36) 4.12,

C.-2.27 ;

10.6;

(41)

10.25; W . - 1 1 . 8 ,

27; (39)

(38) C.-

(40)

W.-

3.28;

4.7;

W.-10.29; 24;

(42)

PLAY LIST C.-I.6, 13; 2.15; A.-5.23, 24; 5.6, 12, 19; VV.-9.23; 12.1; (43) A.-3.7; W.-4.21; A.-12.20; (44) W.-1.3, 9; 3.11 ; 6.18 ; 7.24 ; 8.31 ; 10.3, 4 ; 12.12 ; (45) C.-2.7; W.-II.8, 24; (46) P.M.7.9; 8.7, 12; 12.4; (47) W.-10.28; 11.2; 12.13; (48 ) W.-3.21 ; 4.4; A.4.17; 5.15; W.-6.12; 7.17; 94; 10.9; (51) W.-3.20; (53) W.-..20; A.5.24; 6.7; C.-7.1; 12.16,22; (54) A.1.7; C.-1.13; A.-2.18; C.-7.4; A.-9.20, 22; W.-10.14, 25; A.-11.16; 12.14; (55 ) A.-1.12 ; 6.23 ; 8.21, 25 ; 12.12. The

Roll

of the Drum:

(46)

A.-12.21,

22; (47) Α.-ι.29; (49) P.M.-5.9, 10. The

Roman

Actor;

by

Philip

Mas-

singer: (40) C.-3.7. The Roman Father; classical tragedy by William Whitehead: (54) W.12.22. The

Roman

Father

; see

The Roman

Conspiracy

The Roman

Sister;

The Roman

Tribute,

l'irginìus.

; see

see

Cataline.

Valeria.

or Attila

the

Hun;

by Mrs. Elizabeth Oakes Smith: (50) A.-il.li*, i2, 13, 14, 16. Romance

and

Burlesque

; (50)

C.-6.11,

12, 13, 15, 17. Romance and Reality; comedy by John Brougham: (48) VV.-5.4·, 6, 8, 9, io, il, 12, 13; (52) C.-12.16, 17, 18; (53) C.-7.14, 16; (54) A.-8.21, 22, 23, 24, 25, 26. A

Romance Crime;

The

of

Life,

see Quaker

Romantic

IVidow;

Mystery

and

City. comedy:

(40)

C.-2.5*, 6, 7; 3.17, 18, 19; N.-10.16, 23. Romanzo,

or The

Exile

of Naples ; ro-

mantic drama by "A Gentleman of Philadelphia": (39) VV.-8.19*, 20, 21, 22, 23, 24, 31; 9.5, 6, 13; (40) W.3-24Romeo

and

speare:

Juliet;

by W i l l i a m

Shake-

(35) W.-1.16; 2.26; 5.29;

9.10; (38) W.-2.6; (35) A.-2.25; (36) A.-3.8; (37) A.-6.14; (41) A.5.28; (39) W.-5.21; (40) W.-10.26; •2.4; (41) W.-1.7; (35) C.-10.17; (36) C.-1.7; (37) C.-1.11, 30; (38) C.-425; (39) C.-9.13; 11.28; (41) N.-12.2; (42) C.-1.11, 13, 17; (42) C.-4.23; A.-7.25 ; (43) W.-54; A.10.19; N.-12.29; (44) A.-8.16; VV.8.24; A.-9.2; C.-11.21; (45) A.-4.26; W.-7.26; 8.11; C.-9.4; W.-9.5; 10.6; C . - 1 1 4 ; W.-11.10; (46) VV.-1.12; A.5.2; VV.-5.8; 6.6; A.-9.29; W.-10.5; (47) W.-2.15; A.-8.16; 9.7; 12.15; (48) A.-2.8; W . - 2 . 8 ; 3.17; A.-6.28, 29; 10-5; (49) W.-3.26; 4.7; 5.10; A.-8.28 ; 9.13; C . - 1 0 . 1 3 , 18; A . - 1 1 . 5 ; (50)

W.-1.2;

C.-2.7; 4 . 1 6 ;

A.-5.30;

6.4; W . - 9 . 1 7 ; 11.5, 9, 1 3 ; (51) W.3.29; A.-4.3; B.-4.14; A.-6.3; VV.6.21; C.-7.4, 12; 9.8; 10.7; 12.5; A.12.10; (52) C . - 1 . 2 ; 3.16; W.-4.26; C.-7.16, 23; A.-8.23 ; C.-9.4; A . - 1 1 . 3 , 5; C.-11.30; (53) A . - 1 . 3 1 ; C.-2.8; A.-8.27; W.-9.6; A.-9.27; (54) C.1.28; 3.13; A.-3.22, 25; 5.9, 1 3 ; c.10.3; C . M . - 1 2 . 1 ; A.-12.9; (55) c.1.25; C.M.-10.3; C.M.-12.1 ; A.-12.9; (55)

C.-1.25;

C.M.-1.27;

C.M.-4.11; W . - 5 . 3 , 1 8 ;

W.-3.30;

C.M.-11.24;

A.-11.26; 12.8. Romeo

and

Juliet;

o p e r a by

Vincenzo

Bellini: (47) W.-8.6. The Romp; farce by Isaac Bickerstaff: (38) VV.-12.18; (39) VV.-10.2, 4; (43) A.-9.15. The

Roof

Scrambler

; f a r c e : (40)

C.-

3.il, 12, 13, 14, 17, 23, 25, 27, 31 ; 4.3, 10; 5.6, 8; 6.2, 1 1 ; il.9; (41) C.2.25, 2 6 ; 6.11; ( 4 7 ) P.M.-6.14, 16, 1 7 ,

18, 19, 22. Rookwood; adapted from Ainsworth's book by Ν. H. Bannister: (41) VV.3.13*, 15, i6, 17, 18, 19, 20, 22, 23, 24,25,26,27, 29, 30; 5.1, 3,4,7; 12.13,

THE PHILADELPHIA THEATRE 1 5 , 16, 17, 1 8 ; A . - 9 . 1 1 , 1 3 , 14, 1 5 , 16, 17, 1 8 ; i l . 1 8 , 19, 20, 22, 23, 2 7 ; (44) N.-4-2, 3. 4, 5. 6, 7 ; W . - I I . 2 0 , 2 1 , 22, 23, 25, 26, 27, 28, 29, 30; (46) A . 6.13, 15, 16, 27, 3 0 ; 7 . 3 ; (49) A.-5-4, 5, 8, 1 2 ; (50) A . - 3 . 1 8 , 19, 2 0 ; (52) N.-9.4, 6, 7, 8; (54) N.-6.19, 2 0 ; C.I I . 1 6 , 17, 18. Rory O'More; romantic d r a m a in three acts: (38) W.-8.18, 20, 2 1 , 22, 23, 2 4 ; 9.17, 2 0 ; 10.4; (39) W . - 2 . 4 ; 5 4 ; (38) 0.-9.24, 25, 26, 28, 2 9 ; 10.6; 1 1 . 5 , 1 0 ; (40) C . - 1 0 . 1 5 , 2 4 ; W . - 1 . 1 5 , 1 8 ; ( 4 1 ) W . - 2 . 2 4 ; A . - 1 0 . 2 8 ; (42) W . - H . 1 9 , 2 5 ; (46) W . - 5 . 1 8 ; (47) W . - 1 2 . 1 3 , 14, 1 5 , 1 8 ; (48) W . - 9 . 1 6 ; (49) W . 4 . 1 3 ; A . - 5 . 3 0 ; 6.5; W . - 9 . 2 7 ; 1 0 . 1 7 ; (50) C.-3.2, 6; 6.24; A.-7.2, 1 0 ; l i . 1 9 ; (53) A.-2.25, 26, 2 8 ; 5 . 1 0 ; 6 . 1 0 ; 9.10, 1 4 ; 1 0 . 4 ; 1 1 . 2 5 ; (54) A . - 2 . 1 1 ; 3 . 1 8 ; 5.23; W . - 5 . 2 9 ; A.-10.6, 9; (55) A . 2 . 2 3 ; 3 . 1 ; 6.25; W . - 1 1 . 7 . The Rose of Arragon; by S. Β. H. J u d a h : (42) A.-7.16. The Rose of Corbelle; see Miller's Daughter. The Rose of Ettrick Vale, or The Bridal on the Border: (50) C . - 7 . 1 5 * , 1 6 ; N.-8.5. The Rose of Killarney: (43) C . - 1 2 . 1 6 , 2 3 ; (44) W . - 1 . 5 , 1 0 ; (45) W . - 3 . 2 1 , 22. The Roses of Baron de Malesherbes ; by A u g u s t von K o t z e b u e : (373 A . 7.20. Rosina Meadows ; domestic d r a m a by C . H. S a u n d e r s : (49) A . - 1 1 . 2 6 * , 27, 2 8 ; (50) A . - 1 1 . 1 5 ; ( 5 2 ) A . - 1 1 . 2 6 ; 12-7; (54) C.-9.26, 27, 30; (55) C.4.19. Rosina, or The Reapers; by M r s . Brooke: (36) C.-8.25; 9.26; (38) C.6.2; W.-7.26, 2 7 ; 8.9; 1 2 . 5 ; (39) c . 3.2; (42) C.-4.9, 15. The Roué: (45) C.-5.5, 6.

[

Rough and Ready; by J . P. A d d a m s : ( 5 2 ) A.-12.24, 2 5 ; (53) A . - 1 . 1 . The Rough Diamond, or Cousin Joe; f a r c e : (50) W . - 1 1 . 2 3 , 26, 28, 29; 12.3, 7 ; ( 5 1 ) W . - 1 . 2 9 ; A . - 2 . 1 ; C.3.28; A.-4.3 ; 5.9; 6.17, 18, 2 8 ; N.7.25; W . - 8 . 2 1 , 2 7 ; 9.29; A . - 1 0 . 2 3 ; W.-11.3, 1 9 ; C . - 1 2 . 3 1 ; (52) W . - 1 . 2 ; C . - 1 . 1 4 ; 2.6, 7 ; 5.7; 6 . 1 9 ; 7.12, 1 7 ; 8.2, 1 8 ; 1 2 . 2 0 ; ( 5 3 ) W . - 1 . 1 8 ; A . 1.29 ; 4.29 ; W.-5.20, 21 ; 6.1 ; C.-8.31 ; (54) C . - 4 . 1 ; A.-5.24; N.-6.8, 2 0 ; C.9.30; l i . 1 7 ; (55) C . - 1 . 2 0 ; C . M . - 6 . 1 1 , 2 0 ; A . - 9 . 1 7 ; W . - 1 0 . 1 5 ; C . M . - 1 2 . 1 , 22. The Rover, the Drover, and his Dog; see The Cattle Stealer. A Row at the Chesnut, or Old Drury in an Uproar; farce: (52) C.-11.14*, 15, 17, 1 8 ; (53) C.-7.12, 16. Royalty in Distress: (48) O.-5.22. Rubber of Life: (44) W . - 2 . i 3 , 2 o ; 3.30; (45) W . - 1 . 1 , 2 ; 3.18. Ruby Ring, or Murder at the Meets; m e l o d r a m a : (43) N.-10.9*, 10, 1 1 , 12, 1 3 ; (44) N . - 1 . 2 3 ; 2.1. Ruffian Boy: (37) W . - 1 . 1 4 ; 2.25; ( 4 1 ) N.-12.8; (44) A . - 1 . 1 3 ; ( 5 3 ) A . - 7 . 1 . Rugantino: (43) A . - 3 . 1 4 ; 4 . 1 0 ; (44) W . - 2 . 9 ; (46) W . - 2 . 1 7 . Rule a Wife and Have a IVif e : (35) C.-10.24; (36) W.-9.26; (43) W . - 5 . 1 , 4 ; (44) W.-8.20; (48) A.-1.24, 2 5 ; (49) A . - 1 2 . 2 6 ; (53) A.-5.4, 5, 2 1 ; (54) A.-6.7, 10, 1 9 ; 8.30; 9 . 1 3 ; 22.13 " R e v i v e d comedy of Beaumont and Fletcher as revised f o r the modern stage by W . M u r r y . " The Rum Old Commodore: (39) W . 8.30; 9.3, 2 0 ; 10.ι ; (40) W.-4.4, 1 7 ; 6.4, 23 ; ( 4 1 ) W.-5.5, 6; 12.22. A Run at Hamstead; see Hue and Cry. The Runaway Monkey; see Ourang Outang. Rural Felicity, or Life in a Country Town; comedy by J . B. Buckstone:

2]

PLAY LIST (37) 8;

VV.-12.18*, 19, 2 0 ;

12.31;

(41)

C.-1.4;

(40)

0.-9.5,

(45)

C.-2.26, 2 8 ; (53) A . - 3 . 1 7 , 2 5 , 2 6 ; 4 . 1 2 ;

W.-7.1,

5.13 ; C . - 5 . 2 8 ; 9.10, 20.

10, 19 ; 8.18. The

Russian

St. Swithin's

Daughter;

s e e The

Exile.

Chair

Sam Parr;

; s e e The

Sight

Hag.

v a u d e v i l l e : ( 4 1 ) N . - 6 . 2 1 , 22,

23, 24, 25, 26 ; 7 . 1 . Sam The

Sabre

The

Grinders

Three

Sadak

and

of

of Damascus

; see

Hunchbacks.

Kalasrade,

Oblivion;

Patch,

(37)

or The

Waters (40)

melodrama:

Sam

Patch

17, 19, 20, 21 ; 3 . i l , 2 0 ; ( 5 0 )

W.-4.20;

C.-2.26.

l y r i c a l t r a g e d y in

Dream:

(42) A . - 8 . 6 .

Sam

Slick;

Home:

(44) A.-1.27.

Sam

Weiler,

The

Return; (41)

Francis: Sailor's

Sailors

by

William

Taylors;

(40)

W.-11.12.

s e e Guns

without

Samuel

; s e e Ben

the

Boat-

Eve;

s e e Conquest

of

Tar-

Abbey:

( 4 3 ) A . - 3 . 1 6 . 18.

and the Dragon:

1'isit

or The by

(51)

to Europe:

(50)

Slick,

Esq.

Pickwick

VV. T .

Papers;

Moncrieff:

(43)

(38)

Esq.,

or Love

comic

C.-

A.-8.12. in the

Far,

(38)

ballet:

A . - 1 0 . 1 4 , 15, 1 6 ;

(42)

C.-

A.-10.2;

(45^

A.-11.3,

and Jenny;

Santa

Claus;

26;

J o h n W i l k i n s : ( 5 4 ) VV.-9.26*, 27, 28,

Sarah

29, 3 0 ; 10.2, 3 ; ( 5 5 )

Sarcophagus,

or A Husband's

St. Mary's

Eve;

Sacrifice W.-3.12.

(38)

domestic d r a m a :

1.7,

il,

21;

(52)

C.-8.26, 2 7 ;

9.7;

1 7 ; 2 . i l , 20;

(42)

W.-5.17,

18, 2 0 ;

(40)

(45)

C.-10.20,

I . 2 2 , 24, 2 8 ; W . - 6 . 2 0 , 2 3 ; ( 5 5 )

Day:

Eve,

(35)

II.26;

(37) (40)

(49)

A.-7.12;

or The

C.-5.4;

A.-5.15; C.-10.17;

Order

(36)

Sarmatia's

(38) (48)

W.-10.24, 2 7 ; (51)

of

Satan

at Home:

6;

Satan il,

Α.-II.17,

12.12;

(50)

C . - 1 0 . 2 3 , 24, 3 0 ;

(52)

[
1.3:19-7;

[

1

2:

13*; ( 3 7 ) W . 1 2 : 23* ; (38) W . 4 : I L * ;

Italian

(40) C.-3 p e r f o r m a n c e s ;

A.(47)

A.-reg.;

P e r c i v a l . (36) \ V . I O : 2 8 * ; 1 1 : 2 4 * ;

P a r s l o e , T . C., p a n t o m i m i s t . (39) W . 6 : W-7:23 ;

(42) W . - r e g . ;

12:11;

P . M . i : 13-reg.

C.9:26*;

(54) C . I : 9.

15-4;

as Others,

28.

P a r k e r , M r s . J . S. ( 3 7 ) W . 9 : 2 .

Opera

as ivell

Things

C.2: 27*; 3: 13*; 4: ι * ; 7 : 3 * ;

A.8:2i-

A . 9 : 28.

Parodi,

(48)

comedian.

P y t h i a s in Damon

Pearson,

C.2:22. (37)

12:5-12.

light

a n c e s . O t h e l l o , G l e n a l v o n in

(44) C . i o : 1 4 - r e g .

P a n c o a s t , S. ( 5 1 ) Parker,

Tom

Pearson,

A.i:29-reg.

P a l m e r , Miss.

Italian

C.2: 19-23;

Cribb

in

C.M.9:8-reg.

10:

A.-reg.

W.2:20*;

P a l m e r , D . S., c o m e d i a n . ( 5 2 )

(50)

with

(48)

(44) A . 1 2 : 2 1 * ;

R o l l a in

comedian.

Barili,

Italian

C.2: 19-23;

(53)

3: 1 3 * · Page,

(48)

P e a r m a n , M u r r a y . (40) W.j.20. W.2:24*.

(37)

S.

H.,

in

W.i:2i*;

Opera 6:6-7;

P . M . 5 : I6*-2. B e l t o n in Some

( 3 8 ) VV. 1 : 2 4 * .

Miss

H.

Paullin.

(37)

E.

2:20*; 3:13*;

Italian

Company.

in

Alps.

P a c k a r d , M i s s A . (38) Packard,

Felix

in

C.2: 19-23;

12:5-12;

6:6-7; 10:4-15; Paul,

N . i o : 28. ; ( 4 3 ) A . 8 : 1 8 - 4 ; N . - l e s s e e ; Foundling

Signorina

Opera

W.I2:n-

reg·;

Brutus

10: 4-15 ; 12: 5-12. Company.

Oxley, J. H.

the

Othello,

Patti, Signorina Amalia, with Opera

(49)

of

Macbeth,

N. 1 0 : 8 - 6 ;

4:25*;

Caius

Nick

Brutus.

(42)

N.12:19*;

(46)

reg.;

Amilie.

comedian.

in

of

Boy.

W.8:27*-I2.

Parsons.

C.n:I9*-I5·

of Cashmere, E.,

(38)

in

Oranaska,

(38)

John

M o n k e y in Cabin

Walter

C.-reg.

Z e l i c a in Maid Owens,

W . 4 : 15-9;

P.n:30*.

Sternford

Madame.

(46)

(47) \ V . 9 : i 7 - n . S a n d i e in Jamie

Brand. Olwine, W . (55)

W . 3 : 10-18;

Luck.

]

Opera,

11:13-11;

THE PHILADELPHIA THEATRE (39)

Perriner. Is he

W.n:22.

Belmour

in

(42)

Perring.

court

C.-reg.

(53)

in

0 . 1 2 : 2 - 9 . Sir

Hari-

Assurance,

Uncle

John.

P e r r y . (46) W . - r e g . ; 8.29; ( 4 7 ) P . M . 7 : 17;

(41) London

Placide, H.

Jealous?

W.9:23* ;

10:3*;

P l a c i d e , T . ( 3 5 ) C . - r e g . ; (36)

(54)

(38)

C.12: 18*;

VV-5 : i * - r e g . ; ( 5 5 ) W . - r e g . ; 1 0 : 1 0 * .

C . i : 3* ; N . - r e g . ;

I m p u l s e in Sudden

2-9;

Petrie,

Eliza, (40)

Place. reg.;

(48)

reg.;

(53)

Philips,

Thoughts. 1852

in

Mrs.

N.-reg.;

(46)

W . 7 : 13-

Plucker.

(52)

N.7: 12-

Rent

A.i:29-reg. (43)

i7*-reg.;

W.4: 6-4; (46)

A.8:io-reg.;

A.8: 26-reg. Phillips, A . J. (43)

A.i2:n-reg.

Box

and

(44)

0.4:1-18;

W.9124-7;

(50)

A.3 : 4-reg. ;

( 5 2 ) N . 7 : 1 2 - r e g . N i n k a in La

Poole,

(36)

5:20-6.

Preserved,

(35)

Clorinda

in

M r s . H a l l e r in

M a r i a n a in The

Wife,

Stranger, The

Hunchback,

J a n e Shore, M r s . Oakly

in Jealous

Wife,

Provoked Piamon

Lady

Husband, tesi,

I,

Townly

Italian

(38)

in

W.-reg.; Julius

25*, (39)

8*;

1:1*, Caesar,

Richard Way

8:8*,

4:1*.

I I I , L o r d L o v e l in A

to Pay

in Luke

Old

the

Debts,

4:20*;

12:17-8;

7*,

Mrs.

A.4:9-12;

C.

D.,

4:20*;

(35)

8*;

10:1*,

21*;

2:20*,

New

(39)

W.i:3*;

28*;

3:16*;

8:31*;

11:4*,

10*,

( 3 7 ) W . i : 2*, 4*, 27*;

8*;

W . i : ι*,

N . i o : 19* ; ( 4 2 )

3.13*,

18*; 7:2*;

2:4*;

(40)

A.5: 23*-reg. ;

(43)

A.3: 14-reg ; 8: 10-reg.

A.ii:3o*-6;

comedienne.

Lady

Shore.

15*, 2 9 * ; 2 : 1 9 * , 2 6 * ; 3 : 2 5 * ;

Bobby T r o t

(51)

A.j:f¡-g.

8 : 8*, 16*, 25*, 27* ; 1 0 : 25* ; 1 2 : 12*;

(35)

Porter, J. G .

B.3:

26-12. Hamlet. Pitt,

S.

(47)

6 : 3 0 * ; 7 : 2 1 * ; 8 : 3 1 * ; ( 3 8 ) W . i : 8*,

in

(48) A . i : 1 7 - 7 ; W . 4 : 2 7 - 6 ; (49) A . 4 : 9-12;

La

Fidelio,

P a u l i n e in

23*, 2 4 * ; 1 2 : 2 4 * ;

Laborer.

Pitt, C h a r l e s D i b d i n . (47)

Jane

C.

9:3*,

Edmond,

Buckingham

in

i l * , 25*, 2 9 * ; 6 : 2 2 * ; 7 : 4 * ;

Opera,

1 2 : 1 2 * , 24*, 3 1 · ;

W.-reg.;

27*; 1 0 : 1 0 * ;

L i z a in

9:12*, 17*, 23*; 10:10*, 24*, 28*, 31*; 11: i l * ; 12:7*, 14*, 25*; (36) W . i : I*, 9*, 26*; 2: ι * ; 3: 14*; 4:6*,

H a v a n a . (47) W . 7 : 12-18. Pickering.

Coleman.

of Lyons,

Portia.

with

(40)

C.-15 p e r .

Midas.

Mrs.

Porter,

(41)

Marceline

J u l i a in Hunchback,

Venice

J u l i a in

in

(51)

C.10: 16-15;

in Cinderella,

A p o l l o in Pope,

C.i:i-is;

Belvidera

(39)

Sonnambula,

A.i2:u-reg.

L. A .

Heywood

Retribution.

Miss.

C.-4 p e r f o r m a n c e s ;

Baya-

P h i l l i p s , M i s s A . (43) A . 3 : 1 4 - r e g . Miss

Ν·9:8.

Figaro.

W.-reg. ; 4:15*, 21* ; 6 : 25* ; A.7: 14.

dere. P h i l l i p s , M . S. (43)

W.7:18-5.

of

Day.

A l i c e in (38)

I. B.

Phillips,

(41)

C.12:

Ponisi, M a d a m e . (50) W . i o : 8 - 5 ;

Cox. Mrs.

(48)

C.-reg.;

(40)

(41)

Plumer. (37) 0.3:22; (39) W . 8 : i 6 ; (40) W.2: 3* ; (43) W . i : 9-2; C . i : 28-7. Plumer, Mrs. (40) 0.9:5.

P h i l l i p s , I. B. (50) A . 6 : 1 5 - r e g . B o x in Phillips,

(42)

C.-reg.;

C.4:8 ;

8:31;

A n t o n i o in Marriage

A.-reg.;

comedian.

5:11·,

became

(39)

24·;

(36)

20*;

8:31*;

W.9:23*;

W . 4 : 16* ; 5 : 2 3 * ; 11:15*,

24*;

10:17*, 6:13*, 12:24*;

( 3 7 ) W . i : 2*, 7 * ; 2 : 2 0 * ; 3 : 6 * , 13*,

(49)

1 8 * ; 6 : 3 0 * ; 7 : 7 * ; ( 4 2 ) A-3 : 2 8 - r e g . ;

12:17-8.

11: l i * ;

P l a c e , M r s . See M i s s E l i z a P e t r i e .

[

Î ]

(43)

A.8:io-reg.

P L A Y E R LIST Porter, M r s . J . G . (42) C.-reg. Louisa in Dead

A.8:24-reg. ; Shot.

Porter, N. (40) VV.-reg. Porter, the Kentucky Giant. (38) W.-5 performances. Porter, Miss S. (38) W . 1 2 M 7 ; ( 4 1 ) YV.i ι : 30 ; (42) W . 2 M 4 ; A - 4 : i 4 * ; 5 : 23*-reg. ; (43) Λ.3 : 14-reg. ; A.8 : 10-reg. Virginia in i'irginius. Potter, M r s . Estelle. (53) C.8: 1 2 ; ( 5 5 ) C . i : 15-reg. Povey, Miss. See M r s . A . Knight. Powell. (39) W . 1 2 : 14* ; (40) W . 2 : 3 * . P o w e r , Maurice, Irish comedian. (48) A.II:I3-6.

Nervous

A.-9.30-6 ;

A.-11.4-5;

(51)

B . - r e g . ; N.-7.i5-Summer. Proctor, Mrs. J . : ( 3 7 ) W.-6.30*; 7.7*, 3 1 * ; 8.8*, 3 1 * ; 1 1 . 2 0 * , 2 5 * ; 12.2*, 18*, 23*, 2 5 · , 2 7 * ; (38) W . - 1 . 1 * , 2*, 8*, 10*, 2 9 * ; 2 . 1 9 * ; 3.10*. Pyne, Miss, in o p e r a : (54) W.-10.3016. Pyne, M i s s Louisa, in o p e r a : (54) W . 10.30-16. Quayle: reg.

(40)

N.-10.15;

(s1)

B.-9.1-

man.

P o w e r , T y r o n e . (35) 0 . 4 : 2 7 - 8 ; (36) C . 1 1 : 2 i * - 2 5 ; (37) C . 2 : 2 7 * - 2 6 ; (38) 0 . 9 : 1 9 * , i o : 2 * - 2 3 ; (40) C.-30 perf o r m a n c e s ; ( 4 1 ) N . - 1 0 performances. O ' R a f f e r t y in Born to Good Luck, T e r r y in Irish Tutor, O'Plenipo in Irish Λmhassador, Pat in Omnibus, O ' T r i g g e r in The Rivais, O'Flaherty in The IVest Indian, P a d d y C a r e y in Rory O'More. Preston. (36) W - 9 : i 7 * ; 1 0 : 2 8 * . Preston, M r s . (36) W . 9 : 17*, 2 4 * ; 1 0 . ι * , 2 6 * ; 1 1 : 1 5 * , 23*, 2 4 * ; 1 2 : 6 * , 1 3 * i 2 4 * ; (37) W . i : 2*, 4*, 9 * ; (45) Ν.4: 28-reg. Price, Lady Price, reg. Price, Prior, Prior,

6.17-2;

J . B. (42) W . i : 14. G l a u i s in of the Lake. M i s s C. (42) € . 5 : 1 0 ; (43) C.M i s s M . ( 4 1 ) .\.