A record of the Boston stage

Front matter

I'

A RECORD

OF

Contents

CHAPTEE I.

Introductory Remarks. — First Performance in Boston. — Law against Theatricals. — Amateur Theatricals. — Burgoyne's Play. — Attempt made to Eepeal the Law against Theatricals. — The Exhibition Room in Board Alley. — Opening Bill. — " Moral Lectures." — Trouble at the Theatre. — Arrest of Harper, and Trial in Faneuil Hall. — Death of Governor Hancock. — Charles Stuart Powell, and his "Evening Brush for Rubbing off the Rust of Care." — First American Play. — Origin of the Federal Street Theatre. — A Curious Pamphlet, .... Page 1

Chapter II

Opening of the Boston Theatre. — Description of the Building. — First BUI. — Snelling Powell. — Mrs. PoweU. — The Prize Prologue. — The Early Critics of Boston. — Col. J. S. Tyler's Management. — The New York Company. — Hodgkinson and Hallam. — First Performance of Macbeth. — Death of Joseph Russell. — Anecdotes of Cleveland, and " King Kenny." — Biographical Sketch of John Hodgkinson. — The Introduction of Various Customs. — Respect of the Managers for Religion, etc. etc. . 18

CHAPTER HI.

Success of the Theatre under the Boston Company. —Pit Tickets Counterfeited. — Management of J. B. Williamson. — A New Theatre talked of. — Proposals for building the Haymarket. — Inducements held out by C. S. Powell. — Legerdemain. — Arrival of Mr,

VI CONTENTS.

and Mrs. G. L. Barrett. — Mrs. Whitlock. — Mr<=. Rowson. — Opening of the Haymarkct. — First Appearance of Mr. Dickson. — Biographical Sketch of Mr. Dickson. — Jealousy of the Rivals. — John Burk. — IIi> Play of Bunker Hill. — Anecdotes of the Play.

— John Adams, Critique. — Proposed Launch of the Frigate Constitution, :in<l a Managerial Coup de Theatre. — A Patriotic Song.

— Destruction of the Federal Street Theatre by Fire. — Mr. Dearborn's Rooms. — Bowcn\s Columbian Museum. — An American Yauxhall. — Proposals made by the Fanatics. — Wisdom of the " Solid Men of Boston," 84

Chapter IV

Visit of Cooper to Boston. — A Biographical Sketch. — Incidents of his Life. — Anecdotes. — His Death. — The Learned Pig. — Opening of the Federal Street Theatre. — Visit of President Adams to the Theatre. — Debut of Master George Barrett. — Death of Washington. — Observances at the Theatre in Philadelphia. — Obsequies

in Boston. — The Monody at the Theatre. — Mr. Whitlocl.

agement. — Mr-. Jones. — George Barnwell. — Anecdote. — Piaarro. — Row at the Theatre. — The gloomy Days of the Drama, 01

Chapter V

Tragedy in Real Life. — Powell and Harper's Management. — Mr. Cromwell. — Success of the Theatre. — Munroe and Francis. — Edition of Shakspeare. — Closing of the Haymarket. — Its Destruction. — Mrs. Darley. — Mr. Dickson's Sir Anthony Absolute. — Mr. John Bernard. — A brief Sketch. — Death of Hamilton. — Fox. — Cooper's First Appearance at the Boston Theatre. — "Cooper or no Play." — Row at the Theatre. — The Benefit Season. — Mr. Bernard's Return to England. — Non Arrival of the Vessel. — Master Loring. — Hon. Mrs. Twistleton. — Mr. Caulfield. — S. P. Q. A. — The Columbian Museum, etc. etc. . . 76

Chapter VI

Mr. James Fennell. — Mr. C. S. Powell. — Benefit for the Lunatic Asylum. — Readings from Shakspeare. — Mr. "Webster. — Mi-. Twaits. — Appearance of the celebrated Mrs. Warren, (Miss

CONTENTS. Vll

Brunton). — Biographical Sketch. — Mr. Cooper. — Harwood. — A Joint Engagement. — Criticisms of Robert Treat Paine. — Remarks upon Mr. Cooper and Mr. Fennell's Acting. — A touch at Pseudocritics. — The Embargo, etc. etc 88

Chapter VII

John Howard Payne. — Mr. and Mrs. Darley.— Mr. and Mrs. Claude.— William Charles White. —First Production of Forty Thieves. — Mr. and Mrs. Duff. — Mr. and Mrs. Samuel Drake. — Anecdote of Morse. — George Frederick Cook's First Appearance in Boston. — A Biographical Sketch. — His Last Appearance on any Stage at Providence, etc. etc. ..... 101

CHAPTER VJJ1.

Cooke's Last Engagement in Boston. — Entwistle and Cooke hors du combat. — The Burning of the Richmond Theatre. — The War of 1812, and its Effects on Theatricals. — Cooke in Providence. — Anecdotes. — The Play of " A New Way to Pay Old Debts." — Commemoration at the Boston Theatre of the Capture of the Guerriere by the Constitution. — Mr. and Miss Holman. — Sketch of Holman. — "Timour the Tartar." — Commemoration of Perry's Victory on Lake Erie. — Great Fire at Portsmouth, and Benefit. — Visit of Commodore Perry to the Theatre. — Anecdote of McKenzie. — Visit of Commodore Stuart to the Theatre, etc. etc. 126

Chapter IX

Early Circuses. — Pepin & Breschard. — Anecdote. — Mrs. Mestayer.

— Gas Lights. — Mrs. Moore. — Mrs. Williams. — Guy Mannering.

— Mr. Pelby. — Frederick Brown. — Hilson. — Charles Incledon. — Several Anecdotes of him. — His Last Song. — Mr. Phillips. — Mrs. Powell. — Early Criticisms. — Puffery, etc. etc. . 142

Chapter X

The Season of 1818-19. — First appearance of Mr. James' W. Wallack in Boston. — A Sketch of his Life. — Mr. and Mrs. Bartley. — Their

Ill CONTENTS.

troubles in Connecticut. — Anecdote of Mrs. Bartley. — Mr. John N. Bernard. — Dykes. — Cooper. — Mr. Fred. Brown. — Jos. T. Buckingham. — Robert Manners. — Philo-Dramatic Society. — Introduction of Camels, 154

Chapter XI

A Sketch of the Life of Edmund Kc:tn. — His Early Days. — First Appearance on the Stage. — Miss Tisdale. — Hi- Performances in the Ring. — Anecdotes. — Appearance in London. — Marriage. — Leo, or the Gipsey. — His Family. — Kcan and Arnold. — Charles Kean, etc. etc .167

CHAPTER Xlf.

Kean's First Appearance in Boston. — The Rush for Tickets. — The Premiums given to Charitable Societies. — Kean's Receipts. — Mr. Thayer. — Master Ayling. — The Sea Serpent. — Death of Mr. Bray. — Death of Snelling Powell. — Last Appearance of Mr. Dickson. — Kean's Return to Boston. — His Troubles. — The Eccentric Kemble. — Squibs at Kean, etc. etc. . . . 180

CHAPTER XHI.

The Act of Incorporation. — Tom Kilner. — Labasse. — Samuel Woodworth. — Boston a City. — Booth's First Appearance in Boston. — Biographical Sketch of Booth. — Remarks on his Acting. — Appearance of Miss Elizabeth Powell. — George Barrett. — Announcement of Mr. Finn's Appearance. — A Biographical Sketch of Henry J. Finn, etc. etc. 194

CHAPTER XIV.

Charles Mathews in Boston. — His First Appearance. — Sketch of his Life. — Anecdotes. — His Libel Suit. — Arthur Keene. — Adams. — Coleridge's Remorse. — Booth, "No New York Managers here." — The City Theatre. — Joe Cowell's Troupe. — " Tom and Jerry" brought out. — The Shakspeare Jubilee. — The Prize Ode. — Report of the Committee. — Presentation of the Pitcher to Charles Sprague, 208

CONTENTS.

CHAPTER XV.

The Shakspeare Jubilee. — Compliment to the Author of the Prize Ode. — Conway. — Visit of Lafayette to Boston. — Ebenezer Bailey, Esq. — Bunker Hill Monument. — Enterprise of Newspapers. — City Theatre. — Kean Announced to Appear. — His Troubles in England. — His First Card. — First Appearance in New York. — His Apology to the Boston Public. — Preliminaries. — The Great Kean Biot, etc. etc 219

CHAPTER XVI.

The City Theatre.— Mselzel's Automaton Chess Player. — Mrs. Pelby. — Williamson. — Mrs. Hamblin. — Forest. — Macready. — Macready's First Appearance in Boston. — Tickets at Auction. — Paul Pry. — First Appearance of Edwin Forest. — Receipts. — A Sketch of Edwin Forest, etc. etc 238

CHAPTER XVH.

Macready's Reappearance. — Mrs. Knight. — The Washington Theatre. — The Mermaid. — The Project of a New Theatre. — Mr. William Pelby. — Act of Incorporation. — Departure of Mr. Finn for Europe. — Opening of the War between the Rival Houses. — Tom Flynn. — George Andrews. — Miss Rock. — Baron Hacket. — The Two Dromios. — Miss Clara Fisher. — Opening of (the Tremont Theatre. — The Prize Address. — The First Struggle for Supremacy, 247

CHAPTER XVHI.

Change of Management at the Tremont Theatre. — J. B. Booth as- Acting Manager. — The Company and Salaries. — Debut of John Gibbs Gilbert. — Forrest's First Appearance at the Tremont. — Der Freischutz. — Hyatt. — Madam Feron. — Tom Comer's First Benefit. — W. H. Smith's First Benefit. — Faults of the Theatre. — The Opera at the Old Theatre. — Commencement of the Regular Season. — Caldwell. — Finn's Unique Cards. — Debut of Mrs. Cramer, etc. etc. 262

CONTENTS.

CHAPTER XIX.

Contest between the Two Theatres. — The Old House Closed. — The Opera. — The Company. — Booth's Appearance. — His Strange Conduct, and Walk to Providence. — Metamora. — The Production of English Dramas. — Richard Russell. — Charles Kean. — Master Burke. — Amphitheatre in Flagg Alley. — Ball of the Cadets at the Old Theatre. — Another of Finn's Cards, etc., etc. 274

CHAPTER XX.

The Opening of the Tremont. — Appearance of Mr. Anderson. — The Anderson Troubles in New York and Boston. — The Gladiator. — Mr. Sinclair. — The Opera. — Frederick S. Hill. — Ifus Mary Duff. — The Social Condition of Actors — The Hermanns.— The Ravel Family. — Opening of the Federal Street. — First Performance of the " Hunchback." — Mrs. Banymore. — Benefit of John Howard Payne. — The Kembles. — Expiration of Mr. Dana's Lease, 289

CHAPTER XXI.

Biographical Sketch of Charles H. Eaton. — The Season of 1833-4. — Thomas Barry, Esq. — His First Season in Boston. — Tyrone Power. — The Visit of the Woods to Boston. — Dana v. Kemble. — Recollections and Reminiscences of the Woods, etc., etc. . 30G

CHAPTER XXH.

Joseph Wood. — His Sudden Rise and the Cause. — James G. Maeder. — Anecdotes. — Receipts of the First Boston Engagement. — The Kembles. — Mr. Barry's Second Season. — Park Benjamin's Address. — The Appearance of J. Sheridan Knowles. — Charles Mathews, etc 323

CHAPTER XXHI.

Fanny Jarman. — F. S. Hill's Prize Poem. — Miss Charlotte Cushman's First Appearance. — Miss Watson. — Her Intrigue with

CONTENTS. XI

Paganini. — Mr. Harrington, Professor of Ventriloquism. — The Old Theatre. — The Season of 1835-36. — The Veteran Dowton. — James Murdock. — First Appearance of Miss Clifton. — Mr. and Mrs. Keeley. — Epes Sargent's " Bride of Genoa." — First Appearance of Ellen Tree. — Lines by John Q. Adams. — Eeceipts. — Leman, Charlotte Cushman, etc 339

CHAPTER XXIV.

Continuation of Mr. Barry's Management. — Bianca Viscounti. — Forrest's Great Engagement. — Velasco. — Vandenhoff. — Mrs. Shaw. — Miss Hildreth. — Miss Missouri. — Her Romantic History. — Lady of Lyons. — Mr. Barry's Last Season. — Edward Shales. — His Dramatic Career. — A Review of Mr. Barry's Management, 350

CHAPTER XXV.

The Tremont under J. S. Jones. — Season '39-40. — The Company. — Mr. Ranger. — Charles Kean. — Death of Mr. Stimpson. — Mrs. Fitzwilliam. — Jack Falstaff, by George Andrews. — The Finn and Eberle Benefits. — Attempt to reduce the Prices. — Tyrone Power. — Fanny Elssler. — The Woods. — John Braham, etc. etc. . 362

CHAPTER XXVI.

The Last Years of the Tremont Theatre. — Messrs. Andrews and Preston. — The Seguins. — Visit of the Prince de Joinville. — Samuel Butler. — Boz. — Season of 1842-3. — George Vandenhoff. — The Broughams. — Josh. Silsby. — Closing Scenes at the Tremont. — The Last Night. — First Appearance of the Learned Blacksmith. — Destruction of the Temple by Fire, etc. etc. . . . 375

CHAPTER XX VH.

The re-opening of the Boston Theatre. — 0. C. Wyman, Esq. — The Seguins. — The Howard Athenaeum. — Mr. and Mrs. Charles Kean. — Edwin Forrest. — Mr. Fleming. — The Museum. — King John. — The Viennoise Children. — Titus A. Peep, Esq. — C. R-

Xll CONTENTS.

Thome. — The last Season. — Messrs. Wright, Fenno & Co., etc. etc 387

CHAPTER XXVni.

The National Theatre.— Its Origin. — Mr. Pelby. — The Warren Theatre. — The National Theatre. — J. B. Wright. — Thomas A. Cooper. — Miss Davenport. — Josh. Silsbee. — Miss Julia Dean. — McKean Buchanan. — F. S. Hill. — J. S. Jones. — Hamilton. — Wright, Fenno & Co., etc. etc 397

CHAPTER XXIX.

Proposals for a New Theatre. — The New National Theatre. — Laying of the Corner Stone. — Mr. G. V. Brooke. — The Theatre lighted up. — The Opening Night. — Douglass Stewart. — Md'lle Palser. — New Fares. — Receipts. — Edwin Forrest's Engagement. — The Spanish Dancers. — The Company Reduced. — Leonard's Complimentary Benefit. — Presentation of Plate to Brooke, etc. etc 400

CHAPTER XXX.

The Lion Theatre. — The Opening. — Mr. Barrymore. — The Jewess. — The Golden Farmer. — Cooke's Company. — The Davenports at the Lion. — Mechanics' Institute. — The Melodeon, etc. etc. 420

CHAPTER XXXI.

The Howard Athenaeum. — W. F. Johnson. — The Opening Company. — Jas. H. Hackett. — A Sketch of the Baron. — His Youthful Days. — The Seguins. — Mrs. Anna Cora Mowatt. — A Sketch of Mrs. Mo watt. — Her Career as an Actress. — Edward Davenport, •etc. etc 424

CHAPTER XXXH.

The Seguins in Norma. — First Production of that Piece. — Mr. and Mrs. Charles Kean. — Mr. Stark, Dyott, Mr. Murdoch, Miss Fanny

CONTENTS. Xlll

Jones, Miss Mary Ann Lee. — The Seguins, and the " Bohemian Girl," etc. etc .435

CHAPTER XXXHI.

The Howard Athenaeum. — Opening Night. — Introduction of William Warren. — Blangy. — The Viennoise Children. — Marti' s celebrated Havana Opera Company. — Tedesco. — Incident in her Life. — Signor Perelli, etc. etc. .' 441

CHAPTER XXXIV. -

Continuation of the Howard Athenaeum. — Madame Anna Bishop. — Elize Biscaccianti. — Truffi. — Fancy Balls. — W. C. Macready. — Maurice Power. — Bateman Children. — Charles R. Thome. — Jean Margaret Davenport. — H. W. Finn. — Operas. — Baker & English. — C. D. Pitt. — Mrs. Mowatt. — Forrest. — Miss Laura Addison. — Mrs. Warner. — Madame Thillon. — Lola Montes. — The Season of 1852-3. — Henry Willard. — Miss Fitzpatrick. — Alboni. — Sontag, etc. etc 450

CHAPTER XXXV.

The Boston Museum. — The Patrons of the Museum. — The Drunkard. — Opening Night at the New Museum. — Mrs. Barrett. — The Vaudeville Saloon at Boylston Hall. — The Eagle Theatre. — Mr. Pelby's coup d'etat. — The Olympic Saloon. — The Boston Adelphi. — The Lyceum Theatre. — The Dramatic Museum. — Beach Street Museum. — The Predictions of a Veteran. — Closing Re marks, . . 469

RECORD OF THE BOSTON STAGE.

Chapter I

Introductory Kemarks. — First Performance in Boston. — Law against Theatricals. — Amateur Theatricals. — Burgoyne's Play. — Attempt made to Bepeal the Law against Theatricals. — The Exhibition Eoom in Board Alley. — Opening Bill. — " Moral Lee - tures." — Trouble at- the Theatre. — Arrest of Harper, and Trial in Faneuil Hall. — Death of Governor Hancock. — Charles Stuart Powell and his "Evening Brush for Eubbing off the Bust of Care." — First American Play. — Origin of the federal Street Theatre. — A Curious Pamphlet.

The introduction of the Drama into the United States dates back to the year 1749, and it nourished to some extent at the South before it found a " local habitation and a name " in Massachusetts. The colonial authorities of this State were opposed to theatrical amusements. They had but a very imperfect idea of their bearing, and in their ignorance deemed the theatre the abode of a species of devil, who, if allowed once to exist, would speedily make converts. The first allusion to the subject is made by Increase Mather in 1

Z RECORD OF THE BOSTON STAGE.

1G8G. In a preface to his " Testimony against profane and superstitious customs," he says : " There is much discourse now of beginning Stage Plays in New England ; " but we have no account that any representations were actually given, and it is generally conceded that the first public dramatic performance in this city was Otway's " Orphan, or Unhappy Marriage," which was produced at the Coffee House in State street, by two young Englishmen, assisted by some volunteer comrades from the town. Such an innovation was looked upon with horror. The more puritanical at once protested against the proceedings, and in the month of March, 1750, the General Court of Massachusetts passed the following act : —

An Act to Prevent Stage-Plays, and other Theatrical Entertainments.

For preventing and avoiding the many and great mischiefs -which arise from public stage-plays, interludes, and other theatrical entertainments, which not only occasion great and unnecessary expenses, and discourage industry and frugality, but likewise tend generally to increase immorality, impiety, and a contempt of religion.

Section 1. — Be it enacted by the Lieutenant Governor, Council, and House of ^Representatives, that from and after the publication of this act, no person or persons whosoever shall or may, for his or their gain, or for any price or valuable consideration, let or suffer to be used and improved, any house, room, or place whatsoever, for acting or carrying on any stage-plays, interludes, or other theatrical entertainments, on pain of forfeiting and paying for each and every day or time such house, room, or place shall be let, used, or improved, contrary to this act, twenty pounds.

Section 2. — And be it further enacted, that if at any time or times whatsoever, from and after the publication of this act, any person or persons shall be present, as an actor or spectator of any stage-play, interlude, or theatrical entertainment in any house, room, or place where a greater number of persons than twenty shall be assembled together, every such person shall forfeit and pay, for every time he or they shall be present as aforesaid, five pounds. The for feitures and penalties aforesaid to be one half to his Majesty for the use of the Government, the other half to him or them that shall inform or sue for the same ; and the aforesaid forfeitures and penalties may likewise be recovered by presentment Of the grand jury, in ■which case the whole of the forfeitures shall be to his Majesty for the use of this Government.

A law so stringent had the desired effect. Private theatricals were clandestinely given, however, and efforts were made to effect its repeal. In 1767, says Bradford in his History of Massachusetts, attempts were made to permit theatrical exhibitions, and to repeal the laws before made against them. The proposal this year (some unsuccessful efforts having been previously made to repeal the old laws) was equally vain ; a majority of the people were opposed to such exhibitions and entertainments. They considered them as calculated rather to corrupt than to improve the heart. They said: "They claimed, indeed, to be innocent amusements ; but they believed them the means of disseminating licentious maxims, and tending to immorality of conduct." **

In 1775, the British army in Boston received a powerful reinforcement from England under Generals Howe, Clinton, and Burgoyne. General John Burgoyne was a dramatic author, and in the year 1774, the " Maid of the Oaks," a very indifferent composition from his pen was performed at Drury Lane. On his arrival in this country, to relieve the tedium of head quarters, he produced his second drama, called the "Blockade of Boston."// The English army at the time was beleaguered in ,the city by the American militia; and this piece was written with a view of inspiring his men with due contempt for the enemy, and performed in Faneuil Hall. One of the programmes read as follows : —

On Saturday next, will be performed by a society of ladies and gentlemen, at Fanenil Hall, the " Tragedy of Zara." The expense of the house being paid, the overplus -will be applied to the benefit of the widows and children of the soldiers. Pit one dollar; gallery quarter of a dollar. Doocb to be opened at five, and begin precisely at six o'clock. — PmmmI Bex it Regima.

Burgoyne's play was probably frequently played, for the military are proverbially fond of the stage, and many actors, who have become oraments to the profession, can date their first appearance at the theatre of the barracks. It is related, that during one performance of the "Blockade of Boston," probably in March, 177 G, prior to the evacuation of the city, a very curious scene occurred. In one of its merriest seem sergeant, without his hat, and in the wildest confusion, suddenly rushed on the stage, and shouted in a voice of thunder, "the rebels — the rebels — they're attacking the Neck ! " which the audience supposing to be a part of the piece, applauded very loudly, being struck with the soldier's highly natural acting. A few minutes afterwards the beating of drums served to break the illusion, and the scampering off of the actors, put an end to the play.

The prohibitory law was reenacted in 1784, and though theatres were in full success in Xew York and Philadelphia, no attempt was made in this city to establish one till the 5th of June, 1790, when Hallam and Henry presented a petition to the Legislature, praying for leave u to open a theatre in Boston under proper regulations ; " but the petition was not con-

EECOSD OF THE BOSTON STAGE.

sidered. The leading residents of Boston, many of whom were above the vulgar prejudices of the day, in regard to theatrical representations, and who possessed a taste for refined pleasures, in the autumn of 1791, brought this subject by a special warrant before the town meeting. An attempt was made to postpone any consideration of the subject, but a majority were in favor of it, and instructions were adopted at an adjourned meeting, requested the representatives to the general court, to effect a repeal of the law, the instructions stating that, ,: A theatre, where the actions of great and virtuous men are represented, under every possible embellishment which genius and eloquence can give, will not only afford a rational and innocent amusement, but essentially advance the interests of private and political virtue ; will have a tendency to polish the manners and habits of society, to disseminate the social affections, and to improve and refine the literary taste of our rising republic."

Shortly after the opening of the legislature in January, 1792, Mr. Tudor, one of the representatives from Boston, brought the subject up. " After stating the reasons," says Mr. Buckingham in the Xew England Magazine, " which had induced him thus early to rise, he read the law prohibiting theatrical entertainments, and moved that a committee be appointed to consider the expediency of bringing in a bill to repeal it. No person rose to speak on the motion ; the question was called for, and decided in the negative, 47 to 69. On the speaker's declaring the vote in the negative, Mr. Gardner, of Hallowell, moved for a reconsideration. His motion was advocated by Messrs. TTidgery, Beck, b RECORD OF THE BOSTON STAGE.

and Jarvis. The question of reconsideration was finally carried, 71 to 33, and the subject was committed to Messrs. Gardiner, Greenleaf, Ilichborn, Bowers, Flagg, Washburn, and Kingley. A remonstrance against the repeal had been presented to the House, by sundry inhabitants of Boston, and was referred to the same committee. Mr. Gardiner on the 20th, reported verbally, that it was inexpedient to repeal the law. He remarked that the committee consisted of seven members, that two were decidedly against the repeal, that two others had voted against it, but acknowledged that they were not perfectly acquainted with the whole nature and tendency of stage-plays ; and that himself and the other two members were in favor of repealing it. On the 25th, the report of the committee was called up as the order of the day. Mr. Tudor opposed the acceptance of it, and Mr. Gardiner followed in an elaborate speech of several hours duration in opposition to the report. Dr. Jarvis, and others, advocated the same opinion. There was no reply — but when the question was taken, the law was sustained by accepting the report, 99 to 44."

The friends of the drama, however, were determined to encourage theatricals, and probably thought that the only way to show their opponents the folly of their course was to present them with an opportunity for enlightenment. A committee composed of Joseph Russell, Esq., General Henry Jackson, Joseph Barrell, Dr. Jarvis, and Joseph Russell, Jr., built at their own expense in Board Alley, now Hawley street, (originally a path through a pasture made by the worshippers at Trinity Church, who resided in King street, — and called Board Alley from the fact that it was subsequently boarded over,) a theatre, in every thing but the name, and call it the "New Exhibition Room." It was capable of holding five hundred persons. On the 10th of August, 1792, it was opened under the management of Mr. J. Harper. The following is the opening bill: —

NEW EXHIBITION ROOM.

BOARD ALLEY.

Feats of Activity.

This Evening, the 10th of August, will be exhibited Dancing on

the Tight Rope by Monsieurs Placide and Martin. Mons. Placide

will dance a Hornpipe on a Tight Rope, play the Violin in various

attitudes, and jump over a cane backwards and forwards.

INTRODUCTORY ADDRESS

BY MR. HARPER.

SINGING

BY MR. WOOLS.

Various feats of tumbling, by Mons. Placide and Martine, who will make somersetts backwards and forwards x over a Table, Chair, &c.

Mons. Martin will exhibit several Feats on the Slack Rope.

In the course of the Evening's Entertainments, will be delivered THE GALLERY OF PORTRAITS,

OR

THE WORLD AS IT GOES,

BY MR. HARPER.

The whole to conclude with a Dancing Ballet, called

THE BIRD CATCHER.

With the Minuet de la Cour, and the Gavot,

BY MOXS. AND MADAME PLACIDE.

[GP" Doors to be opened at seven o'clock, and the exhibition to begin precisely at half after seven.

K#=* Tickets at 6s. First Seats, 4-6 Second Seats, and 3s. Third Seats, may be had at the Post Office, at J. Leverell's, Marlborough street, and at B. Russell's Printing Office, State street, of whom the first seats may be taken from the hours of 10 till 1, A. M., and from 3 till 5, P. M., on Exhibition Days.

N. B. — Ladies and Gentlemen are requested to order their servants

8 RECORD OF TIIE EOSTON STAGE.

to set down and take up with their horses' heads towards Summer street.

The performances were similar to the above for some time, and the writers in the papers stated that the promised influence upon the morals of the communitywas not so great as anticipated, and expressed the opinion that the tight rope applied to the legs is not so effectual, to refine the morals of the people, as the old fashioned way of applying it to the neck, practised in other countries.

The tight rope dancing, however, was soon superseded by plays, given under the title of Moral Lectures. Garrick's farce of " Lethe " was produced as a satirical lecture called Lethe, or JEsop in the Shades, by Mr. Watts, Mr. and Mrs. Solomon. Otway's " Venice Preserved " was announced as " A Moral lecture in five parts, in which the dreadful effects of conspiracy will be exemplified." The " West Indian," " Poor Soldier," " Rosina," " Love in a Village," " Romeo and Juliet," " Hamlet," were also performed, as moral lectures. The bills, announcing these moral lectures, were written with considerable tact. We have a copy of a bill of " Othello" produced in this disguise at Newport, R. I., similar undoubtedly to those at the Exhibition Room, which is as follows : —

KIXGS ARMS TAVERN — XEWTORT — RIIODE ISLAND.

On Monday, June 10th, at the Public Eoom of the above Inn, will be

delivered a series of

MOKAL DIALOGUES,

IX FIVE PARTS,

Depicting the evil effects of jealousy, and other bad passions, and proving that happiness can only spring from the pursuit of virtue. Mr. Douglas — will represent a noble and magnanimous Moor, called Othello, who loves a young lady named Desdemona, and after he has married her, harbors (as in too many cases) the dreadful pas sion of jealousy.

Of jealousy, our being's bane,

Mark the small cause, and the most dreadful pain.

Mr. Alhjn — will depict the character of a specious villain, in the regiment of Othello, who is so base as to hate his commander on mere suspicion, and to impose on his best friend. Of such characters, it is to be feared, there are thousands in the world, and the one in question may present to us a salutary warning.

The man that wrongs his master and his friend, What can he come to but a shameful end ?

Mr. Eallam — will delineate a young and thoughtful officer, who is traduced by Mr. Allyn, and getting drunk, loses his situation and his general's esteem. All young men, whatsoever, take example from Cassio.

The ill effects of drinking -would you see 9 Be warn ; d, and fly from evil company.

Mr. Morris — will represent an old gentleman, the father of Desdemona, who is not cruel or covetous, but is foolish enough to dislike the noble Moor, his son-in-law, because his face is not white, forgetting that we all spring from one root. Such prejudices are very numerous, and very wrong.