Following closely on Miss Rogers with her legitimate plays, came the English comedian known professionally as Willie Gill and his wife, Rose Bain. These co-stars had recently been associated with the writer at Piper's theatre at Virginia City, where they played for a month or so in stock and it was a little of a surprise to me to find they had suddenly materialized into stars and were billed for a week at the Salt Lake Theatre. With sublime assurance, especially for a play writer, which Willie even then professed to be (as well as a comedian), he put up Mark Twain's "A Gilded Age." The piece had been but recently dramatized and had made a marked success with John T. Raymond as Col. Sellers. Raymond had played several engagements with us at the Salt Lake Theatre and was a great favorite, and was looking forward to another visit in the near future with his greatest success, Col. Sellers. Some one apprised him by telegram that Gill was billed to play the piece here and he promptly wired a well known law firm to enjoin Gill from playing it. The managers, Clawson and Caine, were also warned not to play it, so an emergency bill was prepared in the event that they should be stopped. The law firm had taken the necessary proceedings and just before "ringing up" time, as no change of performance had been announced, they appeared on the scene with the necessary officer and papers and the performance of "A Gilded Age" was formally and effectually enjoined. "All That Glitters Is Not Gold" was substituted. This was a lesson to the English comedian late from Australia which he possibly never forgot, especially as a few years later he retired from the stage and settled down in New York as a professional writer for the stage. He was a clever adapter and dramatizer, as his version of "A Gilded Age" bore witness, and he no doubt found plenty of materials to use in his craft, whose authors were not so well known as Mark Twain nor so particular in regard to their copyrights. Willie learned the truth of the axiom that "All that glitters is not gold," even "A Gilded Age" on that memorable night, for it materially injured the business during the remainder of his engagement.
"Built on Sand" was the next evening's offering and it was probably too suggestive of Willie's hopes in respect to "A Gilded Age" to be a good drawing card, so it only went the one night. The company had their work cut out here also; the next play was a new one with them; he called it Madge of Elvanlee; it was a dramatization of Charles Gibbons "For the King," a very powerful story of the Restoration period, and gave Rose Bain, his wife, the chance of her life to make a hit as a leading actress; but she failed to score any marked success, giving only a passable rendition of the character. Fortunately again for this individual, he had during his absence played in this play at the Bush Street Theatre. Jim Herne used it as the vehicle for the debut of a talented San Francisco' lady, who created a little ripple of excitement by her advent on the stage. I afterwards played the leading character in it at Virginia in conjunction with Miss Bain and Mr. Gill, so that it was comparatively easy for me in regard to study. This play was forced two nights, meantime the company had another new play sprung on them for Friday night. Miss Rose Bain was evidently bent on being the bright particular star of this engagement. Willie had failed in his Col. Sellers scheme, and Rose saw her opportunity and pushed it to the utmost. "The Sphinx," a mythological play, taxing the powers of no less an actress than Annette Ince (one of the greatest of her time) was the next offering to the public, and an exacting task for the company. Here again I was lucky, as I had only about six weeks before played a week in the piece with Miss Ince at the Bush Street theatre, and although I had now a different part, I was sufficiently familiar with the play to make my task easy, as compared with the rest of the company.
"The Sphinx" did not prove popular, owing largely to Miss Bain's inadequacy. So "Madge of Elvanlee" was restored for Saturday night, and so ended a very unprofitable week, both for "stars" and management. Willie Gill afterwards acquired fame as the writer of several successful comedy sketches. Rose Bain we have never heard of since. From the 13th to the 22nd of February, the theatre was dark, which gave the overworked stock company a rest they no doubt enjoyed, but cut off their salaries, which they did not relish.
On the 22nd, Washington's Birthday, the theatre was used as a ball room—the Firemen gave a "Grand Ball" and for the occasion the theatre was transformed, as it had been a number of times before, to accommodate an enormous crowd of dancers. The entire parquet was covered with floor made in sections, making the stage and the auditorium into one vast dancing hall. Hundreds who did not participate in the dance paid admission fees to sit in the circles and watch the dancers go through the bewitching and bewildering figures to the strains of a fine orchestra secured for the occasion. By the following evening, the floor was removed, the chairs back in place, and the theatre had resumed its normal appearance. On this date, the 23rd, The Alleghanians, a company of Swiss Bell Ringers and Vocalists, opened and played throughout the remainder of the week, five nights and a matinee. The company had now had a three weeks' rest and were anxious to be doing something again, so a series of "benefits" were put on. Commencing on March 6th, Clara Jean Walters took a benefit, playing Edward Tullidge's "Ben Israel," a very powerful play commemorative of the return of the Jews to England. On the 8th Mr. Lindsay "benefited," played "Jack Cade," and on the 10th E. B. Mar den, who had been in the stock for several years, took a benefit, playing Featherly in "Everybody's Friend." The theatre was again closed until the 22nd inst., when The Lingards came in and, supported by the stock, stiffened up business to some extent; continued until the 31 st. The April Conference being close at hand, it was decided to play the stock through the Conference in some of the old favorites, and they continued right along after the Lingards left. That is the marvelous part of it that they could do any business after dropping out a strong stellar attraction, but on they played through the Conference and on up to the 1st of May, when the season closed and with the season the management under the "Salt Lake Theatre Corporation" closed.
Their second season had not proved sufficiently profitable, although they had severely curtailed expenses by cutting down the company, to clear them of indebtedness, and the corporation quit badly in the hole.
The close of the Clawson and Caine management and the end of the Salt Lake Theatre Corporation was virtually the retirement of the stock company, which had been playing from the opening of the theatre in '62 up to the present date, May 1st, 1875, a period of 13 years. Of course a great many changes had taken place during those years in the personnel of the company, but a few of the original members remained, and the organization or ensemble of the company had been kept intact. Now, however, the gradually encroaching combination system made it impracticable for the managers to offer a season's engagement to those who were willing and anxious to engage. The necessity for a stock company became rapidly less from this time on, until in the year 1878 it had become defunct altogether.
Two entertainments were given after the closing of the stock company, before the corporation relinquished the house—on May 4th, Petroleum V. Nasby lectured, and on the 8th Mr. Mark Wilton rented the theatre and put up "The Ticket of Leave Man" for a benefit. To show the status of the company at this particular time, the program for the benefit performance is here appended:
SALT LAKE THEATRE.
Salt Lake Theatre Corporation …………… Proprietors
Clawson and Caine ………………………… Managers
SATURDAY EVENING, MAY 8TH, 1875.
Mr. Mark Wilton has engaged the Theatre for this night and will produce the great drama of
"THE TICKET OF LEAVE MAN."
Supported by the following
CAST OF CHARACTERS:
Bob Briefly, a Lancashire lad ……. Mr. John S. Lindsay
James Dalton (the Tiger) ……………. Mr. M. Forester
Hawkshaw (a detective) ……………… Mr. Mark Wilton
Melter Moss (a crook) ……………… Mr. J. C. Graham
Mr. Gibson (a bill broker) …………. Mr. Harry Taylor
Sam Willoughby …………………. Miss Dellie Clawson
Maltby …………………………….. Mr. Logan Paul
Burton …………………………….. Mr. H. Horsley
May Edwards ………………… Mrs. Clara Jean Walters
Mrs. Willoughby …………………. Miss Belle Douglas
This was the last performance given under the corporation managers and for some time the theatre remained without a manager; if any one wanted it, they had to rent it from President Brigham Young through one of his clerks. My record shows that the writer, on July 24th following, rented the house at the modest sum of one hundred dollars for the bare house. We gave Bulwer's five-act comedy of "Money" besides the farce "A Fish Out of Water" and a musical interlude, by Laura Honey Stevenson and John W. McKenzie, a popular young baritone from San Francisco. The total expense of this performance was $357.00, so it was a risk for an individual to take, but we pulled through clear and had a little left for our trouble.
About this time Mr. W. T. Harris or "Jimmy" Harris, as he was familiarly called, was installed as "business manager" of the theatre; he had succeeded in winning one of Brigham Young's daughters, Miss Louise Young, affectionately called by her friends "Punk." The Annie Ward episode was forgotten or condoned, and Jimmy had ingratiated himself so strongly in the President's good graces as to receive the hand of his favorite daughter, and in order that he might provide liberally for her, he was given the business management of the theatre. He assumed no financial responsibilities in accepting the position, but simply acted as the agent for Brigham Young, to whom he submitted matters of importance. He held down his job for two years or more, until some time after the death of Brigham Young, when the Salt Lake Theatre, which had been appropriated by the late President, (although built with Church means) in the settlement of Brigham's estate reverted to the Church. This brought a change of management and Mr. Harris was superseded by H. B. Clawson, one of the former managers.
CHAPTER XX.
SEASON OF '75-'76.
In the following chapter, no attempt will be made to give a consecutive and complete list of the attractions which appeared during the season, but a running notice will be made of the most important engagements, and especially of the new stars that appeared.
The combination system was gradually forcing the stock company from the theatre. Engagements with the stock people were now intermittent and uncertain, and for that reason the company kept dwindling until eventually it became a thing of the past. During this season, however, they were called in to support a good many stars. It took several seasons for the combination system to completely supersede the stock system.
On August 12th, Jennie Lee, who had been a favorite soubrette in the California theatre, San Francisco, and her husband, J. T. Burnett, opened a week's engagement in the play of May Blossom, supported by the stock. Immediately following, opening on the 20th of August, came Augustin Daly's company on their way to San Francisco. They played three nights, presenting "Saratoga," "The Big Diamond" and "Divorce."
Fanny Davenport was the "leading lady" of this company. It was the first dramatic company to cross the continent direct from New York to San Francisco. The fame of Daly's company had preceded it, and as a result they played to big businesses both here and in San Francisco.
On the 27th and 28th, the English Opera Company played to good houses.
On September 25th, the stock company reopened the theatre which had been dark for several weeks. Charley Vivian, who afterwards organized the order of Elks, opened in conjunction with the company, giving his clever entertainment, and this combination pulled through the October Conference, when there was another intermission. In December, the stock company made another spurt, headed by Clara Jean Walters.
They reopened with "Cherry and Fair Star," a spectacular play which had an unusual run; with this and other pieces they managed to keep going until January 20th, 1876; from this date to April 1st, there were occasional attractions but none of great importance.
On March 1st, John S. Lindsay, who had been playing leads in the stock, was tendered a complimentary "benefit," on which occasion he appeared in the character of "Jack Cade." To show the personnel of the company at this particular period of its history, the following program of the performance is subjoined:
SALT LAKE THEATRE.
W. T. Harris ……………………… Business Manager
GRAND COMPLIMENTARY FAREWELL BENEFIT
Tendered by the Members of the Dramatic Profession, and Prominent
Citizens of Salt Lake City to the popular actor
JOHN S. LINDSAY.
On which occasion Mr. Lindsay will essay the great character of
Jack Cade.
WEDNESDAY EVENING, MARCH 1, 1876,
Will be presented Judge Conrad's celebrated tragedy in four acts, entitled
"JACK CADE, THE CAPTAIN OF THE COMMONS."
The entire Corps Dramatique have generously volunteered.
CAST OF CHARACTERS:
Nobles.
Lord Say ………………………….. Mr. Mark Wilton
Lord Clifford …………………… Mr. Emmett Mousley
Duke of Buckingham ………………… Mr. Gus M. Clark
Duke of Suffolk …………………… Mr. B. W. Wright
Courtnay …………………………. Mr. J. C. Graham
Commons.
Jack Cade }
Aylmere } ……………………… Mr. John S. Lindsay
Friar Lacy ……………………… Mr. John T. Hardie
Wat Worthy ………………………. Mr. Phil Margetts
Will Mowbray ………………………. Mr. J. E. Evans
Jack Straw …………………………. Mr. E. Mousley
Bondmen to Lord Say—
Dick Pembroke ………………………. Mr. H. Bowring
Roger Sutton ……………………….. Mr. Wm. Wright
Cade's Son (5 years old) ………….. Miss Edie Lindsay
Marinanne (Cade's wife) …………… Miss Lina Mousley
Widow Cade (Cade's mother) ………… Miss Sarah Napper
Kate Worthy, betrothed to Mowbray ….. Miss Lizzie Davis
Lords, Officers, Peasants, Bondsmen, Etc.
To be followed by a musical interlude.
Song—"Give a Poor Fellow a Lift" Mr. Phil Margetts, Jr.
For the last time, the great Specialty of the Mulligan
Guards ……………. By W. T. Harris and H. E. Bowring
The performance will conclude with the side-splitting farce,
"A BASHFUL BACHELOR."
Hector Timid ……………………… Mr. J. C. Graham
Captain Cannon …………………….. Mr. Mark Wilton
Dr. Wiseman ……………………… Mr. H. E. Bowring
Thornton ………………………….. Mr. J. E. Evans
Louisa ………………………….. Miss Lina Mousley
Chatter …………………………. Miss Sarah Napper
It would be unreasonable to expect an audience to sit through such a lengthy performance nowadays, but such was the dramatic pabulum with which we had to entice them into the theatre "in that elder day."
The "cast" in the above program shows that the stock company had become decidedly weak, a number of amateurs were worked in, and the three comedians, Margetts, Bowring and Graham, are playing parts altogether out of their line. The lady assigned the "leading lady's" part (Miss Mousley) was a clever amateur and this was about her first appearance at this theatre. The "leading ladies" "seem to have been all in retirement." Mr. Wilton, "a serio-comic," playing the "leading heavy," Lord Say, and Mr. Graham playing" the "second heavy," Courtney, shows there was a great sparsity of "heavy men," and Margetts and Bowring both playing serious "character parts," plainly indicates the low ebb the company had reached. It was now a difficult, nay an impossible, task to adequately "cast" one of the great classical plays.
Such was the status of the stock company at this period, its efficiency having been gradually weakened by the steadily increasing innovation of the combination or traveling companies.
Many of the most popular stars had not up to this time surrounded themselves with their own supporting companies, but continued to flit to and fro across the dramatic firmament, pausing to shed their luster for a new nights wherever they could find a cluster of nebula (stock company) to shine among.
On April 1st a bright and attractive star appeared in the person of Mr. Edwin Adams. Mr. Adams made a splendid impression on his first visit to Salt Lake and a full house was on hand to greet him. The train on which Mr. Adams arrived was several hours late and the audience was kept waiting more than an hour after the specified time of commencing. It was nearly ten o'clock when the curtain rang up on "The Marble Heart," but the audience exercised great patience, and when at length Mr. Adams appeared as Phidias from between the curtains that concealed the statues, exclaiming "The man whose genius formed them," he received such a warm and generous welcome as must have banished any doubts or misgivings he may have had as to how Salt Lake would receive him. As he had not rehearsed with the company, some apprehensions were felt as to how the play would go; but, after it was over, Mr. Adams warmly complimented everybody—especially the stage manager—and declared it went just as well as if he had been here to rehearse it with us. This was a notable engagement, Mr. Adams playing ten nights in all, his engagement running through the April Conference. In addition to "The Marble Heart," he played "Hamlet," "Richelieu," "Rover" (in "Wild Oats"), "Narcisse" and "Enoch Arden."
Edwin Adams was destined to a career as brief as it was brilliant. After leaving us he went to San Francisco and played a successful engagement, then went to Australia. When he returned from Australia to San Francisco he was a dying man. A benefit was given him there, and he was wheeled onto the stage in an invalid's chair to acknowledge his gratitude to the San Franciscans for their kindness to him. This was the last seen of poor Edwin Adams by the public. Only a few days later and that dramatic genius that was shedding luster on the American stage was extinct. He had contracted quick consumption in the antipodes, and by the time he got back to San Francisco his friends realized he had not long to live and did what they could to show their love for him and ease his passing to the great beyond.
The next important engagement was that of John T. Raymond, who appeared on August 5th in "A Gilded Age," the play in which Willie Gill was enjoined more than a year before. As Colonel Sellers, Raymond was simply inimitable; Mark Twain might have had him in his eye when he created the character. It ran three performances, and if there were not "millions in it," it was at least a profitable engagement both for Mr. Raymond and the manager. Notwithstanding it was the hottest part of the summer, Raymond filled out a week with Major de Boots in the "Widow Hunt," and Caleb Plummer in "Cricket on the Hearth." Raymond's engagement virtually closed the season of '75 and '76, and there was nothing of importance until the commencing of the next season.
CHAPTER XXI.
SEASON OF '76-'77.
With the approach of the October Conference, which is always a harvest for the theatre, Mr. Harris got together as strong a company as possible and revived some of the old favorite plays, opening the season of '76 and '77 a night or two before and continuing through the Conference dates to satisfactory business. There was no "star" to share with, and the theatre reaped a handsome profit.
The next engagement of importance was that of Mr. George Rignold, an English actor, who was starring in "Henry V." Rignold had come from England and under the management of Jarrett and Palmer, "Henry V." was given a fine production in their New York theatre. For some reason or other, after a short but successful run of the play, a disagreement arose between those popular managers and Mr. Rignold. They decided to supersede Mr. Rignold with Lawrence Barrett. They notified him accordingly and at the expiration of the time for which he had been engaged Mr. Barrett stepped into Rignold's place and the run of the play was extended for several weeks. It was the intention to take the play to San Francisco after the run in New York. This change of stars threw Rignold out of the San Francisco engagement, much to his chagrin and disappointment. Not to be out-generaled the English actor quietly hastened to San Francisco. The California Theatre having been secured for the Jarret and Palmer company, with as much dispatch and secrecy as possible Rignold got a company together. Soon as it was known that Rignold was in San Francisco and was preparing to give the play of "Henry V" at the Grand Opera House, the news was duly wired to Jarrett and Palmer; not only were they surprised, but greatly chagrined, on learning that the English actor had gotten the start of them and was in a fair way to eclipse their Western engagement. Mr. Barrett and the managers, after a rather excited consultation, decided to close the run of "Henry V" with the end of the current week, and have everything in readiness to leave New York for San Francisco on the following Sunday. The manager of the California was telegraphed to announce the play for the following Thursday night. This gave scarcely a week for advertising, and it seemed incredible that the company could reach San Francisco by the time, but Jarrett and Palmer had at great expense made arrangements with the railroad company for a special train, that was to rush them through from New York to San Francisco in four days. Barring accidents, they would arrive in San Francisco on Thursday morning, in time to get their scenery in place and play that night.
It was taking desperate chances, but it was at the same time a great advertising scheme, for never before had such a flying trip been made across the continent, and every paper in the country had an account of it. "From Ocean to Ocean eighty-three hours." Rignold had arranged to open the following Monday, but learning to his amazement of the great coup that Jarrett and Palmer were performing to get in ahead of him, he got a move on too and decided to keep the lead, and open up at least one night ahead of them, which was as soon as he could possibly get ready. The fast train was the sensation of the hour, everybody was talking of it and awaiting its arrival with keen expectancy. This national advertisement gave the Jarrett and Palmer company a great advantage over Rignold; besides, they had much the better production, and the best company, as Rignold had to gather what support he could and very hurriedly in San Francisco. This was very sharp managerial practice; what especial reason Lawrence Barrett and the Jarrett and Palmer management had for this extraordinary coup to down the English actor we never learned. The rivalry of the two Henrys served to throw theatrical circles in the Golden Gate City into a feverish excitement, and the result was that both houses did a good business, as every theatre-goer felt in duty bound to see both actors, and then compare their respective merits. Until Rignold played "Henry V" in New York no American actor had ever attempted the character; Barrett who had in conjunction with John McCullough managed the California theatre during the first three years of its career, saw an opportunity to do some business there and win some fresh laurels in a new part. This in a measure explains the haste with which the thing was done. The rival Henrys, however, did not succeed in giving the play a permanent abiding place in popular favor. We think no other American actor has ever had the temerity to try it, until the bold and undaunted Richard Mansfield gave a superb production of it a quarter of a century later—1902.[A]
[Footnote A: The above account of the "Henry V" excursion is written entirely from the writer's recollection of the affair, having no available data. It may contain some slight inaccuracies, but the main facts were about as here related.]
After the Rignold date here, when "The Lady of Lyons," "Black-Eyed Susan," and "Henry V" were given with such support as was available, the stock played fitfully, interrupted by occasional novelties, such as panoramas and concert companies, minstrels and the like, along the holiday season and into the spring. On February 3rd, John S. Lindsay was the recipient of another "benefit," on which occasion he exhibited his strong predilection for Shakespearian roles by appearing as Hamlet, a character in which he had already won some local distinction. As on a previous benefit occasion, there were several first appearances, and the cast as a whole was not very satisfactory, but our friends were inclined to overlook many shortcomings on those benefit occasions. As if "Hamlet" was not enough for a benefit performance, we had to tack on the farce of "The Trials of Tompkins," in which Mr. Graham was wont to shine.
On the 23rd and 24th of February, Mr. E. A. Sothern, the world renowned Dundreary, filled his first engagement at the Salt Lake Theatre. He exacted a certainty of one thousand dollars in gold coin for the two nights. Mr. Harris very naturally had some hesitancy about closing an engagement with him on such exorbitant terms, so he made a canvass of his patrons, and after a careful consideration, "closed the deal" with Mr. Sothern. The prices were advanced from the usual scale of twenty-five cents to one dollar, to fifty cents to two-fifty. The house was well filled on both nights and the management, not having a very expensive company or any production to pay for out of its share, came out all right. There was much dissatisfaction, however, that such exorbitant prices should be charged for what at best was but an ordinary "show," especially the last night when David Garrick was presented, and by ten o'clock the play was over, and the general expression of the patrons of the theatre was "Sold!" Indeed so outspoken was the dissatisfaction with David Garrick, and so severe were the strictures of the press the following morning, that Mr. Sothern could not have gotten fifty cents a ticket for a third performance. As a natural consequence, it was a long time before he came to Salt Lake again.
On March 10th, Miss Annie Adams (Mrs. Kiskadden) who had recently returned on a visit to Salt Lake after an absence of three years in San Francisco, assisted by the stock company, gave a production of "The Two Orphans," Miss Adams appearing as Louise and Miss Colebrook as Henriette, the writer in the character of Pierre. This was the first presentation of this play at this theatre and it proved a great drawing card.
The next star attraction was one of more than ordinary interest. The anniversary of Shakespeare's birth (and death) on April 23rd, Adelaide Neilson, the world acknowledged Juliet, was announced to appear in that character. Miss Neilson was well-known to our theatregoers by reputation as the greatest Juliet of the age, and the demand for seats was extraordinary. The prices were advanced, but not to exorbitant figures, the prices ranging from 25c to $1.50. Every seat in the house was filled, and numbers were glad to stand on both evenings rather than miss seeing the beautiful and popular actress. There was no dissatisfaction with this engagement; everybody was pleased and delighted, and Adelaide Neilson's praises were on everybody's lips. She could have remained a week and played to full houses, but engagements ahead precluded a longer stay; she only gave two performances, "As You Like It" being the second bill. There was only one opinion as to her Juliet, that it was the perfect embodiment of the character, her rich beauty of face and form, her exquisite grace, her melodious voice, and the marvelous power of expression in her soft tender eyes, equipped her completely for the part. As Rosalind she was equally as charming if not as brilliant as in Juliet. The playing of Romeo to her Juliet, the writer cherishes as one of the pleasantest memories of his long professional career. A year later the beautiful Neilson was dead. Alas! for the mutability of all that is mundane:
"She should have died hereafter;
There would have been a time for such a word.
Tomorrow and tomorrow and tomorrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time.
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage
And then is heard no more.
It is a tale told by an idiot;
Full of sound and fury; signifying nothing."
—Macbeth.
"The boast of heraldry, the pomp of power,
And all that beauty, all that wealth ere gave
Await alike the inevitable hour;
The paths of glory lead but to the grave."
—Gray's Elegy.
The next stellar attraction was Ben de Bar. Ben was the manager of one of the St. Louis theatres when the writer was a boy, and my first introduction to the stage was at De Bar's theatre. A young fellow who was our neighbor in St. Louis induced me to go with him and go on as a super. The play was "Sixtus V., Pope of Rome." Mr. and Mrs. Farren were the stars. I made my first acquaintance with the stage in that play, as one of the mob, little dreaming that I would one day be cast to play Sixtus V., which I was some years afterwards in the Salt Lake Theatre.
Ben De Bar was a popular comedian as well as manager at the time of which I am telling, but for some half dozen years now he has been starring in the character of Sir John Falstaff. He was very stout, and well suited to the character and confined himself to it exclusively, varying the monotony, however, by playing both the plays in which Sir John is so prominent, "Henry IV" and "The Merry Wives of Windsor."
Ben had been to San Francisco and had just played an engagement there, before coming to Salt Lake. He opened here on May 17th in "The Merry Wives." He complained of not feeling well and it was quite perceptible that something was the matter; he was uncertain and forgetful. On the second night in "Henry IV," his lapses of memory were still more perceptible. In short, it was palpable to all the company, if not the audience, that Mr. De Bar was suffering from some derangement of memory to such an extent as to in places mar the scenes, and very much embarrass those who had dialogue with him. The writer was playing Hotspur on the occasion, and had but little to do with the boastful Sir John, but noticing his lapses of memory in several places and his consequent and apparent distress, kindly inquired as to his trouble, when he feelingly told me he had suffered in San Francisco the same way, and he felt no confidence in himself whatever. He said his memory was deserting him and he feared his professional career was at an end. After the play was over he called me into his dressing room, and said: "Mr. Lindsay, I have made my last appearance on the stage. I am done, sir. I feel that I have subjected the entire company tonight to a great deal of embarrassment, and my lapses of memory must have been quite apparent to the audience. No, sir, I can no longer rely on my memory, and I shall never attempt to play again. I feel my career is ended." His words were pathetic, and as it proved, prophetic; he never did appear on the stage again. In less than a year dear old Ben de Bar died of softening of the brain. Ben de Bar was about sixty years of age when he died. "What old acquaintance! Could not all this flesh keep in a little life? Poor Jack, farewell! I could have better spared a better man." Prince Hal in "Henry IV," Part First.
Salt Lake seemed to be an attractive summer resort for a certain class of attractions, and quite a number found their way here during the very hottest of the weather. On July 24th Robert Heller, a very clever magician and an excellent pianist, assisted by Miss Helen (his sister), entertained the patrons of the theatre for a week with his very clever tricks and fine piano playing. His second sight business, in which he was ably assisted by Miss Helen, was wonderfully clever, and mystified the beholders very much indeed. He was the first to introduct a second-sight business here, and was as much of a wonder as Anna Eva Fay has since been.
On August 6th, Rose Eytinge, then in the zenith of her fame, opened a three nights' engagement in the play of "Rose Michel" and followed it with "Miss Multon" and "Macbeth." The writer had some hard work during this brief engagement, the two first plays being entirely new to him, in both of which he had very long and arduous parts, and on the third night he had to do Macbeth. Rose Eytinge at this time was one of the best actresses and most beautiful women we had on the stage. Good gracious! that is twenty-eight years ago, and she is still acting! but she has to play the old woman now. When I played with her two years later in Portland, Oregon, she was married to an English actor named Cyril Searle, who insisted on playing Macbeth, but made me study Antony in "Antony and Cleopatra" on very short notice as the San Francisco papers had criticised his Antony so severely he declared he would never play it again.
On August 14th, the Richings-Bernard Opera Company played one night.
Played again on the 16th. On the following night, the 15th, Tony
Pastor with a fine vaudeville company, gave a great show the first
company of that kind to cross the continent and play in the Salt Lake
Theatre. He had a packed house, for his show was a great novelty.
It was a little surprising that with the love of the drama so universal in Utah so few contributions to dramatic literature were offered by local authors for representation on the stage. Those thought worthy of presentation by the managers we have already recorded. Mr. E. L. Sloan's "Osceola" (an Indian play), in which Julia Dean and George Waldron played the leading characters, and his "Stage and Steam," a later production, contrasting the old stage coach with the locomotive methods and results. By far the most important local contributions to the stage were the plays of Edward W. Tullidge: "Eleanor de Vere," played by Julia Dean and stock company, "Ben Israel" and "Oliver Cromwell," played by the local company. Now comes John S. Lindsay with "Under One Flag," a drama of the Civil War. This play was presented for the first time on September 13th and made so favorable an impression as to hold the boards for three nights. It was repeated on October 5th, during the conference season, and has been played by the author and his company in nearly all the towns and cities of the Northwest. These performances of "Under One Flag" virtually closed the season of '76 and '77, which had run intermittently all through the summer.
CHAPTER XXII.
SEASON OF '77-'78.
On October 5th, the fall Conference was provided for. The house opened for the season of '77 and '78 on this date with a reproduction of "Under One Flag." The stock played through the Conference date, reviving some of the old favorite plays, and continued playing until November 12th. On November 14th The Kellogg-Cary Concert Company opened a three nights' engagement and sang to big houses. Miss Louise Kellogg was one of the greatest singers of her day, and Miss Cary was equally popular, their concerts being very well patronized and highly appreciated by the music lovers of Salt Lake.
On November 23rd, Mrs. D. P. Bowers and Mr. "Jim" McCollom (who was
Mrs. Bowers' second husband) opened a week's engagement in
Giogametti's play of "Elizabeth," which was played for three nights,
and the week was filled out with "Lady Audley's Secret," "Married
Life" and "Camille."
Mrs. Bowers was beyond question one of the greatest actresses our country had ever produced. She was the first American actress to play the character of Elizabeth. After Ristori, the great Italian actress, had played this great character in a few of the principal cities of our country only, Mrs. Bowers took it up and starred the country with it, making a great success.
Mr. James McCollom was a very efficient support to her in the characters of Essex in "Elizabeth," Armand in "Camille" and Robert Audley in "Lady Audley's Secret." Mrs. Bowers achieved her celebrity as Mrs. Bowers and never changed her name to McCollom on the stage. Mrs. Bowers was supported by the stock company in this engagement.
On December 8th, J. K. Emmett opened a three nights' engagement in "Fritz," supported by the stock. On December 20-21-22, The Lilliputian Opera Company. Christmas Day the stock resumed operations and played through the holidays and up to the 13th of the month; they were temporarily retired again to make room for Ilma de Murska and her concert company, who gave scenes from "II Trovatore," "Martha," "Crispina," and other operas, remaining three nights, 15th to 17th, inclusive. De Murski was not only a great singer but a great actress as well, and her singing and acting were received with unusual enthusiasm.
January 18th and 19th, Mr. and Mrs. Frank Frayne were the attraction in the play of "Si Slocum." Frayne "was the fellow who won renown" by shooting an apple from his wife's head (a la William Tell), only Frayne split the apple with a rifle bullet instead of an arrow. After performing this and other dexterous feats with rifle and revolver many hundreds of times without accident, he did it once too often; he finally missed his aim and shot his wife dead. How confiding women are! Poor Mrs. Frayne! Thank heaven that did not happen here! Whether Frank ever found another woman so confident of his skill as to hold that apple on her head, we know not and hope not. He had a bull dog that played a star part in the show; he may have trained the dog to hold the apple after his wife's awful fate. Sad to relate, the stock company supported Mr. and Mrs. Frayne and the bull-dog.
On the 22nd and 23rd, Mile. Rentz's female minstrels gave Salt Lake another exhibition of musical extravaganza, the chief attraction being the free and lavish display of beautiful female shapes. A whole phalanx of voluptuous, rotund forms encased in a dazzling and bewildering variety of colors—moving in splendid harmony—keeping time, time, time, in a sort of runic rhyme. Why no wonder the baldheads crowded into the front rows and outrivaled all other spectators in applauding the bold and beautiful Amazons.
On February 22nd the community having recovered somewhat from the excitement of Amazonian marches, Rentz minstrel choruses, and the bewildering effect of so much female beauty, the present writer having accepted an offer to go to Denver to play a star engagement at the Denver theatre, summoned sufficient courage to take a "farewell benefit." The plays given on this occasion were "Evadne" and the farce of "Nan, the Good-for-Nothing." Soon after the "benefit" the writer departed for Denver, accompanied by Mr. Harry Emery, who had played with him in the recent benefit bill and on some previous occasions; his work being so satisfactory as to secure him an engagement in the Denver company that was to support me. Denver at this time had but one theatre; it was not nearly so large or so good a theatre as the Salt Lake Theatre; in fact, Denver was not then (1878) as large a city as Salt Lake. Nick Forrester was the manager, and his wife was the "leading lady" of the company, and insisted on playing all the leading lady parts whether suited to them or not. This caused Nick and the company a whole lot of trouble as she was already fair, fat and forty, and not suited to many of the parts.
My opening bill was "Hamlet," and she was my Ophelia, much to my dissatisfaction, as there was a juvenile lady in the company, Miss Baker, who should have been cast for the part; but with a woman's persistent inconsistency, in spite of my demurrer, she would be Ophelia, and Miss Baker had to do the Queen, which she was quite as unsuited to as Mrs. Forrester was for Ophelia. This was the "leading lady's" reward:
"Not all the artifices of the stage would suffice to make Mrs. Forrester look young enough for Ophelia, or Miss Baker old enough for the Queen."—Rocky Mountain News.
After "Hamlet," "Richelieu" was given (my first appearance in the character), then "Jack Cade," Bulwer's comedy of "Money" and my own play, "Under One Flag." After filling in three more weeks with the Forresters on their circuit, Mr. Joe Wallace, the comedian of Mr. Forrester's company, made a contract with me to play me through the state of Colorado, supported by the Forrester Stock Company. The season was over in Denver, so we went en tour. Before the tour ended we went to Leadville with teams from Canon City, and gave the first dramatic performance ever given in Leadville. This was in the summer of '78; the boom did not strike Leadville till '79. We were there too early to do much in the theatrical way—the population was not there. Emery and I got back to Salt Lake about the first of August. The next attraction at the Salt Lake Theatre after "Evadne" was the Union Square Theatre Company with Charley Thorne at the head of it. On February 12th, this company opened in the Russian play, "The Danicheffs," following it with "The Two Orphans" and "Pink Dominoes." It was the foremost company of the time, and of course gave great satisfaction. On February 22nd, Washington's Birthday was celebrated by a big masquerade ball in the theatre, given by the L. H. B. Society. This was a big affair, this masquerade. Hundreds of maskers were on the floor and the grand march, led by our late lamented friend Ned Wallin, and the writer, was a very fine pageant—and it was altogether a very successful revel.
Next came Fanny Louise Buckingham and her finely trained horse, James Mellville. They starred in conjunction for three nights in the play of "Mazeppa," supported by the stock company. This was the last performance the writer took part in before leaving for his Denver engagement. There was much more satisfaction in supporting Fanny and her horse than there was in supporting Frayne and his bulldog. Fanny was a beautiful creature, so also was her horse James; and although Fanny couldn't act Mazeppa very well, James did his part splendidly, and Fanny could stick on him in good shape, and James carried her through all right. The following week we were in Denver together, she playing, I rehearsing, so we saw a good deal of each other, and when she parted from us at Denver, she had established a reputation among us for a "jolly good fellow." She loved her horse James Mellville, and she loved a jolly crowd.
Next came J. Al. Sawtelle, who had been touring around in Utah and Montana, and put his name up for a performance at the Salt Lake Theatre. As he had only played there one season and had not been there since '74, he was almost a stranger. He played "Rosedale" on March 2nd. On March 5th, Denman Thompson opened a three nights' engagement in "Joshua Whitcomb." The 11th and 12th, Signor Eduardo Majeroni, a very clever Italian actor, played "The Old Corporal" and "Jealousy."
On the 14th, Ada Richmond opened for a week, supported by the stock, which also supported the three preceding attractions. On April 4th, 5th and 6th, Haverly's minstrels filled the time, giving the Conference visitors a taste of genuine minstrelsy.
The last nights of Conference, 7th and 8th, were filled by the stock, who kept it going until Oliver Doud Byron came in on the 15th and 16th to crave their help "Across the Continent." On the 19th Frank C. Bangs, one of the big four in the "Julius Caesar" production at Booth's theatre, gave a reading entertainment. Why he didn't give a play I don't know, the same old reliable stock was here and had just supported Oliver Doud Byron. The only reason I can assign is that he hadn't time to stay.
April 25th and 26th Ada Gray appeared in "Whose Wife?" and "Miss
Multon."
May 2nd Prof. La Mar, leader of the Fort Douglas Band, gave a band concert. La Mar was a very clever musician and had a fine band; he deserved to be well patronized for he was very accommodating, and volunteered the services of his band on numerous "benefit occasions."
On the 7th and 8th Dick Roberts in "Humpty Dumpty;" 13th and 14th, Sol
Smith Russell and Rice's Evangeline combination.
On the 27th and 28th Harrigan and Hart in "Doyle Brothers," "Old
Lavender" and "Sullivan's Christmas."
June 14th and 15th, Salisbury's Troubadores.
July 15th, Joseph Jefferson in "Rip Van Winkle."
September 10th, Henry Ward Beecher in lecture, "Wastes and Burdens." This was after the notorious Beecher-Tilton scandal and Henry had been studying social economy. The Mormons didn't like Henry very much, but he had a big house.
September 12th and 13th, entertainments were given for the benefit of the yellow fever sufferers in Memphis and vicinity. These entertainments did not "pan out" very well, and the theatre managers decided to get all the dramatic talent they could get to volunteer and give a popular play, in hopes to materially increase the charity fund. The "School for Scandal" was selected and given with a pretty strong cast, embracing Miss Colebrook as Lady Teazle, David McKenzie as Sir Peter, John T. Caine as Charles Surface, John S. Lindsay as Joseph Surface. Phil Margetts and John C. Graham were in the cast, and a number of others, I cannot remember. The play was given on September 16th, and netted a very tidy sum for the sufferers.
On the 18th, 19th and 20th, Calender's Georgia minstrels held the boards, and business was light. The writer and Harry Emery had but recently returned from their Colorado tour, and both were anxious to be doing something, so I got a cast together and put on "Richelieu," which I had recently played in Denver, and received flattering notices for, from the press of that city. I had given away my first appearance for the "benefit" to the yellow fever sufferers, so there was no other attraction than to see me in a new part and that did not prove sufficient to save me from disaster. I had a losing game of it, the receipts being some $75 less than the expenses of the performance. This was the only time I ever failed to make something when I had rented the theatre and taken chances, which was quite often. This performance, given on the 25th of September, virtually closed the season of '77 and '78.
CHAPTER XXIII.
SEASONS OF '78-'79 AND '80-'82.
The season of '78 and '79 was opened on October 4th by Haverly's minstrels, who filled the night of the 5th also, when the stock company stepped to the front once more, and filled out the remainder of the Conference dates with the "Lancashire Lass" and the "Hidden Hand." On the 23rd Susie Spencer was a beneficiary, playing "The Little Rebel." Susie's life was not without a spice of romance, and its chapter of sorrow. Susie Spencer was a very pretty little girl and talented; the managers found her very useful in parts where her petite stature was suited to the character, and such occasions were not infrequent. Miss Spencer was progressing nicely in her art and had already become a favorite with the patrons of the drama, when she met her fate in the person of Mr. Ed Marden. Marden was one of the Cogswell party who came from California by way of Southern Utah, and waiting on Brigham Young, informed him they had received a revelation (via the Planchette route) instructing them to come to Salt Lake and join the Mormon Church, as it was the only true and authorized church. The party were duly baptized and confirmed into the Church, and at once installed as members of the stock company. Marden became on very short acquaintance infatuated with the pretty Susie and laid siege to her young and guileless heart with that adroitness and dexterity which come from much experience, with the result that Susie soon became Mrs. Marden. Marden was a member of the stock here all during the "Jimmy" Harris regime. He and "Jimmy" were fast friends, they both came to Utah Gentiles, joined the Church and married Mormon girls. Soon after the close of the Harris management in '77, Marden drifted off and left his Susie a heart-broken little woman. He was through with Utah, and through with the Mormon Church, and through with his little Mormon wife, and cast them all aside as he would a worn-out suit. He never came back, and Susie, after a year or two of repining, found consolation in the affections of a better man. She became the wife of Mr. Rice, a well-to-do banker of the mining town of Frisco, Utah, where she lived happily in her new alliance until a few years ago, when she passed away from earth, still young in years.
The next stellar attraction was Mrs. Scott Siddons, a niece of the great Sarah Siddons, who appeared on November 22nd in a dramatic recital; with what success the writer cannot tell, as he was away again at this time. This lady had just closed a week's engagement at Portland, Oregon, when I arrived there. I met her at the hotel before her departure, and she impressed me as being an extraordinary woman and a brilliant actress.
December 25th, Nat Goodwin and Eliza Weatherby opened a four nights' engagement in "Hobbies;" they gave on the following evenings "Under the Rose" and "Cruets." This was Goodwin's first engagement in Salt Lake.
On January 10th and 11th, 1879, Alice Gates' Comic Opera Company played to exceptionally large houses.
Barney Macauley in "The Messenger from Jarvis Station" was the next stellar attraction.
There was a dearth of star attractions along about this time and the stock company had plenty of time to fill in, but it had become so depleted as to be unable to keep up the interest for more than two or three nights at a time.
On May 2nd, "Buffalo Bill," Col. Wm. F. Cody, gave an exhibition, assisted by the stock company. He called it "A Knight of the Plains." On May 8th, Annie Adams (Mrs. Kiskadden) and her daughter Maude, who were in Salt Lake on a visit, created some interest in her reappearance here, and that of Maude who on this occasion played her first speaking part in Salt Lake. Miss Adams assisted by the stock (what remained of it) and some amateurs, gave on the 8th, "A Woman of the People." This was the old French play of "Madeline, the Belle of the Faubourg," which Julia Dean had played some years before. Like many another good play since, it was made to do double duty by appearing under a new title. For the second night's bill, the comedy of "Stepmother" and the farce of "Little Susie" were given. In the farce Little Maude played the name part, "Little Susie." Maude was then six years and six months old, and had already played several parts in San Francisco, the most notable one, Little Adrienne in "A Celebrated Case," which she played in the Baldwin production of the play, and afterwards in Portland with John Maguire's production of it, for which she and her mother were especially engaged. Afterwards with the Maguire company en tour through Oregon and Washington, when "Little Maude" was featured in "The Case" and also in "Ten Nights in a Bar Room," her mother and the writer playing the leading roles in these plays. This second bill was repeated on the 10th inst., the probability being that Maude had caught the public favor at that early day.
The next attraction of note was Lawrence Barrett, who opened on July 8th (midsummer nights—no dream) for four nights, opening play "Richelieu" followed by "Hamlet," "A New Play" and "Julius Caesar." How the fastidious and exacting Barrett managed to cast these great plays here has never been explained to me. He must have carried his principal support with him.
In the fall of this year Miss Annie Adams revived "The Two Orphans" with a complete cast of amateurs, excepting herself and Jimmy Harris. The cast included Mr. Laron Cummings as the Chevalier, Heber M. Wells as the Doctor, Orson Whitney as Jacques, John D. Spencer as Pierre, John T. White as Picard, W. T. Harris played Frochard, which fact certainly denoted a great paucity of female talent here about that time. Annie Adams played Louise and Delia Clawson, Heriette, which is as much of the cast as we can gather from Miss Adams' own account of this performance. So successful was the performance as a whole and so meritorious the acting of the numerous debutants on this occasion that Mr. Bud Whitney who was managing the business end of the affair, proposed the organization of a "Home Club," which should comprise all of the amateurs who had taken part in "The Two Orphans." The proposition was readily adopted by those concerned, and out of this sprang "The Home Dramatic Club." The time was most opportune, for there was a dearth of dramatic attractions at the time; the old stock had dwindled until there were but a few of its members left in Salt Lake, and some new blood and talent was needed to give renewed interest to home productions. "The Home Dramatic Club," with great prudence and foresight, secured the ensuing April Conference dates on which to make their initial bow to the Utah public. It was a good long time to wait but they were sure of big results in a financial way, and it gave them plenty of time in which to perfect themselves in their opening play, which was "The Romance of a Poor Young Man." It was a good selection, well suited to the young people, and scored a success; only the older people in the community could remember George Pauncefort opening in the same play in 1864, and scoring a great triumph. The club had large and friendly audiences and their introductory play was pronounced a genuine success, both artistically and financially. It could not be otherwise than a good paying proposition, as Conference nights are always a harvest time for the theatre. So well encouraged were they that the club continued in the business of playing occasionally, whenever they could secure favorable dates, such as Conferences and other holiday times, for a number of years. "The Home Dramatic Club" averaged about three or four plays a year during their career of about ten years. The club being more of a society affair than a professional theatre company, they picked their times and opportune ones, and playing so seldom they never were subjected to the tasks in study and rehearsals and dramatic work which characterized the busy years of the old stock company. It was a talented company, however, and no doubt could have made good under different and more exacting conditions.
In March, 1881, the writer was back in Salt Lake after a two years' absence, principally in Portland and San Francisco. On my return there was nothing doing in the theatrical line. The "club" had been organized nearly a year, yet had given only a very few plays. There was a dearth of theatricals, and the writer with the acquiescence and assistance of Mr. Clawson, who was again manager of the theatre, got up occasional performances with such assistance as he could procure. The first of these was "A Celebrated Case," in which he had the assistance of Manager Clawson's daughters, Miss Edith Clawson and Mrs. Ardelle Cummings. Other performances were given in connection with David McKenzie, Philip Margetts and John C. Graham, with such support as we could muster from the depleted ranks of the old stock, and what new aspirants were in the field for dramatic honors. The "gallery gods" honored the three gentlemen and myself with the somewhat flattering appellation of the big four, the same title the New Yorkers bestowed on Booth, Barrett, Davenport and Bangs when these four stars formed the great constellation in the play of "Julius Caesar." These performances, however, like those of "The Home Dramatic," were few and far between, and to a person depending on acting for a livelihood, did not prove very remunerative.
About this time another project which interested the writer hove into view. Dr. D. Banks McKenzie, a temperance lecturer and reformer, had succeeded after a considerable effort in organizing a temperance club in Salt Lake City (a prodigious task to accomplish at that time). He had succeeded in raising a fund of some thirty thousand dollars in contributions towards the erection of a first-class lecture hall, with library, and various other nice accommodations for the society. The Walkers Brothers had contributed a building site where the Atlas block now stands, 50x100 feet. This was put in at $13,000, making nearly one-half of the $30,000 contributed. On being informed by one of the Walker Brothers of what was projected, the writer with some self-interest suggested that inasmuch as they were going to put up a building of such size and cost, that they might just as well make it a little larger, and make a theatre of it; that a theatre would answer all the purposes of the proposed hall, and often rent when the hall would not. The idea grew with them, and the Walker Grand Opera House was the result. It occupied a year in building. It was opened on June 5th, 1882, with a vocal and instrumental concert, with Prof. George Careless as conductor. As a matter of historical interest and to show the musical status of Salt Lake at that time, a copy of the opening program is here appended.
OPENING OF THE WALKER GRAND OPERA HOUSE.
Monday Evening, June 5th, 1882.
Lessee ………………………….. D. Banks McKenzie
Manager …………………………… John S. Lindsay
PROGRAM.
1. Overture—"William Tell" ………………… Rossini 2. Quartette—"The Night Before the Battle" ……. White
Misses Olsen and Richards, Messrs. Whitney and Spencer.
3. Flute Solo—"Concert Polka" ……………… Rudolph
Mr. George Hedger.
4. Aria—Il Profeta ……………………… Meyerbeer
Mrs. J. Leviburg.
5. Selection Favorite ……………………. Donozetti
Orchestra.
INTERMISSION.
6. Overture—Pique Dame ……………………… Suppe
7. Aria—E. Puritane ………………………. Belline
Mr. Robert Gorlinske.
8. Piano Solo—Trovatore ………………… Gottschalk
Mrs. Helen Wells.
9. Song—"My Own Dearest Child" ………………… Abt
Mrs. George Careless.
10. Selection …………………………………….
Croxall's Silver Band.
Conductor ……………………. Prof. George Careless
Thursday, June 8th—For Three Nights. Louis Aldrich Company in his very successful play, "MY PARTNER." Superb Star Company.
In the spring of '82, when the Walker was approaching completion, Dr. McKenzie hied him to New York to secure attractions for the new theatre, for the erstwhile temperance lecturer had developed into the sole lessee and manager of a $100,000 theatre. He had already chosen me to attend to the local management, for which I was to have 5 per cent of the gross proceeds of everything we played there, with the privilege of getting up local performances in the interims. I had worked eleven months, superintending the construction of the building and was quite in favor. "Doc" was very successful in securing attractions, his somewhat extravagant and florid descriptions of the Walker Grand, as they chose to christen it, and its superiority to the old theatre, caught the agents and managers, and he secured so many of the attractions going to the coast the ensuing season that he virtually had the Salt Lake Theatre out of business.
The first dramatic performance given in the Walker was the Louis Aldrich Company in "My Partner." The house was well filled but not crowded; there was a very strong prejudice against the Walker among the Mormon part of the community, and a malicious report to the effect that the galleries were not safe was put in circulation with a view to injure the new theatre. Such mischievous whisperings, however, only had a temporary effect.
One of the earliest attractions at "The Walker" was Haverly's minstrels, and the house was crowded to its utmost capacity; as the galleries did not give way on that occasion, the reports which had been so industriously circulated were seen to be "a weak invention of the enemy."
The new house continued to get the attractions to such an extent, that the Salt Lake Theatre was virtually out of the swim. This was accomplished by Dr. McKenzie putting The Walker under the direction of Jack Haverly. Haverly at the time was one of the foremost managers of the country. He controlled more companies and theatres than any one in the field of amusement; so he booked everything in his control at The Walker, and the house during his regime was called Haverly's Walker Grand Opera House. "What's in a name?" In theatrical business much; it is everything. So serious indeed was the situation for the Salt Lake theatre that Mr. David McKenzie, who was at this time the acting manager of the house, found it necessary to go to San Francisco and have a business interview with Mr. Fred Bert, who was Haverly's San Francisco manager.
The result of his visit was an agreement on the part of Haverly to play his attractions alternately between the two theatres, thus giving the Salt Lake theatre one-half of their Salt Lake bookings. In the agreement it was stipulated that the Salt Lake Theatre must also float the Haverly flag, and while this contract lasted the old house was called "Haverly's Salt Lake Theatre." Here was an interesting situation; both theatres flying the Haverly flag. Haverly's name at the head of every bill and program. It was not at all pleasing to the Mormon people to have their theatre, in which they took so much pride, pass under the direction and management of a Gentile manager. Many of them didn't know but what Haverly had bought it. The Walker Brothers did not relish the idea either of their house being called Haverly's; but such were the exigencies of the theatrical business. To the Walker it was a great advantage, as without Haverly's prestige the new house would have had a hard time in getting first-class attractions.
These circumstances go to show what an immense influence Jack Haverly wielded in the theatrical business of this country at that time. He was almost as potent then as Klaw & Erlanger of the syndicate are today. These conditions did not last very long, as the managers and agents came to learn that the Salt Lake Theatre was the only one that the Mormon people would patronize, and they being so largely in a majority of the theatre-goers, the older theatre gradually won back the great bulk of the traveling combinations, and the Haverly agreement having expired, his flag was hauled down, much to the relief of a great many, to whom it had always seemed a reproach to have Brigham Young's Theatre called Haverly's. Jack Haverly had too many irons in the fire; his numerous theatrical enterprises were managed by a corps of lieutenants, too numerous for Mr. Haverly to keep in line. Some of them proved shrewder, more adroit, and less principled than their general. He trusted them too implicitly, and this was his undoing. Some of them managed his enterprises into their own hands, while he was giving his personal attention very largely to his mining interests. These, too, turned out disastrously, and Haverly's star, which had been so prominent and bright in the theatrical firmament, began to wane and in a very few years was totally eclipsed. After all his great enterprises, he became a bankrupt in 1898, and he died poor in 1901 in a Salt Lake Hospital. He was reduced in health and circumstances to such a degree as to be unable during the last year of his life to manage even a minstrel company, and others paid him for the use of his name.