{"id":1456,"date":"2024-01-10T18:45:50","date_gmt":"2024-01-10T23:45:50","guid":{"rendered":"https:\/\/jerrykuntz.org\/harryhill\/?p=1456"},"modified":"2024-01-10T18:45:54","modified_gmt":"2024-01-10T23:45:54","slug":"sol-smiths-theatre-company-published-nov-29-1885","status":"publish","type":"post","link":"https:\/\/jerrykuntz.org\/harryhill\/sol-smiths-theatre-company-published-nov-29-1885\/","title":{"rendered":"Sol Smith’s Theatre Company [published Nov. 29, 1885]"},"content":{"rendered":"\n
\"\"
Stage prompter<\/figcaption><\/figure>\n\n\n\n

      The New York amusement-goin\u2019 world is full of memories of the \u201cstars\u201d and \u201cleadin\u2019\u201d men and women of the stage; but who remembers the merely \u201cuseful\u201d people of the \u201cprofession\u201d–those hard-workin\u2019, poorly-paid, yet absolutely necessary men and women whose lives, devoted to \u201cutility,\u201d have no chance for \u201cglory?\u201d Such men as Wright, for instance\u2013good old Wright, from time immemorial the \u201cprompter\u201d at \u201cWallack\u2019s\u201d. Wright seldom has his name in the papers, yet he really deserves honorable mention more than most professionals.<\/p>\n\n\n\n

      When Wright began his theatrical career, the country was not \u201cby a long way\u201d what it is now. There was not a single railway west of Cincinnati, nor south of Mason and Dixon’s line, and travelin\u2019 companies in the South and West had to go by boat, stage, horseback or foot. The very idea of a midnight express, or a sleepin\u2019, dinin\u2019 or palace car hadn’t occurred to anybody yet. It took about three times as long to go anywheres as it takes now; but, on the other hand, travelin\u2019 was much more \u201csociable\u201d than now, and actors and people generally took life more easily. So on the whole, the average of happiness was about the same.<\/p>\n\n\n\n

\u00a0\u00a0\u00a0\u00a0\u00a0 Ludlow and Smith, \u201cold Sol Smith,\u201d were then the boss theatre proprietors, runnin\u2019 a theater in St. Louis, a theater in Mobile and the St. Charles Theater in New Orleans; while old John Bates ran the national in Cincinnati and controlled what there was of the Ohio circuit. The Southern circuit was played during the winter and then the Southern company played in the spring and fall in St. Louis, and further north, thus giving the south and west theatricals \u201con the installment plan.\u201d Wright was then the juvenile of Ludlow and Smith’s company; \u201cSandy\u201d Welsh, a smart actor, who died in his prime, was the \u201ccomedian,\u201d and Mrs. Farren was the leadin\u2019 lady. As Lucrecia Borgia and Catherine de Medici, this actress was immense\u2013a regular blood-curdler. She was the mother of Fanny Fitz Warren. Dick Russell, father of Sol Smith Russell, was the low comedy man and a prime favorite, and Mrs. Shea was a member of the organization.<\/p>\n\n\n\n

\"\"
Mary Ann Russell Farren<\/figcaption><\/figure>\n\n\n\n
\"\"
Solomon “Sol” Smith<\/figcaption><\/figure>\n\n\n\n

      This Mrs. Shea was, I believe, a member of the Kemble family, but she became principally notable from the strange and sad manner of her death. She died, as I think, no actress has died before or since. She was standin\u2019 at the side of the stage memorizin\u2019 her part, when suddenly, without any previous warnin\u2019, the counterweight attached to the big drop curtain got loosened and fell direct upon the top of her head and crushed in her skull. Her death was instantaneous\u2013more horrifyin\u2019 to the witnesses of the calamity than to its victim. This was a \u201ctheatrical death\u201d indeed.<\/p>\n\n\n\n

      Ludlow and Sol Smith were, as I have just stated, partners for some time in theatrical management. But never were the two men more unlike. \u201cOld Saul Smith\u201d has always been regarded by the public, and certainly regarded himself, as a fine actor. Yet among the professionals of his own time he was looked upon as a \u201cduffer\u201d and \u201cgagger,\u201d who depended much more on his personal popularity then his professional ability. His \u201cgreat\u201d roles were \u201cThe Mock Duke\u201d and \u201cCold Huckleberry Puddin\u2019,\u201d and he gagged outrageously in both.<\/p>\n\n\n\n

      He gave a little \u201cmercantile\u201d flavor to his \u201cgags,\u201d which paid well, directly and indirectly. His friends among the merchants and tradesman of the places in which he played used to send him durin\u2019 the day slips containin\u2019 some \u201cpoint\u201d or \u201cjoke\u201d on their business rivals, enemies or friends. Sol would work up some gags on the points or jokes hinted at in the slips, and would get \u2018em off on the stage that night to the intense amusement of all parties concerned, who would go away convulsed with laughter, and ready to swear that Sol Smith was the one greatest actor livin\u2019. No theatre would for a moment tolerate from anybody such a liberty now. Yet in the \u201cgood old times\u201d in \u201cthe palmy days of the drama,\u201d as they are now called, this was precisely what was done by the old actor and manager and author, \u201cSol Smith, with unbounded applause nightly.\u201d<\/p>\n\n\n\n

      To make the matter worse, Sol would get off his \u201cgags\u201d about the merchant, say of Main street, St. Louis, in the costume of the Mock Duke in \u201cThe Honeymoon,\u201d thus mixin\u2019 up different countries and centuries in a way that was really as absurd as it was impudent. He would have been hissed off the stage to-day, but then he was made rich and famous.<\/p>\n\n\n\n

\u00a0\u00a0\u00a0\u00a0\u00a0 Ludlow was the direct opposite of his partner, Sol Smith. He was really a good actor in genteel or light comedy, never \u201cgagged\u201d and catered to no personal popularity. The two managers also differed in politics. Ludlow was a red-hot Southerner, while Sol Smith was a staunch Union man. Ludlow, too, was a hard student, while Sol Smith didn’t study and wouldn’t work. Consequently, after a while the partners separated, Ludlow keepin\u2019 and runnin\u2019 the theatre at Mobile, where he first made and then lost cords of money, while Ben de Bar took the St. Charles Theatre off his hands.<\/p>\n\n\n\n

\"\"
Noah Ludlow<\/figcaption><\/figure>\n\n\n\n

      As for old Sol, he was always shrewd, and when he heard that the festive Jem Bates, son of old John Bates and a tremendous favorite among the youngbloods of St. Louis, was goin\u2019 to start another theatre in St. Louis, he did what very few men, especially theatrical managers, ever do\u2013he saw the handwritin\u2019 on the wall, saw that his reign was over\u2013and like the smart dog in the fable, walked of his own accord down stairs when he saw preparations made to kick him out of the window.<\/p>\n\n\n\n

      For a while young Bates was the favorite manager of the West. He had fortune in his grasp. In fact, he made a small fortune every year. But it was the old story. He couldn’t stand prosperity. He took to wine and women. Need I tell the rest? Only the details. That he came to grief of course with certain. The only interest lies just how. And they \u201cjust how\u201d in his case was just this:<\/p>\n\n\n\n

      He and his leadin\u2019 man, George Jamison (afterwards \u201cConsuelo\u201d Jamison) went on all sorts of larks together, and finally, against Jamison’s advice, Bates called one evenin\u2019 upon one of the prettiest women in St. Louis, who was the mistress of a gambler. He repeated the imprudence another night, but this second time the gambler was ready for him. He didn’t shoot Bates, but he beat him half to death, and from the effects of the beatin\u2019 and his furious dissipation, the poor fellow went blind.<\/p>\n\n\n\n

      It was a tremendous calamity, but Bates never squealed. He was one of those men who could bare ill luck better than good. He had friends who volunteered to kill the gambler and drive the woman out of town. But he wouldn’t suffer either; he bore his sufferings with the dignity of a gentleman, and I have it from the authority of a man who professes to know that he died the death of a Christian. It would have been far better for him then if he had lived the life instead of dyin\u2019 the death.<\/p>\n\n\n\n

      Gustavus Brooke was playin\u2019 the \u201cCorsican Brothers\u201d the night Jem Bates died in his little room in the theatre not far from the stage, and the priest was administerin\u2019 to the dyin\u2019 actor the last rites of the Church just as the livin\u2019 actor was swearin\u2019 to avenge his brother’s death in the play.<\/p>\n\n\n\n

      This, too, was a theatrical death, and was dramatic in its contrasts. The history of the stage abounds in just such contrasts of life and death.<\/p>\n\n\n\n

[Editor’s notes: One of the sources for this column appears to be: Smith, Solomon. Theatrical Management in the West and South for Thirty Years: Interspersed with Anecdotical Sketches<\/em>. New York: Harper & Brothers, 1868.]<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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