{"id":275,"date":"2023-07-19T18:42:51","date_gmt":"2023-07-19T22:42:51","guid":{"rendered":"https:\/\/jerrykuntz.org\/harryhill\/?p=275"},"modified":"2023-07-19T18:42:55","modified_gmt":"2023-07-19T22:42:55","slug":"harry-meets-henry-irving-the-hallam-brothers-bring-theater-to-america-published-oct-28-1883","status":"publish","type":"post","link":"https:\/\/jerrykuntz.org\/harryhill\/harry-meets-henry-irving-the-hallam-brothers-bring-theater-to-america-published-oct-28-1883\/","title":{"rendered":"Harry Meets Henry Irving; The Hallam Brothers Bring Theater to America [published Oct. 28, 1883]"},"content":{"rendered":"\n
\"\"
Lewis Hallam, Jr.<\/figcaption><\/figure>\n\n\n\n

\u00a0\u00a0\u00a0\u00a0\u00a0 I \u201cdropped in\u201d at the Star Theatre on Friday mornin\u2019 to pay my respects to my distinguished countryman, Henry Irving. He was glad to see me, and greeted me in his usual impulsive and gymnastic manner. After exchangin\u2019 the usual courtesies, and after inviting him and Miss Terry to my little theatre, offerin\u2019 to give \u2018em a sportin\u2019 matinee any time they would come, and show \u2018em some good old English boxin\u2019 and sluggin\u2019, I came down to business. I congratulated Irving on his luck in havin\u2019 been born, like myself, in Old England, and so getting a hundred times better treatment\u2013receptions, puffs, gags, blackbirds, Yosemite and all that\u2013than Mary Anderson, Rose Eytinge or Edwin Booth ever got in London\u2013than he could ever have got on ten times his talent if he had happened to have been born in this country; and then I asked him point blank if he couldn’t help me to give Jem Mace a boost. The fact is that I was anxious to find the \u201copen sesame\u201d to the Great London Show Syndicate, which is the biggest kind of syndicate in the amusement line ever started. First, it got up a boom for Jumbo and unloaded him on Barnum; then on top of Jumbo it worked off Langtry on Abbey and the American public generally. And now it is boomin\u2019 and workin\u2019 off Irving and Terry, with all their troupe of special critics and reporters to do the puffin\u2019 and blowin\u2019. It has been managed splendidly and has played all parties for all they were worth, and so of course I wanted to get a hand in it for Jim’s sake and my own.<\/p>\n\n\n\n

\"\"
Henry Irving and Ellen Terry in Faust<\/em><\/figcaption><\/figure>\n\n\n\n

\u00a0\u00a0\u00a0\u00a0\u00a0 Probably we might have agreed on a \u201cdicker\u201d right there at rehearsal, only Matthew Arnold and Lord Mandeville called. Irving and Terry of course left Arnold to shift for himself while they waited on the lord, and so Matthew got talkin\u2019 with me. And mistakin\u2019 me for an American, he asked me whether the unfortunate fact, which he regretted now, that he had abused the Americans before he had seen \u2018em, would make any difference? I told him I guessed not, because the Americans like bein\u2019 abused, and besides, nobody in America had read his abuse anyhow. And then, seeing Lord Coleridge and W. H. Vanderbilt and Henry N. Smith comin\u2019 in, I left.<\/p>\n\n\n\n

\"\"
Matthew Arnold, Poet and Critic<\/figcaption><\/figure>\n\n\n\n

       And as I left, and thinkin\u2019 over the great crowd of Englishmen now in the metropolis, the idea struck me that instead of celebratin\u2019 the evacuation of New York by the British, as is now proposed, it might be a timely thing to get up a celebration of the recapture of New York by the British, as there are a lot of lords now here livin\u2019 on Vanderbilt’s money, and others living on Villard’s free lunches; and then there is Langtry and Wallack’s company, and Irving’s company, and Notter and Scott, and as the papers say at a ball \u201cothers too numerous to mention,\u201d all here in New York together, just as if it was another New London.<\/p>\n\n\n\n

     And, by the by, speakin\u2019 of Irving’s high-toned style of arrivin\u2019 over here, how it contrasts with the humble, hand-to-mouth fashion in which the first Anglo-American dramatic troupe came over to this country.<\/p>\n\n\n\n

      The first English actor who thought of visitin\u2019 America, William Hallam, thought of visitin\u2019 it because he couldn’t help it, because he was played out in old England and there was nowhere else for him to go. A good many English actors have come over on the same general principles since.<\/p>\n\n\n\n

      This William Hallam had been doin\u2019 well for a while at the old Goodman\u2019s Fields Theatre in London. But the great star Garrick havin\u2019 deserted this establishment and gone to another theatre, the Goodman\u2019s Fields establishment was likewise deserted by the public. Hallam tried all sorts of ways to get the people back, but they were like a flock of sheep then as now, and followed their leaders and the fashion, and Hallam and his company played to empty benches.<\/p>\n\n\n\n

      Then Hallam and his brother Lewis put their heads together, and pocketbooks\u2013what was left of \u2018em\u2013together, and got up the first \u201ccombination\u201d that ever visited America, bein\u2019 driven to it by sheer desperation, not havin\u2019 the slightest desire to see the country, not wantin\u2019 to see it, and not knowin\u2019 anythin\u2019 about it. As for New York, they didn’t care anythin\u2019 about it at all, for the very good reason that there was no New York then worth carin\u2019 about. It was a very small place indeed, so small that they determined to strike for Virginia and seek their first money in the New World among the Southern planters.<\/p>\n\n\n\n

      Another reason why the Hallams and their company went first to the South instead of the North was because it was generally understood in London at that time that the New England colonies, and to a certain extent New York, were under the rule of Puritans and the blue laws, and that actors and actresses would not be welcome in New York at all. New York has certainly changed altogether, thrown a complete somersault, in this respect at least.<\/p>\n\n\n\n

      Well, the brothers Hallam started with their first Anglo-American theatrical company\u2013that is to say, Lewis Hallam went to America with the people while his brother William, the original projector, remained in London to furnish other people and supplies as needed.<\/p>\n\n\n\n

      The company started with twenty-four stock plays, about half of \u2018em Shakespearean. There were eight or nine farces also and two pantomimes. As there were then supposed to be no theatres in America the company took over its own scenery, precisely like the Irving company to-day.<\/p>\n\n\n\n

      They came over in a sailin\u2019 vessel called The Charming Sally<\/em>, and when not seasick, which was most of the time, they were rehearsin\u2019, and rehearsin\u2019 carefully.<\/p>\n\n\n\n

      They had plenty of time both to be sick in and to rehearse in. Quick passages were not known in those days, and a trip over the ocean meant business, not pleasure. When they got to America at last there was nobody prepared to receive \u2018em, there was no demonstration in their honor, nobody knew \u2018em or cared to know \u2018em; they put up at a cheap tavern and made their first appearance in an old store, which they tried to fit up for a theatre.<\/p>\n\n\n\n

\u00a0\u00a0\u00a0\u00a0\u00a0 Their comin\u2019 didn’t make much stir, and on the first night, when they played The Merchant of Venice<\/em> and a farce, the house was only half full. The manager played three characters that evenin\u2019, his wife two and his little son two, so that was so that it was all in the family.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

      Still, with all this family business and all the this drawin\u2019 a triple salary, if he could get it, the English manager in America was obliged to go pigeon shootin\u2019 for his dinner and live on what he shot and nothin\u2019 else. Luckily the theater stood right by the woods, and he used to stand in the green room and shoot pigeons through the window. There has been a good deal of \u201csport\u201d of this kind in green rooms later, only the game has been \u201cstool pigeons\u201d and have been \u201cplucked.\u201d<\/p>\n\n\n\n

      For about a year the first English-American theatrical company tried this sort of barnstormin\u2019. Then they got some new and more reliable information about New York, and began to think about goin\u2019 there. Finally, when their little theatre burned down, they determined to see what New York amounted to for \u2018emselves, and struck for the metropolis, walkin\u2019 part of the way on foot, but making most of the journey by coach and by sailin\u2019 vessel. They traveled very humbly, and New York never heard anythin\u2019 about their comin\u2019, till they came. They scattered around, after their arrival, at the cheap lodgin\u2019 houses, and, although they didn’t find any prejudice against \u2018em as they had expected, they didn’t get as much patronage at first as they had hoped. Old New York wasn’t a bit excited by the first London theatrical importation; it didn’t \u201centhuse.\u201d It treated \u201cthe Virginia comedians,\u201d as the London party were called, precisely as London has treated Fanny Davenport and Mary Anderson to-day, let \u2018em act, and went to see \u2018em acting, but never made any fuss over their actin\u2019. New York has greatly changed on this point, too.<\/p>\n\n\n\n

      They took an old house in Nassau street, near where the old post office was later, and fitted it up after a fashion, for a theatre. They opened on a pretty warm Monday night in the middle of September, with a comedy and a musical farce, with about two hundred people in the house\u2013eight shillin\u2019s to the boxes, six shillin\u2019s to the pit, three shillin\u2019s to the gallery, the performances commencin\u2019 promptly at six o\u2019clock. Still even these prices were found too high, and on the second night the standard were lowered, and after the first month they were lowered again, although only three performances were given a week\u2013every Monday, Wednesday and Friday, matinees bein\u2019 then unknown. Manager Hallam had at first intended to have a \u201chalf-price\u201d scale of admission after the third act each evenin\u2019, just as they have always had in England. But he changed his mind and concluded it wouldn’t pay.<\/p>\n\n\n\n

      One of the actors of this company tried to make money outside of his profession by gettin\u2019 up all sorts of quack medicines and inventions, for which he thought he had a \u201cknack.\u201d He spent nearly all his salary advertisin\u2019 that he had an infallible way for making salt out of seawater. As there is plenty of seawater around New York a company was soon got up to test this patent, but it didn’t work, and the actor came to grief. He lost not only his money, but his place, and had to decamp. His salt wouldn’t \u201ckeep\u201d him, or rather he couldn’t make his salt.<\/p>\n\n\n\n

      They were great on benefits at that time. Every actor and actress was entitled to a benefit, and on these occasions the actor or actor actress used to sell their own tickets at their residences and boardin\u2019 houses, a custom which would be found pecuniarily profitable, I guess, to-day, at least in the case of a pretty actress or popular actor.<\/p>\n\n\n\n

      There was the usual amount, too, of squabblin\u2019 among themselves and a good deal of ingenious \u201cpuffin\u2019\u201d, though not a circumstance to \u201cthe gags\u201d of to-day. But altogether, though it didn’t score a big hit, and didn’t make any excitement, the first English company in New York was on the whole a success, so much so that Hallam while playin\u2019 in New York did what all other managers have tried to do ever since, make dates outside of New York on the strength of his New York reputation. Only in this case, as Philadelphia was then a bigger city than New York, he was more anxious to capture Philadelphia than managers are to-day.<\/p>\n\n\n\n

      So he sent one of the members of his company\u2013a Mr. Malone, one of whose grandchildren is an actress now\u2013on to Philadelphia as his \u201cadvance agent,\u201d though the term was then unknown.<\/p>\n\n\n\n

      Malone was a smart fellow and soon saw Governor Hamilton, the boss of Philadelphia, in person, and won him over. The Puritans and Quakers made a row about havin\u2019 a theatre in their midst, but the theatre got the best of \u2018em at last, and really there was no possible objection to this first English company. They were clever and decent. More than can be said of every English company since.<\/p>\n\n\n\n

      They arranged for twenty-four nights, eight weeks in Philadelphia, but did so well that they played six more. They then returned with all the honors to New York and played a second season here to better business than their first.<\/p>\n\n\n\n

      All this time manager Hallam had been lookin\u2019 out for a new theater\u2013a new buildin\u2019 regularly built for dramatic purposes. But he didn’t do then as New York managers do now, look up town for a site, but he looked down town where houses and businesses were thickest. At last he selected a suitable site on Cruger’s wharf, between Old Slip and Coffee House Slip, and gave several seasons of tolerable success in that locality.<\/p>\n\n\n\n

      In course of time the inevitable \u201crow\u201d came between the \u201cmanager\u201d and \u201cleadin\u2019 man\u201d of the company\u2013or the person who regarded himself as the leadin\u2019 man. In this case the \u201cleadin\u2019\u201d party was called Wignell, and he had it hot and heavy with Hallam; nobody ever knew exactly why, in which respect it exactly resembled a good many subsequent \u201crows.\u201d But at any rate Wignell \u201crowed\u201d and \u201cseceded,\u201d and several of Hallam’s people went with him. The original company was broken up, and Wignell and his party got some backers and started a theatre of their own in Boston.<\/p>\n\n\n\n

      After the \u201cbreak-up\u201d the Hallam company, as a company, disappeared forever; but two new theatres were started in New York\u2013one on John street and one on Greenwich, and from that time on New York has been a great amusement city, as my English countrymen can testify.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0\u00a0\u00a0\u00a0\u00a0 I \u201cdropped in\u201d at the Star Theatre on Friday<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17,8,30],"tags":[],"class_list":["post-275","post","type-post","status-publish","format-standard","hentry","category-england","category-theater","category-writers-and-editors"],"yoast_head":"\nHarry Meets Henry Irving; The Hallam Brothers Bring Theater to America [published Oct. 28, 1883] - Harry Hill's Gotham<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerrykuntz.org\/harryhill\/harry-meets-henry-irving-the-hallam-brothers-bring-theater-to-america-published-oct-28-1883\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Harry Meets Henry Irving; 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