--- title: Improvement Era description: Monthly periodical of the Mormon church, 1897 onward. This library holds the issues of November 1897 to December 1930. authors: - Whitney, Horace G. collections: - periodicals tags: - magazine - improvement-era periodical: Improvement Era volume: 18 number: 7 published: 1915-05 publisher: Young Men’s Mutual Improvement Associations publisher_place: Salt Lake City language: en type: magazine reference: 'Horace G. Whitney, "The Story of the Salt Lake Theatre II," *Improvement Era* 18, no. 7 (May 1915): 580–592.' source: url: https://archive.org/details/improvementera1807unse transcription: Transcribed from the Internet Archive scan of each issue (the item for each issue is named in the issue's own source); unnumbered advertising leaves are omitted, printed page numbers are kept as page markers. identifier: improvementera1807unse start_page: 580 end_page: 592 rights: status: public-domain basis: US publication 1930 or earlier (published 1915-05) source: https://archive.org/details/improvementera1807unse publication_year: 1915 note: The Internet Archive item metadata carries a blanket "© Copyright by Intellectual Reserve, Inc." notice. The library owner judged it inapplicable because this issue was published in 1915, before 1931; a scan-level notice does not restore copyright. --- # The Story of the Salt Lake Theatre II The Story of the Salt Lake Theatre' BY HORACE G. WHITNEY, DRAMATIC EDITOR "THE DESERET NEWS' In Four Parts —Part II It is doubtful whether in all the annals of the drama, a more unique condition could be found than that which existed in the "Mormon" playhouse, when T. A. Lyne arrived in Salt Lake. It was eight years before the advent of the railroad, and the theatre had been built entirely of timbers from the mountains, native stone, and adobes. Yet all the appointments of the house (ex- cept the seats, which were wooden benches) were as complete as those in the large eastern cities. Artists like Ottinger and Mor- ris, provided scenery for all the plays. A large wardrobe for ancient and modern dramas was kept on hand in charge of Robert Neslen, C. Give, Mrs. Maiben and Mrs. Bowring; a small army of supers could be clothed in fashion historically correct at any time. John Squires, wig maker and barber, saw that every char- acter in the "dress" plays, was provided with suitable headgear before he or she stepped upon the stage a captain of supers was ; responsible for the appearance of his men whether they were Indians, courtiers, slaves, or the army of Richard III. Harry Horsley, the veteran street car conductor of today, won his first spurs as super captain, and later became locally famous as the waiter who bore the baby Maude Adams across the stage upon a platter the fine old greenroom, then the place where the actors ; met to receive their' parts from the stately stage manager and occasional player, John T. Caine (now the dressing room of visiting stars) contained a huge mirror, where each character sur- veyed himself or herself just prior to venturing before the audi- ence, and where fellow players passed judgment upon the cos- tumes, and "makeups ;" Charlie Millard, most ingenious of prop- erty men, could turn out anything from a throne to a mouse trap, and manufactured all the fire works, lightnings and thunders that any demon required, while William Derr, in charge of the lighting, though limited to coal oil lamps, produced some illumin- ations of which the house had no reason to feel ashamed. As for music, there was an orchestra of twenty, and when choral effects were desired, as in "Macbeth," the whole strength of the taber- nacle choir could be called on. In fact, Mr. Lyne, fresh from a *An address delivered before The Cleofan Society, Salt Lake City, January 27, 1915. chain of eastern theatres, was wont to say that nowhere outside of the houses of the great populous cities, and in but few of them, was there such completeness of stage appointments, scenery and accessories as were found in Brigham Young's theatre, in the heart of the Rockies, in 1862. Lambourne on "The Playhouse." Alfred Lambourne, the poet-artist, succeeded Ottinger as scene painter of the house. In his poetic work, A Playhouse, speaking of conditions at the Salt Lake Theatre in those early days, Lambourne says: "In my mind's eye, I do not see the Playhouse, as it now is, overlooked by buildings higher than itself, but as the structure was when its bulk entirely dominated all that was around it. How calmly imposing it used to appear, how grandly massive it showed hi the twilight, or when the moonlight was falling on its white walls! T, for one, could not go from home to the Playhouse, without passing through and inhaling the odor of the Artemesia and the sunflower. That odor is mixed up in my mind with the first seeing of many a great play. But how can I bring back to your understanding those times? How suggest the indefinable — something that then existed out amid the semi-solitude, the iso- lation? How am I to recall the humorous earnestness, the fine- ness or roughness of fibre, the pathetic side, the laughing deter- mination of religious pioneer life as associated with a theatre? Yet such are all mixed up again, with my memories of the Play- house. "Swing a circle around the Playhouse — I mean as it was in those early days swing a circle of hundreds, of thousands of : miles, and how unique it was ! Men who assisted in the building of that theatre acted upon its stage. That was the strong time of the legitimate drama. Even the people in the isolated west became connoisseurs. In this particular Playhouse, people would go to performances, not to see a new play, but to see some new actor or actress in the old parts. Each star, man or woman, as they stepped upon the boards, was tested by the acting of those who had gone before. 'Damon and Pythias,' 'Pizzaro,' 'Vir- ginius,' The Duke's Motto,' The Man with the Iron Mask,' and the like plays, not to mention those of the Bard of Avon, were those in which the newcomers were held to the lines. How many times, in that Playhouse, did I not see Shakespeare's mas- terpiece? How many actors did I not see play Hamlet? Paunce- fort, Lyne, Adams, Kean, McCullough, Davenport, Miss Evans, — Chaplin, Barrett, Booth that is not half. 'The greater number of actors and actresses who belonged to the regular stock company of the Playhouse, and who support- ; ed the stars, had crossed the plains and mountains in ox or mule trains, and one, I believe, in a hand-cart company. And who were their critics? Men and women who had done the same. There was a peculiar sympathy between those who acted upon the stage, and those who comprised their audience. Many a man who watched the play at night, had done the roughest of pioneer work during the day. Perhaps he had "grubbed sage" for an order for a theatre-ticket perhaps he had toiled in the fields, ; irrigated an orchard, or dug on a water ditch. Perhaps he helped at building a saw-mill, or at blazing a trail up to the mountain pines. It may be that he had brought down a load of logs and stood thereafter, for many hours in rain or shine, in the wood-yard op- posite the Playhouse, until he sold that load of fire-wood, and the pay that he received for it might have partly been used for his theatre admission fee. There was, indeed, a strange bond ex- isting between the stage and the auditorium. All were friends they would meet in daily labor, they would dance together, they might bear 'their testimony' in the same meetinghouse, or listen to the same sermon on the coming Sunday. Every actor was a 'Brother every actress was a 'Sister.' Their salaries were partly ;' paid in that which had been received by the Church as religious tithes. The man who guffawed at the comedian might talk with him on the morrow, whilst he chiseled granite on the Temple Square.' Another who watched the tragedian might visit him dur- ing the coming week in the capacity of a 'Teacher.' Those who sympathized with the hero and heroine of the play, might soon meet them in social intercourse of a 'Surprise Party,' and they might tell how they 'Crossed the Plains' in the same 'company.' All were one big family, Thespians and audiences, performers and watchers. And more than this, each and every actor was liable to be 'Called on a Mission' to Europe or to 'the States.' Again, each and every actor was liable to become a Church official, and each and every one of the actresses to become a worker in the 'Relief Society.' On the morrow, perhaps, all would look with the same emotions on the great, watchful mountains, and take a like interest in the planting of trees and vines, or, it may be, the setting out of a flower garden. All were alike interested in bring- — ing about that miracle when the desert should blossom as the rose. "Do you think I put it too strongly, my friend ? Not in the least. Certain of these facts justify me in the claim that this Playhouse and that theatrical organization were unmatched by any other in the world." A Notable Decade. Over fifty years have passed since those days, and every one of the five decades has been crowded with events of interest. In- — deed, the history of the Salt Lake Theatre during those five periods is a huge part of the history of the drama and music, and much of the social uplift of Utah for the past half century. Most of you here present, are familiar with the record of the theatre for the past twenty or twenty-five years. In that time it has had visits from many of the world's notables, who have left some brilliant pages in the history of the house, but to my mind the most interesting period since the doors of the famous structure were opened, was the first decade, between the '60s and early 70s, when the community was passing through its formative period when the crude material assembled by the pioneers first began to come in con- tact with actors and actresses from abroad, and when the foundations were laid for the dramatic and musical cul- ture which radiated from the players in the Salt Lake Theatre, and formed the basis of the taste and appreciation so widespread throughout the state to- day. As the fame of the "Mormon" theatre extended, some of the fore- most artists of America turned their steps in this direction and tarried for long periods. The first, as already SELDEN IRWIN narrated, was T. A. Lyne, who came One of the earliest foreign stars at the age of 56, remained several to visit Salt Lake. years, departed on several starring tours, but came back from time to time, finally settling here, and dying at an advanced age. Mr. and Mrs. Irwin Next came Mr. and Mrs. Selden Irwin, in 1863. The plays they produced were generally along the lines of comedy and ro- — mance a relief from the somewhat ponderous tragedies presented by Lyne. In his speech before the curtain, Christmas, 1862, John T. Caine impressed upon the audience that the players were not professionals, simply amateurs, but after Irwin's engagement, it was generally voted that most of the leading players, were entitled to a place in professional ranks. The advance of John T. Caine and David McKenzie was especially noticeable. The Irwins re- mained in Salt Lake about six months, closing at the April con- ference, in 1864, and returning two years later. The friendship between the Clawsons and Irwins was so pronounced that one of IT. B. Clawson's sons was named Selden Irwin, after the actor, and voting Mr. Clawson, to perpetuate the old bonds of friendship, : — named his eldest son Irwin. Mrs. Selden I. Clawson is one of the prominent members of your association. The Scholarly Pauncefort. In the middle of 1864, came an artist who probably exerted the strongest influence for refinement in art and modern methods of any other artist of those days George Pauncefort, a scholarly and polished actor, who had acquired con- siderable fame on the London stage. He was the original Armand Duval, in when Matilda Heron "Camille," produced that play in New York. first He came from Denver to Salt Lake by stage, accompanied by a co-star, Mrs. Florence Bell. His opening bill July 20, 1864, was ''The Romance of a Poor Young Man," which caused a sensation. Under his direction, David McKenzie made a strong, success in the part of the old doctor, and six- teen years later, when the Home Dra- matic Club was casting about for a play in which to make its bow to the public, Mr. McKenzie suggested "The Romance of a Poor Young Man," and he coached Bishop Whitney in his orig- inal role. Lyne and Pauncefort played a num- GEORGE PAUNCEFORT ber of memorable performances to- The scholarly actor, who exer gether. It was during Pauncefort's cised a great stay that "Hamlet" and "Macbeth" influence on Salt Lake's pioneer players were first produced at the Salt Lake theatre, stellar attractions which our mothers and fathers rewarded with some tremendous audiences. The first performance of "Hamlet" was justly deemed so im- portant an event, that the News featured the cast. The date was August 10, 1864, and the players were as follows Hamlet Mr. Pauncefort King John Lindsay Polonius David McKenzie Laertes John T. Caine Horatio Joseph Simmons Marcellus H. K. Whitney Francisco E.G. Woolley First Actor George Teasdale : : : the salt lake theatre 585 Ophelia Mrs. Florence Bell Queen Mrs. Gibson Player Queen Sara Alexander Margetts and Dunbar appeared in their inimitable roles of the two grave diggers, and John R. Clawson and Henry Maiben had lesser parts. The old green room of the Salt Lake Theatre is hoary with legends and anecdotes of the old days. One of them which has come down through a generation of stage hands, pertains to George Pauncefort. In the production of "Macbeth" given under his direction, it was featured by bringing in one hundred voices from the Tabernacle choir to do proper justice to the Witches' Chorus. A weird and fantastic group they made in their dis- guises, and the fine old strains of Locke's music had a ringing- rendition. The leader of the orchestra had been rehearsing his chorus and musicians in a separate hall, and the night before the produc- tion, they all came together for a dress rehearsal on the stage. The leader invited Mr. Pauncefort to sit in front of the house, while the witches scene was on, asking him to observe the effect, giving special attention to the echoes, a quartet of witches stationed far off in the flies, who echoed the strains of the chorus on the stage. The leader said his "echo quartet" had just arrived from Eng- land,and were said to have fine voices. Mr. Pauncefort seated himself,and the work began. The great chorus sang the music and came to the strains "To the Echo, to the Echo." Back from the flies came the faint but distinct call "To the Hecho, to the Hecho." "The chorus proceeded "To the Echo of a Hollow Hill," and the faithful echo re- sponded : "To the Hecho of an 'Ollow Til." History does not record the denoument, but it is likely that Mr. Pauncefort suggested an echo quartet selected from the American section of the weird sisters. Pauncefort settled in Japan and died there a few years ago, at an advanced age. Julia Dean Haync. Following Pauncefort came the most brilliant star that ever illuminated the western theatrical horizon, Julia Dean Hayne, who played in 1865 and 1866. She was an actress who in her youth had been the sweetheart of Joe Jefferson, and in his famous Memoirs, he says he preferred her Juliet to that of Mary An- 586 IMPROVKMKNT 1£RA derson. She came with a traveling company, headed by George B. Waldron, another eminent actor, who died years ago, but whose son has lately made a success in New York in the role of Daddy Longlegs, recently played here by Henry Miller. Julia Dean Hayne was fairly worshiped in Salt Lake, and the members of the Deseret Dramatic Association, male and female, looked upon playing with her as a privilege and a liberal education. Her leading parts were Camille, Lady Macbeth, Leah the Forsaken, Parthenia in "Ingomar," Julia in "The Hunchback," Lucretia Borgia, Medea, Marco in "The Marble Heart," Lady Teazle, Peg Woffington, and Pauline in "The Lady of Lyons." E. L. Sloan, editor of the Salt Lake Herald, wrote an Indian play for her, THREE PICTURES OF JULIA DEAN HAYNE On the left, from photograph presented by her to the late Phil Margetts; center, a youthful picture in the possession of William Naylor; right, from a picture presented by Mrs. Hayne to President Brigham Young. called "Osceola," and E. W. Tullidge, the historian, wrote a drama entitled "Eleanor DeVere." As a sort of diversion, she produced "Aladdin, or The Wonderful Lamp," and "The Forty Thieves," all the music for which was composed by Prof. George Careless, then leader of the orchestra. It might be a matter of astonishment to us that Mrs. Hayne, then at the height of her fame, should have tarried in Salt Lake ten months, did we not know that it was here that she met the gentleman who became her second husband, James G. Cooper, then secretary of the Territory. They were married and went east, where, two years later, the great actress died, and was buried in Port Jervis, New York her grave was unmarked until lately, ; when her niece, Julia Dean, a Salt Lake girl, and today a prom- inent actress, had her resting place sought out, and erected over it a handsome headstone. : Many here will remember that President Young, who was one of the great actress' friends, had a huge sleigh built, and named it "The Julia Dean ;" for many years drawn by six horses, and filled with sleighing parties, it was one of the sights on the streets of our city. It is worth noting that Miss A. A. Adams, made her first appearance on the stage of the Salt Lake Theatre, the same day that Julia Dean Hayne arrived in the city, July 25, 1865, and her frequent appearances with that great ac- tress did much to shape her after career. Mrs. Hayne 's Farewell The last appearance in Salt Lake of Julia Dean Hayne was a memorable event. It took place July 4, 1866, and the play was "The Pope of Rome." The house was packed, and President Brigham Young occupied a prominent place in the audience when the fair actress, being called before the curtain, made the follow.- ing graceful speech "Ladies and Gentlemen: It is but seldom I lose the artist in the woman or permit a personal feeling to mingle with my public duties yet, perhaps, in now taking leave, I may be pardoned if ; I essay to speak of obligations which are lasting. If, during my lengthened stay within your midst, some trials have beset my path, many kindnesses have cheered the way, the shafts of malice have fallen powerless, and the evil words of falser hearts have wasted as the air. And perhaps in teaching me how sweet the gratitude I owe these friends, I should almost thank the ma- lignancy which called their kindness forth. For such, believe me, memory holds a sacred chamber where no meaner emotion can intrude. "To President Young, for very many courtesies to a stranger, alone and unprotected, I return these thanks which are hallowed by their earnestness and I trust he will permit me, in the name ; of my art, to speak my high appreciation of the order and beauty that reigns throughout this house. "I would the same purity prevailed in every temple for the drama's teachings. Then, indeed, the grand object would be achieved and it would become a school " 'To wake the soul by tender strokes of art, To raise the genius and to mend the heart.' "But I speak too long and pause —perhaps, before the last farewell, " 'A word that has been and must be, A sound which "makes us linger, Yet, Farewell.' — : It was at that time that the gifted Utah poetess, Sarah Carmichael, whose offering's appeared regularly in the Deseret News, inscribed the following beautiful lines to Mrs. Hayne "jULIA DEAN HAYNE "A form of sculptured beauty; A deep, magnetic face, That draws the gazer's worship To its intense embrace; Her beauty presses on the heart, Yet shines above it far "With a strange polar luster, Exquisite woman's star Her beauty hath a splendid stress That words cannot explain, Expression swoons in its caress — Julia Dean Hayne. A still repose of motion, An animate repose; Expressive power of silence. No language can disclose; Her lip, with languid motion, turns Each leaf in feeling's book; "Her voice can picture all things, but Her eloquence of look. A warm pulse in the world's great heart, She thrills its every vein; And bids its tear-drops stay or start Julia Dean Hayne." Couldock and Other Stars Other foreign stars who appeared in that first decade, all of whom exercised a strong influence on the Deseret players, were A. R. Phelps, C. W. Couldock and his daughter Eliza. Couldock was one of the famous players of the day, and his presentation of "The Willow Copse," the play from which "Hazel Kirke" was produced years after, is a vivid remembrance with old time theatre- goers. He also brought out "Rosedale," playing the role of Miles McKenna, the gypsy, in rare fashion. Couldock and his daughter played several engagements here, and during one, in the middle '60s, she died, and was buried in the Mt. Olivet cemetery. Coul- dock also appeared in Salt Lake several times in later years, one notable engagement being with the Home Dramatic Club, in 1890, : when he revived "Hazel Kirke" to im- mense business. He never failed to visit the resting place of his daughter when he passed through Salt Lake. Couldock was long known as the "grand old man of the stage," and his two farewells in New York were red letter events. In one, in 1887, Booth, P>arrett, Fanny Davenport, Joe Jeffer- son and Mrs. John Drew appeared. In another, in 1895, Joe Jefferson, Nat Goodwin, Tom Keene, W. H. Crane, Kyrle Bellew, Henry Miller, DeWolf Hopper, Viola Allen and Mrs. John Drew gave a performance of "The C. W. COULDOCK Rivals," the receipts of which were sufficient toguarantee him an income The "grand old man of the American stage," as he ap- of $1200 a year as long as he lived. He peared in "Hazel Kirke." died in 1898, at the age of 84. i Another of our "green room leg- ends" illustrates the autocratic manner and irascible temper for which Couldock was noted. He was, in fact, a veritable terror to the stage hands when anything went wrong. W. C. Spence, of the Church office, who filled minor roles in the Couldock clays, is authority for the following They were playing "The Willow Copse," and the leader of the orchestra should have played a plaintive, melancholy air, to mark the entrance of Couldock, who was carried in on a stretcher. Through some mischance, the wrong cue was given, and the leader struck up a lively jig. The old man delivered his lines, but could be heard fuming and swearing under his breath. The curtain had no sooner descended than he leaped to his feet, tore down to the prompt stand, pushed aside the curtain, and pushing his head out, shouted to the leader of the orchestra, "Blast your eyes, Professor if I had a brick bat, I'd let , you have it on the head." The astonishment of the audience and the discomfiture of the leader may well be imagined. Davenport and Sara Alexander Amy Stone and her husband, who gave us our first glimpse of such plays as "Wept of the Wishton Wish," "Fanchon the Cricket." and "The Pearl of Savoy," came in 1867-68. James Stark, who brought out "Money," "Victorine," "Brutus" or "The Fall of Tarquin," came in the same year. Mine. Scheller was an- other popular star, and during her engagement, Salt Lake first : beheld "Under the Gaslight," in which Phil Margetts as Byke, Mrs. M. G. Clawson as Judas, John C. Graham as Bermudas, David McKenzie as Snorkey, Sara Alexander as Peachblossom, and Johnny Matson as Peanuts, made an impression that was long remembered. Charlotte Crampton, another noted star, who played male parts, such as Shylock, Hamlet and Richard III, with the same facility that she enacted Lady Macbeth and Meg Merrilies, came in 1868. In many respects she was said to rival the great Charlotte Cushman. Anette Ince then came in a round of trag- edies, followed by one of the most distin- guished stars of the day, E. L. Davenport, father of the famous Fanny Davenport. He, Mrs. Davenport (well known as Fanny Vin- ing) and Miss Ince formed a trio whom E. L. DAVENPORT AND SARA ALEXANDER the Deseret Dramatic Who danced the Hornpipe in "Black Eyed Susan." players were proud E. L. Davenport was one of the foremost tragedians of the American stage, and father of Fanny Daven- to support. Davenport port. essayed everything, from Richelieu down to the role of William in "Black Eyed Susan," and in that play the sailor's hornpipe, which he and Miss Alexander executed together, was a delight to them and their audience. He often complimented the little Salt Lake dancer upon her grace. Another "green room legend" says that Sara Alex- ander was the heroine of the following She lived with one of President Young's families, who had befriended her and her mother after they came to Utah from the east, where they had been converted to the Church by the late James Dwyer. An eastern actor who played here for some time, wished to marry Miss Alexander. Calling on President Young he stated his request. "Young man," the President replied, "I have seen you attempt Richard III and Julius Caesar with fair success, but I advise you not to aspire to Alexander." McCullough, Heme, Lucille Western One of the great musical events of this day came with the engagement of Parepa Rosa who, with her husband, Carl Rosa, gave three concerts. Then came the visit of the famous John McCullough, whose list of Shakespearean roles left a record that has seldom been equaled here. The en- gagement ran twenty-three nights, and George B. Waldron and Mme. Schel- ler, lately back from Montana, lent support. Annie Lockhart, an English actress of rare refinement, next played here a short time. She returned to Salt Lake a year or two later, and died here. Then came James A. Heme and his wife, Lucille West- ern. Such plays as "Green Bushes," "Flowers of the Forest," "Foul play." and "Oliver Twist" were their headliners. It was in the latter play that Lucile Western indulged in a bit of realism where she is supposed to be killed by Bill Sykes, which was so revolting to the audience that many MME. SCHELLER Who gave Salt Lake its first women fainted. President Young ad- production of "Under the Gaslight." vised that the piece should not be al- lowed to be repeated. Miss Western's farewell performance in "Arrah Na- Pogue" was a melancholy affair, as it is one of the few instances in the his- tory of the Salt Lake Theatre when the curtain had to be rung down, owing to the indisposition of a star. The Hess Opera Company, which gave us our first vision of those glorious tenors, Maas and Castle, and the baritone, Carleton, then a young man, who often visited us in later years at the head of the Carleton Opera Company, also belongs to those days. Charles Wheatleigh in "After Dark" and "The Lottery of Life," the How- son Opera Company, George D. Chap- LUCILLE WESTERN lin, who gave us our first view of "Arm- Whose rendition of Nancy Sykes adale," and the burlesque of "The in "Oliver Twist" was the sensation of the decade Seven Sisters," the famous Lotta in Salt Lake. in "Little Nell," and "Uncle Tom's Cabin," Joe Murphy, Neil Warner, the great tragedian, Kate Denin, Charlotte Thompson, McKee Rankin, Kitty Blanch- ard, Rose Evans, Daniel Bandmann, J. K. Emmett in "Fritz," The Lingards, Edwin Adams, an actor who has been compared with — Booth, and a few days later Adams and John McCullough to- gether in a wonderful round of plays Milton Nobles, then an un- ; known young actor, in "The Marble Heart," and Mr. and Mrs. F. M. Bates with their infant, later famed as Blanche Bates these are some of the visiting stars, but by no means all of them, who came and went during the first decade of the Salt Lake The- atre, and left their impressions alike on their audiences and their fellow players. This brings us down to 1872, and, like the preacher, I might say, "Here endeth the first lesson," for that period was a com- plete epoch in itself, unique and peculiar, and unlike any other in the history of the famous playhouse. (to be continued.) Mcreland Ball Team, Blackfoot Stake M. I. A. League Games won, 33; lost, 3. From left to right: Back row, H. McKnight, (manager and catcher); J. V. Wray, (C. F.), C. Christiansen, Capt., (2nd B.), Liljenquist (F.\ Grimmett (S. S.), R. Wray (P.), Wheeler (F.), Bottom row, Farnsworth (F. r>.), J. Jewel (P.), Harper (R. F.), England (L. F.), P. Wray (F), Clark (3rd B.)