The Story of the Salt Lake Theatre, IV

The Story of the Salt Lake Theatre

BY HORACE G. WHITNEY, DRAMATIC EDITOR, "THE DESERET NEWS'

In Four Parts —Part IV The third epoch (and last) in the history of our playhouse, brings it down to our own times, or to a period within the mem- — ory of the present generation so it hardly possesses the interest that attaches to the performances of the pioneers. And yet the new period was one that saw the birth and development of a long list of talented home players, many of whom have written their

names in high places on the scroll of fame. Maude Adams, first borne across the stage as a babe in "The Lost Child," when she was less than a year old (in 1873) appeared several times with her mother and the local players up till the early eighties. In 1881, when she was nine, she sang between the acts of "Divorce," in which her mother was playing with the Home Dramatic Club, and I had the pleasure of paying her $7.50 for each performance. Ada Dwyer, Sallie Fisher, Viola Pratt, E. M. Royle (author of "The Squaw Man"), Arthur Shepherd, Julia Dean and Emma Lucy Gates are among some of the more luminous names of our gifted' sons and daughters, to whom the Salt Lake Theatre has been a stepping stone to broader fields of success in the outside world.

Early Day Memories

The Home Dramatic Club perhaps deserves a mention by itself,and if my brief narration of its career involves the frequent use of the personal pronoun, I trust you will criticize the fates that were responsible, not me. There were certain pioneer families connected with the Salt Lake Theatre from its inception, almost, as it were, with hooks of steel. The Youngs, Wellses, Clawsons and Whitneys were some of these. My father, Horace K. Whitney, one of the original pioneer band of 1847, an associate of Brigham Young and H. B. Clawson in Nauvoo, played the flute in the band there, and was a member of the earliest musical and dramatic organization formed

*An address delivered before The Cleofan Society, Salt Lake City, January 27, 1915.

in "the valley." He appeared in the cast of the first plays given in the Social Hall in 1853, and was a member of Prof. Thomas' orchestra the night the Salt Lake Theatre opened, in 1862 when ;

Prof. George Careless re-organized the orchestra, and put it upon a salaried basis, several years later, he was one of those retained. He alternated for some years between the stage and the orchestra as his services were needed, usually playing old men's parts. Among my earliest memories of my father are those of see- ing him in our apple orchard, walking back and forth with a roll of manuscript in his hands, committing his parts to memory, and my brother, Bishop Whitney, and I learned to know those were the periods when he must not be disturbed. He used often to take us to the theatre, and I well remember my consternation when I was informed that I had grown too tall to accompany him through the stage door into the orchestra, and from there lifted over the rail into a seat in the parquet. Occasionally I gained admission into the third circle by carrying water from across the street up those interminable gallery stairs. Heber J. Grant, vice- president of the theatre today, had a similar experience about the same time. Frequently when my brother and I had performed some un- unparalleled acreage usual service at home, such as spreading an cellar full of of peeled peaches on the roof, or "sprouting" a money fungus covered potatoes, we were rewarded with enough happened to buy a third circle ticket. Not infrequently, too, it President Young's sons, our playmates, would per- that some of President s private suade "Brother Schofield," door-keeper of the for the Young fam- entrance, to admit us into the section reserved ily How we reveled in those stage productions No boys in !

the lands of enchantment, anc fairy tales, permitted to gaze into of magicians, ever drank in those sights with behold the deeds devoured and our ears more avidity than that with which our eyes achievements of the old Deseret stock absorbed the wonderful company.

"The Robbers of the Rockies." youngster, wrote In 1872 James A. McKnight, an ambitious a play called "The Robbers of the Rocky Mountains." We were and the Social Hall was secured. The Young all promised a part, stored in their father s boys offered to obtain some old scenery what now First Avenue, in the rear of barn which stood on is

Bransford Apartments. They had only carried away a few the overseer informed them that their sets, when President Young's but seeing the consternation of the,youthful father objected; Thespians, the president sent for the manager of the Sal Lake boys have a play. They call it The Theatre, and said, "These

792 IMPROVEMKNT ERA Robbers of the Rocky Mountains.' I don't know much about the mountains, but they certainly made a clean job of my old barn. Give them a date at the Salt Lake Theatre." So the play was brought out there on July 13, 1872, memorable as the first night on which the house was illuminated by gas. I don't think the date was memorable on any other account. The programs of the event show that the Wellses, Clawsons, Youngs and Whitneys were well represented in the cast. From that, it was only a step to becoming supernumeraries on the real stage, good-natured Manager Jimmy Harris (Presi- dent Young's son-in-law) admitting several of the bigger boys to the ranks. I was only fourteen, but I was tall for the age, and I shall never forget the joy I experienced when my brother Orson F., three years older, informed me we were going on as jurors in "Article 47." Our pride knew no bounds when we appeared the same night in the army of Macbeth, and by merely changing our spears for battle axes, and doffing helmets in place of bonnets, marched across the stage as the army of Macduff. Occasionally, I believe, my brother was entrusted with some such lines as "My lord, the carriage waits," or "Is your ladyship at home?" But no such good fortune ever befell me. One night of agony, during that period, I particularly re- member. George D. Chaplin was playing "Pocahontas," in which we all went on as Indians. I was late in arriving, and Harry Horsley, then costumer and captain of supers, informed me that though there was a costume for me, the supply of wigs had given out. A trifle like that did not disconcert me, so, donning the red- skin's suit, and begriming my face with red and yellow paint, I joined the band. My hair was then of a pronounced sandy auburn, with the auburn predominating, and when Mr. Chaplin saw me he could not repress a roar. He did not ring down the curtain, but when the act ended, he called Harry Horsley and said, "Harry, there may have been blonde Indians in the time of Pocahontas, but they are now extinct. Get that boy a wig, or send him home." I think Mr. Horsley compromised by taking a blacking brush to

my hair, and I was allowed to finish the play, but I don't think I was ever expected back again. Bishop Whitney remained actively before the footlights in an amateur capacity, and finally determined to adopt the stage as a profession. A number of his associates tendered him a farewell benefit in the Social Hall, and raised a goodly sum of money to see him on his way. He was almost ready to pack his trunk, when an envelope bearing the imprint of Box B, calling him to a mission in Pennsylvania, changed all his plans and the current of his life. Truly there is "a divinity that shapes our ends, rough- hew them how we will."

Birth of the Home Dramatic Club The stage next saw me when Prof. Careless produced "Pina- fore," in 1878. Several of us boys were studying music with him, and we joined the chorus, I assisting in the business manage- ment. This was the first of the famous Gilbert & Sullivan works produced here and it created a furore; it was repeated times without number. It brought us all into such prominence that I well remember my employer, W. S. McCornick, the banker, for whom I was then bookkeeper, used to debate with my associate, Frank Kimball, whether I was not wasting my talents on his books. While he was in this frame of mind one day, there came into the bank (which then stood on Main Street, near the site of the Kearns building') a little, plainly-dressed lady who asked for Mr. Whitney. She said her name was Annie Adams. My heart leaped as I recognized the stage heroine of my youth, whom I had worshiped from the third circle, the leading lady of the old Des- eret Dramatic Company. She said she had lately returned from San Francisco with her little daughter Maude, and had brought with her the manuscript of a plav then all the rage in the East, "The Two Orphans." She had heard of our success in "Pin- afore," and said she wished to know whether it would be possi- ble to get a cast of amateurs from that company to support her in the production. As the B B YOUNG, EMMA WHITE AND J. T. WHITE IN "H.M.S. PINAFORE" conversation took place under First of the Gilbert & Sullivan operas the eye of Mr. McCornick, and ever produced in Utah. as his particular optic was never noted for encouraging amusement themes in business hours, I had to make a later appointment, which I did in conjunction with J. T. White (the Doctor White of today, then badly stage and opera- struck) and Tohn S. Barnes. "The Two Orphans" was cast for Miss Adams' benefit, and the production came off in June, 1879. Every member, except herself and W. T. Harris (who played the old hag, Frochard) was an amateur, and the main parts were rendered by Orson F. Whitney, Laron A. Cummings, Ffeber 1ST. D. Spencer, T. White. Dellie Clawson, and Kittie Wells, John J. Heywood.

The performance was an immense success, so much so that during the following winter, plans were adopted for the organ- ization of a permanent company under the name of the Home Dramatic Club. There were eight original members O. F. :

Whitney, Heber M. Wells, John D. Spencer, L. A. Cummings, Lottie Claridge and Dellie Clawson, with H. L. A. Culmer and H. G. Whitney as managers.

Some Notable Plays

The first play was "The Romance of a Poor Young Man," and the date was April 1, 1880. David McKenzie coached the players, giving the "business" he had learned from George Paunce- fort sixteen years before. The new organization created a sen- sation, and it followed rapidly with such plays as "Extremes," "Ours," "Rosedale," "Pique," and "The Banker's Daughter," Mr. McKenzie acting as instructor up to the production of the latter. Then the company felt able to stand alone, and for four- teen years, at regular intervals, producing three or four new plays a year, they continued before the public. New members of the club were admitted in Edith Clawson, Birdie Cum- mings, and B. S. Young, who lent decided strength to the orig- inal group. Ivy Green, Mrs. S. H. Clawson, Mrs. R. C. Easton, Mrs. Henry Dinwoodey, Lyde Wells, Harry Taylor, Jno. E. Evans, Harry Horsley, Nan Savage, Clara Clawson, Mrs. J. D. Spencer, and Mrs. H. L. A. Culmer also appeared occasionally. Bishop Whitney early retired from the company, as did L. A. Cummings, and Heber M. Wells progressed from comedy roles to those of leading man. Mr. Culmer also withdrew from the management soon after the production of "The Banker's Daugh- ter." '

The main successes of the Home Dramatic Club during those fourteen years were, in addition to the plays named, "Sar- atoga," "Our Boarding House," "The Money Spinner" (pro- duced in the Walker Opera House when the Salt Lake Theatre was unobtainable), "Confusion," "Storm Beaten," "Youth," "Lights o' London," "Green Lanes of England" (in which Orson F. Whitney made his last appearance, in 1883), several revivals of "The Two Orphans," "Divorce," "Diplomacy," "Shaughraun," "Held by the Enemy," "The Wages of Sin," "Hazel Kirke," "Called Back," "Storm Beaten," "The Silver King," and "Saints and Sinners," besides many lesser successes. In producing "Hazel Kirke" the company paid the veteran C. W. Couldock five hundred dollars to cross the continent and play for a week the famous role which he created in New York.

THE HOME DRAMATIC CLUB— 1880-1894 The members of this once popular organization are: upper left hand corner, first row reading from left to right, Heber M. Wells, Orson F. Whitney, John D. Spencer; second row, Edith Clawson, Lottie Claridge, Birdie Cummings; third row, Laron A. Cummings, Dellie Clawson; fourth row, B. S. Young, H. L. A. Culmer and H G. Whitney Four members, Lottie Claridge (Mrs. B. S. Young), Birdie Cummings (Mrs. II M Wells) Laron A. Cummings and H. L. A. Culmer, are now deceased.

A Tribute from Stoddart The last performance of the club was in "Saints and Sin- ners," with J. H. Stoddart, that rare old actor who became still more famous in later years in "The Bonnie Briar Bush." He also was paid five hundred dollars for a week's engagement, and he left an ineffaceable impression. How he viewed his association with the "Mormon" players is feelingly told in his book entitled "Recollections of a Player," printed by the Century Com- pany, in which he says :

"The opening of the next season was with the production of a play in which I was not cast, and in the meantime I re- ceived a letter from Salt Lake, asking me to go there and play for a week with an amateur organization in "Saints and Sin- ners." As the offer was a liberal one, and Mr. Palmer consented, I went. "Saints and Sinners" had always been a favorite play in Salt Lake. Although it was quite a long journey to take for a week's en- gagement, I was amply repaid by the warmth of my reception and the kindly courtesy extended to me during my brief stay. We had only two rehearsals, and it really would have astonished many old professionals to have seen the careful at- JAMES H. STODDART tention, earnestness and ability displayed by my 'Mormon' associates. The olay was excellently staged and well performed. The parts of Lettie Fletcher and Hoggard were acted by near relatives of Brigham Young, and Ralph Kingsley was played by Mr. Heber Wells, the present governor of Utah, and in a manner that would have been creditable to any experienced actor. Mr. Whitney, of the Salt Lake Herald, was stage manager, business man, and in fact general factotum of the enterprise. Mr. Palmer had played his company for a great many years in Salt Lake while on its way to the coast, and it has always been to me a source of pleasure to visit the city. The company's visits had ever been anticipated and ar- rangements for their stay made, so as to render it pleasant and agree- able. Much was done for our amusement, including organ recitals at the 'Mormon' Temple [tabernacle], excursions to the lake, social recep- tions, etc. When one contemplates what has been accomplished in this city in creating as it were a garden out of a desert, founding and building so beautiful a metropolis, bespeaking so much toil, thrift, and indomitable perseverance, it must call for sincere admiration and com- mand great respect. The week ended, I said good-bye to my Salt Lake friends with much regret and returned to New York."

"Saints and Sinners," produced in October, 1894, was the farewell rendition of the Home Club, for almost as soon as the curtain descended the political campaign began, which took the

club's leading man, Heber M. Wells, into political life. The Republican party ruined a good actor, merely to get a governor, for which I have never felt to forgive it. .

Salt Lake Opera Company

Another organization which might be said to have sprung from the Home Dramatic Club was the Salt Lake Opera Com- pany, which held the boards of the Salt Lake Theatre from 1897 down to two or three years ago. The company was organized by the lamented H. S. Goddard, W. E. Weihe and John D. Spencer, with H. G. Whitney as manager. Later George D. Pyper entered the com- pany, and Prof. J. J. McClellan suc- ceeded Prof. Weihe as director. The operas given were: "The Mascot," "Patience," "Chimes of Normandy," "Said Pasha," "The Queen's Lace Handkerchief," "A Trip to Africa," "Madelaine," "The Mandarin," "Fa- tinitza," "The Wedding Day," "The Jolly Musketeers," "The Girl and the Governor," and last but not least,

"Robin Hood." It would be a labor of love to HEBER S. GODDARD Baritone of the Salt Lake Opera linger on the delightful renditions of Company.

this company, especially on the work produced, H. S. on one of the most brilliant singers Utah ever only permit a passing reference. The Goddard, but time will singers this company brought to the front were Louise Savage, Lottie Levy, Edna Dwyer, Sallie Fisher, Mabel Cooper Elsie Clark, Luella Ferrin, Agatha Berkhoel Emma Barrow Arvilla singers who came Lucy Gates and Hazel Taylor Peery. Other H. S. Ensign, into prominence during these performances were Graham, Mrs. Hu-h W Dougall, Alex Campbell, Fred C. Harry Sherman (present city commis- Browning, Mabel Clark, sioner), George Westervelt and many others in smaller roles.

Other Home Opera Companies the Lake Opera Company and during life in T ono- before the Salt o^eHonTe Dramatic Club the "Martha," "The Bohemian Girl" ment" and the Careless and and Krouse J h Ch J. productions f^^ £^ off °^^ienc? Patience, "

WORLD-FAMOUS STARS WHO HAVE APPEARED AT THE SALT LAKE THEATRE, IN THE LAST THIRTY-SIX YEARS Upper row, reading from left to right: Edwin Booth, Lawrence Barrett, John McCullough as Othello. Second row: Mary Anderson, Charlotte Cushman as Lady Macbeth, Adelaide Nielson. Third row: Edwin Adams, Joseph Jefferson as Rip Van Winkle, and Thos. W. Keene.

"The Mikado," "The Pirates of Penzance," "Iolanthe," "Fa- tinitza" and "Priscilla" set high standards for the Salt Lake Opera Company to climb to. In these productions the name of George D. Pyper and John D. Spencer are always among the leaders, while H. S. Goddard, Jennie Hawley, Mrs. Silva, Nettie Thatcher (the original Patience), Louie Wells, J. T. White, Louise Mc- Ewan and others had prominent parts. An opera in which Nat M. Brigham, once United States marshal for Utah, and B. B. Young, today a prominent Chris- tian Science lecturer, took part, was "Mr. Sampson of Omaha," composed by Mme. Mazzucata Young. Still another pioneer production was "The Sorcerer," brought out under Prof. Thomas and D. O. Calder, March 5, 1880, Miss Libbie Sheets (Mrs. Mathoni Pratt) having the lead-

ing lady's role. Others who participated were Annie Midgley, W. D. Owen, Henry Gardiner, Duncan McAllister, J.R. Morgan, Liz-

zie Edmonds and Annie McKay. Of course the name of John D Spencer appears in that cast as in most of the amateur pro- that ductions of those days. When I look back on the years marvel how he has escaped the ranks of the have elapsed I

patriarchs. If the musical productions of the Salt Lake Theatre are ever complete without a chronicled by themselves they will not be was rendered here mention of "The Messiah," the first time it

Prof. Careless, in the Salt Lake in 1875, under the direction of Theatre. It was the sensation of the day and its two performances drew over $2,000. Some Immortal Names have named^rep- Of course, all must know that the players I long that have occupied the resent but a small portion of the boards of the historic house. I list

might read till ^g^nd then of some of e leaders how not exhaust the roll. The names warm men °" ^"« some ^^f^ ever, cannot fail to arouse man y of my listeners ^™£^.^£^ ^SSSTSnJ^^^^ of his cast. Booth

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second, are among the famous presentations of the American stage. J. H. Stoddart, who made his bow here in "Daniel Rochat," and "The Lights of Lon- don ;" Mme. Ristori, Tom Keene, Rob- son & Crane, Mary Anderson (one of the few great actresses who retired when her reputation was at its height, and who is still living a retired life in England) ; Mme. Janauschek, whose Lady Macbeth and whose double roles in Bleak House were her great parts Lotta, the inimitable, Jean Clara Wal- ters, Adelaide Nielson, the peerless Julietand Rosalind of her day, Clara Louise Kellogg and Annie Louise Cary, Joe Jefferson, in "Rip Van Win- kle" and" The Rivals;" Neil Warner, Katherine Rogers, Amy Sherwin, McKee Rankin, William J. Florence, whose "Almighty Dollar," and John T. Raymond, whose "Colonel Sellers" were companion pictures in the gallery of fame; Maude Adams, in her EMMA ABBOTT long list of creations with "The Little "The Bohemian Girl." Minister," her first starring venture, and "What Every Woman Knows" and "Quality Street," her last the Emma Abbott Opera Company, who gave us a long list of rare performances on their annual visits until their tour was cut short by the death of Miss Abbott, which took place in Salt Lake, January 6, 1891 that rarest of baritones, Tagliapietra, was intro- ;

duced to Salt Lake by Miss Abbott George Rignold, the Lin- ;

gards, Alice Oates,Emilie Melville, the peerless Fanny Davenport, The Carleton Opera Company, headed by W. T. Carleton, the great baritone of the Hess company years before, and who first introduced us to Jessie Bartlett Davis; Vivian, founder of the B. P. O. E. Emma Juch, Agnes Booth, Denman Thompson, ;

Mrs. Bowers, Milton Nobles, Frank Mayo, the famous "Bos- tonians," with the unforgetable Barnabee at their head Sarah;

Bernhardt, Richard Mansfield, whose death left a gap that has not yet been filled Frank Daniels, Sol Smith Russell, Sher- ;

idan, Rhea, the Kendalls, Willard, Grismer & Davis, Mrs. John Drew, Joseph Haworth, Julia Marlowe (later Mrs. Sothern), Clara Morris, Bandmann, Modjeska, James O'Neil, Clay Clem- ent, Maurice Barrymore, his gifted wife, Georgia Drew Barry- more, and their not less gifted daughter, Ethel Barrymore, Olga Nethersole, Mrs. Langtry, Francis Wilson, Eleanor Robson, Viola Allen, Annie Russell, Louis James, Frederick Warde, David

Warfield, Margaret Anglin, William Gillette— these are some of the other luminous stars who have blazed across our theatrical horizon. Our theatre has also entertained the great dramatic stock companies of the country, whose careers have filled so notable a chapter in American history first, the Union Square, which intro- :

duced us to Charles R. Thorne, Jr., Fanny Morant and Sara Jewett Augustin Daly's Fifth Avenue Company, which brought ;

us Ada Rehan and John Drew and the Lyceum Company, which ;

gave such favorite friends as Henry Miller, W. J. Lemoyne, E. M. Holland, Nelson Wheatcroft, Herbert Kelcey and Georgia Cayvan, in their days as stock actors. The visits of stars like Otis Skinner, Mrs. Fiske, Dustin Farnum, Maxine Elliott, Nat Goodwin, Henry Miller, Forbes Robertson, Chauncey Olcott and many others are events of cur- rent history, too familiar to need describing, but they have all im- parted a lustre to the reputation of the great old house, and they in turn have always departed singing its praises. During the later 70s and early '80s some of the old Deseret Stock company, associated with visiting stars, gave a round of productions. These were the days of J. W.. Carter, Carrie Car- ter Coggswell, Vinson, J. Al. Sawtelle, Mark Wilton, Lizzie Piatt (mother of Treasurer Campbell Brown of the Salt Lake Theatre), M. Forster, W. C. Crosbie, E. B. Marden, Harry Tay- lor and others. Mr. Marden married a bright little actress, Susie Spencer, who was often seen in soubrette roles, such as the leads in "The Hidden Hand" and "The Little Rebel." She was sister of D. S. Spencer of Salt Lake, and died many years ago. Harry Emery, who married Katie Putnam, also graduated from the

Salt Lake stage about this period.

Banner Attractions

The question is often asked, What attraction in the old palmy days of the Salt Lake Theatre, before vaudeville and moving pic- to the largest ture shows had depopulated the galleries, played receipts? The answer is, Madam Gerster, in the opera of Lucia, The prices were $5.00 down to $1.00; boxes, March 6, 1884. 1

were close to $b,UUU.UU. $30 00 and $40.00, and the total receipts Mapelson was the manager another ; great star who was not seen

Lake until she appeared at the Tabernacle some time later, in Salt Arditi conducted the Adelina Patti, occupied a box. The famous Edwin Booth performance of "Lucia." The company headed by average receipts ex- and Lawrence Barrett, in May, 1889, had ceeding $1800 per night. Close tc.them /^%Emm a Abbott

always used to be good for $1500 to $1800 whose early visits ran houses Maude Adams' "Little Minister" engagement also

close to the Booth & Barrett figures. Fanny Davenport and "The Bostonians," too, piled up some great box office records. The longest uninterrupted flow of prosperity known, accompanied the two weeks' engagement of Nance O'Neill, when she gave sev- enteen performances, nearly every night to a crowded house. Even our local talent established some box office figures in the '80s, which would make the managerial mouth water today. "Rosedale," played by the Home Club, on a sweltering Twenty- fourth day of July, drew a $1200 audience, and such old time fa- vorites as "The Green Lanes of England," "Storm Beaten," "The World" and "Youth" frequently passed the $1000 mark.

Owners of the Theatre.

A word regarding the ownership and management of the old house may be interesting. Up till the time of President Young's death in 1877, the financial reports by the managers were made to his office. The property was then in the name of a company called The Salt Lake Theatre Corporation. It became involved in litigation which followed his death, and for a long period the keys of the house were in the hands of the United States marshal. In 1879, the litigation was ended, and David McKenzie, in his memoirs, published in the Christmas Nczvs, says President John Taylor (who succeeded President Brigham Young), asked him to call on United States Marshal Shaughnessy and get the keys. He did so, and on handing them to President Taylor, was notified he was to be an officer of a new corporation called the Salt Lake Dramatic Association, of which John T. Caine was to be presi- dent, H. B. Clawson, secretary, and David McKenzie, treasurer. The management was to be in the hands of the three. This cor- poration has lasted until the present day, though the stockholders have frequently changed. Today, President Jos. F. Smith is pres- ident, Heber J. Grant is vice-president, Heber M. Wells secretary, and Elias A. Smith treasurer. The house has witnessed many changes of management since it opened, with Caine and Clawson in charge, in 1862. In 1872, George Reynolds was manager for a brief period, under the di- rection of the President's office. Succeeding him, came W. T. ( Jimmy) Harris, the president's son-in-law; Caine, Clawson & Williams were managers for a short time, and John C. Graham, Phil Margetts. and David McKenzie also occasionally held the reins. The house was again involved in the courts at the time the government escheated the Church property, and soon after the settlement of this litigation, Charles S. Burton became man- ager (1888), holding office for ten years, till 1898. George D. Pyper was then appointed, and he has held the position ever since — a term of seventeen years. He has lately associated with him

John Cort, the eastern theatrical magnate, and today the man- agement is in the hands of Cort & Pyper. The public records show that the Salt Lake Theatre corner was first

owned by Reynolds Cahoon, who sold it to President Young, April 23, 1860.

July 29, 1873, President Young sold the property to H. B. Clawson, John T. Caine, Thomas Williams, Jos. A. Young, LeGrand Young and John W. Young, for $100,000, each an undi- vided sixth. The same year, these parties deeded the property to the Salt Lake Theatre Corporation. In 1875, that corporation, by H. B. Clawson, president, deeded the property back to President Young for $116,000 so it is ;

fair to presume that the cost of the improvements was about $16,000. Af- ter President Young's death, in 1878, his executors, George Q. Cannon and Brigham Young, Jr., conveyed the GEORGE D. PYPER property to John Taylor, trustee-in- Present manager of the Salt Lake Theatre, as he looked in his trust, the consideration named being early operatic days. $125,000. President Taylor sold the property to John Sharp for $62,000 the same year. In 1879, John Sharp conveyed it to the Salt Lake Dramatic Association, the present corporation, for $74,500. The house was but little changed from its opening in 1862 till 1873-4, when the sale to H. B. Clawson and others, referred

to above, was made, and some extensive improvements were car- ried on. The present stage boxes were installed, chairs replaced the old benches, the stage was rebuilt, and the present slant to- wards the auditorium imparted to it. These changes were made following designs obtained in New York by Spencer Clawson for his father. He secured them from A. T. Stewart's architect, and they were fashioned after the interior of Niblo's gardens. The question often has been asked where so large a sum of money came from in those early days as that required for the con- struction of a building so ambitious as the Salt Lake Theatre. It will doubtless interest "Uncle Sam" to know that it was through his army, that the first sum was realized. When John- ston's army, which invaded Utah, went into permanent quarters at Camp Floyd, President Young entrusted H. B.^Clawson with "bargain" sale, $4000 to invest in army supplies at a government which was conducted at Camp Floyd when the army was ordered

back to take part in the Civil War. The bargains there ob- tained were the beginning of the fortunes of many Utah men. such as Walker Brothers. The supplies bought with the $4000 by Mr. Clawson were finally retailed for $40,000, which sum be- came the nucleus of the building of the Salt Lake Theatre. As to the Future And what of the future of the grand old playhouse? Nearly every Salt Laker, especially those of the older generation, must confess to a pang whenever he hears it said that, before long, in the march of progress and under the demands of business, it will have to come down, and make way for a more modern struc- ture. That fate might have befallen it before this had it not happened that the ownership fortunately reverted to the Church, one of the few institutions that can afiford to place sentiment tyefore business. We can only hope, with the many eminent stars who have expressed their affection for the house, that the day of its demolition may long be deferred. The most beautifu 1

tribute I have ever heard paid to our theatre and to the spirit of the pioneers who founded it, was that uttered by Forbes-Rob- ertson last winter, on the night of his memorable farewell, when he pleaded with Salt Lakers to cherish and preserve such a rare treasure house of memories — almost the last theatre of its kind in America. Henry Miller, Daniel Frohman, Stoddart, Louis James, Sothern, Warde, Gillette, Maude Adams and many oth- ers have voiced the same sentiments. Many of them say they best love to visit the old place in the day time, when its activities are at rest, and sinking into one of its chairs, commune in silence with the memories the' hush seems to invoke. "The walls have ears," goes the old saying if these had tongues what a wealth ;

of reminiscence, of history, what stories of triumphs, ambitions, of laughter and heart breaks, might not here be let loose Every !

thoughtful visitor to the place confesses to feeling an influence, an undefinable impression unlike that imparted by any other build- ing of its kind. Who shall say ? Perhaps something of the spirit of good, invoked upon the edifice in the prayers of the old pio- neers may still linger within its walls to hallow them, and keep alive the aims and hopes of its founders.

A merchant in a Wisconsin town who had a Swedish clerk sent him out to do some collecting. When he returned from an unsuccess- ful trip he reported: "Yim Yonson say he vill pay ven he sells his hogs. Yim Olesen, he pay ven he vill sell him wheat, and Bill Pack say he vill pay in Yanuary." "Well," said the boss, "that's the first time Bill ever set a date to pay. Did he really say he would pay in January?" "Veil, I tank so," said the clerk. "He say it ban a — cold clay ven you get that money. I tank that ban in Yanuary."