Curiosities of the American Stage Part 7

[Ill.u.s.tration: CHARLES BURKE AS KAZRAC, IN "ALADDIN."]

No history of American burlesque could be complete without some mention of the name of Daniel Setch.e.l.l. His Leah the Forsook, and Mark Smith's Madeline are remembered as pleasantly in New York as his Macbeth and Edwin Adams's Macduff are remembered in Boston. William H. Crane places the Macduff of Adams--he dressed in the volunteer uniform of the first year of the war, and read lines ridiculous beyond measure with all of the magnificent effect his wonderful voice and perfect elocution could give them--as the finest piece of burlesque acting it has ever been his good-fortune to see. But the stories told by the old comedians of the extravagant comedy performances of their contemporaries in other days, if they could be collected here, would extend this chapter far beyond the limits of becoming s.p.a.ce.

[Ill.u.s.tration: N. C. GOODWIN IN "LITTLE JACK SHEPPARD."]

[Ill.u.s.tration: DE WOLF HOPPER AS JULIET, AND MARSHALL P. WILDER AS ROMEO.]

Whether the burlesque of the present is comparable with the burlesque of the past is an open question, much debated. Mr. Wilson in the _Oolah_, Mr.

Hopper as Juliet, Mr. Powers in _The Marquis_, Mr. Goodwin in _Little Jack Sheppard_, Mr. Burgess as the Widow Bedott--if she can be considered a burlesque part--and other men and women who burlesque women and men and things to-day, are, without question, very clever performers; the laughs they raise are as hearty and prolonged as any which paid tribute to the talents of the comedians who went before them; and it is unjust, perhaps, to judge them by high standards which live only in the memory, and grow higher as distance lends enchantment to their view. As Lawrence Barrett has said, "the actor is a sculptor who carves his image in snow." The burlesque which has melted from our sight seems to us, as we look back at it, to be purer and cleaner than the frozen burlesque upon which the sun as yet has made no impression; and the figure of Pocahontas, gone with the lost arts, seems more beautiful than the Evangeline of the modern school.

When the Adonis of the present counterfeits the deep tragedian he is guilty of imitation, and of clever imitation, but nothing more; when he represents the clerk in the country store he gives an admirable piece of comedy acting; but he never rises to the sublime heights of Columbus, as Columbus is remembered by those who saw him before Hoolah Goolah was born.

If American burlesque did not die with John Brougham, it has hardly yet recovered from the shock of his death; and he certainly deserves a colossal statue in its Pantheon.

[Ill.u.s.tration: HENRY E. DIXEY AS THE COUNTRY GIRL, IN "ADONIS."]

ACT IV.

INFANT PHENOMENA OF AMERICA.

INFANT PHENOMENA OF AMERICA.

"So cunning, and so young, is wonderful."

_Richard III._, Act iii. Sc. 1.

While the "Grand Spectacle of the _Black Crook_" was enjoying its fourth successful run at Niblo's Garden, New York, in the season of 1873, a precociously bright little musician of some six or seven years of age, so advertised in the bills, and to all appearances no older, preternaturally large in head and small in person, won the affection and the sympathy of all those who witnessed his performances. During his very short career he was one of the chief attractions of that attractive variety show, for the _Black Crook_ in its later years was nothing more than a variety entertainment; and when, so soon after the close of his engagement here, the news of his death came from Boston, few of the established favorites of many years have been so sincerely mourned as was this unfortunate little James G. Speaight.

Scarcely larger than the violin he carried, dressed in a bright court suit of blue satin, with powdered wig and silken hose and buckled shoes, like a prince in a fairy tale, he seemed the slightest mite of a performer who ever stood behind the foot-lights. His hands were scarcely big enough to grasp his instrument; his arms and his legs were not so thick as his bow; a bit of rosin thrown at him would have knocked him down; and he could have been packed away comfortably in the case of his own fiddle. As a musician he certainly was phenomenal. It was said of him that when only four years of age, and after a single hearing, he could play by ear the most difficult and complicated of musical compositions, and that he could remember an air as soon as he could utter an articulate sound. Before he was five years old he was sole performer at concerts given under his father's management in some of the provincial towns of England; and when he first appeared in this country he not only played solos upon his violin, displaying decided genius and technical skill, but he conducted the large orchestra standing on a pile of music-books in the chair of the leader, that he might be seen of the musicians he led.

[Ill.u.s.tration: MUNRICO DENGREMONT.]

The grace and ease of the little artist, his enthusiasm and vivacity, could not fail to interest and amuse his audiences, while at the same time it saddened the most thoughtful of them, who realized how unnatural and how cruel to the child the whole proceeding must of necessity be. That he was pa.s.sionately fond of his art there could be no doubt, or that he lived only in and for it, and in the excitement and applause his public appearances brought him; but that his indulgence of his pa.s.sion without proper restraint was the cause of the snapping of the strings of his little life, and of the wreck of what might have been a brilliant professional career, was plainly manifest to every physician, and to every mother who saw and heard and pitied him.

Until within a very few months of his death he played only by ear. When he began to learn his notes, and to comprehend the immensity of music as a science, and the magnificent future it promised him, his devotion to study, his ambition, and his own active mind were more than his feeble frame could endure, and his brief candle was suddenly extinguished. At the close of this run of the _Black Crook_, December 6, 1873, he was taken to Boston, where he played in the _Naiad Queen_, and led the orchestra of the Boston Theatre until the night of the 11th of January, 1874. After the _matinee_ and evening performance of that date he was heard by his father to murmur in his troubled sleep, "O G.o.d, can you make room for a little fellow like me?" and he was found dead by his father at daybreak. With no sins of his own to answer for, surely the prayer was heard; and the coming of that little child was not forbidden.

The few musical prodigies who have succeeded Master Speaight in this country have been blessed, happily, with stronger const.i.tutions or with wiser guardians; and Munrico Dengremont, Josef Hofman, and Otto Hegner, so far at least, have found the rest they need before it is too late. The little Dengremont, a violinist, began his professional life at the age of eight, and in 1875. He came of musical people, he had studied hard, and as a phenomenon he was very successful. He first appeared in New York in 1881, when he was fourteen years of age, but he seems to have produced nothing, and to have done nothing since he went back to Europe some years ago.

The infant musician who of late years attracted the greatest attention in this country, next to the "Child Violinist" noticed in the opening of this chapter, was unquestionably Josef Hofman; and he appealed particularly to a cla.s.s of the community so high in the social scale, according to its own ideas, that it repudiated Niblo's Garden and the _Black Crook_ as vulgar.

It never heard of little Speaight until it heard of his death, and it knows nothing of him now, perhaps, except as the mythical hero of charming and sympathetic poems written in his memory by Thomas Bailey Aldrich and Austin Dobson.

[Ill.u.s.tration: JOSEF HOFMAN.]

Hofman was born in Cracow, in 1877. His mother was an opera-singer, his father a teacher of music. The child had a piano of his own before he was five years of age, and in six months he had acquired the principles of musical composition, and had written an original mazourka. He made his first public appearance at a charity concert when he was six; at eight he played at a public concert at Berlin; and at ten he was drawing enormous crowds to the largest theatre in New York. He was the subject of more attention and of more newspaper notice, perhaps, than any musical child who ever lived. Saint-Saens, the French composer, is said to have declared that he had nothing more to learn in music, that everything in him was music; and Rubinstein is said to have p.r.o.nounced him the greatest wonder of the present age. All of this would have turned a bigger head than his; but notwithstanding his remarkable genius he was always a boy, who found relief in toy steamers and in tin soldiers; and his parents were sensible enough and humane enough to shut up his piano, and to sacrifice their ambition for the good of their son. He is devoting his youth to natural study, and his public career is still before him.

The little Hegner, the latest prodigy, made his first appearance in America in 1889, when he was twelve years of age; and he, too, came of a musical family. Like the Hofman infant, the piano is his instrument, and those who know music speak enthusiastically of his "phrasing," of his "interpretations," of his "striking perceptions of musical form," and the like. All of these children have been compared with Mozart and Liszt, who are, no doubt, innocently responsible for most of the infant musical wonders who have been born since they themselves began, as babies, to perform marvels. There has been but one Mozart, and but one Liszt; and the yet unwritten history of their lives will show whether these lads of the present would not have grown up to be greater artists and happier men if they had in their youth played foot-ball instead of fiddles, and had paid more attention to muscle than to music.

Between the musical wonder and the theatrical wonder there is this distinction: the baby musician never plays baby tunes, the infant actor almost always plays child's parts. Little Cordelia Howard, as Eva, many years ago, and Elsie Leslie and Thomas Russell, alternating in the character of Little Lord Fauntleroy last season, were doing very remarkable things in a charmingly natural way; but if they had attempted to play Macbeth and Lady Macbeth they would only have done what the musical prodigies are doing when they attempt Mendelssohn's D Minor Concerto or a mazourka by Chopin. The little actors are certainly the more rational, the more tolerable, and the more patiently to be endured.

[Ill.u.s.tration: OTTO HEGNER.]

Of the cla.s.s of prodigies represented by Mr. and Mrs. Stratton ("Tom Thumb" and Lavinia Warren), "Major" Stevens, "Commodore" Nutt, "Blind Tom," "j.a.panese Tommy," and the "Two-headed Nightingale," all of whom were publicly exhibited in their childhood here, it is hardly necessary to speak. They were certainly Infant Phenomena, but neither as infants nor as phenomena do they come within the proper scope of the present chapter; and they occupy the same position in regard to the drama that the armless youth who cuts paper pictures with his toes occupies in regard to pictorial art.

In no case is the Infant Phenomenon upon the stage--thespian, terpsich.o.r.ean, harmonical, gymnastic, or abnormal--to be encouraged or admired. How much of a nuisance the average prodigy is to his audiences all habitual theatre-goers can tell; how much of a nuisance he is to his fellow-players _Nicholas Nickleby_ has effectively shown; and what a bitter burden he is likely to become to himself, his own experience--if he lives to have experience--will certainly prove. Loved by the G.o.ds--of the gallery--the Phenomenon (happily for the Phenomenon, perhaps, certainly happily for his profession) dies, as a rule, young.

He does not educate the ma.s.ses; he does not advance art; he does nothing which it is the high aim of the legitimate actor to do; he does not even amuse. He merely displays precocity that is likely to sap his very life; he probably supports a family at an age when he needs all of the protection and support that can be given him; and, if he does not meet a premature death, he rarely, very rarely, fulfils anything like the promise of his youth.

The career of Master Betty, the "Infant Roscius," of the early part of this century, and unquestionably the most remarkable and successful Phenomenon in the whole history of the stage, is ample proof of this. Born in England, in 1791, he made his theatrical _debut_ in Dublin in 1803, and he at once sprang into a popularity, there and wherever he appeared, which seemed to know no limits.

The excitement he created was marvellous. People were crushed in their efforts to enter the theatres in which he played. The receipts at the box-offices were considered fabulous in those days. His own fortune was made in a single season. Lords and ladies, and peers of the realm, were among his enthusiastic admirers. Royal dukes were proud to call him friend, and the Prince of Wales entertained him regally at Carlton House.

He was p.r.o.nounced greater than Garrick himself in Garrick's own parts; he was petted and praised, and almost idolized, by an entire country; and even Parliament itself, on a motion made by Mr. Pitt, adjourned to see the "Infant Roscius" play Hamlet at Drury Lane; than which no higher compliment could have been paid by England to mortal man!

[Ill.u.s.tration: ELSIE LESLIE.]

This mania over the boy actor continued for two or three seasons, when his popularity by degrees decreased, and he retired from the stage to enter the University of Cambridge. In 1812, however, he returned to the profession a young man of twenty-one, but his prestige was gone. He did not draw in London; in the provinces he was regarded as nothing but a fair stock actor; and when he was a little more than thirty years of age he retired entirely into private life. He died in London, August 24, 1874, a man of eighty-three, having outlived his glory by at least fifty years. If such was the lot of the most marvellous of prodigies, what better fate can the managers of the lesser juvenile stars expect for their child wonders?

The career of Macready, a contemporary of Master Betty's during his later efforts, as compared with that of the Phenomenon, shows in a marked degree the difference between the natural and the forced systems of dramatic education. Macready, after years of careful, conscientious study and training, went upon the stage a young man, but one mature in experience.

By hard work he made his way up to the top of the ladder of professional fame, and he died full of years, honored as the most finished actor of his day in his own land. Betty, at whom as a child he had wondered, and whom as a young man he had supported, surviving him a month or two, was carried to his grave by a few personal friends, almost unnoticed by the world who at one time had wors.h.i.+pped his genius, but to whom for half a century he had been absolutely dead. Macready, a fixed star, s.h.i.+ning brightly and bravely, gave a lasting, steady, truthful light. Betty, streaming like a meteor in the troubled air, eclipsing for a moment all of the planets in his course, plunged into a sea of oblivion and left only a ripple behind.

Two precocious youths, whose careers upon the American stage were not unlike that of Master Betty in England, were Master Payne and Master Burke. John Howard Payne is remembered now as the author of "Home Sweet Home"; he is almost forgotten as the writer of the tragedy of _Brutus_ and some sixty other plays; and he is forgotten entirely as a very successful child actor in the highest range of parts. He made his _debut_ as Young Norval in _Douglas_ at the Park Theatre, New York, in 1809, when he was but seventeen years of age. He was called "the favorite child of Thespis," and his performance was declared to be exquisite, one enthusiastic gentleman giving fifty dollars for a single ticket at his benefit in Baltimore. He supported Miss O'Neill in the British provinces, and Mrs. Duff in New York; but as soon as he was billed as _Mister_ Payne, not _Master_ Payne, his popularity ceased, and, except as a playwright, the stage knew him no more.

[Ill.u.s.tration: CHARLES STRATTON ("TOM THUMB").]

Master Burke was a more unusual wonder, for he was a musical as well as a theatrical Phenomenon. Born in Ireland, Thomas Burke made his _debut_ in Cork as Tom Thumb, when he was five years of age. He made his first appearance in America at the Park Theatre, New York, in 1830, before he was twelve. Mr. Ireland preserves a list of characters he played, which includes Richard III., Shylock, Norval, Sir Abel Handy, Sir Giles Overreach, and Doctor Pangloss. He also led the orchestra in operatic overtures, played violin solos, and sung humorous songs; and "as a prodigy, both in music and the drama," Mr. Ireland believes that "he has been unapproached by any child who has trodden the American stage." As a man, he was considered one of the most perfect violinists of his time, and he was last heard here in public at the concerts of Jenny Lind, Jullien, and Thalberg, many years ago.

[Ill.u.s.tration: LAVINIA WARREN.]

The cynical remark of Richard to the young Prince of Wales that "so wise so young, they say, do ne'er live long," does not always apply to stage children. The Batemans, Miss Mary McVicker, Miss Matilda Heron, Miss Clara Fisher, Miss Jean Margaret Davenport (from whose early career d.i.c.kens is believed to have drawn the character of Miss Crummles), and other juvenile wonders, lived to achieve more enduring greatness as men and women than was ever thrust upon them in their childish days--while many of the present veterans in the profession were on the stage as actors before they were old enough to read or write. Miss f.a.n.n.y Davenport and Miss Susan Denin made their dramatic _debuts_ as children in _The Stranger_, _Pizarro_, _Metamora_, or other of the standard plays of their youth; Mr.

Jefferson, at the age of six, engaged in a stage combat with broadswords with one Master t.i.tus, at the Park Theatre, for the benefit of the latter young gentleman; and Madame Ristori, carried upon the stage in a basket at the age of two months, was at the age of four years playing children's parts in her native Italy. Miss Lotta began her professional career a Phenomenon when eight years old; but Lotta, to be measured by no known dramatic rules, is an Infant Phenomenon still. Miss Mary Taylor, than whom no lady in her maturity enjoyed greater popularity in New York, sang as a child in concerts, and even before she reached her teens was a great favorite in the choruses of the National Theatre on Church Street, New York; and there are to-day, among collectors of such things, rare prints, highly prized, of Miss Adelaide Phillips and of Miss Mary Gannon as child wonders; the latter young lady having been an actress before she was three years old.

[Ill.u.s.tration: JOHN HOWARD PAYNE.]

Evidences of such early dramatic experiences might readily be multiplied; but a decided distinction should be made between the phenomenal young actor or actress who walks upon the stage in leading parts, a child Richard or an infant Richmond, and the youthful artist, born of dramatic parents, who, never attempting what is beyond his years or his station, plays Young York or Young Clarence to support his father, says his few lines, gets his little bit of applause, is not noticed by the critics, and goes home like a good child to his mother and to his bed. It is as natural for the child of an actor to go upon the stage as it is for the son of a sailor to follow the sea; but while the young mariner before the mast is taught the rudiments of his profession by the roughest of experiences and the hardest of knocks, the young Roscius too frequently is given command of his dramatic s.h.i.+p before he can box the dramatic compa.s.s, or can tell the difference in the nautical drama between _Black-eyed Susan_ and _The Tempest_.

[Ill.u.s.tration: BLIND TOM.]

Miss Clara Fisher (Mrs. James G. Maeder) was regarded in her youth as a prodigy second only to Master Betty; but, unlike Master Betty, she more than realized the best hopes of her early admirers, and lived to be considered one of the most perfect and finished actresses ever known to our stage. Born in England in 1811, she appeared in Drury Lane, London, the scene of Master Betty's earliest successes, when she was only six years of age, and at once she won the most decided triumphs. It was said of her that she clearly understood, even at that early age, her author and his meaning, entered thoroughly and enthusiastically into all of her parts, and displayed in every scene not only acuteness of intellect, but a temperament fully in unison with the profession of her choice. Cast in plays with actors of the regulation age and size, instead of being dwarfed by the contrast with them, she made the rest of the _dramatis personae_ appear entirely out of proportion, and carried away all of the honors. Her American _debut_ was made September 12, 1827, at the Park Theatre, New York. In the seventeenth year of her age she could scarcely rank among the Infant Phenomena, however, and she is only known in this country, where the rest of her professional life has been spent, as a leading lady, justly celebrated, but not wonderful, out of all whooping, as an Infant Roscia.

[Ill.u.s.tration: MASTER BURKE AS HAMLET.]

Mrs. Maeder comes of a theatrical race, and one which seems to mature early. Her sister, Jane Marchant Fisher, the good old Mrs. Vernon of Wallack's, went upon the stage in London a child of ten; Frederick G.

Maeder, her son, made his first appearance at the age of eighteen; and Alexina Fisher (Mrs. A. F. Baker) and Oceana Fisher, daughters of Palmer Fisher, and members of the same family, played here as children half a century ago.