Читать книгу The Mormons and the Theatre; or, The History of Theatricals in Utah - John S. Lindsay - Страница 10

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The isolation policy peculiar to the Mormons at this period, found expression in a discouragement of all Gentiles (as all non-Mormons were called) and Gentile enterprises in Utah. This feeling also found expression to some extent, for a short time in the sphere of the theatre, and it was boldly announced by some who were close in the councils of the Mormon chief, that he would have no Gentile actors in his theatre. A policy which was much more strongly emphasized at the time, however, was as to the character of the plays that should be presented. President Young set his foot down very firmly against the presentation of any tragedies, or plays of tragic character. The people he said had seen and felt too much of the tragic side of life; he wanted them to be amused, and not have their feelings harrowed up by tragic representations. This policy obtained for a short time only; gradually the general growing desire for the higher class of plays had to be taken into consideration by the managers, Clawson and Caine, who were running the house in the interest of the box office, chiefly, and this initial policy of the founder of the theatre was gradually abandoned, as well as the isolation policy which was to debar Gentile actors from the stage of the Mormon Theatre.

During the summer of '62 the theatre was rushed to completion. On December 24, '62, the completed theatre was again formally dedicated and the following night, Christmas, the Stock Company opened up for a regular winter season in the "Honeymoon" under the direction and tutorship of our old Nauvoo favorite, Tom Lyne, who had learned of the opening of Brigham Young's new theatre, and saw a chance to renew his acquaintance with his old friends, and do a little business with them in their new temple of the drama.

After a lapse of nearly twenty years, during which his old friends and admirers had completely lost sight of him, he suddenly "bobs up serenely" at Denver where he had been playing an engagement with J. S. Langrishe; from here he corresponded with Manager Clawson with the result that he was engaged to come to the Salt Lake Theatre as a tutor to the company. He was received with great kindness by the company and managers, and especially by Brigham Young, who treated him with marked consideration. He coached the company and directed several plays for them, but that was an irksome task for Lyne; he wanted to face the public himself. He saw a great opportunity and did not rest content until he had secured a starring engagement with the managers.

Accordingly it was not long before the veteran tragedian (Lyne was now fifty-six) was announced to appear in a round of favorite characters supported by the Theatre Stock Company. He opened on January 14th in "Damon" to a packed house and played in quick succession the characters of "Richelieu," "Othello," "Richard," "William Tell," "Sir Giles Overreach," and Rolla in "Pizarro." In the latter play he could not expect to have any of the old Nauvoo cast, especially Brigham Young for the "High Priest," as he was now reigning as High Priest in reality; but he found a very capable successor in the person of George Teasdale, who since his experience in this part found promotion in the priestly line until he became one of the chief high priests of the church and a member of the Twelve. There is certainly some charm in that character of the "High Priest" in "Pizarro."

Lyne's engagement was the first one made with any outside actor and broke almost in the very start the President's avowed policy of having no Gentile actors in his theatre. It was a comparatively easy step, however, as Mr. Lyne was regarded as almost, and likely to be altogether, one of us again, which idea, however, proved quite erroneous for Tom Lyne, after playing several profitable engagements during his first years in Salt Lake, where he settled down to end his days, became unnecessarily cynical and bitter against the dominant party; and especially against the proprietor and managers of the Salt Lake Theatre, when they decided that they had played him all that was profitable. Lyne's first engagement had "let down the bars," broken the isolation policy to such an extent that other Gentile actors soon followed. The truth is that the managers discovered even at that early period in Salt Lake's theatrical experience that the local Stock Company could not hold up the interest unaided and alone, especially after the Lyne engagement had shown the public the difference between a past master in the art (as Lyne was), and a company of comparative novices however talented they might be. Another line of policy which had been laid down by the chief of the new amusement bureau (that he would not have any tragedies nor murder plays performed in the new theatre) was sadly tangled and demoralized, during the very first engagement of an outside actor. "Virginius" was a favorite part of Mr. Lyne's and it went on, notwithstanding some discussion and protest, with Mrs. Alice Clawson (Brigham's prettiest daughter) as Virginia. When Virginius thrust the death dealing butcher knife which he purloins from the neighboring butcher stall into the trusting bosom of the fair Virginia, exclaiming "It is to save thine honor," the Rubicon was crossed the leap was taken, and the second cherished whim of the chief promoter of amusements for the Saints was shattered; it fell a sacrifice to a worldly "box office" policy; and significant to relate, his favorite daughter Alice was made the principal accessory to this disregard of his desires and counsel.

The step once taken could not be retraced. Mr. Lyne's "Virginius" like his "Damon" and "Richelieu" proved very popular, and justified several repetitions. It was found that tragedy had its votaries quite as numerous as those of the Comic Muse; and there were no more protests either against the Gentile actors or the tragic plays, for the varied tastes of theatre patrons had to be considered and from this time on "box office" considerations wholly dictated the managerial policy of the Salt Lake Theatre.

During the early days of the Salt Lake Theatre, that is to say, the first short season of 1862 and part of the season of '62–3, the company was somewhat handicapped by the lack of a competent "leading lady." Mrs. Wheelock and Mrs. Tuckett, the two leading actresses of the Social Hall days, had both left the Territory for California, and this left the D. D. A. weak in this respect. The comedy roles were well represented in the persons of Mrs. Margaret Clawson, Miss Sarah Alexander, Miss Maggie Thomas, and the character parts and old women by Mrs. Sarah Cook. Mrs. Marian Bowring was good in heavies, while pretty Alice Clawson could make good in a walking lady or light juvenile but they were short a "leading" woman. In the classic plays which Lyne put on: "Virginius," "Damon and Pythias," "Richelieu," etc., (Mrs. Alice Clawson was cast for the leading juvenile roles; she filled all the requirements so far as looks were concerned, but was not at all convincing where any impassioned acting was required) the popular verdict was "She's pretty, but can't act." Soon the managers discovered a very talented and promising actress to fill the place, in one Mrs. Lydia Gibson. Lydia was the young and pretty wife of Elder William Gibson, who had recently converted Lydia to the Mormon faith in the old country and brought her to Salt Lake and prevailed on her to become Mrs. Gibson number two. She was a very lovely woman and when she made her advent into the dramatic company soon became a general favorite both with the company and the public, and more than one fellow experienced a pang of envy when he learned she was the wife of Elder Gibson, a man old enough to be her father. Mrs. Gibson remained in the company only two seasons, long enough to establish herself thoroughly in the affections of everybody, when she sickened and shortly after died. She was buried in Brigham Young's private burying ground near where the prophet himself is buried. The entire dramatic company and many of the community followed her to her last resting place with every evidence of genuine sorrow. Her dramatic career was brief but brilliant.

There had been some trouble on the male side of the cast also. On Lyne's first appearance the part of "Pythias" was cast to the old Social Hall favorite "Jim" Ferguson he had played the part with Snow in the Social Hall and was "accounted a good actor;" but on this particular occasion, one of no small importance, being his first appearance at the Salt Lake Theatre as well as the first appearance of Mr. Lyne, Mr. Ferguson did not win fresh laurels. No doubt the fact of appearing alongside of a veteran like Lyne, made "Jim" more or less nervous. Somehow he did not "screw his courage to the sticking place," whether from nervousness or other causes, and failed to give a satisfactory performance of the part; he was over-excited, and the Calanthe complained that he was too realistic. He terrified the soldiers of Dionysius to such a degree that they wanted to desert, and Mr. Lyne declared he was the most vigorous Pythias who had ever played with him, but he could not rely on him; his stage business was so eccentric and uncertain. "Jim" thought he was making a great hit, but the managers decided to make a change. At the following performance the character was essayed by Mr. John R. Clawson, who if not so brilliant as Ferguson, proved to be less erratic and more steady and reliable.

Ferguson never again appeared on the stage but devoted his brilliant talents to his paper, The Mountaineer, and the practice of the law. John T. Caine was now nominally the leading man of the theatre. He had played with stately dignity the parts of "Dionysius" in "Damon and Pythias" and "Pizarro" to Lyne's "Rolla," and before the season was over a number of leading characters in plays such as "Eustace Baudin," "Senor Valiente," "Serious Family," "All That Glitters," etc.

Each of Lyne's characters was played twice or three times, and went far toward filling up the season as the company played but two nights in the week. The Stock Company filled out the season of '62–63 which closed after the April conference, '63. Soon after the opening season of '63 and '64, the Irwins were engaged, and opening on November 4th played the entire season till April 10th, 1864.

When the Irwin engagement began, November 4th, 1863, this put Mr. Selden Irwin in all the leading parts. Early during this engagement Mr. David McKenzie, who had already scored a success in "old man" parts, came strongly to the front in the play of "Evadne" in which he was cast for the part of "Colonno," a character of the "Hotspur" type. He made a distinct and pronounced hit in this character, fairly dividing honors with Irwin, who played "Ludovico," a character of the "Iago" type, and second only to that "great villain," perhaps, in the whole range of the drama. This performance brought McKenzie conspicuously to the front so that he was promoted to the leading position and held it with public approval for a number of years.

A year or so ago a "write up" article in "Munsey" claimed for George B. Waldron the distinction of being the first Gentile actor to play in the Mormon theatre. How far astray from the historical record the writer was can be gleaned from the foregoing facts, and those which are to follow.

Mr. Lyne's first engagement lasted into March, close up to the April Conference, when a season of stock work was resumed with some special attraction in the way of spectacular effects for the conference season. It was the custom during the first regular season to play but two nights a week Tuesdays and Saturdays the other evenings of the week being devoted to the necessary rehearsals, as it was impracticable to get the company together in the daytime for that purpose, as they all had other occupations which demanded their attention. Each play was given twice, this was the rule; it was the exception when a piece ran three nights in succession. It was the custom to put up a new bill each week, so this gave the company about a week to get up in a new play and a new farce; with their daily occupations to attend to as well. Actors today would consider it a task to get up in a new play and a farce each week with nothing else to attend to. It will readily be understood from this statement that the original stock company of the Salt Lake Theatre had no sinecure, or "soft snap," to phrase it in the present vernacular, especially when it is made known that during all this season there was no such thing as salary attached to their positions. They were all working for honor and glory, and to help Brother Brigham pay for the theatre; but there was no grumbling; all went merry as a peal of wedding bells for "the labor we delight in physics pain," and the first regular season of the Salt Lake Theatre closed after the April Conference, 1863, with a good financial showing, much of the indebtedness on the building have been wiped out, and everything in good shape for the ensuing season.