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future enjoyment. William Warren, W. H. Sedley Smith, Louis Mestayer, J. A. Smith, Adelaide Phillips, Louisa Gann, who became the wife of Wulf Fries, the celebrated 'cello player, residing in Boston, Mrs. Judah and Mr. and Mrs. Thoman, all of whom are dead with the exception of J. A. Smith, who is now an inmate of the Forrest Home in Holmesburg, Penn., and Mrs. Thoman, who was a charming actress, and for several seasons a great favorite with the Museum patrons. She was divorced from Thoman and became the wife of a Mr. Saunders, a lawyer residing in San Francisco, who died some years since. Mrs. Saunders is now living in the above city in retirement, and through the kindness of her cousin, Joseph Jefferson, is enjoying the ease of a genteel competence.

William Warren and Adelaide Phillips were the first performers who ever made a lasting impression upon me. William Warren, great as an artist and as a man. With pleasure do I pause from the record of events to present a description of the illustrious actor. He has now passed away, and to future generations the faithful description of one who delighted their fathers, and who can never be replaced, will surely prove welcome. He made his first appearance in Boston at the Howard Athenæum, Oct. 5, 1846, as Sir Lucius O'Trigger in the "Rivals" (the same character that W. J. Florence is now personating with the Jefferson combination). Mr. Warren remained at the Athenæum but one season, and during that time commanded the admiration of his audiences. Mr. Charles W. Hunt, a very good actor, had held the position of comedian at the Boston Museum for several seasons, but owing to some misunderstanding, left the establishment. Mr. Warren was engaged to fill the vacancy, and on the night of the 23d of August, 1847, he made his first appearance on the stage of the Museum as Billy Lackaday in the old comedy of "Sweethearts and Wives," and as Gregory Grizzle in the farce of "My Young Wife and Old Umbrella," and from that time, with the exception of one year's recession (1864-5) to the termination of the season of 1882-3, was a member of the Museum company. Thirtysix years is a long test applied to modern performers, and he that could pass such an ordeal of time, must possess merits of the very highest order, such as could supersede the call for novelty, and make void the fickleness of general applause.

All this Warren effected. The public, so far from being wearied at the long-continued cry of Warren, elevated him, if possible, into greater favoritism yearly. But his place is not to be supplied. No other actor can half compensate his loss. Independent of his faculties as an actor, so great a lover was he of his art that he would undertake with delight a character far beneath his ability. Other actors will not condescend to do this or else fear to let themselves down by doing so. Warren had no timidities about assuming a lesser part, nor did he deem it condescension. Artists of questionable greatness may deem it a degradation to personate any save a leading part. Warren felt that he did not let himself down, he raised the character to his own elevation. From this it follows that no great actor within my recollection had undertaken such a variety of characters. He was found in every possible grade of representation. His acting forms a pleasant landing place in my memory. As I wander backward, no other actor has ever so completely exemplified my idea of what a genuine comedian ought to be. He gained the highest honors that could be bestowed upon him in Boston, and established his claim to be considered one of the most chaste and finished of American actors. From Sir Peter Teazle to John Peter Pillicoddy, from Jesse Rural to Slasher, from Haversack to Box and Cox, he was equally great and efficient. I have heard it remarked that the late W. Rufus Blake stood without a rival as Jesse Rural, while Henry Placide was the best of Sir Peter Teazles. Never having witnessed the performances of those gentlemen, I am unable to speak of their merits, as older writers have sounded their praises for a generation. Saturday, Oct. 28, 1882, was the fiftieth anniversary of Mr. Warren's adoption of the stage. The entertainment consisted of an afternoon and evening performance. The "Heir at Law," constituted the bill for the day performance, and "School for Scandal," was given in the evening. It was impossible indeed for the arrangements to be more perfectly accomplished. The character of the audiences was even more gratifying than its numbers. Never had been such an assemblage in any theatre. A great number of elderly persons, both men and women, interspersed with the younger people, gave a beautiful shading to the amphitheatre picture, as it was seen from the boxes. It was a tribute of respect to one who had been so long the pride of

Boston. As a matter of record I give the complete cast of

the plays:

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Mr. Warren remained at the Museum during the entire season, and made his last appearance on any stage as old Eccles in "Caste," in May, 1883. From that time to the day of his death, which sad event occurred Sept. 21, 1888, Mr. Warren made Boston his home, residing at No. 2 Bulfinch Place, the residence of Amelia Fisher, where he had lived since the departure of his cousin, Mrs. Thoman, for California, in 1854. Mr. Warren left property to the value of a quarter of a million dollars. He made no public bequests, but bequeathed his entire estate to his relatives. Who is there in Boston that has not heard of Miss Amelia Fisher, the "dear old lady" of Bulfinch Place, where she has lived so many years, and at whose hospitable board so many have been welcomed? Miss Fisher, accompanied by her sisters

Jane, afterwards Mrs. Vernon, who was for many years the "first old woman" of the New York stage, and Clara, afterwards Mrs. Gaspard Maeder, married in America in 1827, and made her debut at the Park Theatre, N. Y., singing a duet, "When a Little Farm We Keep," with William Chapman. Miss Fisher was for several seasons attached to the Tremont Theatre in Boston, and although possessing respectable abilities both as singer and actress, never attained the prominent place in the profession accorded to her more talented sisters. Miss Fisher retired from the stage in 1841, and for some years was a teacher of dancing in Boston. For over thirty-seven years Miss Fisher has entertained at her home a swarm of dramatic celebrities. Here Mr. and Mrs. James W. Wallack, Charles Couldock, Peter Richings and his daughter Caroline, Mrs. John Hoey, and Fanny Morant, dined together where, in later days, Joseph Jefferson, George Honey (the celebrated English comedian), Ada Rehan, Annie Pixley, Mr. and Mrs. McKee Rankin, and Mr. and Mrs. Byron, ate their supper in the old kitchen, and were merry with wit and song. Since the death of Mr. Warren, Miss Fisher has not enjoyed good health, although her hospitable board is still surrounded by her friends and guests.

With the name of Adelaide Phillips there are many dear associations. When at seven or eight years of age I went to see her at the Boston Museum, the days she began to sing in "Cinderella" and the "Children of Cyprus." How the old days rise up before me now. She was then in the spring of life, fresh, bright, and serene as a morning in May, perfect in form, her hands and her arms peculiarly graceful, and charming in her whole appearance. She seemed to speak and sing without effort or art. All was nature and harmony. Miss Phillips was a great favorite in Boston where she made her début at the Tremont Theatre in January, 1842, in the play of "Old and Young," personating five characters, and introducing songs and dances. Although very youthful, she displayed great aptness and evinced remarkable musical talent. On the 25th of September, 1843, she first appeared on the boards of the Boston Museum, which then stood at the corner of Tremont and Bromfield Streets, where the Horticultural Hall now stands. The character which she assumed was Little Pickle in the "Spoiled Child." At the opening of the present Museum, Nov. 2, 1846, Miss Phillips

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