[Ill.u.s.tration: HENRY E. JOHNSTONE.]

Among the purely exotic Hamlets of the New York stage Salvini, Bandmann, Bogumil-Dawison, Rossi, Barnay, and Ha.s.se have been the most prominent.

But while the performance of each was excellent in its own fashion, each labored under the great disadvantage of playing a most familiar part (and in a play decidedly an English cla.s.sic) in a foreign tongue.

It is not possible, of course, in the limits of a single chapter to speak at any length of all the hundreds of Hamlets who have appeared upon the New York stage between the years 1761 and 1861, or to refer to the scores of men who have played the part in other cities. The following alphabetical list of those who have been seen upon the metropolitan stage is compiled from Mr. Ireland's _Records_, and from many files of old play-bills in various collections, and is felt to be fairly complete. It does not include the tragedians whose performances have been noticed elsewhere in the text of the present chapter, or those who have played Hamlet in other cities of the Union but not in New York; and the date appended is that of the player's first recorded appearance in the part here:

William Abbott, April 9, 1836; Augustus A. Addams, November 13, 1835; J.

R. Anderson, September 3, 1844; George J. Arnold, 1854; Mr. Barton, March 9, 1831; Mr. Bartow, May 26, 1815; John Wilkes Booth, March, 1861; Frederick Brown, March 9, 1819; McKean Buchanan, June 10, 1850; Samuel Butler, November 4, 1841; John H. Clarke, November 8, 1822; Mr. Clason, November 10, 1824; G. F. Cooke (not the great George Frederick), October 4, 1839; Mr. Dunbar, December, 1813; Edward Eddy, August 27, 1852; Henry I. Finn, September 12, 1820; W. C. Forbes, May 29, 1833; Richard Graham, October 29, 1850; H. P. Grattan, May 11, 1843; James H. Hackett, October 21, 1840; Charles Carroll Hicks, December 13, 1858; Henry Erskine Johnstone, December, 1837; William Horace Keppell, November 17, 1831; H.

Loraine, December 23, 1856; W. Marshall, February 3, 1848; J. A. J.

Neafie, 1856; John R. Oxley, August 16, 1836; William Pelby, January 6, 1827; Charles Dibdin Pitt, November 8, 1847; J. B. Roberts, May 17, 1847; John R. Scott, March, 1836; James Stark, September, 1852; John Vandenhoff, October 2, 1837; Henry Wallack, September 4, 1824; James William Wallack, Jr., July, 1844; Wilmarth Waller, June 30, 1851.

[Ill.u.s.tration: JOHN VANDENHOFF.]

As the limits of s.p.a.ce here prevent more than the enumeration of the names of many men who were excellent Hamlets during the first century of its history in New York, so does the very nature of the article preclude any mention of the excellent Hamlets who have appeared in the part since the century closed in 1862, and who may be still alive. These no doubt will receive the attention of some later historian, who will do full justice to the Hamlets of the present and the future, from Henry Irving to N. S.

Wood.

When George Henry Lewes, in "An Epistle to Anthony Trollope," made the bold a.s.sertion that "no actor has been known utterly to fail as Hamlet,"

he forgot four cla.s.ses of actors whom perhaps he did not consider actors at all. These are, first, the infant prodigies; second, the ladies who attempt the part; third, the men who burlesque it; and fourth, the men who fail not only as Hamlet but as everything else. Of the first, something has already been said; of the second, something is yet to be said; of the third, William Mitch.e.l.l, William E. Burton, and George L. Fox knew no such word as fail; and of the fourth, George the Count Johannes, in his later days, was a brilliant example. His occasional productions of _Hamlet_ for his own benefit, a few years ago, were the source of much silly amus.e.m.e.nt and rude horse-play upon the part of audiences not wise enough to appreciate the mental condition of the unfortunate star, or their own want of taste in encouraging his buffoonery even by their ridicule. His support, composed entirely of amateurs, was without question the worst that any Hamlet has ever known in this country; but his own performance was neither good enough to be worthy of any notice whatever, nor bad enough to be funny.

The connection of George Jones with the American stage as a professional actor dates back to the early days of the Bowery Theatre. He made his American _debut_ there as the Prince of Wales in _Henry IV._, on the 4th of March, 1831. He played Hamlet at the National Theatre in December, 1836, and he repeated the part (before he became too mad to portray even the mad prince) many times, not only in this country but in England. The last occasion which merits even a pa.s.sing word being at the Academy of Music, New York, on the 30th of April, 1864, when he was a.s.sociated with Mrs. Brougham (Robertson) as Ophelia, and Mrs. Melinda Jones as the Queen.

[Ill.u.s.tration: GEORGE JONES.]

The first record of any attempt to burlesque Hamlet in New York is contained in the advertis.e.m.e.nts of the Anthony (Worth) Street Theatre, June 13, 1821, when Mr. Spiler was announced to play the Dane and Mrs.

Alsop Ophelia, "in the original travestie." Mrs. Alsop's sudden death before the opening night postponed the performance indefinitely, and it is not known now when the travesty was produced, or if it was produced at all that season. Mr. William Mitch.e.l.l presented Poole's absurd burlesque of the tragedy at the Olympic Theatre on the 13th of February, 1840, playing Hamlet himself. This, by the graybeards who prate of the palmy days of the drama--palmy meaning anything that is past--was said to have been a finer performance than the burlesque Hamlet of George L. Fox thirty years later.

At the New National Theatre--formerly the Chatham--Mr. Frank Chanfrau played Hamlet after the manner of Mr. Macready, October, 1848, in an entertainment called _Mr. McGreedy_. But the burlesque _Hamlet_ which was most complete in all its parts, unquestionably, was that produced at Burton's Theatre in the season of 1857-58, when John Brougham played Hamlet with a brogue; Burton the Ghost; Dan Setch.e.l.l Laertes; Lawrence Barrett Horatio; and Mark Smith Ophelia. Brougham had played the part previously at his own Lyceum in 1851, and at the Bowery in 1856, but never with such phenomenal support.

On the long file of the bills of _Hamlet_ upon the New York stage the name of a lady is occasionally found in the t.i.tular part. The most daring and successful of these mongrel Hamlets was unquestionably Miss Charlotte Cushman--but even the genius of a Cushman was not great enough to crown the effort with success. In the early days of her career Miss Cushman had played the Queen in the tragedy to the Hamlet of James William Wallack the younger, at the National Theatre, New York, in April, 1837, and in the autumn of the same year to the Hamlet of Forrest at the Park. There is no record of her appearance as Ophelia. She played Hamlet for the first time in New York at Brougham's Lyceum, November 24, 1851, and she trod in the footsteps of Mrs. Bartley, who was seen as Hamlet at the Park, March 29, 1819; of Mrs. Barnes, who was seen in the same part on the same stage in June of the same year; of Mrs. Battersby, who played it May 22, 1822; and of Mrs. Shaw--whose Ghost was Mr. Hamblin--in April, 1839. Mrs.

Brougham (Robertson) played Hamlet for her benefit in 1843, and so did Miss f.a.n.n.y Wallack in 1849. This last lady frequently attempted the part, and at the Astor Place Opera-house, June 8, 1850, she had the support of Charles Kemble Mason as the Ghost and Miss Lizzie Weston as Ophelia. Other lady Hamlets have been Miss Marriott, Miss Clara Fisher, Mrs. Emma Waller, Miss Anna d.i.c.kinson, Mrs. Louise Pomeroy, Miss Rachel Denvil, Miss Susan Denin, Mrs. F. B. Conway, Miss Adele Belgarde, and finally Miss Julia Seaman, an English actress of fine figure, who played the Devil in the spectacle of _The White Fawn_ at Niblo's Garden, and who succeeded in doing as much with Hamlet at Booth's Theatre in 1874.

[Ill.u.s.tration: AUGUSTUS A. ADDAMS.]

The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, scene individable, or poem unlimited, have been in Hamlet's train upon the New York stage since "first from England he was here arrived," so many years ago; but so much has been said of Hamlet that even the names of his most beautiful Ophelias, his honest Ghosts, his gentle Guildensterns, his aunt-mothers, his uncle-fathers, his wretched, rash, intruding Polonii, or the absolute knaves who have digged his Ophelia's grave--and lied in it--for a hundred years, cannot be enumerated here, except when they have played Hamlet himself, or have done as somebody else some wonderful things to Hamlet.

William Davidge related in his _Footlight Flashes_ that during his strolling days in England, when companies were small, he had on the same evening done duty for Polonius, the Ghost, Osric, and the First Grave-digger; and Edwin Booth remembers Thomas Ward dying in sight of the audience as the Player King, and being dragged from the mimic stage by the heels to enter immediately at another wing as Polonius, with a cry of "Lights! lights! lights!" Hamlet, in a "one-night town," swearing that he loved Ophelia better than forty thousand brothers, has watched her through an open grave packing her trunk in the place beneath, while the Ghost, her husband, waited to strap it up! There are more things in Hamlet's existence--behind the scenes--than are dreamed of in the philosophy of all his commentators and all his critics.

One of the most notable instances of a great actor a.s.suming a small part was on the occasion of Charles Kean's first appearance as Hamlet in Baltimore, when at the Holiday Street Theatre, in 1831, the elder Booth, at that time at the very height of his fame and prosperity, for some reason now unknown, volunteered to play the Second Actor, the most insignificant character in the tragedy. John Duff was the Ghost; Mrs. Duff Queen Gertrude; John Sefton Osric; Thomas Flynn First Grave-digger; and William Warren, father of the William Warren for whom Boston mourns to-day, was Polonius. This was an exceedingly strong cast of the tragedy, and the Second Actor most certainly was never in better hands on any stage.

[Ill.u.s.tration: WILLIAM PELBY.]

The strongest cast of _Hamlet_, in all its parts, ever presented in America, was that at the famous Wallack Testimonial in New York, on the 21st of May, 1888, when Lawrence Barrett played the Ghost; Frank Mayo the King; John Gilbert Polonius; Eben Plympton Laertes; John A. Lane Horatio; Joseph Wheelock the First Actor; Milnes Levick the Second Actor; Henry Edwards the Priest; Joseph Jefferson and William J. Florence the Grave-diggers; Miss Kellogg Gertrude; Miss Coghlan the Player Queen; and Madame Modjeska Ophelia to the Hamlet of Edwin Booth.

The first record of any performance of _Hamlet_ in New York, as has been shown, was at the theatre in Chappel Street, November 26, 1761. On the 26th of November, 1861, Mr. Booth played the same part at the Winter Garden, on Broadway. The coincidence was not noticed at the time, and no doubt was purely accidental. It was a very pleasant coincidence, nevertheless, and it is certainly a happy fact that Edwin Booth should have been selected by chance to celebrate upon the New York stage the centenary of _Hamlet_ in New York.

CURTAIN.