White was not personally known to the managers, or any of the employees about the theatre. He had been little in Salt Lake during the army's occupation of Camp Floyd and consequently was scarcely known. Trusting to these circ.u.mstances he hoped to escape recognition, and avoid the storm of abuse he felt sure would be showered on his guilty head; but unfortunately his name was on the program and although a common name and one that might easily escape especial notice, White was by no means a common man and his performance of Solomon attracted special attention to him.

Some man in the audience who had met him at Camp Floyd recognized him, and quietly informed the managers who he was. The whisper spread about with amazing rapidity and he began to be pointed out as the "reprobate and unscrupulous scoundrel" who had enticed Mrs. Tuckett away from home and friends and people.

To make sure that this was the veritable White, the manager made some inquiries regarding him of Jack Langrishe, his manager. This was sufficient to arouse the curiosity of the company with regard to White's previous experience in Utah. White did not make a second appearance at the theatre. He had caught something of the buzz that was in the air about him, and quietly dropped out of the Langrishe company for the remainder of its Salt Lake engagement.

The Langrishes remained two weeks and then moved on to Montana. White had not been entirely idle in the interim. He had made the acquaintance of a second Salt Lake woman, whom he prevailed upon to join him soon after his departure, and they were married shortly after; the woman casting in her fortune with the Langrishe troupe and doing such parts as they thought fit to cast her in.

Mr. and Mrs. White eventually drifted into Portland, Oregon, and made that their home for many years. It was there the writer made their acquaintance some fifteen years later when he went to play leads for John Maguire at the New Market Theatre. They appeared to be living harmoniously and had four lovely children, two boys and two girls, the eldest about twelve years of age and a promising young actress. White was then the editor of the "Bee," an afternoon paper, and played on occasions in Maguire's Stock company.

Some years later White with his family removed to San Francisco, where he became the stage manager of the Tivoli. It was during his inc.u.mbency of this position that he made the first dramatization of Rider Haggard's "She," and gave it its first production on the stage, which proved to be a great success and started numerous other companies to play it.

White has now "fallen into the sere and yellow leaf" and for the last dozen years has been affectionately called by the profession "Daddy White."

CHAPTER IV.

Notwithstanding that during the winter of 1859-60 a number of dramatic performances were given in the Social Hall, they were nearly, if not all, revivals of plays that had been performed there previous seasons.

Interest had declined from some cause or other. It was probably attributable in some measure to the departure of first Mrs. Wheelock and then of Mrs. Tuckett, the two leading actresses of the company; and then Jim Ferguson, one of the leading actors, was now engrossed in the publication of The Mountaineer, a weekly paper he had started in connection with Seth M. Blair and Hosea Stout, and for which he wrote most of the editorials, so that he had little if any time to devote to the playhouse. Bernard Snow, too, was absent from the company that winter and as a consequence plays of a lighter character were selected that did not require Snow and Ferguson.

"The Golder Farmer," "Luke the Laborer," "Still Waters Run Deep," "All That Glitters Is Not Gold," were the princ.i.p.al plays given. During the following winter, 1860-61, there was nothing doing in the dramatic line in the Social Hall. One reason for this was that a new company had arisen, which, if not exactly a rival, was a strong compet.i.tor for public favor. Some of its princ.i.p.al members belonged to the Deseret Dramatic a.s.sociation, and had been conspicuous in the ranks of its performers.

The new company was called the Mechanics' Dramatic a.s.sociation, and was headed by the favorite Social Hall comedian, Phil Margetts, who was president and manager of the new organization. The members of this new company were Phil Margetts, Harry Bowring, Henry McEwan, James A.

Thompson, Joe Barker, John B. Kelly, John Chambers, Joseph Bull, Pat Lynch, William Wright, Bill Poulter, William Price, Mrs. Marion Bowring, Mrs. Bull, Mrs. McEwan, Elizabeth Tullidge and Ellen Bowring.

Harry Bowring had in course of construction a new dwelling house; it was covered and the floors laid, but no finishing or plastering had been done, no part.i.tion walls had been put in, so that the entire lower story was one room, not more than 18x40 feet in dimensions, about one-third the size of the Social Hall. The stage occupied about one-third of the same, leaving an audience chamber of about 18x25 feet, not large enough, as it proved, to accommodate the numbers that were anxious to witness the new performances. For dressing rooms, they had the house at the back, in which Mr. Bowring and family resided, and which communicated with the stage by a doorway in the new structure. The scenery and drop curtain, which was necessarily of small dimensions, was painted by the sterling and versatile artist, William P. Morris. The auditorium was seated a la circus, with board seats rising one above the other, with a row of chairs in front for the distinguished guests and patrons.

Such was "Bowring's Theatre," as it was called. Whether the managers christened it that, or the name was given it by the patrons and guests, we do not pretend to know, nor does it matter; but this fact may be mentioned in relation to it, that it was first place in Salt Lake City to be called a theatre.

The Bowery being a place of worship (although the name was strongly suggestive of the New York Bowery theatre), could not consistently be called a theatre and the Social Hall embracing all the social features--plays, dances and banquets--never came to be called a theatre, Social Hall fully covering its functions, so that the Bowring was really the first place to be known distinctively as a theatre.

Although the theatre was so very small the company did not appear to be circ.u.mscribed in their histrionic efforts by any mere limitations of s.p.a.ce or stage appurtenances, as the following list of plays will show:

"The Honeymoon," "The Gamester," "Luke the Laborer," and "Oth.e.l.lo,"

and the farces of "Betsy Baker" and "Mr. and Mrs. Peter White."

In the dramas, Mr. Margetts, who was recognized as the comedian par excellence, chose to a.s.sume the tragic mask and appeared in the leading roles, leaving the princ.i.p.al comic parts to his friend and colleague Harry Bowring. It was somewhat of a surprise to "Phil's"

friends and admirers who knew his qualifications for comedy, to see him in these tragic characters, but he is said to have given everybody a pleasant surprise in them and Harry Bowring carried the comedy roles so successfully as to divide the honors with "Phil." Mrs. Bowring, who played the "lady leads," also distinguished herself to such a degree that she took a prominent place in the Salt Lake Theatre soon after its opening.

It was during the performance of "Betsy Baker" in this place that "Jimmy" Thompson, who was playing the part of Mr. Crommie, won such distinction in that character that the name of "Crommie" has attached to him among his acquaintances ever since. Harry McEwan, Joe Barker, Billie Wright, Bill Poulter and dear old John Kelly and Mrs. Bull and Mrs. McEwan all achieved some celebrity in connection with the little playhouse--"Bowring's Theatre."

Manager Margetts waited one day on President Brigham Young and invited him, with his family, to see their play. The President of course had heard of the new theatre, (what was there he didn't hear of?) but affected some surprise that Phil and his a.s.sociates should have started what might be considered a rival to the D. D. A.

"When do you play?" inquired the President.

"We have a play tonight," answered Phil; "'Luke the Laborer,' but we could not accommodate your family tonight, President Young, as the seats are mostly engaged, but we would be pleased to reserve the house for yourself and family for our next play, 'The Honeymoon,' which will be on Friday night."

"Well," says Brigham, "I would like to see the play tonight. Why can't Heber (meaning Heber C. Kimball, his chief counsellor, who was sitting within hearing) and I come tonight, and the family can come the next night?"

The President thought to catch them in a state of unpreparedness by going sooner than was arranged for him, but Phil readily acquiesced in the President's wish, and he and Brother Kimball "took in the show"

that night. They both expressed their pleasure and spoke words of encouragement to the performers.

On the following day Manager Margetts sent ninety tickets, the entire seating capacity of the theatre, to President Young for himself and family. The tiny theatre was packed to see "The Honeymoon." The Young family certainly was in evidence on that occasion, but there was quite a sprinkling of "Heber's" folks and other friends to whom the President had given tickets from his wholesale reserve.

"The Honeymoon" was a p.r.o.nounced success. After the play Phil appeared before the curtain and in a happy way thanked the President and those of his family and friends present for honoring the company, and expressed regret that they had not a more commodious and comfortable theatre in which to entertain their friends.

Brigham, evidently pleased, made a return speech from his place in the audience and complimented the company. He encouraged them to go ahead and told them he intended before long to build a good big theatre, where they could have ample room to develop their dramatic art, observing in his characteristic way, that the people must have amus.e.m.e.nt.

It will thus be seen that these performances led indirectly to the building of the Salt Lake Theatre, for immediately after this the President instructed Hyrum Clawson to reorganize the Deseret Dramatic a.s.sociation and to unite it with the Bowring Theatre Company, for he was going to build a big theatre. The idea had evidently entered his mind to stay.

"Brother Brigham," as he was popularly and lovingly called, was quick to comprehend the financial results of a great theatre in a community whose members were all lovers of the drama, and two large dramatic a.s.sociations, bursting with ambition and only too anxious for a good place and opportunity to air their talents. So he gave it out in meeting one Sunday, much to the gratification of his congregation, that he was going to build a big "fun hall," or theatre, where the people could go and forget their troubles occasionally, in a good, hearty laugh.

"We have a large fund on hand," said he, "for the erection of a Seventy's hall, but not enough to build such a hall as I want for the Seventies; so we will use that fund to help build the theatre, and when we get the theatre running we can pay back the Seventy's hall fund with good interest, and in that way the Seventy's will get their hall sooner than if they started to build it now."

The Seventy's hall has never been built!

The big theatre was planned and erected. William H. Folsom was the architect and personally superintended the construction of the building. This same gentleman, also, designed and built the big turtle-shaped Tabernacle, proving that he was a constructive genius.

On March the sixth, 1862, the Salt Lake Theatre, although far from being finished, was so far completed as to be used, and on this date it was opened with such ceremonies as would not only be deemed unique in any other community, but would be set down as sacriligious by pious people of other faiths.

On this occasion the theatre was filled to its utmost capacity by invitation. No admission fee was charged, the invitations being extended by President Young to the church authorities, state, county and munic.i.p.al officers, the workmen who had erected the building, some two hundred with their families. Some even who held invitations could not get in; it resembled a huge revival meeting.

The President and his counsellors, a number of the apostles and other church dignitaries sat on the stage in front of the green baize drop curtain. The parquette was filled with the officials, church and secular, and the dramatic company and members of their families. The circles were filled princ.i.p.ally by the men who had worked on the building and their families. There was a feeling of greatest expectancy pervading the large audience. The people were there to witness not a play on this occasion, but something deemed of still more importance, the dedication of the new theatre.

The Mormons dedicate all of their public buildings, whether temples, tabernacles, stake houses, ward houses, school houses, theatres, dance halls, or co-operative stores to the service for which they were erected.

The ceremony is much like one of their religious meetings with the addition of the dedicatory prayer.

On this occasion President Brigham Young occupied the center of the stage. There was a program of vocal and instrumental music, a special choir gotten together for the occasion, and the theatre orchestra, led by Professor "Charlie" Thomas, furnished the music.

President Young called the large audience to order and the choir sang.

Then Daniel H. Wells, or "Squire" Wells as he was popularly called, offered up the dedicatory prayer. "Squire" Wells no doubt made a good city mayor and an efficient general of the Nauvoo Legion, but the worthy "Squire" was not an orator, moreover, he had his piece written for this occasion and read it; his peculiar mode of delivery was tiresome even when at his best, when he had his choice of subject and all the lat.i.tude he could desire; but it was especially so on this occasion, when he was circ.u.mscribed to a most monotonous enumeration of everything that entered into the construction of the huge building.

Beginning with the ground on which it stood and going in systematic order up through it foundation, walls, floors, doors, windows, to the roof, particularizing even the timbers, nails and bolts, the laths and plaster, the gla.s.s and putty, no detail he could think of was omitted.

Each and all were especially dedicated to their particular purpose and use, and the blessing of the Almighty invoked to be and continue with each of these materials, and with the structure as a whole. Even to those who believed in dedications, who were the great majority of those present, the dedicatory prayer was just a little wearisome and the audience experienced a feeling of relief when it was over and William C. Dunbar stepped to the front and a.s.sisted by the choir and orchestra, sang "The Star Spangled Banner."

Brigham Young then made an address on the mission of the drama and his object in building the theatre, which avowedly was to furnish innocent and instructive amus.e.m.e.nt to the Saints. He inveighed somewhat extravagantly against tragedy and declared he wouldn't have any tragedies or blood-curdling dramas played in this theatre. This people had seen tragedy enough in real life and there was no telling the far-reaching and evil effects tragedies on the stage might have. He strongly opposed, too, the idea of having any Gentile actors play in this theatre. We had plenty of home talent and did not need them.

President Heber C. Kimball followed in a brief address, strongly supportive of what President Young had said.

Apostle John Taylor then gave a short address; then came selections by the orchestra, and more singing by the choir, and Mr. Dunbar sang another song written by Apostle Taylor for the occasion and set to music by Professor Thomas.

For the grand finale an anthem written for the occasion by Eliza R.

Snow and set to music also by Professor Thomas was sung by the choir, accompanied by the orchestra and and bra.s.s band consolidated for the occasion. The solo parts of the anthem were sung respectively by Mr.

Dunbar and Mrs. Agnes Lynch.

The musical program ended, an announcement was made that the theatre would be formally opened on Sat.u.r.day evening, March the eighth, when the plays of "The Pride of the Market" and "State Secrets" would be presented. The people anxiously awaited the opening night. The performance was advertised to begin at 7 o'clock. At 5 o'clock hundreds were at the doors waiting to get in and before the time of the beginning every available spot of both seating and standing room was taken. The prices of admission were 75c for parquette and first circles; upper galleries 50c.

The plays, both drama and farce, were capitally acted. Dunbar's song between the plays, "Bobbin' Around," made an immense hit. The merging of the M. D. A. into the D. D. A. made up a strong company. The roster of the Deseret Dramatic company as it stood at this opening performance and the cast of the initial plays cannot fail to be of interest after a lapse of more than forty-two years and so many of the original players have pa.s.sed away.