The writer had made some progress in the company, and at the next benefit got seventy-five dollars for his pro rata; this was less than a dollar a performance during the season of seven months, but then we were doing good missionary work, in the way of amusing the people, and this company were engaged in a labor they delighted in; while they were a.s.sisting in a great measure to pay for the great Thespian temple in which they were performing, they were enjoying the labor immensely and gave the same enthusiastic efforts to it they would have done to a mission, had they been called to go and preach the gospel. Moreover, they were gaining an experience in art that would have been perhaps impossible for them, had not this splendid theatre been erected in the home of the Saints. Brigham Young's comprehensive mind had grasped the advantage to his people of blending art with religion, and relieving the monotony of arduous pioneer toil with innocent and refreshing amus.e.m.e.nts.

CHAPTER VI.

SEASON OF '64-'65.

_A Metropolitan Theatre in the Wilderness_.

The Salt Lake Theatre was a source of wonder and admiration to all strangers visiting it. Considering the time and the place of its erection, the isolated condition of the people, the meagre facilities within reach for so big a project, the quadrupled cost of everything that had to be imported, such as gla.s.s, nails, paints, cloth for scenery and everything in the shape of decorations, it was then, and remains today, a monument to the liberality, foresight and enterprise of Brigham Young. Since its erection, forty-three years ago, theatrical architecture has been vastly improved, and in many respects the Salt Lake Theatre is old-fashioned, but few theatres in the country, with all the improvements which have been introduced, surpa.s.s it in point of comfort and convenience, especially behind the curtain.

When it is considered that not only the architectural designs, the mechanical construction, but all the interior decorations and the scene-painting was done by local talent, it speaks highly for the artistic and mechanical skill that was centered in Salt Lake even at that early period of its history. William H. Folsom was the architect and personally superintended its construction. He was also the architect of the big Tabernacle with its turtle-shaped roof spanning a stretch of 150 feet without a supporting column. The first installment of scenery was painted by W. V. Morris and George M.

Ottinger, both clever artists, and with their a.s.sistants they gave the theatre stage a very nice invest.i.ture in the way of scenery. As the seasons rolled around the stock of scenery was continuously growing, for every new play had to have something done for it in the way of scenery, so that the painters were always working, and as a consequence the Salt Lake Theatre has probably a larger stock of scenery than any theatre in the country. The same may be said in regard to the stage properties. "Charley" Millard was the property man, and Charley could manufacture anything in the shape of a "prop"

from a throne chair to a cuspidor, from a papier mache cannon to a firecracker, from a basket horse to a baby; so that in the course of a dozen years the property room became a veritable museum, an "old curiosity shop" well worth an hour of anybody's time to examine.

There was a wardrobe department, which was equal in importance if not superior to the scenic arid property departments. This was presided over by Mr. Claud Clive, an expert tailor, who with his a.s.sistants, manufactured all the costumes for the male characters of the plays, while the female costume department was presided over by Mrs. Marion Bowring. Mr. Robert Neslen had general charge of the costume and wig department, and dispensed the necessary apparel and wigs to the company. There was also a tonsorial artist connected with the house, who was always there to curl a wig or put it on in good shape for the actors who needed such a.s.sistance. John Squires was the tonsorial artist--he was a busy man in those days. He had his shop in a little adobe house that stood directly opposite the "President's Office" on the lot where the Amelia Palace was afterwards erected. John was the President's barber, and had a large run of custom from the church and t.i.thing offices, besides nearly all the actors patronized him, so that he was a prosperous man in the community. He continued to shave his share of the people up to within a recent date, when he was obliged to retire; "age with his stealing steps had clawed him in his clutch," so this knight of the razor was reluctantly compelled to lay down the implements of tonsorial art, the strong steady hand that once could clean a man's cheek in about three strokes had grown weak and tremulous, and but recently he pa.s.sed peacefully away to that better land where it is to be hoped there is no shaving or need of hair-dye.

His place is amply filled, however, for John has a numerous progeny--and all his sons and grandsons, so far as we know them, are barbers. Here we find a true touch of heredity.

After such a brilliant and successful season as the Irwins had just concluded, it seemed like a daring venture to open up the ensuing season with the stock company una.s.sisted by the strength of a star; but notwithstanding this seeming riskiness, the managers did not wait for the _ensuing season_, but bravely ushered in a supplemental season on May 14th. Only five weeks after the Irwins had closed their long and brilliant run, the stock were hard at it again, notwithstanding the summer days were come; they kept going till the 18th of June, when the "veteran tragedian" (Lyne, at the time 58 years of age) was engaged to reinforce the stock, and add to the box office receipts. He opened this, his second star engagement, on June 25th and played up to July 16th. He repeated all his former triumphs and achieved some new ones, notably in "Sir Giles Overreach" in "A New Way to Pay Old Debts."

In the meantime a new star had appeared in our dramatic horizon; by the time Lyne had closed his engagement, it was in our ascendant, astrologically speaking, and by the time it had reached our zenith, or midheaven, it had shed another halo over the Salt Lake Theatre and the drama in Utah. This bright particular star was George Pauncefort. "He was a scholar, and a ripe and good one," an actor of rare and varied accomplishments, and proved to be an invaluable instructor and model for the company. Under his leadership a great progress was made.

Pauncefort was an English actor, who had acquired considerable celebrity on the London stage. He was a married actor, and his wife and several daughters, at the time of which I am writing, were quite popular on the stage, and their names appeared frequently in the London casts. Pauncefort came to the United States as early as 1858.

He was the original "Armand Duval" in "Camille," when Matilda Heron first produced that play in New York. After his New York engagement, Pauncefort drifted West, and in 1864 came to Salt Lake for a brief engagement of a week or two. He had just concluded a stellar engagement with Jack Langrishe at Denver. Denver at that time was not so large as Salt Lake City, nor could it boast anything like so good a theatre. The great overland road had not been projected at this time, and people crossing the country from Denver to Salt Lake or San Francisco were obliged "to stage it," or travel with private conveyances. So George had to stage it, not a difficult thing for an actor to do. He was accompanied by Mrs. Florence Bell who was featured with him as co-star during his first engagement. He opened on July 20th, 1864, just four nights after Lyne closed, in "The Romance of a Poor Young Man," in the character of "Manuel," Mrs. Bell playing "Marguerite." Pauncefort's "Manuel" made a great hit, and stamped him at once as an actor of superior parts. It was a new awakening. His style was so different from anything we had seen, either in Lyne or Irwin. Mrs. Bell, however, fell as far below public expectation as Pauncefort went above it. She was not the equal of our own leading lady, Mrs. Gibson who in consequence of this engagement had to be retired from the leading roles, and bear with what grace she might to see an inferior actress usurping her place. The popular verdict was all in Mrs. Gibson's favor. Mrs. Bell was a pretty woman, but a very mediocre actress. The management would gladly have retired the lady after the first performance, but there was a contract, and she was allowed to play the leads in several plays, during this engagement.

Pauncefort played until September 30th, when the season closed.

It no doubt cost the princely George a pang to realize that Mrs. Bell had not made a favorable impression with the public, as he had featured her on the bills. She had found great favor in his eyes, if not so fortunate in gaining the public favor. Their admiration was mutual and so apparent that it was frowned upon by "the powers that be." George was given plainly to understand that although Mormons believed in and practiced polygamy, they drew the line in morals at promiscuity, and he could not continue his present intimate relations with Mrs. Bell and his engagement at the Salt Lake Theatre. George took the hint and severed the "entangling alliance;" all the easier, no doubt, as Mr. Bell had come closely on their heels from Denver.

Bell was a good cornet player, and secured an engagement in the Theatre Orchestra, where he played until the end of the Pauncefort season, and then drifted off to Montana, "taking the fair Desdemona along with him."

That the Bell alliance worked to Pauncefort's injury there is no question. President Young took great offense at it, and never attended the theatre during Pauncefort's engagement after the opening performances, when he became apprised of the intimacy existing between George and Florence. On Brigham's first visit to the theatre after the Pauncefort season, the writer met him on the stage near his box and took occasion to express his pleasure at seeing him occupy his accustomed seat after so long an absence, remarking, "It is a long time since you were here, President Young." "Yes," he replied. "I told John T. and Hyrum (the managers of the house) that I would not come into the theatre while that man Pauncefort was here." This showed how strong a prejudice he had conceived against Pauncefort--and notwithstanding the very favorable impression his acting had made, it was quite a long time, nearly four months, before he again appeared.

The Lyne and Pauncefort engagement following each other in such close succession and in an extra season, and that season a mid-summer one, had given the theatre-going public a very gratifying sufficiency of theatricals, and consequently it was not thought advisable to open the theatre again until the ensuing October Conference; so the house was closed up for a period of five weeks and reopened on the 5th of October, just in time to catch the Conference gatherings. Although both Lyne and Pauncefort were in the vicinity, neither of them were engaged until after the Conference dates were pa.s.sed. The management could rely on full houses during the Conference and could not see the policy of sharing up the profits with a star when the stock company could fill the house to its capacity. The Conference over, the following week T. A. Lyne opened his third engagement and played up to the 10th of December; a very long engagement, lasting eight weeks.

Pauncefort should naturally, according to all professional ways of looking at it, have filled this time; and no doubt would have had the preference over Lyne if the managers had not been handicapped by the strong prejudice of the "President" against this actor; for he was the newer and more attractive star. Lyne had already played two long engagements and exhausted his repertoire, besides Pauncefort had introduced us to a more modern and popular school, and from financial considerations alone, any manager would have given him the preference, but he did not get back into the theatre for a second engagement until after Lyne had played everything he knew; still he lingered in the vicinity. He went out through the provinces--played smaller towns, such as Springville and Provo, with their home companies--and dabbled in merchandising, shipping fruit to Montana; it was bringing big prices just then. On the 17th of December, 1864, George Pauncefort began his second engagement in "A Bachelor of Arts" and "Black-Eyed Susan." It was during this engagement that "Hamlet" and "Macbeth" had their initial performances in the Salt Lake Theatre. Both of these plays were marked events in the history of the theatre, more particularly "Macbeth," which called into requisition the Tabernacle choir to play the witches and sing the music of the play, which was ably conducted by Prof. C. J. Thomas.

"Macbeth" was the last play of this engagement and closed the second Pauncefort season on January 7th, 1865--a brief season of three weeks--after waiting around about four months. Why this engagement ended so suddenly in the very height of its brilliancy is somewhat puzzling to understand, as there was no other star to follow, and the stock company played una.s.sisted by any stellar attraction up till May 20th, which closed the season of '64 and '65.

Pauncefort shortly after the closing of his engagement went to San Francisco, where he remained for more than two years playing there at intervals.

CHAPTER VII.

SEASON '65 AND '66.

The next star to appear at the Mormon theatre was Julia Dean Hayne, and a brilliant one she proved to be. She created on her first appearance an impression that was profound and lasting, and each additional character she appeared in only served to strengthen her hold on the admiration and affection of her audiences.

The advent of such a well-known and popular actress into the heart of the Rocky Mountain region at such a time, years before the completion of the overland railroad, had in it a rich tinge of romance and wild managerial venture. Julia Dean came to Salt Lake City under the management and in the dramatic company of the veteran Western manager, John S. Potter. Some time prior to this she had gone to San Francisco from New York by way of the Isthmus, had played a successful engagement there, and being "at liberty" after it was over, Mr.

Potter, who was an old acquaintance of Mrs. Hayne, made her a proposition to organize a company and play her through the princ.i.p.al towns of California. This was done, and after the state had been pretty thoroughly toured, the fair Julia appearing in many places that had very "queer" theatres, the tour was extended through the cities of Oregon and then through the spa.r.s.ely inhabited territories of Montana, Idaho and Utah, finally arriving in Salt Lake July 26th, 1865, on a regular old-time stage coach, a tired and jaded-looking party. There was in this company John S. Potter, manager (then a man of sixty or more), Julia Deane Hayne (the star), George B. Waldron (leading man), Mr. and Mrs. O. F. Leslie (juveniles), Mr. A. K. Mortimer (heavies), Charles Graham (comedian). Mr. Potter himself played the "old man"

parts, Miss Belle Douglas playing characters and old woman parts, and "Jimmie" Martin, property man and filling-in parts. The fame of Brigham Young's theatre had reached them in their travels, and they had traveled many miles to get the opportunity of playing in it. A week's engagement was soon effected, and on August 11th, 1865, "The Potter Company" with Julia Dean Hayne as the stellar character, opened up in the play of "Camille." They were received by a packed house, and with every demonstration of welcome and approbation. Mrs. Hayne, who was no longer girlish in face and figure but a mature woman, verging on towards the "fair, fat and forty" period, was nevertheless so exquisitely beautiful and girlish-looking when made up for "Camille"

or "Julia" in the "Hunchback," that everybody sang her praises. The entire community seemed to have fallen irresistibly in love with the new star, and henceforward she had fair wind and smooth sailing while her lot lay cast among the Saints. While the Potter Company were playing in the theatre, supporting Mrs. Hayne, the stock company were of course getting a needed rest, but their salaries (?) were going on as usual, and the management could not well afford to have two companies on its hands, so after the first week, the novelty being over, the Potter company were let out, and the regular company reinstalled. The Potter Company, however, had lost its "star;" the theatre managers had effected an engagement with Julia Dean to remain with them for the rest of the season as stock star with George B.

Waldron, also to play her leading support, and direct the staging of her plays.

This proved a severe blow to the Potter Company, who now had no place to play in in Salt Lake and could not well take to the road again, having lost their princ.i.p.al attraction. Potter had not expected to have been so soon supplanted. He came to Salt Lake, expecting to find a company of amateurs, and thought no doubt the managers would be glad to supplant them, at least for a good long season, with the Potter Company and its distinguished star. Outside of Mrs. Hayne and Mr.

Waldron, however, the Salt Lake Company was much more numerous, talented and capable than the Potter Company. It took but one or two performances for the managers to discover this, and they hastened to make the arrangements with Julia Dean and Mr. Waldron and to reinstate their own company.

Poor Potter and his remaining company were in a sorry strait. Their overland jaunt, through Oregon, Montana and Idaho, had not been very lucrative, and now they were out in the fastnesses of the Rocky Mountains, a thousand miles from any metropolis with a theatre, and no railroad to get away on; nothing but the overland coach. Potter was a resourceful manager, however; he was not easily daunted; with him Richmond's admonition to his army was ever present. "True hope never tires, but mounts on eagle's wings. Kings it makes G.o.ds, and meaner creatures kings." He found in "Tom" Lyne an old acquaintance, and a strong ally. Lyne was by this time disgruntled and dissatisfied with the theatrical outlook in Salt Lake; he was not getting any more the plaudits and the "star's" share of the receipts. He wanted some place to play in. So he inspired Potter with the notion of building an opposition theatre to that "monopoly" of Brigham Young's. Potter drank in Lyne's inspiration fervidly. The idea took a frantic possession of him, and plans were at once devised for getting up another house as speedily as possible, for the season was advancing and if the project was not hurried the Potter company would be scattered beyond all recovery. So it was decided to erect a cheap frame building, and push it to completion as rapidly as possible. This decision served to keep the Potter Company in Salt Lake, as they all had faith in the scheme, and faith in themselves that they could win out. They argued that by the time the new play-house was ready to open that Julia Dean and Waldron would be played out at the Salt Lake Theatre, and something new would catch the people. Poor, deluded actors, they did not know the people of Salt Lake; they knew them better after. How much money Mr. Lyne put into this scheme the writer never could learn from him, but I opine it was very little. He, however, secured the building site, by some kind of a deal with "Tommy" Bullock. It was about where Dinwoodey's furniture store now stands. Potter had little or no money with which to start such an enterprise, so Lyne introduced Mr. Potter to such of the merchants and lumbermen as he wanted to do business with. Potter played a bold game, and really accomplished a great feat in the building of this theatre. He got from sixty to ninety days'

credit for everything nearly that went into the construction of the building. It was a cheap affair; built of poles, hewn to an even size and placed in the ground like fence posts; then boarded on both sides with rough boards, the s.p.a.ce between the inside and outside boarding being filled in with sawdust and refuse tan bark from the tanneries, to make the building warm. The place was about half the size of the Salt Lake Theatre; that is, it had about half the seating capacity and a stage about one-fourth the size of the theatre. The structure, including the lease of ground, cost about $7,000. It was put up in about thirty days, so that Potter had a month's more time in which to pay for the bulk of the material, but the merchants and laborers who did the building were worrying his life out long before he got it going, for their money. He proved to be an expert at "standing off"

his creditors, however, so by hook and crook he got the building completed, his company reorganized, and the theatre started. Some very amusing stories were related of him at the time; how he would cajole and stuff with promises the dissatisfied workmen as to what he would do as soon as he got the house open. One man went to him with the sorrowful story that his landlady had refused to credit him any longer, and he must have money to pay his board and lodgings. Potter looked at him pityingly, and expressed his regret that he could do nothing for him till he got the theatre going. "It will soon be finished now; tell your landlady this, and if this will not appease her, change your boarding house." To such like desperate shifts and subterfuges was he obliged to resort to keep the men at work, doling them out a few dollars at a time, when they became unmanageable or threatened to quit. Eventually the house was ready for opening and "Tom" Lyne had to have the first "whack" at the new box office receipts.

With woeful shortsightedness they put up for the opening, "Damon and Pythias," with Lyne starred as "Damon," a character he had already played three or four times at the other theatre. Lyne probably thought, however, with Richard that "the king's name is a tower of strength, which they on the adverse faction want." Such did not prove to be the case, however, as the "adverse faction" having in view the opening of the opposition house, put on a strong new bill with Mrs.

Hayne in a new and powerful character, so that there was no apparent diminution of patronage, and the Salt Lake Theatre kept on the even tenor of its way "with not a downy feather ruffled by its fierceness."

Potter and Lyne had succeeded in getting "Jim" Hardie away from the other house by offering him the part of Pythias and a larger salary than he was getting at the older house. "Jim" at this time was the youngest actor in the Salt Lake Theatre company, and had not yet made much advancement; he was ambitious, however, and this opportunity to play "Pythias" to Lyne's "Damon" was very alluring to him, so he deserted the ranks of the D. D. A. and allied himself with Lyne-Potter, et al., with what poor judgment the sequel will show.

The new theatre was christened "The Academy of Music," with what reason or consistency no one could ever conceive, unless it was to give it a big sounding name, to allure the unwary, for it was as utterly unlike an Academy of Music as anything could be.

On the opening night, the novelty of the new theatre opening, and curiosity to see the Academy and Mr. Lyne with his new support, sufficed to draw a fairly full house.

Several amusing incidents transpired on that eventful evening. First and most laughable was the following: "Jim" Hardie had a brother-in-law named "Pat" Lynch. Pat had been clerk of the district court for a number of years and was well known for a big-hearted, generous man, his greatest fault being that he would indulge occasionally too freely in the ardent. "Pat" had loaned "Jim" ten dollars to help him get a costume for "Pythias" the Academy had no wardrobe department and "Jim" could not with any grace attempt to borrow one from the Salt Lake Theatre. It would appear he had promised to get an advance as soon as the box office had begun to take in money, and Pat had expected the return of his money that day; at all events, he was present at the play, occupying a front seat in the parquette. He had been indulging freely, and his sight was not so clear as usual; besides, he had the character of Pythias and Dionysius mixed in his imagination. Mr. Potter was playing Dionysius, and as he strode on at the rise of the curtain and began to speak, Pat mistook him for Hardie and bawled out at the top of his voice, "See here, Dionysius, where's that ten dollars you owe me?" Potter was filled with consternation; Pat's friends who were with him succeeded in quieting him and Potter made another start, this time without interruption. Pat had discovered his mistake, that he had dunned the wrong man, and it took but little persuasion to get him to leave the theatre. Hardie, behind the scenes waiting for his entrance, and fearing a second explosion when he should make his appearance, was immensely relieved to see from the side wings Pat's companions lead him up the aisle and out of the theatre. Potter, not aware but what it was one of his numerous creditors dunning him, when he made his first exit, threw up his hands in dismay, and said to Lyne in the wings: "My G--d, they won't give me any peace! Even dunning me from the audience." When Lyne, who had caught the truth of the matter, explained to him, he was greatly relieved.

Another amusing incident, and one which nearly wrecked the scene, was furnished by the little girl they had for Damon's boy. It has never been a difficult task to find in Salt Lake a pretty and clever child to play the child's part in this or any other play. On this occasion, the selection was probably limited to a small circle, owing to the feeling engendered by this opposition to the favorite theatre; at all events, the "Damon's" child of the occasion was an uncultured looking little miss of about six years; she was so dark and tawny-looking that she might have had Indian blood in her veins, and certainly she had a touch of the obduracy and stolidness that characterize that race; Belle Dougla.s.s was the "Hermion" of the occasion, and she was obliged to improvise and speak most of the child's lines for her; when "Damon"

came on for the farewell interview with his beloved "Hermion" and his darling boy, he strove in vain to get a response from his young hopeful; the child had become thoroughly nervous, and seemed apprehensive of some danger and when "Damon" interrogated her, "What wouldst thou be, my boy?" instead of the cheerful response, "A soldier, father," there came only a frightened look, and the child put its finger in its nostril, and swayed to and fro, as if she would say, but dare not, "I want to go home." Miss Dougla.s.s, annoyed, pulled the little hand down testily from the child's nose, and "Damon" repeated the question, "What wouldst thou be, my boy?" No answer, but up went the finger again to the nose. "Hermion" again pulled down the hand, and rather harshly demanded, "Come, say, what wouldst thou be, my boy?" The child by this time was nearly terrified, and only repeated the nose business with more emphasis and began to cry--and "Damon"

utterly disgusted with his youthful prodigy, hurried him off to pluck the flower of welcome for him. The child's queer action of sticking its finger up its nose sent the house almost into convulsions of laughter, and came near converting one of the greatest scenes of the play into a burlesque. Lyne played all the other plays in his repertoire in rather rapid succession, as the aim was to keep the Academy open every night (except Sundays) and as each play would bear but one repet.i.tion, this repertoire was soon exhausted, and as there was no other "star" in the Utah firmament to fill the place, the Academy went into a rapid decline. As the business had not proved to be what the promoter and manager had calculated on, Potter was daily besieged by creditors, until the poor man was almost driven frantic.

The heavy creditors, those who had furnished material on sixty days'

time, now began to grow troublesome, and one attachment after another followed, until the house fell into the hands of the sheriff--and Brigham Young, through T. B. H. Stenhouse, as agent, made a deal by which the property came into his hands. He soon put a force of men to work who tore it down, hauled it away and fenced a farm with it.

Such in brief is the history of Potter's Academy of Music. The merchants and lumbermen who had given Potter such liberal credit were now sadder but wiser men.

Potter got away as soon as possible, for matters were very pressing and unpleasant for him. His company drifted off in various directions, except Belle Dougla.s.s, who got married to Captain Clipperton and settled down in Salt Lake, and after a while got into the Salt Lake Theatre. Hardie also got back after a time, long enough for him to become repentant and express his regrets for what he had done.

The season, by the time the Academy's brief career had ended, was well advanced into the spring. Julia Dean Hayne had not only not played out, but had steadily grown in the affection of the people. Mr.

Waldron continued to to be a favorite also; but Julia Dean was the bright particular star whose effulgence can never be effaced from the memories of those who attended her performances during that memorable engagement. She received many marks of personal favor from President Brigham Young; indeed, it was current gossip that the President was very much enamored of the fair Julia and had offered to make her Mrs.

Young number twenty-one. How much, if any, truth there was in this gossip will perhaps never be known; the fact that Brigham did pay her unusual attention and gave several parties in her honor and had a fine sleigh built which he named the Julia Dean was quite enough to set the people talking. The probability is that the President was very much charmed with her, and sought to win her to the Mormon faith; had he succeeded in this, he might then have felt encouraged to go a step further and win her to himself, for in spite of his already numerous matrimonial alliances, he did not consider himself _ineligible_. The fair Julia was not ineligible, either, for she was divorced from her husband, Dr. Hayne, the son of a "favorite son" of South Carolina.

Speculation was rife, and much surprise and wonder was excited in certain quarters that President Young should go out of his way to show more marked attention to an actress than he had ever shown to any of his wives; but he was bent on getting Julia into the fold; once there, he could have played the good shepherd, and have secured her an exaltation. She had another man in her eye. One she had set her heart upon, too. "As hers on him, so his was set on her, but how they met and wooed and made exchange of vows I'll tell thee as we pa.s.s."

James G. Cooper was at this particular time secretary of the territory of Utah--an appointee of the United States government. He was a cavalierly man of southern birth and breeding--tall and handsome, and of courtly bearing, a great lover of the theatre. He was never known to miss a performance during Julia Dean's engagement. He was one of the most enthusiastic admirers she had; night after night, all the season through, he sat in front, early always in the same seat, and with eyes aglow and ears alert, he seemed to absorb every tone of her voice and catch, every gleam of her eyes--her every move was to him a thrill of rapture. Out of her thousands of admirers he was the most devoted worshipper at her shrine. Up to a certain time he worshipped in silence as if she were a deity. Chance had made them neighbors: the secretary's office and Mrs. Hayne's apartments were in adjoining houses, and it was not long before an acquaintanceship was formed which rapidly grew into a friendship and friendship soon ripened into love.

These lovers were discreet, however. Many happy hours they pa.s.sed in each other's company, but they did not parade their love, nor "wear their hearts upon their sleeves for daws to peck at." Little did her audience suspect that often when she cast her most bewitching glances, and brightened their faces with her radiant smiles, that those smiles were mounted especially for him; but he knew--how could he help but know. Cupid had drawn his bow and sped his dart.

"Where on a sudden one hath wounded me, that's by me wounded Both our remedies within thy help and holy physic lie."

So after the close of the season, much to the surprise of her numerous admirers, "these 'twain were made one flesh." They bade a rather hasty farewell to the land of the Saints, and wended their way to the far East by stagecoach, the terminus of the Pacific road being yet some hundreds of miles from Salt Lake.

Mrs. Hayne's last appearance at the Salt Lake Theatre was an event marked with quite as much if not more of interest than her first appearance. She had become endeared to the Salt Lake public, and they regarded her approaching departure with genuine regret. At her last performance, June 30th, 1866, she appeared as "Camille," the same character in which she opened her engagement, and was the recipient on this occasion of many tokens of kindness and appreciation. Being called enthusiastically to the front of the curtain after the performance, she bade a loving farewell to Salt Lake and its people in one of the most delicately and tastefully worded speeches ever made in front of a theatre drop. During her long engagement, lasting from August 11th, '65, to June 30th, '66, she played all the great cla.s.sic female roles that were then popular, a number of comedies, and even took a dip into extravaganza or burlesque, appearing during the holiday season in the character of Alladin in "The Wonderful Lamp,"

which ran for eleven consecutive performances. Her best remembered characters are "Camille," "Lady Macbeth," "Leah," "Parthenia," "Julia"

(in the "Hunchback"), "Lucretia Borgia," "Medea," "Marco," "Lady Teazle," "Peg Woffington," and "Pauline" in the "Lady of Lyons." In her ten months' engagement, she played a great many plays besides those mentioned, each play being presented twice or three times, according to its popularity.

Among others, an Indian play, ent.i.tled "Osceola," written by E. L.