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him altogether after his trial jig at Jayne's Hall, Philadelphia, Dec. 7, 1857. The original Diamond died in Philadelphia, Oct. 29, 1857. The original Juba, a negro lad whose name was William Henry Lane, was subsequently an attraction at Charley White's Melodeon, in the Bowery. Juba went to England in 1849, where he became a lion. Success proved too much for him. He married too late (and a white woman, besides), and died early and miserably.
In 1849 the building was altered back into a menagerie by the June & Titus party, but, proving a failure after two years' experiment, it was transferred again into a circus, and occupied one season by Seth B. Howe's company. Nov. 1, 1852, the circus troupes of Richard Sands & Co., and John J. Nathans & Co., commenced, with John J. Nathans, Richard Sands, Masters M. and J. Sands, Antonio (“Tony ") Pastor, Wm. Kingcade, W. J. Smith, William Pastor, Philo Nathans, B. Huntington, J. Hankins, Sam Lathrop, and John Lovell, clowns.
Richard Sands was announced, Dec. 6, 1852, to perform his antipodeal experiment, "walking across the polished surface of an inverted platform, with feet up and head down, at an elevation of twenty-five feet from the ground.” It was stated that Mr. Sands was the only performer that had ever successfully demonstrated the newly discovered philosophical principle by which the laws of gravitation could be suspended. Mr. Sands, however, was not the first person to perform the ceiling walking feat, as had been frequently stated, for I find that it was done at this theatre Feb. 16, 1852, by Prof. John McCormick, announced as "The Great Philosophical Antipodean Pedestrian from Ohio, the successful inventor of the only antipodean apparatus ever completed.” The management announced that the experiment had never been made by any other man, and The New York Herald of Feb. 18 said : " Prof. McCormick performed the truly astonishing feat of walking head downwards on the ceiling of the Amphitheatre again last evening.” Jan. 23, 1853, Mons. La Thorne opened in his cannon-ball performance. Among the other acts were Master Jesse Sands (trick equestrian), Emma Nathans, Master Frank Pastor, in his back and forward equestrian somersault act; C. Fisher, on the flying cord; Sam Lathrop and Hiram Day, clowns; John J. Nathans, equestrian manager; B. Huntington, ring-master; L. Lipman, in a changeable act; Frank Pastor, revolving globe act; Charley Sherwood, Indian act; and a comic ballet called “A Shoemaker's Shop in an Uproar." In this latter Tony Pastor played a comic lover. Feb. 28, William F. Wallett, the clown, appeared. Mme. Tourniaire, the equestrienne, with her stud of horses, opened March 11. Dan Emmet, the old time minstrel performer, appeared April 5, for one week, in his selection of new songs. Charles Sherwood, the original “ Pete Jenkins,” began. The season terminated April 16, but the house kept open one week longer for benefits. On April 19, John J. Nathans opened in his equestrian act of carrying Master Philo Nathans. The house was reopened April 25, under the management of Henry P. Madigan and Den W. Stone, with equestrian performances by Rose Madigan, Hiram Franklin, Den Stone, and W. B. Carroll. The clowns were Ben Jennings and Alex Rockwell; John Shay, equestrian director. May 5, Levi J. North commenced with his trained horse, Tammany. On May 23, Donna Margueretta, with her horses, Juliette and Coquette, commenced, as dià Henry Whitney and his troupe of trick horses, and W. J. Smith, in his act on two horses. “ Der
Nov. 7, 1853, this house was opened with Mme. Franconi (her first appearance in America), Mons. Chiarini, John J. Nathans, Emma Nathans, Master Philo Nathans, and Sam Lathrop (clown). During the summer of 1854 the house was leased, rebuilt, and opened as the Stadt Theatre by Seigrist and Otto Hoym. As the Stadt Theatre, the old Bowery Amphitheatre was opened Oct. 20, with Rossini's opera (in German) of “ Der Barbier von Sevilla." Mueller as Figaro; Vineke, Bassilio; Quint, Count Almaviva ; Oehrlein, Dr. Bartolo; and Signora Martini D'Ormy as Rosene. A benefit was given Nov. 18 for the sufferers of the stranded ship New Era. “Wild (ats" was performed in German. July 5, 1858, a combination of talent from the Ravel family was secured for one performance. The artists were Lina Windel, M. Collet, A. Lehman, Angelo and Mme, Chiarini, Sig. Zanfretta, Misses H. and A. Gale, the Denier Bros. (Tony and John), Ben Yates, and M. Alexander.
The A. H. Davenport Dramatic Association gave “Black-Eyed Susan," July 28, with Edwin Adams as William, and Miss L. Watson as Susan “The Idiot Witness" was also acted with Maggie Nelson as Dame Tugscutt. “Bombastes Furioso " was the afterpiece. J. B. Howe leased the house, and opened it Aug. 2 with an American company, consisting of J. B. Howe, J. H. Allen, Geo. Holland, Charles Warwick, John Herbert, Rachel Denvil, Mrs. H. P. Grattan, Geo. Lingard, Sallie Bishop, Kate Pennoyer, and Kate Bennett. " Wallace," " Wilful Murder," and “ Michael Erle” were the opening plays. This was the first appearance on the dramatic stage of George Holland, since he put on burnt cork and appeared with Wood's Minstrels. German operatic performances were commenced April 4, 1859. "Tannhäuser" was given, and Carl Bergman was the conductor. A benefit was given to John Cooper Aug. 9, when Maggie Nelson played Jane Chatterly in “ The Widow's Victim.” The house was then closed, but reopened Aug. 25, 1860, under the management of Hoym & Hamann. Sunday night's performances were discontinued, in consequence of the new law prohibiting entertainments on that night. During the season Adah Isaacs-Menken appeared as a danseuse, German performances were given by Kril
ling, Otto Hoym, Meaubert, Fortner, Kleur, Knorr, Manvers, Connheim, Schmidt, Isidor, Lehman, Lotti, Hohifelder, Kleidhorn, Wiethoff, and Klein; Mesdames Pelosi, Smitz-Herwegh, Stiglish, Brun, Schull, Fischer, Becker-Grahn, Berkel, and Carradori; Misses Hoym, Meaubert, Meantirz, Scheller, Theleur, and Johanna Wolf.
For the season of 1861-62 Hoym & Hamann were again the managers. Mme. Marie Scheller, Mme. Becker-Grann, Mme. Von Berkel, Mme. Mertzke, Mme. Fredericke Walter, Anna Klein, Cecillia Fortner, Herren Otto Hoym, Lehmann, Schwann, Niemeyer, Quint, Graff, Fortner, Klein, Knorr, Carl Merbitz, and Lewens formed the company. The important productions were Scribe's “A Glass of Water;" Kruger's “ Das Maedchen von Dorfe” (The Village Maid); Kruezer's “ Anna Worthmann;" Lorzing's "Czar und Zimmerman," “ Peter the Great," “Hamlet," “ Der Freischutz,"
Stumme Portici,” Zampa,” “The Postillion of Longjumeau,” “Gloeckner von Notre Dame," Toepler's “ Der Best Fon," Bendix's “Steifutter,” “Der Major," George Washington," "Der Maschinenbauer,” “Der Mozartgeige," " Der Peter Kronau,” Schiller's “Kabal un Liebe,” Charlotte Birchpfeiffer's “ Herinan nee," "Die Jungfrau von Orleans," " Narcisse," " The Son of the Jongleur," " Major Schill,” “ Fifteen Years of Prison Life,” “ Die Zwei-Sergeanten,” “ Adrienne Lecouvrieur," “Don Carlos," " Marie Anne," "The Fisherman's Daughter," by Messrs. Stalknecht and Dr. Arming, of this city; “ Romeo and Juliet,” “Hinko," “ Lamm und Loewe,” “Night and Morning,” “Der Waise von Berlin," Goerner's “ Orphan of Berlin," “The Maid of Fanoland,” Gutzkow's "Ella Rosa," "Eine Reiche Frau," "Orpheus der Underwelt," first time in New York; “Storenfreid,” “Uriel Acosta," “ Memoirs of Satan," "The Devil and the Tailor," “The Englishman in Paris," “ Die Lieder des Musikanter," "The Prisoner's Daughter,” “Cato von Eisen,” “Down with the Jesuits," "Das Wiehtelmaenchen," and "Cora." The season closed in May, and a series of operatic representations were given, with Mme. Johanna Rosser, from the Ducal Theatre, Darmstadt, as prima donna. The dramatic season closed in June.
D. E. Bandmann appeared during the season of 1862–63 as Hamlet and Shylock. The Ronzani Ballet Troupe opened July 29, 1863. For the season of 1863–64, Otto Hoym continued the manager, and among the principals who appeared were D. E. Bandmann, Herr Fritze, Herr Reiffahrt, Manager Hoym, Louis Knorr, Mme. Methua-Scheller, Becker-Grahn, Steigler-Fuchs, and Miss Meyer. P. L. Jarvis was the next manager, who opened Aug. 2, 1864, with M. B. Pike as stage manager. The company was an American one, and consisted of Joseph E. Nagle, George W. Thompson, S. Bradshaw, Harry Cunningham, Frank Evans, W. Purcells, E. N. Haviland, W. Mitchell, J. Coburn, Geo. France, Bonehill came Jan. 15 in “The Playmates;
" " She," Jan. 22;
А Kentucky Girl," Jan. 29; “The Stowaway," Feb. 5; “Pulse of New York," Feb. 12; “Soudan," Feb. 19;
“Soudan," Feb. 19; "Nobody's Claim,” Feb. 26; "Tornado,” March 5; "Sport McAllister," March 12 ; and “ Power of Gold," March 19; Prof. Cromwell commenced a series of lectures Sunday night, March 25; “The Rambler from Claire" was seen March 26; " Lost in New York," April 2; “ Pay Train,” April 9; “ The Hustler,” April 16; “South before the War,” April 23 ; "The World Against Him,” April 30; John L. Sullivan the pugilist came again May 7 ; " A Flag of Truce,” May 14; "The Westerner,” May 21, with Al Lipmar as the star; the Georgia (colored) Minstrels came May 11 ; "The Hearts of New York,” May 18; “ Master and Man," May 25.
The season closed June 30, and reopened Aug. 11 with Walter Sanford as manager as well as lessee, who produced " In the Name of the Czar” with this cast: Hector Dilworth, Edward Brandt; Alexis Silvitch, James Wall; Norman Dayrell, Arnold Reeves; Christoff Kerovitch, Harry S. Duffield; Clara Ferona, Phosa MacAllister; Lucy Silvitch, Sara Neville. "The Life Guard” was seen Aug. 20; Milton Nobles came Aug. 27 in “From Sire to Son;" “ Harbor Lights,” Sept. 3; “ Tennessee's Pardner," Sept. 10, with Cora Van Tassell as the star; “ A Tide of Life," Sept. 17; “ The Shaughraun,” Sept. 24; cast thus: Captain Molineux, Harry Mainhall; Robert Ffolliott, Frank Lander; Father Dolan, Criptie Palmoni; Corry Kinchella, George Hoey; Harvey Duff, George Denham; Conn, Edward J. Heron; Sergeant Jones, Nelson Compton; Sullivan, Charles Nevins; Doyle, Č. J. Vincent; Claire Ffolliott, Victory Bateman; Arte O'Neale, Annie Barclay; Mrs. O'Kelly, Nellie Maskell; and Moya, Lottie Williams. Amy Lee came Oct. I in “ Pawn Ticket 210; ” Slaves of Gold” came Oct. 8; “ 'Ticket of Leave Man," Oct. 15, with Harry Mainhall as Bob Brierly, and Victory Bateman as May Edwards; “Prodigal Daughter,” Oct. 22; "Country Circus," Oct. 29; “A Tale of Corsica," Nov. 5, by George Hoey, for the first time on any stage, with this cast: Paolo Rubini, Frank Foster; Angelo Rubini, Harry Mainhall; Mateo Rubini, Frank Lander; Toraldi, George Hoey; Magistrate, Nelson Compton; Steffana Ferrante, Victory Bateman; Ilma, Lisle Leigh; Doria, Lottie Williams; Pichu, Edward 1. Heron. This play was originally called “A Priest's Vow;" “ The White Squadron done Nov. 12; Nelly McHenry came Nov. 19, in "A Night at the Circus; ” “Under the Lash" was seen Nov. 26; “Stowaway,” Dec. 3; Charles L. Davis in “ Alyin Joslin,” Dec. 10; J. B. Mackie, Dec. 17, in "Side Show; ” “ Youth," Dec. 24; “Prodigal Daughter, " Dec. 31, for two weeks; “Ivy Leaf,” Jan. 14, 1895; "Down in Dixie," Jan. 21, for two weeks; Katie Emmett, Feb. 4, in “Killar
""McFadden's Elopement,” Feb. 11; “Still Alarm," Feb 18;
"Land of the Midnight Sun," Feb. 25; " Power of Gold," March 4, "Hustler," March 15; and “My Aunt Bridget," March 18. At the conclusion of the third act of “ My Aunt Bridget ” Mr. Monroe made a speech, and said that it had accidentally fallen to his company's lot to be the last to tread the boards of this historic stage. He thought that it would have been more fitting for some one else to have made an address, for no doubt there were many in the audience who had reminiscences and who had seen many of the great productions, — notably that of the " Black Crook” 'which had made the place historic.
The evening performance of "My Aunt Bridget" by George W. Monroe and his company, March 23, marked the end of the career of Niblo's Garden. Mr. Monroe said that before many hours every brick and board of the building would be torn asunder, and before the last bell was rung he would ask the audience to join his company and several hundred of the old employees and attachés of the house in singing “ Auld Lang Syne." The large audience took the entire performance in a jovial mood, and throughout the evening joined in the choruses of the familiar songs sung on the stage. In the second act, Nellie Bland, who played the part of Blue Jeans, while exhibiting her skill as a high kicker, fell on the stage and was unable to rise. She had to be carried off by two of the actors, and was not able to appear again. It was stated that she had sprained her ankle, and was suffering great pain. The cast of“ My Aunt Bridget," with which closed the career of Niblo's Garden, was: Bridget McVeigh, George W. Monroe; Alton McVeigh, Raymond Hitchcock; Jack Treyser, Ben F. Grinnell; Joe Nervey, Thomas J. Grady; Tompkins Blazer, Harry McDowell; Boyce Alton, Milo J. Knill; Dora, Mamie Ryan; Polly, Mabel Florence; Miss Recalmer, May Duryea ; Nellie, Ella Falk; Roy, Marie Bates; Blue Jeans, Nellie Bland; Lelle Butte, Pearl Allen; Peach Blow, Susie Russell. Many people in leaving the house carried off small relics, such as leaves of evergreen from a large vase in the lobby.
THE RICHMOND HILL THEATRE
HE place of amusement known as the Richmond Hill Theatre
a white portico supported by four large wooden pillars. The building was known as the Mortier House, and stood about the rear of the lots fronting upon Varick Street, at the southeast corner of Varick and Charlton Streets. It was a historical house, having been Aaron Burr's country seat. It was also called the “Richmond Hill House and Gardens.” The surroundings of the place were melancholy in the extreme, for the buildings were small, and tall hickory poles were in abundance. It was converted into a theatre, and