CHAPTER III

RISE OF THE THEATRE AS AN AMERICAN INSTITUTION

LOVERS of liberty no less than lovers of the theatre should give devout thanks that the British officers who served in America during our Revolution were exceedingly fond of "stage performances." For America owes much to the military Thespians in New York, Philadelphia, and Boston. On the one hand their absorption "in play-acting" increased the non-preparedness which made it possible for the Yankees to win; and on the other hand, by giving good plays in a creditable manner, these officers notably advanced the progress of the stage as an American institution.

Boston was the only city of any importance which, - down to the outbreak of the Revolution, had persistently refused hospitality to plays and players. It is but little more than a legend that a dramatic performance was given in a coffee-house in State Street in Boston, in the latter part of the year 1750. The historians of the period fail to give most of the essential details of the affair, the names of those who promoted or took part in it, and other material incidents. The simple facts recorded are that it was Thomas Otway's old tragedy of the " Orphan' that was acted or attempted, the performers, with two

PLAYBILL FOR NEW YORK PERFORMANCE IN 1750 OF OTWAY'S "ORPHAN From the Theatre Collection, Harvard University

A PROFESSION

From the Theatre Collection, Harvard University

exceptions, being local amateurs. The exceptions noted were English professionals, very likely from William Hallam's company, but recently arrived from England. The desire to witness this performance appears to have been extraordinary. That there was an unruly and almost riotous mob at the doors, and that a serious disturbance occurred, is recorded. This latter disturbance aroused the authorities, and the matter was brought to the attention of the General Court, with a petition to prohibit further trouble from a similar cause. That august body immediately enacted as follows:

For preventing and avoiding the many and great mischiefs which arise from public stage plays, interludes and other theatrical entertainments, which not only occasion great and unnecessary expense, and discourage industry and frugality, but likewise tend generally to increase immorality, impiety and contempt of religion

"Be it enacted by the Lieut. Governor, Council and House of Representatives that from and after the publication of this act, no person or persons whosoever shall or may for hire or gain, or for any valuable consideration, let or suffer to be used and improved any house, room or place whatsoever for acting or carrying on any stage plays, interludes or other theatrical entertainments, on pain of forfeiting and paying for each and every day or time such house, room or place shall be let, used or improved, contrary to this act, twenty pounds.

"Sect. II - And be it further enacted that if at any time or times whatsoever from and after the publication of this act, any person or persons shall be present as an actor or spectator of any stage play, interlude or theatri

cal entertainment in any house, room or place where a greater number of persons than twenty shall be assembled together, every such person shall forfeit and pay for every time he or they shall be present as aforesaid, five pounds. The forfeiting and penalties aforesaid to be one-half to His Majesty for the use of the government, and the other half to him or them that shall inform or sue for the same, and the aforesaid forfeitures and penalties may likewise be recovered by presentment of the grand jury, in which case the whole of the forfeitures shall go to His Majesty for the use of the government."

This law of the Commonwealth, with the public sentiment largely in its favour, of course rendered stage plays prohibitive. There is little doubt that it was the presence of this law on the statute books which gave the final fillip to the theatricals instituted in Boston by General Burgoyne's officers late in 1775.

Faneuil Hall was the theatre used for these exhibitions, and announcements of the plays to be performed were made by hand-bills. Mrs. Centlivre's comedy, "The Busybody," Rowe's "Tamerlane," and Aaron Hill's tragedy of "Zara " were among the attractions offered, the drawing power of the latter being considerably increased by the fact that Burgoyne himself wrote a prologue for it. An interesting contemporary allusion to this entertainment is found in a letter sent by Burgoyne's brother-in-law, Thomas Stanley, the second son of Lord Derby, to Hugh Elliott: "We acted the tragedy of 'Zara' two nights before I left Boston," he wrote, "for the benefit of the widows and children. The Prologue