The Merced Theatre of Los Angeles: An analysis of its management and architecture, 1870-1879. - Page 238 |
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The Wiltons cut short their interior tour and
reappeared on Wednesday, March 26, 1873, in Daly's Under
the Gaslight which they repeated twice on Saturday. They
continued to play at irregular intervals for a week and a
half, introducing such new pieces as Camille and Lucretia
Borgia, then left on April 7 for a week's engagement at
Horton's Hall in San Diego— probably playing some of its
interior towns as well.
During their absence, Henry Parsons was busy. He
worked out a new arrangement with Abbot whereby he was to
lease and manage the theatre himself. 18 Since he was,
first and foremost, a technician, he placed much of his
managerial emphasis on improving the production values of
the shows he was planning to produce through improvements
to the scenery and stage machinery. In addition to
technical improvements, he intended to act as a producer
by bringing in "an accession of new talent to assist the
Wilton Troupe," stage a complete and technically sophisticated
version of Uncle Tom's Cabin "with the entire
original cast represented," and go on to give "a brilliant
season . . . of pieces on the boards, as perfect in all
their stage appointments and dramatis personae as it is
done at the established theatres of the larger cities." 19
The Wiltons returned north by steamer under this
new arrangement on April 22 with Frank Wilton listed as
acting manager and Parsons as lessee and manager. They
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| Title | The Merced Theatre of Los Angeles: An analysis of its management and architecture, 1870-1879. - Page 238 |
| Repository email | cisadmin@lib.usc.edu |
| Full text | The Wiltons cut short their interior tour and reappeared on Wednesday, March 26, 1873, in Daly's Under the Gaslight which they repeated twice on Saturday. They continued to play at irregular intervals for a week and a half, introducing such new pieces as Camille and Lucretia Borgia, then left on April 7 for a week's engagement at Horton's Hall in San Diego— probably playing some of its interior towns as well. During their absence, Henry Parsons was busy. He worked out a new arrangement with Abbot whereby he was to lease and manage the theatre himself. 18 Since he was, first and foremost, a technician, he placed much of his managerial emphasis on improving the production values of the shows he was planning to produce through improvements to the scenery and stage machinery. In addition to technical improvements, he intended to act as a producer by bringing in "an accession of new talent to assist the Wilton Troupe," stage a complete and technically sophisticated version of Uncle Tom's Cabin "with the entire original cast represented," and go on to give "a brilliant season . . . of pieces on the boards, as perfect in all their stage appointments and dramatis personae as it is done at the established theatres of the larger cities." 19 The Wiltons returned north by steamer under this new arrangement on April 22 with Frank Wilton listed as acting manager and Parsons as lessee and manager. They |
