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A historical study of the New York Lyceum Theatre under the management of Steele MacKaye, 1884-1885
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A historical study of the New York Lyceum Theatre under the management of Steele MacKaye, 1884-1885
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A HISTORICAL STUDY OF THE NEW YORK LYCEUM THEATRE UNDER THE MANAGEMENT OF STEELE MACKAYE, 1884-1885 by Harold Seymour Marienthal A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (Communication— Drama) , June, 1966 UMI Number: DP22907 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI DP22907 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 T’ H.S) 3) 'i , t . .H.334L ( C J Copyright by Harold Seymour Marienthal 1966 U N IV E R S IT Y O F S O U T H E R N C A L IF O R N IA T H E G R A D U A T E S C H O O L U N IV E R S IT Y P A R K LO S A N G E L E S , C A L IF O R N IA 9 0 0 0 7 T his dissertation, w ritte n by ...... .Harold.jSeymoujr.Marient^ ....... under the direction of his Dissertation Com mittee, and approved by a ll its members, has been presented to and accepted by the Graduate School, in p a rtia l fu lfillm e n t of requirements fo r the degree of D O C T O R O F P H I L O S O P H Y Dean D a te June 1 . 9 6 6. . . DISSERTATION COMMITTEE ACKNOWLEDGMENT This writer is inordinately grateful to the many persons without whom this study could not have been com pleted* He owes particular thanks to Professor Herbert M* Stahl for his unstinted time and interest in the project, for giving it form, and for his invaluable editorial con tributions. His deepest respects go to Professor James H* Butler for giving encouragement at such times when it was most needed* He is indebted to Paul Meyers of the New York Public Library, to Miss Helen Willard of the Harvard Uni versity Library and to Mrs. Elizabeth Sherrard of the Dartmouth College Library for their considerable help in finding documents that lie at its basis» and to Kenneth Cramer of Dartmouth for exploring the uncatalogued portions of the MacKaye collection at that university from which came so much essential primary data* Special thanks go to Frederic Gavlin and Carl Mueller for untiring editorial chores and to Harriette Doyle for untold hours of secre tarial sacrifice. This writer is further indebted to Tom Middleton for considerable assistance in the preparation of photo graphic materials, and finally, to Maynard Smith, for pulling together the many loose ends that accompany this study. TABLE OF CONTENTS PAGE LIST OF ILLUSTRATIONS.............................. vi CHAPTER I. INTRODUCTION................................ 5 Background of the Problem ......... 5 Statement of the Problem ................. 7 Definitions of Terms ........ ...... 9 Significance of the Study................. 13 Review of the Literature •..• ........... 15 Sources of Material.......... ............ 19 Methods • • ............. ......... 22 II. BACKGROUND OF THE LYCEUM THEATREI THE SOCIAL, POLITICAL AND CULTURAL ENVIRONMENT OF NEWT YORK CITY IN THE EARLY 1880^3.............................. 25 III. MANAGEMENT BACKGROUND OF THE LYCEUM THEATRE .............................. 50 Steele MacKaye . . . . . . . . . . . . . . 57 Gustave Frohman ............................ 62 Franklin H. Sargent................... 68 Other Associates *> • ? . . ............... 73 IV. THE PLAYHOUSE.......... 75 General Location •••••••••••.. 75 The Auditorium .............. 87 The Lights................................ 97 The Balcony . . . . . . .......... • • • • 108 The Main F l o o r ............................ 1 1 6 The Curtain......................... 126 The Stage and the Orchestra Car.......... 133 Fire Prevention and Ventilation Systems * . 139 The Sale of Seats ............... 1**5 S ummary .•••••.••••••••••• 146 V. PERFORMANCES ON THE LYCEUM STAGE UNDER STEELE MACKAYE*S MANAGEMENT........... 148 iii CHAPTER PAGE Production #1* Dakolar . . . . . . . . . . 1**8 The Plot . . . . . . . . . . . . . . . 1**8 The Staging .............. 153 The Scenery ................... 162 Performers and Performances ...... 165 Critical Reviews of the Production . . 177 The Closing of the first Production . . 178 Production #2. In Spite of All.. 186 Legal Background of the Production . • 186 The Plot ................... .. 195 The Staging................... 197 Performers and Performances ...... 202 Critical Reviews of the Production • • 21** The Closing of In Spite of All • • • • 215 Summary....................... 221 VI. THE LYCEUM SCHOOL Of ACTING...... 223 Organizational Background •••••••• 22** Curriculum Structure and Acting Principles ................... 237 Performance and Achievement ••••••• 2** 7 Dissension at the School • • • • ... 250 Summary......................... 259 VII. SUMMARY AND CONCLUSIONS . ............... 2 6l Summary ................... 2 6l Conclusions ..••••••••••••• 262 The Milieu in which the Lyceum was Created • • • • • • .......... 262 Management Background............ .. 2 6** Interior and Exterior features, and Mechanical Innovations at the Lyceum Theatre.............. . 265 Productions at the Lyceum ....... 266 The Lyceum School of Acting ...... 267 BIBLIOGRAPHY............................. 271 APPENDIXES............................... 279 I. A Chronology of Steele MacKaye*s Movements •••••• ........ ••••• 279 II. Exhibit A of the foreclosure of 5 August 1885 (No.G.A. 989 City and County of New York) detailing speci fications of Tiffany*s interior de corations for the Lyceum Theatre • • • • • 281 iv CHAPTER PAGE III. Indenture of January 188**, by which Philip G. Hubert assumed lease of land on which the Lyceum was to be constructed ................. 297 IV. Indenture of February, 1885> under which MacKaye and Frohman assumed liability for the lease and con trol of the Lyceum....................... 305 V. Conveyance of November, 1885 by which William Mitchell, acting for Louis Tiffany, assumed control of the Lyceum Theatre .......................... 311 LIST OF ILLUSTRATIONS Figure Page 1. The Lyceum Theatre, from an 1895 photograph ............... • • • • . 1 2. Steele MacKaye. From a crayon portrait by Sarony .............. 3 3* View of Washington and Cedar Streets, New York, 1885 27 The famous "Ladies Mile," Broadway, from 23rd to l^th Street .............. 30 5. Physical sordidness of New York in the early I880,s . . . . . . . . . . . . 33 6. Sweat shop workers bringing home gar ments made in Eastside tenements • • • • 36 7* Thomas Nast cartoon, depicting political corruption and graft of the "Tweed Ring." . . . . .......... kO 8. The first electric light on a high pole in Madison Square, 1883 •••••• 9* Photograph of MacKaye as "Hamlet," circa 1872 59 10. Gustave Frohman, from a portrait, circa 1882 63 11. Franklin Sargent, from a portrait, circa 1879 • • • • • ................... 69 12. Map of portion of the Eighteenth Ward New York City, 1885 .............. 77 13* The Lyceum Theatre, looking north on Fourth Avenue, circa 1888................ 80 1^. The Y.M.C.A. Building, 23rd Street and Fourth Avenue, circa 1880 • ........... 83 vi Figure Page 15» Lyceum Theatre, section drawing ...... 89 1 6. Lyceum Theatre, plan of street level . . . 91 17. Lyceum Theatre, plan of main floor .... 93 18. Lyceum Theatre, plan of balcony •••••• 95 19* Frontispiece from Lyceum Theatre program of Bronson Howard*s One of Our G i r l s ...........•••••• 98 20. Detail of Tiffany electric fixture • • • • 100 21. Letter from Thomas Edison to Steele MacKaye, 188**....................... 10** 22. Interior of the Lyceum Theatre ......... 109 23* Detail of the Lyceum balcony arrangement .«••••••••••••• 112 2**. Diagram of Lyceum seats and interior, 1886 11** 25* Drawings and specifications of MacKaye*s patented folding chair •• ............. 118 2 6. Cartoons lampooning MacKaye*s mechanical innovations............ 127 27. The Lyceum*s Tiffany-design curtain, open to reveal the MacKaye- invented orchestra car in a frame work of elaborate decoration.......... 13** 28. The orchestra car at top of proscenium. Scene of box-set from In Spite of All ............. 137 29* Plan of ventilating system.......... 1**1 30. Souvenir program of opening performance of Dakolar ............... 1**9 31. Photo of Robert Mantell.............. 1 6 6 32. Photo of Viola A l l e n .................... 169 33 • Photo of Joseph Frankau............ • • • • 171 vii (Figure Page 3^* Photo of Sadie Martinet ......... 175 35. Souvenir program of final performance of Dakolar.......... 180 36. Performance contract between MacKaye and Minnie Maddern.............. . . . . 186 f 37* Playbill of In Spite of Al l.............. 192 38. Photo of leading New York critics, William Winter and Andrew C. Wheeler • . 198 39* Photo of Minnie Maddern Fiske ............ 203 fyQ. Photo of Richard Mansfield •«•••••• 206 kl. Photo of Selina Dolaro.................. 209 k2. Photo of Eben Plymton . ................ 212 1 ^3* Acceptance of MacKaye*s resignation from the Lyceum .•••••...•.•. 219 kk. MacKaye*s studies in expression ...... 2^1 viii Fig, 1,— The Lyceum Theatre, from an 1 8 95 photo graph, The sidewalk awning and theatre sign are the only marked exterior changes, (Photo* Courtesy of the Museum of the City of New York,) 2 Fig. 2.— Steele MacKaye. From a crayon portrait by Sarony. 3 CHAPTER I INTRODUCTION Background of the Problem During the last quarter of the nineteenth century, the American theatre finally came of age as an institution owned and operated by and for Americans. Until this time, nearly all theatres had been built and managed by the more experienced English professionals, and the principal reper tory of the larger houses consisted of English plays. We must agree with Montrose Moses I The American background, from the period of colo nization, was English. It has been difficult for us, so far as a native drama is concerned, to escape that fact. With the spirit of the Cavalier, we transplanted the theatre of David Garrick to the bare, crude boards of Williamsburg, Virginia; with the determination of the Roundhead, we brought into New England austerity and a Puritan prejudice against player-folk. Both these ele ments persisted. It was well for us that we had a theatre spirit which we could thus import; otherwise, it might have been a long while before we would have had time to create one for ourselves.* Not until the I869 opening of Daly’s Theatre was a native landmark of distinction established. It was here that Bronson Howard’s Saratoga presaged the coming of a native school of playwrights to compete successfully with *Montrose Moses, The American Dramatist, p. 3* 5 6 the British invaders* The success of Daly’s Theatre led to a wave of theatre-building, and eleven major houses were constructed in the period between 1870 and 1890. Among these eleven were the Madison Square Theatre, in 1879 > and the Lyceum Theatre, in 1885> both of them theatres built by Steele MacKaye* playwright, actor, di rector, teacher and inventor. From the fertile brain of this remarkable man came innovations that altered the construction and operation of American theatres from that time forward. He was the first American to break with antiquated European traditions of management and audience comfort. At the Lyceum, MacKaye be came the first American manager to consider the theatre a total enterprise* all aspects controlled by the managerial genius of one man— himself. In his desire to establish new trends toward realism, he wrote the plays presented on the Lyceum’s stage. But he went even further* he created this nation’s first school of acting and drama, he directed its plays, utilizing techniques then entirely new to the country; and finally, he created in the Lyceum Theatre a playhouse so unique in concept, and original in its execution, that he established therewith a new standard for theatrical aes thetics . The present study is designed to bring into sharp focus the exact nature of the Lyceum Theatre, from its in ception early in 188^, to MacKaye’s resignation from it in November, 1885. To achieve a meaningful perspective, it seemed important to recreate the cultural, economic, and political background in which it flourished. A detailed re cord of the two productions MacKaye mounted at the Lyceum explores his leadership in the movement toward greater realism on the American stage. The study also outlines MacKaye*s creation of a combined acting school and resident acting company. And finally, by means of a reconstruction of the Lyceum, an examination is made of his theories and accomplishments in the creation of that theatre's unique physical plant. These facts should help to more clearly define the role of the Lyceum in the development of the American theatre. Statement of the Problem It was the purpose of this research to make a his torical study of a specific playhouse, the Lyceum Theatre in New York City, during a concentrated and significant period of its existence. The theatre was completed under the supervision of Steele MacKaye and its first two pro ductions were staged under his management during 188^-1885* This study was designed to reflect the political, economic and cultural environment in which the Lyceum Theatre was created, its position in the development of American theo ries and practices during his managerial tenure. To ac complish this goal, five principal aspects of the Lyceum 8 Theatre were considered: I. The overall environment of New York City during the early 1880s, in which MacKaye created his expensive new theatre, A. The political and economic milieu* B. The nature of the cultural milieu. II. The background of the Lyceum Theatre’s manage ment . A. MacKaye*s previous experience in theatre con struction • B. MacKaye*s general background in management. C. The theatrical experience of MacKaye*s associ ates in the Lyceum venture. III. The distinguishing features of the Lyceum’s physical plant. A. Its geographical surroundings. B. Architectural principles employed in its con struction. C. The details of interior decor. D. Its innovations in stage machinery. E. New scenic devices employed. F. Measures taken for improved lighting, seating, and general audience comfort. IV. The production history of the Lyceum Theatre un der the guidance of Steele MacKaye. For each of the two productions, the following inquiries were made: A. W hat was the nature of the play? B. How was the play staged? C. What was the nature of the acting? D. What was the critical reaction to each of the productions? V. The nature and execution of the Lyceum's School of Acting, A. Methods and principles of acting advocated* 8, The effectiveness of their execution. This study attempted to answer these considerations by reconstructing the Lyceum Theatre's history from records of observers, MacKaye*s own writings and drawings and from legal and historical documents. Furthermore, this study appraised the magnificence of MacKaye*s theories and practices at the Lyceum Theatre and their contribution to the development of the American theatre whenever such an evaluation could be definitely determined• Definitions of Terms Three terms that underlie an understanding of MacKaye*s stage practices are important to this study. They are realism, acting, and directing technique. Styles of staging and acting in the American theatre during the last two decades of the nineteenth century were not clearly defined. Vestiges of the highly emotional act ing style associated with Europe*s Romanticism often mingled 10 with new styles seeking greater illusion of actual, real life behavior* MacKaye*s directing practices of this period reflect this state of flux and indecision* As this study details two plays directed by him at the Lyceum Theatre, it is deemed essential to define these terms as they apply to his productions. Realism*--In this study, realism is defined as a theatrical style that attempts to portray life with scienti fic objectivity. tfith respect to acting, it is the style in which the speech and movement of actors simulate everyday speech and movement. This definition of realism is further extended to include attempts, by means of scenic style and mechanical effects, to simulate on the stage the physical surroundings of ordinary life and natural phenomena such as sunlight, moonlight, rain and wind* MacKaye often confused external realistic movement and scenic verisimilitude with internal human behavior. This study therefore draws a further distinction between "internal” and "external" realism. The latter term is de fined as lifelike action, mechanically executed to simulate real life situations. By "internal" realism is meant the actor*s internal consciousness of his role in relationship to the roles of all the other actors in the scene. The in tention is for the actor to submerge his individuality wholly to that of the role. MacKaye was only occasionally concerned with "internal" realism as when, during a re- 11 hearsal at the Lyceum Theatre, he interrupted an actress and said: Your desire is to get the public interested in the story you are telling . . . and this could never be done unless you show that you yourself are intensely absorbed in it and acutely feel the sadness of what you are re lating. Now go over that again, please.2 Acting.--MacKaye* s productions at the Lyceum Theatre came at a time when acting styles were undergoing a con siderable change. The trend was away from "traditional" acting and toward "stylized" acting. Acting styles, like the period’s general staging methods, were not clearly de fined, fluctuating between Romanticism and the new bur geoning Realism. For purposes of this study it is essential to distinguish between "traditional" and "stylized" acting as MacKaye mingled actors of both styles in the same pro duction and frequently permitted displays of blatant theatricality in place of realistic passion, according to the accounts of many critics of the time. In this study, therefore, "traditional" acting is defined as that acting style dominant on the American stage prior to the 1880*s. It was declamatory in nature and stressed melodic and rhythmical speech, rather than adher ing to a conversational tone. The actors* speech was also generally accompanied by selfconscious movement, intended to enhance elegance and dignity. 2New York Mercury, March 22, 1885. 12 Acting, as taught by MacKaye, although still "styl ized,” strove for a more familiar, colloquial manner of gesture and movement, in an attempt to portray life with complete objectivity. It sought a fusion of dynamic and graceful movement with non-bombastic speech, and aimed at a completely objective recreation of ordinary human behavior and activity. Directing technique.--C1early, the most powerful force in the American theatre in the last half of the nine teenth century was the movement toward realism, as pre- vously defined. It called for an authenticity of milieu and a degree of theatrical verisimilitude obtainable only by a new concept of the director and his relationship to the entire production. Prior to this trend toward unity of production, the director*s function was relatively simple and generally confined to supervising rehearsals and theatre administration. This required little in the way of "direct ing technique." The growth of realism, however, necessi tated far greater directorial control over actors and en sembles and the physical elements of production. MacKaye was among the first American directors to develop and de fine his "directing technique." As used in this study, "directing technique" de lineates the MacKaye concept of the director as an autono mous autocrat, wholly responsible for the staging of a play 13 and accountable only to himself for every aspect of a pro duction. In this connection, Percy MacKaye, speaking of an earlier production of his father*s Through the bark, said* The chief use of this production to the author, in the development of his theatre craftsmanship, was the opportunity which it offered him for some months of in ventive experiment in stage effects, lighting, and mechanics; for the artistic arrangements of tableaux and scenery; and for personal directorship of the acting company.3 Significance of the Study This study gives a detailed account of one of the more important theatres in the United States, one instru mental in effecting the change from English traditions of construction and staging to American methods. There is a current and growing interest in American theatrical history during the somewhat neglected last quarter of the nineteenth century, a neglect which has obscured the roots of this country*s movement toward more realistic staging, and toward indigenously American theatrical forms. Of primary significance in this study is the con cept of investigating every aspect of a theatre during its intense, organizational phase when its characteristics are moulded by social, economic, and political forces and by the taste of its artistic directors* The Lyceum Theatre was created in a hectic time, in the rush of the industrial re- 3percy MacKaye, Epoch* The Life of Steele MacKaye. Genius of the Theatre, In Relation to his Times and Con temporaries * I, 298. 1 ^ volution and in a period of fundamental changes in the milieu of the city of its birth. Its creator, Steele MacKaye, was like his cityt restless, extravagant, impetuous and marvel lously inventive. All these qualities are reflected in the Lyceum Theatre, with its unique interiors, mechanical inno vations, its display of new methods of production, as well as in the intensity of the quarrels that surrounded it. All of these factors are dealt with in this study, providing a many-faceted insight into the Lyceum, and truly making a theatrical enterprise serve as a reflection of its time. The Lyceum Theatre was as much a projection of MacKaye*s dreams and aspirations as MacKaye was the driving force that gave the theatre its stature as a significant milestone in the progress of the American theatre. MacKaye established forms and traditions at the Lyceum that were rapidly imitated and in modified form are still a part of our theatre. Therefore, this playhouse also occupies a transitional position, influencing the nature and character of the American theatre into the twentieth century. This study is therefore also important as it details those specific contributions made by MacKaye at the Lyceum in advancing the arts of acting, directing, stage and scene design, as well as the promotion of audience comfort and the refinement of theatre aesthetics. No specific, complete study has been made of this theatre and its position in the spectrum of American theatrical history. It is the inten 15 tion of this study to remedy this omission. Review of the Literature Percy MacKaye’s Epoch* The Life of Steele MacKaye* 4 , is a valuable source of biographical data, as well as of illustrative material. It contains an extensive chronology of MacKaye's movements, detailed descriptions of his inven tions and innovations, and a useful inclusion of comments on, and critiques of, his more successful accomplishments. Edwin Osgood Grover’s Annals of an Era5 provides an excellent annotated bibliography and history of the entire MacKaye family. It was assembled from records in a number of MacKaye collections, including the Dartmouth College Library. Several of the important histories of the American theatre present significant general statements on the con tributions of Steele MacKaye at the Lyceum, and Glenn Hughes, in his informative survey of the American theatre (1951)> makes the following comment on MacKaye, who, he says, quit the Madison Square Theatre and took to barnstorming, but in 1885 he] joi ned with the Frohmans to open the new Lyceum, to the equipment of which he applied his technical inventiveness. It was in connection with the Lyceum Theatre that MacKaye founded his School of Acting— which later became the American Academy of Dramatic Art, ^Ibid. ^Edwin Osgood Grover, Annals of an Era, Percy MacKaye and the MacKaye Family^ 1826-1932. 16 and was for many years presided over by Franklin Sargent, a pupil of MacKaye*s.6 Kenneth Macgowan and William Melnitz, in their exten sive study of the changing theatre, also refer to MacKaye*s withdrawal from the management of the Madison Square Theatre and his subsequent connection with the Lyceum: Three years later he opened the Lyceum Theatre and exhibited other ingenious devices. For the first time in America, he lit the stage with electricity, installed an air-cooling system, and used an elevator to lower the musicians out of sight during the performance. He pivoted the folding chairs so that the whole floor could become a mass of aisles. Some time before, he had in vented the wire frames that still hold the hats of play goers beneath the seats.7 T. Allston Brown, in his definitive A History of the New York Stage, attests to the importance of MacKaye and the Lyceum, when he maintains that uto the late Steele MacKaye we owe the existence of the unique little playhouse known as *The Lyceum Theatre.* It occupied a lot of fifty feet in width, on the west side of Fourth Avenue, between Twenty- third and Twenty-fourth Streets, adjoining the Academy of Design." 8 Wade Curry*s 1957 doctoral dissertation on MacKaye’s %lenn Hughes, A History of the American Theatre, p. 236. 7k enneth Macgowan and William Melnitz, The Living S tage, p.397* It should be noted that the elevator referred to did not lower the musicians out of sight but raised them to the top of the proscenium. ®T. Allston Brown, A History of the New York Stage, III, 419. 17 directing and production methods^ is chiefly concerned with a general survey of the techniques which span his entire career; though carefully written, it includes only limited information regarding any one theatre, including the Lyceum. Only a surface attempt was made in the dissertation to analyze specific performances, and only the most cursory treatment of the Lyceum*s significant details have been in cluded . Joseph D. Batchellor^ concerns himself mainly with a comparison of MacKaye's and Belasco's directorial methods, and, while his thesis is useful as a guide to MacKaye's general approach to theatre aesthetics, it, too, provides no specific production details, nor does it deal with MacKaye's development of the physical theatre in America. Susan Eaker's master's thesis** significantly de lineates Steele MacKaye's influence on his son, Percy, but emphasizes the latter's contributions to the American stage rather than his father's. It is a useful document on the elder MacKaye's directorial practices in major productions, ade Chester Curry, "Steele MacKaye* Producer and Director" (unpublished doctoral dissertation, University of Illinois, 1957). *Ojoseph D. Batchellor, "A Comparative Study of the Contributions of Steele MacKaye and David Belasco to the American Theatre" (unpublished master's thesis, Department of Speech, University of Minnesota, 1939). **Susan Eaker, "Steele and Percy MacKaye* Their Theories and Practice in the Theatre" (unpublished master's thesis, Cornell University, 19^0). 18 and a fine summary of the entire venture of his ill-fated Spectatorium, Little investigation in depth, however, was made of either the earlier productions, or of the signifi cant inventive process brought to bear in the theatres where they were created. ytfilliam Vorenberg's study, misleadingly titled '•Steele MacKaye’s Ideas and Theories as Incorporated in the Lyceum Theatre"*2 provides a comprehensive survey of the Lyceum only after MacKaye severed his connection with it, and presents only cursory data of the theatre’s physical structure and of MacKaye’s work on its stage. It is useful, however, for the citation of bibliographical data concerning the actors and actresses who played under MacKaye’s direction, and as a source of reviews of the productions. A careful general survey of the existing material brings with it an awareness of the growing interest in Steele MacKaye and the historical significance of his con tributions to the American theatre. Many of the theses, dissertations and articles have, for some reason, ignored or lightly passed over the physical theatre to which MacKaye contributed so notably. Few works dealing with his career include significant photographs and/or plans of his inven tions and productions. None of them attempts to reconstruct accurately, and with pertinent commentary, the significant 12i*Till iam Vorenberg, "Steele MacKaye’s Ideas and Theories as Incorporated in the Lyceum Theatre" (unpublished master’s thesis, Stanford University, 19^9)- 19 "total theatre” concept to which MacKaye fused his inventive genius and designer’s skill. Few, again, do more than out line his considerable talents as an innovator of scenic con ventions. Thus, while the written material underlines MacKaye’s growing prominence as a milestone of the American theatre, the fundamentals of his theatrical art and inven tiveness remain relatively obscure. Sources of Material A maximum amount of primary material is used in this study (some for the first time), including the following* The Dartmouth College Library MacKaye Collection Most of the material in this collection remains un catalogued. Substantial portions, however, were made avail able to this researcher for specialized study on the MacKaye family. Dartmouth College has assembled twelve scrapbooks of newspaper and magazine clippings* of the total group, Scrapbook V was reproduced in its entirety for this study, plus portions of Scrapbook IV and VI. Concentrating on the 188^-1885 period, these data contain invaluable source- material on the management dissension at the Lyceum; bio graphical details on Belasco and Frohman (both associated with MacKaye in the management of the Lyceum); and many pro duction details of the two plays produced by MacKaye on the Lyceum stage. 20 The Harvard University Theatre Collection This contains invaluable biographical data on Steele MacKaye, many construction details of the Lyceum and a number of valuable documents pertaining to actors and actresses connected with the MacKaye productions. This col lection is also the source for reproductions of original playbills of the Lyceum’s productions. Records of the City of New York An exhaustive survey was made of materials available in the several collections of the City of New York. The staff of the Theatre Collection of the New York Public Library, now located at the Lincoln Memorial Center, un covered invaluable iconographic materials of the Lyceum’s seating arrangements, exterior configurations and decor, as well as critical reviews of performances. Despite possible unpublished modifications of the theatre, this valuable material made it possible for this investigator to project an accurate reconstruction of the original Lyceum Theatre. A superb original photograph, discovered at the New York Historical Society, has been extremely helpful in this re construction . Municipal Government Records of the City of New York Municipal government records of the City of New York were of fundamental importance to this study. itfhile most 21 of New York City’s records of buildings were destroyed in a fire at the Hall of Records in 1905, by a stroke of good luck, liber ledgers (and other legal documents) were main tained in a separate building. As a result, all original lease and purchase information by which MacKaye and his associates assumed control of the Lyceum, were preserved, and are included in the present study. An even more signi ficant document, one central to this work, was searched out through the Office of the New York County Clerk. The docu ment is Exhibit A of the Foreclosure of 5 August 1885 (No. Gr.A. 989, City and County of New York). This notarized document reliably details the Lyceum’s interior configura tions, and supports a mechanic’s lien placed on the theatre by Louis Tiffany for non-payment of bills incurred in the decoration of the theatre. A reproduction of this document, in toto, is also included herein. Newspaper Clippings Newspaper accounts of the Lyceum, of MacKaye, and of his two productions at that theatre, provide an essential source of significant primary information. Since MacKaye subscribed to a clipping service (the National Press Intelligence), important sections of which were made avail able by the Dartmouth College Library, verifiable criti cisms of the Lyceum’s play productions are possible. More over, the newspapers selected for this study are all major publications, maintaining research facilities which supple- 22 ment the scrapbook information. Methods In testing the authenticity of sources, both exter nal and internal criticism was applied* External Criticism (Charters, documents, news stories, articles, and reviews) All of the newspaper reviews and magazine articles included here carry a by-line, and are accurate both in the name of publication and date of writing, Percy MacKaye’s Epoch, as has been suggested, is generally confined to favorable reviews and articles. A special effort was there fore made to include, as well, articles that criticized and questioned MacKaye’s methods and accomplishments. Particular care has been taken with a comprehensive comparison of descriptive materials dealing with the Lyceum’s physical data. Such data were most often found to be consistent. All newspaper and periodical accounts of the Lyceum’s physical properties were carefully checked against existing pictorial and diagramatic information, and only such dimensions were admitted to the projected reconstruc tion regarding which little or no valid statistical doubt remained. 23 Internal Criticism MacKaye's own detailed analysis of staging; methods, outlined in his plans for the operation of the Lyceum School of Acting, served as a guide-line for the Lyceum's produc tions. His published pronouncements of theatrical princi ples were weighed against verifiable newspaper articles, reviews, and such primary materials as letters and reports, official and otherwise. Acting methods and details of performance have evolved from careful analysis of both conflicting and corro borating critical reviews, and from biographical statements made by actors who performed at the Lyceum under MacKaye's direction• (S cripts) Neither the original scripts nor the promptbooks could be discovered for the two plays, Dakolar and In Spite of All which MacKaye wrote for, and produced at, the Lyceum. For both of these productions, therefore, reliance was placed on copies of typed scripts (at Dartmouth) which, ac cording to Percy MacKaye's notes, are probably typed from Steele MacKaye's original manuscripts. (Reconstruction of Performance) A considerable, and obvious, problem existed in re spect to the recreation of actual performances staged eighty-one years ago* Under the circumstances, it was con sidered that the most reliable process was to (1) establish zh the principles advocated by MacKaye in his own descriptive writings regarding methods and intentions in stage perfor mance; and (2) weigh these against the evidence provided by contemporary critics and other persons interested in the theatre. The several views, whether corroborating or con flicting, were carefully balanced against each other in the establishment of an acceptable basis for analysis. In this connection, biographical and autobiographical writings of players who performed under MacKaye’s direction were care fully examined, and, when deemed reliable, included in the study material. CHAPTEH II BACKGROUND OF THE LYCEUM THEATRE: THE SOCIAL, POLITICAL AND CULTURAL ENVIRONMENT OF NEW YORK CITY IN THE EARLY 1880’S Steele MacKaye and New York City were made for each other. In 1880, when MacKaye left an insupportable situa tion at the Madison Square Theatre, and turned his atten tion to plans for the new Lyceum Theatre, New York City was also undergoing considerable growing pains• New York City, as we know it today, began to take shape in 1879. Its census of 1879 listed 9^2,292 residents, which a tremendous influx of immigrants raised to more than 1,500,000 by 1880, This superimposition of European cul tures resulted in identifiable ethnic groupings: "Little Italies," the lower East Side Hebrew section, Negro Harlem and the Orientals gathered in pockets surrounding Mott and Pell Streets. Living conditions of the new immigrants were appal ling. Manhattan’s limited confines created a congestion of squalid slums, breeding grounds for the exploitation of its iFor a general chronology of MacKaye’s movements and activities, see Appendix I. 26 industrial workers. The contrast between the City’s "haves” and "have-nots" was startling. In the area south of Central Park, magnificent brownstone structures overwhelmed the shabby hutches of recent European squatters who often lived, livestock and family, in a single room. By 1880, virtually all space south of the Park was occupied and new waves of immigrants urged the City northward, across the rivers and into the suburbs which, toward the end of the century, be came the several Boroughs of Greater New York. By the late 1870%, the City evolved its mania for vertical construction, and eight-, ten-, and eleven-story buildings appeared. This architectural revolution caused a British journalist to report that the Americans "move almost as much on the perpendicular as on the horizontal plane. When they find themselves a little crowded, they simply tilt a street on end and call it a skyscraper."2' These towers of masonry soon became antiquated by building methods that substituted steel skeletons for masonry. This technique allowed the construction of truly enormous buildings, so essential to businessmen whose loca tions were made desirable by close ties to centers of population• MacKaye’s establishment of the Lyceum Theatre at a location considerably removed from the center of the enter- 2w. E. Adams, Our American Cousins, p. 2 0 6. Fig* 3•--View of Washington and Cedar Streets, New York in 1885, showing great contrast between tall building of financial district and decrepit old wooden houses. (Valentine*s Manual of Old New York. 1927). 27 29 tainment district,3 was intimately connected with the growth of hotels and clubs catering to the City’s aristocra tic elements. In the vicinity of Fourth Avenue and Twenty- third Street, where he ultimately completed the Lyceum, were to be found the most luxurious hotels and several exclusive clubs. Broadway, from Twenty-third Street down to Eighth Avenue was known as the "Lady’s Mile," where New York’s wealthy women went shopping.^ The firm of Lord and Taylor erected a vast and ornate emporium at Twentieth Street to cater to their tastes. Immediately north of Fifth Avenue, the imposing marble structures of the Albemarle Hotel and the famous Hoffman House served New York’s aristocracy, sug gesting a potential source of playgoers for theatres in that vicinity. Even in the early l88(Fs, New York’s con trasting landscape was altogether implausible. Madison Square, where MacKaye built the second of his three theatres, was lined on the east and north by the mansions of the rich and rapidly became the center of metropolitan public life. Broadway, north of Madison Square, as far as Thirty-first Street, held towering structures of large, expensive hotels, but Sixth Avenue, sandwiched between Broadway and Madison Avenue, festered into a rampant den of vice from Fourteenth Street northward. Under the roaring elevated trains of Sixth Avenue lay the area near the Lyceum, denounced by 3see Map of New York City, Figure 12. ^See Figure k. Fig* — The famous ' ’Ladies Mile," Broadway from 23rd to l^th St* From 1880 to 1900 the great retail shopping center* Only four crosstown blocks from where MacKaye decided to establish the Lyceum. (Valentine's Manual of Old New York* 1927*) 30 32 the celebrated Brooklyn preacher, Dr* T. DeWitt Talmadge, as "Satan*s Circus,” a name later changed, according to Lloyd Morris, by • • . Police Inspector T. I. Williams, a man not dis posed to ignore practical advantages,£ who] remarked that he had long been restricted to a diet of rump steak? now he was to have a generous slice of the tenderloin* Throughout the country, New York*s center of vice and crime became known as The Tenderloin.-5 Lower Fifth Avenue, between Washington and Madison Square, remained a citadel of aristocracy, rivalled only by Madison Avenue with its magnificent Tiffany residence, the same Tiffany responsible for the interior decoration of the Lyceum. Bayrd Still underscores this juxtaposition of glam our and squalor, comparing Madison Avenue and Fifth with Sixth Avenue? • • • the pedestrianism of Sixth Avenue symbolized, by contrast, the ever-heightening social diversity in the metropolitan scene. Opposed to the aristocracy, wealth, and elegance of Fifth Avenue were the plebeian sights and sounds of its more menial neighbor to the west — the carts and vans, the five-cent cars, the workmen’s trains, the street-stalls and lager-beer saloons, the odor of fish, and cabbage, and stale tobacco, the bars, the butchers, the democracy of Sixth Avenue.” Side by side ran the two contrasting thoroughfares (wrote an English visitor of 1881, "these representatives of the Ten and the Million, patrician velvet and plebeian corduroy.”? ^Lloyd Morris, Incredible New York, pp. 111-112. ^Bayrd Still, Mirror for Gotham, p. 211. ?Iza Duffus Hardy, Between Two Oceans? or, Sketches of American Travel, p. 96. Fig. 5*— Physical sordidness of New York in the early 1880,s* Rubbish and refuse obstruct the side walk. (Photo* Courtesy Museum of the City of New York.) 33 35 New York's labor conditions in the early eighties were extremely bad. The great influx of immigrants provided greedy employers a chance for greater production by exploit ing the needy. Union wage scales in most of the industries — where unions existed— were one-tenth of what they are to day, In the unorganized trades wages ran from one dollar to two dollars a day for a work-week of fifty-four to sixty hours. Most of the work in the needle industry was done in the sweat shops of irresponsible, small contractors who dis tributed the work to men and women living and working in dark, filthy tenements. Children of a tender age sewed on buttons and pulled out bastings. Often a contractor would abscond, leaving the tenement workers without even the miserable wages due them. Bread and candy were manufac tured in basements and tenement cellars. If New York had a single, unifying occupation, it was the pursuit of the almighty dollar, an endeavor into which MacKaye threw himself whole-heartedly. And yet his corollary concern for aesthetic beauty should also be noted. He was surrounded by depressing architectural ugliness* end less blocks of narrow houses, monotonous lines of buildings in masses of unrelieved perspective. Morris might well have been speaking of the brooding, restless MacKaye, plan ning his new "dream-theatre” in this pedestrian environment, when he described New York City of 1880 as* . . . titanic, a city of violent bewildering contrasts, Fig, 6.--Sweat shop workers bringing home gar ments made in Eastside tenements, (Valentine*s Manual of Old New York, 1927.) 3 6 37 38 yearning for ever greater power, greater wealth. It built,only to abandon its buildings, obliterate them and build again, in a different way, for another purpose. It had succumbed to the most restless and insatiable of passions, and the results of its exorbitance confronted you everywhere. Only in New York was it impossible to distinguish the illusion of permanency from the con viction of transience. Ceaselessly shifting, changing, growing, perpetually provisional, there was no other city like it in the world.® The political arena of New York in the early eighties was completely controlled by Tammany Hall. Leader ship, from the highest official to the lowest district captain, was rotten to the core. Saloon-keepers and vice- profiteers loomed prominently in Tammany*s councils. Ballot- stuffing, "repeaters,” and strong-arm methods ran riot on election days. The Republicans, regarded as the organiza tion of the wealthy and high-brows, formed a minority party even then. Occasionally, with the help of the county Democratic machine, they would win a few city offices. Ac cording to one commentator! . . . there were sporadic attempts to put up inde pendent labor tickets, but in most cases they failed to win the union vote. The Socialists always had their own ticket, but, as they had more orators than voters, their vote was then quite negligible.9 The sordid state of New York*s municipal politics in the early eighties prompted critical comment from the eminent philosopher Robert Spencer, travelling incognito in the United States. At the time of Spencer's visit in 1882, ^Morris, op. cit., p. 103. ^Gregory Weinstein, The Ardent Eighties, p. 133. 39 Tammany, which had run New York City since the early 186o*s virtually unopposed, had just recovered from a minor set back caused in the exposure, in the early seventies, of the notorious Tweed King. “Honest John” Kelly now controlled Tammany, He used the machine as a great vote-spewing jug gernaut, strengthened by control of the immigrant vote, and subsidized by special-interest groups, political nominees and persons seeking, or forced to seek protection, Kelly’s empery lasted from 1872 to 1886. Said Spencer: The extent, wealth, and magnificence of your cities, and especially the spendor of New York, have altogether astonished me . . . if along with your material progress there were equal progress of another kind, there would remain nothing to be wished • . • local taxation is crushingly heavy, and so inequitably assessed that the millionaires pay least, and the poor most. The paving of the streets is so rough as to recall Belgrade or Petersburg; the gas is as bad as the pavement; and it is only in Broadway and portions of Fifth Avenue that an unsystematic use of the electric light creates a bril liancy which but heightens the contrast with the gloom elsewhere . . . the police is inefficient, arbitrary, and corrupt. At its head are four Commissioners, who are politicians in the American sense, and nothing more. They are virtually appointed by the Aldermen, who have authority to confirm or reject the Mayor’s nomination of heads of departments • . • : Even the eleven police judges, who should be the independent expounders and enforcers of the criminal law, are appointed by the same agency, so that if their origin be traced to its first cause, they are the nominees of the criminal classes they have to try and punish. The result is that it is impossible to procure the adequate punishment of any official, however criminal, since he was appointed as a political partisan. There can be no question that New York City’s poli tics in the early 1880*s were totally corrupt, and that its till, op. cit.t pp. 238-2^0. Fig* 7,--Thomas Nast cartoon, depicting political corruption and graft of the "Tweed Ring.” ko CAurtui (0 y WHO ___________________ 9 sio u t t « piof i.rs M<yun? — 00 Tf IL . NY.TIMCS. T W K K " C A H ™ ™ » r T „ „ M lS S , „ S ^ 42 social inequities were as raw and severe as its growing pains. So, too, MacKaye’s career reflected like concern with the spectacular, an obsession with wealth which charac terized every aspect of New York's social scene. His grandiose efforts at the St. James and Madison Square Theatres mirrored an integral part of later nineteenth cen tury New York, which offered rich and varied entertainment to its pieasure-seekers. By 1884, the number of the City's theatres had grown to more than thirty, and the greatest players of the day— stars like Sarah Bernhardt, Helena Modjeska, Ellen Terry, Henry Irving, and Edwin Booth— shared the public stage with popular entertainers like Lily Langtry and Lillian Russell. James Burnley, an English traveller of the later seventies, praised the handsome appearance of New York's theatres and their free distribution of programs, not an unpaid-for commodity in London houses. Ticket scalping, he noted, was a common practice, and Henry Irving was astounded to see his first-night audience "mobbed by a band of ticket speculators," with satchels strapped to their shoulders, and announcing in hoarse tones, directly beside the box-office! "I have seats in the first row . . . I have the best seats in the orchestra."** Another visitor to New York, Englishman George Sala, eloquently describes the social scene which occupied Mac- {• ' lljoseph Hutton, Henry Irving's Impressions of America narrated in a series of Sketches, Chronicles, and Conversations! pi 124... . **3 Kaye’s concern while planning the exclusive new Lyceum Theatre; Why should I not be content to remain in blissful ignorance of the "seamy" side of the poverty, and vice, and crime of New York? Why could I not let well alone? To the tourist wel1-supplied with letters of introduc tion, and with plenty of money in his pocket, Manhattan is, at the present moment, perhaps with one exception, as enjoyable a metropolis as could be found in the whole world over; the exception of which I speak is the poten tial occurence when the frost is apparently at its hard est, and promises to last some weeks longer, of a Thaw, Then everything, in an out-of-doors sense, goes to wrack. Slush is triumphant; crossing Fifth-avenue is wading through a Malebolgian mire, and perambulation is, to a lady, next door to the impossible. But, if you can af ford to keep a carriage or to hire a hack coupe, you will find New York between the end of November and the begin ning of March, gayer than Paris, and almost as gay as St. Petersburg was before the Nihilist revolts. The fashionable season is beginning, and society is brilliant, merry, cosmopolitan, refined, intelligent, and almost totally free from p r e j u d i c e . *2 With enormously increased wealth, and its attendant leisure, New York’s cultural life of the 1880’ s grew by leaps and bounds. The Metropolitan Opera House, inaugurated in the autumn of 1883* signalled the complete take-over of a new aristocracy--by the City’s great capitalists— men like J. P. Morgan, George F. Baker, Cornelius Vanderbilt,William Rockefeller, Jay Gould, William C. Whitney, and Collis T. Huntington, to name only a few. The tycoons of the day frequented the Casino, a luxurious new temple devoted to light opera. It was to the theatre, however, that New Yorkers l^George Augustus Sala, America Revisited, p. 32. kk turned most for artistic pleasure, and no other cultural en terprise showed a more astounding development. New York was always a "good show town," from the days of the Park Theatre to the current Vivian Beaumont. The large, poly glot population, mostly illiterate, turned to the play houses for common diversion. The seventies, in fact, wit nessed a pronounced development in the art of the theatre, and not merely in quantity and variety. Until the last quarter of the nineteenth century, fofallack’s Theatre stood foremost in the presentation of modern drama. Wallack’s Stock Company was a Broadway fix ture, enjoying a nearly unbroken record of success. It was the theatre of its time. Then in the middle seventies, Augustin Daly became the premier manager. With the sunset of tfallack’s, Daly’s Theatre— an 1879 rebuilding of the ramshackle old Broadway Theatre near Thirtieth Street— en joyed the high noon of fashionable popularity, at least until the Lyceum came along. The manners and morals of New York’s wealthy set were portrayed in . . . Many of the plays produced at New York’s two pre mier theatres, Daly’s and the Lyceum, which had become, in effect, national institutions. They were the City’s most fashionable playhouses, the only ones for which you dressed in formal evening attire if you intended to sit in the orchestra or boxes. At his theatre, Augustin Daly had organized a permanent stock company, headed by vivacious, red-headed, Ada Rehan and elegant John Drew, who were the exemplars of style and deportment, and eagerly imitated by the younger generation. Going to Daly’s was rather like attending a social function. . . . The Lyceum Theatre, on Fourth Avenue near Twenty-third Street, remote from the Rialto, was popu- i*5 larly called the "drawing-room home of drama," It was a small playhouse, handsomely decorated by Louis Tiffany, where Daniel Frohman and Steele MacKaye had organized a resident stock company with Georgia Oayvan as the lead ing lady and Herbert Kelcey as the leading man. Unlike Daly’s, the Lyceum did not include the classics in its repertory, but specialized in modern realistic drama, and comedies of New York’s social life. Society trans ferred to the Lyceum its former loyalty to tfallack’s • The Four Hundred went to the Lyceum, so they would be ob served, and to learn from the actors and actresses how they ought to behave, how they ought to furnish their homes, and how to carry their clothes.*3 Perhaps it was little more than perversity that prompted MacKaye to insist on the establishment of the Lyceum so far from the "Rialto," as New York’s theatrical area was known in the early eighties. His decision is par ticularly difficult to fathom when one considers that New York’s earliest lighting installation was in the downtown business district.*** The heart of what is now the "Gay ^hite wTay" was then considerably north of the Lyceum’s Fourth Avenue loca tion. The Casino, for one, was at Broadway and Thirty-ninth Street, and thereby availed itself of the new (electric) lighting. This was true also of the Metropolitan Opera. ^Morris, op. cit., p. 188. Morris errs on two facts in the passage quoted* it was Gustave, not Daniel Frohman, who joined MacKaye at the Lyceum. Georgia Cayvan and Herbert Kelcey never acted at the Lyceum under MacKaye. * **A oommuni cation from Kathleen McGuirk, Archivist of the Edison National Historic Site at Orange, New Jersey, dated December 21, 1965 advises that, "the Central Stations" which supplied power to buildings in a specified area came later; the first one in this country was built in the down town business district of New York City, on Pearl Street, and was designated the "First District." This station be gan operations on September 1882. Fig. 8.--The first electric light on high pole Madison Square 1883. (Valentine*s Manual of Old New York. 1927.) — — ^7 *+8 Thirty-fourth Street, a juncture of traffic lines of the newly-constructed elevated trains, was the focal point of the playgoing world. From there, to Forty-second Street, stood such eminent theatres as The American and the Herald Square* All this made MacKaye*s Lyceum choice of location at Fourth Avenue, between Twenty-third and Twenty-fourth Streets, prove to be positively visionary. His innate sense of showmanship must have noticed that the "smart set" went to Pastor*s and to Koster & Bial's Music Hall at Twenty- third Street and Sixth Avenue. This area had acquired the reputation of being somewhat "fast," and became a favorite resort for rnen-about-town, writers, and artists. Over the objections of his financial backers, MacKaye established his theatre in this out of the way location. His judgment was vindicated by seventeen seasons of successful Lyceum produc tions under various managements, until the antiquated theatre was torn down in 1902. This squabble over location was the first of many, major and minor, that were to beset MacKaye*s career at the Lyceum, a chain of misunderstandings and personality clashes to be dealt with in succeeding chapters. S ummary MacKaye*s faith in the location of the Lyceum Theatre on Fourth Avenue, between Twenty-third and Twenty- fourth Street was justified by the ultimate success of the playhouse at that location. At its inception however, the 1+9 choice appeared to be less than ideal. The location was not in the heart of New York City's theatrical district, nor in the direction of the more exclusive residential areas from which he expected most of his patronage. But MacKaye was aware of New York City's general development, noting that new businesses, skyscrapers, social clubs and hotels were being rapidly erected near the Lyceum as part of the enor mous population and construction explosion that marked New York City's economic, political and cultural growing pains during the 1880*s. CHAPTER III MANAGEMENT BACKGROUND OF THE LYCEUM THEATRE The earliest announcement of plans for the new Lyceum Theatre appeared in The Boston Herald, in May 188*+* For the first time in this country a dramatic con servatory is to be established. This school of dramatic art will occupy a new, perfectly equipped theatre, with instruction in a wide range of studies from specialists in the highest rank, A distinguished resident of New York, Mr, Steele MacKaye, has been for some time nursing a devotion to dramatic art, which he desired to put into practical form. His enthusiasm infected his friends and pupils. They said "Let us build a theatre of our own, in which our ideas can be put into practice, with none to say us nay.” So a company was formed, and two lots of land secured on Fourth avenue, between 23rd and 2*+th streets, just north of the National Academy of Design. The work of tearing down the buildings which have occu pied these two lots was begun May 1, and the Lyceum Theatre will be completed by November 1. The builders are Messrs. Herbert and Pirrson. The architecture will be of French Renaissance style, the front of brick, faced with stone • • . * That the establishment of the Lyceum was exclusively a MacKaye brainchild is not borne out by other testimony. The New York Newsletter of Saturday, August 9* 188*+ stated* The secession of Mr. Gustave Frohman and Mr. Franklin H. Sargent from the hierarchy of the Madison Square Theatre, in the light of the immediately subse quent pronunciamento of the association of these two gentlemen with Mr. Steele MacKaye in the direction of *The Boston Herald, May 17, 188*+. 50 51 the new Lyceum Theatre, on Fourth avenue, near Twenty- third street, has occasioned no end of surprise, and furnished the principal topic of conversation in theatri cal circles during the past week. The new Lyceum which is in course of construction, is in its inception the result of the latest effort of Mr. P. G• Hubert, one of the best known and most accom plished of the architects of New York. Mr. Hubert has long entertained the idea of estab lishing an institution on the principle somewhat of the art conservatories of Paris and Vienna, where the vast amount of talent available in a country where everybody has the advantage of education could be fostered and developed• Mr. Hubert*s notion was at length imparted to Mr. Frank Qsic] Sargent, who for the past three years has been known as the principal histrionic instructor at the Madison Square Theatre. Mr. Sargent is a man of schol arly ability,and he entered warmly into Mr. Hubert’s schemes, and suggested the desirability of associating Mr. Gustave Frohman with the enterprise. Under Mr. Frohman*s practical hand, the negotiations soon assumed a definite shape, and the foundations of the Lyceum have been for some time in so forward a state that the handsome building which will represent the first American art institute will, it is confidently believed, be completed by the latter part of November.2 Legal evidence negates Percy MacKaye*s paean to his father, when he states! • . • Franklin Sargent now rallied others and him self to Steele MacKaye*s long-maturing plans for estab lishing a National Conservatory of the Theatre’s Art, with an experimental theatre for their practical appli cation. These plans began to take shape, at first, in the rather modest form of a Dramatic School for amateur aspirants to the stage; but shortly— with my father’s increasing absorption in the scheme— the conception grew apace and became a strictly professional undertaking, with chief emphasis centered in the theatre— once more, though in modified form, his "dream theatre,” to become excellent rival of his former playhouse on Twenty-fourth Street, in his battle with the Mallorys.3 ^The New York Newsletter, August 9* 188^. 3MacKaye, Epoch! . . ., I, ^63-^64. 52 As it happened, Philip G• Hubert was the founder and first president of The Lyceum, a corporation formed in January, 1884. Hubert was liable for the indenture under which the corporation leased the land in the Eighteenth itfard of the City of New York, on which the Lyceum Theatre was to be constructed at a rental of four thousand dollars per year.^ Only after the theatre’s basic structure was built, was it leased to MacKaye and Gustave Frohman for ten years, from February, 1885* at $12,000 for each of the first three years, and $15*000 a year for seven subsequent years.5 Clearly, it was Hubert who engendered the original idea for the theatre, secured the backers, designed and built the basic structure, and hired Franklin Sargent as its director.6 The first important management change occurred in July, 1884, when Hubert and Sargent prevailed upon Gustave Frohman to leave the neighboring Madison Square Theatre and become their general manager. Frohman then brought in MacKaye as stage director. The offer came at an opportune moment for MacKaye. From 1881 to 1884, he and his family had been on the verge of poverty; by 1884 he was deeply in ^See Appendix III for details of this lease. Its Executors and Administrators were, in addition to Hubert, Charles Clinton and Michael Brennan, associates, along with Robert L. Pirsson, in the projected enterprise. 5Ibid. %ew York Tribune, June 1, 1884. 53 debt, and welcomed the opportunity to share in the manage ment of the new Lyceum Theatre. MacKaye*s entry into the active management of the projected house brought immediate repercussions. Hubert and Sargent had intended the Lyceum to function mainly as an amateur theatre, as an adjunct of their School of Acting. The theatre's student actors were to be trained in the Del- sarte System of Expression, taught to Sargent by MacKaye. But the latter was principally interested in a professional theatre and did not believe that an amateur theatre, by itself, could succeed. He was backed in his demands by his friend and financial supporter, Brent Good, founder and president of Carter*s Little Liver Pills. Frohman, too, had his backers, the law firm of Gail and Spader. This wing of the triumvirate agreed with MacKaye that a profes sional company was necessary to make the Lyceum a going con cern, and insisted that the theatre be rented to amateurs only for afternoon performances.^ Feeling themselves under pressure, Hubert and Sargent agreed to establish the Lyceum as a professional theatre. With this turn to professionalism, a skilled and experienced director was needed, and MacKaye was given directorial charge of the entire theatrical operation. To staff the Lyceum, MacKaye, Frohman, and Sargent successfully raided the Madison Square Theatre of nearly ?New York Times, July 31, 188^. 54 all its secretaries, stage hands, and business staff, and were joined, long before the Lyceum opened, by Charles MacGeachy, secretary; Tom Gossman, property manager; the clever young Hughson Hawley as scene painter and David Belasco, stage manager* Of the Frohman brothers, only Gustave joined the Lyceum, Charles and Daniel remaining for the time being at the Madison Square. This new management alignment was completed during the latter part of July, and on August 4, 1884, the following announcement was published in all the New York dailies; LYCEUM THEATRE. 4th-ace. and 23d-st and LYCEUM THEATRE SCHOOL OF ACTING ASSOCIATE MANAGERS Steele MACKAYE, F. H. SARGENT, Gustave FROHMAN Director of Theatre STEELE MACKAYE Director of School.........FRANKLIN H. SARGENT Business Director.............. GUSTAVE FROHMAN Charles MACGEACHY, Secretary General Offices of the Lyceum Theatre and School, 18 West 23d-st., opposite Fifth Avenue Hotel, New York. THE LYCEUM THEATRE will open early in the coming winter. It will have a seating capacity of about 800 and possess all the appointments of a first class place of amusement, together with Mr. Steele MacKaye*s latest novelties and im provements, including his newly patented "safety chairs,'1 which make every seat an aisle seat, thereby avoiding all possibility of annoyance in seating or dismissing an audience. A SCHOOL OF ACTING will be identified with the LYCEUM THEATRE. Ladies and gentlemen seeking admission will be received at any time, and after an acceptable preliminary examination be assigned for training at the school. Students whose natural ability justifies it will be selected from Mr. Sargent’s classes by Mr. 55 MacKaye for the Lyceum Theatre companies, and receive from Mr, MacKaye especial training in the practical Art of the Stage, and also such preference in advancement as their devotion to the Art may entitle them to receive. Terms, $200 per annum, payable in advance. The course of study will em brace instruction in the following elements of dramatic art I I. - Physical Training. II. - Mute Expression. III. - Development of the Voice IV. - Vocal Expression. V. - Reading. VI. - Mimi cry. VII. - Study of Plays. VIII. - Study of Characters. IX. - Stage Business. These several branches will be conducted by distinguished specialists of experience and re putation . Apply to or address CHARLES MACGEACHY Secretary, Lyceum Theatre Management 18 West 23d-st, New York City The announcement caught most of New York’s theatri cal circles by surprise. The acting profession and the press were well aware of MacKaye*s battles vith the Mallorys at the Madison Square, but Gustave Frohman*s defection from that theatre, in favor of an alliance with the brilliant but erratic MacKaye, thus placing himself in competition with his own brothers, was wholly unexpected. Reaction from the New York press came immediately* Within the past two weeks there has been a com plete change of front in the matter of the Lyceum. When the fate of that institution depended wholly upon the somewhat inadequate shoulders of F. H. Sargent, I con fess that I had the darkest forebodings about its future. I don’t know Sargent, but that amateur idea 56 of his struck me as being about the most impracticable idea I had ever heard of. Suddenly the men at the helm of the concern take into partnership Mr. Gustave Frohman and Mr. Steele MacKaye. The original plan is changed* Amateurs are to be allowed a proper chance, but it will be under the very practical Gustave Frohman, and in a play written by the erratic, but able MacKaye. The businesslike Frohman will make a counter-weight to the erratic MacKaye, and Mr. Sargent will be allowed to go on drilling his pupils. I confess, that while before the whole looked Utopian, this change of plan gives me a very distinct belief in the success of the venture.® In a lighter vein, the Spirit of the Times commen ted: The mystery of the new Lyceum Theatre, on Fourth avenue, has not been like that of the mountain and labor. Instead of a mouse, it has brought forth Steele MacKaye, who is larger than the Lyceum Theatre and greater than the project of a dramatic school. He is to be the man ager of the new house, with Gustave Frohman as his lieutenant, and Frank Sargent is to confine himself to the educational department. In other words, here is an opposition to the Madison Square, with a handsome little theatre nearly ready, of Frohman in the business manage ment and another Hazel Kirke in manuscript. We hope the articles of agreement are airtight, this time, with no super-Shylockian condition of 200 pounds of flesh in bond in case Antonio MacKaye*s venture is unfortunate. The new theatre is to seat 800 persons— say $1,100 — which is large enough for fortune and for fame. MacKayefe patent safety chairs, approved and amended, are to be put in, together with a dozen new devices for the com fort and convenience of the audience, which Mr. MacKaye has invented during his exile to the theatrical Elba. He will have no difficulty in collecting a strong stock company, which will be constantly recruited from the most promising pupils of the School for Actors over which Mr. Sargent will preside. We are promised a sliding stage, which is to surpass the elevator stage in economy of money, if not of time, and a system of ventilation which will not only keep the audience cool but stimulate their spirits so as to increase their enjoyment of the performance. We used to laugh at Steele MacKaye*s wild theories, until he converted us by putting them into practical and profitable operation at the Madison Square. %ew York Dramatic Times, August 1 6, 188*+. 57 Now we believe in them and him, and although an intro duction of a medicated atmosphere, which shall make the audience healthier while they are being amused by the performance, is a strain upon our credulity, we accept it in good faith.9 On the surface, the management of MacKaye, Frohman, and Sargent seemed ideally balanced for the Lyceum venture. Each, in his own way, brought to the enterprise a requisite degree of experience necessary to the function of the whole. MacKaye*s contacts with the theatre were wide and broad. As he prepared the Lyceum for its opening he was only forty- one years old, but had already spent twenty active years in the theatrical world. It cannot be said, in all truth, that he lived by the theatre, for he was primarily honest, and a poor businessman, and all his years of service to the theatre had brought him very little by way of financial re wards . 1 ^ Steele MacKaye After an early career as actor, dramatist, and teacher, MacKaye, beginning in 1880, built and managed the Madison Square Theatre in New York City. Under his manage ment, "this pretty little house of the band-box variety."1* became the birthplace of many of MacKaye*s improvements in ^Spirit of the Times. August 7* 188^. 10The personal details of Steele MacKaye*s profes sional career are generously set down by his son, Percy, in Epoch. 11J. R. Towse, Sixty Years of Theatre, p. 363* theatrical mechanism and decoration. Chief among his in ventions was the double, or elevator stage, which greatly reduced scene-change time, and eliminated long waits which annoyed audiences and disturbed a play's continuity. The double stage was only one of his visionary ideas regarding audience comfort. He changed the position of the orchestra from its customary place in the pit to a small balcony above the proscenium arch. At the Madison Square, his decor de monstrated the need for a quiet and subdued environment; and his use of overhead illumination to supplement floods and spotlights was a marked improvement over previous stage lighting.*^ Other original contributions to audience plea sure at the Madison Square were special, free souvenir pro grams, ice water between acts, and an eight-thirty curtain, rather than the usual New York eight o'clock performance. MacKaye managed the Madison Square for two and a half years, from April, 1879 to November, 1881. T. Allston Brown credits him exclusively with the theatre's national reputation and lasting success! the effective double stage, the pleasant and aesthetic interiors, the highly trained and thoroughly rehearsed actors, all resulting in essen tially fine theatre and a satisfied public. According to Daniel Frohman, it was at the Madison Square that romantic comedy-drama by American playwrights first came of age.^ l2W. P. Eaton, "Steele MacKaye," Theatre Arts Monthly, November, 1927, p. 830 13daniel Frohman, Daniel Frohman Presents, p. 6 0. Fig, 9.--This photograph, reproduced from the ecember, 1907 issue of The Theatre, shows MacKaye as Hamlet,n probably in the Tom Taylor production of 1872* MacKaye was then twenty-eight years old. 59 6o 61 MacKaye left that theatre only because of a bad contract with its financial backers, Marshall H. and George S, Mallory* Upon leaving, he continued his acting school, train ing performers in the Delsarte method,*** and turning out many capable actors and actresses. His appointment as di rector of the Lyceum brought with it his superb qualifica tions. As noted, the new position was opportune. After resigning from the Madison Square, he tried to alleviate his family*s financial crisis by going on tour in 1881-82 with two of his own plays, tfon At Last and A Fool*s Errand. Both were roundly criticized and barely paid their own way.15 In the light of organizational squabbles and a seemingly interminable delay in the Lyceum’s opening, Percy MacKaye*s comments, concerning the eve of that opening, are noteworthy* Thus strangely MacKaye* s four bitter years of • ’mid land wandering” and ”Elba” exile were closing in the doubt of conflict? while the luring mirage of the ’ ’dream theatre,” which had beckoned with varying shapes across the desert places, was at last transmuted to palpable form and substance— a lovely and expert instrument at the surface of his dreams. For the ”¥ay-5eekerH of our true story on his pilgramage, would this fought-for goal prove but another briefly havening oasis, or would he find there, at last, that desirable New World of Art, where he should be free ”to take needful years to per fect” the ripening results of imagination and experi ence? lkA method of pantomimic acting developed by the Frenchman Francois Delsarte in which posture and gesture are expressive of inner emotion. It will be dealt with in great er detail in Chapter VI. ^Letter of Steele MacKaye to Mrs. Steele MacKaye, November 17, 1881. (Dartmouth College Library.) ^MacKaye, op. cit.. I, ^89. 62 Gustave Frohman The second wheel of the Lyceum’s managerial troika was Gustave Frohman, to whom Glenn Hughes refers as the third and least important of the Frohman brothers.*^ While he may have been the least important of the three, ”Gus” Frohman represented a vital and stabilizing wheel for Mac- Kaye's eccentric idealism* According to his brother Daniel, Gustave came to his business acumen early in life. In the 1860’s, while Daniel sold the Morning Tribune for four cents a copy, Gustave bought the evening issue at three cents and sold them for four, interfering with his brother’s sales at the counter.*® He saidl Gustave managed some of the important companies on tour because he had a pleasant, sympathetic way of carry ing out his duties. He was never aggressive, dictator ial, or mandatory. Perhaps this was due to the experi ences of his formative years. For both Charles and Gustave, as well as myself, came up from the ranks and we were in sympathy with young and ambitious artists.*9 Gus Frohman*s entry into the Lyceum enterprise, it must be remembered, did not come at MacKaye*s behest. The scheme originated with P. G. Hubert who lured Sargent from his post of dramatic instructor at the Madison Square. In the winter of 1883 Sargent proposed the idea of a "Lyceum Conservatory” to Frohman to pick his brains on the venturers business practicability. After several consultations, *?G1 enn Hughes, History of the American Theatre. 1700-19 50 « p. 2^0. *®Daniel Frohman, Daniel Frohman Presents, p. 16. *9lbid.. p. 2k7. Fig. 10.--Gustave (wQusw) Frohman, youngest of the three Frohman Brothers of theatrical management fame, from a portrait taken in 1882, two years before he joined the Lyceum management. (Courtesy, Walter Hampden Memorial Library, New York City.) 63 256 FIFTH AVENUE 65 Frohman raet with Hubert, but not until they came to an agreement, did Frohman sever connections with the Madison Square. Not until July 30, 188*+ did Frohman enter into a contract with Hubert, and thereby become the lessee of the Lyceum Theatre and general manager of its several branches, tfith a need for space to house the conservatory, Frohman leased the extensive West Twenty-third Street offices of Gail and Spader, a law firm with which he had been associ ated at the Madison Square. Only after this lease was exercised did Frohman engage MacKaye, for a period of five years• There must indeed have been a mutual sympathy be tween Frohman and MacKaye, for MacKaye had previously in vited Frohman to the Madison Square to organize a road com pany of the popular Hazel Kirke. That arrangement alone brought nearly a hundred thousand dollars a year profit to the Mallory Brothers. Daniel Frohman readily attests to the Frohman brothers* indebtedness to MacKaye* All three of the Frohman brothers were invited by Steele MacKaye, that brilliant genius of the theatre, to become associated with him at the little Madison Square Theatre. Charles and Gustave were to manage tours. I was to be business manager. Of course, we jumped at the chance.^ iVhile Daniel Frohman extols his younger brother* s business acumen, Gustave*s earlier career reveals a long standing love affair with the theatre. As far back as 1867 20Ibid., p. 38 66 he was Horace Greeley’s messenger boy, and the old gentle man became so attached to the youngster that, during the presidential campaign of 1868, he took the lad with him on his stumping tour of the country. When John Russell Young started the New York Standard, °Gus,M as he was called, was given a post in the business department and, before he was seventeen years old, had worked up an advertising business of his own, one of the most extensive of its kind in the country.2* But young Gus became stage-struck while still in his teens, carrying copy for Augustin Daly, then one of the country’s leading dramatic critics (on the New York Mirror)• Determined to break into the theatre, Frohman finally took charge of the Callender Minstrels to learn the basics of show business. At the tender age of twenty, he established a first-class comedy company, engaging John Dillon, a then popular comedian with an already established dramatic organization. “The enterprise moved smoothly until Mr. Dillon resumed his wanton habit of looking upon the wine when it was variously hued, and he thus brought Mr. Frohman’s company to an untimely end."2^ Frohman was only twenty-six when MacKaye undertook the creation of the Madison Square Theatre, and invited Frohman to organize the establishment’s road business, the success of which has al ready been described. 21New York Times. July 31* 188*+. 22Ibid. 67 tofhen Grus Frohman departed the Madison Square, leav ing his brothers Daniel and Charles in charge there, he did so with their blessing. The brothers were always expansion- minded and found themselves handicapped by contractual re lations with the Mallorys. It was estimated that of the huge profits accruing to the Madison Square, Daniel Frohman received a mere $250 a week, Charles only $150, and that these were the largest salaries paid by the managementt23 In effect, Gus was leaving such onerous restrictions to es tablish a new theatrical beachhead. Frohman saw a potential success in the new Lyceum and a continued and profitable relationship with MacKaye* I want it distinctly understood that I believe thoroughly in MacKaye. He*s a man of real genius and in valuable for such a scheme as that in which he and Mr. Sargent and myself are associated. The only thing Mac Kaye needs is a balance wheel, and that I propose to supply. He will have absolutely nothing to say as to the expenditure of the funds of the concern, and will not be able to contract a penny of debt on his own re sponsibility. This is the opportunity of MacKaye*s life, and I believe he will not let it escape. The affair promises the most brilliant results and though I naturally regret the necessity that existed for the severance of my business relations with the Madison Square Theatre, I can see already very clearly that the step will lend very much to my advantage both socially as well as substantially.2^ As will be shown in Chapter V, it was precisely this loss of control over the Lyceum*s finances, resulting from MacKaye*s insupportable extravagances, that led to the ulti mate failure of the enterprise. 23The Morning Journal, August 28, 188^. 2i+The Newsletter, August 9, 188^. 68 Franklin H. Sargent The third member of the Lyceum management, billed as Director of School, was Franklin H. Sargent* He had been Dramatic Director of the Madison Square Theatre, hav ing studied for several months with MacKaye, whom he con sidered his master. Sargent hoped to establish at the Lyceum a dream long nourished by himself and MacKaye* an American Conservatoire, along the lines of the famous Comedie-Franjaise. Only the most talented young people would be admitted and, after graduation, were to be assured of playing in one of the school’s stock companies. The principles, techniques and progress of this school will be detailed in Chapter VI. Much skepticism attended Sargent’s qualifications as Director of the School of Dramatic Art. One critic sug gested that his capacity for the position rested chiefly on having been a teacher of elocution a few years earlier, and that his knowledge of acting was purely theoretical.2^ The critic’s further opinion was that "there’s just now good reason to fear the Lyceum will not amount to a great deal as a theatre conservatory, and there’s certainly little to indicate that Mr. Sargent and his associates are capable of making other than mere automatons of their pupils."2^ Following his appointment as manager of the Lyceum 2 5 chi cago Music and Drama, September 21, 188^. 26Ibid. Fig. 11.— Franklin H. Sargent, from an 1879 portrait, while he was at the Madison Square Theatre. (Courtesy, Walter Hampden Memorial Library, New York City.) 69 949 BROADWAY. N.Y 71 School, Sargent embarked on an extended tour to recruit pupils. A columnist for the St. Louis Post-Dispatch, re ferring to the Lyceum Theatre School as a "dramatic hatch ery,” drew this rather sardonic portrait of MacKaye1s and Frohman*s fellow-directorI Mr. Sargent is a clerical looking gentleman with an Oscar ytfilde caste of countenance and physique, dressed with poetic disregard for neckwear linen, and fit in conventional black broadcloth Prince Albert coat, and dark vest and pants, which, together with his dark eyes and hair, give a melancholy sombreness to his appear ance, eminently befitting the late stage director of the Madison Square and representative of the religio-aesthe- tic school of dramatic art which has reached its highest exemplification in that organization. Physically he ap pears to have a tendency to run to limbs which seem to be taking up more room than he knows how to occupy com fortably, and hence, they're somewhat in his way, too much so for a teacher of the art of grace and ease on the stage. His thick lips, emphasized by an irregular and stubby moustache, the intellectual pallor of irre gular and far from strong features, and his soft almond- shaped eyes with a decided tendency to midnight-oil redness in the lids indicate the predominance of the ideality over practicability, and gives one an impression of genius run to seed, and from an unfavorable condition developed into a rapid theorizer. Mr. Sargent expresses himself as a man in earnest, from an organized search after an idea which had passed within dim-seen distance of him and had been lost in the underbrush and fogginess, while he imagined he was on the warm trail of it. Mr. Sargent is accompanied by a private secretary who jots down the effluvia of his train as it is thrown off and interposes twixt the harsh world and the delicate organi zation of the late superintendent of a theatrical Sunday- school • 27 Although the Lyceum School of Acting was the butt of much ridicule and careless jest, it cannot be denied that Franklin H. Sargent, in his unobtrusive and steady way, built that institution into a valuable and profitable opera- 2?St. Louis Post-Dispatch. September 10, 188**. 72 tion. Most of the School *s critics fail to mention that Sargent had studied for a considerable time in Paris and London, had been an elocution instructor at Harvard, and served as stage manager and voice coach at the Globe Theatre in Boston. In 1883 he traveled with the noted actress, Mary Anderson, superintending her rehearsals for several months. On this tour, he met and became enthralled by Mac Kaye, who hired him as Dramatic Director of the Madison Square. Sargent*s first contract with Hubert was made on May 1, 188**. Following the decision to turn the Lyceum in to a professional theatre, Sargent entered into a partner ship with MacKaye and Frohman which assumed the responsi bility for the Sargent-Hubert contract* Sargent was to have supervision over, and control of, the educational depart ment; MacKaye was to give the pupils his stage management, and provide opportunities for them to perform on the Lyceum stage; Frohman was to manage all business affairs. The School opened on October 1, 188**, with nearly a hundred pupils. On December 1 of that year, there was a separation of the School from the theatre. MacKaye and Frohman, financially backed by Brent Good, formed the American Building and Managing Company, making the inter ests of the School and the Theatre independent of each other since Sargent had no interest in the theatre and no share in the newly-formed corporation. It is clear that from the beginning— even before the Lyceum Theatre opened— the original concept of a totally interrelated theatre and school was altered, Sargent•s con tributions to the formation of the now separate School, how ever, were considerable; for the School, throughout its his tory, contributed significantly toward the development of American dramatic art, serving as an organized training ground for the acting profession. Other Associates The balance of the staff, hired by MacKaye some time before the new theatre was ready for the public, came mostly from the Madison Square, Several have been noted above; others must be mentioned here; Wesley Sisson, busi ness manager of the Madison Square, decided to cast his lot with the Lyceum. He was to be given exclusive control of the nation-wide travelling organization. Thomas Gossman, generally believed the best property maker in America, and designer of the Madison Square*s elaborate settings, also joined the Lyceum,^® David Belasco, then at the beginning of an illustrious career, was hired as stage manager. While the staff was being pirated and management plans completed, MacKaye proceeded to remodel the theatre, upon and within the foundation that Hubert had constructed. MacKaye wanted the new house to contain his improvements ^ New York Times. September 18, 1884. 74 and inventions* He persuaded his financial backer, Brent Grood, that the theatre had an infinitely better chance of succeeding in the highly competitive world of the New York theatre with a beautiful interior. Extensive renovations were continued throughout 1884, and the Lyceum's opening was postponed from the planned October, 1884, to December, and finally to April, 1885* One cause for the delay; Mac Kaye* s estimated cost of the renovation was $2,4-00; the final, actual, cost was $9 0,0 0 0t2^ Breathing the air of dissension from its conception, the Lyceum was not to be born without last minute labor pains. So intense was the rivalry between MacKaye*s old theatre, the Madison Square, and his new one, the Lyceum, that the Mallorys almost succeeded in preventing the open ing by trying to serve process papers upon Robert Mantell, cast by MacKaye in the premiere play*s title role. Despite this, and other penultimate problems, the Lyceum Theatre opened on April 6, 1885* with a full house in attendance for the world premiere of Steele MacKaye*s Dakolar. The playgoer witnessed a theatre that was to have a lasting effect on American theatre aesthetics. ew York Mirror, February 18, 1885* ("Scrapbook 5,” p* 17» Dartmouth College Library.) CHAPTER IV THE PLAYHOUSE General Location The Lyceum was situated on Fourth Avenue, between Twenty-third and Twenty-fourth Streets, adjoining the Acad emy of Design. Its exterior was plainer and less preten tious than that of any other uptown New York theatre. This alone elicited complaints, for from a purely business point of view, the building*s facade was altogether too plain.* Standing, as it did, in a neighborhood quite remote from the city*s theatrical center— an area of no considerable congestion even in the daytime— so modest an exterior was hardly likely to attract the attention of casual passers-by. "No one, I am sure, ever *drops in* at the Lyceum. Only those go there who are searching for it."2 The Morning J o u rn al-Revi ew of April 7, 1885, concurs with the diffi culty of reaching the Lyceum: There may have been a little sense of disappoint ment last night as the audience poured into the new Lyceum Theatre, on Fourth avenue. It was quite a distinguished audience, for a great many of them came in carriages with liveried coachmen Itf• J. Henderson, "Some New York Theatres,” Maga zine of Art« September, 1886, p. 406. 2Ibid. 75 76 and a lot more came in carriages from livery stables. There were not many yellow cabs seen around the door. But it must be confessed that it is a rather awk ward place to go to. You turn the corner of Fourth avenue and suddenly find yourself, as you pass the Academy of Design, in front of two long walls of stone steps. These lead directly into the auditorium.3 That such judgments as to the inaccessibility or awkward location of the Lyceum were somewhat peremptory, and that MacKaye may indeed have planned the location well, is suggested by the structures surrounding the Lyceum, all part of the Eighteenth Ward.** Even a cursory examination of the neighborhood sug gests that the location was, in fact, a choice onet cen trally located and easily accessible. It was one block from Madison Avenue and two from the junction of Fifth Avenue and Broadway at Madison Square. Many leading hotels and private clubs were close by; a new and substantial Young Men’s Christian Association was directly across Twenty-third Street; and the Academy of Design next door must have lured many artistically-minded people to the neighborhood. According to Valentine*s Manual, the select Madison Avenue cars passed the door, as well as the Twenty- third Street cross-town cars which connected with nearly ^The Morning Journal-Review. New York, April 7, 1885. ^See Figure 12. In this illustration it must be noted that the plot adjoining the Lyceum is erroneously en titled the Academy of Science, when it should be the Academy of Design. From this ledger map of the 18th Ward, scaled 100 feet to an inch, it is also seen that the Lyceum Theatre actually occupied a double lot and that the building was 50 feet wide and 125 feet deep. Fig, 12.— Part of the 18th Ward, City of New York, 1885* (Courtesy of the New York Historical Society, New York City.) 77 O^-part of U f e ^ 1 8 7 “ \ V A K 1 ) Scu/cJOOtf / o a / t me ■/. ■ / : , r /oc © * *© >A > © v/vf/fsz/y a u - . 7 . 9 . 7 ' ■ — i; ' v 1 S ) ! ? ' . - ' • --: * o ■ / o: j\ g - SJiXP* V . . —, g * * ^ • j ‘ 7/ Y X ' V' 6 i > ■ - J S 0 p ! v - > | « J * V 2 . . i t f r i [ J 2& T ; ■ / a s ■ / ^ i 7 © z. aa AC i SON k TO I N nC • J \ o 2 fc > r v f ■ : & / j 3 » r, 1 ■ z ! ■ ’■ * "1_ \ y & / t J&Z * ■ & " h - ? > i V ) ! r i ^ 1 o . / / v V i U * i I V . I t } -II A , _ 4 —yp,; • //,\v r>7 ^ 0 ; ; ' ‘ i s ; H A * Z z. z.J 1 v ^ t o \ A * _ _ J . , _ , A £ 5 ! r 7 ' - c 41 . -5 4 -’ ' z > i i _ r7- 7 7 Z A- ^ t : \®T' ?> . N 'T* \J6; ^, ^>1 gj <C .A x_ p * M O /S O H S i SMI rfjli t ) j i « ' ' > - --■ £ ~ — Pi - rr.j ^ ; -» C; r— - s Za . o * ( 2 ; . S / > £ i t & N I > s 1 ^ , s , K 1 ^ 1 r * \ , z f i i < » o r r/?oppLjr,w! 'P C //fS U R A N C r v ‘ 7U/LO/NS ' /Jf./f/C' '/jfJ ... - I 4 i i. .. % 79 every other artery of travel in the city.^ The corner of Twenty-third Street and FourthAvenue was adequately served by transportation, as seen in Figure 1 * 4 - showing both a north and south view of the intersection. In the southern view we see horse-drawn carriages, one ap proaching from the south, the other from the west. Also in the vicinity of the Lyceum, there were no less than three major churches, a business college, and the posh Ashland House, a first-rate hotel, directly across Fourth Avenue. Nor is it quite fair to say that the building's facade was too drab. Figure 1 shows it substantially built of brick and relieved by the then extremely popular grey- stone. The theatre was three stories high, each story meas uring fifteen feet, with approximately five additional feet of false-front balustrade surmounting the top floor. The theatre's main entrance,^ which led into the lower lobby, was centrally situated, and at street level. Double stair ways led from this lower to the upper lobby directly to the rear of the auditorium.? Opposite the entrance, which was — for no discernible reason--bisected by a pillar, with the ^Valentine's Manual of Old New York. 1927. XXIII, 20-25* In this volume H. C. Blum also suggests that the "Green Line1 1 used 23rd street as an access road to Madison Avenue. ^See Figure 1. 7see Figure 17. Fig. 13.--A view of the Lyceum Theatre, looking north on ^th Avenue, circa 1888. From an original daguerrotype photograph. (Courtesy, New York Histori cal Society.) 80 81 82 "marvelous faculty for being in the way of everyone,"® was the box office. Max Grriffin, the acid-tongued columnist for the New York Times, compared the Lyceum’s entrance with that of the neighboring Academy of Design: If to cram a building full of new fangle notions and decorations is the right means to make it a nine- days wonder and start it on a career of success, then the little structure on Fourth-avenue, just above the Academy of Design, has a brilliant future before it. The facade differs from that of the Academy in many im portant ways, but the height is somewhat the same. The architecture is nondescript— let us say, New York--while we all know that Venice is supposed to stand before us in marble when we gaze upon the adjacent home of the National Painter’s Art. The architect seems well- intentioned, to a point more important than the styles of architecture, of letting people in and out of the building readily. Three doors of fair size let one in; the central to the main floor of the theatre, the two lateral to the gallery. The middle door takes you directly into a vestibule finished in very good taste with dark natural woods; the stairs right and left are so quiet, with their wood finished in old English style, that one is ill-prepared for the coming orgy of oriental decoration.9 The large central lobby, one step up from the side walk, was thirty feet square. At its rear was the box of fice, in which a ticket seller was enshrined behind a small screen of jewelled glass. MacKaye was obsessed with the important first im pression upon entering the playhouse. What was ordinary and utilitarian in other New York theatres, became a show- ®Henderson, loc. cit. ^The New York Times, March 29, 1885. *®New York Mail and Express, March 6, 1885. Fig. 1**.--The Y.M.C.A. Building, Twenty-third Street and Fourth Avenue, 1880. This illustration clearly shows the intersecting traffic lines of the corner just one hundred and fifty feet south of the Lyceuzp. (Valentine*s Manual of Old New York. 1926.) 83 I i m I H ' l 85 place at the Lyceum. According to the contract specifica tions for Louis Tiffany’s interior,*1 the entrance doors to the lower lobbies were solid oak, with double-swing patent hinges, and plate-glass panels in the upper portion. The staircases were also solid oak, as were the cloakroom coun ters, and the wainscotting around the ladies* waiting room and the men’s smoking room. The floor of the lobby was marble mosaic, "as refined,” according to one visitor, "as the hearth of a private m a n s i o n . ” *2 The lobby’s walls and ceiling, and the walls and stairways to the auditorium above, were all broad panels of old oak. A handsome tripod for programs graced the foot of each staircase. The stairs themselves were covered with woven carpeting of the best quality, along with the areas in front of the cloakroom counters and in the smoking and waiting rooms. Though the lobby staircases were steep, they constituted a prominent feature of the area, and intricately designed ornamental wrought iron frames supported brass vases in which ferns were planted. The entire lobby was electrically lighted with Tiffany fixtures, including those on the wall of the ticket office, which held sconces of color and silver stained glass globes. Chandeliers over each of the stairways had electric lamp bulbs in smoked glass globes with similar **See Appendix II. * %ew York Mail and Express, loc. cit. 86 brackets and globes mounted on columns between all doors and on the tiered framework above them. The effect of the entrance was that of a private club* quiet, discreet, and handsome, and far removed from the accustomed theatrical glitter of New York's other places of amusement.*3 Beyond the box office, accessible by a separate door, were office spaces and numerous performers* dressing- rooms. The carpenter shop extended under the auditorium to the area below the stage. A cautious mathematical projection of the balcony and main floor slope, supported by statistical evidence of eyewitness commentators, suggests an area below the carpen ter shop which must have housed the extensive steam-engine operation. Two of these furnished the electricity with which the house was lighted throughout; another operated the ventilating apparatus which supplied the auditorium with special ozoned air conditioning; a fourth raised and lowered the car on which the musicians were placed. These highly original features^ of the theatre will be examined t must be noted that only five years after the construction of the Lyceum Theatre, many of MacKaye*s fea tures would not have passed City Ordinances, in particular Section 500 of the New York Building Laws relating to theatres which required that steam boilers, required for heating and other purposes, had to be located outside the building and that the space allotted to such boilers had to be closed by walls of masonry on all sides* With its al ready crowded fifty foot width, there would have been little room for the Lyceum's massive boilers, needed to generate the extensive electrical equipment featured in the play house. 87 in detail later in this chapter. The staircases led from the lower lobby into a smaller one above, separated from the auditorium by heavy curtains of deep blue velour. Here, too, Tiffany decorated the walls and ceilings with a skillful stencilling in green and gold, "two colors which play an important part in the general scheme." The section drawing^ indicates that the stairs to the main floor ended in the smaller lobby above, under the balcony and at the back of the parquet, where tickets were collected and the ushers received the patrons. The Auditorium Having passed through the heavy blue curtains into the auditorium, the sum of MacKaye*s unique features of con struction, and Tiffany’s decorations, converged upon the eye. The color effect began specifically with the deep red Milton carpet on the floor, and the side walls covered, balcony-high, with an antique red fabric, traced with threads of burnished gold. This was a lavishly used mate rial • The general scheme called for a lightening of color intensity toward the top of the house, ranging from the aforementioned antique red to, at the top of the balcony, ^New York Mail and Express, loc. cit. ^See Figure 15 88 a yellow, trimmed with ornamental silver. Throughout, the walls featured stencilled patterns and closely allied bands of color. Broad areas of ornamented wood made striking con trasts from floor to ceiling. A New York Mail critic wrote that ”the thread on which the decoration is strung is ori ental. This is a wide term, and widely used; for, while this detail occurs to one as Japanese, that is Algerian, and this Indian."1^ Wood, in tones similar to that of the oak in the lower lobby, was used everywhere in pillars and panels, in the stage beams, and even in the long slender beams span ning the ceiling. The oriental feeling of the whole is emphasized by Dithmar of the New York Timesl It is a little Koh-i-noor. The slender pillars that prop the gallery drip with silver paint from their glittering capitals; dadoes, box-fronts, and other wooden surfaces are generally stencilled with silver- gilt patterns, to resemble the wood-work inlaid with ivory and mother-of-pearl for which Delhi is renowned. • • • The swelling, slender columns to right and left of the stage opening are liberally carved and silvered like a dream of the caves of Ellora, with a reminiscence of the Alhambra running through the dream; and the roof of the auditorium with its fringe of little mock rafters should not be mistaken for Swiss, Scandinavian, or Thibetan--it is purely Hindi. The yellow and silver ceiling was square, crossed lengthwise by the oaken beams noted above and framed in 17n ew York Mail and Express, loc. cit. ^New York Times, March 29, 1885* Dithmar*s rather sharp satire is curious in light of the fact that exotic architecture in palaces of entertainment was the mode du jour of the 1880*s. Pictures of theatres built at about the Fig*. 1 5.— Lyceum Theatre, section drawing. 89 f t < * £ ■ VWh-T Fig* 16.— Lyceum Theatre, plan of street level* 91 92 A K . v * * ■ N T f ^ H I OA.U 5 - P40\v/ Mf?lWAkJ)6A. Pi_ATFOFM j e ROO M 4? £>Pf*|0*£- ^TT^e- y ^CK \ 1 api^4? VAmNb Main &4TKan£& I s 4 T 7^ £: & T L & V E = i ] __ L-r <C &. U M T U E M R,£ Fig. 17.--Lyceum Theatre, olan of Main Floor. 93 HfS^WAN ICAI— PLATFORM, \uP M A I N4 — F l O O R , Pl_ A M Lr-fcieUM TI4EATKE, Fig. 18.--Lyceum Theatre, plan of Balcony. 95 A L. ez- a> r-4 ~-r~ P l a M L"r" C E.U M Ti-lEATKG- 97 wood, also ornamented with silver inlay. Hanging from the beams, covering an area of some twenty-five feet over the main floor, and suspended by thin wires, were at least a hundred great, pear-shaped globes of opalescent glass, swing ing in silver baskets, each enclosing an electric light.*9 An early visitor to the theatre said that it was too soon "to speak of these as to their illuminating qualities, but of the decorative effect of this mass of gleaming, light, great soap bubbles, reflecting irridescent tints, there can be but little doubt."20 Another critic remarked that "the globes, suspended from overhead, on account of their shape, have the unpleasant suggestion of bladders; and if one succeeds in overcoming that fancy, they suggest the triviality of ornamented ostrich eggs."^! The Lights The decorative value of the lighting was immediately apparent in the side and balcony lights. At intervals on the balcony were concave panels of opalescent glass, screen- same time as the Lyceum, such as the Casino, with its ex travagant and outrageously decorated Moorish facade, as well as such yellow-brick monstrosities as Wallack’s, The Temple Theatre and the garish Metropolitan Opera House made the Lyceum*s Hubert-designed exterior and Tiffany’s inter iors nearly conservative by comparison. 19S ee Figure 19 and 20. 2^New York Mail and Express, loc. cit. ^*Art Amateur. May, 1885. Fig. 19*— Frontispiece from Lyceum Theatre pro gram November 23* 1885 of Bronson Howard’s One of Our Girls under the management of Helen Dauvrey, who fol lowed MacKaye into the Lyceum. C y j GG0 C& 2 Oy j GC& iu { k GC^ & # y> i \ r/urae i\/s t o k m v - r?s f t5! j W J Ail* % i i © J S m f o u r t h L E IJ /\7 e a i id • 8 ? -TWENTY•T^^l&TRECrAD- r ^ T . - W uonmiG-/^T)n4^oFDESia j & 4 8 ipy^.6 ■ . T V 1 'I ■ i 1 . '- 1' ^ - 11.1 '" ; : ' M i i> | (T . • . . • . ’ jjssffli^jt - » § • - . ' • • ! r! • • • ‘ ->0'viS- . > £ 5 / TOr^JN'vwJT VwS r .^.Vi.^'-f5? 1 \ A'-Hf « t : 3i | ................... *Sfsl: i „ : ' iH;..-i ■ ' : . • ; i : T ‘ i : - ? rr'T * j f S s i s\ ^ r ' ;' ■ — •&! ifeSB '<SS$$SSSS$S?! $&?S$S$S?'! w m m i Fig. 2 0.— Detail of the Tiffany-designed hanging electric fixture. (From Art fleview, April, 1887.) 100 102 ing an electric light. These panels had extruded branches in several colors, with perforations showing the red silk of the balconies beneath. In the small boxes, when the house was darkened, the panels of stained glass shut out the light and were then seen in the darkness as glowing spots of red, blue, green, and amber on the walls and balcony. The gen eral house lighting was well diffused and placed in back of the spectators, except for the center light in the ceiling. More than a decorative accessory,magnificently de signed for efficiency and audience comfort, the Lyceum Theatre’s lighting system was the first in the Uni ted States to use electricity for both auditorium and stage, a revolu tionary concept that was rapidly imitated by theatres, audi toriums, and business establishments throughout New York City. The electrical system used to light the Lyceum stage and auditorium was designed and installed byThomas E d i s o n ,22 who invented the special 500 candle power projection lamps for its stage. In a letter to MacKaye, he wrote* "Friend MacKaye; Those Lamps I had are not focusable* Expect the good ones Wednesday or Friday. Will let you know when ^The Spirit of the Times, April k, 1885j wrote with certainty that the Lyceum Theatre’s stage was the first theatre in America to use electricity for both stage and auditorium. Harry Miner, in the American Dramatic Directory, 1885-1886, p. 2^, wrote that the Lyceum Theatre was the first in New York to have both the stage and the auditorium lighted by electricity. 103 ready. --Edison.”23 The source of power for this major installation can be determined from records of the Edison National Historic Site, maintained by the United States Department of the Interior. The ’ ’Central Stations” which supplied power to buildings in a specified area began operations in the early 1880’s. The country’s first was located on Pearl Street in New York’s downtown business district, and designated the ”First District.” This Station began operation on September *+, 1882. Since it supplied power to only one quarter of a square mile, and since there were no additional ’ ’Central Stations” in New York City as late as May, 1885*^ the Lyceum was obviously built as an ’ ’Isolated Plant.” A Histo ry of the Edison Electric Lighting System, compiled and pub lished in 1905 by the Association of Edison Illuminating Companies, states? The first theatre operated from an Edison 3-wire or any other Central Station was one which opened at Brockton in 188*+, with an equipment of 500 lamps con nected with the distributing mains by two 3-wire ser vices, the current being led through four 100-light meters connected in multiple arc. The confidence which by that time had been established in the reliability of the light was such that this theatre was never piped for gas, and its illumination was perfectly satisfac tory with even the small number of lamps installed. This system was originally planned by Bergmann and Company to place the fifty lights set for fixtures in the 23MacKaye, Epocht . . ♦ , I, *+82. See Figure 21. ^Reference Catalogue 10199 Scrapbook Article from the Boston Globe, The Edison National Historic Site. Fig. 21.--Letter from Thomas A. Edison to Steele MacKaye, autumn of 188**, while installing his lights in the Lyceum Theatre, the first electrically lighted theatre in New York. 10** 106 theatre auditorium; on a single main cut out were branched cut outs in the main fixture. It was childishly simple and designed before Edison's more complicated installation at the Lyceum. Because of the Lyceum's diversity of lighting de mands, Edison's system required multiple bridge cut outs, closing on rheostats. The large number of house lights drew upon a primary main circuit, while a separate branch cut out was retained for the stage lights. According to bulletins of the Edison Electric Light Company, the overall plan was the work of the late Luther Stieringer, the earli est expert in auditorium lighting. A division in the wir ing of a main fixture created a separate cut out for each group of fifty lamps, twenty of which were placed on one side of the three-wire system, and thirty on the other. If operated from a main control, this light grouping easily would have provided the flexibility demanded by the Lyceum. That such flexibility did, in fact, obtain in the MacKaye productions at the Lyceum is evidenced by a number of news paper references to a separation of the footlights, some distance from the stage itself, and the presence of a con trol board, probably located in the box from which the engi neer regulated the intensity of the light.^ The foregoing factors make feasible a highly con- 25Trinaldo, in the Spirit of the Times, April 1885 complimented MacKaye on the changes in intensity and color of the total lighting system. 107 jectural reconstruction of the Lyceum's wiring circuitry. However, no wiring diagrams have been found to be extant, making an accurate account virtually impossible. The re quirements of stage productions, the electrical technology concurrent with the Lyceum's construction, and basic elec trical engineering principles have remained essentially those of the first Edison system. Therefore, any modern wiring system may serve as a prototype of the Lyceum elec trical plant. We can be quite certain that the source of gener ating power emanated from the steam boiler complex below the carpenter shop under the main stage area. In accord ance with general practices of the period and regulations promulgated by the City of New York, the generators or "dynamos," as they were popularly called, were most proba- bly located under the sidewalk in front of the theatre. It is remarkable how quickly New York's other theatres followed MacKaye's pilot installation with elec trical systems of their own. In Birkmire's selective analy sis of American theatres,2? it is noteworthy that while ^According to Section 121C of the New York Build ing Law, Ledger of Public Safety, provisions for main cur rent shut-off were to be located near the main entrance of public auditoriums and not within the building itself. Since a considerable number of lighting fixtures were loca ted near the main central entrance and the side gallery exits, the source of power had, therefore, to be close to these entrances and, logically, under the sidewalk. This, too, was common practice in that period. 27U illiam H. Birkmire, The Planning and Construc tion of American Theatres, p. 6. 108 mechanical equipment became more powerful and sophisticated, MacKaye’s basic electrical installation was generally adop ted by theatre planners for the remainder of the nineteenth century and was at least influential in the installation of lighting equipment well into the twentieth. The Balcony The Lyceum had one balcony, which could be entered either directly from the street or from the lobby. Hubert’s original construction plans were altered with respect to the balcony approaches. Before MacKaye’s renovations, the stairs led steeply to the top of the balcony, from which point the patron descended to the seats below. MacKaye al tered this configuration in a manner which became common theatre practice thereafter! the entrance was placed near the front two rows of the balcony rail, appreciably reduc ing the steep pitch of the balcony stairs and saving many steps for those who had booked the lower and better balcony seats. This was an added convenience for those in these most desirable seats, also were, according to an extant ticket chart, the most expensive in the house. Adjoining these two front rows, called the "dress circles," were one large and two small boxes on either side, decorated with an English filigree of elaborately carved dark wood. The upper boxes nearest the stage had striped 2%ee Figure 2k Fig* 22# — Interior of the Lyceum Theatre* (Courtesy* Dartmouth College Library.) 109 LYCEUM THEATRE. [ O Ill awning, suggestive of an Arab tent. Of particular interest to architectural historians should be MacKaye*s use of the MogeeM shape within which the smaller boxes were contained. Research suggests that this was probably the first use of a recessively curved bal cony with a forced curve projection at the box line since the construction of the Teatro Sabbioneta in 1588* Though the latter was without a balcony, it did employ the "ogee” form in its general seating arrangement. In the Lyceum, the Mogee" configuration was de signed to project the smaller balcony boxes from behind the larger box directly in front, thus provided an uninterrupted sightline for the occupants of these boxes. At the same time, the customarily projected balcony over a considerable degree of the main floor area gave those in the rear seats of the main floor a virtually unobstructed sightline of the entire proscenium arch. ^ 0 The popularity of this concession to audience com fort, as compared with the greater seating capacity of the projecting balcony form, is evidenced by its use shortly thereafter in four theatres in New York. These included the Berkley Theatre, the Broadway Theatre, Harrigan's 29for details of the Lyceum box see Figure 23 which illustration also suggests the detail work in the pillars, flanking the upper boxes. This illustration is reproduced in Dr. Robert Koch*s exhaustive treatment, Louis Tiffany, Rebel in Glass. 3°See Figure 22 Fig. 23*— Detail of the balcony arrangement of the Lyceum Theatre. (From Art Review, April, 1887.) 112 Fig. 2^.— Diagram of seats and interior of the Lyceum Theatre, for week ending October 23» 1886— a Daniel Frohman production of Gretchen. 11^ 11 H l < i \ | . I'KOdKAMMK OF LEAPING THEATRES FOR WEEK ENDING < > < T. * T h e L y c eu m T h e a t r e s ‘ 4th Avenue, bet. 23d and 24th Sitreet. -c«-- Showing Diagram of Seats and Interior. EVERY EVENING AT 8:15. SATURDAY MATINEE AT 2. FIRST APPEARANCE IT T AMERICA OF 2 U E IS S F O E T E S C U E , And first Production in this Country of W. S. Gilbert’s plav in Four Acts, entitled, G r R E T C H E K T . C A S T O H 1 T H E C H A E A C T E H S . F austu s.......................................................... Mr. Fred Terry M ephisto Mr. Charles Sudden G ottfried................................ Mr. Charles Overton A nselm Mr. W. H. Crompton Dom inic....................................................Mr John Findlay Friedrich Mr. Junius B. Booth M artha.....................................................Msss Kate Hodson Lisa .......................................... . Miss Helen Fortescue A gatha................................... ......... . .Miss Marie Floyd B essie...................................................Miss Lillian Billings Barbara............................ .................... .. Miss Grace Hall — a n d — 1 * 1 ISS F O R T E S C U E ...........................................................AS. .« It ETC IE I ' . \ ACT. I.—UNDER THE CLOISTERS OF A MONASTERY. vMark Apjolm.) " S P I R I T O F P U R IT Y , I C O M E TO T H E K .” ACT. II.—A GLADE, i Homer Emens.) " H E L O V E S T H E E , G R E T C H E N ! L O V E S T H E E , L O V E S T H E E ! ACT. III.—A MARKET PLACE IN A GERMAN TOWN. (Hughson H awley.i " O H , E A R T H A N D H E A V E N ! A R E T H E R E NO B O U N D S TO D E V IL -H O O D ? " ACT. IV — ROOM IN MARTHA'S COTTAGE. (Homer Emens.) “ T H E D R E A R Y N IG H T IS P A S T , A N D D A Y L IG H T IS AT H A N D .” N O T E .—T h e leading idea of this play was suggested by Goethe’s “ Faust.” The author i s indebted to that work for the s c e n e between Mepnisio and Martha in Act II. In every other respect the dialogue is original. .M i - F o i i t k s c i ’ e ’s Tour w i l l b e u n d e r t h e d i r e c t i o n o f M r . A l . H a y u a n . M a r c u s R. M a y e r , Manage ' 12 116 Theatre (now the Garrick), and the Manhattan Theatre, built by Oscar Hammerstein where Macy’s Department Store now stands• An additional feature of the balcony section, as well as of the orchestra, was the generous rake of the floor. Seats were on four and one half inch risers instead of the customary three inch ones* thus providing improved sight- lines for all patrons. The Main Floor The most striking feature of the main floor— known, in true European tradition, as the "parquet**— was its seat ing arrangement, featuring the patented MacKaye chairs. It contained six aisles, with no more than four seats in any row between aisles. Every seat in the parquet was there fore either an aisle seat, or one seat away from an aisle. This greatly facilitated a patron’s entrance and exit, MacKaye saidt In order to provide these six aisles, I had to sac rifice ninety seats, or an income of a great many thou sand dollars a year; but it will facilitate moving about the house, and if a foyer is ever to be of any practical use as a place for resort and conversation between the acts, the beginning can be made here.3* The folding chair itself, patented on March 18, 188*+, was a marvel of construction, and the parquet’s most striking feature,^ In his specifications (part of Letters 3*The Evening Post, March 23* 1885, 3%ee Figure 22. 117 Patent No. 295*261, dated March 18, 188*+), MacKaye stated: The object of my invention is to provide a chair for places of public meeting which shall secure greater comfort and safety to audiences in entering and leaving the house* I accomplished this by so constructing the chair and its supports as to provide broad aisles in all directions, when the chairs are folded, and at the same time furnish a seat as comfortable and secure as ordin ary chairs*33 When the MacKaye safety chair was first introduced to the public at the Union Square Theatre in 1882, consider able dissatisfaction was e x p r e s s e d ,3^ causing him to make so many modifications that it eventually became an almost entirely new chair* Even the latest modification, announced before its installation in the Lyceum, caused a Dramatic Times critic to complain: I can see nothing whatever to recommend it* One's knees are pushed back by the person in front, the people in the middle of the row cannot possibly get in or out without disturbing, not alone those on the row, but those in front as well* There's a sensation of inse curity all the time, and there's no support to the back. Where the safety comes in I don't know, but I do know that there is universal discomfort about them* I cer tainly hope this is not the chair that we are going to have in the Lyceum.35 The chair was modified and installed in the Lyceum with a number of improvements* MacKaye had corrected some of the faults mentioned by the above critic. The construc- 33sjd ecifications and Drawings of Patents Issued from the United States Patent Office, March 188^ Washing- ton, D• C.: U. S. Patent Office, 188^. 3 ^Financial and Mining News, New York, November 14, 1883* 35pramatic Times< February 1^, 1885* Fig. 25.— Drawings and specifications of MacKaye*s patented folding chair. 118 II.— F O L D I N G CHAIR. Sp e c if ic a t io n f o r m in g part of L etters P a t e n t No. 295,261, dated M a rc h 18, 1884. Application filed May 10, 1882. (No model.) (Patent granted Sept. 26, 1883.) To all ichom it may concern: Be it known that I, Jam es S te e le M a c K a y e , of New York, county of New York, State of New York, have invented a new and useful Improve ment in Folding Chairs, which is fully set forth in the following speci fication and accompanying drawings, in 'which— Figure 1 is a top or plan view of m y improved folding chair; Fig. 2, a side view of the same; Fig. 3, a front view of the same with the seat raised; Fig. 4, an end view of the same with the seat swung round to show passage-way; Fig. 5, an end view of chair folded up; Fig. 6, a side view of the same; Fig. 7, a sec tion of the line x x o i Fig. 1; Fig. 8, a portion of the seat broken away to better show the folding mechan ism; Fig. 9, a detached view of the separator. The object of m y invention is to provide a chair for places of public meeting which shall secure greater c o m fo rt and safety to the audience in e n te rin g and leaving the house. I accomplish this by so constructing the chair and its supports as to pro vide broad aisles in a ll directions when the chairs are folded, and at the same time furnish a seat as com fortable and secure as ordinary chairs. To this end m y invention consists, primarily, of a folding-seat chair hinged at one of its rear corners, or thereabouts, so that two chairs may be placed side by side, hinged at their adjacent rear corners, preferably on a single standard. 1 2 0 xitv Inventions My improved chair, illustrated in the annexed drawings, and exempli fying one form of my invention, ex hibits a capacity to fold three times: first, the automatic rise of tin* seat; second, a lateral swing of the chair on its support; third, a folding up of the seat and hack upon themselves. In the drawings, A represents the standard or support; B B, the sup- porting-catches; C, the supporting- hinge; D, the securing-catch; E, the seat; F, the seat-supporting rod; G, the spiral spring thereon; II, the folding-hinge; I, the catch-pin; J, its socket; K, the seat-lifting spring; L L, the counter-weights; M M, the inwardly-curved arms; N, the stop thereof; O, the seat-separator and back-stop; P, the supporting-bracket which constitutes the chair-frame; R R, the seat-stops thereon; T T, the bracket-folding hinges; U, the back; V V, the folding-hinges; W W, the back-sustaining pivots; X, the chair- latch; V, its lever; Z, the lever spring. The standard A is a post-like standard, which occupies but a frac tion of the depth of the seat, so that when the seats of a row of my chairs are turned up, a broad aisle is formed, practically unobstructed by the stand ards in front of such row; and when the chairs, with seats folded, are swung back a quarter-turn on their standards, broad aisles are formed across the rows of chairs. I term my standards “post-like standards,” as distinguished from frame-like standards or boards practically as wide or wider than the depth of the seat, the use of which frame-like standards renders it impossible to obtain broad unobstructed aisles both in front of and across rows of chairs without increasing the space between such rows. The above parts operate together to promote the objects hereinbefore set forth, as follows: Supposing the chair just vacated, spring K lifts duplex seat E and carries both its sections up against hack U. As seat E rises, its outer edges strike in- vardly-curved arms M M and bring them into a position parallel with back 1*. The entire chair is now free to swing on bracket-supporting hinge C on standard A, thereby open ing an unobstructed floor-spare in one direction equal to the width of the chair. The unconfined half of seat E may now la* folded inwardly upon the other half by reason of folding-hinge 11, made free for that purpose, one of its arms resting in a recess of tin; unconfined half of the seat, and also by reason of the action of separator O, which pushes the two halves of seat E asunder. At the same time that this is done, hack U may be folded inwardly upon it self by means of folding hinges V V, and bracket P will also similarly fold upon its hinges T T. The rol ler at the upper extremity of spring K will pass within the curved sockets left in the lower innermost corners of each half of seat E to receive it, and as the two halves come together latch X falls within catch D, and the chair is thereby fastened securely to standard A. An open floor-space equal to half the width of the chair is thus obtained at right angles to the before-mentioned aisle. The arm corresponding to the outer or uncon fined half of seat E bears at its inner end against lever Y, pivoted to bracket P. Drawing this arm out wardly, lever Y bearing upon the outer end of latch X, also pivoted to bracket P, releases latch X from catch D, and the chair is free to be unfolded at pleasure, spring Z re turning lever Y to its place. As seat E falls into position, catch-pin I drops into recessed catch B on stand ard A, thereby locking seat E securely to standard A. The seat is supported by stops R R and rods F F. Spiral springs G G on rods F F hold the two halves of seat E together, and counter-weights L L, while aiding to lift seat E, also bring forward the lower end of back U, producing comfortable inclination. When the chair is folded, catch-pin I is received within socket J, and folding-hinge IT within a similar socket in back U. It will be observed that arms M M are of peculiar formation, inclining inwardly over seat E, thereby in creasing both the comfort and safety of the chair by providing a larger bearing-surfaco for the arm to rest I upon, and widening the space be tween the arms of adjoining chairs, 121 • ; : ■ '•!,> ■ )* '’i ■ i ' . »ne. when : > ! I , , | j . ■ ! \ t >* -till-*- 5 '■ ■ i , : i * , j" , ■ ! , ' I i ! H • ; i ' I " i! • ' ; • ■ ' ' ' ■ w p m i 1 ]u' 1 1 }., S- ; , i :•!.•! < • a I--' ' * r t'\ •' • 1 ' a t , ; 1 ,t« k I .1 In I d e t e r m i n e - ! I"' i r r i i n a ? !■ > 1 1 tiicl'onf. I »V t 11 * ‘ ‘ m c a m - s pa c io u s ai -dcs a re i n s t a n t l y n l il a in a i d e m all ilirt'ct urns f or t h e exit <>1 an a ud i e n c e . The leading feature of my inven tion consists in hinging two eluiirs at their adjacent rear corners to a post like standard, tin* chairs being constructed with a scat adapted to fold up against the hack. This fea ture may he used independently; hut 1 prefer to use in all cases an au tomatically-folding seat. An obvious modification would be to use two chairs, each hung at one of its rear corners to a separate standard, one chair being hung at the right-hand corner, the other at the left-hand corner, and then placing the stand ards close together. Thus my inven tion is not lim ited to a chair which contains, in addition, th e feature of a chair-frame, seat, and back, each constructed in tw o sections adapted to be folded upon each other, and w ith other features described and claimed. T desire it to be understood th a t in some of the ensuing claim s I do not lim it m yself to a chair having a self folding seat, or a seat composed of tw o sections, or a back composed of tw o sections, or a chair constructed w ith folding arms. These features of construction may be om itted in some cases. The details of construc tion m ay also be greatly vari<*d w ith out departing from the principle of my invention. W hat I claim as my invention, and desire to secure by Letters Patent, is— 1. The com bination, substantially before set forth, of a single post- I • standard, substantially such as < i ribed, a pair of chair-frarnes, both ! I at their adjacent rear cor- v vertical hinges to said stand ard 1 a folding seat for each chair- II a i l : "mbination, substantially :t hi ! f. forth, of the post like - ^ ;i ti'i;11.i. hb-l ant ially sudi as do sr{iIn’i|. tli** chair-frame, 11inlt* 111 m ora* of it- i cn r conicrs by ;i \ , n hiii!'" to id standard, tin | - •o;l f - l l p j - o l I I F I g i ! ■ : , • < 11 • I ■ b 11 ■ rha I I t a ' t c l ' 1 II g ' : ' • ‘ 1 i ■ i w jh• i < • bv t\ n- i bait m a y I • - . I ! b v, folded ii Ja in. and ' .: • s i n g l e st Hilda r 11. 4. In a fold i ng i b a i i , b r m !. cl P. m a d e in t h r e e p a r t ' , wtih b i g -. ,i ! m i l l i n g tin* f o l d i n g of o n e n t h e r e o f up o n a n o t h e r , an d f o r m i n g a su p p o rt for tin* back a n d -cut of tie* ch a ir, s u b s t a n t i a l l y as di-< r'ibid. f). The duplex seat F. pr o\i :- , v rk fn*o hinge 11, count er-w eigb • i. ' catch-pin I, socket J, -primg k porting-rods F F. cb.-ing • j- and separator O, operating i g substantially as described. 6. The c o m b i n a t i o n , -ub- t ant ially as before set fo r th , of t h e s**lf-folding seat and the pivoted arm**, tin* outer ends of which are curved inward and also reach over the e d g e s of t h e seat, whereby the folding of the seat cause* the folding of the arms. 7. The com bination of arm M on the outer section of the back, lever Y, and latch X , pivoted to such s e c tion, and catch D on the standard all operating together substantially as set forth. 8. The com bination, substantially as before set forth, of the swinging back U, provided w ith hinges V V. and supporting-bolts W W , and the folding seat constructed with rear ward projections or w eights, whereby the back is autom atically inclined on turning the seat down. 0. In a folding chair, seat-separator and back-supporter O on th e bracket ^ P, constructed and operating sub- c stantially as described. 10. The combination of a standard, two supporting bars or frames piv oted vertically and independently thereto, and tw o folding chairs hinged to said supporting bars or frames, substantially as described, whereby said chairs m ay, when folded, he turned back to back and leave a passage-way between adjacent T 1 c ' double *eat s. ' V Ml < ^ l l'FLF MACKAYE. \\ : (> , 122 No. 295.261. J- S. MACKAYE. folding chair. Patented Mar. 18, 1884. c a w n T I WITNESSES: -INVENTOR 123 Inventions xiv J. S. MACKAYE. FOLDING CflAIR. No. 295.261. Patented Mar. 18, 1884. - n m /V\|\J~v* WITNESSES: djrCu*- /fa /c/M/iy & INVENTOR (WVULA cf-l fLdtJL. fyk4 cfc<tyj , 0J LijLl'W C ' / y I * ' 125 tion and mounting of the Lyceum model made it uniquely dif ferent from any of its predecessors, and an effective, al beit somewhat complicated, precursor of the modern folding theatre seat. Two seats were hinged by their backs to a metal post securely fastened to the floor, and then swung back to back on lines parallel to the main aisles, thus creating an additional aisle between each two posts. Upon taking possession of his chair, the spectator first placed his hat in a rack on the bottom of the seat; then he swung the chair toward the stage. Only when it reached a pre cisely channelled position did the seat gradually descend, carrying the hat under it, while simultaneously an iron sup port dropped into position on the floor proper to support the seat. As a part of the mechanism, the top of the seat at the post formed a loop at either end which could con veniently hold an umbrella or cane. Sitting in the chair and placing one’s feet on a rest fixed to the back of the chair in front, one could manipulate the seat until it be came a reclining chair, similar to those in modern air planes. The design was such that even if one patron re clined his chair completely he did not interfere with those seated in front or in back of him. The moment one arose from the seat, it folded to gether automatically, leaving considerable space between rows. When ready to leave, each person swung his seat back to its initial position, and found himself in an aisle lead- 126 ing to the lobby. Until people became accustomed to the use of the chair, it was the object of much laughter and derision. Opening night accidents with the chair proved the rule rather than the exception. Coat tails were trapped as seats sprang together like steel jaws, and on more than one oc casion men and women reclined on the floor, implicitely be lieving their seats to be in place. Cartoonists of the day ran r a m p a n t . 36 once audiences grew familiar with its oper ations, however, it proved successful and served its pur pose. Doubtless the use of MacKaye*s folding chairs re duced the Lyceum*s seating capacity by some fifty seats.37 Total capacity of the house, according to T. Allston Brown ,38 wasl boxes, 8 8; parquet, 3*+^; dress circle, 1 7 2; balcony, 123* a total of 727. The greatest number of patrons at any performance* 7^9* The Curtain The stage was screened by a double curtain, also an invention of MacKaye and the first lateral sliding kind to be seen in any American playhouse. The material was a spe cially woven fabric, in stripes of green and gold designed 3^See Figure 2 6. 37MacKaye*s earlier figure of ninety was an ap proximation • 38xhe New York Clipper, May 1893* Fig, 2 6.— Cartoons of the day lampooning MacKaye*s mechanical innovations in the Lyceum Theatre. 127 128 J M . j ' \ 1- ’ “v' \ r ) ^ * Vs <r i!> ! i.-' r> 0 2 ' A A • _ n <7 j J < * fl a M ore G o i n c 0</-r " " " " 3crw r ; t h j tiil A C T S . \A ) " > i c £ v i i.L i’M iuE. ik Cow P A N Y , • " '? '? • v ‘:. *"1 *7 - ■ * g * £ Z i r f » I - ' * * * - • * ■ k » * « , ? f c —H M W ' , ■ * - » • • — - - — - —. - —. . . • *>v ■• •* » ««►*«■) >-*,« 129 o H A h , ITSM. » .\JfyA, 1 V n S i; ,*h /.VA : ■ ■ / A ' - A , , x ., ■ ■ , AAA v> X M ^ i N V a A O S 3 5 V ? M i »/ f / v t ; V* S r - > < ; ^' v/ ii ? / ‘ 5 ' 1J V ' i 0 Vi, 131 ^ ^ J y i « " ' J ' rX?i I ' ' ''. \ V r > Tl \ r X / .< •• <£ -3_ # Vv v* * < r ^ / s v - A < ^ > / ^ "(^ S < N . V c l ’ V . C / 1 S *■'■'■ f S-“' - - ' , ^---------- '-- M ' V I ‘«v . • • ■ s > '■'' m r ' • ■ - f ^ v V V J r.. = > / ■ . T ' a 4 - • - * . V' - ' « / * V. *zSf y' - .« / f ^ * * . “» * <.•£ :*■ <"* ' • - * ? ^ *..♦.<* ** i-:. y , 1 V • 1 . * • T V f * , * ^ ^ V ^ • v ' . * * * » 0 \ * \ * % ! i s j 132 and executed by Tiffany. Both of the two curtains ran the entire width of the stage and were tinted in such a fashion that when the two sides slid along each other the tints deepened from alternate sides until the deep blue of one mingled with the green and gold of the other. ^ Across the bottom of the curtain, Tiffany imposed an ornamented border, in paint and embroidery, which became richer and more elab orate toward the deeper-tinted sides of the curtains. A New York Mail and Express critic was greatly enchanted by this curtain: . . . But fancy the audience in place. The two curtains so hang that the deeper gradations are on the sides. Above is a frieze in which butterflies combine in con ventional forms and are seen in green on the yellow ground. Below is a deep cave with ornaments in relief in gold, the only gold used in the decoration. The cur tains part, and are gathered back fold on fold, reveal ing the aerial fairy-like pavilion for the orchestra. In front are slender pillars fashioned on the lines of an opium pipe. The lower part is overlaid with ornaments in relief brought out in brown and silver. Above is a frieze of stained glass, from which hang festoons of roses marbled in stained glass. 0 To complete the effect, MacKaye hung behind the orchestra another small decorated curtain, on which were painted, in gold and silver ornamented letters the legend: The night shall be filled with music, And the cares that infest the day Shall fold their tents like the Arabs And silently steal away. Sentimental though it was, this motto summed up 39see Figure 27. ^ New York Mail and Express. March 6, 1885* 133 MacKaye*s feelings about his theatre and what he wished it to impart to his audience. The Stage and the Orchestra Car MacKaye had originally intended for the Lyceum the same double stage which he had invented and installed at the Madison Square, but limited finances caused him to shelve these plans. According to T. Allston Brown, the Lyceum stage was forty-eight feet and six inches wide, thirty feet deep, sixty-five feet high, and had an underneath depth of seventeen feet.***- The musicians occupied a frame on the stage about five feet deep, reaching entirely across the stage. They were not visible to the audience until the double curtains crossed each other and disclosed them, apparently occupy ing the entire stage. Behind the musicians— for the sake of further illusion--Tiffany erected an intricately painted bandshell of bird and cloud forms, tinselled on a salmon colored background, which faded in its lower portions to a full dark blue wainscoting, against which the musicians stood out in sharp relief. The overture completed, the curtains closed and the frame along with the musicians was hoisted on an elevator into the flies where the front of the platform formed the top of the proscenium a r c h . ^1Ibid. ^2See Figure 28 Fig. 27*— A conjectural reconstruction of the Lyceum's Tiffany designed curtain, open to reveal the MacKaye invented orchestra car in a framework of elab orate decoration. 13^ 136 The machinery used to hoist the orchestra car was similar to that employed by MacKaye at the Madison Square; it was undoubtedly installed by Nelson Walgren, the machin ist responsible for the double stage at that theatre. Ap plying the double stage specifi cations— Letters Patent No. 222, 1^3» dated December 2, 1879— the orchestra car was probably suspended at each corner by two steel cables. These cables passed upward over ”sheaves” (pulleys) set at dif ferent angles and thence down to a saddle to which they were all connected. Secured to this saddle was a hoisting cable on a hoisting drum, the rotation of which raised or lowered the orchestra car. The power lines for this mechanism led beneath the stage to the dynamo (generator), situated under the sidewalk in front of the theatre. The significance of this extraordinary use of elec tricity in the theatre, particularly for affecting scenic changes, is borne out by the rapid adoption of a similar ka system at the New York Metropolitan Opera House in 1890. J The growth of the American theatre toward scenic realism, accompanied by a demand for rapid and efficient scene changes, unquestionably encouraged this development. Mac Kaye himself was to use the electric machinery for flying sets and scenic paraphernalia in many of his more famous productions, particularly his sensational Anarchy. It also figured largely in his plans for the ill-fated Spectatorium, ^Birkmire, pp. cit. Fig. 2 8.— A conjectural reconstruction of the raised orchestra car, now forming the top of the proscenium arch. The scene is an interpretation of the realistic box set treatment of furniture and cos tuming in In Spite of All, the last of MacKaye*s pro ductions at the Lyceum. 137 139 intended to have been the crowning: achievement of his in ventive mind but whose failure did so much to break his spirit and health. fire Prevention and Ventilation Systems MacKaye also made a significant contribution to audience safety and comfort at the Lyceum by building the first ventilating and fire prevention systems on any Ameri can stage, Wilkie Collins, a visitor from England, present at its opening, wrote* On the sixth of April last, Mr. Steele MacKaye opened a new theatre in New York. Already indebted to this gentleman's exertions, not only as a writer but as an actor, his countrymen have now to thank him for a public service of another kind. He is builder and mana ger of the most luxurious place of amusement in the world. Among other ingenious inventions, which it is not necessary to mention in this place, he has contrived to associate an evening at the theatre with the sanitary results of a visit to.the seaside. His lucky audience breathe "ozoned air,N^ In the Harvard Theatre Library collection, this in vestigator discovered a sketch of MacKaye's patent ventila- L c ting apparatus, dated March 18, 1882. The apparatus was operated by piston air pumps, feeding pure air through an ozone chamber into heated (steam) or cooled (ice rack) chambers— as the season demanded— and finally into the building. The source of power was undoubtedly the same steam ^ e w York Times, August 1, 1885. ^See Figure 29. 1**Q engine complex that furnished all the electricity through out the house and operated the airpumps. That the ventila tion system was not unappreciated by the theatre’s patrons is obvious from comments in the Spirit of the Times* It [the Lyceum] is fitted with every modern con trivance for comfort and convenience, and with some which Mr, MacKaye has invented expressly for this house. Among the novelties are the ozone air; the elevator cars} the folding chairs; the electric lighting, and the extra aisles. In summer the atmosphere will be cooled by the same apparatus which heats it in winter. The ideas of Steele MacKaye have been called impracticable; but we have seen them carried out not only practicably but pro fitably, in the miraculous Madison Square, and they ap pear to be equally practical, and likely to be equally profitable, in his new theatre. He has done wonders of work in preparing the Lyceum for the public. ° Another critic added his approval, after an inter view with MacKaye, with respect to the improvements and in ventions at the Lyceum* Whatever the issue of the venture, it is very cer tain that MacKaye is making tremendous efforts to secure the comfort and convenience of his patrons. He promises one thing, anyhow, that those who sit out a performance at the Lyceum shall breathe pure air in a cheerful and comfortable house. This is a great move in the right direction. There are scarcely ten auditoriums, even in New York, where the air does not become more or less foul half an hour after the audience are seated. wfhat a plentiful source of disease this must be cannot well be estimated. It may be all very well to poke fun at MacKaye, but he is the only manager I know of who thinks theatregoers should sit in something better than a gilded but badly ventilated and uncomfortable cattle p e n . ? MacKaye*s inventive mind also contributed markedly toward fire control and prevention in American theatres. As ^ Spirit of the Times, April 1^, 1885. ^Freund* s Music and Drama, December 27, 188^-. Fig* 29*--MacKaye plan of HozonedM air ventila ting system* (Courtesy, Harvard University Library.) 1^1 — V V f rrT***f\j v-*^ >g>^trty>>g Q . 1^3 late as the lBQO^, fires in theatres were common, and were generally ignited by contact of scenery with open gas jets* itfhile the Lyceum had a standby gas jet system for emergency lighting, it was apparently never used; and the record shows that during the years of its existence from iQ&k to 1 902 no fires resulted from the electrical system installed there* Among the many inventions which MacKaye incorporated one was for fire proofing scenery* This investigator could find no particulars concerning this invention, but the degree to which he was concerned with fire prevention and general theatre safety is to be noted in the paper "Safety in Thea tres," which he wrote for the November 1883 issue of North American. It contains a safety decalogue for managers and builders I 1, Thou shalt veneer all woodwork with fire-proof compo sition * 2* Thou shalt have automatic trap-doors on the roof above the rigging loft. 3* Thou shalt have an automatic fire-proof curtain. k. Thou shalt have an air-type tank with air condensing pump attachment, holding water enough to extinguish an ordinary fire. 5* Thou shalt keep two fire extinguishers on each floor. 6. Thou shalt keep two axes on each floor. 7. Thou shalt organize a fire company of the employees of the house. 8. Thou shalt have a patent seat capable of turning the auditorium to a series of aisles. 9. Thou shalt allow ten feet of exit room to every 200 seats on the floor. 10. Thou shalt provide the best known system of ventila tion . ^8 All of these safety features were incorporated into ^%orth American. \T, 8 0, 1883. I**** the Lyceum Theatre. Their contribution to the future de velopment of safety in theatres may be measured by the fact that New York building laws pertaining to theatres incorp orated under Section 500 and promulgated in I8 9O specifi cally incorporate nearly all of MacKaye's suggestions.^ The stage roof of the Lyceum was a pointed glass cover, whose heavy transparent panes were set in two huge sashes mounted on rollers and held in place by a heavy rope fastened at stage level. In case of fire, the cutting of the rope would allow the roof sections to roll down 5 and through the great flue thus formed, the smoke and flames would be released into the air. A similar arrangement cov ered part of the auditorium. Both roofs were so arranged that if no one thought to cut the ropes, the sashes would be released by heat ris ing to the top. From this it may be inferred that the pins holding the sashes were set in a substance with a low melt ing point. While MacKaye*s concern with fire prevention re ceived the usual share of derision by cartoonists of the day, ^ 1 there can be no question that his was the most ad vanced system yet devised in an American theatre, setting criteria for other theatres to follow. ^Birkmire, op. cit. p. 101-117. 5°See Figure 15« ^See Figure 2 6. 1^5 The Sale of Seats MacKaye resolved that there should be no ticket speculating at the inaugural of the Lyceum. Toward the end he issued invitation cards only to those he knew would be come bonafied occupants of the purchased seats. This policy was directed at Tyson, Brentano and McBride, the most pro minent New York ticket brokers of the day. To keep brokers from buying tickets in blocks, MacKaye announced that all purchases were to be made at a private auction of seats. No one was to be admitted to the auction without an invitation, and strict surveyance was to be maintained by a police sar- geant from the 29th Precinct. A half-dozen officers were assigned to eject uninvited guests seeking admission. This announcement was greeted with New York's customay satire! The announcement made by the management of the New Lyceum Theatre that it intends to abolish at once and forever, at one fell swoop, both the ticket speculator and the deadhead, has given rise to all sorts of sur mises as to what the means may be. How, for example, can people go into a theatre with reserved seats and retain any privilege without the use of tickets? It was mildly suggested that Mr. MacKaye had devised an ingenious plan by which the guests at his house were all tattooed on the left temple for the season and wore the number of the seat like the mark of Cain upon their brows. But this Mr. MacKaye has officially declared on his honor to be untrue. Now comes Mr. Max Freeman, one of the didactic staff of the new temple, and gives away the whole scheme. It is an occult one. Every applicant for seats at the Lyceum has to undergo a sort of civil-service examination at an invitation. . . . He's sworn to secrecy and knows that if he violates his oath he will perish miserably by the hands of Mr. Belasco or Mr. Frohman. It has taken Mr. MacKaye a number of years to perfect this scheme. It is built upon the Cabala and the plan of the Eleusinian mysteries, and it is expected to work a complete revo lution upon theatre-goers. Already several of the most lk6 eminent ticket speculators have taken to carrying lauda num with suicidal intent,52 That MacKaye was not wholly successful in keeping the tickets out of the hands of speculators is evidenced from the following* He LMacKaye] further mentioned the fact that he had made all these arrangements in advance and given this public warning with the sole view of preventing the lim ited number of chairs in his theatre from being absorbed by heartless speculators. After this creditable revela tion of the manager’s efforts to prevent those who wished to attend the first performance from being fleeced, the auctioneer sold the first lower box to a Mr. Tyson, whom several people claimed was a ticket speculator. The lucky bidder for the next box was Mr. Brentano, who some evil minded persons in the auditorium also charged as being a speculator. Then seats were sold in lots of four, eight, twelve and ultimately the entire remaining rows to the above named gentlemen and to a Mr. McBride, who was also accused by envious people of speculating in tickets. However, apparently MacKaye got even with the ticket speculators* There was immediately thereafter knocked down to private individuals seats just as good as those which either Tyson or Brentano had secured, at figures varying from $3*50 to $**.50 apiece. 53 For comparable seats the ticket speculators had se cured front row seats for as much as $5 -5 0 each and as high as $55-00 for a box. While MacKaye was not wholly success ful in preventing the speculator sale of tickets, it was one of the first attempts in theatre management to curb this practi ce. Summary MacKaye set out to build a theatre designed for 52The New York World, March 26, 1885. 5^The New York World, March 29 > 1885* Ik7 maximum audience comfort and for greatest aesthetic appeal. In every respect, the Lyceum was a unique creation, unlike any theatre of its time. It evidenced MacKaye*s great re sourcefulness in that it was the first theatre to be light ed entirely by electricity. It incorporated his many in ventions, including the patented chairs, the ventilating system, a new kind of curtain, an orchestra car, a thought ful balcony structure, magnificent interior decorations, the latest in fire prevention systems, and in many other re spects a miraculous and beautiful theatre which had con siderable influence on theatres yet to be constructed. This, then, was the theatre on which MacKaye and his associates placed so much hope. Nearly six months after it was first scheduled for opening, the event finally oc curred on April 6, 1885 with MacKaye*s play Dakolar, an adaptation of Ohnet*s Le Maltre Des Forges.^ This investi gation will now turn to that production, commenting on the nature of the play, its staging and acting, and the criti cal reactions it called forth. ^George Ohnet, Le Ma'itre Des Forges, London, 191^« CHAPTER V PERFORMANCES ON THE LYCEUM STAGE UNDER STEELE MACKAYE*S MANAGEMENT Production #1. Dakolar Adaptation from Georges Ohnet’s Le Maitre des Forges Opened April 1885* Closed May 23, 1885 The Plot No manuscript of Dakolar could be found, despite this investigator's widespread search for an original script and/or promptbook in the uncatalogued portions of the Mac Kaye collection at the Dartmouth College Library and else where. During MacKaye*s lifetime no play or book by him was issued and published. Large portions of notes writ ten down by private pupils, from his Lessons on Harmonic Gymnastics and the Art of Acting, were published, in garbled form, in numerous volumes ["some anonymous, others signed by their authors, or editor] without his authori zation or consent. 1 However, adaptations of Ohnet*s Le Maitre des Forges preceded MacKaye*s and the story was well know! The fol lowing outline summarizes accounts from publications of that day. The scene of the five-act drama is laid o the Coast ^•Grover, Annals of an Era, p. 31^* Fig. 30.— Souvenir program of the opening per formance of Dakolar. Program produced in raw silk with red letter embossing on a gold background. (Courtesy, Theatre Collection of the New York Public Library.) lk9 150 FOURTH ! £ p p p j /MEAND- TVvFNTYTpRIW ITEETAD- JONGAC^EmOFDESICN- PRESENTED . WITH . THE . COMPLIMENTS OF . THE . MANAGEMENT AS . A SOUYGDIK OF . THF. OPENING . NIGHT EASTER . MONDAY . EVENING APRIL - 6 . 1885 E . J . HAZ2ARD . PUBLISHER s& w m m JjP<S S T A T IO N E R * * r \ 0 \ E l e g a n t S t a t i o n e x c lu s iv e ly T v <-? / V / . ' \ ■ ? / . '%’ s . \ Xwll'til- v VM v^CVf e r j w JAM ES D. W HITM ORE & CO. A r t S t a t io n e r s , f e ', 1 D e s ig n e r s o f U n iq u e S t y l e s A M e n u s, D in n er C a r o s, & c - jfOk.41 & 4 3 Beekm an S t., N. Y PERSONS OF CULTURE AND REFINED TASTES PREFER THE W E B E R P IA N O S . W e M an ufacture C ases in ROSEWOOD,MAHOGANY,CHERRY ASH AND SATIN WOOD, TO MATCH FU R N ITU R E. WAREROOMS, 5 th AVE. and 1 0 th ST. H A R D M A N E 8 T - PIANOS. 1 8 «- WAREROOMS: 1 4 6 FIFTH AVE. H a r d m a n , P e c k & C o. I W n . D . D u t t o n , M a n u f a c t u r e r s . I M a n a o e r . “ THE INCOMPARABLE” BAUS PIANOS. T he m ost perfect instrum ents o f the ego. Prices m oderate. Term s easy. Augustus B aus & Co. Manuf rs. W arerooms, 520 WEST 2 3 d STREET. F I S C H E R PI AN O S. R e n o w n ed for TONE and DUR ABILITY. 41 5 to 4 2 9 W est 2 8 th St. 8 6 7 Broadway. Cor. 1 8th St. W arerooms: | A N ew D e p a r tu re.—G a t t l e , th e D iam ond Jew eler , 1167 B road w ay, b et. *7th and 28th S ts., ta k es p le a su r e in in fo rm in g th e p u b lic th a t h e is prepared to c u t, p o lish and re s e t D iam on d s an d P re cio u s S ton es o f a ll h in d s a t th e s h o r te st p o ssib le n o tic e . Mr. G a ttle's v a st exp erien ce in th e W holesale J ew elry B u sin e ss en a b le s h im to offer D ia m o n d s, W atches, and e v e r y th in g p er ta in in g to th e J ew elry Trade a t p rice s th a t w ill c o m p e te w ith a n y h o u se in th e w orld. PROPRIETORS : T H E . AMERICAN . T H E A T R E . BUILDING . AND. MANAGING . CO . S T E E L E . M A C K A Y E .......................................................................... G EN ERA L . MANAGER O P E N I N G . N I G H T . M O N D A Y . APRIL . 6th . 1885 FIR ST . PR O D U C TIO N . O F AKOLAR A . COM EDY . DRAMA . IN . FIVE . A C TS . BY ( THE FIRST TWO ACTS PARTIALLY 8UGGE8TE0 BY GFORGE8 OHNEt ’s CAST D A K O L A R . THE . b l a c k s m it h ’s . SON - D U C . O E . V lL L A F L O R . b e t r o t h e o . t o . Ma d e l e in e - (B y t/eiiulrtrtlon o f S h o o k k Collie)*, U nion S<]UiO‘6 T h e a tr e N o e l . a n . o l o . r e t a in e r - - - - - - K E R O U A C . AN . ATTORNEY - P i e r r e . K a d o c ] T a l o c h e I D e n n i s 7 f is h e r m e n - S a g o t I P o t i n J M a d e l e i n e . d e . V o l n a y . t h e . ouc’s . f ia n c e e - SOPHIE . b a r o n e s s . DE . g r a n d v i l l e . M a d e le in e ’s . f r i e n d M a r q u i s e . d e . V o l n a y . M a d e le in e 's . m o t h e r M i n e r v a . B a b o n . a . p a r v e n u ’s . d a u g h t e r - G i l l o m e - - - - - - - - N a n e t t e . p ie r r e ’s . s is t e r - - - - - - Y v o n n e . a . m aid - ............................................................................................. PEA8 ANT8 . FI8HERFOLK . ETC . BY . PUPILS . OF . THE , LYCEUM . S T E E L E . M A C K A Y E NOVEL LE MAITRE DES FORGE8 ” ) M r . R , B . M a n t e l l - M r . J . B . M a s o n M r . J o s . F r a n k a u - M r . A r c h i e . L in d s a y ( M r . J o s . A d le m a n M r . C . H . C a n f i e l d M r . F . E . S t o d d a r d M r . W . C . B e l l o w s M r . C . H . W e l s h - M is s . V io l a . A l l e n M is s . S a d ie . M a r t in o t - M ts s . S . B l a n c h e . G ra y M is s . M a u d . B a n k s - M is s . E m m a . S h e r id a n M is s . L a u r a . J o h n s o n - M is s . M a r y . S a u n d e r s THEATRE , SCHOOL . OF . ACTING S C E N E —BRITTAN Y , FRAN CE. 1st.—TERRACE OF THE CHATEAU DE VOLNAY 2 d . —THE ROOM IN THE TOW ER. (H aw ley.) 3 d . —THE COT UNDER THE CLIFFS. (M araton.) ACT 4 t h . —LIBRARY AT DAKOLAR’S HOUSE. (H aw ley.) A CT 5 th .— OLD WRECK AT THE LANNIONS. (M arston.) ACT ACT ACT T IM E -T H E P R E S E N T . (M a’ st on. T H E B ET R O T H A L. T H E W EDD IN G. T H E D ISCO V ERY . T H E AW AKENING. T H E DUEL. PRODUCTION . UNDER . THE . IMMEDIATE . DIRECTION . OF . THE . AUTHOR Orchestral Pavilion and Illum inating Proscenium Fram e, Patented and Invented by Btkklk MacKayk. Costuming o f t h e p l a y from designs o f C a p t . a l f r r d T h o m p s o n . Decorations, b y ....................... Louis O. T i f f a n y ft Co. I V entilation, by ...................................F r k d k r i c k T u d o r . E lectric L ighting, b y...............................T h is E d i s o n C o . I Scenes, b y .. 1 { i c h a k d M a r s t o n , f t H u g h s o n H a w l k y . D resses, specially im ported from Paris, by M ine. L a m h k l k de St . O m k k . WEBER PIANO USED IN THIS THEATRE. W m. K n a b e & Co. MANUFACTURERS OF GRAND, UPRIGHT AND SQUARE PIANO-FORTES. UNEQ UALED IN TON E, TOUCH, WORKMANSHIP AND DURABILITY. N e w Yo b z : 112 F ifth A ve. B a l t h io b e ; 204 ft 206 W. B a ltim o re St W a s h i n g t o n , D . C., 817 M arket Space. S TE CK PIANOS, WAREROOMS, STECK H ALL, 1 1 EAST 14t h STREET, N. Y. B E H N I N G PIANOS. Warerooms, 3 W. 14th ST., Near 5 th A V E . K a s k e l & K a s k e l , SUCCESSORS TO M ic h a e l is & K a s k e l SH IR TS FOB E v en in g P r e ss a n d D a y W ear, T e n n is an d P olo. UND ER W EAR IN S ilk , M erin o a n d B alb riggan . S p ecialty E x tra S izes. B e st L on d on Scarfs an d G lo v es. 20 WEST 23D STREET. One o f the m ost attractive places o f resort In this city Is Clark's Restaurant on Twenty-third Street, opposite the F ifth Avenue H otel, a short distance from tills Theatre. An attractive supper bill o f fare for theatre parties. This es tablishm ent extends from 23d to 22d Streets, and Is one o f the largest add m ost handsomely appointed places o f the kind in N ew Tork. In connection w ith the Restaurant, there are a Ball Room, a Banquet Hall, and small Dining Room s. W edding Receptions, Dinners and Private Balls may be given at th is establishm ent. A display of the latest goods in French Bon nets, English Bound Hats, and Children's Hats, of exquisite make, including Novelties from the leading European houses, can be seen at Mile. Josephine’s (formerly with Madame Hartley), 47 East 19th Street. If yon want delicious Oysters, Welch Rarebits or Salads, visit Bristol’s, 362 and 364 Sixth Avenue, near 23d St. This house has an unrivaled reputa tion and large patronage. All the appointments are first-class and the service unexcelled. Theatre parties will find this an attractive resort and are assured of every comfort. N o tw ith sta n d in g th e fa c t th a t th e ladies o f N ew Fork and v ic in ity have been w ell satisfied w ith th e goods th ey h ave purchased for so m any years from C antrell, h e is now able in h is n ew store, 25 W. 23d S t., to g iv e b etter sh oes, and to sh ow a m u ch larger stock in hand-m ade goods th an b e fo r e ; also a fu ll lin e o f g en u in e C om m on Sense shoes, a t p rices as low a s are asked for th e b e tte r grades o f m achin e work elsew here. N o p resent is m ore accep tab le for friend s going abroad th an a Basket or B ox o f H u y le r’s F in e B onb on s and C hocolates. Oscar Pusch, 327 Fourth Avenue, between 24th & 25th Street. Imported and Domestic Beers, Wines, Liquors, etc. Select Cold Cuts. THE LYCEUM THEATRE. e x e ^ u T i v e s t a f f . WESLEY SISSO N ........................Director B u sin ess M a n a g e r J. F. H abvey S tage M anager........................................................ E. M. Roberts T reasurer F . D . B ukce A ssista n t T rea su rer......................................... .A . L . MacKaye C hief U sh er..............................................................Lours Gbe n n e b D oor K ee p e r ............................................................F. A. Glabkson M echanical M anager.......................................... Thomas Gossman Stage C arpenter............................................ Wm . Leonabd P r o p e r t ie s ............................................................... B o b ebt P ullab E le ctricia n ................................................................ Jno. T hompson E n g in e e r ..............................................................................E. J. B oyd All com m unications In reference to advertising space or other matters concerning the Programme to be addressed to Edward J . Hazzakd, care o f B ox Olllce at this Theatre. m um . THE ORCHESTRA, u nd er th e d irection o f PROF. EOWARO MOLLENHAUER, W ill rend er th e fo llo w in g selec tio n s : OVERTURE - - - - E dw a rd M ollm hauer (C om posed for th e op en in g o f T he L y c e u m .) ABABISCHE SERANADE . . . . Lange A young Arab singing to his lady love Is Interrupted by the approach of a Turkish military band w hich passes, and th e march dies away in the distance w hile the song becom es th e murmur o f an evening breeze. SPANISH DANCE - Jloztkow tky FANTA8IE, M u ette da P ortlet A lla rd (Violin Solo, M aster W illie T heodoras.) REV KILE D U LEON - - Komlcy KROENUNQ’S MARSCH K rettch ner Do o r s O p e n a t 7:3 0 . S a t u r d a y M a t in e e a t 2. O v e r t u r e a t 8 :1 5 . C u r t a in R is e s a t 8 :2 0 . C a r r ia g e s m a y b e o r d e r e d a t 1 1 . V * in o r d e r t o f a c i l i t a t e e x i t f r o m t h e t h e a t r e , a u d i e n c e s , w h e n a b o u t t o d e p a r t , ARE REQUESTED TO FOLD UP AND TURN THE SEATS. L O N D O N HARNESS AGENCY, 235 FIFTH AVE., N. Y. Spring importation of the best London made Harness and Sadlery now ready for inspection at very close prices. E. M. EARLE. ESTIMATES FURNISHED ON APPLICATION. A s h l a n d H o u s e , DIRECTLY OPPOSITE LYCEUM T H E A T R E . R esta u ran t and C afe S trictly F irst-C lass. Special attention given to S u p p e k P a r t i e s . HOTEL CONDUCTED ON BOTH AMERICAN AND EUROPEAN PLANS. H. H. BROCKW AY, P ro p rieto r. MEYROWITZ BROTHERS, OPTICIANS, 2 9 5 and 2 9 7 FOURTH AVENUE, Cor. 2 3 o STREET E sp sc ia l a tten tio n paid to O cu lists’ P rescrip tion s. OTEUA GIA38E8, LOBGNETTES, EYE GLAS8E3, ETC. 1 5 3 AFTER TH E TH EATRE GO TO d o r l o n ’ s 952 a m 954 BROADWAY, R ear 233 STREET. Special Accom m odations f o r theatre parties. HORTON’S ICE CREAM AND IAATER ICES. Saloon for Ladtc9 and Gentlem en. 3 0 3 -4th A v e . , op posite th is Theatre. E. A. M O R R IS O N , 8 9 3 BROADWAY. RICHLY TRIMMED BONN ETS. CHOICE FRENCH FLOWERS AND LADIES' CAPS A SPECIALTY FOR FINE TRADE. E. F. BONAYENTURE, RARE EN G L ISH k FOREIGN BOOKS, ETCHINGS a n i ENG RA VIN GS. 1152 BROADWAY, 2 BARCLAY STREET, (Y ictoria H otel.) (A stor H ouse). NEW YORK. MANUFACTURERS OF KEEP’ S SHIRTS, COLLARS, V J , CLIFFS, / V v A ' UNDERWEAR / V Y \ " * / 1 UMBRELLAS, / \ S S " / v GLOVES, / ^ N X / I m p o r t e r s NECKWEAR, / ^ v \ J / a n d Dealers MEN’S The Palette Art Co. 276 FOUR IH AVENUE, Bet. 21st & 22d Streets, New York City. Full assortment o f F ine A rtists’ Materials for Oil and Water Color, Porcelain, Pastel, and Lustre Painting Brushes. Canvas, Easels, Draughtmen's Supplies, e t c . Illustrated Catalogue free upon application. EDWARD MOLLENHAUER’ S VIOLIN COLLEGE, 67 UNION PLACE, B et. 18th k 19th Sts. FOURTH AVENUE, N E W Y O R K C IT Y . S lo an'S S h i r t S M ade to M easure. W amsutta Muslin. Linen Bosom. 6 FOR $9. F it Guaranteed. Send for Circular. C om petent person sent to take measure. G E O R G E S L O R N . JR. 6 3 7 Broadway, N. Y. YOUMA NS CELEBRATED HATS, Style and Quality Unequaled. 1107, 719, and 180 BROADWAY. The Princess Beatrice's Trousseau.—Mr. E. Redfern, o f Cowes, was requested to attend H. R. H. Princess Beatrice, at Osborne House last w eek, and paint som e designs o f gowns suitable for Her Royal Highness’ trousseau, but us Mr. Redfern was detained by the busi ness o f his N ew York house, his brother from Paris w ent over and took an order for som e very handsome gowns, w hich will be later on fully described In the London papers. Her Majesty, the Queen, was m ost gracious to Mr. Redfern, and quite approved of the costum es suggested by him for her daughter. —Home Journal, Feb. 4th, 1883. T he u nsu rp assed P u llm an B uffet Parlor and Sleeping Cars ru n on th e “ W est Shore R ou te " are m od els o f elegance, con ven ien ce and com fort. Its en tire eq u ip m e n t has been conceded to be su perior to th a t o f an y o th er lin e . T he W est Shore R ou te s till retains its p op u larity as b ein g th e m ost attra ctiv e and d irect lin e for travel b etw een N ew York, R ochester, Buffalo, Chicago and St. L ouis. ARE CELEBRATED FOR THEIR SUPERIOR STYLE, NOW O PE N . The m ost com plete and com fortable h otel In N ew York. The N ew and Palatial HOTEL NORMANDIE, Cor. BROADWAY and 3 8 t h STREET. ON THE EUROPEAN PLAN, w ith a Res- taurant o f peculiar excellence. ESTERBROOK, Inspector o f Buildings, says: " Every room Is a place o f security for Its occupant, as th e house Is absolutely 1 1 re proof.” Steam heat, speaking tubes, electric bells, burglar and fire alarms attached to all room s. SANITARY ARRANGEMENTS PERFECT. Location the m ost healthy In the city. Special attention to W eddings, Receptions, D inner Parties. Liberal arrangements to perm anent guests. FERDINAND P . EARLE, Prop. MILLER, 4 ASTOR PLACE and 1 1 4 7 BROADWAY. H A T T E R , All the N ew est Goods In Spring Styles. M l l e . DENNIN, MODES DE PARIS. 9 4 5 BROADWAY, and 1 7 3 FIFTH AVE. NEW YORK. Warnock's Hats. Styles original the best. 238 F ifth A venue. Q u a l ity The Music performed at this Theatre can be had o f Brentano, 5 Union Square WARNOCK’S HATS ONLY STORE IN NEW YORK : BROADWAY & BLEECKER S T R E E T . Jacques K rakauer, LADIES’ TAILOR, AND HABIT MAKER, 19 EAST 2 1 s t ST., N, Y. Also, r d ’cvue A ve., N ew port, R. I. A true saying : “ It takes an artist to keep up with the fash ions.” This fact is fully illus trated at C. T. J ones, 11G 3 and llGo Broadway, where he sup plies the leading society ladies of the United States with Gloves, Fine Silk Hosiery, Underwear, Fans, Laces, Parasols, etc., of his own importation. T 155 of Brittany. The action concerns the family of the Marquise DeVolney, ruined by a disastrous law suit, Madeleine DeVol- ney, the heroine, is betrothed to the young Due deVillafloi; absent in Paris without communicating with her. She is angry at this negligence. The Due has been gambling and losing heavily, assisted by one Babon, to whose title-hunt ing daughter he becomes compromised in return for her father*s financial help, Dakolar, a young engineer, wealthy and refined, but son of a blacksmith, has long loved Made leine, He appears at her house, ostensibly to apologize for disturbing them with blasting, necessary for the con struction of a railroad he is building, Noel, an old re tainer of the DeVolneys, suggests that Dakolar marry Made leine to save her family from ruin, he to assume their name which he refuses to do. Madeleine is informed that Minerva Babon is betrothed to the Due. In a fit of jealousy she accepts Dakolar just as the repentant Due, having paid his debt to old Babon, arrives to make amends for his negli gence. Act II opens in Dakolar*s bachelor apartment on the night of his wedding to Madeleine. The Due has come as one of the guests. In a sentimental duet he repeats his re pentance for past follies and reaffirms his love for her. Dakolar is heard approaching. His new wife conceals the Due behind the curtains of a bay window overlooking the beach below, Dakolar, realizing that his wife is nervous, 156 suspects something is wrong and finally notices a glove em broidered with the Due’s crest. As Dakolar berates Made leine, the Due betrays his presence behind the curtain, Dakolar leaps towards the Due’s hiding place; upon tearing aside the hangings, he finds the space empty, the Due hav ing leaped down on the rocks rather than compromise his rival’s wife. Act III reveals a fisherman’s cottage, existing be low the rocks. The Due has been saved from death by falling into one of the great nets strung below to dry upon heavy poles. He has been nursed by two tenants of Dakolar; a fisherman, Pierre, and his sister. Pierre, suspecting something wrong, informs Dakolar of the Due’s presence in the hut. Dakolar investigates and is about to enter the hut when he is confronted by old Noel who bars the way, con cluding that such a meeting would be fatal to the Due. Dakolar, in a desperate rage, pushes him aside and is about to attack the Due when he is overcome by a sudden surge of nobility. He knows what Madeleine’s reaction would be. Nith the exclamation "to strike my enemy is to kill ray lovet" he storms out of the hut. Act IV shows Madeleine gone mad from the shock of her love’s supposed death. The Due, who during the lapse of time spanned by her illness has become engaged to her best friend, the Baroness Sophie de Granville, visits her. The sound of her former lover’s voice and the touch of his 157 hand restores Madeleine's memory* In the exchange of friendly greetings, the Due is about to give her a brother ly kiss when Dakolar enters and, enraged, strikes the Due, who in vain attempts to give him an explanation* The Due challenges Dakolar to a duel which is accepted. The last act opens on a scene of the Brittany Coast* The fishermen are ending their day's work and making ready to attend a celebration honoring Dakolar and Madeleine* During the lapse of time, suggested by the act change, Made leine has come to appreciate her husband's devotion and to love him dearly; but because of his cold treatment, she is too proud to reveal it. As the fishermen depart, the duel ing parties enter. Dakolar, despairing of ever gaining his wife's affection, has determined to sacrifice himself to the Due* When the combatants face each other, Dakolar re fuses to fire and instead goads the Due on with insults. Failing in this, he points the pistol at his own head; but it has been plugged by Noel so that Dakolar might not kill the Due. The old servant still believes that his mistress is in love with the latter. Dakolar, furious at being thwarted in his attempt to take his own life, struggles with the Due for the latter*s pistol. In the midst of the strug gle Madeleine rushes between them. In her anxiety for her husband's life she reveals her love for him. Only now, for the first time, the surprised Dakolar hears of the betro thal of Sophie and the Due. All ends in joy and bliss. 158 The Staging MacKaye*s Directing Techniques.— In directing Dakolar, MacKaye effected a practical working of the Del- sartian system he had taught for many years. The effective ness of his directing techniques aroused much controversy. Robert Mantell, who played the title role, told Percy Mac Kaye: Your father was a wonderful stage-director. At re hearsals he always gave his players great encouragement, instead of employing the opposite, too general method.-- tfhen he was rehearsing Dakolar, I picked up a pair of gloves from the table, quite innocently and unconsciously, thereby revealing and clarifying a critical moment in the plot.— MStog»$M roared your father, from the audi torium.— Rushing down the aisle and springing over the foot lights, he ran to me, seized my hand and wrung it, as it never was wrung before or since. --'’Great, my boy! Splendid!” he said to me.--Then he turned to a group of students, from his theatre-school, who were there wit nessing the rehearsal, as ’laboratory practice*J "This young man,” he said, "will be a great actor someday. He has brains, and he uses them in his work."— I, of course, was both pleased and embarrassed.2 The American playwright, Augustus Thomas, a good friend of MacKaye*s, said of MacKaye*s directorial abili ties : Steele MacKaye was a master of the art of physical expression. No man of his day, and none that I know now, had or has equal knowledge of the purpose or ef fect of gesture, or facial expression, or of the elo quence of restraint. His knowledge of these was practi cal. He knew exactly what he wished before he directed it. He had the ability to make his wish understood, and he had the talent to do the thing he asked the actor to do. ^ 2MacKaye, Epoch:. . . , II, 14. ^Ibid., p. 15. Physical expression and gesture, as suggested by Thomas, refer to MacKaye*s devotion to the Del- 159 Not all critics were as sympathetic to, or under standing of, his directing techniques. A New York Mercury reporter, invited to a Dakolar rehearsal, commented about the fishermen’s scene: The role-call over, Mr. MacKaye proceeded to get his pupils into place. This was a rather difficult mat ter, although there had been several rehearsals before, and took ten minutes in the accomplishing. The girls knelt down on the left of the stage before large bushel baskets, after, of course, carefully arranging their dresses so that there might be no exhibitions not set down on the programme. On the right stood the young male students holding on to a large net. Two little girls, with an old student in a fur-lined overcoat with a large collar near them, reclined at the feet of the girls, while two others on the opposite side assisted in repairing a net. "Now, then! altogether,” shouted Mr. MacKaye, and the students began singing a swinging re frain ’For Fisher Folk are We.’ This finished, one of the male fisher folk sug gested their retirement from the scene, but to this a handsome young fellow with a heavy black moustache ob jected. "No, No,” he said; ”Let us enjoy ourselves. Let us have a night of merriment. Let’s be gay and jolly.” To this the fisher folk reponded with a hearty "Ha! Ha!” during which the speaker managed to turn about and strike the awkward attitude of the captain in ’Patience* before the two rapturous maidens. Having commanded attention by this extraordinary exhibition he continued: ”For tomorrow we work again!” ”Ah! Ah!" said the fisher folk. This little had to be gone over several times, un til the young man had been taught the right gestures and the fisher folk learned how to laugh and groan the suf ficient length of time. Then the play proceeded. The critic gives us a humorous, although perhaps sarte method of acting expression. MacKaye was Delsarte’s inheritor and had studied extensively in France under the master. For years, MacKaye lectured at universities and clubs, demonstrating the system and expounding on its in fluence and its application to the development and practi cal training of the artistic genius. ^New York Mercury. March 22, 1885. 160 distorted, view of MacKaye's slavish attention to detail: A verse of the song is sung and then the big moustached young man, explaining that he is a stranger, asks who Crazy Marie is. The information is vouchsafed by a very pretty young girl: "dost see yonder wreck?" she asks, pointing. "That will never do" interrupts Mr. MacKaye. "You must point up - so," and he elevates his finger to an angle of ^0-5 degrees. The maiden continues: "The very night on which our master’s father died, good old King Dakolar, we used to call him!" "You-must-not-em-pha-si ze-ev-ery-syl-ab-ble-of-ev ery-word ," shouts Mr. MacKaye, while hot flushes suffuse the face of the young girl and the small audience cannot surpress a titter. Then the young lady essays it again, but is this time worse then before, and can hardly go on because of the shock to her nervous sensibility she has received. To counteract this effect the Delsartian manager explains to her that his instructions were not meant for her alone, but for the entire school. "Your desire is to get the public interested in the story you are telling," he said, "and this can never be done unless you show that you yourself are intensely absorbed in it and acutely feel the sadness of what you are relating. Now go over that again please."^ The viewer summarized his impressions of the stu dents* performance: Mr. MacKaye, . . . in his new play has given them opportunity for the following acting: Just four "aye-ayes," three "hear-hears," one "speech, speech," two groans, four laughs, two sighs, one yawn, one "you said that before," and two songs. Besides that it is rumored that for this work they will be paid $3.00 per week, while the ordinary "supe" is satisfied with $6.00.6 While the pupils from the Lyceum School were not an unqualified success, MacKaye*s efforts toward unified en semble acting mark a noteworthy progression in directorial 5Ibid. 6Ibid. l6l techniques. As Melnitz and Macgovan point out? Until the triumph of realism in the last decade of the nineteenth century, acting was essentially and al most everywhere a bravura display of individual talent , , , The Duke of Saxe-Meiningen and his court company demonstrated the virtues of ensemble to all Europe.' MacKaye clearly considered a production as a unified whole, in the manner conceived by Gordon Craig, with whom Percy MacKaye closely associates his father.® Starting with a subjective conception of the play and presaging the pattern of Craig's view, MacKaye assumed complete responsi bility for its staging, from beginning to end. The dif ficulty of making a transition from an elocutionary, decla matory acting style, supported by the framework of the star system could not be wholly overcome by MacKaye, and he con sequently failed to bring his notions of realism to total fruition. The situations in Dakolar remained unnatural, and as one analyses it's plot and reads of the execution of the situations, several are theatrical to a point of absurd ity. In the last act duel, Dakolar and the Due, each hesi tating to fire, approached each other with pistol arms out- ?Melnitz and Macgowan, The Living Stage, pp. 360-361. Melnitz and Macgowan point out that the Meiningen ensemble had a considerable affect on the European theatre, as the Duke's players performed in 38 cities in 4l plays from 18?4 to 1890. viThile MacKaye returned to the United States from a European tour in 1872, he may well have been acquainted with the Meiningen reputation. Moreover, MacKaye maintained a steady correspondence with the English director and actor Henry Irving, who was greatly influenced by the Meiningen ensemble. It is quite probable, therefore, that MacKaye was influenced in his own ensemble direction by the Mein ingen players. ®MacKaye, op. cit., II, 7. 162 stretched until they almost touched* Thus they stood with weapons erect, for several moments. The New York Mirror in dicated what happened! They lowered the pistols, exchanged some animated remarks and raised them again. Fortunately the arrival of the wife of one of the principals brings the ridicu lous affaire d'honneur to a close, else would there have been no possible way out of it.9 MacKaye prepared bakolar more thoroughly then was common to directors in the I880*s. He involved himself with all elements of the production. He was a perfectionist type of director, insisting on a conception of a role based on a careful analysis and interpretation of the role as con ceived by the playwright. In the face of critics who dis claimed the effectiveness of the Delaarte system for the professional stage, MacKaye continued to use it for his di recting technique. Dakolar. moreover, marks his growth as a "total regisseur” in his concern for scenic effects and their relationship to the total ensemble. His directing techniques— widely imitated and contributing an important development in theatrical aesthetics— are an integral ele ment of the Lyceum*s contribution to the American theatre. The Scenery Most of the critics liked the scenery of the play very much. In particular, they considered the interiors as an entirely new departure in stage aesthetics.^ One critic ^New York Mirror. April 11, 1885. 10Ibid. 163 noted that "instead of loading the scene with bric-a-brac in the Madison Square style, the room was left severely plain, but in color and form and ornamentation nothing like it has ever been seen on the stage.11^ MacKaye*s concern for effective and attractive scenery is evidenced by this commentt The scenes of Brittany are vividly portrayed. The castle is perched on a high cliff and the fishermen’s nets are stretched beneath it. Their boats lie idly up on the shore and the sea scatters its foam over the rocks. The night view of the moonlit ocean is very pic turesque. * ^ In comparing Dako1ar to Lady Claire, an earlier ad aptation by Buchanan of Le Maitre des Forges, the Morning Journal suggested that MacKaye*s helpers had created an emphatic improvementt The scene is a striking piece of work from the brush of Mr. Richard Marston. The next act is an in terior with a large window opening out upon a water scene. The interior is painted by Hughson Hawley and is a very superior piece of work. There’s another outdoor set, which is bv Marston, and Mr. Hawley’s remaining sets are fine.-*-^ The New York Norld, speaking of Richard Marston*s sets, mentioned three painted wing and drop exteriors that seemed simple and beautiful.*^ This suggests that much of the outdoor scenery was painted rather than constructed in 11Ibid. l%ew York Herald, April 7, 1885* •^The Morning Journal, New York, April 7, 1885* ^-^New York No rid, April 7» 1885* 16k detail, although constant reference is made to practical stage pieces such as the nets of the fishermen and a real boat rocking in what was probably painted water. MacKaye*s previous experience with the box set at the Madison Square and St. James Theatres lead to the con clusion that the interiors were not exclusively of a wing and drop nature but also utilized practical furniture and sets. References are frequent to fine sets on the terrace of the Chateau deVolney, to the room in the tower, the cot under the cliffs, the library at Dakolar*s house and the old wreck in the bay. Hawley and Marston succeeded in carrying out MacKaye*s effort toward a combination of realism and beauty. More then one critic echoed the remarks of the Daily Sraphici The scenery is worthy of unlimited praise. Indeed the setting of the play has never been excelled in any theatre in this city. The audience repeatedly expres sed its delight by prolonged applause. Although the performance was not over until twelve o’clock, the en tire audience lingered until the end and called Mr. MacKaye before the curtain, where he delivered a grace ful little speech. The opening last night augurs well for the success of the house. In his scenery, MacKaye had invested his feeling for beauty and realism, his concern for exquisite detail which guided the declaration of the theatre as well as his directing techniques. To the actor’s performance, in con text with his surroundings, MacKaye extended all the artist ry at his command, l^Daily Graphic. Tuesday, April 7, 1885* 16$ Performers and Performances The germinal idea of the American theatre in the last half of the nineteenth century was the invasion of realism in acting. English traditions of declamation had prevailed for two centuries after the re-establishment of the English theatre in the Restoration. The subsequent de velopment of the star system lent authority to highly indi vidualized performances. Only total regisseurs, theatrical organizers like MacKaye, could bring realism to bear on methods of staging, to piaywrighting, and to acting. Mac Kaye concentrated on accuracy and authenticity of milieu more than any American director before him. His sense of historic verisimilitude gave impetus to a new concept of a unified production, one that allowed actors an underlying raison d*etre for more realistic styles of performance. MacKaye*s affinity to detail, to planned rehearsals under strong control, to endless attention to nuances of move ment, and to gestures and intonation— all assured by an in tense actor-director relationship— marked the Lyceum per formances under his aegis. For Dakolar, MacKaye organized a talented working company. The leading man, playing the title role of Dakolar, was Robert Mantell, a young but cap able actor fresh from a success in Fedora at Vallack’s. The role of Madeleine was played by Viola Allen, daughter of Leslie Allen, a well-known actor in the late 186o*s and 70*s. She came to the Lyceum from the McVicker*s Theatre Fig, 31•--fiobert Bruce Mantell (185**-1928) . Born in Scotland, educated in Ireland. Made first stage ap pearance in London in 1876 and American debut in 1878. 1878 - Played Tybalt in Mme. Modjeska*s production of Romeo and Juliet. 1879 - New York City debut, supporting Modjeska in East Lynne, later playing leading roles with Fanny Davenport. 1882 - Appeared at the Grand Opera House in The tforld. Replaced John Worton as Jack Hearne in The Romany Rye at Booth's Theatre. 1883 - Played at the Fourteenth Street Theatre as Loris Ipanoff in Fedora. 188** - vtfith the McCaull Opera Company in Lady of Lyons. 1885 - Appeared in title role of MacKaye*s Dakolar, the opening production of the Lyceum Theatre. Best known for his portrayal of King Lear, Othello, and Macbeth and as the last of the old school of Shake spearian actors. 166 167 v: 107 ROBERT MANTEL. N EW YORK. 168 in Chicago where she had played in repertory with John Mc Cullough. The Due de Yillaflor was played by J, B. Mason, who came from the Union Square Theatre. The commedienne, in the role of Sophie, was Sadie Martinot, who came to the Lyceum with an exceptional reputation earned in Boston and New York. The old retainer, Noel, a role created by Mac Kaye in his adaptation, was performed by the young actor Joseph Trankau, one of the few with limited stage experi ence. Minor members of the company were all professionals or professionally trained. Dakolar marked the debut of Maud Banks in the role of Minerva Babon and of Emma Sheridan as Gillome. Both actresses went on from here to fine ca reers. Pupils of MacKaye's School of Acting played several small parts and served in the mob and crowd scenes. The critics thought that Mantell, as Dakolar, gave i 6 a powerful performance. They liked his handsome and ex pressive face and particularly the physical vigor he showed to great advantage. MacKaye directed him with such effect iveness that he was equally as competent in repose as in sudden outbursts of passion. He especially excited the audience by his highly effective paroxysms of rage in the 17 second and fourth acts. Of Mason's performance it was said that he . • . had a fair opportunity to display his abilities in ^ Evening Post. April 7, 1885* 17Ibid. Fig. 32.— Viola Allen (1869-19^8). Born in Alabama, educated in Boston, Toronto, and New York. Daughter of an actor. 1882 - Debuted at Madison Square Theatre in lead ing role of Frances H. Burnett’s Esmeralda. 188^ - Engaged by John McCullough to play opposite him in Shakespearian and other classic dramas. 1885 - Played principal female role in MacKaye*s Dakolar which opened in the new Lyceum Theatre. 169 170 Fig. 33*— Joseph Frankau 1883 - Played Mr. Job in The Rajah at the Madison Square Theatre. 188** - Appeared as Horam Sloan in May Blossom at the same theatre. In Confusion by Joseph Derrich as Dr. Barthalomev at the Fifth Avenue Theatre. isfent to Haverly's Brooklyn Theatre to act in D-A-M. Joined the Pulse Theatre Company. 1885 - Played Noel in Dakolar by MacKaye at the Lyceum Theatre. Later that year, played in MacKaye*s In Spite of All. 171 172 13 *hoIS W e s t 2 4 1 ? S t . N.Y. • MADISON SQ UARE- 173 the role of Due de Villaflor and he availed himself of the chance. He responded in the part and made a marked impression. He was manly and handsome, and by the clever use of his fine voice depicted the varied emotions of the role with feeling and touching effect.1® That all the performances were not on a uniform level and occasionally lapsed into parody is later recounted by Mantell in a letter to MacKaye*s son Percy* Joe Frankau, playing a servant, had this line to speak (while plugging a brace of pistols so that Dakolar couldn't use them)*--"He will not kill the Duke."Frankau read it "He will not kill the Book”— very positive of the "oo." An Englishman in the audience shouted* "Bravo, my boyl Bravo!" And the house, laughing, took up the Englishman's cry•--Frankau, encouraged by his apparent hit, repeated the line again and again, getting the house into roars of laughter. Thereupon your father rushed back scene and warned Frankau, in a large stage whisper, that if he didn't stop it, he would kill him instead of the Due • • .*9 Some agreed with the New York Daily News critic who thought that Frankau played Noel with "excellent judgment and skill, that the "part was a good one" and that he had "made a decided hit."20 Others were not so favorably in clined s He [^Joseph Frankau] is evidently a disciple of the old school. He simulates passion by a twitching of his fingers. His disheveled cravat represents the wildness of his emotions. In an intrinsically ridiculous scene he cries, "I have muzzled his pictol. He shall not mur der the Dook," and brings down the curtain amid a roar of laughter.21 l^The New York Daily News, April 7, 1885. l^MacKaye, op. cit., II, 14. 20The New York Daily News, April 7, 1885* 2^New York Herald, April 7, 1885. 17*+ Of the actresses, Sadie Martinot was singled out for special praise. The influential critic, Dithmar of the New York Times, said of her} Miss Sadie Martinot seemed to be the bright star of the evening. She appeared as a merry young woman with handsome dresses, and seemed to understand that she really had the burden of the piece to carry. Her ef forts were highly appreciated, and she was often ap- plauded.22 Opinion was divided as to the effectiveness of Viola Allen, as Madeleine. Dithmar thought her **a handsome young lady, whose acting is as yet too mannered to be wholly pleasing. She gives abundant promise, though, and is like ly to improve with proper study.**23 The Boston Advertiser, too, thought that the role of Madeleine “rather overtaxed Viola Allen; but she is so fresh and spontaneous that she wins the sympathy and admiration of the audience. She will steadily improve with experience and even now she is at times effective.**2^ The New York Mirror thought that there were good and bad points to her actingi She has been forced into a position which is above her abilities and experience. Miss Allen is a sweet and pretty young girl, qualified to play light sentimental roles but by no means fitted for tense emotional work, such as requires the weight of artists whose methods have matured, and who have lived long enough to appre ciate as well as to comprehend the expression of high- strung emotions. Miss Allen may in time arrive at that point, for she gives abundant promise; but at present 22xhe New York Times, April 7, 1885. 23Ibid. 2^The Boston Advertiser, April 9* 1885- Fig. 3^.— Sadie Martinot 1882 - Played Mr. Clingstone Peach in Vice Versa at the Star Theatre. 1883 - At the Fifth Avenue Theatre played in Confusion as Rose, in Dixey, as Christopher Blizzard, and in Delicate Ground as Pauline. 1Q&h - App eared at the Union Square Theatre in Queena as Florence Nightingale. Starred in Moths as Fuchsia Leach at the People's Theatre. 1885 - Played the role of Baroness de Cxrandville in MacKaye*s Dakolar at the Lyceum Theatre. 175 177 she is little more than a child# Her acting, therefore, in the more exciting situations of Dakolar, is effect ively serious— the species of dramatic feeling that has no depth and awakens no response in the observer’s breast. The performance of those playing their first pro fessional roles evidenced MacKaye’s discernment and judg ment of acting abilities# Blanch Gray "pleased by personal dignity and beauty, refinement of manner and discreet, well- balanced treatment of minor incidents and situations.”2^ As noted, this was the first role for Maud Banks who was to achieve considerable status on the American stage, and of whom it was said* "force of character, a spritely tempera ment, and various accomplishments will doubtless win for this aspirant a useful place in the dramatic p r o f e s s i o n •"27 Critical Reviews of the Production Reviewers were divided about the total effective ness of the play# Some thought that MacKaye* s adaptation was an emphatic improvement on those by his predecessors.28 The New York Tribune thought that Dakolar contained "a strong, pathetic, and significant plot, several characters essentially dramatic and well contrasted, several situations of exciting suspense and almost tragic force, and a thought- 2^The New York Mirror, April 11, 1885- 2^New York Tribune# April 7, 1885. 27ibid. ^^The Morning Journal, April 7, 1885. 178 ful and effective study of human nature.The Evening Pos t, however, considered Dakolar an improbable story* • . . but it is full of excellent theatrical situations, and is told, as a rule, with much clearness and force. The dialogue is of much better quality than is generally found in plays of this class, being for the most part simple, terse, and vigorous, except in the humorous in terludes in which Mr. MacKaye*s weakest sight is ever uppermost. The expletives, too, betray a curious lack of invention. The construction of the piece, consider ing the intricacy of the story, is clever and tolerably compact, although it cam be approved in this latter particular.3° The less flattering remarks dealt with the intru sion of pictorial matter on the story*s main line.31 The New York Mail and Express felt that MacKaye had destroyed "his good work with aggressive detail. "32 The Closing of the First Production With the hectic days of opening the theatre and its first production behind him, MacKaye worked diligently to convert Dako1ar into a hit. Viola Allen was replaced by a more experienced actress, Kathryn Forsythe.33 Still, circumstances mitigated against the success of the play, aside from MacKaye*s noted lack of business acumen. Constant delays in the Lyceum*s refurbishing had ^%ew York Tribune. April 7, 1885* 2°The New York Evening Post. April 7, 1885. 31-The New York Herald, April 7, 1885. 32New York Mail and Express. April 7, 1885. 33xhe New York Mirror, May 2, 1885. 179 delayed its opening date to April, The upperclass society, on which the theatre depended for patronage, was not noted for play going in the spring, and the high price of Lyceum tickets worked against attracting a less aristocratic audi ence* The news of dissension didn*t help, nor did the fact that part of the management, notably Sisson and Frohman, nurtured plans to take over the Lyceum* The financial cri sis became acute when Belasco and Sargent resigned from the Lyceum School and induced many of the students to go with them* The Music and Drama said! In the fight that is going on at the Lyceum Theatre we confess that all of our sympathies are with Mr. Steele MacKaye. It was from his brain that the scheme of build ing the theatre evolved, and by his industry and perse- verence that the house was completed. Now, when this is done— when a beautiful playhouse, admirable and unexcel led, is offered to the public and publicly admired— and then, those who did nothing to obtain this end, rise up and try to force MacKaye out, in order to gain possess ion for themselves. It is our earnest hope that they may not succeed, but MacKaye*s experience at the Madison Square is too recent, e cases are Another commentator also sided with MacKayeI These straits of the Lyceum call forth attacks upon Steele MacKaye.--Why? What has he not done which he ag reed to do? Has he not built the theatre, filled it with clever inventions, furnished it with a strong com pany and a new play? Is it his fault that the play does not draw enough money to pay immediately all the ex penses of building and furnishing the theatre? • • • Give Steele MacKaye the ghost of a chance and he will come alright yet. But he needs a partner who will work with him, instead of against him. Hitherto his greatest misfortunes have been his business associates . . . I protest against killing the goose that might lay golden eggs. The advertisements of the Lyceum have been cut 3i *Mu sic and Drama. June 2, 1885. too similar, to make H a hnnp vprv strong.-514. Fig. 35*— Souvenir program of the 50th and final performance of Dakolar* Program produced in raw silk with red letter embossing on a gold background. 180 ' • 23d Street & TfjA ve-^sr T beA rgericd.^T fte& tr'.: Adj. A C /K V < ~ ny°f D£S1SN * 0 ^ E^ildin<> & ’ "0v t^vgTg) Co. P t o ^ ri e t p r s & J ^ > o j ~ ? e $ ! e ¥ ’ ^ qcgftftcDftrecfpt ,yj. .._ < \ f ' . - d y.‘ ‘ . y r : : < i t ' W 25-5! ■ f T T ' T H . , \ e v > . u ^ > repose of THe $ W , P ^ > R e G V i s A R s e a s o n T i T / W ' -ADD yvf^TOf A ET/>..-v T<?\ * O T U p © i m (§Teeijs AW^/K /e' s C p / A e p ^ P i ^ w T H E / A ^ W G E A E N T J 3E6 TO PRESENT THI5 "AS K n' r t r V/' ; 3 rr - o r o o p ^ ^ j y e o f t h e ( p V e t f 182 L ^ v e e u m . i 1 U > ' l • I l i 1 THli A\1 LRICAN THEATRE BUILDING AND MANAGING COMPANY. STEELE MACKAYE, - - - - GENERAL MANAGER. LDalurclay Gi?cr)ir)cj, lT )a y 2-Ocl, ISO.), F I F T I E T H F E F F O E M ^ l H C E O H 1 A COMEDY DRAMA IN FIVE ACTS BY STEELE MACKAYE, (The First Two Acts partially suggested by Georges Ohnct’s Novel, Le Maitre cJes Forges.”) CAST DAKOLAR, THE BLACKSMITH'S SON. DUO DE VlLLAFLOR. b e t r o t h e d t o M a d e l i n e . UY SPECIAL A R R A N G E M E N T NOEL, A N OLD RETAINER, - - - - - - - K E R O U A C . A N ATTORNEY, P ie r r e K adoc. 1 T a l o o h e. D e n n is . r f i s h e r m e n . - S a g o t. P O T I N . J M a d e lin e d e V o l n a y . t h e d u o s f i a n c e e . - S O P H I E . BARONESS DE ORANDVII.LE, MADELINE S FRIEND, “ M a r q u is e d e V o l n a y , Ma d e l i n e 's m o t h e r . G I I , L O M E , - ..................................................... ]\ A NETTIC, PIERRE'B SISTER. - - - - - - - Yvonne, a m a i d , - - - - - - - - - -i M r R. B. M a n t e l l M r. E. J. B u c k l e y M r. Jo3. F r a n k a u M r. A r c h i e L in d s a y f M r Jos. a d l e m a n M r. C. H. C a n f i e l d M r G eo. f . h i l l M r. w . c. B e l l o w s M r. C. H. W e l s h M is s K a t e F o r s y t h M is s S a d ie M a r t i n o t M is s S. B l a n c h e G r a y M is s E m m a S ii e r i d a n M is s L a u r a J o h n s o n M is s M a r y S a u n d e r s j'ilAliANTU. FIBIIERFOLK, ETC.. BY PUPILS OF THE LYCEUM THEATRE BOIIOOL OF Ai'TlNO S C E N E - BRITTANY, FRANCE. T IM E - T H E PRESENT. I 1 st. - -T < rruca o f the Chateau do Volnay. (Marston.) - '! i’d. — The Room in tho Tower. (Hawley.) - /. -The ( !• ■ / • t Under the Cliffs. (Marston.) ■ •mo In the Tower. (Hawley.) - , - at the LaoniooK. ( M a r s t o n . I thi. nr: TUT M . rut as, 1 Hi • ; 183 down to five lines, and the paying public are frightened away by rumors of insolvency. With the right kind of management both the Lyceum and Dakolar could be made suc cessful. The house was handicapped at the start by in sufficient capital. If it had been advertised as largely as the Liver Pill which belongs to the same proprietor, it would now be crowded. The enterprise is being allowed to die of inanition.35 When MacKaye announced the theatre's closing as of May 23, 1885* several actors offered to perform on the “commonwealth principle,” being paid out of box office re ceipts rather than contractual salaries. This, too, proved insufficient to keep the doors open. Tiffany and Company, to whom was owed more than $^0,000 for fixtures, decorations and draperies, secured a Mechanic's Lien on the property, and on August 28, 1885* William Mitchell, representing Tiffany, was awarded a Decree of Foreclosure for a total of $21,000 and thereby bought the L y c e u m .3^ After the sale, a New York Herald reporter asked Mitchell for plans regarding the theatre. Mitchell answered that it was his intention* . . . to form a company of certain of the creditors, and as a company to secure all certified creditors from loss. Nothing so far had been definitely decided upon as to management of the theatre, but, in all probability Steele MacKaye, whom they considered a man of ability and theatrical experience, would be put at the head of it. What date would be fixed for the opening of the coming season and what play would be the first produced were matters not yet settled. In all probability, how ever, the house would open with Miss Minnie Maddern and Company in a play called ”In Spite of All” a version by Mr. MacKaye of one of Sardou's dramas. The piece had been read to a number of actors and had received a great 35The New York Keynote. May 9, 1885* ^See Appendix V. l&k deal of praise.^ Throughout the summer of 1885* the struggle for management control and plans for reorganization of the Lyceum Theatre continued. In response to a request by Brent Good, President of the newly formed New York Theatre Com pany, which now owned the Lyceum and in which Good and Tif- Fany were majority stockholders, MacKaye outlined his plans for policies that might turn the Lyceum into a paying insti tution. He suggested a form of popular entertainment that "should combine the form of a Broad Forest in one play, with the strong human interest of a Society or Domestic Drama in another play, together with the wit of a High Comedy, or the exquisite beauty of a Poetic costume-piece."^ He also planned to give other entertainment, including Sunday even ing lectures by statesmen, artists, critics, and authors, all of which would pay a percentage of the house rent and bring prestige to the theatre. MacKaye*s plan for reorgani zation was accepted, according to his son* "On the presentation of this letter to Messrs. Good and Mitchell" wrote Steele MacKaye in a later report, "a consultation followed, the result of which was a de cision to reopen the Lyceum Theatre for a preliminary season as speedily as possible. To this end I was ap pointed General Manager of the theatre."39 While several lawsuits still threatened MacKaye*s 3?The New York Herald, August 29* 1885. 3®MacKaye, op. cit., II, 29. 39ibid., p. 30. 185 engagement, he nevertheless planned to open the house in the middle of August and began negotiations with actors for production of his In Spite of All* 186 Production #2. In Spite of All Adapt ation of Victorien Sardou's Andrea Opened September 15, 1885* Closed November 7, 1885 Legal Background of the Production It is axiomatic that any opening of MacKaye's plays was fraught with legal difficulties. Of such, the opening of In Spite of All had its sufficiency. Before MacKaye signed a contract with Minnie Maddern for her performance in his adaptation of Sardou's Andrea,^ he was approached by the European actress Madame Janish and her manager, frank Gardner, about the possibility of opening the Lyceum season with a Sardou play. tfith regard to what occurred during that interview, which clarified his conception of the legal battle in which he suddenly found himself, MacKaye wrotel On that occasion Madame Janish and her manager en tertained me with statements regarding their play that were calculated to excite the wildest enthusiasm in the managerial breast. I was positively informed that they had secured from that great master, Sardou, a new play written especially for Madame Janish, entitled Anselma. It had never before, so they stated, been performed in this country, and Sardou himself was coming across the wide Atlantic to superintend the rehearsals. .. . Now, knowing Sardou myself personally, and knowing that no influence, however powerful, had ever yet induced him to cross salt water even to visit London, I became sus picious of the mathematical veracity of my very charming hostess and her audacious manager. I asked to see the play of Anselma, in order to judge of its merits. I was then informed that Sardou insisted that the manager who treated for this play should not be permitted to hear it, but must surrender his common sense in favor of a play unheard and unseen. To this I objected, and as ^0Victorien Sardou, Andrea. Paris, 1899 Madame Janish did not care to appear before the middle of October, I completed arrangements for the debut of Miss Maddern.^ Janish's version was not the only adaptation of the Sardou play: The first was a production titled Agnes by an American named Agnes Ethel . ^ The case was further compli cated by the fact that rights to the Ethel version were pur chased from Sardou by actress Kate Claxton for $5*000.00 i-n accordance with a contract by which she was to have absolute rights to the play in America. In a court action, Claxton demanded an injunction against the Janish version. Legal counsel for Janish contended that she had the right to adapt any play in a foreign language and produce it in the United States, as no copyright agreements existed between this country and France. The courts upheld her case. According to the New York Times Janish was granted the right to pro duce Anselma for one week . . . if she gave a bond of $5*000.00, and paid the royalty demanded by the owner of Agnes. To produce her play, Mme. Janish has been obliged to obtain permission of Miss Maddern, who with the magnanimity of a genuine artist, has granted to Madame Janish the opportunity to appear in advance of herself . • • while I sincerely hope that Madame Janish may secure the success due her as an artist, I cannot as a manager refrain from feeling that Miss Maddern out of sympathy has granted to Madame Janish that which may seriously impair her own chances.^3 MacKaye had not lacked in magnanimity. For $5,000.00, ^ The New York World, September 6, 1885• ^Arthur hornblow, History of the Theatre in Ameri ca, p. 262. ^Alexander Woollcott, Mrs. Fiske, p. 218. Fug. 3 6.--Performance contract between MacKaye and Minnie Maddern for appearance in In Spite of All. 188 189 C < / > C <T-v • ( W 4 \ < t J J / f > / u, //< 7 C V / / <yJ / / / ( 5 ti/* -a\L&ir^,. ' jL*xs*~-£y^ ^ ( L-6w 5^ c w jt^ZZc/^^, @9^ X^^fiT t^-ClXO 7~> ^■G' rT f O - ^ L. '£&' jLcL^Xy - ^ Y ; C L a o ^ ^ ./ ^Cuv^ ^ L £ i « t ~ ' -o^* C > < 1 / ^ C ^ f-C L A O - 4 ^ / Ct *l- . $X *L * ^ /*? *£- — zhL <a6o ^s^a^cL, yCdLrl^ Qajuu^ j ^ / <H^ S>^J (go*) ^ <?o^yC <~v. «*0 " AuJ/ 1 ~ir tf- ^ * Z S )> A> o/^«« _ OuA i^f - r - Jt*Av O . - y ^ v t - 4 « » - o C ^ / i l ^ . £ ^ _, fc 9 * ~ v ^(S * ^« 7 2 v * < X * m , c L o ~ < j~ y t <y^ ^ jt< t, < j£*x ^ £ o ^ /J & Z + , c t , - — cx»^o( ' >«A/S(/ Ov- / <^U*y6 O I axji^ (J/Tvylt V ^Ar-^TOA*- C<^«{/ CtA ~ \y X ij? <X ; ( *75 j - * aa. @ * j ( i y * $ » . V ^ V - y ^ t V C j 7(t~ y £ < X s > ~ t y frjt A Z ^ j£ j 0 « - « _ < / & * * - r ^ ~ ~ S t S x J L' ' Q / ^ l > 9 5 J^j r ~ * ~ ~ * 7 c ^ ^ x > C f ^ T ^ y y & O y -J v > r u ^ < w . c ^ . < 5 / t> /<rv'f «7j 7 / /<x_,c ^ T 'T x v A o ?<>^e*.t * / } J 7 ^ 7 - Se-r-t*^_j >S^ T T t ~ ‘ • x r\ v/A ^>< '<7 A ^ ^/ /^Z.) kJ , r < / , r i . ' / ^Jfr<V a^ t - A j ^ v 1 jk. - £ o v ^ _ > ^ 6 - * - ^ ^ OJt-t^, c ^ c * - — *— - < ^ < r / ^ c aXC /feriw, ^ tyzXAA^CM^ Jt>V A * * « 6 . / ^ c , /L<^^tr ~ ^<xv^ o-^oXC, > < ^ f t r x - j j C i ^ ? i ^ ^ n > - ^ 5 t c \ ^ s j ® , c x ^ o C ^ > w ^ C«^- ' « C ' <aa/ 5 ^ ^ * a a v " C ^ / X t x i O o ^ ' i w V? • • I 0->^A-^t- t. a^/< a/ lo^ C X a^c< , C^ k»<5^ /9t- ifi.OkA.oCx C > A / C v « , o o L «CUM_ - ^ S k « - C k / » X . < 2 ^ ^Xy-k^ , Ot<i>v^C/ ( P i A . ^C*-^^t<A^ >/^Ot^w ^^JC» ^ C X ^ ^«>Mxv-«.- ^ X. ^2/ 5 ^ — c C q i y ^ / ££^j c£o^f*r ^ ^ ^ X o ^ r v « > > k k t k ^ & « v u k A ^ , X k k . //l^ , AAAo6t>wdive, 0 ^ < v ^ X v * ^ , i ) /_.. i v 6! X4AAx^J ~ O/^ i ’ V*— ^VAA_c/<I < * - { • * } £ Z2 » C / $\sJ*X' C<r^y ^— <§ C-JftX^Air-Vk/ y^J^r: Kuu*,/ u . , - , J - Z ’ ' " i ^ -\ - n y — r - r 191 which he could ill afford, he bought the rights to Ethel’s version, Agnes t only to avoid further legal entanglement. Thus, a curious war was joined, but not before Jan- ish’s managers engaged in yet one more piece of sculldug- gery. The New York World described the strategy: A rather neat march was stolen on MacKaye by the Messrs. Gardner and Richardson. Those gentlemen knew it was his intention to get his piece ready and play it two or three days before such time as they should set for their opening. They accordingly caused it to be widely stated that they meant to close the Madison Square Theatre for ten days in order to get their rehearsals completed, and they then proceeded to get everything in readiness for the night. No notice of their design was declared until the Sunday morning papers came out with their advertisement printed in bold type, MacKaye having swallowed their first declaration and slackened his pre parations. Madame Janish could have played with the utmost ease at the time set upon had she so chosen. The fact that she preferred to take a magnanimous stand to ward Miss Ethel.does not disguise the neatness of her manager’s work. Thus it was that the theatregoers of New York were privileged to see two actresses playing the part of the wife in two adaptations of Sardou’s play, two actresses as wide apart in method, talent and appearance as two women could be. It was a strange contest in that it pitted the well-established, highly professional European against a very young newcomer, making her first major appearance be fore a cultured New York audience. The fact that most cri tical reviews favored the Lyceum version was, in no small part, a credit to MacKaye’s directorial genius. ^The New York World, September b, 1885* Fig. 37.— Playbill of In Spite of All, with the original cast. 192 193 u^-.^a T ^ - v *■' ©04.,- Iv<\fev9^.^ ?i> v \*1A '■■: ’ ^ 3 i l , ‘ ! r I * - f i M ,f a C -O £ S ® § 7 £ V ; M ; 1 < U ) €?**> V 4-it/ji1 & V 'TiV' ' ■ ’ / $ ' ■ ■ ( ' \%$.p,' , * < ; ■ ■ < ’ .• • ' 1 1"%^' ^ * ; ' ’ i f 1 ■ /©s v^yn >U . \s ~ t \ v \ , \ \ , , iXiolK' ' I t y '. •Vv < (v v V \ A ^ \ X \ \ V ' 1 »>i g ; ; ^ x a O' A s S ) Mm $ 0 m W M B _v • -; ! ' f I * *'?.GAA0' STEELE . MACKAYE - - - - - G e n e r a l . M a n a g e r EVERY . EVENING . AT . 8 : 3 0 SATURDAY . MATINEE . AT . 2 MISS . MINNIE . MADDERN in nr, i. ntncly new version of S A K D O U ’S " A N D R E A ," written especially for her by M R. M ACK AYE, author of “ Hazel Kirkc," * * Won at Last," etc., etc., entitled “IN . SPITE . OF . ALL” Special engagements have been made for this play with-the following well known artists : MME. SELINA . DOLARO ■ w . _ MR . EBEN . PLYMPTON MR . RICHARD . MANSFIELD CAST . OF . CHARACTERS A l i c e C l a n d e n n i n g - - - !'• T - M ; s s . M i n n i e . M a d d e r n S t e l l a . frima . donna . o r . t h e . cow.c . opera Lh ~ M m e . S e l i n a . D g l a r o B e s s i e . mrs . c l a n d e n m n c s . v.aio - ' ■- 7- • M i s s . L i l l i a n . W a l l a c e L o u i s e . s t e l l a - s . maid - - - - ...r o r - M i s s . M a r i e . H a r t l e y C a r r o l . C l a n d e n n i n g - J M r . E e e n . P l y m p t o n . c ' j H e r r . A n t o n i u s . K r a f t . jmfrcooakio - ■ f-- f.-• - M r . R i c h a r d . M a n s f i e l d M f: . H a r t m a n n . jeweller - - — M r . C y r i l . S c o t t 1 * j a c k . K n i c k e r b o c k e r . the . brother - ^ W ” M r . J o s e p h . F r a n n a u C a l l . B o y . of . the . theatre - - - w^ h h W i l l i a m . P a y s o n ' ~ T - <3 Q A C T . 1ST.—THE . HOME-ROOM . AT . CLANDENNING’S . HOUSE I H E . D I S C O V E R Y A C T . 2D .—STELLA’S . DRESSING-ROOM . AT . THE . THEATRE T H E . C O N Fi A M AT i Q \ A C T . 2 0 . —SCENE . SAME . AS . ACT . 1ST T H E . A P P L A _ A C T . 4 T h . — SCENE . SAME . AS . ACTS . 1ST . AND . 3D IN . S P I T E . C . . , \ _ L T I M E - T H E . P R E S E N T - P L A C E - N E W . Y O R K . C O Y PRODUCTION . UNDER . THE . IMMEDIATE . DIRECTION . OF . THE . AUTHC r,.l P.,v;i'.or. and Illum inating P roscen iu m Fram e, In ven ted and Patented by S: > ; . .. i.itun: and D ecoration s for the Stage, by Jamks Gkaiiam, w Kast. 14 th Sire- .. 195 The Plot In MacKaye*s version of Andrea, the scene is laid in New York, rather than in Paris. The six acts have been re duced to four, and the story is told with nine characters instead of the eighteen in the Sardou original. The first two acts follow the Sardou story, although the characters in many cases are entirely changed. Stella, who in Andrea is a ballet girl, appears in In Spite of All as a prima donna of the Opera Bouffe— a woman who, * * though born on the stage,” has preserved her honesty, sympathetic nature, and essential goodness. The scenes of the madhouse and the Prefect’s office as they appeared in the original were omitted in the Mac Kaye version. As Alice Clandenning returns from the theatre to her own home, accompanied by Hartman the jeweler, she sus pects her husband, Carroll, of an affair with an opera sing er. She tries every womanly charm to win back her husband and at last succeeds in reawakening the old love and tender ness. She leaves the room for an instant, and while she is gone her half-tipsy brother enters. He saw a carriage at the door and believed that Alice's husband was about to sail with the prima donna, Stella. He determines to pre vent him, and, by a ruse, makes Carroll, the husband, give the signal for his own departure. Alice returns and finds the room empty. On the table is a letter which was writ ten when her husband first returned but which Alice now 196 believes has just been placed there. From it she learns that her husband had determined to sail with Stella, Be lieving herself deceived and forsaken, she faints, Alice is discovered alone in the dark room. Jack, her brother, enters. She learns from him that Carroll has been arrested. Their conversation is interrupted by the entrance of Carroll and Stella’s impresario. Alice asserts herself by telling Stella’s manager to send for his star. She is then left alone with her husband. He learns for the first time that Alice was at the theatre and knows about his relationship with Stella. In a fit of self-contempt, Carroll leaves the house; but Alice, still loving and dreading to lose him, begs her brother to bring him back. Meanwhile, Stella arrives at the house. Alice’s distress moves her deeply. She determines to abase her self so that Alice may be assured of her husband’s love. Carroll returns and finds Stella. In the ensuing scene, the actress plays a bold aggressor and does it so well that Carroll turns from her with loathing and is about to drive her out. Alice returns, takes Stella by the hand, and shows Carroll what a noble friend Stella has been to them both. Stella goes out of their home and their lives. Once more alone at her hearthstone with her husband, the wife gives back to him her love, faith, and trust--in spite of all. 197 The Staging MacKaye staged In Spite of All with a New York so ciety audience in mind, Nym Crinkle, pseudonym for the New York Times critic Andrew C. wfheeler, said that MacKaye "has boldly shaped all this to what he believes to be the exi gencies of New York taste. The evidence of his success must be found in the quality, no less than the quantity, of his patrons."^ Sardou*s play Andrea did not feature a prima donna of a comic opera but a prima donna of the ballet com pany and depicted scenes of the ballet which, according to Crinkle, have "a coulisse flavor that is both foreign and repugnant to good taste here."^ Despite its romantic fla- v°r, In Spite of All comes closer to a realistic presenta tion then Dakolar, or any previous MacKaye production. Curry suggests that the characters in In Spite of All “seem to be using the stage as an environment in which they live."^7 According to the script printed from MacKaye*s kQ notes, the following excerpts from the play support Curry*s view: ^The New York Times. ^ e w York Times, October 5, 1885. ^Wade Chester Curry, "Steele MacKaye* Producer and Director" (unpublished doctoral dissertation, The University of Illinois, 1958). ^Steele MacKaye, An Arrant Knave and Other Plays, ed. by Percy MacKaye, p. 117. Fig. 38.— William Winter and Andrew C. Wheeler ("Nym Crinkle"), the leading drama critics of New York during MacKaye*s management of the Lyceum. 198 200 ACT I Scenes Boudoir at Carroll’s house on Fifth Avenue. Bessie discovered poking fire, C., her back to audience. Jack heard singing outside, ft. BESS, (turns) There’s Mr. Jack! Back again from college! Always singin* and always full of fun. (Goes down to table, L. Jack enters in full evening dress, ft., humming; goes to glass, up L., fixes necktie, and dances a few steps of a breakdown. Bessie looks at him a moment, and then bursts into a laugh, her back to audi ence; lights lamp on table). ACT IX Scenes Stella’s dressing-room at the Opera. Lights up, red carpet, practicable doors, ft. L. 2. E. Screen, up C., hiding dressing place. Lounge, L.A., on which are bou quets, notes. Table, down ft., on which is work basket, water and small mirror. Chair near table, long cloak on chair. Louise discovered arranging bouquets on table, L.C. loud applause and cries of "Bravoi” heard in the distance, off ft. Music at rise, kept up pianissimo till Kraft says "Go to the devil!" The Act III stage directions include the following: Running in with bouquets from ft. Taking bouquets and looking at cards. Putting bouquets on table, up L. Folding up and arranging thing, L. Kissing her hand with great gallantry. Goes up behind screen, is seen occasionally at work. Drinking a little water at table, ft. Reading. Bowing low. Exploding. Comes down, L. Laughing. Sitting on lounge.4'" Curry observes that "MacKaye’s directions in this play call for more natural movement and positions then in any of his other works," and that he "suggested that the setting was part of a larger environment by having charac- look out of the window, ring and call for servants, call and **9MacKaye, In Spite of All, Act II. 201 sing from off stage, and knock before entering."5° This wealth of directorial details underlines Mac- Kaye’s emphasis on realism, although the play as a whole retains a melodramatic quality. That it was designed and staged to appeal to and reflect the tastes of his contem- pory audience may be determined from Freund's review.! The play is beautifully put on the stage, the home room at Clandenning's being a rare creation of solid comfort and aesthetic surroundings .. . In Spite of All should send the Lyceum on its way rejoicing. It is a work to put the stamp of success on the future career of the house, which ought to be the home of refined comedy and draw audiences of a high caliber.51 tfhile MacKaye's intention was to bring before his audience a probing, self-ref1ecting drama, his theories were not always carried out. Moses claims that "no man realized more philosophically then he |~MacKaye] that a good play must contain some deep knowledge of human nature, some wide ex perience of life, and some surety in dealing with the craft of the stage."52 But MacKaye, like all nineteenth century American playwrights, could not escape the only available dramaturgical models. These were French and English, and they were sensational and emotional. No matter how deeply alive he was to the turmoil and quandaries of the shifting, restless, ambitious and sated society for which he shaped and molded his adaptations of romantic and sentimental Euro- 50curry, op. cit.% p. 101. 53-New York Daily Tribune, October 5, 1885. 52Montrose Moses, The American Dramatist, p. 3^0. 202 pean drama, MacKaye never quite managed in this or any other play to convert imagination and inventiveness into meaning ful and significant plays. His staging of In Spite of All, therefore, became mostly business rather than life. Reality remained on the surface; attitudes and gestures, intended to be realistic, reflected less his ability to project life in to the audience than an adroitness in manipulating life like characters on a stage. Still, the very attempt, inadequate by current standards, was beyond his time. Performers and Performances In Spite of All served to introduce Minnie Maddern to the New York stage in a starring role and to bring back Richard Mansfield, long absent from it. To the role of Alice Clandenning, the nineteen year old Maddern brought a surprising depth and feeling.^3 she made up for a lack of beauty and stage experience by other rare qualities that endeared her to an audience. Under MacKaye*s direction she endowed her role with a naturalness decidedly refreshing for its time, and so genuine was her performance that a New York Sun critic ravedt No amount of theatrical culture or stage tradition or academic role could have enhanced this scene one iota. It was the outcome of a woman*s heart exhibited without 53xhis was, however, not Miss Maddern* s first ap pearance on the stage. She had already spent 16 years in the theatre, appearing for the first time in Richard III with the Maddern Family Concert Company, at the age of three. She came to In Spite of All from a show on tour in the musical melodrama Caprice. Fig. 39.--Minnie Maddern Fiske (1865-1932). Born in New Orleans of theatrical parents. Debuted at three, made first appearance as Minnie Maddern in 1870 at tfallackfs Theatre in Fritz, our German Cousin. 1882 - Made adult debut in Fogg*s Ferry. 1884 - Scored a hit as Mercy in Caprice, written for her by Henry Taylor, presented at the New Park Theatre. Appeared at the Novelty Theatre in Frou-Frou and The Puritan Maid. 1885 - Leading role in MacKaye*s In Spite of All, at the Lyceum Theatre. 203 MINNIE MADDERN 9 4 9 BROADWAY. MY. 205 any waste of material, which we will deliberately take pains to assert is not only the economy of art but the triumph of genius.^ The New York Herald lauded her singular sincerity* This little woman manages to put such a depth of pathos into her work, to so pour out the broken accents of her grief and despair, to so feelingly express the desolation of her life, that she gets hold of the heart strings of her audience, and despite everything, wins them all around to believe that she is beautiful and gifted and sweet.55 This approbation is notable in a period of American theatre when melodrama was the rule, not the exception. Much of Maddern*s naturalness is traceable to MacKaye1s ability to make his unique theatre serve the actor. Melo drama on the continent was an unavoidable concomitant of in creasingly huge theatres that made hearing and seeing dif ficult for audiences. MacKaye*s innovation of electric lighting at the Lyceum and creating a house in which every seat was more than adequate made natural acting and realis tic scenery entirely feasible. It was previously noted that MacKaye was a cautious planner, given to long hours of re hearsal, painstaking attention to line readings and, as a dramatic teacher concerned with appropriate physical ges tures and stage business. ”The master playwright,” he said, ”combines the constructive faculty of the mechanic, and the analytical mind of a philosopher, with the aesthetic in- 5^The New York Sun, September 16, 1885« ^New York Herald, September 16, 1885# Fig. 40.— Richard Mansfield (1857-1907). Born in Germany and received his education in England. Be gan stage career in the comic operas of Gilbert and Sullivan until 1882. 1882 - Appeared at the Standard Theatre in Les Manteaux Noirs as Dromez and in Rip Van tinkle as Nick Vedder with the D*oyly Carte Opera Company. 1883 - Played in Parisian Romance and Rantzaris at Havertyfs Brooklyn Theatre. 1884 - Appeared in Alpine Roses as Count von Dornfield at the Madison Square Theatre. Replaced Lewis Morrison as Baron de Mersac in Victor Durand at the Union Square Theatre. 1885 - Performed at the Standard Theatre in Gasparone as wTasoni said in H.M.S. Pinafore. Lead in opening production of MacKaye*s In Spite of All at the Lyceum Theatre. 20 6 208 stinct of a poet, and the ethical ardor of an apostle."^ This conception of the theatrical creator, balancing ideal ism with practicality to effectuate harmonious relationships between player and playgoer, again marks MacKaye as a man of our century. That MacKaye had these gifts for achieving a realism of pathos even from a neophite like Maddern is suggested by William Winter} I suppose it is this phenomonon that is now fill ing the Lyceum nightly with swell audiences. Though it is only simple injustice to say that the play wIn Spite of All" has in it all the elements of popular success and even without Miss Maddern would, with a good case, hold the attention of a modern audience anywhere with its romantic interest and play of incident and charac- ter.57 Of the other actors, the most effective appears to have been Richard Mansfield asHerr Antonius Kraft, the im presario and manager of the prima donna, Stella. This role was written by MacKaye specifically for Mansfield and the latter provided an amusing and at times deeply touching characterization, which played decisively against the rather sweet portrayal of Minnie Maddern. Amelia Lewis commented on Mansfield*s return to America as a most welcomed circum stance and lauded his performance* In Kraft, the German impresario, he is himself again; he has exhausted the depths of the character and gives it all the breadth he can. The outwardly cynical, imperturbable, avaricious impresario, full of worldly- wise saws, mixing up three languages in his conversation, always gentlemanly in his manner, is a delightful per- 56As quoted in Moses, loc. cit. 5?xhe New York Times, September 16, 1885- Fig. **1.--Selina Dolaro. 1882 - Played Grirola in Les Manteaus Noirs and Katrina in Robert Planquette*s Rip Van Winkle with the D*oyly Carte Opera Company at the Standard Theatre. 1883 - Appeared as the Duchess of Epsom Downs in the opera The Merry Duchess presented by the D*oyly Carte Opera Company. Played Roily under the direction of Harry Pitt in Caste at the Bijou Theatre. At the Grand Opera House appeared in Olivette. 188** - Starred in title role of her adaptation of the French of Sardou called Justine, unsuccessfully produced at the New Park Theatre. 1885 - Appeared in Bridge of Sighs at the Brooklyn Theatre. Played in the new Lyceum Theatre in MacKaye*s In Spite of All. 209 210 211 sonage. His directness of manner is sardonic; his lat ent sentiment almost childness* It is worthwhile to go and see Dick Mansfield once more; an Impresario Kraft in make-up and speech will live.^ Critic Lewis thought that Selina Dolaro made a charm ing singer and that: • * • her dressing-room scene is so vivid and realistic that much may be learned from it; in fact, it is one of the best things that Selina has ever done* I point to the last Act, when the difficulty of the scene is great, but so well smoothed down by this clever actress that it needs to culminate in an heroic end.^9 MacKaye chose the supporting cast with considerable care* Eben Plymton, as the husband, gave a solid, bourgeois, middle class, performance that came so close to the nine teenth century conception of a vaccilating, weak man that the critics praised him for his realism^ 0 and for enacting the role of the husband "with a great deal of repose and discretion for so enthusiastic an actor. ” ^1 Joseph frankau, who played the old servant, Noel, in MacKaye*s production of Dakolar, in this play portrayed the brother of the husband and, according to the New York Sun, "furnished a low comedy to the very best of his abil ity. ^Freund's Music and Drama, September 19* 1885* 59ibid. 60Freund*s Music and Drama, September 19* 1885* 63-New York Sun, September 19* 1885* 62lbid. Fig. 42.— Eben Plymton. 1882 - Performed at the Madison Square Theatre in Esmeralda. 1883 - Appeared as George D'Alvay in Caste and in the lead as Dick Fallon in Forgiven presented at the Bijou Theatre. Joined Booth and Company in Hi chieli eu, King Lear. Hamlet, Fools* Revenge. Macbeth, and many more. 1884 - Appeared at the Fourteenth Street Theatre with Booth in Hamlet, Fools* Revenge, Othello, Merchant of Venice, Hichielieu, and starred as George Brand in tfages of Sin. Starred in Lynwood as Victor Blanchard at the Union Square Theatre. 1885 - Played at the Lyceum Theatre in In Spite of A11 by Steele MacKaye. 212 21k Critical Reviews of the Production The critics, for the most part, liked MacKaye's liberal adaptation of Sardou*s Andrea, The Sardou original clearly implied more than a platonic relationship between the Trench husband and a ballet dancer, Sardou*s husband is, moreover, a rather contemptible figure for whom one has difficulty rousing sympathy, tfhile there was much of the cad about Carroll Clandenning as MacKaye conceived him, the proprieties ere still observed. At the denouement, the hus band has been converted into a rather decent fellow, a man with a passing infatuation and one who, after all, really loves his wife. More importantly, Sardou*s ruthless and contemptible ballet dancer is alchemized into a woman with a heart of gold, insistent on making everything right with the world. Obviously, this concession to American taste and ethics pleased most of the criticsS The devoted wife here becomes a lively, sensitive, pure-minded and high-class American girl, whose awaken ing to her husband*s unfaithfulness is one of the finest things on the present stage; the husband is an American gentleman, whose capriciousness calls him away from his wife but momentarily; the police prefect and stage m a n a g e r ^ are welded into one operatic impresario--the only creation of the play and a very remarkable one; the danseuse becomes an operatic singer; the jeweler re mains; so do the maids, and all superfluous personages are cut off.^ ^characters in the Sardou version. ^Freund*s Music and Drama, September 199 1885* 215 The Closing of In Spite of All •»— *i.i >■'« T t M M m a M a a In Spite of All was an important milestone to many people connected with the play. For Minnie Maddern it was significant for two reasons* first, the play marked her de but as a star on the New York stage and thereby was a step forward in her career; secondly, here she met Harrison Grey Fiske, well-known editor of the Dramatic Mirror. In fact, it was Steele MacKaye who introduced her to Fiske after one of the performances.^ They were married in 1388. In Spite of All also marked an upturn for Richard Mansfield. His career had been in a state of eclipse when MacKaye asked him to portray Herr Antonius Kraft. In a let ter to a friend, Mansfield wrote* I am getting such spendid notices all around. I do believe the dark clouds have disappeared for a time at least. And the play is quite a success* MacKaye says the next play is to be written for me at the Lyceum— he is at work on the scenario. In Spite of All closed on November 7, 1885, accom panied by bitterness and recriminations— customary accom paniments to MacKaye production failures. On October 1, 1885* he had written to his father, Colonel James MacKaye, then living in Paris* ••Dear Father— After a long and bitter struggle to build this theatre, I have had a still more trying fight 65Archie Binns, Mrs. Fiske and the American Theatre, p. 32. ^Paul wTilstach, Richard Mansfield, The Man and the Actor, p p . 1 2 ^ - 1 2 5 * 216 to keep even the little hold I have upon it. I stick here in the hope of at last accomplishing something that will bring pecuniary as well as artistic means.--The last I had most positively obtained, and the money re ward would have certainly been ours, if it had not been for the scheming which seems to be inseparable from the money power. The story is too long to write, so I pass at once to the present situation. ... My play, In Spite of All is not only a very great artistic success, but it is a good money success with the prospect of becoming a great money success. As usual, however, because of my poverty, I have been cornered and forced to let it go for a pittance, which I have not yet received and may have to fight to get."67 The fight for the Lyceum involved more than finan ces. MacKaye had built his theatre on aesthetic and artis tic principles. He felt these were being undermined by the interests that had assumed control of the theatre at the public auction the summer before. In this, he was undoubt edly correct. William Mitchell, representing the chief creditor of the house, the Louis Tiffany Company, insisted on larger and more immediate returns from the Lyceum. He therefore proposed to substitute for In Spite of All a bur lesque, or "leg show” production entitled Evangeline by E. E. Rice. To prevent his beloved Lyceum from falling into a state of complete disrepute, MacKaye fought successfully to introduce a comedy called One of our Girls by his fellow dramatist and friend, Bronson Howard. MacKaye considered this play particularly suitable for the Lyceum's small di mensions. This fine gesture of MacKaye*s was made in an official report "To The President and Trustees of the New ^MacKaye, Epocht . ♦ . , II, Li>k-k5 217 York Theatre Company, Nov, 1885*M which, in effect, con stituted his resignation from the Lyceums "GentlemenS On the 15th of last July, I addressed a letter to Mr. Brent Good, the President of your Company. In that letter I endeavored to formulate the ideas which, it seemed to me, should dominate the direction of the Lyceum Theatre . . . On the presentation of this letter to Messrs. Mitchell and Good, a consultation followed, the result of which was a decision to reopen the Lyceum Theatre for a preliminary season as speedily as possible. To this end I was appointed General Manager of the Thea tre. . . . After the production of In Spite of All, it was necessary to determine the attraction that was to follow; and then for the first time I read with regret, that Mr. Mitchell had changed his mind regarding the carrying out of the program submitted in my letter of the 15th of July last. He preferred to make the Lyceum a combination house, and as Mr. E. E. Kice had applied for the produc tion of Evangeline at this Theatre, Mr. Mitchell expres sed a desire to come to terms with that gentleman. Since in ray judgment the production of that attraction was fatal to the character of the house, I used all the in fluence I could command to induce Mr. Mitchell to come to terms with Mr. Rickaby for the production of Mr. Howard's new play instead of Mr. Rice’s old burlesque. I did this to preserve the tone and character of the Theatre. . . . This led to the present contract with Mr. Rickaby. The production of Mr. Howard's play saves the theatre from the loss of tone that would certainly have followed the presentation of a 'leg show' within its walls, and deems fair to bring pecuniary success as well. During the term of my management at the Lyceum, I have been guided by one single purpose— namely, to serve according to my best strength and ability, the interests entrusted to my hands. Though I believe there would have been a normal future for the Lyceum as a high art house, if the plans of my letter of July 1 5th had been carried out, and we had created for the city an ideal Company, still I readily abandoned the hope I once had of realizing this idea, so long as you deem it for your interests so to do. .. . And now, gentlemen, I come to the real motive prompting this report from me to you. It has deemed wise to you to make the Lyceum Theatre, for the present at least, a combination house. In so doing, the principle value of my services, which grows out of my experience of organizing and training stock companies of actors, and in superintending the produc 218 tion of play, is suppressed. Under these circumstances, as I do not desire to accept any salary that I cannot feel is justly earned— as I would not add one iota to the financial burden you may have to bear--I desire to tender to you my resignation as General Manager of the Lyceum Theatre, to take effect on and after Nov. 9> next, and to express to you assurance of steadfast and warm goodwill. Anything I can do at any time to further your interests, or to increase the success of your Theatre, will not only be done promptly, but gladly.— Wishing you, Gentlemen, every possible success, I remain— Faithfully, Your obedient servant, Steele M a c K a y e . " 6 8 On December 2, 1885, a resolution unanimously adop ted at a November 4 meeting of the Board of the American Theatre Company accepted MacKaye*s resignation and expres sed to him its heartfelt thanks for the services he had performed.^ Thus ended MacKaye*s association with the Lyceum, one that lasted from July, 1884 to November, 1885. While unsuccessful financially, it left a deep artistic and aes thetic impression on the American theatre, one that merits considerable investigation by future researchers. After his departure from the Lyceum, MacKaye was to go to other triumphs and failures. 68Ibid.. II, 50-52. 69s ee Figure 43. Fig. ^3*— Acceptance of MacKaye*s resignation from the Lyceum by the American Theatre Company, December 2, 1885* 219 220 tajceutit} h f u l x t tf fS S/ Y, '* . wefartf. ■■•' •-'• 221 Summary MacKaye*s two productions at the Lyceum Theatre, Dakolar and In Spite of All, were not successful, finan cially, However, both plays made distinctive contributions to the development of stagecraft in the American theatre. Dakolar was the first play to use the services of an acting school as part of a professional performance in this country. Dakolar. MacKaye*s directorial techniques were introduc ed, particularly the use of crowd ensembles, carefully re hearsed and intricately manipulated. While the high senti ment of language did little to advance the art of realistic playwrighting, critical comments bear out that MacKaye*s scenic devices, the intimate nature of his theatre, his use of the new electric lighting— all under his strong, central f author!t--marked a foundation for realistic drama on which future American producers and directors were able to build solidly, MacKaye staged In Spite of All far more realisti cally than Dakolar. The verisimilitude of staging, acting, behavior patterns— all clearly discernible to the audience— mark an important progression of theatrical technique. Much as one is tempted to judge MacKaye*s Lyceum productions a failure— if one considers only financial re wards— they, in fact, deeply satisfied him, many critics, and most of his public. Aside from writing two of the period*s better plays, MacKaye in these productions launched 222 the careers of several performers who went on to consider able stage fame. Of these, the outstanding ones were Minnie Maddern and Richard Mansfield in In Spite of All, and Robert Mantell, John Mason, Sadie Martinot and Viola Allen in Dakolar. One cannot doubt that all of them profited by MacKaye*s high standards, and their subsequent success must be attributed, in no small part, to his considerable talent as a dramatic teacher. Added to MacKaye*s development of theatrical aes thetics in the creation of the Lyceum Theatre, this contri bution to the art of acting gives further stature to his place in the American theatre. William C. DeMille, in an astute appraisal, commented on this facet of MacKaye*s tal ents During the time of my dramatic education, I*ve heard your father's name spoken by the men whom I look up to as the leaders of the American Stage, and have been taught to regard him as a fine tradition in the development of our theatre. Franklin H. Sargent, under whom I studied, was particularly enthusiastic over the work your father did in development of the art of act ing.^ It is a consideration of his principles of acting, as they apply to the development of his School of Acting at the Lyceum Theatre, that is the subject for the next chapter. ?°MacKaye, op. cit.. II, 57. CHAPTER VI THE LYCEUM SCHOOL OF ACTING From the beginning the Lyceum School of Acting was an integral part of the Lyceum Theatre plans. As with many projects with which MacKaye was associated, the School was conceived in high hopes and glittering pronunciamentos. Yet its operation was quickly riddled by management dissension until finally MacKayefs association with it was terminated. Even during its hectic formative period, considerable pro gress was made towards establishment of a functional and pragmatic school of acting for men and women whose ambition was to act on the professional stage. MacKaye, as others, had made previous forays into the business of acting schools. As early as 1872, as mana ger and producer at the St. James Theatre, he attempted to reform the American theatre through the Delsarte system of acting, by imposing it on pupils given parts in that thea tre* s performances. He intended to create an American Comedie-Francaise and Conservatoire with the Delsarte sys tem as its model. Unfortunately his highly inexperienced pupils were unable to assimilate the full range of that sys tem and their efforts were awkward and unrealistic. MacKaye*s first attempt to organize an acting school failed completely. 223 22*+ Between this failure and his association at the Lyceum, MacKaye continued to lecture and teach the Delsarte system, which ultimately became the basis for the Lyceum School of Acting. wfhile associated with Franklin Sargent at the Madison Square Theatre, MacKaye began to plan a National Conservatory of the theatre arts, conceiving of it as purely experimental in nature. Their plans at first were "in the rather modest form of a Dramatic School for amateur aspirants to the stage; but shortly--with my father*s in creasing absorption in the scheme— the conception grew apace and became a strictly professional undertaking, with chief emphasis centered in the theatre.”^ From this germinal idea, accompanied by considerable enthusiasm and supported by financial backers with a love for the theatre, came reality, the birth of the Lyceum School of Acting. Organizational Background The Boston Herald was the first to announce plans for the theatre and the new School I For the first time in this country, a dramatic con servatory is to be established. . . . A distinguished resident of New York, Mr. Steele MacKaye, has been for sometime nursing a devotion to dramatic art, which he de sired to put into practical form. His enthusiasm af fected his friends and pupils.^ Epoch: . . . , X, U'62* ^As quoted in MacKaye, Ibid. , X, *4-62. In Percy MacKaye*s customary elliptical references to his father, he has substantiated his father as the organizational genius 225 In an interview with the New York Dramatic News, Sargent recalled his own early dreams for such a school. The result was a contract for the Lyceum School of Acting: This project of starting an institution where act ing should be taught is an old one with me, for it oc curred to me fully ten years ago when I was abroad studying in Paris and London where I saw the foreign schools of acting. It seemed to me that similar estab lishments would be of great advantage to this country ... the idea of a school was an old one with Mr. Mac Kaye as well as myself, and we have frequently talked over the subject together. He was my master in the whole work, and I looked upon him as my superior in art. The opportunity for us to put our project into execution came about in this wise. wThile still at the Madison Square Theatre, Mr. M. H. Mallory came to me and asked me to go and see Mr. Hubert, of Hubert and Pirsson, the architect, who was then building the Lyceum Theatre, for purpose of learning whether some connection could not be made between the Lyceum and the Madison Square. . . . Mr. Hubert*s intention at first, as you know, was to make the Lyceum nothing but a theatre for amateurs. I saw Mr. Hubert, but the gentleman could come to no agreement and the upshot of the matter was that I re signed from the Madison Square and made a contract myself on May 1, 188^, with Mr. Hubert to found, manage, and have sole charge of the Lyceum Theatre*s S c h o o l .3 Hubert, a well known architect and builder of the well appointed "Hubert Home Club** flats in New York City, had joined with Pirsson and several other stage struck New York builders, who thought that their architectural train ing qualified them to build a handsome and economical thea- of the projected theatrical enterprise, instead of Franklin Sargent, as had been the intention of the Boston Herald. In fact, Steele MacKaye is not referred to by name in the arti cle at all. The implication of this report is that when plans became definite to provide a theatre for amateurs, and the need was felt for a guiding genius and head for that school, it was Sargent who was selected. ^The New York Dramatic News, June 9, 1885* 226 tre. True, the rental of the lot was quite reasonable and had the original plan been carried out leaving Gustave Froh- man and not Steele MacKaye in charge of business matters, the concept of an economically stable theatre might have materialized. The disparity of styles between the Lyceum*s rather severe and unprepossessing exterior and its lush and decorative interior by Louis Tiffany reflects the disparity in approach of Hubert, who planned the Lyceum as a school, and of MacKaye, who planned on a professional house. Hubert and Sargent intended the School eventually to fill all of the Lyceum’s interiors including the stage. For rather sound economic reasons, however, during the first year the building was to be rented out to amateur theatri cal societies and available for concerts, readings, lec tures, and other light entertainments. It was also to be offered to professional companies when play dates could be arranged. A stage manager was to provide scenery and other stage requirements for amateur performances so as to make them theatrically worthy. Of the two theatres in New York City that were open to amateurs, the University Club Thea tre and the Lexington Avenue Opera House, neither had a for mal stage with all appurtenances for complete productions. It was also proposed that there be a series of children’s entertainments, operettas and pantomines; and as a source of additional revenue, Hubert contemplated performances of monologues by well known personalities, combination read- 227 ings, and acting by the Lyceum School, to which potential financial patrons would be invited. The chief intent, how ever, was the school, to be run as a conservatory. There were to be seven or eight specialists in such disciplines as vocal culture, pronunciation, proper use of English, pan- tomine, the curing of speech defects, and elocution from the emotional and intellectual point of view. Each pupil was to be supervised by an instructor, including those studying singing, dancing, fencing, etc. In addition, prominent actors were to give demonstrations. It was Sargent*s in tention to separate the practical from the theoretical, or, as he called it, ” the empirical from the scientific work,1 * further explaining that **actors will illustrate the prac tice to pupils through their habit of intelligent analy sis.”^ Lectures were to form part of the instruction and were to be free to the pupils; the public was to be admit ted on a professional or payment basis. Tuition was fixed at $200.00 for the course which ran from November 1, to June 1. It was proposed that in time a scholarship class would be established, to which promising young students would be admitted after rigid examination of their qualifi cations. Also contemplated was a board of visitors includ ing leading actors* managers and others whose advice would be beneficial: famous theatre personalities like Daly, Jefferson and the critic William Winter. Even then it was ^Boston Herald. May 28, 1884. 228 intended that pupils would occasionally take minor parts in professional theatres, a well established European custom. Theoretically it was beautifully planned and ex tremely promising. It seemed there was a market for such a school. After all, repertory companies had travelled the country and created enthusiasm for the theatre where it had scarcely existed before. With the school's first announce ments, letters poured in to Sargent from all over the United States requesting admission. Had all of these students been admitted at a $200.00 fee, the enterprise would have begun on a self-supporting basis. However, neither facilities nor staff were large enough to handle that many. Yet the essential idea of using students as the nucleus of a sep arate stock company could not have escaped the managers. It was assumed that once the students had become thoroughly prepared for a role, a public performance would result to test the performers* strength, and for the experience of work before large critical audiences. In theory this worked well; in practice, as seen in Chapter V, the stu dents were never extensively used in any plays in which MacKaye was involved. While many of the commentators were sanguine re garding the school's possible accomplishments, a number of them received news of its establishment with a degree of skepticism. The Morning Journal said* Various attempts have been made in this city to es tablish a school of acting similar to the Paris Conser 229 vatoire in most of its features, but supported by pri vate or corporate aid in place of the state, as in France; but for reasons the point has never met with much favor. These reasons are principally two* First--that most popular actors do not believe act ing can be taught. They will not in the main even con ceive that its technique may be learned in a school like reading and writing. They insist that all acting is the gift of nature. Second— the fraudulent character of most of the schools for acting which have been established here. It has been a favorite devise of every broken-down or un successful actor to have a dramatic school. In many cases there are people who are teaching acting who have never themselves been on the stage. In many instances these people promise to secure engagements, whereas, in fact, it is enough usually to let a manager know that you have been to one of these people to be unceremoni ously shown the d o o r .5 The Daily Mirror added its gentle skepticism when it said* If such a thing is attempted I hope it will be done by those who have some knowledge of the proper educa tional means to be used; else the scheme will hang fire like the Dramatic Library, or will be a dead-alive affair like the Actor’s Fund.® On June 21 the Mirror continued its debate with Franklin Sargent. Sargent had taken exception to the skep ticism voiced by the Mirror and explained that the Lyceum School of Acting was not to be conducted on a speculative basis but was to have some of the features of a free art school to which actors, managers and others interested in a dramatic profession would contribute. The critic was not satisfied with his answer* Mr. Sargent fails to enlighten us definitely upon ^The Morning Journal, June 5* 1884. ^The Daily Mirror, June 7, 1884. 230 the really vital feature of the undertaking--the charac ter, qualifications and the identity of the professors to be employed in the various departments. He said that "All the strong leaders in the art who have been sug gested to him personally or in print have been con sulted;" but he conspicuously neglects to say whether all or any of them have been retained, Mr. Sargent, although he figures as the director of the school, adds that he only hopes to become an assistant to older and more ex perienced members of the Hfacuity.” This is modest but inconsequential. The director of such a school should be a man of eminence and large capacity. Mr. Sargent confesses that he is not such a man, and yet he occu pied the position in question. There is an inconsist ency somewhere. The amiable attitude Mr. Sargent assumes in expressing his readiness to receive advice is another symptom of weakness. The head of a dramatic academy should teach others, not be taught by them.7 As the opening date for the School— announced to be in late September or early October— moved closer, consider able skepticism such as the above was voiced in more than one quarter. The New York Dramatic News felt that no tea cher could either spoil a great genius nor create genius where it didn*t exist. It felt that acting lessons were of O no use whatsoever. Moreover, the Dramatic News critic, Verdi Shakspere, complained bitterly about the announced cost of tuition* By the way, I see that the terms of the Lyceum School of Acting is $200.00 per annum in advance. Now where on earth is the stage-struck youth to get $200.00 from? My opinion is, that people who have $200.00 to spare are not going to invest it in that kind of stock. If the Lyceum would make their terms about $10.00 per quarter, it might scoop in a lot of stage-struck youths from all parts of New York and New Jersey. .. . $20028! Did you ever know anyone who was stage-struck to have ^The Daily Mirror. June 21, 188^. ®The New York Dramatic News. August 2 6, 188^. 231 $200! Why these stage-struck people (and I know hun dreds of them) would think $25 an immense sum to pay for stage instruction•9 The New York Dramatic News also felt that the man agement of the Lyceum Theatre was using the School as a pub licity gimmick, that there was nothing new about allowing amateurs a stage for an afternoon performance, and that no opportunities to display their talents were created that had not existed before, particularly at the considerable tuition rate they were to be charged.1® With the announcement of the Lyceum*s plan, there was also considerable disappointment with regard to bar ring outside amateurs from the house altogether. Its new plans restricted amateurs to matinee performances, somewhat contrary to the original plans for amateur evening perfor mances by outside groups. The result was that the amateur groups which had been playing at the Lexington Avenue Opera House and the Academy were returned directly to where they had begun since they could no longer count on the superior facilities of the Lyceum.11 Undoubtedly most competent amateurs felt a need for a society as well as a new house for amateur performers, but not one that had a School of Acting attached. The New York Dramatic News made this position clear! 9Ibid. l^The New York Dramatic News. August 23, 188L. Hlbid. 232 Of course it is natural that those who have reached prominent positions as amateur actors do not care to go through a course of training such as is prescribed by the Lyceum people. As a matter of fact there is no necessity for it. Many of our leading amateurs could make a living on the stage if they so desired, but the majority act only for pleasure, and have no thoughts of becoming amateurs. To such as these, and they predomi nate, the idea of entering a school of acting is of course absurd.1-2 Following the announcement of the school's opening, Sargent went on the road to recruit pupils. During August and September he visited Chicago, Louisville, Albany, St. Louis, and a number of other western cities, usually in the company of Walter Cabitt, his assistant recruiter. Sar gent's approach was to establish himself in a quite respect able hotel, arrange for a press conference, supplement his advertising with publicity stories, and always manage to have a considerable number of prospective students appear for examination. That a good ideal of separation of histri onic gold from plain dross fell to the lot of these pros pectors may be gleaned from this account in the Louisville Commercial> Ten ladies and four gentlemen called and requested to undergo an examination. They represented every variety of age, beauty and physical defect. One lady was cross-eyed and carried a mouth full of false teeth. She insisted that she was the only support of four half grown daughters, and claimed to have recited sin Irish poem at a country fair several years ago. One of the male applicants would have proved a good card for a dime museum. He wore a moustache, fierce, red chin whiskers and carried his left eye in a green goggle. An accident of birth had placed a huge red splotch on his right temple. A third aspirant may yet make his fortune by en gaging himself to personate a wooden Indian in front of 12Ibid., July 5, 188^+. 233 a cigar store. Several hours were consumed in convinc ing the stage struck people that they were on the wrong track, and that nature had intended that they should do specialty acts on the washboard and heavy work behind the plow or in machine shops, instead of on the stage.13 The rate at which Sargent moved from town to town may be evidenced by the fact that on the day before, Sept ember 12, 1884, the Daily Telegraph in Harrisburg, Pennsyl vania had announced: Mr. Franklin H. Sargent, formerly director of the Madison Square Theatre, and now the director of the New Lyceum Theatre School of Acting will be at the Conti nental Hotel, Philadelphia, September 10th and 11th especially to examine those living in and near Philadel phia who have applied for admission to the School. On September 16, Sargent was in Cincinnati, Ohio, where he announced his departure for Washington, D. C. the following day and that he had considerable success in Chicago, St. Louis, and Louisville, Kentucky• 5 The Lyceum Theatre School of Acting opened on Octo ber 3* 1884, at 18 West 23rd Street, with nearly a hundred pupils. Ultimately, of course, the School was to be moved to the Lyceum Theatre itself. Since that building was not yet finished, Gustave Frohman rented the recently vacated offices of the law firm of Gail and Spader, where Sargent was immediately to begin training his pupils. The upper i^Louisville Commercial. September 13, 1884. l^aily Telegraph. Harrisburg, Pa., September 12, 1884. l^The Commercial Gazette. Cincinnati, Ohio, Septem ber 1 6, 1884. 23^ floor of the building was made into a workshop, but also served as offices for MacKaye, as he worked on his inven tions for the Lyceum, On October 188^, the Lyceum School of Acting be gan its term and was immediately deluged by applicants. They came from every part of New York and surrounding states. Most were stage-struck curiosity hounds, but a few had tal ent. The substantial publicity had led many to believe that here was some new and yet undreamed of method of learn ing how to act: a short cut to stardom. The New York Mail and Express commented: A school of this sort is certainly a desideratum. Theatre-goers of this country have so long been tortured by the inefficiency of the support given to dramatic stars that they will welcome any prospect of seeing com petence upon the stage. The aim of the school is a good one, and when it shall have got rid of the ambiti ous youths and maidens who suppose a season’s training will develop them into stars of the first magnitude, and gathered a clientage of persons who are anxious to work and to become good subordinate actors, it will undoubt edly accomplish something for the American stage.^ In an address to the pupils of the School, MacKaye outlined the future, the nature of the instruction and the principles and practical methods by which they would be trained as actors. That this was not to be a training ground for the perpetuation of amateurism was clearly in dicated by MacKaye in this opening address: Now, when you begin your work, we want you to get as far away from amateurism as possible. To enable you l^The New York Mail and Express, October 4, 188^+. 235 to do this we propose to organize our pupils into regu lar companies. In so far as the nature of the material we have to deal with permits, we shall select from these companies those whose natural abilities fit them for the regular lines of business essential for symmetrical dramatic corps. These companies will be supervised by the best stage managers we can procure, in different plays, so as to give each of you an opportunity of learn ing all the technicalities of practical dramatic work. . . • As we near the end of the school year I should ex amine the various classes. Those that have worked the best, those that have developed the most, will then be organized by me into a company which shall represent the school before the public. That company will be care fully trained in some play, or perhaps two or three plays. After they have been trained I shall take the stage management myself, and give special attention to its personnel in order to complete the preparations as far as I can for appearance at the Lyceum Theatre. There they shall secure the advantages of a series of matinee performances•!^ The school gave every indication of being a success. By November 1 of that year it had registered one hundred and sixty pupils, who, at the rate of $200 each, accounted for $32,000 tuition. The Newsletter suggested ”that a great work has been quietly inaugurated by Steele MacKaye and his associates, and look hopefully to the time when the Paris Conservatoire will be outrivaled by the New York Lyceum.”!® By December 1, however, disintegration had already begun. Under Brent Good's urging, the American Building and Man aging Company was created, expressly to separate the inter est of the theatre and the school. MacKaye*s energies were directed increasingly toward the completion of the theatre and the writing of his play for its opening. It would seem !?Xhe New York Times, October 4, 1884. !®The Newsletter. November 1, 1884. 236 that little of his time was spent teaching classes. Sar gent said of MacKaye*s contributions! ”all that MacKaye did for the interest of the school was to take some of the pupils into his company. That MacKaye maintained his customary way of life despite all these problems is clearly indicated in the fol lowing caution penned by the .Dramatic Times! I see Steele MacKaye taking his dinner very often at the Hoffman House now and inviting his friends to join him. MacKaye is fond of rich viands and fine wines. Of late years he has not had the means to gratify these tastes, but now that a little money is coming in he re turns to them. I always approve of a man spending all he wants to when he has it to spend. But where does this money come from in his case? The theatre over which he is to preside has not yet been opened and there fore has not made a dollar. Is it from the Lyceum School pupils? If the work he does there permits Mac Kaye to eat $20 dinners at the Hoffman House, then he has paid royally for what he does, and I fear the pupils are not getting the worth of their money.20 Sargent said that on February 1 when the school was enlarged the treasury was found to be entirely empty. The loan of $3,000, which had been made to the Lyceum when the School was first opened, was never repaid. He claimed that he himself had to pay back the $1,000 he received as salary to keep the School in operation. He insisted, too, that it had never made any profit, and, that every cent received from students had been repaid in the form of salaries to twenty-five teachers, and in the maintenance of expensive l^The New York Dramatic News, June 9, 1885. 20The Dramatic Times. February 7, 1885* 23? rooms and theatres for rehearsal space.2^ It is certain that rumors of financial difficulty did not prevent the School from growing. The announced cur riculum continued to attract young tyros, and the subsequent history of the School, presently still functioning in New York, merely attests to the validity of its curriculum structure and to the method of its acting principles as originally promulgated. Curriculum Structure and Acting Principles In the Prospectus for the School, Sargent had stated the training he deemed necessary to create an actor: Physically he must be at least free from any marked defect or peculiarity; every muscle must be under per fect control; his voice tuneful, sympathetic, capable of expressing all feelings, thoughts and emotions; his con stitution iron and his health ever reliable. Mentally, he must be a keen and close observer, and able to under stand the character, temperament, habits, etc., of the individual he has to personate. He should know how such a person would feel and look, and act under the most varied circumstances. He must thoroughly understand the ways, manners, modes of life, language, and feelings of people belonging to the class of society or to the nationality of the character to be portrayed. He must be a scholar, and a keen appreciator of literature, a humorist, an artist with an eye to the picturesque, the graceful, and the beautiful. Such are a few of the qualities required to constitute a true actor.22 To accomplish this considerable transformation from rank amateur to skilled professional, the following depart 2lThe New York Dramatic News, loc. cit. 22prospectus for the Lyceum Theatre issued by the Administration of the Lyceum Theatre, Franklin Sargent Director, New York City, July 15, 188^. 23 8 ments were established, together with the faculty assembled to administer them* STAGE DEPARTMENT* Stage Business -- Ensemble — Rehearsals, Operatic Drama— Lectures on ’ ’Stage Ap pliances and Methods”...... Max Freeman* Stage Business — Rehearsals, Emotional and Romantic Drama, Defects of Action..... David Belasco. Stage Deportment — Rehearsals, Comedy- Orama and Shakespeare.......Fred Williams. Rehearsals, Modern Drama .William Seymour. Lectures and Rehearsals "Make-up” .... Lysander Thompson, SCHOOL DEPARTMENT. Pantomime -- Speech and Action........... Franklin H. Sargent. Pantomime................ .Madame Servan. Voice................ .Abbie Whinnery. Elocution — Mechanics of Speech....... . Mary S. Thompson. Dramatic Literature -- Lectures — Elocution, Maria P. Brace. Analytical Elocution.........Miss Wickham. Orthoepy...... •••••..........Alfred Ayres. SPECIAL INSTRUCTORS. French. ••••••••* Mme. Oldmixon. Dancing. .....•••••••••••A. Zavistowski• Stage Fencing. •••• ...........H. D. Clifton. Singing.••••••••••••••••• Ernest Perring. Elocution...................... Mrs. Vandenhoff. Elocution• • • ...Mme. Michels. Defects of Speech..............Miss A. S. Ward. ’ ’Principles of Training” — a Lecture. • • S • S . Curry. ’ ’Elocution” — a Lecture..... .J. B. Roberts. ’ ’Costuming” -- a Lecture......Alfred Thompson. The avowed aim of the Lyceum School functioning within the above structure was to do for the American stu dent what the French Conservatoire did for its French coun terpart. At its base lay the precepts of the Delsarte sys 239 tem. It is not, of course, within the province of this in vestigation to detail that system, though it is clear that the departments of the School reflect the Delsarte theories. These MacKaye had delineated as early as 1872 in his A Plea for a Free School of Dramatic Art and established at the St. James Theatre that same year. At its base lay a scien- tification of artistic principles by means of which MacKaye hoped to transform the art of acting into an organized and teachable methodology. At its heart lay a moral precept which the Delsarte system was to inculcate and thereby free the actor of the odium resulting from his being a member of a group living on the fringes of society. This attitude to ward the professional actor as a pariah of society was to be eliminated in the training he would undergo at the Lyceum School. The first step in his development concerned itself with the body. Constant exercises were to provide him with grace and a freedom of action which would correct physical defects and habits and give him total control of his body. Thorough training in pantomime was to teach com plete control of facial expressions and further use of the body • His voice was to be trained for power, articulation and the removal of speech defects. The art of vocal expression was to provide him with greater range in the expression of the passions. 240 He was to be taught to read and speak with greater clarity and with more intense feeling. He was to learn the art of imitation in all of its aspects, including posture, sound, dialects and mannerisms. He was to be taught to read and understand plays and their dramatic structures. He was to be taught motivation of situations, ac tions and characters* And finally, he was to be taught such elements of acting as the art of listening, stage blocking, stage busi ness, the use of props, the art of make-up and appropriate costuming. £ach of the faculty members appointed were consider ed experts in their field. Several of them, notably Max Freeman, David Belasco, and Fred Williams came from the Madison Square Theatre where they had already worked with S argent. It was the task of this faculty at first to examine each of the students and then determine their most promis ing qualities. In this way the work of the School was di vided into several companies of ten students each, with each company composed of a variety of types suitable for a com plete production. These companies were then graded in pro ficiency with the best company labeled Company A and so on down the list. Since there were always more women than men, several of the minor parts were played by women. Fig. ^.--MacKaye studies in expression. Above* Six portrait heads. Belovt Expression of the hand. Drawn by MacKaye between 1870 and 1880. 2kl 2^3 This separation into various classes became more efficient, easier, and organized after the School moved into the top floor of the Lyceum Theatre several months be fore it opened to the public. There were two large rooms fitted with stages, curtains, scenery and other appoint ments of a regular theatre. The remaining rooms were con verted into ordinary classrooms, all decorated in a plea sant manner. Each of the companies formed a class by itself and began each day with four hours of lecture by one or another of the faculty. When not at lectures the pupils were assigned space in which to study. They were encour aged to attend the theatre as often as possible, and also had the privilege of auditing any of other classes. Sar gent was particularly helpful in this respect. He notified New York's professional theatres that free tickets were in deed welcomed at the Lyceum School. Since the professional theatre felt that it would ultimately benefit from the practice, hundreds of free tickets were made available. When a new pupil was finally placed in one of the companies, he received a card on which all of his class meetings and schoolrooms were announced. Classes lasted from nine until five daily except Sunday. A visitor to the School provides a fascinating insight into several of the classes t The first class visited was that of Mr. Sargent, who was explaining to his class the rudiments of the art of expressing by gesture different emotions. Mr. Sar gent believes in Delsarte's theory up to a certain point 2kk . . . Mr. Sargent believes that while there are certain generally accepted and typical positions of the body and muscles of the face, which almost invariably accompany emotions, no part should be played by rule. He makes his pupils go through a variety of exercises in the way of expressing various emotions by gesture, but he does so only in order to exercise muscles which may have not been brought into play in that particular fashion before. .. . So Mr. Sargent requests his class to express a variety of emotions one after the other and watches them as they go through the whole gamut. For instance, he calls out: • • Agony;" then "Rapture;” then "defiance;” then "Command;” etc. He watches the transitions and criticizes the efforts of the pupils. One of the parti- cular exercises happened to be the position of the fingers and hands when I was there. Mr. Sargent showed very plainly that the hand has an expression of its own quite as much as the face has; it is not the same in grief as in joy, in anger as in fear. • • • Mr. Belasco's class, which I next visited, was at work upon the stage, while Belasco sat in front and criticized, now and then jumping up on the stage to show how something ought to be done. It took him ten minutes while I was there to make a certain young woman sit down in a chair according to his notion of what was right. In another class the students were at work having their voices brought out so that they could be heard in large houses, one great defect of American amateurs being their want of distinctness in enunciation and, in the case of the girls, the unnaturally high and nasal pitch of the voices. In all of these classes the earnestness of the pupils as well as o traordinary degree. The Mail and Express thought that the most inter esting classes of the school were those given to pantomime, voice and stage. The class in pantomime was under the di rection of Mme. Ida Simpson Serven who taught both panto mime and vocal expression. From the account of this class, it is clear that the pantomimic instruction was based on Delsarte and that it took place in the following manner: The girls are seated in double rows with notebooks the teachers was marked to an ex- 23h artford Daily Times, January 28, I8 8 5. 2^5 and pencils. The subject for the day is the three Hational Attitudes, a sub-division that has succeeded to the three Weak Attitudes, and is numbered by the young women four, five, and six. Mme. Serven paces up and down the room giving out her definitions fully enough for the rusty with spelling, for the young women must take them down verbatim. The matter is curious enough for trans cripti on• “The Rational Attitudes** are those in which the re flective principle predominates. It is expressed by the strong leg behind, the weak leg in front. The strong leg, it appears, is always the leg that supports the body alone, and it further appears that somewhere in the change of one leg to the other, to the strong leg, is reached what is known as the “harmonic poise.” • • .The young women who are interested— for as in all schools and in all classes there are the inattentive and more indif ferent— fall into a discussion on nature and art that becomes both high and deep, and Mme. Serven interrupts them to take the attitude, with finger on her lip, brow knitted. Her mouth quivers, her brow contracts, she folds her arms, and a free foot begins to tap nervously on the floor. Evidently she is not going to stand it much longer. But the reflective principles still pre vails. . . . From Miss itfhinnery* s (in charge of voice) room proceed strange, wild, unaccountable sounds. On opening the door each young woman has drawn her shoulders up under her ears and at a simultaneous hiss of terrific dimensions there is a sudden collapse of each individual on one side. It is not the delerium tremens, of which the scene has every aspect, but a prescribed process for unlimbering some part of the internal economy bearing on the vocal organs . . . The stage classes are naturally not so clearly underway. Mr. Freeman and Mr. Belasco are both at work and although it is the voice of the Lyceum, it is the hand of the Madison Square. Mr. Bel asco has his class in front of him. He sits on either side of a young man and a young woman reading the parts of Edith and Herbert in “Young Mrs. Winthrop.” • • .The musical person on the other side of the wall grows more thrilling: the voice penetrates between the cracks of the wallpaper. Edith*s pathetic child-like tones pale and are lost before them. The privileged turn and flee. Mr. Belasco and his class courageously remain, although the theatre is worsted in every step in such a contest with the opera. It was in such small, closely supervised classes 2^The Mail and Express. October 29, 188^. 2^6 that all of the disciplines outlined by Sargent in his Prospectus were taught* There is no question that Sargent and the faculty had an attitude of the greatest responsibi lity to their students, the greater number of whom were from out-of-town. Few of them had ever had dramatic train ing, though it was not long before stage discipline was firmly established. Any student with more than ten percent absenteeism in either class or ensemble acting was not en titled to an examination for advancement of any kind. Examinations were held monthly. Any student pass ing three executive examinations was entitled to enter the competitive examination before the faculty for a role in the so-called Trial Play. This occurred three times a year and from these casts, pupils were chosen for professional stage work, ostensibly at the as yet to be opened Lyceum. Further, since it was originally intended that road com panies of shows produced at the Lyceum would be sent out, it became important to the student that he be selected for the Trial Play. The curriculum, the training, and the in tended purpose of the School was always to turn out pro ficient and professional actors and actresses, deeply fa miliar with the traditions of the theatre and competent through constant practice. It was not the School’s basic aims which caused its ultimate failure, for there is proof that a number of its students achieved a measure of success in the acting profession. 2k7 Performance and Achievement With respect to the announced purpose of training professional actors, the promise of the Lyceum School far exceeded its achievement, at least at its inception, and while MacKaye was associated with it. Part of that reason has been traced earlier in this chapter. MacKaye was busy with the theatre, his inventions, and his playwrighting. He gave insufficient attention to the business of the School and the development of its actors for placement in profes sional roles outside the Lyceum. From the date that Mac Kaye and Frohman— urged by Good--decided to go professional, it was never their intention to run the theatre as a plat form for its students. This is borne out by Wesley Sisson, secretary of the Lyceum, in a statement to the Sunday Start The school is an adjunct to the theatre, not the theatre to the school. We will have the best company the profession can furnish; then if we have pupils in the school with sufficient ability to fill minor roles we will put them in, paying them the salary of the pro fessional. Some of our road companies will no doubt be made up from the school after the pupils have had some little experience on the home stage. But a home company made up of pupils would be ridiculous. Who would come to see them? People seem to have the idea that the Lyceum*s School is a manufactory for stars; that a young woman can come here, and, by some indefinite pro cess, be molded over into a Bernhardt, a Rachel or a Siddons in a month or two. That is not what we want to do at all.^* Yet some professional outlet was provided. Under Max Freeman’s direction, the students proposed to mount a production of Julius Caesar. It was to be noteworthy for ^ The Sunday Star, January 11, 1885. 248 the handling of unusual scenery and the controlled use of the populace as an ensemble. In this connection it is in teresting to note the Nev York Times* comment which refers to the planned production as a "representation with the ut most care in the direction which has most distinguished the celebrated Meiningen Company."26 This reference to the Meiningen Company reflects the training of the director, Max Freeman, who had come, prior to his stay at the Madison Square, from the Hoyal Dresden Conservatory as well as from the Vienna Staats Theater where the Meiningen players had made appearances. It is clear that this training in en semble acting was reflected in the selection of pupils who had shown adaptability to crowd acting. In the JLyceum pro duction of Dakolar, and particularly the fisher folk scene, they demonstrated their hard-earned experience, presented an effective tableau, and performed in a highly creditable manner• The Julius Caesar, for which Freeman rehearsed the company, was never produced, but a number of pupils were hired to support the professional Lawrence Barrett produc tion thereof and performed competently in minor parts.^ The success of the Lyceum School must also be men tioned with regard to the professionals that it produced, and here its record is somewhat better. From the School ^ New York Times. October 2 6, 1884. ^ Hartford Daily Times, January 28, 1885* 2^9 came such capable performers as Emma Sheridan, Sadie Marti- not, and Maude Banks. Not only did these performers play competently in productions at the Lyceum Theatre, as noted by the critics of Dakolar. but many of them credited their ultimate success to their training and experience at the Lyceum School. A young pupil, with three years of profes sional experience on the stage, told the New York Times that Mshe has learned more in six months in the school than in the three years on the real stage.”^ The columnist con tinued : Mr. MacKaye is quite delighted at the supply of good material ready for use when the Lyceum Theatre has scored its first success and needs a company for the ”road,” while Mr. Sargent says that the school will be instrumental in attracting to the stage a far better class of young people than has hitherto entered thea trical life.2^ Only a month after this high note of optimism, storm clouds gathered on the School*s horizons and the organiza tional structure was rapidly breaking up. By February, MacKaye had become totally immersed in the theatre and as thoroughly disinterested in the School. He was unable to leave it alone entirely, for his theatre, for the comple tion of which his financial backers were now pushing fran tically, depended in part on the success of the School. This fault is noted in a humorous and quite perceptive col- 2^New York Times, January 18, 1885* 29ibid. 250 uran in the New York Mirrort The dangerous passage of the Alaska bears some re semblance to the stormy experiences of the Lyceum Thea tre management, the principle difference being that the A1aska has safely reached her haven, while Captain Mac Kaye and his weather-beaten crew are still ploughing the raging main* The doughty Captain and his mates are endeavoring to navigate a craft which they themselves constructed* It was built staunch and strong, manned quite completely and headed out to sea with fair wind and favoring tide. But storms arose? the rudder was disabled and the party drifted about helplessly at the mercy of wind and rain. Then the Lyceum School steamed home in sight, and rudely buffeted mariners made fast to it at once. Attached with golden cables, they used and are still using it as a makeshift steeringgear. They have thus far escaped running upon shore or bumping against rocks, but how long the even tenor of their rudderless way will last we are not prepared to say. The Alaska found the Lake Winnipeg serviceable for steering purposes. The Lyceum management are finding the Lyceum School similarly useful. But if, ”the haven where they should be” is safely reached, is it not pro bable that salvage will be claimed by 200 clamorous stu dents, more or less, in return for the aid tended?^® It was not long after this was printed that MacKaye did indeed run upon shoals and rocks and ultimately sank. Dissension at the School The difficulties at the School, suggested by the New York Mirror in its February column, began considerably earlier and, in fact, date to early December of 188*4>. The accusations and counter-accusations, the sources of diffi culty, and the growing dissatisfaction of students and staff alike may best be traced with some adherence to chro nology. 30The New York Mirror. February 14, 1885. 251 On December 13* 188^, there appeared a long and comprehensive article in the New York Clipper concerning the Lyceum Theatre School- In one of the opening paragraphs the article said: As a result of a careful investigation of the methods and management of the Lyceum School of Acting, we have not the slightest hesitation in declaring it a scheme founded ostensibly for high-art dramatic culture, but really for speculative purposes. It has been mis conceived- It has been mismanaged from the first. It is being mismanaged today. At the close of the present week the 1^0 pupils of the Lyceum School were given a vacation of a fortnight— a Christmas and New Years respite of their arduous (?) duties of the past three months. It is a fact that of the 1^0 pupils of the Lyceum 4-5ths will not hail the approaching recess with anything like that joy which is popularly supposed to be the harbinger of holidays in general. The Lyceum pupils are more thart dissatisfied with the Lyceum School for Acting. We know this to be a fact. We have the careful statements of some of the most intelligent of those pupils, and we present them below.31 This article is then followed by a recitation of the major complaints voiced by the staff and students of the School and include the following items: 1. With respect to Sargent*s examination of poten tial students in out-of-the-state locations for purposes of including only the more capable young talents, it stated that the only examination made by Sargent was a question as to their ability to pay $200 cash in advance. It suggested that Sargent rejected few if any applicants who were able to pay the required sum. 2. More than 120 pupils were accepted rather than 3lThe New York Clipper, December 13* 188^. 252 the 90 as was originally stated. 3. From the beginning, there were insufficient numbers of teachers, and the first two or three weeks were passed by scholars in complete confusion. k. Changes were so frequent that students hardly ever knew from one day to the next who their teachers were to be. 5* The School lacked method and, worst of all, be gan on the wrong foot. The whole theory of pantomime acting was wrong. Classes were divided into lessons of two hours, but each individual received only six minutes of individual instruction and spent 114 minutes watching amateurs of vary ing degrees of intelligence attempt what he had already been through, or was to be put through. 6. i/fhen the School opened, four-fifths of the mem bers were ladies ranging in age from seventeen to thirty- five. They came from various parts of the country and most of them were untrained and in some cases illiterate. 7. The Delsarte system, which was to be taught by MacKaye, was nothing more than the cranky notions and theo ries of one Francois Delsarte, Ma Frenchman who died in Paris in 1871, and who, we may safely venture to say, is today far better known and more talked about in New York then he is in his native city.”32 8. Lessons were often of only ten minutes duration 32ibid 253 and the instruction often contradicted itself, one teacher saying one thing and another the opposite. 9. Students were treated like children. 10. The Lyceum Theatre, which was to be cultivated for amateurs for whom it was to be a kind of finishing school, had quickly been changed to a professional theatre with an eye only to the pockets of the owners. Teachers who doled out extremely harsh treatment and whose removal was requested by the students were retained by their friends, and complaints of this sort were silenced. 11. The Lyceum Theatre itself was not created in the light of its original purpose. It was only designed for light comedy, its stage being suitable to nothing else. The article concludes that the School itself was inefficient and in a state of turmoil. The students had been asked to pay a great deal of money towards the culti vation of pet theories and the support of a venture which was mainly speculative in its aims. The article summar izes I It is not the pupils* right to demand an accounting, though they can at least wonder what use has been made of the money taken from them. Certainly the sura has not been entirely expended in instruction. Under all these circumstances, it does not seem that the Lyceum Theatre’s School is likely to have a very extended lease of life, tfe shall be grateful, for its scholars* sake, if it shall survive its first ’ ’term” and we shall watch its course very carefully for the ’ ’grand events” its founders have so confidently promised.33 33xhe New York Clipper. December 13» 188*+ 254 This announcement in the Clipper caused a great deal of fury on the part of MacKaye. lie gathered the students together at the School*s headquarters and called those who had spoken to the Clipper cowards and various other unplea sant things. As the reporter for the New York Times ob served : This occasioned some very vigorous hissing in the meeting, and in the middle of this confusion two young men arose, one of them asking if he would get his money back in case of dismissal, while the other promptly stated that he was responsible for the publication, and, moreover that he should talk about the school as much as he liked and to whomever he chose.3^ Apparently this was only the second time that Mac Kaye had made himself personally visible since the School*s founding, a circumstance much resented by the pupils. Re lations between the students and MacKaye were not particu larly harmonious although some element of friendship existed between the other instructors and their students. A major complaint appeared to be MacKaye*s overbearing and dicta torial airi It is quite well known that he speaks always of the Lyceum as **my** theatre, and **the theatre I am building** --the personal pronoun being invariably italicized. Mr. MacKaye*s besetting sin has generally been a too pro found belief in the theory that the rest of mankind really ought to ask his permission when contemplating any important move, and the Lyceum pupils are rather strongly inclined to take a different view of the situ ation . 35 The Dramatic Times calls this meeting ”a storm in a New York Times. December 15# 1884. 35ibid. 255 teapot,1 1 and refers to the events leading up to the explo sion. Earlier that day the examinations were held prior to the holiday vacation. Only one pupil was taken into the examination room at a time. As the Dramatic Times put it, "the balance of the students could apply themselves mean while with forming useful fata morganas as how they should wait on a bitter cold day in Zanesville or Kalamazoo for the arrival of a train to take them to their next one night show. * ' 36 It was at the reception following this examination that MacKaye voiced his grievance with the attack against the S chool* Mr. MacKaye had entered the room wild with passion, and his charges against the members of the school quite naturally created considerable anger. The gentlemen who responded to them, as we have described, completely floored MacKaye, who had nothing to say in return. His whole conduct in the matter appears to have been with out justification. The pupils have paid their money for a certain amount of instruction. It is not cove nanted that they shall say nothing about what occurs at the school, or that they shall not talk to newspapermen or anybody else. They have a perfect right to do and say what they like, and Mr. MacKaye has no more to do with it then the man in the moon. It appears to have struck Mr. MacKaye that the whole Lyceum scheme belongs to him, and that nobody else has contributed one dollar or one moment of work to its completion. As a matter of fact, it would undoubtedly have made a great deal more headway without him than it has made with his somewhat problematical a s s i s t a n c e .37 By January 11, 1885, the ‘ 'tempest in the teapot" had not died down, and according to the New York Daily Tribune 3^The Dramatic Times, December 27, 188** 3 7 i b i d . 256 MacKaye was still “in a fierce frenzy of rage at some penny- a-liner who had published an account of internal dissensions in the Lyceum company.”58 it was MacKaye*s contention that the story was simply a fabrication of lies obtained from discontented pupils; that they were pupils with little tal ent, who were unhappy at their lack of success, and felt they should be pushed forward more rapidly in their studies; it was thus that they had made exaggerated claims which were aggravated by the newspapers. If MacKaye thought that the trouble would disappear, he was mistaken. By January 13> 1885* according to the New York Dramatic News, the voices of the teachers at the School began to add to the complaints of the students. Professor Alfred Ayres, an instructor in “Orthoepy” said to a New York Dramatic News reporter that “from the beginning the thing has been wrongly managed. There’s been no system and everything has been allowed to proceed on a go-as-you-please basis•”59 Ayres reiterated many of the earlier complaints in cluding the impractical system of instruction, the mixing of ignorant and intelligent students, and a lack of system. From that day forward, to the actual opening of the Lyceum Theatre, management of the School was accustomed to con flicting statements and complaints. Professors of the ^ New York Daily Tribune. January 11, 1885* 39-rhe New York Dramatic News. January 13* 1885* 257 School, like Ayres, Mrs, George Vandenhoff, and others, were fired with regularity. On January 31* 1885, the New York Mirror put specific questions to Frohman who had called on the paper to make a candid statement, one in which he wished to make known the exact manner in which matters stood at the moment. The paper asked the following questions* 1. Has the money paid by pupils for tuition been ap propriated for other purposes than the improvement of the S chool? 2. Have disbursements of the School’s money been made by you Lfrohman] to certain parties, including InT. H. Gillette, Louis Spader, Charles Frohman and yourself? 3* Is there at the present moment, sufficient money in hand to meet expenses which will arise prior to the closure of the term? Are the salaries of the faculty in arrears? 5* tfill the School be abandoned as a bad job after this spring? To all of these Frohman failed to make answer. ”1 will reply in confidence, but not for publication,” said he.'*0 By March 6 of that year, many of the students brought suit against MacKaye and the School for refund of their tuition. David Belasco, who had quarrelled constantly ^ New York Mirror, January 31* 1885. 258 with MacKaye, also brought suit for back salary and breach of contract,^ In fact, Belasco and MacKaye nearly came to physical blows over a remark by MacKaye that Belasco had taken "too particular interest” in one of his students.^2 After the opening of the Lyceum Theatre, the contro versy quieted down for a short time, though only because of the excitement engendered in the students with the possibi lity of playing on the Lyceum stage. On May 1, however, the management was taken over by Sargent and the School became totally separate from the theatre. Belasco, Williams, Free man and others followed Sargent, and this became the nuc leus which ultimately became the Actors School that formed an adjunct to Daniel Frohman*s stock company when the lat ter assumed control of the Lyceum. The Lyceum School of Acting, did, in fact, continue to function throughout the Daniel Frohman period. What had been originally conceived as a showcase for embryonic young talent was brought to fruition by Frohman. The School was allowed to stage one of its productions in the theatre, and particularly promising students were used not only in Lyceum productions as created by Frohman, but in many of the theatres in New York and throughout the United States. Ul timately the School came to realize all its original pro mises. It produced many actors and actresses who went onto ^ Wew York Mirror, February 28, 1885. ^2New York Times, April 30, 1885. 259 considerable success on the professional stage. After the Lyceum Theatre was torn down, in 1902, the Lyceum School of Acting became the American Academy of Dramatic Arts. Far from departing from the principles established by MacKaye for such a school, the Academy's training to this day is consistent with his original concept. The American Academy of Dramatic Arts uses experts in the field to teach young actors the art of poise and movement; and while styles of performance have changed, the basic approach to dramatic instruction has been maintained. Summary While the entire history of the Lyceum School of Acting was riddled with problems during MacKaye*s associa tion with it, it is certain that his contributions left a lasting impression on the conception of dramatic schools in the United States. The Delsarte system is no longer accept able in the dramatic arts 5 yet the theatre's need for or ganized teaching of all its aspects goes on. The formula tion of the Lyceum School of Acting provided the needed impetus. Its validity is proven by the many professionals who emerged from its various classes— actors and actresses who have greatly contributed to the professional stage. At the Lyceum School, too, MacKaye inaugurated the earliest at tempts on the American stage to train crowds of actors in the newly developed ensemble technique so successfully prac ticed by the Meiningen players in Europe. If his own ability as organizer and businessman left much to be desired, the acting profession cannot minimize his substantial contribution in the Lyceum School of a sys tematized approach to the art, one which through extension of newly-developed and newly-demanding principles of acting, ultimately led to the formation of the Actors Laboratory, the American School of Acting, and other dramatic workshops. Following his departure from the Lyceum Theatre, MacKaye spent the next year teaching and lecturing. His next production did not come until 1886, when he produced a version of Buffalo Bill’s Wild West at the Madison Square Garden. As almost all of his productions, it, too, ended in high costs and managerial acrimony. Yet his physical pano ramas did indeed elicit critical acclaim. The Lyceum Theatre was taken over by Daniel Frohman and under his management it became a rousing success. It functioned as one of New York’s most popular theatres until 1902 when it was overtaken by progress and torn down to make way for the Metropolitan Life Insurance Company skyscraper. With the destruction of the Lyceum, a vital element of an inevitable momentum toward the powerful twentieth century stage that was to evolve in the United States came to an end. CHAPTER VII SUMMARY AND CONCLUSIONS Summary MacKaye was associated with the Lyceum Theatre from July, 168^ until November, 1885* He was engaged as Stage Director before the construction of the theatre was com pleted, and in August of 188^+ he became its General Direc tor. During his sixteen months of association with the Lyceum Theatre, MacKaye assisted in organizing the Lyceum School of Acting, created the interior configurations of the playhouse, perfected and installed in the playhouse several of his mechanical inventions, wrote two plays to be per formed on the Lyceum stage, and produced and directed both of them. While his ineptness as a businessman, and his pro fligacy in matters of money, cut short his career at the Lyceum, his varied and considerable talents were responsi ble for a unique theatre and a lasting imprint on the actors, actresses, producers, and directors who were associated with him there, and who succeeded him. Thus, his influence was considerable; his ideas reached beyond his own time; and he was and is a significant milestone in the development of the American theatre. This study has investigated the milieu in which the 261 262 Lyceum was created, the management that directed and opera ted it, the nature of the playhouse itself, the productions which MacKaye wrote and directed, and the School of Acting that was connected with it. To explore these historical facets of an influential theatrical operation, the follow ing specific questions were posedt 1. What was the nature of the milieu in which the Lyceum was created? 2. What was the theatre management background of MacKaye and of those associated with him in the Lyceum theatre? 3* What were the geographic features, architectural principles, interiors, innovations and stage machinery, and other physical improvements of the Lyceum? i*. What was the production history of the two plays produced by MacKaye at the Lyceum Theatre? In this connec tion, the nature of the play, its methods of staging and its attempts to achieve new forms of theatrical techniques were explored, as well as the critical reactions to each of the perf orraances• 5. What were the principles, purposes and achieve ments of the Lyceum School of Acting? Conclusions The Milieu in which the Lyceum was created The Lyceum Theatre was created in an era of turmoil 263 and ferment. Hundreds of thousands of immigrants streamed into New York, creating appalling slum conditions which of ten existed side-by-side with the luxurious mansions of the newly burgeoning industrial barons. The city was a hotbed of political intrigue and corruption, a sesame of industrial opportunism side-by-side with an extended labor force, an unplanned, vital, restless metropolis that juxtaposed, as few cities have done with such magnitude, elegance and ab solute squallor. During the elegant eighties, as they were called, New York City's rampant growth began to assume certain de finite patterns. Ethnic centers were created, along with boundaries for the rich and poor, industrial complexes and, basic to this study, specific centers of entertainment. MacKaye associated himself with a theatre that was not lo cated in one of these entertainment centers. His personal charm and infectuous enthusiasm made it possible to raise considerable suras of money for the improvement of the Lyceum Theatre, situated, as it was in an out-of-the-way location. Intuitive, perhaps visionary, his belief in the Lyceum's future was supported by definite growth in the theatre's surroundings with respect to transportation, large hotels, influential clubs, and general audience availability. Undoubtedly MacKaye knew what kind of a theatre he wanted and the level of audience to which he wished to cater. His association with writers, artists and the "fast set" of New 26k York City gave him an insight that presaged the popularity of the Lyceum during the coming decade. Management background It is evident from the dissension that riddled the Lyceum management from its outset that the theatre and its affairs were never properly organized. MacKaye*s previous management at the Madison Square Theatre showed him ill- suited for general supervision. Sargent, who as head of the theatre's School formed a part of the general manage ment, came to the Lyceum with some reputation as a teacher but not as an administrator. Frohman was better prepared for managerial control than either Sargent or MacKaye. How ever, it is apparent that while Frohman had seemingly bro ken away from a joint operation with his brothers, Daniel and Charles, his allegiance remained with them, and all of his managerial moves at the Lyceum were directed toward an ultimate reunion with his family in the operation of theat rical enterprises. Under such a division of interests, joined to MacKaye's eccentricities and Sargent's ineptness, it is clear that the Lyceum's beautiful structure was built on a managerial foundation that began to crumble even be fore the theatre opened. I believe that no dishonesty by any of the parties was actually intentional. Sargent was clearly dedicated to the Lyceum School of Acting and for feited considerable sums accruing to him out of salaries to keep it going. While MacKaye and Frohman borrowed from the 265 tuition funds, they did so to meet the considerable expenses of the Lyceum*s construction, its operation, and its pro ductions. The fact is that MacKaye, Sargent, and Frohman all remained friends long after the original venture col lapsed, and all exhibited considerable talents, within their own limitations, during the remainder of their professional careers• Interior and exterior features, and mechanical innovations at the Lyceum Theatre MacKaye was responsible for the Lyceum*s interior, and renovated it to his own specifications, leaving nearly untouched the outer construction as built by its founder, P. G. Hubert* The Lyceum*s interiors mark a startling advance in theatre aesthetics. Conceived and installed by MacKaye and Edison, the Lyceum was the first theatre in the United States to be lit entirely, auditorium as well as stage, by electricity. The interior decorations, designed and exe cuted by Louis Tiffany and Company, were unparalleled in their artistic effects. The treatment of fixtures, walls, ceiling, and sundry decorative details created a total aes thetic impression, making the Lyceum a prototype for fu ture theatres. Most of MacKaye*s inventions installed at the Lyceum were imaginative and useful. His patented folding chair proved comfortable and practicable. His ventilation 266 system measurably increased audience comfort. His fire prevention system was the forerunner of all such systems made compulsory at a later date. His rising orchestra car suggested to future theatre operators an extensive use of electricity in the movement of stage scenery and stage equipment. His balcony configuration revolutionized audi ence sight lines and were generally adopted in the American theatre. His lateral-sliding curtain was imaginative, beautiful and useful. It was in an area of theatre con struction and theatre aesthetics in which the strongest case must be made for MacKaye*s influence on the theatre arts. Productions at the Lyceum In his productions of Dakolar and In Spite of All, MacKaye firmly established on the American stage the func tion of the director-regisseur, as later promulgated by Gordon Craig and Max Reinhardt. Several directors, notably David Belasco and Daniel Frohman, both of whom worked under MacKaye at the Lyceum and the Madison Square, were influ enced by MacKaye*s conception of the director as the cre ative center, from which emanated total control over every facet of the production, from writing the play to advertis ing. toThile neither of the productions for which he was re sponsible are consonant with today's concept of realistic staging, MacKaye made considerable advances in that direc tion. In Dakolar, he utilized an ensemble technique in the movement of crowds on stage. In Spite of All was marked by 26 7 realistic settings, realistic stage movement, and an approx imation of realistic dialogue. Caution must prevail in this evaluation of MacKaye*s contribution to realistic movement, tfhile audiences and critics reacted favorably to many facets of his productions, a majority of them decried his abundant externalisin, his inveterate sentiment, and the paucity of deep motivation in many of his characters. His plays re mained relatively trite and conventional, and ultimately he failed to explore the most profound aspirations of mankind, its triumphs and its failures. As far as his total pro ductions are concerned, one must conclude that MacKaye was more concerned with spectacle and the "show business” as pect of the theatre than with the creation of great art. And yet, in his concept of total theatre, in his fusion of actor and scenery, in his regard of proximity of audience to stage, in his conception of the directorial function, in his ability to extract capable performances from veritable tyros and extraordinary performances from professionals, and in his nearly slavish devotion to every detail of a pro duction, he took a large step toward raising the profes sionalism of the American theatre. The Lyceum School of Acting It must be concluded that MacKaye did not give the full measure of his devotion to the Lyceum School of Act ing which he helped create. Beset with difficulties in the opening of the playhouse and obsessed with the creation of 268 a play for its opening, he devoted insufficient time and energy to the management of that enterprise. Yet, it was one of his disciples, Sargent, who formulated the principles and operational procedures on which the School was based, MacKaye*s dream at the Lyceum, to create a combined acting school and permanent acting company, became an early victim of the financial and managerial difficulties that descended upon the entire enterprise. Nevertheless, the School, founded on the Delsarte tradition, survived its conceptual difficulties, and, under more auspicious circumstances, blossomed into a highly respected and professionally ac cepted school of acting. Its methods and principles, while subject to new approaches and methods, were firmly rooted in MacKaye*s conception of an acting school. MacKaye lived ahead of his time. His ideas cost an uncommon amount of money. He built the Lyceum Theatre out of thin air. He was an enthusiastic and eloquent entre- peneur. By begging and borrowing, he built the beautiful Lyceum Theatre on Fourth Avenue when it required a vision ary^ eye to foretell success at that location. One com mentator has put it aptly: It Cthe Lyceum] came out of nothingness into some thing that has never been excelled. No playhouse in the country so perfect as this. A miracle of taste, making the then great houses, Daly’s garish, the Union Square vulgar and Wallack’s bawdy by comparison. A dozen or more years have passed, but no playhouse of later con struction and decoration has come up to the Lyceum in excellence or beauty.1 J-The New York Press, May 21, 1899 269 In the sum total of MacKaye1s career, his creative and inventive genius, as exhibited in the Lyceum Theatre, is sufficient to secure for him an important place in the growing history of the American theatre. B I B L I O G R A P H Y 270 BIBLIOGRAPHY Books Adams, W. E. Our American Cousins, London, 1883. Binns, Archie. Mrs. Fiske and the American Theatre. New York: Crown Publishers, Inc., 1955* Birkmire, William H. The Planning and Construction of American Theatres. New York? J. Wiley & Sons, 1906. Blumenthal, George and Arthur H. Menkin. My Sixty Years in Show Business, 187^-193^. New York: Osberg Co., 1936. Brown, T. Allston. A History of the New York Stage. Vol. III. New York: Dodd, Mead and Company, 1903. Cahn, Julius. Julius Cahn,s Official Theatrical Guide, 1896-97. New York: Privately printed, 1897. Cheney, Sheldon. The Art Theatre. New York: A. A. Knopf. 1917. . The New Movement in Theatre. New York: M. Ken- nerley, 191^. . The Theatre: Three Thousand Years of Drama Act ing. and Stagecraft. New York: Tudor Press, 1929. Coad, Oral S., and Edwin Mins. The American Stage. Vol. \ s XIV of The Pageant of America. New Haven: Yale Univer- ^ sity Press, 1929* Crawford, Mary C. The Romance of the American Theatre. Boston: Little, Brown, & Co., 1913. Dimmick, Ruth C. Our Theatres, Today and Yesterday. New York: H. K. Fly Co., 1913. Frohman, Daniel. Daniel Frohman Presents. New York: Kendall & Sharp Co., 1935. ________ • Memories of a Manager. Garden City: Doubleday, Page and Company, 1911. 271 27 2 Fuchs, Theodore, Stage Lighting, Boston: L, C. Page and Company, 1929. Grau, Robert, Businessman in the Amusement World. New York: Broadway Co,, 1910. Grover, Edwin Osgood, Annals of an Era, Percy MacKaye and the MacKaye Family, 1826-1932. Washington, D. C.: The Pioneer Press, 1932. Hapgood, Norman. The Stage in America. New York: The MacMillan Co., 1901. Hardy, Iza Duffus. Between Two Oceans: or. Sketches of American Travel. London:Hayworth & Co., Ltd•, 1884. Hartman, Lewis. Theatre Lighting. New York: Appleton & Co., 1930. Hopkins, Albert A. Magic. Stage Illusions and Scientific Diversions. London: Sampson Low, Marston and Company, Ltd., 1897. Hornblow, Arthur. History of the Theatre in America. Philadelphia: J. P. Lippincott Co., 1919* Hutton, Joseph. Henry Irving*s Impressions of America nar rated in a series of Sketches. Chronicles, and Conversa tions. London: MacMillan and Co., Ltd., 18 9 6. Leverton, Garrett H. The Production of Later Nineteenth Century American Drama. New York: Columbia University Press, 193^• Macgowan, Kenneth and William Melnitz. The Living Stage. Englewood Cliffs, New Jersey: Prentice-Hall, 1955* MacKaye, Percy. Epoch: The Life of Steele MacKaye. 2 vols. New York: Boni & Liveright Co., 1927* MacKaye, Steele. An Arrant Knave and Other Plays, ed. by Percy MacKaye. Princeton: Princeton University Press, 1941. Marcosson, I. F., and Daniel Frohman. Charles Frohman, Manager and Man. New York: Harper & Brothers Co., 1916. Morris, Lloyd. Incredible New York. New York: Random House, 1951* 273 Moses, Montrose. The American Dramatist. New Yorks Benjamin Blom, 1964. National Cyclopedia of American Biography, vol. XXV, New Yorks James T. White and Co., 1910. Nicoll, Allardyce. The Development of the Theatre. New Yorks Harcourt Brace, 1927. Odell, George C. D. Annals of the New York Stage. Vols. X, XI, XII, XIII, XIV. New Yorks Columbia University Press, 1938, 1939, 19^1, 19^2. Ohnet, Georges. Le Maitre des Forges. Londons Hachette & Co., 19l4. Quinn, Arthur H. Representative American Plays. New Yorks Century Co., 1930. _________• A History of the American Drama From the Civil War to the Present Day. New Yorks Harper and Brothers, 1927. Rodgers, Cleveland and Rebecca B. Rankin. New Yorks The WorldJs Capital City. New YorlcS Harper and Brothers, Sala, George Augustus. American Revisited. Londons Vize- telly & Co., 1883* Sardou, Victor!en. Andrea. ParisS Calmann Levy, 1899* Shackleton, Robert. The Book of New York. Philadelphias Penn Publishing Co., 1917. Specifications said Drawings of Patents Issued from the United States Patent Office. December, 1879, March, 1884, J anuary, 1883, W a shing t on, D. C.s U. S. Patent Office, 1880, 1884. Steinberg, Mollie B. The History of the Fourteenth Street Theatre. New Yorks Dial Press, 1931. Still, Bayrd. Mirror for Gotham. New Yorks University Press, 1956. Strang, Louis Clinton. Players and Plays of the Last Quarter Century. Bostons L. C. Page and Co., 1903* Yalentine’s Manual of Old New York, edited by Henry Collins Brown, Hastings-on-HudsonS Valentine*s Manual Inc., 1927* 2 7k Weinstein, Gregory. The Ardent Eighties. New Yorks The International Press, 1929. Wilson, Rufus R. New Yorks Old and New. 2 vols. Philadel phia & London: Lippincott, 1909* Wilstach, Paul. Richard Mansfield, The Man and The Actor. New York: Charles Scribner's Sons., 1908. Winter, William. The Life of David Belasco. Vol. I. New Yorks Moffat, Yard, & Co., 1918. Woolcott, Alexander. Mrs. Fiske. New Yorks Centurv Co.. 1 91 7. Periodicals Art Amateur. Vol. XIII, (May, 1885). "Artists, Idealists and Steele MacKaye," The Mask, XIV (January 192i), 22-23. Durivage, Francis A. "Delsarte," The Atlantic Monthly, XXVII (May, 1871), 613-620. Eaton, W. P. "Steele MacKaye," Theatre Arts Monthly, Vol. XI, (November, 1927), 830. Henderson, W. I. "Some New York Theatres," Magazine of Art, IX (1886), ^01-^07. Kook, Edward. "Development of Stage Lighting," Encyclo pedia Britannica. XXI, 288-290. MacKaye, Percy. "Steele MacKayeS An Outline of His Life Work," The Drama. IV (November, 1911), 138-16l. MacKaye, Steele. "Expression in Nature and Expression in Art>” The Voice. IX, No. k (April, 1887)5 I, 50, No. 5 (May, 1887), 6 7, 68; No. 6 (June, 1887), 51, 52; No. 8 (August, 1887), 21-23. . "How Plays are Written," [^syndicated article], Rochester Democrat and Chronicle, July 28, I8 8 9, p. 3. . "Safety in Theatres," North American Review, No. 312 TNovember, 1882) , **61-46^. . "Steele MacKaye on Stage Setting," Harper* s Weekly, XXXIII, No. 1676 (February 2, 1889, 99-100. 275 Stonehouse, Augustus. "A Glance at New York Theatres,*1 Art .Review. (April 1887), pp. 6-8. Towse, J. Hanken. "An American School of Dramatic Art. A Critical Review of Daly's Theatre,*1 The Century Ulus-, trated Monthly Magazine, LVI, New Series XXXIV (June, 1898), 261-264. Newspapers Boston Advertiser, April 7$ 1885* Boston Herald, May 17, 1884. Chicago Music and Drama, September 21, 1884. The Commercial Gazette, Cincinnati, Ohio, September 16, 1884 The Daily Graphic* Tuesday, April 7, 1885- Daily Telegraph. Harrisburg, Pa., September 12, 1884. Financial and Mining News. New York, November l4, 1883. Freund*s Music and Drama, December 27, 1884, June 1, 1885, September 19$ 1885. Hartford Daily Times. January 18, 1885* Louisville Commercial. September 13$ 1884. The New York Clipper. May, 1893$ December 13, 1885. The New York Daily News. April 7$ 1885* The New York Daily Tribune. June 1, 1884, January 11, 1885, October 5$ 1885* The New York Dramatic News. August 23$ 1884, August 26,1884. The New York Dramatic Times, August 1 6, 1884, December 27, 1884, February 7$ 1885, February 14, 1885$ June 9$ 1885* The New York Evening Post, March 23$ 1885$ April 7$ 1885* The New York Herald, April 7$ 1885$ September 1 6, 1885* The New York Mail and Express, October 4, 1884, October 29$ 1884, March 6, 1885, April 7, 1885. 276 The New York Mercury, March 22, 1885* The New York Mirror, February 18, 1884, February 14, 1885, February 28, 1885, April 11, 1885, May 2, 1885, January 31, 1888. The Morning Journal. New York, August 28, 1884, April 7, 1885. The Newsletter. August 9, 1884, November 1, 1884. The New York Press. May 21, 1899. The New York Sun, September l4, 1885, September 1 6, 1885. The New York Times, June 31, 1884, September 18, 1884, July 31, 1884, October 2 6, 1884, December 15, 1884, January 15, 1885, March 29, 1885, April 30, 1885, April 7, 1885, August 1, 1885, September 16, 1885, October 5, 1885. The New York Tribune. April 7, 1885* The New York toforld, March 2 6, 1885, March 29, 1885, April 7, 1885, September 4, 1885, September 6, 1885. Spirit of the Times, August 7, 1884, April 4, 1885, April St. Louis Post-Dispatch, September 14, 1884. The Sunday Star. January 11, 1885* Legal Documents Act of Foreclosure Number G.A. 989, City and County of New York, August 5, 1885* Indenture of November, 1884, New York City, Liber 1903- Indenture of January, 1884. New York City, Liber 77. Conveyance of Title, November, 1885* New York City. Contract between Steele MacKaye and Minnie Maddern, dated, September 1, 1885. Resignation Acceptance, Steele MacKaye, Esq. to Lyceum Theatre, dated, December 2, I8 8 5. 277 Programmes Dakolar, Lyceum Theatre, April 6, 1885* May 23, 1885. In Spite of All, Lyceum Theatre, September 15* 1885* Unpublished Materials Batchellor, Joseph D. ”A Comparative Study of the Contri butions of Steele MacKaye and David Belasco to the American Theatre.” Unpublished Master*s thesis, Depart ment of Speech, University of Minnesota, 1939. Curry, Wade Chester. "Steele MacKaye* Producer and Direc tor,” Unpublished Ph.D. dissertation, Department of Speech, University of Illinois, 1958. Eaker, Susan. "Steele and Percy MacKaye* Their Theories and Practice in the Theatre.” Unpublished Master*s thesis, Department of Speech, Cornell University, 19^0. Henneke, Ben Graf. ”The Playgoer in America.” Unpublished Ph.D. dissertation, Department of Speech, University of Illinois, 1956. Schaal, David G. "Rehearsal-Direction Practices and Actor- Director Relationships in the American Theatre from the Hallams to Actor’s Equity.” Unpublished Ph.D. disserta tion, Department of Speech, University of Illinois, 1956. Shaver, Claude L. ”The Delsarte System of Expression as Seen Through the Notes of Steele MacKaye.” Unpublished Ph.D. dissertation, Department of Speech, University of Wisconsin, 1937. Vorenberg, William. "Steele MacKaye*s Ideas and Theories as Incorporated in the Lyceum Theatre.” Unpublished Master’s thesis, Stanford University, 19^9. Woodbury, Lael J. "Styles of Acting in Serious Drama on the Nineteenth Century American Stage.” Unpublished Ph.D. dissertation, Department of Speech, University of Illinois, 195*+. Correspondence Edison, Thomas A. to Steele MacKaye, undated• APPENDIXES 2 7 8 APPENDIX I 1842 1858 I860 1864 1865 1870 1872 1872 1872 1875 1875 1880 A CHRONOLOGY OF STEELE MACKAYE*S MOVEMENTS - Born in Buffalo, New York, - Made first trip to Paris to study, - Returned to United States, Served in the Army as a member of the Seventh Regiment. - Had first acting engagement at Old Bowery Theatre, New York, - Returned to Paris. Met Francois Delsarte and became his disciple for the remainder of his life. - Returned to America, lecturing on Delsarte. - Early that year, made first venture into theatrical management at St. James Theatre, New York. Played first large role in "Monaldi" displaying Delsarte acting tech niques . - Late that year, returned to Paris, studied under Regnier. Went to England. - Played role of Hamlet under Tom Taylor in Engl and. - Wrote and produced ’ ’Rose Michel” at the Union Square Theatre, New York beginning November 23. 1880- Wrote and lectured on Delsarte throughout Eastern United States# 1882- Wrote, produced and directed "Hazel Kirke" at the Madison Square Theatre, which he also managed• 279 280 1882-188**- Made extensive lecture tours, demonstrating Delsartism. 188**-1885- Managed Lyceum Theatre, New York, and pro duced and directed “Dakolar” and MIn Spite of All” on its stage* 1887 - Wrote, produced and directed ”Paul Kovar; or Anarchy” at the Standard Theatre, New York Ci ty * 1893 - Organized Spectatorium for Chicago Exposition, which was to have been the crowning achieve ment of his life, including a vast repertory of scenic inventions. Depression of 1893 re sponsible for complete failure and financial chaos of Exposition* 189** Died in Timpas, Colorado. 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O \ . x y y \ A / QOU l. d 'I C r L X C L S b C ls v \ O b h j i OLQJL O VV. < 2 APPENDIX III Indenture of January 188**, by which Philip G* Hubert assumed lease of land on which the Lyceum was to be constructed. 297 J/VtitL ( y i u(e n ti< \ e > C k \ V i Z u ~ u ^ J fZk> S ^J «/ t / y $£vUl*sji &• \Ar t i J . ^ p / < . \ \ c/^^ fy/K ef-/' * f $ AA^/WXjGsW. , ‘ ^ ^ j^-u) J i v l i ^ £ f * j iA * * * 7 (JXut/ ^ ^ r 4 \ < X f + ' M 1 * - \ * { £ . * ' f'-C ^A.K rlu L T ^ ^ / u e^ ' > ' \ ~ 4 s \ > ^ S ^ V ' r ^ , t ^ ^ ^ v *i ^ ^><> v'/^: ^{ A ^ V \ X l ^ M y ^ i^/ tx t — / * / < _ /^f v*'^4.-mJ ^ i \ Z V 4 " r^ ' / Vv^' P * { L ^ f C K \^. f ' f ■ € 4 *<-' l \ v V < / ^ t A V i / < * i k / - 0 7 ( { ^ 4 j j c . j , « • . t ■li r t / w v * J4L i _< ,U{* ^ ’ tr -y r J /« A ' / z , ^ - < 4^ 1 - - v - v ^ ( _ tV/^i..'4^^ r / w # ^ ' ^ S | !f * f> 4> * J Ox v a - J O . r r - v ^ i »0 ( < l > — * / ' ^ 4 ^ X 4 . ' ^ u t ' X ' A Z ' H U ? < i • v .r - i ^vt <Yf , • V I * - » I « * / j o * * -. * / f i » w .<j A v*.«/ 7* > - «x- 299 " j - I1 ' 1 j L 1 iUjM yviy1 r w • * • * * : - . - - • * ■ ■ ■ < - * | 5 * > ' <AKAj ^ ' C v w < - ^ 7 . ~ ^ Y / W ^ * L-\ A_4 ^ i w ^ r ( - ‘ ^ ^ , ; )(/ ^ / t t t v “ / t U H 6 * 4 ^ , k fi . i v o C / ' L L ^ ~f > ' A 4 7 ( X * S < v ^ v * ^ I j - y r x k j H t > U t V w C c / m.a. ^ i ^ ‘■ t v A v U / ^ i ' A - C v - ^ v v ^ v ' ^ / ^ t l l A / . - v v V o t / f v v x r / , / * , ^ » ^ • V A A ^ C ' ' ^ ^ 1 / A'X V- ; * - ^ c \^<~<J T A J c r ^ r s / <X. / ^ C+ C . ' -H-v^-» ■ V C t v ^ t - ' ^ v < , •' / A U w V L <" , L M & £ * ^ / * ' . _ I ~ j f * ^ v t A _ / ^ u / v ^ r - i? - ^ ^ * - c / - ^ O - < v ^ _ - r a ^ j % c £ s / ^ A M y ^ . ^ v / y i A i ^ W - ^ 7 j £f IU-' <■/ j y t - ^ i r U f - ' i - ' X j / U f j t s * . Ll^l j C 3 - a ^ c C ^ J * £ - c / J * { / % j C L \ ^ - ( / ^ 7 - / i A * “- t / \A^ j v<\_.^ 4 A U a ^ ^ i ^ 4 ^ "t I ^ ■ / ' s U , (< £ x , ^ ■ ' ^ i a . \ < w a ^ i A v \ ^ > / V v v * o < / « v i ^ J t ) / t - / t < / ^ c ( _ < / U r j ^ ^ £ v - ^ v —- * A ^ X v v v ^ A ^ T (^X sisy* s% 4 j j^ -C y s * -4 ~ t ■ t 'C v a.-» C V v . a ^ * / v C v > % ^ ^ v - r v ^ V v ^ > 'f L ^ r \ J ( V - v ~ ^ { . 'V 'v — t \ - u ^ _ > / T' r d * - a - u f ^ l A - v p i m / A u j r - t . e s G * * j < c f < H v t / o ^ - v « i / o~ ^ * j A * * r w - a * * - * ^ L:~p.. JP..J„ _ * 7° k . f,-j y j s . , . v j Z^/ ' , ^ vv t ' < ^ \ / - < ^ ' A \ v v < i ^ ' , ^ j / { m- / ^ H ^ i v ' v - c ^ A^q,. Y / / ^ t > v ^ ' C 'n/ ^ A/j \-^ -- a / ^ /h .-v w ' A i JXAAs y y \ r & y j _ / P , 0 ' T - - v - > ^ /^ '^ v -i.-v ^ A -c ^ ' f'^ ^ /^ W A l v ' J U ^ O v ^ e - f C ' C K a >— i , t l^ C v - v ' t > ' v —i * - - c A j t , ^ L y ^ ' ^ v o y t - * ; « - V ~ - < y ^ < J V (7 , / (' ' Q _ l . . / , _ , / . . 5 e ; I* j* 4 > V < A c- * ^ 4 - - / * Aa j J s * * , • v-ve-v-v^^ ^ ' ~ ~ J yAo ^ / 1 /aa o f . - x ' ^ y ^ j ‘ ~>!^di f l v w y , /Ay_ *^V ‘ < * £ .*At &4^*>juo ° ~ ^ \- ^ ^v-v w<v.-^ ^-t/ / - - e ~ - {*'*-*> I ' j S i ^ ' f ^ L . t ^ ^ C - f ± T K ~ - \ ' - fJl( 1,4/ \ S X J IVt^'V'AA.'v^i w - i > C n X-T^ ^ K i ^ v 7L*_^ , - r J . t ^ - . |'U -V -W '» _ * ^ » > C »-V / ^ » .- X ^ A - ~ ( * - £ ■ ■ * y-lA -O ,* £ \ j / H a A O / * . / t v t < < A , < X ^ - « > - { . *-« i l ^ C w t * <K-i^y O t A ^ y , T' A «, (2,tSv»v<, ‘ ^-<y'T» V w o ^ y «^/ ' A / . v-v.. / ■ . . .a- './ . ,v • y • ' . r r ■ & * £ sh A jL * ^ V w t i / v ^ l i A ^ ^ A ^ t A j U w --1 " i j ^ : (AfwcLy t&j. & c * /«* t- / ^ W lA -i-iX ^. t-Ao /'■U'l/t- T t'a^a VI o A m / , rv^a^a-* , - . ^ t ~ f ^ \ y y . t r z ^ r ' ^ x > ; < t » v v y > v / y » ^ v y r r^ry/ ^ i r » ^ ^ - ^ . u v o n ^ e ^ a x a - w - t » A - tv < a a 's - « ^ o , l ^ t ^ v < > > ^ ^ " ^ - v v ^ r ^ y ^ f H i * r/ I / /C d i U > » - v y ^ ^ ! . 4 . % - » ^ ^ i t U . O v « / t t v v ^ v t - ^ / tx^A~n/ ^wvt O/^-Wyv^/^ / V W J /Vv^Af^vv,^ t ^ l ) i ' i i U t ^ » - » ' i - * < V ' - ' » 7 f * . » V » - « y k V l / # / v f c ’ C t ' (Vwri- .'VVtt/ ( ^ t . I m vW i ^ , * 1 i ^ - j . /<tnrw^»e->C» / U / ^ t A - f - ' e * r l j i , v ■ ' ~ U //A j*<,, ^ S& L M I V* H1ri(yVM a f c | ^ [ 1 | | i u l i I ^i ■ Cvv^»^ ( V 4 ^ 1 - « - a ( J f c t T L d f A u L * y*7 > « (Vv»^ '^tn'v^v I T!5PMJfc!4g^4^^ . . 4 • " ? . i1 . . , *! . . ( " " " " ‘ E (00 f i n S / f ( x y l / - i v ( ) # - » y ^ T .A - T < !c y * .l v ' - « 7 - w . -wJt e f ~ w A . . H X * JL-_ ~ _ 7 ^ y I , I v f ' 1^1 ( r w w ' < V ^ £ / / f C t v t C j . - J y «^4 ' C y V * ^ » V J w n / i - v ,< -C .» v 4 > *^^*1 ^ A ^ s d / * » / Z 0 * y A r I ^ ( a * X t A A w V . ^ l , V X - . 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' « / 1 . • / / ff . ,// j . — / J ' T ' vVC u . t » . / f - ^ A 1 ■ > < , < x ^ » t ^ - V -VM ^ /VW / ' 3 / P w ^ w * ^ s ^ A s O ^ s ^ J L * . ^ ( j ' , { * * * ^ ^ v ■ 1 * + J J * (' i ■ v Pm a < v A - A.X '^ Q ^ v-VA ' V , t V M y U - y W ^ C a / . v v a ^ Z - V v ^ t ^ / r ^ v ^ v ~ c - / , t ^ ^ \ ^ T* v v < - < / < ^ - v v - v / / / ^ ^ V v v - ir v^-< < v ^ y L ' V i A w V ^3 - r y « ^ { it ‘ , >i^ n i / n . j r - X A / - - lI C * > • ,* ‘c"*^. ^ •r ^ « V C a ta L ^ W ’ . /^^-4L> ^ i. x,— ( t ~ ' l u i ■ ' j ^ - C - ^ L ~ j , ^'^/, t p . e - ^ w ( ^ ~ ° /^v v ^ c'^ «y ,«U^ t / / ( A v ' V H M T ^ v t . t - iT W A J p— £Lc-^-A, J^v-r-^ c £ < A v - t . A^ *~y~ fVa^-5 /I L > . . ^ ft . . .'- .? D r , . O ( 7 / / i- /3 < a ^A ^ ' V - ' v V w ^ r ^ A . / t v ^ v f e ^ » > r- j ! ) . p j J Q\» V n n ' V I i - » j L ^ i / \ y t /s r-v v v » v^<i r^V /4^o\ v <■-/ • li-yt v /r . i i . j> ~ * ' • /; / vTyyTIp , k , o ■ £ v» < j ^ 1 F a ^ » : J y - v V\~,t. ‘ a4. V^v-a a V p ) * r t ~ -1 / ~ \ . ' ~ - € * /\ 'A 'V - A .A .A - X CtA/ fV '^ V * »«^V' .At^Js^Vv^ - x y ' ~ ^ ~ ^ < \ - qj r>v, v< r^ -tj {* J - l v , r, , C > / <^-^ ' , & / X / t i^A^ey^f. ^ - ' , c d - v ^ i c )C e - ^ ' V ^ j c c ^ i ^ a ^ A ^ - v . ~ A . - ^ ' 4 -~ ls t> ^ l— s r £ s v ( < A A » > v i l < > ^ A < , />V> t - L C ^ f j j D . p J J V n . t ( V l v w i i w / l l / P ^ H a v - < i P V o ^ t i ^ v w 6 c C * - W f l M ^O v A •«■'/ ■ 1 m -a a t r Y - A ^ ^ / i ^ - (I-’ sp' • / / ’ • ^ y y y y ? / / . ^ ^ : f-VA..^ ( I f v * . >t v ^ v i j y / K M / / I . V J Owl— '»-v->.a.a^a c a A / iy -«^i> A k p a s r ^ s ^ s x - ^ ^ ^ s A . 1,-^A oa» a _ f c i w ^ •» ■ C A / ^ lJ ^fer.»*^j d /?&*-> f r - t - ' - X . ' i r \.^c<Lj ^ ) -C V ' ^T»aX L " IX <> 1< A / t v / < j(l^tAA-v (3 £V v-< 'C j A V V t e t s ^ W v J / t v v L ^ A i v V l r '- A * . ^ J < a V t ^1 • P v - k L s Q g (_r\j ( ^ < V A - v » .- « V j ^ y i ^ x t A'*/ ^ x -^ t-fcA ,/^ txsiA? f. ^twvww ^ft*.'-r{ ( ca i (-; <y ^ o ^ * . »V> * - i s - ± . + s + p \ ^ '* / h ; l < V v A A -A r / , r t P l A-T^i « v-w rfA v-VBv-vA'-VC, ifrV r r ^ 4 . ,-«/• i i - f V A (V i ■ i a a > r , /^ «.u i v / /9-Afyt-t .£*, j/r « ^ u 6 *C ^ T a*,»^ 'f/fi •»■><<(. jfc+JL * ^ aVa « - t »ft t - O A v l - W 1 -^ litU - -1 ^ ^ W t v « V V < * ( ^ / t ^ / . Z - M ^ / . f . f - > t- A- L u t j f ] M « i y y V ^ - w v t W A y » ___. T r v V t / e n / CV * |U irMn^^vt/ £ V ^ | * t -f^vv^ ^Vv 'tv«yw f t fWw A xf/C^t/vf^, f AtkJlC ^ • ■ v^ ,^a^ 4 1 / 4 ® i^v\'Vt^va<*i x A v x *U ( V /^•aX^ / t - - v ^ ^ r i v - * / u A - t v y . V < h/ a a| - - t l A <\ ia/m . ' # ^ - u1 T' A - i M aw ty M t A «v^f)t , > r i J r , K _ t V A y e -w ^ C w / i E / < 'n ^ tA «-«y, - C < V C - » t~.»A A -« ,y A -e 4-+Ax*&lC~L/ ► V t-C v*>V *^ *r*v( rv ^ «VAvlLt/ r v U , h/ /f w n r/< *v * « x ■ < a, i »,^ fnV A » * P * . ^ y i K^ t - f t L * * t- » v t ^ . t J t J* \ * * » » < <v« A-/ /lv * t* v | ►v { !>/ ^ W a v t f -i*. w I ‘ V tfc1 /^ Vt»-My tfV /A i Vl <A.-(, v t < ^ t / I / /I- VV'JI ♦vfvix < r \ / t r C * kii^ <4.^W ^ t k ^ A + A y , . t r O O v U A s t A r * I ^ ^ t \ | / , ' l r t ^ V l ' i H /2 ^ ^ . i ^ A z , l f \ J ^ K .V ^ irv ^ »/^ ^ > ««>f >«<y»^. -4l It iv-^ c*-v/ x ^ - C y < A ~ h 4 ts * s ► V r-»A ft-w^- ^ M , f /t y f / r v w f ( ^ i v - « v a / < •* -* ✓ <1 v ^ » - ^ A w » . / v > ^ V i ^ v w ^ c « ^ e ^ « W > ^ v ^ t Yirt'd Tn-'-e^ /^CA^-vwt f \ r * ~ 4 s G * * 9 ^ r y * 3 r r a 4 s < ^ * J " ^ V I I y* k fcr Cnv tA^y£fcA^/.A_C. /t-v^^jC f r i * J /'►W'CV llv/ft. v^-CA^-^ <V/ / ^ X l ^ \ —: . 1 ._ f ?**»« <4 rl^vo. « ^ v / ( i L t ^ C ^ f y ^ / i A A V A A T A - y t c . y w £ - i Aj4&£^~-'Cy' - . 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" ' l '1\-(V > -'l - > ~ ^ « - / t / ^ * v t ^ r w t y . - £ A j l ' C c t ^ v w >J t w v « £ . / ^ < ^ w C w ~ e ( T / | . . . I < i -<7 i v ^ r< y i - v ^ -v t . (l a ; (T .-v V — / l a * ^ o (V l v ^ ___________________________________________________________________ | __ I / -U .. (T ^. p A * J (9 O t < r w c i ^ 8 ^ x v ( - fc^O i r v C A l ^ a ^ ^ X v S I o ^ J L Z + I j r - ^ f c v r ^ r < t X x . . ^ ^ ^ 7 - ^ ^ ^ ^ S, / i n -»w t < a_r L . / ■ / i I , ^ t - W ( * ' < A '■ L - ? Ot_a-> t / c tjt- t l a > < a > a -1 ^ 3 ^ J ^ tX A -e^ /-D^ | ^ 1 ^ 1 ^ ^ v - ^ l ' tVw^ ^ t ^ l I tA » x/ / t , iJ Q - \ '% - ■ ■ * ■ l ' , t\JL \ j • i r V V < ^ ^ / W W f A ^ ^ £ z * S ^ ^ 4 / I I i r v \ t / / / j l - A ' i / ^ ^ v T - x . - 4 ^^^ f \ ^ v - v « ^ ( K s ± / p^w J J , 't - ^ v t - ^ U ^ i t M / v w ^ L K f t ; ( / 4 r - i -v-L-M « v . t i " / - / * v r l / ^ C ; f v \ < L w C i " f n ^ r ^ t y t L i v y i J " ■ . ? A .. O k , v . . " ~ . . j ) . , ! 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M u ^ ^ Asr^fts 4^3 ^ /Wx~y~sv, (ft <-Mj ‘ L ■VW (/\ JL .xA s& yA fjl/ \ . -S f r APPENDIX IV Indenture of February, 1885* under which MacKaye and Frohman assumed liability for the lease and con trol of the Lyceum. 305 yie*. #a *^p * S * * 4 / ^ f - c 4*4*y <4/c z ^ ' < / V l(^ * < /,J , / **«<*» * ^ * » i / _ ^7~ //^ 4 * * * * '£7a*/t*9<.4 <#* <4*2**' 4 46’ ^ ^ ^/^r f/ <*/4 4 & /£ * <^/-n?^ / ^ M r c ^ ^ a /&? e+r/^rxtt < l f 4s/s ^ SX_- / - X X ✓ .' ~ syS _ . ^ 4 ! ^f.^t ^/7^t 4 ’ '1 /4x<*i* <?S~ <sr X&'F't < Y / * ^ y / c/4*'t 44*"*'^«**''*4 //*<</&44 S ' * *?&<A^/^ 4^44x*t /4£grr*^*~~<*? 4 44'Z'tj y^7<r^<y44 f r , ^^<"*4 /&*' " T f S s r / S t r S / ^ r- V . /,. < ^ ' i ^ e » ^ « . _ £ 2 r * * < A s y { ' « 7 X f e < r. < r ? * < - * S/T, ^ XX'' y/"?e* O ' * / 4***** ^ X X y ^ <4^4 4*r»*~~--r4i 4 *jh~S} y//yz*S '+</ ry .^zroS^/rtT&Zf, ^ ^ 4 ^ 42*'^^y4z**4 *^4f/4 ^ 4 * 4 ^ <4*** 4 X sSy/jf* 44c ^X44e^4<, a/^4< * <4^/^ < 7 * 1 ' 4** q c j / 4 * * c * ^ / > r X J /4s’ s«y x2cr < ^7^4'2**'-'' '* * S ' * * <2 i / t * * <*r*<-+^^44"4t 4 / ? " * / X ' X <<X //y X ’ i ’ ^^r 44~/ 4&> s ' * '44'A * 4*?** ^ X 2 > ' j C a ^^>r<i^»y. /??/ <44 /?<2^4mX 4z*S a4> 44?"f <*ca<»^5 ^ f/4/ S<4~r 4^4dsa^4 4 4 ^ 4 A* r 4 #4 s4& y4* '44A*'/^4 * 4 x2e*ti*<6 t4 f’ 'j4't~ 4 ^ * * 4 4 y^/' ’ *'*’ * S?**o6 c 4 4 ^ 4 ^ / s t Z g - r ^ J L * ' ^ 4 ' 4 4 ^ 4 * * * * * ^ / 4 * * * ^ ~ y 4 ^ * ~ € ' s 4 & Z C * * - ' ^ £ ~ 4 4 < ' - T y T t' e^Z^ > ^ rV < t 4 < t * & 4^4^ /£4*4*t4~ /4z*rtc4*r~ 4*4$4 ^ ^ . 4 <44.4^4/ ^ 4 4 * 4 /4 ^ F ‘r *’ 4 ' * y ' G 4 4 $ } ' 4 4 * 4 * < 4 4 z *4 4 ? *m r+ > / 4 s J J 4 y 4 » ~ **< ^x 4 4 / 4 4 * * 4 , 4 4 4 4 4 4 ^ ' * j4 ? 4 4 4 4 7 4 * ^ * 4 ~ 4 i 4?*^s^4rz4/ ^4* i t f r r <4 a < 4*"' 4 4*4^4<* 4&& 4^* 4 y ^ 4 4 /^5e^^K^«f»t 4 4 4 x 4 a '44**'44/&' <-2^^ ^/Z" X*^- 4 ^ 4 4 4 ^ * ^ < 4 * 4 '44**^*' 4 4 4 44& <4*fp*c* <!*<-4jl.4 4<4~**'S*4 XX* <'Zz4z ■x£‘ =£ 44l J t < ? < r ~ j ~ e , /^,^/.v <^X 4*2*2 i <*"4 'SZ+TZ*?'* 4 4 ** '44r^*/ t r4* Sa ' 4 4 4 4 > ^ <4* /v /X^W7 <X -*X X^%**=**X ^ /7*r4'-r</ / J'-4/ ' a 4^'J 4 * - ■ * * - ■ - ' 4 4 x 4 4 44sj, j4t£2£ <4j 4 4 ^ 4**~4x/4*"~ i ^4rs4/ <44. ^ ^ 4 4 4~4&P<^*a, s<?*2*y4*~* ''4/ x*^»u» 44<*^4 4 ^ / y^44i/' . 4 4 * ^-/•’ / 7 f ^w<^» -^X ^^ruaj1 'a *<4" r / ^^i//^,*f/»' E ***>-■ * • S . * P ' ^ 0 < 7 y£Z*TT ~*6 4 4 < 4 4 *f 4*^9’ 4skt 4 * 4 4 4 4 4 & *zr 4%**~4 4 4 2 4 7/x />,< X * ^ 4 4 4 * 4 ^4y ^ g 4 e t > *4^t / ^ « < ' V a r - ^ /4^^4uX~( 7 '44 ^4^*4 4&>/ '4 ^***'<4& x^>»^X X- x APPENDIX V Conveyance of November, 1885 by Mitchell, acting for Louis Tiffany, of the Lyceum Theatre* which William assumed control 311 Jtconi (/ybCtta6^c/}(U^
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Creator
Marienthal, Hal
(author)
Core Title
A historical study of the New York Lyceum Theatre under the management of Steele MacKaye, 1884-1885
Degree
Doctor of Philosophy
Degree Program
Communication - Drama
Degree Conferral Date
1966-06
Publication Date
06/01/1966
Defense Date
06/01/1966
Publisher
Los Angeles, California
(original),
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
OAI-PMH Harvest,theater history
Format
theses
(aat)
Language
English
Contributor
Digitized by ProQuest
(provenance)
Advisor
Stahl, Robert M. (
committee chair
), Belle, Rene F. (
committee member
), Butler, James H. (
committee member
)
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-oUC11255677
Unique identifier
UC11255677
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DP22907.pdf (filename)
Legacy Identifier
DP22907
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632316
Document Type
Dissertation
Format
theses (aat)
Rights
Marienthal, Hal
Internet Media Type
application/pdf
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University of Southern California Dissertations and Theses
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Repository Name
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Repository Location
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Repository Email
cisadmin@lib.usc.edu
Tags
theater history