The Chestnut Street Theater: Documents

On the First Chestnut Street Theater, 1794-1820

from Janson, Charles William. THE STRANGER IN AMERICA: 1793-1806. London: James Candee, 1807. An Englishman's experience of attending a performance of Shakespeare's Coriolanus by the Chestnut's Philadelphia Company in Baltimore: I took my seat in the pit, an invariable custom with me when I go for the purpose of giving my whole attention to the performance. I was early in my attendance, and on my entrance, I found the back row in the pit taken up by a number of boys, many of whom were in a uniform of blue faced with black. I was afterwards informed, that this dress became a fashion from Mr. M'Henry [the Secretary of War in John Adams's cabinet, 1796-1800], the late secretary of war, thus cloathing his son. This, methought, looked something like a puerile badge of Aristocracy in the land of democracy. As the house filled, these urchins set up a violent clamour, beating with sticks, stamping with their feet, and the house echoed with their shrill pipes for the music--'Yankee Doodle, Jefferson's March,' and thus uncontrolled, they practiced all the routine of the gallery, which, in fact, could not keep pace with them. The occupiers of the boxes appeared to admire this juvenile spirit of liberty.

Behind me was placed a vulgar, noisy, squat figure, dressed, it is true, somewhat better than the lower order of republicans. He was the oracle of three or four more, to whom he attempted to act the critical buffoon. He too was extremely clamorous before the curtain drew up, uttering the most coarse and vulgar phrases, and ending each with a loud and hoarse laugh. He soon succeeded in interrupting the serenity I had assumed; and as the tragedy began, the critic made his comments in a tone of voice louder than the performers. Often did I turn and in vain intreat [sic] his silence. In London, a common disturber is soon turned out--not so in a land of liberty, where every man tells you that he will do as he may think fit; and it was this fellow's pleasure to damp my evening's entertainment. Had I seized the noisy intruder, instead of finding support, I might have had the whole pit upon me. I repeat nothing but what I saw and felt, neither do I "set down aught in malice;" but I will, upon all occasions, speak the truth, and "nothing extenuate."

This buffoon I found to be a bookseller of the name Hill, who continued his loud and rude observations till the fall of the curtain. The inferiors of the theatre, who swelled the processions, he called "chaff and bran." The plebian mob who elected Coriolanus to the consulship, he termed "dirt and straw." The chaste acting of Mrs Melmoth in the Roman Matron, was in great measure lost to me in this noise. When Coriolanus was killed by Tullus Aufidius and the Volscian chiefs, he roared out, "that's not fair, by G-d, three to one is too much; let him get up again and have a fair chance; one at a time, I say, by G-d."

I should not have descended to repeat such grossness, had not this man bourne a nominal rank among those who are deemed respectable people; and, what made this outrage more reprehensible, was, that one of the joint proprietors of the house, Reinagle, the musician, who presided in the orchestra during the performance, was a lodger in his house. Nor is this a singular instance of this kind; interruption by loud talking around you is common in all the American theatres. I mentioned my situation next day to some of the actors, with whom I had formed an acquaintance. They had long been mortified with such kind of interruption, and were well acquainted with Hill's enmity. A single dissatisfied churl in the English theatres must keep his disapproving vociferation to himself, or feel the resentment due to the disturber of others.

from the NEW YORK MAGAZINE, April 1794: This building, under the management of Messrs. Wignell and Reinagle, was opened for dramatic performances on Monday evening, the 17th of February, 1794, with the opera of the Castle of Andalusia, and the after piece of Who's the Dupe? The managers have used their utmost endeavours to form a theatre of elegance and convenience. That part of the theatre before the curtain forms a semicircle; having two rows of boxes extending from side to side, with another row above these, and on a line with the gallery in front. The boxes are lined with a pink coloured paper, with small dark spots, and supported by pillars representing the bundles of reeds (gilt) bound with red fillets: between the pillars, festoons of crimson curtains, with tassels intervening, and a profusion of glass chandeliers, form an assemblage that captivates the eye, and renders the whole a most pleasing spectacle.

The paintings and scenery are equal to the generality of the European, and do the greatest credit to the pencil and genius of Mr. Milbourne. The dresses correspond with the elegance of the whole. The emblematical device over the stage is very applicable, and well executed--it represents an eagle hovering in the air; beneath is a boy holding a blue ribband, on which is inscribed "'The eagle suffers little birds to sing.' Shakespeare." The performers, who have been selected from the various theatres in England (among whom we can boast of a Darley, a Fennell, and a Mrs. Whitlock) have, in the various pieces already exhibited, exerted themselves so as to claim the protection of a majority of the inhabitants of Philadelphia, and merit their future favour. Upon the whole, this city, we may now conclude, can boast of rational entertainments equal to their most sanguine hopes. Philadelphia, March 12, 1794.

On the Second Chestnut Street Theater, 1822-1855

from the DEMOCRATIC PRESS, 4 November 1822: On Tuesday we did ourselves the pleasure to examine the whole interior of the Chestnut Street Theatre. It is to be opened for dramatic performances the first Monday in December. If the scenery was ready the house might open much earlier. Every one who passes up or down Chestnut street admires the neatness and taste displayed in the front of this building and is lavish in praise of Mr. Strickland, the architect, upon whose plan and under whose eye the theatre has been erected.

The doors, the lobbies, the staircases and the coffee and bar-rooms are spacious and convenient. The two large furnaces which are constructed and the grates which are set up in which Lehigh coal is to be burned will keep the house comfortably warm on the coldest night. There are three times as many outer doors to the present theatre as there were to the one which was burned down, and we have great satisfaction in stating that they are all to open outside or inside as may be most convenient. They will be so hung as to yield to pressure either way.

We have not touched upon some novel yet excellent arrangements for the peculiar accommodation of our Cyprian dames, nor upon the determination not to permit smoking on any pretense, either in the coffee or bar rooms. The ladies, yes, and the gentlemen, too, who have sat in the front seats of the lower tier of boxes of the former theatre remember how frequently their enjoyments were brought to naught by ground nuts, apple peelings and more liquid as well as more solid substances being poured upon them from the upper boxes and gallery. They will feel indebted to Mr. Strickland when they ascertain that he has, by a very pretty canopy, which incommodes nobody, completely protected the boxes from the nuisances complained of.

from PICTURE OF PHILADELPHIA, a guidebook to the city published in 1835: The principal front of this building is on Chestnut street, near Sixth street. It is of marble, in the Italian style. Its leading features are an arcade, supporting a screen of composite columns and a plain entablature, and flanked by two wings. These are decorated with niches, containing statues of Tragedy and Comedy, which are justly considered the best productions from the chisel of Rush; and immediately below them are semi-circular recesses, with basso relievos representing the tragic and comic Muses.

The approach to the boxes is from Chestnut street, through an arcade of five entrances, opening into a vestibule 58 feet long by 8 feet wide, communicating at each end with the box-office and a withdrawing room. Screen doors, immediately opposite and corresponding to the entrances of the arcade, lead from the vestibule into spacious lobbies, warmed by fire-proof furnaces, and capable of containing a thousand persons: from these, two flights of large staircases conduct to the lobbies of the second and third floors, and to a splendid saloon and coffee-rooms on the second floor.

The audience part of the house is described on a semi-circle of 46 feet in diameter, containing three rows of boxes, resting on cast-iron columns, and secured with iron sockets, from the foundation to the dome; the whole being combined laterally with a strong wall, bounding the lobbies and supporting the roof. The dress-circle of the boxes is formed by a seat on a line with the columns, covered with a canopy, in the style of the Covent Garden theatre, London. The peculiar form of this part of the house places the mass of the audience within 35 feet of the stage, securing to them the important objects of distinct sound and perfect scenic view.

The dome is 46 feet in diameter, rising 6 feet to the crown, which is perforated and formed into a ventilator.

The dimensions of the building are 92 feet by 150. Exclusive of the lobbies, it will accommodate more than 2000 persons; and the doorways, which open outwards into the three surrounding streets, are so wide and numerous, as to discharge the most crowded audience in less than three minutes.

This theatre, which combines beauty and convenience with great security, was designed and executed in 1822, by William Strickland. The house was opened on the 2d of December of that year, under the management of Messrs Warren and Wood, with an address written for the occasion by Mr Sprague, of Boston.

From Relf's Philadelphia Gazette & Daily Advertiser, 1 November 1822: We availed ourselves of an opportunity yesterday afternoon, to view the interior of this beautiful edifice, erected under the superintendence of Mr. Strickland, Architect. --Its accommodations for a large audience appear to be formed upon the best principles of architectural science, and if we were disposed to make any cavil to its formation, we should think the construction of the PIT most obnoxious to censure. It appears to us, from a superficial view, that it does not possess that acclivity, or we may say that declivity, which will insure to the spectators or heaters [sic], a full view or hearing of the performers on the stage. This objection, after experience, can be readily obviated.

The entire of the Theatre is fitted off with extraordinary neatness and taste; but what is most to be admired and commended in its plan are its spacious lobbies, its noble flight of stairs, and the numerous accessible vomitaries [sic] in case of alarm. These are circumstances which afford confidence and satisfaction to the frequenters of crowded assemblies; always liable, more or less, to agitation from the noise of fire or other accidental frights.

The fitting up of a separate department in front of the orchestra, for the exclusive accommodation of the Stockholders, does not appear exactly to square with the public voice; and we are disposed to believe, that upon more mature consideration, the plan will be abandoned. --We have some small knowledge of the materials which compose an American audiende: we think they would not silently consent to see a privileged body in their front, however well entitled they may be to that particular position; and we must sincerely believe that the occupants of this aristocratic bench, as it is already termed, would soon be forced by the voice of "the million" to change their location, for a less annoying one.

We understand that the Theatre will be ready for perfomances, the first week of December next.

From Relf's Philadelphia Gazette & Daily Advertiser, 2 November 1822: [The stockholders of the Chestnut Street Theatre met last night and authorized] alterations in the interior construction of the house, as in their judgment, and with the advice of the Architect, would contribute to the convenience and comfort of the audience. Mr. Strickland, we are informed, submitted a project, which was approved.

From Relf's Philadelphia Gazette & Daily Advertiser, 4 November 1822: [A stockholder writes a letter to the editor in response to the paper's report of the new theater's interior:]

Mr Relf,

The favorable notice of the construction and elegance of the New Theatre, in your paper of Friday evening, cannot but be gratifying to the Stockholders and the Managers--when the house shall be opened for the reception of the public it is confidently believed it will be found that the accommodations both for seeing and hearing, exceed those of any Theatre in the United States or Europe.

It is to be regretted, that before you entered upon a criticism on the arrangements of the Orchestra, in which the stockholders, and the public, are intended to be accommodated with seats equal to those in the boxes, and at the same price, you had not acquainted yourself with the particulars of the plan and its real purposes. Had you done this your known candour and respect for truth would have prevented the objections you have made upon what you are pleased to style " a separate department" in front of the orchestra for the exclusive accommodation of the stockholders; nor would you have adopted the error of others who have called this an "aristocratic bench" or announced, without proper censure, your belief that the voice of "the million" would be raised against it.

After the liberal contribution of the Stockholders, for the gratification of the citizens of Philadelphia, by the erection of a splendid and spacious Theatre, and when it is well known, that as a property, the income from it will be so small as to satisfy every one that the pecuniary interests of the gentlemen who furnished the sum of $72,000 for the erection of the Theatre, were not an object with them, they have a right to expect the public will not readily adopt the opinion, that any thing is intended in the plan of the Theatre, which is calculated to offend the feelings of the community, or interfere with their enjoyment of the Drama. It ought not to be admitted, that the sentiments expressed in your paper have a general existence; and it cannot be doubted, but that all will adopt correct views of the subject when they are informed, that the arrangements of the Orchestra, are not intended for the exclusive accommodation of the Stockholders; but that the public will also be entitled to share in the accommodation it will afford.

The orchestra, in the plan of the Theatre, will contain about sixty seats, * and of these seats at least thirty will be sold at one dollar each and every evening of the performances: so that any one, who desires a seat in it, in preference to the Pit or Boxes, may obtain it.

Thus, the Orchestra is as open to the public as any other part of the house, and no just complaint can be made in relation to it. --If in addition to the convenience the public will derive from it some of the gentlemen who have contributed to the erection of the Theatre obtain for themselves a particular accommodation, all whose good feelings influence their opinions and conduct will approve thereof.

That there is nothing obnoxious, nothing "exclusive," nothing "aristocratic" in this, you will admit; and I trust you will, by inserting this communication, give the public an opportunity to correct any erroneous impressions they may entertain to its subject.

A Stockholder

[Editor's reply and note follows:]

[We have no hesitation in giving the above an insertion in our Gazette, as explanatory on the part of the Stockholder; but we must be excused if we reiterate the assertion, that our information as to the construction & purposes of the orchestra was not picked up at random, but derived from the most unquestionable source, and corroborated by general remarks in conversation. & we remain persuaded, that a little reflection will induce its abandonment, or at least lead to a less objectionable plan.]

In order that the part of the public which is interested in the arrangements of the theatre, and to shew [sic] that we were not very materially mistaken in our suggestions, we give the following extract from the provisions of the articles of association:

"In the plan of the said New Theatre, the Orchestra shall be so enlarged as to afford commodious seats for a limited number of persons; and to the Orchestra thus arranged there shall be an appropriate entrance; and price of admission to the seats therein shall be the same as to the Boxes. Every Stockholder, who shall desire the same, shall have a right to a seat in the Orchestra during the season in lieu of the Season Ticket to which he will be entitled provided he shall give notice to Messrs Warren & Wood, of his intention to occupy said seat before the opening of the theatre for the season.

"No one but a Stockholder, who, before opening of the Theatre for the season, shall have notified to Messrs Warren & Wood his intention to occupy one of the said seats in the Orchestra, shall be entitled to enter the same without purchasing a Ticket of Admission."

*We regret that our correspondent in this attempt at demonstration has committed a most unfortunate discrepancy in arithmetical rules. The contemplated new Bench is calculated to contain about "sixty seats," all subject to the exclusive possession of the stockholders, if they make the necessary timely application to the managers for that privilege. If we are not very erroneously informed, there are nearly One Hundred Stockholders, who can exercise this right; and then let us ask "A Stockholder," under these circumstances, from what data he draws his inference that at least thirty of these seats will always be at the service of the public? It is a "most lame and impotent conclusion."

From Relf's Philadelphia Gazette & Daily Advertiser, 14 November 1822: Mr. Strickland, the Architect of the New Theatre, delivers the keys of this elegant structure to the Trustees, this day; having completed his contract with in the stipulated period by twenty days.

A two-day announcement from the theater managers appearing in Relf's Philadelphia Gazette & Daily Advertiser, 26 November 1822: The Managers of the New Theatre have the pleasure to inform the public that the house will open for the season, on Monday evening next, Dec. 2nd.

They feel much satisfaction in being able to state that the arrangement and distribution of their new building is such as will afford strength, safety, and convenience to the audience, upon which so much depends in the establishment of a new æra in the drama of this enlightened city.

That the public may feel satisfied of the fixed determination of the managers to pay every attention to the decorum of the house, they avail themselves of this early opportunity of giving the following description of the building together, with their rules of order.

The approach to the boxes is from Chesnut [sic] street through a close arcade of five entrances opening into a vestibule 58 feet long, by 8 feet in width--communicating at each end with the box office and a with-drawing ladies room. From the vestibule are screen doors, immediately opposite, and corresponding with the openings of the arcade, leading into spacious lobbies, warmed with fire proof furnaces, and calculated to contain upwards of 1000 persons. Double flights of large stairways communicate with a spacious saloon and coffee rooms, together with the lobbies of [the] second and third floors. The audience part of the house is described upon a semi-circle of 46 feet in diameter, containing 3 rows of boxes resting upon cast iron columns, and secured with iron sockets from the foundation to the dome--the whole being combined, laterally, with a strong wall, bounding the lobbies, and supporting the roof. The dress circle of the boxes is formed by a seat in advance of the columns, covered with a splendid canopy protecting from the front of the 2d row of boxes, in the style of the Covent Garden Theatre, London.

The peculiar form given to this part of the house places the mass of the audience within 35 feet of the stage--securing to them the important objects of distinct sound and perfect scenic view, an advantage with the best Theatres of Europe do not possess, although they may exceed it in magnitude.

The dome is 46 feet in diameter rising six feet to the crown which is perforated and formed into a ventilator, from which is suspended an elegant Chandelier 9 feet in diameter, containing 62 Patent Lamps enriched with appropriate ornaments.

The effect produced by this concentration of light, will be great in as much as the whole of the audience part of the house can be brilliantly illuminated without resorting to the detached lamps that have been in common use, and which is destructive to finished decoration.

The Proscenium is 46 feet by 25 feet, an opening well calculated to exhibit the best exhibitions of the Drama. The tympanum immediately over the centre of the Stage is chastely decorated with an appropriate design exhibiting the claims of Thalia and Melpomene to the genius of Shakespeare--over which is seen the motto "To raise the genius and to mend the heart." There are two doors of entrance to the Pit from Sixth street, through a passage 14 feet in width, which passage enters a lobby paved with brick, communicating with a bar-room and private stairway leading into the box-lobby on the western side of the building. The Pit floor is laid on a solid inclined plane of brick and mortar, and will accommodate 400 persons.--The Orchestra will contain from 40 to 50 persons independent of the Musicians and is to be approached from the box-lobby by a private stairway. The Gallery has its entrance from Carpenter street through a passage situated on the outside of the building, leading to a lobby and bar-room, and will contain 2 or 300 persons. It may be here proper to observe that the whole building will contain upwards of 2000 persons; and that the door-ways are numerous and wide, opening outwards into the three surrounding streets. The principal front is on Chesnut street, being 92 feet by 150, built of marble in the Italian style; the leading features of which are an Arcade supporting a skreen [sic] of composite columns and a plain entablature, flanked by two wings and decorated with neiches and basso releivo's representing the Tragic and Comic masks with the attributes of Apollo.

The greatest attention will be paid to the decorum of the theatre, and special officers and Police appointed, expressly engaged for the preservation of order, and every violation of propriety will be referred immediately to the Magistracy, without the least respect to persons.

In obedience to the suggestions of several friends of the Drama, children under 12 years of age, will be admitted to the Boxes, Pit and Gallery, at half price. A part of the Orchestra is appropriated to the use of the audience, for which tickets may be had in the morning, at the box price. No smoking can be permitted, except in the Coffee Room of the third row of Boxes.

WARREN & WOOD

From Relf's Philadelphia Gazette & Daily Advertiser, 2 December 1822 (day of opening):

THEATRE, [Chesnut Street]

A large party of Ladies and Gentlemen, on Saturday evening last, were gratified with a view of the first lighting up of this beautiful theatre. The whole audience part is completely irradiated by an immensely large and superb Chandelier suspended from the centre of the dome, and this first experiment afforded universal satisfaction to the spectators; though it is not improbable, that future experience may sugest some additional improvements in the fair and equal distribution of light. This, however, will be more fully tested to-night, when a full house will be present.

The interior richness, economy, and compactness of this building has never been more fully demonstrated. Its construction, for the purposes of theatrical exhibitios [sic], is conceived in a most admirable style. The consideration of decoration is very inferior to those of hearing and seeing, on the part of the audience. With regard to hearing the performers, it may safely be averred, that the audience, are, as it were, brought into immediate communion with the actors; and nothing but some irregularity, on either side, can possibly destroy this harmonious intercourse.

On the subject of seeing "the mirror held up to nature," we beg leave to be more explicit than on the former point. We took considerable pains to view every position, in every department of the house; and the result of our observation is, that it is emphatically a sitting house. What we mean by these terms is, that in all its compartments, of the audience will only be satisfied to keep their seats, instead of standing up, (which is too much the case, in our public assemblies) they will have a full and uninterrupted view of the whole range of the stage. To this may be added, that the decorum of the house and the gratification of every visitor would be greatly promoted, if the rule became general and spontaneous for every gentleman to sit uncovered during the periods of the curtain being up.

While on this subject it will not be hazarding too much, respectfully to suggest to the Ladies, who very deservedly occupy the front seats, such an arrangement of their head dresses as will not materially interfere with the view of those who are necessarily placed behind. To gaze through a forest of floating or vibrating feathers, or to penetrate through a shoal of undulating Leghorns, is no agreeable task to a person anxious to participate in the "magic of the scene." We hope this hint will be received by them, in the temper with which it is offered.

The Salloon [sic], in the rear of the second range of the front Boxes, is furnished in a style of great taste, and from its capaciousness, must afford an agreeable lounge during the intervals of the performances.

The drop curtain, painted by Mr. H. Warren, and assistants, is a superb specimen of the power of perspective painting. --The other scenes, exhibited on Saturday evening, reflected credit alike upon the genius and taste of the respective artists.

With the advantages of such an elegant house, our Managers, appreciating their duty to the public, and feeling their own reputation and interest at stake, have only to present to the public a corps of merit and productions of genius, to insure themselves a rich harvest of emolument and honor, which the public will most cheerfully accord.

From Relf's Philadelphia Gazette & Daily Advertiser, 3 December 1822: THEATRE. Last night the New Theatre, Chesnut street, was opened with the favorite Comedy of The School for Scandal, to a very numerous audience.--The old performers were received with a very cordial welcome, and the arrangement and decorations of the house gave universal satisfaction. Their effect fully realized the expectation of the architect and artists who have been engaged in the work.

It was a matter of pleasing observation to find, that crowded as the house was, the greatest degree of order was maintained; and what was peculiarly gratifying was, that the audience, with very few exceptions, kept their seats, during the performances, and the gentlemen generally sat uncovered.

Some complaints have been made as to the facility of egress and regress.--"Notwithstanding," as a spectator observed, "we see five doors, what is the use of these, if four are locked." Some allowance must be made for a first night; and we are sure the Managers will do every thing in their power to promote the public convenience.

It was remarked, that the lamps in the front of the Theatre, shed more light on the opposite pavement than on the steps of the Theatre. This can be easily remedied.

[full citation of introductory address by Mr. Sprague, Boston, follows.]

From the Union, United States Gazette & True American, 4 December 1822: FOR THE UNION.

Messrs. Editors,--My attention was this day attracted to a placard, posted at the corners of our streets, of which the following is a correct copy.

"EQUALITY

or the

NEW THEATRE

as it should be.

"To the independent citizens who from long experience and due appreciation of their rights in this great charter of citizenship, can well understand their relations, and spurn at any indignities that may be offered in the social compact, the following hints may not be unnecessarily offer'd.

"You Citizens!! whose patronage the drama is proud to acknowledge, and whose inclination, taste, or means, may lead you to the Pit or Gallery, why subject you to an entrance comparatively less respectable than those which have been assigned to those whose assumed superiority has led to distinctions, wherein no distinctions are at all justifiable.

"The National spirit of America has triumphed over European armies; shall that spirit slumber over European degradations?"

It speaks for itself; but the respectable managers of our theatre, have raised feelings in our hearts calculated to excite our admiration and respect--if they had not, the above indignant remarks should induce us to come forward, and show them that their exertions will not go unrewarded.

Whoever the writer of this placard may be, he can be possessed of but little feeling, for the arrangements which have been made as regards the different entrances, have not been made to cause any "indignities in the social compact"--it is to be hoped that our citizens will show this despicable writer, that what he has said will have but little weight upon their minds--as every person in their common senses knows, that these different entrances have been made for the purpose of an easy access to the street in case of fire, (which our city is at all times subject to,) and this character, if he was carefully to examine the address of Messrs. Warren & Wood, would find the reason why some persons of "assumed superiority" have places of "justifiable distinction;" and it may be proper to add in conclusion, that all those handbills have been torn off and strew'd on the ground, with scarcely a single exception. --CENSOR

[editor's comment follows:] [The anxiety of the writer to have this article published, has induced us to insert it:--otherwise we should not have deemed it necessary. The excellent order which prevailed at the opening of the Theatre, shewed that the incendiary attempts of the writer of the placard had no effect on the audience, and that the public are well satisfied with the arrangement which the Managers have made, and which is as much for the accommodation of the pit and the gallery as for that of the boxes.]--EDS.

From Relf's Philadelphia Gazette and Daily Advertiser, 6 December 1822: NEW THEATRE. This Theatre on Wednesday last was very thinly attended, and last night it was but a skeleton of a house.--What is the reason of this? We shall not pretend to answer this question. Is it the want of novelty? Would the reduction of the prices of admission induce the citizens to frequent it more generally? Would a moderate reduction in these rates add to or deteriorate from, the average profits of the establishment? These are queries, which the Managers alone can resolve.

While noticing the Theatre, we are led to observe, that the first three nights of its opening has sufficiently demonstrated that the means by which it is intended to warm the house, are wholly inadequate--To be sure the audience was very sparce last night, and the weather was keen; but the shivering few who were condemned to listen to Piere and Jaffier might as well have sat in an Ice-House.

It is also suggested, as a great annoyance to hearing, that the slamming of the Box doors reverberates throughout the whole area of the house. This can be easily obviated---"list, list, oh LIST."

From The National Gazette and Literary Advertiser (Daily edition), 7 December 1822: We observed, even in the lower boxes of the theatre, some gentlemen (we must use the term) in the front seats, wearing their hats during the performance, and intercepting, thus, the view of ladies seated behind them. In any theatre on the European continent such an incivility would raise an immediate cry of down and out... It happens at times that we look around here, after casting a glance at the boxes, with dread lest some fastidious foreigner, watchful of the inadvertencies of the Philadelphia sex, and prepared to arraign them before the world.

From Relf's Philadelphia Gazette and Daily Advertiser, 13 December 1822: THEATRICAL CENSOR. We cannot promise a regular publication of the contemplated series of our Correspondent. If he should continue his communications, we shall make such use of their interests as we shall deem most judicious. He must therefore be prepared to submit to the operations of our pruning knife.

From Relf's Philadelphia Gazette and Daily Advertiser, 13 December 1822: The suggestions of 'A Visitor' are in themselves unobjectionable; but we prefer, at present, to let the managers go on, 'even in the tenor of their way,' without harassing them with continual plans of improvement. --Experience, and their own sense of duty to themselves and the public, will effect much.

From Relf's Philadelphia Gazette and Daily Advertiser, 18 December 1822: (a very favorable review of the celebrated Mr. Cooper in Virginius, praising particularly his 'afflicting and tender interview with his daughter; and his subsequent mental phrenzy [sic]') It must be highly gratifying to Mr. Cooper's professional pride, and it is a compliment due to his astonishing powers, to observe, that while the foreign stars who have latterly visited our theatrical hemisphere, have twinkled for a time in our gaze, and then descended below the horizon, he, like the great centre of the natural system, triumphantly rides on his brilliant course increasing in splendor, as it were, at every step he advances.

It is due to the other performers to state, that the respective parts were most judiciously sustained; as is manifest from the universal satisfaction which was expressed by the audience. It would be advantageous to the managers and gratifying to the public to have it repeated before the expiration of Mr. Cooper's engagement.

From Relf's Philadelphia Gazette and Daily Advertiser, 23 December 1822: An editor's note to its correspondent called 'Oscar' explains that his letter on Mrs. Tatnall's performance of Florinda at the New Theatre will not be printed because it is 'too highly spiced with that, of all others, the most dangerous ingredient to be administered to female performers--flattery.'

From Relf's Philadelphia Gazette and Daily Advertiser, 30 December 1822: NEW THEATRE. Mr. Cooper appeared at our Theatre on Friday evening last in the character of Macbeth, and on Saturday evening in that of Hötspur [sic], in Shakespeare's play of Henry IV.--On both evenings he was most flatteringly received, by very fashionable & numerous houses, who accorded to him the well merited meed of applause.

His MACBETH, though generally admitted to be but second to his most finished personations of the higher paths of the Drama, on this occasion, seemed to flag in interest. We know not to what cause to attribute this manifest deterioration. In some parts there appeared a tameness bordering on inanity which did not at all comport with the character of this royal aspirant, however much it is occasionally marked with wavering, cowardice, and starts of "compunctions in visitings." But he is so complete a master of his art, that small aberrations, like a speck on the sun's disc, are scarcely discernable. We think, the midnight scene, after the murder, and that of the Banquet, were given with greater force and felicity than any other throughout the play.

Mrs. Entwisle represented Lady Macbeth in a very respectable style. We have always associated in our minds in viewing this character, a female of a form as magnificent and masculine as her passions were towering and ambitious, and uncontrolable. As to figure, therefore Mrs. Entwisle did not exactly meet "the stature of the poet." She infused notwithstanding, into some of the leading scenes a most powerful spirit, and sustained, with no little success, the daring and dauntless attributes of Lady Macbeth.

Of Henry IV, little need be said.--HOTSPUR, in which Mr. Cooper appeared, is a part which has never received much irradiation from the greatest performers who have undertaken it. Indeed, with the exception of one or two passages, where the powers of colloquial eloquence may be displayed, there is nothing in the whole range of the character worthy of the exertions of a first rate performer.

Mr. Wallack, in the Prince of Wales, was throughout appropriately correct and animated.

Mr. WARREN's Sir John Falstaff, was, as his characters invariably are, set off and decorated with the most shining jewels of discriminating judgment, happy action, and judicious bye-play.--This old and respectable veteran never appears upon our boards without exhilirating his auditors; and it may be added, that in certain walks, he has the faculty of exciting a tear from his hearers.

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We have been repeatedly asked, what has become of those beautiful figures, carved by our townsman RUSH, which decorated the front of the late Theatre in Chesnut st. and why, if they are in a state of preparation, are they not placed in the niches in front of the new building? To these inquiries, we are unable to give any decisive answer.--It is understood, however, that the figures sustained no essential damage by the fire; and that the ingenious artist would cheerfully put them in a condition to prove ornamental to the new building. It is also intimated, that the Architect would prefer marble figures, so as to conform more uniquely with the facing ot this splendid edifice.

From The National Gazette and Literary Advertiser (Triweekly edition), 27 February 1823: Two foreign gentlemen have sent us the following memorandum:

'Last night (Monday) we visited the Theatre, and amongst other novelties, remarked five gentlemen sitting in the front seat of one of the lower boxes, while some ladies were permitted to take their place on the second.'

This, we believe, is no novelty here, though it be strange in the eye of a polished foreigner. Place aux dames is the European rule.

From a theatre review by "Theatricus" appearing in The National Gazette and Literary Advertiser (Triweekly edition), 4 March 1823: On Friday...the theatre was crowded ... [with] the most brilliant audience that has been seen there for years. There were never, perhaps, so many ladies in it at once. Numbers of them were in the back boxes of the upper tier nearly all round...

The furniture used on the stage is not as handsome by any means, as it ought to be. The chairs and tables are only fit for the bar room of a tavern. The green cloth on the breakfast table was mean and soiled. 'Suit the word to the action and the action to the word.' --Shakespeare--hem! Suit the furniture to the room and the room to the furniture.

The Band in the theatre is small, but, in the opinion of good judges, excellent. Their selection of music for the amateurs [audience members who consider themselves expert theatregoers with "high" tastes] is highly judicious. But the amateurs do not by any means form the grand support of the theatre. The contributors of 'the million', who are insensible to those grand displays of execution which are regarded as a treat by the former, and which have no more charms for the latter than the sounds of the marrow bone and cleaver, form the grand resource of the treasury department. --I repeat, therefore, it is the duty of the orchestra on principles of common sense, common policy, and common justice, to consult the taste of the "groundlings", and occasionally give them some Scotch and Irish music, which is enchanting not only to every unsophisticated ear, but to the most refined--and also some of the popular airs, which are always received with applause.

Friday evening exhibited this regard to equality and justice. The audience were regaled with several popular airs before the curtain was raised--and afterwards occasionally. This acquiecence in the general wish, was received with loud acclamation.

From a theatre review by "Theatricus" in The National Gazette and Literary Advertiser (Triweekly edition), 6 March 1823: Last evening presented a very genteel and full house. The concourse of ladies was very great, and there was a dazzling display of elegance and beauty. There were few bonnets. There ought to be none. They annoy those behind them, and deprive them of half the enjoyment of the theatre. Turbans, caps, and flowers, almost universally prevailed...

[Once again on the subject of the musical selections played before and between acts of the plays:] The reluctance of these gentlemen to gratify the mass of the audience is really extraordinary and provoking, and ought to call forth the decisive interference of the managers....Another error prevails on this subject. The band does not play long enough. They ought to commence the moment the curtain drops, and continue till it rises.

From a theatre review by "Theatricus" in The National Gazette and Literary Advertiser (Triweekly edition), 18 March 1823: The number of ladies exceeded the display of any former night. In several of the lower boxes, they occupied two, and in some three benches. Even in the second tier, there were, as on Friday, principally bandeaus, bonnets [sic], caps and ribands. Independent of the spirit of accomodation this costume manifests towards the spectators on the back seats, it has the important advantage of displaying the personal attractions of the ladies to far more advantage than bonnets....

The band gratified the audience, universally it is to be hoped, by the compromise recommended a few evenings since. They performed the favorite National Airs, together with some of Reinagle's admirable medley overtures, which never can pall on the ears of those who have music in their souls.

On the subject of the orchestra, an observation occurs, which is submitted to the consideration of the patrons of the Drama. In the London theatres, whenever the band plays "God Save the King," and, I believe, "Rule Brittania," the audience rise, take off their hats, and such of them as are capable, join in the chorus. This practice has a most exhilarating effect. Is it not worth copying in whole or in part, on the performance of our three favourite National Airs?

A guest correspondent "Ten to One" writes a spoof of "Theatricus"'s obsession with the New Theatre's musical selections in The National Gazette and Literary Advertiser (Triweekly edition), 22 March 1823: Every civilized people have national airs of their own, which are always most pleasing to the ears of those who love their country. In Germany, German music is most suitable. In Italy, Italian music for them: and so of other nations. We are willing to have a dish of all sorts: but foreign music is not so agreeable to us as that of our own country, or that which we have adopted as our own. Airs that convey nothing sentimental, or nothing we can understand, afford us no pleasure. A French comedy acted here would be highly pleasing to Frenchmen; but we who understand not their language, could neither be edified nor instructed. Olives, to one who never tasted them before, are disgusting; and so is tobacco: yet if we do not like them, they tell us, forsooth, that it is because we have no taste.

We hope the managers will so order it, that we shall have a good supply of national music--such popular airs as we can understand....And when the witches of Macbeth appear on the stage, and "round about the cauldron go," ...then, as accompaniments to these incantations, a few wild notes of the bagpipe and Lapland fiddle, are well enough. But for the most part, give us our own native music, or that which we have naturalized, and adopted as such. Let the clarinets, the violins, the trumpets and the kettle drums strike up the air of "Hail Columbia, Happy Land" and we in a moment see the whole house electrified: the heroes of the Revolution pass before us in review, and every man and boy feels proud that he is an American. Washington is alive in our hearts, and the hateful demon of party spirit dare not show his spotted face in the theatre. The refined amateurs, and the foreign dandies, may say what they will about our want of taste, we assure them we possess not the gross ears of the groundlings, as they insinuate, nor do we covet the over delicate tympanum of the effeminate Italian ear. We possess good sound nerves, with ears to our liking. We have pride of character and country, and our heartstrings vibrate in unison with the sweet notes which sound to their praise. And furthermore, we respectfully assure the worthy Managers that we are "good men and true"; we are not "groundlings," and our numbers are at least TEN TO ONE.

From "Shakespeare Buildings, Theatre, Arcade," an article published in a Philadelphia newspaper, 20 December, 1828: The old Chesnut [sic] Street Theatre was founded in 1791, rebuilt in 1805, and burned in the winter of 1821-22. The fire was supposed to be the work of an incendiary, as the company, then at Baltimore, had not performed in the house for several weeks. The building, together with the scenery, wardrobes, &c. were entirely destroyed, and the loss to the Managers was immense. They immediately, however, entered into arrangements for its re-erection, and, on the 2nd of December, 1822, the present chaste and classical building was for the first time thrown open to the public. As this theatre is one of the principal ornaments of our city, we have thought proper to describe it somewhat in detail.

The principal front is in Chesnut Street, being 92 feet by 150, built of marble, in the Italian style; the leading features of which are an arcade, supporting a skreen [sic] of composite columns, and a plain entablature, flanked by two wings, and decorated with niches and basso relievo's, representing tragic and comic masks, with the attributes of Apollo.

The approach to the boxes is from Chesnut Street, through a close arcade of five entrances, opening into a vestibule, 58 feet long by 8 feet in width, communicating at each end with a box office and a withdrawing ladies' room. From the vestibule are screen doors, immediately opposite and corresponding with the openings of the arcade, leading into spacious lobbies, warmed with fire proof furnaces, and calculated to contain 1000 persons. Double flights of large stairways communicate with a spacious saloon and coffee-rooms, together with the lobbies of the second and third floors. The audience part of the house is described upon a semi-circle of 46 feet in diameter, containing 3 rows of boxes, resting upon cast-iron columns, and secured with iron sockets from the foundation to the dome, the whole being combined laterally with a strong wall, bounding the lobbies and supporting the roof. The dress circle of the boxes is formed by a seat in advance of the columns, covered with a splendid canopy, projecting from the front of the second row of boxes, in the style of the Covent Garden Theatre, London.

The peculiar form given to this part of the house places the mass of the audience within 35 feet of the stage, securing to them the important object of distinct sound, and perfect scenic view, an advantage which the best theatres of Europe do not possess, although they may exceed it in magnitude.

The proscenium is 46 feet by 25 feet, an opening well calculated to exhibit the best exhibitions of the drama. The tympanum, immediately over the front of the stage, is chastely decorated with an appropriate design, exhibiting the claims of Thalia and Melpomene to the genius of Shakespeare. There are two doors of entrance to the pit from Sixth Street, through a passage 14 feet in width, which passage enters a lobby, paved with brick, communicating with a bar-room and private stairway, leading into the box lobby on the western side of the building. The pit floor is laid on a solid inclined plane of brick and mortar, and will accommodate 400 persons. The orchestra will contain from 40 to 50 persons, independent of the musicians. The whole building will contain about 2000 persons.

From THE LADY OF FASHION: THE LIFE AND THE THEATRE OF ANNA CORA MOWATT LILY, by Eric Wollencott Barnes (quoted in Glazer, PHILADELPHIA THEATRES, A-Z, p. 84): At the end of August (1851) Lily was back in Philadelphia again inaugurating a new season and a newly renovated theatre. This time it was the Chesnut (to use the then current spelling) Street house...elaborate refurbishing...Burnished gold ornaments of chaste and appropriate designs have been placed around the tiers of boxes. The proscenium is of gorgeous pattern, profusely decorated with Arabesque devices in green and gold. Stage doors have been added...A new drop scene depicting the city and bay of Naples, with a view of Vesuvius, has been painted by Mr. Hielge...