The Old American Company

Here is Dunlap's rambling and no doubt biased account of the "Old American Company" from his History of the American Theatre :

l790.-American Company go to Philadelphia--Widow of Malabar --Col. Humphreys-John Martin-Season of l79l-2 in New York, the last in which the old Company remained the sole possessors of the United States-Ashton-Final separation of Wignell from Hallam and Henry-Henry and Wignell go to England-Henry brings out Mr. and Mrs. Hodgkinson, and others--Wignell returns with a great Company, and finds the Yellow Fever in Philadelphia, where the Chestnut Street Theatre had been built for him and Reinagle--Hodgkinson, Mrs. Hodgkinson, King, Prig more, West.

THE company, with the addition to the stock pieces mentioned in the last chapter, and of a female performer, Mrs. Hamilton, who afterwards played the old women of comedy, proceeded to Philadelphia, opened their theatre in January, 1790, and continued playing until spring, when they went to Baltimore, and again returned to Philadelphia, re-opening the theatre in Southwark on the 27th of November, 1790. During their second visit, the managers brought out a tragedy, translated from the French by Col. David Humphreys, called The Widow of Malabar. It was ushered in by a prologue from an abler hand than that of the translator, Judge Trumbull, the author of McFingall. This was not a national drama, according to the author above quoted, though given to us by an American. The prologue had a portion of the wit for which McFingall is deservedly celebrated. One line approaches to temerity, alluding to the Indian custom of sacrificing widows to the manes of their husbands--

'Tis better, far, to marry than to burn.

Col. Humphreys and Judge Trumbull belonged to one of those bands of literary pioneers which, with pen instead of pickaxe, let light into the wilderness, and showed to Americans that all knowledge or wit did not reside on the eastern side of the Atlantic. President Dwight, Joel Barlow, Judge Trumbull, Doctor Hopkins, and Col. Humphreys, were fellow-laborers in this work of utility.

David Humphreys was born at Derby, in the state of Connecticut, about the time the first company of players came to Virginia, 1752, and graduated at Yale College in 1767. President Dwight and Judge Trumbull preceded him in the labor of verse-making; and Barlow likewise owed his courage to the success of these gentlemen, and submitted his works to them. Humphreys entered the army of his country at an early period, and continued to serve honorably to the end of the contest for freedom. In 1778, he was aid to Gen. Putnam, whose life he afterwards published, and in 1 780, he made one of Washington's aids-decamp. He was entrusted by his illustrious friend with the standards taken under the capitulation of Cornwallis at Yorktown, and was presented by Congress with a sword. This memorable event, his presenting the standards, was painted by a Danish artist, when the poet and soldier was in Europe, between 1784 and 1786, as secretary of legation to Mr. Jefferson. On his return, he, with Judge Trumbull, Mr. Barlow, and Doctor Hopkins, published The Anarchiad. He resided at Mount Vernon for some time previous to the adoption of the Federal Constitution, and then came with the first president to New York. To Humphreys has been ascribed some of that anti-republican etiquette which attended the president's levees, and we know that the colonel was attached to other pomp besides that of" glorious war." The president and Senate appointed him ambassador to Madrid, and he fulfilled his honorable duties in Europe until 1802. He resided in Boston some years, and endeavored to persuade Bernard to bring out a comedy he had labored on until he thought it worthy of the public-it was extremely unlike those comedies Bernard owed his fame to, but the wary comedian heard the poet read, drank his Madeira, said" very well" now and then-but never brought out the play. Col. Humphreys owes his poetical fame principally to his Address to the Armies, a poem of merit. W e owe to him the introduction of the merino breed of sheep into this country. He resided for some years near New Haven, and died honored and regretted. About the year 1806, Malbone painted a miniature of him, in his best style, which is, to those who know his style, the highest praise; this is the only true portrait of this amiable man.

In the course of this winter, 1790-1, we find nothing further worth recording but the first appearance of the first person of the male sex born in America, who adopted the stage as a profession.

Two females of the name of Tuke had been successively, the one after the death of the other, brought out by Mr. Hallam, but in the present instance a youth, induced by habits of idleness, and the applause bestowed upon his recitations by his idle companions, abandoned the profession chosen for him, and, leaving his native place, New York, made his debut as Young Norval, on the stage of Philadelphia. He was favorably received, and his destiny sealed. This was John Martin. His friends had intended him for the profession of the law, but what he thought a life of pleasure had allurements which caused their disappointment. He was of fair complexion. middle height, light figure, and played the youthful characters of many tragedies and comedies in a style called respectable, but mere respectability in any of the fine arts is ever associated with mediocrity. Mr. Martin will be hereafter mentioned, as he continued for some years a useful, though not a brilliant, actor. He labored hard, lived poor, and died young. Such is the lot of hundreds, who see only pleasure in the profession of a player; a profession requiring splendid talents and assiduous application; and, if adopted by one who cannot attain distinction, he is doomed to labor and privations, too often ending in low dissipation, disease, neglect, and early death. Labor and privation is the lot of the player who possesses distinguished talents and public favor, but the portion of the drudges of a theatre, the pawns of the chess-board, is little short of a sealed doom to a life of poverty, and, if not redeemed by private virtues, of degradation.

Hallarn and Henry opened their theatre in John Street, New York, on the 10th of Oct. 1791. The company now consisted of Hallam, Henry, Wignen, Morris, and W ools, sharers; Harper, Martin, Hammond, Heard, Ryan, Robinson, Durang, Bisset, Biddle, and Macpherson, salaried actors. The females were Mrs. Henry, Mrs. Morris, sharers; Mrs. Hamilton, Mrs. Rankin, Mrs. Gray, Mrs. Harper, and Miss Tuke, were salaried.
This was the last season that this sharing scheme, first projected in 1752, remained in operation. A person of the name of Ashton made his debut in Hotspur, without any powers except those of voice. He is remembered in the soliloquy when reading the letter, screaming out,

For the love ee bears hour ouse !
Ee shows by this ee loves iz hone barn better
Than ee loves hour ouse.

Of Hammond, Bisset, Macpherson, Mrs. Rankin, Mrs. Gray, and Mrs. Sewell, nothing is remembered.
At the close of this theatrical season, Mr. Thomas Wignell seceded from the old American company, carrying with him Mr. and Mrs. Morris. Wignell's talents and influence laid the foundation of that theatrical establishment in Philadelphia, which flourished for many years more uniformly, and with actors of more general estimation, as citizens and artists, than the rival institution in New York, which continued for some time longer to be called the old American Company. Philadelphia and New York became from this time territories of rival monarchs, who, after mutual invasions and hostile incursions for a short time, found it necessary to divide the United States between them, until other potentates raised independent standards, and every city, town, and village, had its own stage, and its own" king of shreds and patches." In the year 1792, this important division of the American Company took place. The writer knew four years before, that discord and jealousy existed between Henry and Wignell. Hallam, who was Wignell's cousin, and had sent him out in 1775, sided with the latter in 1788. Thus the managers, Hallam and Henry, were at variance.

Hallam through life professed to be guided by two maxims in the management of a theatre. They were," keep down the expenses," and "divide and govern." The first may be right according to circumstances; as a general rule it is wrong. The second is always wrong. It is the base resource of the weak to govern by fraud and falsehood, when they find that they have not the ability to govern by truth and justice. It is the Machiavellian policy of tyrants. Hallam could divide, but could not govern, and the two more powerful minds took the reins of government into their own hands and divided the kingdom. The following statement of the immediate cause of the separation was communicated to the writer by Wignell, in 1802, and in the main agrees with Hallam's account of the transaction. The reader will see where they would necessarily differ, each stating his own case. By recurring to the early account of the division of shares, it will be seen that the manager had a share as such, and another as performer. Two managers enjoyed the same source of emolument, each having his share as such, and Wignell, knowing himself to be at this time the favorite of the public, aspired to a share in the management and the advantages belonging thereto. Henry had given him repeated promises of taking him into the firm, Hallam appearing to wish for the same.

In the winter of 1791-2, it had been considered necessary by the sharers to send an agent to England for the purpose of engaging performers. The sharers, it appears, were occasionally called together as a council to the joint kings, and they saw that the American public began to call for more than had satisfied the colonies of England, or the exhausted and jealous states immediately after their independence. In addition to more actors, scene-painters, musicians, and machinists, a better wardrobe was wanted. Wignell requested that he might be the company's agent, and it had been promised to him. He had in consequence written to his friends, that, after an absence of fifteen years, he should see them again in London. In this stage of the business he had a more than usually violent quarrel with Henry, who threatened him that"his reign should not be long." In 1792, while the company were playing in Philadelphia, the following paragraph appeared in one of the papers." W e have authority to say that John Henry, one of the managers of the old American Company, will soon embark for England, for the purpose of engaging performers for the company." On seeing this, Wignell called upon Hallam, and asked him if he knew of or had sanctioned that paragraph. He replied," No." " Who then authorized it?" The reply was, "Henry, I suppose, as it is in his usual way." Wignell asserted his right to go home as agent, mentioned the promise given to him, and his desire to visit his friends. Henry persisted in his determination to take the business on himself, and, as it appeared by the sequel, had Hallam's assent to the plan. A meeting of the sharers was called to choose their agent for this important mission. When all were assembled, Hallam, we presume, because the oldest manager and sharer, opened the business. He expatiated on the condition of the company, the growth of the country, the demands of the public, the necessity of satisfying these demands, that the company might prevent opposition; that for these reasons an agent must be sent to England to procure performers, as well as make purchases, and establish such a correspondence as would further their views, concluding with these words," Mr. Henry is willing to go, and Mr. Wignell is anxious to go. If Mr. Henry goes, we can continue playing, and maintain ourselves. If Mr. Wignell goes, we must shut up.' , This shows the importance of Wignell to the company at that time, and the high estimation in which he stood with the public. He proceeded thus: "This was the first idea I had of Hallam's duplicity, and I immediately saw my situation. I represented to the meeting the promise given to me, and the arrangements I had made in consequence of that promise. I repeated the threat of Mr. Henry to destroy me, and the mode in which I understood he intended to accomplish it by bringing out an actor to supersede me in my business, which, by keeping me out of the management, he could effect, as, by casting new plays, he could bring a new performer into public favor, and thereby ruin me in my profession. I therefore demanded either to be made a joint partner, purchasing at their own price, and without asking credit, or to be appointed the company's agent. Both demands were positively refused by the two managers, and the meeting of sharers broke up without electing their agent." The next day another meeting was called, "which," said Wignell, "as I knew all had been previously determined, I declined to attend." Wignell resigned his situation in the company ; Henry was appointed the agent, and soon after embarked.

The plan of a new theatre in Philadelphia, probably long contemplated by many, was now matured without loss of time. Mr. Reinagle, a professor of music, entered into partnership with Wignell. Their friends furnished such additional funds as were necessary. The site of the present theatre in Chestnut Street, not then as now in the centre of the city, was purchased before the opponents of theatrical establishments knew for what purpose it was to be used; and, while an elegant theatre was building, Wignell followed Henry to England with power and inclination to engage such a company and such additional aids as would overwhelm his long-time enemy, Henry, and his ex-friend and cousin, Hallam. A man by the name of Anderson was associated with Wignell and Reinagle in this scheme, and afterwards acted as their treasurer. He was the financier. He was, as were the managers, from Britain, and was a shrewd man of business. While preparations were making in Philadelphia for the reception of the new company, Wignell was successfully employed in securing all the adventurers of talent that could render his corps effective. The rival managers were both men of insinuating manners, both experienced in theatrical affairs and theatrical maneuvers, and equally animated by the desire of success and the desire of inflicting injury.

Wignell engaged and safely landed in America a company more complete and more replete with every species of talent for the establishment of a theatre than could have been contemplated by the most sanguine of his friends. Every thing was to be splendid, every thing was to be new, with the exception of himself and Mr. and Mrs. Morris, the only sharers who had seceded with him. Fennel, Chalmers, Moreton, Marshan, Harwood. Whitlock, Green, Darley and son, Francis, Bates, Blisset, Warren, Mrs. Whitlock, Mrs. Oldmixon, Mrs. Francis, Mrs. Marshall, Miss Broadhurst, Mrs. Warren, Miss Winerns (afterwards Mrs.
Green,) Miss Oldfield, and others of less note, joined to Wignell and Mr. and Mrs. Morris, composed a force that defied opposition. Besides, they had a splendid new theatre, larger and incomparably better than had been seen before in the New World, and every thing appeared to ensure the triumph of Wignell. though Henry had anticipated him by arriving with a strong reinforcement to the old American company, and by taking the field in Philadelphia before him. But another, an unexpected and more deadly enemy, had likewise taken the field--an enemy that mocked at their painted banners and gilded truncheons, and put to flight their quips, and quirks, and wreathed smiles. Death, in the loathsome form of yellow fever, had established himself in the beautiful city of Philadelphia, in the citadel which had been prepared for the reception of Mirth and her attendants. This plague had rendered that place a scene of mourning and desolation, in which the inhabitants had prepared to erect the standard of taste and pleasure. All the usual occupations of life had ceased, and the streets were deserted. Bush Hill and Potter's Field, the hospital and the burying-ground, were alone populous. Although Bush Hill is now the seat of business and pleasure, and Potter's Field metamorphosed into one of the most elegant squares of this elegant metropolis, there remain too many monuments of that season of pestilence to need an additional one here. Yellow fever is marked on every record of that day, and Charles Brockden Brown, like another De Foe, has painted the truth of these scenes in the pages of fiction.

Wignell and Reinagle distributed their forces in the states of Delaware and New Jersey, quartering them as they could, in farmhouses or taverns, and anxiously awaiting the return of health to the afflicted city. But in the mean time opened the old theatre in Annapolis, which ancient metropolis of Maryland was destined not only to have the first temple to the Muses built within its precincts, the first to have plays acted within its walls by any professional histrionics, a part of the company of William Hallam, but the first to see the efforts and skill of the best and most powerful company that had ever been assembled in this country. Wignell then opened the Baltimore theatre with his very fine corps, and employed them in that place until the restored health of Philadelphia enabled him to take possession of his headquarters.

We have said that Henry anticipated the arrival of Wignell on his return to America. He had been active in his recruiting service, and prosperous in his voyages. He had visited the provincial theatres of England, engaged efficient performers, and returned to New York long before Wignell's company arrived, or his new theatre in Philadelphia was ready.

As early as September, 1792, Henry and his recruits arrived at New York, and immediately proceeded to join Hallam in Philadelphia, who was prepared to open the old theatre in Southwark. Their first play was The West Indian, in which Henry's O'Flaherty could only be surpassed by the original, Moody, or his successor, Johnstone. Hodgkinson, so long the admiration of the frequenters of the theatre, made his first appearance before an American audience on this occasion in the character of Belcour. After a very successful season in the old theatre, Philadelphia, Hallam and Henry opened the theatre, John Street, New York, on the 28th of January, 1793, with Reynolds' new comedy of The Dramatist, and the musical farce of The Padlock. The reinforcement brought from England by Henry, consisted of Hodgkinson, King, West, Prigmore, West, jun., (sic) Robins, Mrs. Hodgkinson, and Miss Brett (afterwards Mrs. King). If we remember that the whole of the old company , except Wignell, Morris, and Mrs. Morris, were still united with Hallam and Henry and their wives (for Hallam had married Miss Tuke), it will be seen that the corps was numerous, and those who remember the principals, know that it was strong in professional art. But insubordination and discord, jealousy and rivalry, were mixed in even an uncommon degree with the body thus brought together. Hallam, who had, fatally for himself and Henry, joined the latter by deserting Wignell, now adhered to his old diabolical maxim of divide and govern, notwithstanding he had found it easier to do the first than the last. There was a cause of discord in the jealousy with which the old members of the company, now feeling as Americans, viewed the new-comers, who on their part considered the Americans as inferiors, a thing of course with all Europeans, the well-informed excepted; and these actors were very far from being well-informed except in the affairs of the stage and green-room. The old members of the company, treated as inferiors by the recruits, stood on the defensive, but had no bond of union.

Besides this general cause of discord, there were the usual conflicting claims of the individuals, which were soon perceivable by those not behind the curtain. Even on the first night of exhibition, Hallam had to come forward before the play began and beg permission for Mr. Henry to read the part of Lord Scratch, as Mr. Prigmore, who was announced for it, positively refused to appear. Henry accordingly read the part, and Prigmore the next day published an insolent tirade, in which he talked of men who,

Dress'd in a little brief authority,
Play such fantastic tricks before high heaven
As make the angels weep.

Considering the person and occasion, this beautiful passage was probably never more misapplied. The conduct of this weak and ignorant man can only be accounted for by supposing that he had assurance of support from the new corps.

As Henry's recruits came before the public both of Philadelphia and New York in advance of Wignell's company, they must take precedence of them in this record. And first John Hodgkinson.

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The person next in importance to the Hodgkinsons among the new corners was King. He was uncommonly handsome, but had not the skill that might entitle him to the rank of an artist. He could do nothing but as instructed by Hodgkinson. Sometimes his tall, manly person and fine face, under tuition and drilling, had an effect that might be called imposing.. But he was dissipated and negligent of every duty.

Prigmore was a buffoon. He became the comic old man of the company, and, with grimace, antiquated wigs, painted wrinkles and nose, became a favorite for a time of the gods and the groundlings, of those whose praise is censure. We have mentioned his refusal to play the part of Lord Scratch, in Reynolds's first comedy, on the night that the theatre opened. It will give some notion of theatrical life and theatrical management, to show the standing of this man in his own country among actors before his emigration. Bernard, whom we shall have occasion to mention hereafter, gives, in his reminiscences, this anecdote and character of Prigmore. He says: He was a man of some vanity and little merit, whose opinion of himself was in inverse proportion to that of the public. One of the peculiarities of this person was to suppose (though he was neither handsome nor insinuating), that every woman whom he saw, through a mysterious fatality, fell in love with him. There was a very benevolent widow living in Plymouth, in respectable circumstances, who frequently came to the theatre, and was kind enough to inquire into the private situation of various members of the company. Among others, she asked about Prigmore, and was told that he had but a small salary, and made a very poor appearance. Hearing this, she remembered that she had a pair of her late husband's indispensables in the house, which she resolved to offer to him. A servant, who was accordingly dispatched to the object of her charity, meeting one of the actors, partly disclosed his business. The actor went in search of Prigmore, and finding him, exclaimed," Prigmore, my boy, here's your fortune made at last; here's a rich widow has fallen in love with you, and wants to see you." Prigmore, not suspecting his roguery, was led to the servant in a state of bewildered rapture, and by the latter was informed, that the widow would be glad to see him any morning it was convenient. He appointed the following, and went home to his lodgings to indulge in a day-dream of golden independence. His friend (theatrical friend) in the mean time whispered the truth through the green-room, where there were two or three wicked enough to join in the conspiracy by walking to Prigmore's house to tender their congratulations: Prigmore, as may be supposed, passed a sleepless night, and spent an extra hour at his toilette next morning in adorning himself with a clean shirt and neckcloth. He then sallied forth, and, on reaching the widow's, was shown into her parlor, where, casting his eyes around on the substantial sufficiency of the furniture, he began to felicitate himself on the aspect of his future home. The lady at length appeared; she was upon the verge of forty, a very fashionable age at that time, which, resting upon the shoulders of a very comely looking woman, seemed to be in character with her comfortable dwelling. Prigmore's satisfaction and her benevolence operated equally in producing some confusion: at length a conversation commenced. She acquainted him that she had heard his situation was not so agreeable as he could wish --that his income was a confined one; she was, therefore, desirous to do him all the service that lay in her power. Prigmore, considering this as an express declaration of her affection, was about to throw himself at her feet, when she suddenly summoned her servant, and exclaimed," Rachel, bring the breeches!" These words astounded him. The widow, on receiving the habiliments, folded them carefully, and remarking that they were' as good as new" begged his acceptance of them. "And was it for this you wanted me, madam?" "Yes, sir." He put on his hat and walked to the door with indignation. The good woman, as much astonished as himself, followed him with" Won't you take the breeches, sir ?" He replied, pausing at the door to make some bitter retort, "Wear them yourself !" Such a man would not be worthy of the space he here occupies, except as his character and insignificance at home comport finely with his assumed importance after he had crossed the Atlantic. No uncommon thing.

West, known as the leather breeches beau (dandy was then unknown), was imported as the singer and "walking gentleman" of the company.

Robins was to be scene-painter, occasionally to sing a song, and join in the choruses.

West, junior, was literally nothing, and Miss Brett (afterwards Mrs. King) was his equal; but, as Mrs. Hodgkinson's sister, she was thrust before the public by Hodgkinson's influence. She afterwards married King, and, he dying in consequence of excessive dissipation, she, happier than her more talented sisters, married a German doctor on Long Island, and made a notable housewife.

Those who now see actors moving in society like other men, at least in appearance, dressed as others dress, having the same fashions, manners, and behavior, as their fellow-citizens, and not to be distinguished from them by the outside, can hardly conceive the difference which then existed between these recruits to the American company and the townsfolk in all these particulars. Long after others wore their hair short and of nature's color, Hodgkinson had powdered curls at each side, and long braided hair twisted into a club or knot behind; instead of pantaloons and boots, breeches and stockings and shoes. This costume, with his hat on one side, and an air and manner then known by the appellation of theatrical, marked him among thousands. King displayed his fine person in another, but equally marked, manner. West usually appeared in boots and leather breeches, always new, and three gold-laced button-holes on each side of the high upright collar of a scarlet coat. while Robins. a very tall and large-framed young man, in addition to the gold-laced collar, wore three gold hatbands. West soon involved himself in debt, and being arrested by the breeches-maker for six pair of leather breeches, sent to Mr. Gaine, who still printed the play-bills, though no longer at the Bible and Crown, but only at the Bible, to request bail, as the prisoner's name was in the bill for that night. The old gentleman took off his spectacles and exclaimed, "Six pair of leather breeches! Why I never had one pair in my life! Six pair! Why how many legs has the fellow got?"