Bristol County, Massachusetts - Chapter 19: Famous Players and Old Playhouses - Historians and Artists, 1924

FAMOUS PLAYERS AND OLD PLAYHOUSES - HISTORIANS AND ARTISTS A few years have elapsed since this topic was written up by Edward Denham, to whom the writer is indebted for many of the facts connectec with this chapter.

The Quakers, Congregationalists and "hard-shell"' Baptists of long ago, in and around New Bedford, made an atmosphere unsuited for the drama or opera. 'These people looked upon such things as plays and any entertainment that was presented from the stage, as something low and of a degrading order. Later, they allowed lectures, concerts, wax figures, and at last attended, or allowed their children to attend, a small menagerie containing three animals. These entertainments were given in the Town Hall without much public protest. When a library was donated the Friends' Society in 1813, a committee went over the list of books and discarded many, such as the English Poets and Shakespeare's works, as unfit for the reading by the young people. Such opposition lasted many years in the neighborhood of New Bedford. February 2, 1857, came George Vandenhoff, temporarily retired from the stage, to give an evening entertainment before the Lyceum. On the platform was George Howland, Jr., as presi- dent of the society. In one of the selections the celebrated reader became somewhat dramatic, whereupon Mr. Howland interrupted him, saying, "This is not a theatre." Mr. Vandenhoff replied by reciting the reply of Jacques to the Duke, in "As You Like It," beginning with, "All the World's a Stage." Applause followed, but the Quaker element saw no sense in the laughter.

At the corner of County and Elm streets many years ago stood a stable, where later the handsome residence of John Duff was erected. This building was finally remodeled and Mr. Hians opened up a circus in 1828, much to the annoyance of the citizens. In 1836 the building was opened as the Lion Theatre, J. Barrett, manager, with the play "Castle Spectre." K. L. Davenport, who made his first appearance on any stage that same year, was there. "Richard the Third" was played several times in New Bedford in that building and others. These were the first Shakespeare plays ever seen in the village, and trouble arose in the council over granting another license, but later the selectmen recanted. In 1840 a vote was had on the proposition of "Theatre or no Theatre" in New Bedford, when the vote stood "ior" twelve; "against" five hundred and sixty-six.

After the present stone Unitarian church on Union street was completed (it was dedicated May 24, 1834), the old meeting-house (built 1795-7) at the corner of Purchase and Williams streets, was used for lecturers, concerts, etc., and was usually spoken of as the old church, etc., though an unsuccessful attempt was made to call it "The Forum." On March 13, 1841, it was sold with land under and adjoining the same. Then it was named Liberty Hall. In March, 1846, it was fitted up into a theatre. November 9, 1854, it burned down. That was the wooden structure the older citizens recall. On May 20, 1856, a new Liberty Hall of brick was opened on the site of the old one. On February 10, 1864, the interior was burned out. The walls were repaired and enlarged and the building again opened on December 5, 1864. That was a few years ago demolished to make way for the Merchants' National Bank.

From 1851 to 1861 many Shakespearian plays were seen from the stage in New Bedford. FE. L. Davenport May 22, 1861, played "Hamlet," and the following evening "Othello." Possibly the most notable events in theatrical lines in this city was the visit of Charoltte Cushman, who played here on four consecutive evenings in May, 1861. On the 28th she appeared as Lady Macbeth; J. B. Studley was Macbeth; John Gilbert, first witch, and Miss Viola Crocker, first singing witch. On the 29th the play was "King Henry Eighth; Miss Cushman, Queen Katharine; John Gilbert, King Henry; J. B. Studley, Cardinal Wolsey; Miss Crocker, Anna Boleyn. On the evening of the 30th, "Romeo and Juliet" was presented: Miss Cushman as Romeo; Miss Crocker, Juliet; John Gilbert, Friar Lawrence; J. B. Studley, Mercutio. On the next evening the "Merchant of Venice" was produced. In 1876 and 1877 the stage here was honored by the presence of the celebrated actors, Booth and Barrett.

Most of the great players of contemporaneous times have appeared at the New Bedford Theatre on Union street, and the Opera House which was built from Old Grace Church about forty years ago, the theatre being built where the first Opera House stood. In 1915 the Olympia Theatre, seating 2,800 persons, was built on Purchase street.

New Bedford's first history was written by the pen of Daniel Ricketson, who passed from earth a number of years ago, aged eighty-five years. He was born on the old Ricketson homestead, corner of Acushnet avenue and Union street, July 30, 1813. He fitted for college at Friends' Academy in New Bedford, but changed and took up law with Charles Francis Warren. He practiced law a few years, but not finding the profession what he thought it would be, he withdrew from the bar. At about that date his father died and left him a competency, enabling the son to pursue more congenial callings, more to his natural bent - to become a real son of nature and be with nature at her untrammeled best. He removed to a quiet place on Acushnet avenue, which he improved and which he called '""Woodlee." Later, however, he removed to the old family house in New Bedford where he died. He lived also many years at Brooklawn Park, and there in the true heart of nature he wrote the first history of his native town and city. This was in 1858. The first of his historical notes, however, were published in the New Bedford "Daily Mercury," September 27, 1856. This was followed each Saturday and which with changes, constituted the material from which later he compiled his "History of New Bedford," a work of intrinsic value to later writers. He also wrote the beautiful poem entitled "The Autumn Sheaf,"' published in 1869. Much of his writing was performed in what he termed "The Shanty," a little vine-covered building now to be seen by the house at Brooklawn Park. In this rustic building he passed many a happy hour and day with his pen and his literary friends. Emerson, George William Curtis and Thoreau were his frequent callers. He made the acquaintance of such great characters as William Lloyd Garrison, Ralph Waldo Emerson, A. Bronson Alcott, Charles Sumner, and others of national celebrity. The papers in "Harper's" by Curtis give this description of Mr. Ricketson:

He is as shy as a partridge, and not only lives somewhat of a recluse from men, but actually hides himself under a broad brimmed slouched hat and. within the charitable folds of a huge old-fashioned camlet cloak, even when you are walking or talking with him. His avoidance of society is instinctive as a musician avoids discords, and he has a humorous twinkling sarcasm in his treatment of those who seem to him sophisticated or enslaved by society. A black hat or dress coat affect him like the most ludicrous jests, and the habit of stuffing good honest English talk with French phrases excites his utmost contempt. He declares that he should as soon think of larding a beef tongue with the fat of frogs. Moreover, he is very fond of insisting that civilization has half ruined us.

One expression of this man was quoted by Mr. Curtis in Harper's publication which reads as follows: "I believe that in society people put on their best clothes to come together and see each other eat. 1 presume from what I know of society that they do so. I should be very much surprised if they did not."

Another history of New Bedford was written by Leonard B. Ellis, in about 1897. He was the son of Caleb L. and Abbie D. (Hathaway) Ellis, and was born in New Bedford in 1838. He was educated at the Brush street grammar school, and three years' course in the high school under John F. Emerson. He followed the cooper's trade with his father, with whom he became a partner in 1859. For twenty-five years he conducted a picture-traming concern after the close of the Civil War period. His store and shop was a resort for literary people and lovers of fine art goods

As to local painters, there were many who achieved wider fame than that of William A. Wall - Albert Bierstadt, R. Swain Gifford and William Bradford for example, but none performed a greater or more lasting service for New Bedford than Wall, for he devoted his artistic genius to illuminating the pages of local history, and through his efforts and skilful brush has been preserved a beautiful, lifelike group of paintings, accurate in every detail, and also truthful, in the portraits of leading actors of an ancient day. Such pictures as the "Whale Fishery," the view of "The Four Corners," in 1807, and the "Landing of Gosnold," are all of great value as illustrating the earlier periods of history. Only a few people who are familiar with the famous painting of New Bedford in 1810 or its reproductions know that almost every figure in it is that of an historical personage of the early place. It was painted in 1857, and originally bore the title "New Bedford Fifty Years Ago.' Another painting of historic value and merit is "The Early Whale Fishery,' in which Joseph Russell is supposed to be watching the unloading of a small vessel which has just returned from a successful cruise... From Mr. Wall's brush is also a full length portrait of Abraham H. Howland, first mayor of New Bedford. Benjamin Russell was a painter of the old whaling days. His work is familiar to collectors of rare New England paintings. William Bradford was another renowned marine artist, born in Fairhaven, 1823, died 1892. He began painting ships in Lynn Harbor and in Nova Scotia. He made several expeditions in the arctic regions and studied the icebergs and floes. Albert Bierstadt was another fine artist who brought much fame to New Bedford. "Fishing Boats in Fundy Bay" was one of his masterpieces. He was a native of Germany, born in 1830. He began to paint in oil in 1851.