Part 1

WILLIAM E. BURTON ACTOR, AUTHOR, AND MANAGER

A SKETCH OF HIS CAREER WITH RECOLLECTIONS OF HIS PERFORMANCES

BY WILLIAM L. KEESE

_ILLUSTRATED_

NEW YORK & LONDON G. P. PUTNAM'S SONS The Knickerbocker Press 1885

COPYRIGHT BY G. P. PUTNAM'S SONS 1885

Press of G. P. PUTNAM'S SONS New York

TO THE DAUGHTERS OF WILLIAM E. BURTON THE AUTHOR'S FRIENDS OF MANY YEARS, THIS MEMORIAL OF THEIR DISTINGUISHED FATHER IS AFFECTIONATELY INSCRIBED

PREFACE.

The present volume was prompted by the thought that no adequate account of the late William E. Burton had been given to the public. During his life no man was better known, and his death called forth a universal expression of admiration for his genius and regret for his loss. In the many obituary notices by the press some brief details of his career were given; but the narrative was necessarily confined to the narrow limits of a newspaper article. An actor so eminent--one of the greatest in his line the stage has known,--whose name is identified with certain delineations of character that died with him; whose renown stamped his theatre with a celebrity distinct and remarkable; a Shakespearian scholar, whose devotion to the poet, attested by the incomparable library he amassed, was only equalled by his interpretation of the master's spirit, surely is entitled to a more painstaking and a more extended record. An endeavor is here made to supply such need; and in the view taken of Burton as Actor, Author, and Manager, the relation is from birth to death.

In the preparation of this volume, the author owns his indebtedness to Ireland's "Records of the New York Stage," Wood's "Personal Recollections," Wemyss's "Theatrical Biography," Hutton's "Plays and Players," Phelps's "Players of a Century," Clapp's "Record of the Boston Stage," and Stone's "Theatrical Reminiscences." The writer also gratefully acknowledges the assistance given him by members of Mr. Burton's family, and their loan to him of old play-bills, engravings, letters, etc. Mr. Matteson, of New York, may also be mentioned in acknowledgment of friendly aid.

The illustrations accompanying the memoir will be viewed with interest. The frontispiece is from a daguerreotype, and has been chosen as a faithful likeness of the comedian. The _Bob Acres_ is from a painting by T. Sully, Jr.; the _Dr. Ollapod_ from a portrait by Henry Inman; the _Captain Cuttle_ and _Aminadab Sleek_ from daguerreotypes; the _Timothy Toodles_ from a photograph. All the above were family possessions. The picture of the Chambers Street Theatre is from a water-color drawing in the collection of Thomas J. McKee, Esq.

Many shortcomings will doubtless be found in this book, and readers of it who are old play-goers may think of many things the author has missed. But we are told by Ruskin that there is "no purpose so great but that slight actions may help it," and by Wordsworth that

"Small service is true service while it lasts."

DECEMBER, 1884. W. L. K.

LIST OF ILLUSTRATIONS.

WILLIAM E. BURTON _Frontispiece_

MR. BURTON AS BOB ACRES 10

MR. BURTON AS DR. OLLAPOD 24

PALMO'S OPERA-HOUSE, AFTERWARDS BURTON'S THEATRE 34

MR. BURTON AS CAPTAIN CUTTLE 56

MR. BURTON AS TIMOTHY TOODLES 94

MR. BURTON AS AMINADAB SLEEK 154

CONTENTS.

PAGE

WILLIAM E. BURTON, 1804-1834 3

WILLIAM E. BURTON, 1834-1848 8

BURTON IN NEW YORK, 1848-1856 33

BURTON IN NEW YORK, 1856-1860 100

LIST OF CHARACTERS 111

RECOLLECTIONS 121 MR. BURTON IN FARCE 128 MR. BURTON IN PARTS HE MADE SPECIALLY FAMOUS 141 MR. BURTON IN COMEDY AND SHAKESPEARE 158

MR. BURTON'S LIBRARY 179

CONCLUSION 207

INDEX 213

WILLIAM E. BURTON.

1804-1860.

"_He was famous, sir, in his profession, and it was his great right to be so._"--SHAKESPEARE.

WILLIAM E. BURTON.

1804-1834.

WILLIAM EVANS BURTON, the son of William George Burton, an author of some repute, was born in London, September 24, 1804, and died in New York, February 10, 1860. His father was a printer, with a bent of mind toward theology, and gave expression to his views in a work entitled "Biblical Researches," published in the close of the last century. The son was classically educated in St. Paul's School in London, an institution where, before his day, Elliston and the elder Mathews were instructed; and the father's design was to prepare him for the ministry. The parent's death, however, summoned him from his studies, and, at the age of eighteen, he assumed the direction of the printing-office, which he managed for the maintenance of his mother. It may be observed that one of the specialties of the elder Burton's business was the printing of classical works, and the son's knowledge had often been of service in the matter of proof-reading. From the printing-office he was led to the experiment of editing a monthly magazine, thus early revealing an inclination toward the profession of letters which never wholly deserted him; fostered by sundry efforts of authorship in his native land, and appearing subsequently, in this country, in his conduct of "The Gentleman's Magazine" and "Literary Souvenir," and in the compilation known as "Burton's Cyclopædia of Wit and Humor."

The youthful experiment was not a substantial success, and did not long continue; but his editorship brought him into connection with certain members of the dramatic profession, and he was persuaded (we wonder if persuasion were really needed!) to make a trial of his stage ability by playing with a company of amateurs. His success in this venture foreshadowed his destiny, and we find him in 1825 performing with a provincial company on the Norwich, Sussex, and Kent circuits.

We cannot help the indulgence, at this moment, of a playful fancy regarding Burton's early efforts. Did he, in the exemplification of tragedy, which he then aspired to, reveal by a single facial example the dawning of a future _Toodle?_ Could imagination discover in the dagger of _Macbeth_ the hook, and in the Thane himself the features, of _Ed'ard Cuttle, Mariner of England?_ Did the thoughtful countenance of _Hamlet_ suggest in any possible way the lugubriousness of an incipient _Sleek?_ Did he make his Majesty George IV. laugh at Windsor, where, as tradition has it, he played before the king at this stage of his career? We know not; but the mask of Melpomene had been thrown aside when, after another round of the provinces, with varying success, but gaining celebrity through an unusually wide range of parts, he made his first appearance in London in 1831, as _Wormwood_, in "The Lottery Ticket," a character that became famous in his hands. This engagement was at the Pavilion Theatre, and was a highly successful one. The great Liston, just twice Burton's age, was then at the Haymarket, and we can imagine with what emulous admiration the young comedian regarded the veteran actor. He little dreamed that many of Liston's renowned characters would descend to him by right of ability and comic power! In the following year (1832) Liston retired from the Haymarket, "through a pique," as they say, and Burton succeeded him; but the audiences retained too vivid a recollection of Liston's performances, and the engagement was only moderately successful. Recovering suddenly from his disaffection, Liston returned to the Haymarket, and Burton in his turn retired, to once more make the rounds of the provinces. But he bore with him one remembrance in connection with the Haymarket that consoled him for many a disappointment; and that was the thought of having played _Marall_ to Edmund Kean's _Sir Giles Overreach_. The story runs that Mrs. Glover,[1] a leading actress of the company, objected for some reason to the _Marall_, and declared that she or Burton should be omitted in the cast. Kean, despite irregularities, still retained a remnant of his old sway, and he insisted on being supported by Burton. The result was that Mrs. Glover was compelled to yield, and in due course _Marall_ appeared before a full house, containing many celebrities of the day. It was at this time, too, that a production of his pen--the play of "Ellen Wareham,"[2]--enjoyed the unusual distinction of being performed at five London theatres on the same evening. A year and a half went by in efforts to enhance his reputation, and it may be said that his career was not free from the vicissitudes that frequently attend dramatic itineracy. But through it all he gained ground and advanced steadily in his profession. He played almost every thing; his industry was indefatigable, his will indomitable. The lamp of experience never waned; and that knowledge gained from contact with the world and human nature, was a preparation for events and emergencies in another scene and another land. For now his thoughts were turned toward the United States, and in 1834 he determined to cross the ocean, and to take the chance of fortune and of fame.

[1] Dr. Doran, in his "Annals of the Stage," referring to Kean in various parts, says: "Among these, _Sir Giles_ stands pre-eminent for its perfectness, from the first words, 'Still cloistered up,' to the last convulsive breath drawn by him in that famous _one_ scene of the fifth act, in which, through his terrible intensity, he once made so experienced an actress as Mrs. Glover faint away,--not at all out of flattery, but from emotion."

[2] First produced, May, 1833.

1834-1848.

Burton landed on our shores unheralded, to begin the twenty-five years of the artistic career which holds so conspicuous a place in the annals of dramatic achievement. He was not "brought over," and he came at his own expense. He came, indeed, with the prestige of having written "Ellen Wareham," and of having made a comic character[3] famous by fifty consecutive representations; but he was simply announced as coming "from the Pavilion Theatre, London," and he made his first appearance in America at the Arch Street Theatre, Philadelphia, under the management of Maywood & Co., on September 3, 1824, playing _Dr. Ollapod_, in Colman's "Poor Gentleman," and _Wormwood_, in "The Lottery Ticket." _Ollapod_ always remained one of Burton's most effective parts. The portrait, on another page, of the comedian in that character is from an engraving by J. Sartain of a picture painted from life by Henry Inman, in 1840.

[3] _Wormwood_, in "The Lottery Ticket."

There lies before us a bill (elsewhere reproduced) of the above theatre, dated Wednesday, September 10, 1834, being the fourth night of Burton's first engagement in this country. The plays on the occasion were Sheridan's comedy of "The Rivals" and the farce of "The Lottery Ticket,"--which last seems to have met with great favor, as the bill states it to be a repetition, owing to "numerous enquiries having been made at the box-office"; thus beginning the train of similar "numerous enquiries" with which, in the years to come, his own box-office became familiar. Burton was the _Bob Acres_ of the comedy and _Wormwood_ in the farce. Then at the age of thirty, we can believe that the comedian's unfolding genius gave full promise of the delightful humor which clothed his _Acres_ at a later day; and that in the _Wormwood_ of the farce he afforded glimpses of that wealth of comic power which thereafter, and for so long, he lavished for the amusement of the public. Miss Pelham was the _Lydia Languish_ and Miss Elphinstone the _Julia_, English actresses of no special distinction; but it is interesting to note that Miss Elphinstone became the second wife of Sheridan Knowles, the author of a celebrated and far more popular _Julia_ than the lady of "The Rivals," and who appeared on the Philadelphia stage of that year.

Something akin to his reception by the audiences at the Haymarket in London, was for a time Burton's experience in Philadelphia.

As the recollection of Liston by the London audience dwarfed the efforts of the youthful aspirant, so the memory of Joseph Jefferson, senior, (who played in the city as late as 1830,[4]) diluted the interest felt in the new actor by the Philadelphia benches.[5] But the native force and humorous capability of the comedian were destined to conquer indifference; and, although the creative genius which informed his subsequent delineations was yet to be made clearly manifest, he soon had a secure footing; and a belief was strengthening in the public mind that an actor of rare endowments and promise had come from the land of Munden, Elliston, and Liston, and one who might, it was not too much to say, worthily perpetuate the traditions of Jefferson.

[4] He died in 1832.

[5] So the memory of Burton in New York to-day may still be a warning ofthe danger of inviting comparison.

On the fifth night of his engagement (September 12, 1834) he played _Timothy Quaint_, in "The Soldier's Daughter," and _Tristam Sappy_, in the afterpiece of "Deaf as a Post," and so on through a round of characters in comedy and farce--_Daffodil Twod_, among the latter, in "The Ladies' Man"--written by himself--was a great favorite. And it may here be said, in passing, that the farce, which previous to Burton's advent had sunk into lethargy, revived under his touch and became a vital point of attraction. He made a great hit as _Guy Goodluck_, in "John Jones," in which part he sang a comic song--"A Chapter of Accidents"--and the fact leads us to remark that very few of those who saw the comedian in his ripe prime were aware of the musical talent he exhibited in earlier years, and that he made a specialty of introducing humorous ballads in his pieces, and sang them with marked effect. A collection of such songs, entitled "Burton's Comic Songster," was published in Philadelphia in 1850; and we were surprised, on looking it over, at the quantity of mirthful verse he had written and sung. The well-known ditty of "The Cork Leg," it may be mentioned, was written expressly for him.

The engagement of Burton with Maywood & Co. lasted two years, and was renewed for two more, during which period the comedian's powers greatly developed, and displayed remarkable versatility and dramatic resource. He widely extended his repertory, and was seen at the Arch and Chestnut Street theatres in a variety of comedy rôles and in innumerable farces. Among the many noted parts performed by him at various times we may name: _Ollapod_, in "The Poor Gentleman"; _Doctor Pangloss_, in "The Heir at Law"; _Farmer Ashfield_, in "Speed the Plough"; _Goldfinch_, in "The Road to Ruin"; _Billy Lackaday_, in "Sweethearts and Wives"; _Tony Lumpkin_, in "She Stoops to Conquer"; _Maw-worm_, in "The Hypocrite"; _Sir Peter Teazle_ and _Sir Oliver Surface_, in "The School for Scandal"; _Mr. Dove_ and _Mr. Coddle_, in "Married Life"; _Dogberry_ and _Verges_, in "Much Ado About Nothing"; _Launcelot Gobbo_, in "The Merchant of Venice"; _Bob Acres_, in "The Rivals";--the last-named character he played on one occasion with the conjunction of the elder Wallack as _Capt. Absolute_, Tyrone Power as _Sir Lucius O'Trigger_, and Mr. Abbot (an actor celebrated in his day) as _Falkland_; truly a striking distribution. A few of the farces out of the many were "The Lottery Ticket," "Sketches in India," "The Mummy" (so famous in Chambers Street), "No Song No Supper," "John Jones," "Deaf as a Post," "The Ladies' Man," and a piece called "Cupid," which had won renown in England through the acting of the famous John Reeve.

Burton's growing popularity was substantially shown in the attendance at his regular benefits. They were always bumpers, and occasions of warm demonstrations of regard. He was always ready, too, with his sympathy and support where the claims of a professional brother were in question. William B. Wood, in his "Personal Recollections of the Stage," to which work we are indebted for much useful information, refers to an occurrence of the kind as follows: "I must apologize for the mention here of a circumstance purely personal, which proved one of the most gratifying events of my life. During the month of December, 1835, while acting in Chestnut Street, Burton called me aside between the acts, and with an expression of great pleasure, informed me that a meeting for the purpose of giving me a grand benefit had just adjourned, after completing the necessary arrangements. This was the first hint I ever had of this intention. The object was at once carried into effect, and on the 11th of January, 1836, I was honored by the presence of one of the most brilliant audiences ever assembled.... The following entertainment was offered: 'Three and Deuce,' two acts of 'Venice Preserved,' 'John of Paris,' 'Antony's Orations,' and a new song, and 'How to die for Love.' I was favored in these pieces with the valuable aid of Mr. Balls, Mr. J. Wallack, Mr. Abbot, Mrs. and Miss Watson, Mr. Wemyss, and Mr. Burton."

In the years while the comedian was advancing in his profession, and acquiring that knowledge of the stage which distinguished his subsequent management, his pen was not idle. He wrote several farces, and contributed stories and sketches to the periodicals of the day. These articles were widely read, and a collection of them was published by Peterson at a later date, with the title, "Waggeries and Vagaries"--a volume that has afforded entertainment to many readers of light literature. The literary taste referred to at the beginning of this narrative now sought indulgence, and in 1837 he started "The Gentleman's Magazine," a monthly publication of original miscellany. Articles of his own appeared in it from time to time, among others a graceful and appreciative sketch of his friend, James Wallack. He continued the editorship until July, 1839, when he associated Edgar A. Poe with him in the control.

To those who have paid any attention to the career of the gifted author of "The Raven," as depicted by various pens in recent years, it need scarcely be said that, though a man of genius, he was not without frailties; and his warmest defenders will not deny that his life was marred by many irregularities of conduct. He was appointed editor of the magazine at a fixed salary, and the arrangement was such as to give him leisure to contribute to other periodicals and to produce many of his famous tales. "Happier now," says one of his biographers,[6] "than he had been for years past, for his prospects seemed assured, his work regular, interesting, and appreciated, his fame increasing, he writes to one friend that he 'has quite overcome the dangerous besetment,' and to another that he is 'a model of temperance and other virtues.'" For nearly a year he remained with Burton; "but," continues the same biographer, "so liable was he still to sudden relapses that the actor was never with confidence able to leave the city. Returning on one occasion after the regular day of publication, he found the number unfinished, and his editor incapable of duty. He left remonstrances to the morrow, prepared the 'copy' himself, and issued the magazine, and then to his astonishment received a letter from his assistant, the tone of which may be inferred from Burton's answer: 'I am sorry you have thought it necessary to send me such a letter. Your troubles have given a morbid tone to your feelings which it is your duty to discourage. I myself have been as severely handled by the world as you can possibly have been, but my sufferings have not tinged my mind with melancholy, nor jaundiced my views of society. You must rouse your energies, and if care assail you, conquer it. I will gladly overlook the past. I hope you will as easily fulfil your pledges for the future. We shall agree very well, though I cannot permit the magazine to be made a vehicle for that sort of severity which you think is so "successful with the mob." I am truly much less anxious about making a monthly "sensation" than I am upon the point of fairness. You must, my dear sir, get rid of your avowed ill-feelings toward your brother authors. You see I speak plainly; I cannot do otherwise upon such a subject. You say the people love havoc. I think they love justice.... But I wander from my design. I accept your proposition to re-commence your interrupted avocations upon the _Maga_. Let us meet as if we had not exchanged letters. Use more exercise, write when feelings prompt, and be assured of my friendship. You will soon regain a healthy activity of mind, and laugh at your past vagaries,'" We think nothing can be clearer than that Burton had good cause for fault-finding, and that he was more than considerate and just in his frank expression of feeling.

[6] Henry Curwen, "Sorrow and Song." London, 1875.

We do not intend to pursue the ill-starred connection further. A more glaring offence on Poe's part severed the relationship, and not long thereafter the magazine was sold out to Graham and merged in his "Casket," the consolidation ultimately to become "Graham's Magazine."