Taverns. one Brooks had a delightful sign of an Indian Chief, drawing his arrow to the head at a bounding deer. These have all gone with Rutter to the capulets," or, like Alexander's clay, "May stop a hole to keep the wind away." When they first numbered the houses he painted the fingerboards for the corners; one of which, the "last of the Mohicans," may be seen at the corner of Fifth and Spruce streets, (south west) and though nearly defaced by time, forms a contrast to the clumsy hand-boards that succeeded them. The sign of a cock picking up a wheat ear drew the public attention to Pratt, who painted also "the Federal Convention"--a scene within "Independence Hall"George Washington, President; William Jackson, Secretary; the members in full debate, with likenesses of many of those political "giants in those days"-such as Franklin, Mifflin, Madison, This invaluable "Bob" Morris, Judge Wilson, Hamilton, &c. sign, which should have been copied by some eminent artist, and engraved for posterity, was bandied about, like the casa santa of Loretto, from" post to pillar," till it located in South street near the Old Theatre. The figures are now completely obliterated by a heavy coat of brown paint, on which is lettered Fed. Con. 1787. Another observer says the subject is so far from exhausted, that old signs, from various quarters, still crowd upon my remembrance; in particular, I remember a very hideous one of Hudibras, which was placed at a tavern in Second street, at the entrance into the old Barracks, to which was affixed the following couplet: "Sir Hudibras once rode in state, Now sentry stands at Barracks gate." I am unwilling to leave unnoticed a new edition of one of our ancient subjects for a sign, where it has been continued for a great number of years, at a very old beer house in Chesnut near Front street; it is now, or lately was, the "Turk's Head," but in the former part of last century was "Kouli Khan," when the fame of that conqueror made his portrait a popular sign. In this respect the King of Prussia was once a great favourite, and still maintains his sway in some places, so that I have known a landlord upon the decrease of his custom to again have recourse to the old subject for a sign, that the house was formerly known by, with good suc cess. THEATRES. MUCH opposition was originally made to the introduction of theatrical entertainments into Philadelphia, chiefly by the religious part of the community. From this cause those which were first regularly established, opened their houses just beyond the bounds and control of the city officers. Finally, when it was first attempted to set up the Chesnut street theatre in the city, in 1798, great efforts were made by both parties to get up memorials pro and con. The earliest mention of theatrical performance occurred in the year 1749, in the month of January. Then the Recorder of the city reported to the Common Council, that certain persons had lately taken upon them to act plays in the city, and, as he was informed, intended to make frequent practice thereof, which, it was to be feared, would be attended with very mischievous effects- such as the encouragement of idleness, and drawing great sums of money from weak and inconsiderate persons, who are apt to be fond of such kind of entertainment, though the performance be ever so mean and contemptible; whereupon the Board unanimously requested the magistrates to take the most effectual measures for suppressing this disorder, by sending for the actors, and binding them to their good behaviour, or by such other means as they should think proper. From the premises it is probable they were Thespians of homemade production, of such untutored genius as had never trod the stage. In the year 1754 some real Thespians arrived, called "Hallam's Company" from London, including Mrs. Hallam and her two sons. In the month of March they obtained license to act a few plays in Philadelphia, conditioned that they offered nothing indecent or immoral. In April they opened their "new theatre in Water street"-in a store of William Plumstead's, corner of the first alley above Pine street. Their first entertainment was the Fair Penitent, and Miss in her Teens.-Box, 6s. pit, 4s. and gallery, 2s. 6d. said to have been offered "to a numerous and polite audience,”. -terms of attraction intended for the next play. In the prologue to the first performance some hints at their usefulness as moral instructors were thus enforced, to wit: "Too oft, we own, the Stage with dangerous art, In wanton scenes, has play'd a Syren's part, Has sometimes stray'd from what was pure and just; Theatres. Has she not oft, with awful virtuous rage, In the mean time those who deemed them an evil to society were very busy in distributing pamphlets gratis, if possible, to write them down. They continued, however, their plays till the month of July. As a se We hear nothing of this company again till their return in 1759; they then came in the month of July to a theatre prepared the year before at the south west corner of Vernon and South streets, called the theatre on "Society Hill." It was there placed on the south side of the city bounds, so as to be out of the reach of city control, by city authorities; and. "Society Hill" itself was a name only. Having no laws, great efforts were now made by the Friends and other religious people to prevent plays even there; much was written and printed pro and con. The Presbyterian Synod, in July, 1759, formally addressed the Governor and Legislature to prevent it. The Friends made their application to Judge William Allen to repress them. His reply was repulsive, saying he had got more moral virtue from plays than from sermons. quel, it was long remembered that the night the theatre opened, and to which he intended to be a gratified spectator, he was called to mourn the death of his wife. This first built theatre was constructed of wood, and is now standing in the form of three dwellinghouses at the corner of Vernon and South streets. The chief players then were Douglass, who married Mrs. Hallam; the two Hallams, her sons; and Misses Cheer and Morris. Francis Mentges, afterwards an officer in our service, was the dancing performer,-while he danced, he assumed the name of Francis. The motto of the stage was "Totus mundus agit histrionem." F. Mentges had talents above his original profession, and was, in the time of the Revolution, esteemed a good officer. In the course of ten years these comedians had so far acted themselves into favour as to need more room, and therefore they had got themselves ready, by the year 1760, to open another theatrea larger building, constructed of wood, situate also in south street, above Fourth street, and still keeping within the line of Southwark and beyond the bounds of city surveilance. The managers were Hallam and Henry. As a parting measure, in quitting their former theatre for the last mentioned one, they, in 1759, announced their regard to church by proposing to give the play of George Barnwell "at their theatre on Society Hill," as a benefit to the College of Philadelphia, 3 H "for improving the youth in the divine art of psalmody and church music," meaning thereby to help to buy an organ for the use of the charity children in the old academy. While the British occupied Philadelphia, they held regular plays in the Southwark theatre, the performers being officers of Howe's army, the box tickets at one dollar, and the proceeds used for the widows and orphans of soldiers. Major André and Captain Delancy were the chief scene painters. The waterfall scene, drawn by the former, continued on the curtain as long as that theatre lasted. It was burnt down a few years ago. When the theatre was erected in Chesnut street in 1793, it received and retained the name of the "New Theatre," in contradistinction to the Southwark Theatre, which afterwards generally was called the Old Theatre. Mr. Wignell was first manager. There was a small wooden theatre, about the year 1790, on the wharf up at Noble street; it was turned into a boat shed. "Jack Durang," as Scaramouch, is all that is remembered by those who saw the company of that day. The reminiscences of the "Old Theatre” of 1788 to 98, as furnished by my friend Lang Syne, are to the following effect, to wit: "The Old Theatre (Southwark) was the only theatre with a regular company, and all "Stars," in the United States, or at that time in the new world. The building, compared with the new houses, was an ugly ill-contrived affair outside and inside. The stage lighted by plain oil lamps without glasses. The view from the boxes was intercepted by large square wooden pillars supporting the upper tier and roof. It was contended by many, at the time, as Mr. James Fortin will testify, that the front bench in the gallery was the best seat in the house for a fair view of the whole stage. The stage box on the east side was decorated with suitable emblems for the reception of President Washington, whenever he delighted the audience by his presence; at which time The Poor Soldier was invariably played by his desire. "Old Hallam” prided himself on his unrivalled Lord Ogleby in the Clandestine Marriage, and Mungo in the Padlock. Old Henry" was the pride of the place in Irishmen. An anecdote is related of his being one night in a passionate part, and whirling his cane about, when it flew out of his hand into the pit, without doing any damage; on its being handed to him, he bowed elegantly and said, in character, "Faith, whenever I fly in a passion my cane flies too." Another: that, on being hit with an orange from the gallery, he picked it up, and bowing said, "That's no Seville (civil) orange." A gentleman of this city, known familiarly to the inhabitants generally, as "Nick Hammond," used to play for his amusement in Jews. Wignell's Darby was always beheld with raptures. Hodgkinson was the universal favourite in Tragedy, Comedy, Opera and Farce, and was supposed to be one of the best actors of of "All work," that ever trod the boards. His Robin in No Song No Supper, and Wignell's Darby, in the Poor Soldier, were rivals in the public taste, and have never been equalled here. Does none remember? About this time Wignell and Reinagle being about to build a new theatre, the corner stone of which had been laid at the north west corner of Sixth and Chesnut streets, and Wignell having started for England," to beat up for theatrical forces, Hallam and Henry made arrangements to retire from "Old South" to New York, where an immense pile of stone work was put up opposite the Park for their reception as a theatre. The old company went out, and the new company came into public notice, in the winter of 1793. The only house on the "tother side of the gutter" at the time, was Oeller's Hotel, which was fired by flames from Ricketts' Circus, (erected some years afterwards,) and both were burnt to the ground one evening. |