THE   NEW  YORK   CLIPPER  ANNUAL.
 

17
 

ASTOR PLACE   OPERA  HOUSE, New York, 1847.
 

surpassed. It was fondly hoped by its proprietors that it
would prove to be the favorite dramatic temple of New
York, and that all other city theatres would sink subor¬
dinate in comparison; and, consequently, though popu¬
larly known as the Bull's Head Theatre, it was determined
to give it the more comprehensive title of The New York
Theatre, Bower.y—a name it retained until it came into
the hands of Hackett <fe Ilamblin, who designated it sim¬
ply The Bowery Theatre; though the latter, in a fit of
naturalized patriotism, on the occasion of the Anderson
riot at the Park, in 1831, proclaimed a change, and an¬
nounced it as The American Theatre, by which its bills
were headed for a year or two, after which its present
title was resumed. The management of the New York
Theatre, which hereafter, fjr convenience, we shall simpl.v
call "The Bowery," was intrusted to Charles Gilfert, and
his experience as manager and skill as a musician, aided
by the undoubted taste of his accomplished wife, were
deemed sufficient guarantees of his fitness for the post.

George Barrett Avas engaged as stage manager; Mr.
Taylor, from the Park, as leader of orchestra, and Messrs.
Coyle & Serra, as scene painters. The prices of admission
were at first fixed a', fifty cents for the boxes and pit, and
twenty-five cents for the gallery; but a few ni.ghts' ex¬
perience proved that, to keep a porfon of the house free
from admixture with the vulgar and unrefined, it would
be necessary to discriminate'iDctween the boxes and the
pit, and the admission was raised to seventy-five cents f,)r
the former, and reduced to thirty-seven-and a half for the
latter, which soon produced the desired effect. The com¬
pany engaged consisted of Mr. and Mrs. Duff, Mr. and
Mrs. Young, Mr. and Mrs. George Barrett, Mr. and Mrs.
Lamb (the singer), C. Durang, Logan, C. Scott, Hamilton,
Koberts, Edwin Forrest, Faulkner, Hyatt, Stone, Ber¬
nard, Kenyon, Essenden, Laws, Read and Beckwell,
Mrs. Gilfer't, Mrs. Hu.ghes, old Mrs. Barrett, Mrs. Brazier,
Miss Deblin, Little Miss Kent, etc. The theatre was first
opened to the public on Monday evening, Oct. 23, 1826,
and the experiment of lighting the stage with .gas, then
fir.st attempted, was hailed with the greatest satisfaction
by an audience which crowded the building in every part.

The first performance consisted of an opening address,
written byC^reville Mellen and recited byGeor.ge Barrett;
"The Road to Ruin," a second prize address written* by
Dr. Farmer and spoken by JIr.s. Youn.g, and the farce of
"Eaising the Wind." On Nov. 6 Edwin Forrest made his
first appearance vn the stage where he established his
fame as a tragedian, acting the character of Othello,
Dec. 13 Mr. Hamblin first appeared there, acting Virginius.
Jan. 15, 1827, Signorina Garcia (Mme. Malibran) first at¬
tempted a character in English opera, that of Clount Be-
lino in "The Devil's Brid.ge," from which all the music
was cut save the songs incidental to her part. Feb. 7
Mme.  Francisquy Ilutin made her first appe.^.rance in
 

America, and introduced the modern French school of
dancing on the American stage. During her first dance
every lady in the lower tier of boxes left the house. June
27 Mile. Celeste made her first appearance in America.
On Se^t. 11 Miss Jane Fisher, afterwards the late Mrs.
Vernorf, made her American debut. Sept. 12 the late
Georsre Holland made his first appearance on the Ameri¬
can stage. Sept. 13 the late William B. Chapman made
his first apt,earance in New York. On March 28, 1828,
Louisa Lane (now Mrs. John Drew) made her first appear¬
ance in New York, acting Little Pickle. On May 12 Herr
Cline, tight rope performer, made his first appearance in
America. Monday evenin.g. May 26, before the audience
and performers had assembled, the theatre was discovered
to be on fire, and was totally consumed. On its site, on
Au.g. 20, 1828, the second and brand new Bowery Theatre
was erected. For fifty years En.srlish spoken plays con¬
tinued on its boards. In 1879 it became the Thalia, by
which name it is now known.

THE   LAFAYETTE  THEATRE (1825).

The Lafayette Amphitheatre, as it was then called, a

building owned by C. W. Sanford, and  situated on the

westerly side of Laurens  Street, about 100ft. north of

Canal Street, was first opened to the public on July 4,

1825.    The design of the front was attractive, but it al¬
ways had an unfinished and cheap appearance. The per¬
formances consisted of the customary exercises of the
circus, equestrian dramas, farces and ballets.   On July 4,

1826, it was opened as a regular dramatic temple, under
the title of The Lafayette Theatre, with the farce of "The
Tb.ree Hunchbacks,'' and, for the first time in America,
"The Dumb Girl of Genoa." The dramatic season closed
earl.y in December, and tlie theatre was rented to Mons.
VilLalave, a rope dancer, who opened it on the 18th with
his troupe. During the following Summer it was entirely
rebuilt by Mr. Sanford, from the plans of Mr. Grain, and,
on its completion, Avas acknowledged to be the largest
and most splendid theatre in the country. The front was
of eastern white granite, presenting a novel and beauti¬
ful appearance, and the interior Avas decorated in a stylo
equally chaste and elegant. The boxes Avere supported by
bronze columns, Avith Ionic capitals carved and gilded,
and a superb glass chandelier hung from the centre of the
dome. The stage AA'as 120ft. deep, and, in part, 100 wide,
being larger than any then existing in England or Amer¬
ica. ItAvas considered a vast improvement that it was
lighted from above, and that the stage machiner.y was
also managed from the same elevated position. The sea¬
son opened Sept. 29, 1827.    Jtme 6,1828, for Mrs. Gilfert',^