Account of the Terrific and Fatal Riot at the New-York Astor Place Opera House on the Night of May 10th, 1849: With the Quarrels of Forrest and Macready Including All the Causes which Led to that Awful Tragedy Wherein an Infuriated Mob was Quelled by the Public Authorities and Military, with its Mournful Termination in the Sudden Death or Mutilation of more than Fifty Citizens, with Full and Authentic ParticularsAnonymous
History
Account of the Terrific and Fatal Riot at the New-York Astor Place Opera House on the Night of May 10th, 1849: With the Quarrels of Forrest and Macready Including All the Causes which Led to that Awful Tragedy Wherein an Infuriated Mob was Quelled by the Public Authorities and Military, with its Mournful Termination in the Sudden Death or Mutilation of more than Fifty Citizens, with Full and Authentic Particulars
Anonymous
Astor Place Riot, New York, N.Y., 1849; Forrest, Edwin, 1806-1872; Macready, William Charles, 1793-1873; Mobs -- New York (State) -- New York; Riots -- New York (State) -- New York
It appears, however, that when Mr. Macready came to consult his legal
advisers, two eminent Philadelphia lawyers, they wisely advised him to
let the matter drop, and be satisfied with his reputation. So Macready
went South, and was feted and feasted in New Orleans to his heart’s
content, but to the grievous discontent of Mr. Forrest and his numerous
admirers.
In the meantime, Macready had written to England for evidence to prove
that the statements in Mr. Forrest’s Philadelphia card were libelous;
and when he decided to give up his law suit, he caused these documents
to be printed in a pamphlet, which however, he soon withdrew from
public circulation. There were letters from Edinburgh to prove that
Mr. Forrest was alone in hissing the “fancy dance” in Hamlet; letters
from the proprietor and theatrical critic of the London Examiner, to
show that Macready had not influenced any criticisms on Forrest in that
paper; from Sir E. Bulwer Lytton, asserting that he had offered his
plays to Mr. Forrest for a fair consideration, and had not withheld
them at the request of Mr. Macready, with other equally pertinent
documents. But what avail were these? The friends of Forrest felt sure
that he had been shamefully treated in England, by the friends of
Macready; and whether he was a party to the matter or not, they meant
to hold him responsible, and therefore it was determined that he should
never play another engagement in New York, and that determination was
enforced, but oh! at what a fearful sacrifice.
CHAPTER FOURTH.
THE PLOT THICKENS—THE ENGAGEMENT AT THE OPERA. HOUSE—MACREADY DRIVEN
FROM THE STAGE.
It must not be supposed that this was the first manifestation of
patriotic indignation on the part of the friends of Mr. Forrest, on
account of his treatment in England. It was a deep and intense feeling,
and was ready to burst out on any fitting occasion. It threatened Mr.
Anderson, and in Philadelphia an effort was made to drive him from the
stage; but a better feeling prevailed. Anderson was not charged with
any ill-will to Mr. Forrest, and the opposition to him was abandoned:
yet there were not wanting persons who contended that every English
actor ought to be driven from the American stage, in revenge for the
insult offered by England to this country, in the person of Edwin
Forrest.
But when Macready, who was charged by Forrest himself with being the
head and front of this offending, came to the United States, the flame
of hatred was ready to burst forth, and the only wonder is, that it
remained pent up so long. On his return from the South, Messrs. Niblo
and Hackett, who had taken the Opera House for that purpose, announced
that Mr. Macready would open an engagement on Monday night, May 7th.
Mr. Forrest was playing at the Broadway Theatre. Previous to the
commencement of this engagement, Mr. Macready gave a reading of a play
of Shakspeare before the teachers of the public schools of New York
and Brooklyn.
Public-domain text, read in full here on John Shaqi.
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