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
There are two legitimate modes of evincing approbation and
disapprobation in the theatre—one expressive of approbation,
by the clapping of hands, and the other by hisses to mark
dissent; and as well-timed and hearty applause, is the just
meed of the actor who deserves well, so also is hissing, a
salutary and wholesome corrective of the abuses of the stage;
and it was against one of these abuses that _my_ dissent was
expressed, and not, as was stated, “with a view of expressing
his (my) disapproval of the manner in which Mr. Macready gave
effect to a particular passage.” The truth is, Mr. Macready
thought fit to introduce a fancy dance into his performance
of “Hamlet,” which I thought, and still think, a desecration
of the scene, and at which I evinced that disapprobation, for
which the pseudo-critic is pleased to term me an “offender,”
and this was the only time during the performance that I
did so, although the writer evidently seeks, in the article
alluded to, to convey a different impression. It must be
observed also, that I was by no means “solitary” in this
expression of opinion.
That a man may manifest his pleasure or displeasure after
the recognised mode, according to the best of his judgment,
actuated by proper motives, and for justifiable ends, is a
right, which, until now, I have never once heard questioned,
and I contend, that right extends equally to an actor, in his
capacity as a spectator, as to any other man; besides, from
the nature of his studies, he is much more competent to judge
of a theatrical performance than any _soidisant_ critic, who
has never himself been an actor. The writer of the article
in _The Scotsman_, who has most unwarrantably singled me out
for public animadversion, has carefully omitted to notice
the fact, that I warmly applauded several points of Mr.
Macready’s performance; and more than once I regretted that
the audience did not second me in so doing. As to the pitiful
charge of professional jealousy preferred against me, I
dismiss it with the contempt it merits, confidently relying
upon all those of the profession with whom I have been
associated, for a refutation of this slander.
Yours, respectfully,
EDWIN FORREST.
March, 1846.—_Times, 4th of April._
CHAPTER THIRD.
THE QUARREL RECOMMENCED IN AMERICA.
Public-domain text, read in full here on John Shaqi.
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