The Mormons and the Theatre; or, The History of Theatricals in UtahLindsay, John S. (John Shanks)
Religion
The Mormons and the Theatre; or, The History of Theatricals in Utah
Lindsay, John S. (John Shanks)
Latter Day Saints; Theater -- Utah -- History
On the 9th, Harry Rickards, an English comic singer of great spread
and self importance, opened for a week's engagement in conjunction
with the stock company. Rickards was recently from Australia and put
in a week at the Bush Street during the writer's engagement there. His
singing and style did not catch on with the San Franciscans. He was
too "awfully English, yer know." He did not prove any great attraction
in Salt Lake. On the 21st a grand concert was given for the benefit of
the Catholic church. On the 22nd, W. J. Florence opened for a week,
supported by the stock company. His opening play was "Dombey and Son."
He gave besides "No Thoroughfare" and the "Colleen Bawn." Each piece
ran two nights, carrying the season through the Christmas holidays and
the house closed with his last performance on the 26th until New
Year's day. January 1st, 1875, the theatre reopened with the stock
company, who, without the assistance of any stellar attraction, played
two weeks when the house closed again until the 25th inst.
Of the people who had comprised the stock company the previous season,
the following members had drifted away: J. Al. Sawtelle, leading man;
Mrs. Sawtelle, general utility; John S. Lindsay, leading heavy;
Asenith Adams (Mrs. Kiskadden), leading juveniles; W. S. Crosbie,
comedian; Arrah Crosbie, characters; J. H. Vinson, first old man and
stage manager; Buck Zabriske, prompter. The uncertain and spasmodic
nature of the engagements this season, which had caused this strong
contingent of the company to seek other engagements, also prevented
the accession of new people to the ranks of the stock company, so that
it was in a rather dilapidated and weakened condition, especially for
the support of legitimate repertoire, such as Katherine Rogers
presented for the patrons of the drama.
Public-domain text, read in full here on John Shaqi.
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