Philip Hone

The Diary of Philip Hone

Jerome Robbins Dance Division, The New York Public Library. “Madlle. Fanny Elssler in La tarentule.” The New York Public Library Digital Collections. 1840. http://digitalcollections.nypl.org/items/2678e780-9d9b-0131-9bb0-58d385a7b928

Source: Bayard Tuckerman (ed.), The Diary of Philip Hone, 1828-1851 (New York, Dodd, Mead, 1889), vol. 2, p. 28

Text: Many and many a night has passed since the walls of the Park have witnessed such a scene. Fanny Ellsler [sic], the bright star whose rising in our firmament has been anxiously looked for by the fashionable astronomers since its transit across the ocean was announced, shone forth in all its brilliancy this evening. Her reception was the warmest and most enthusiastic I ever witnessed. On her first appearance, in a pas seul called la Cracovienne which was admirably adapted to set off her fine figure to advantage, the pit rose in a mass, and the waves of the great animated ocean were capped by hundreds of white pocket-handkerchiefs. The dance was succeeded by a farce, and then came the ballet “La Tarantule,” in which the Ellsler [sic] established her claim to be considered by far the best dancer we have ever seen in this country. At the falling of the curtain she was called out; the pit rose in a body and cheered her, and a shower of wreaths and bouquets from the boxes proclaimed her success complete. She appeared greatly overcome by her reception, and coming to the front of the stage, pronounced, in a tremulous voice, in broken English, the words “A thousand thanks,” the naiveté of which seemed to rivet the hold she had gained on the affections of the audience.

All the boxes were taken several days since, and in half an hour after the time proclaimed for the sale of pit tickets the house was full, so that when we arrived, which was a full hour before the time of commencing the performance, placards were exhibited with the words “Pit full,” “Boxes all taken.” This wise arrangement prevented confusion. The house, although full in every part, was not crowded, and a more respectable audience never greeted the fair danseuse in any country she has charmed.

Comments: Philip Hone (1780-1851) was an American businessman and diarist, who was Mayor of New York 1825-1826. Fanny Elssler (1810-1884) was an Austrian ballerina, considered to be one of the finest dancers of the Romantic ballet period. After much success in Europe, she toured the USA for two years from 1840, with her dancer sister Therese.

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The Diary of Philip Hone

Source: Bayard Tuckerman (ed.), The Diary of Philip Hone, 1828-1851 (New York, Dodd, Mead, 1889), vol. 1, pp. 265-266

Production: Richard Brinsley Sheridan, The Rivals, National Theatre, New York, 4 September 1837

Text: September 4. — Wallack opened the National Theatre (late the Italian Opera House) this evening, with the comedy of “The Rivals.” He has brought with him from England a very strong company, several of whom appeared this evening. I never saw a play go off with more spirit. Wallack, in the dashing part of Captain Absolute, with a handsome scarlet uniform coat, and his one beautiful leg (the other being a little crooked ever since he broke it by being upset in the stage at Brunswick), made a most captivating entrée, was received with great applause, and made, at the falling of the curtain, one of the best, most graceful, and eloquent speeches I ever heard on such an occasion. But I fear he will not succeed. The National is the prettiest theatre in the United States; but it is not in Broadway, and the New Yorkers are the strangest people in the world in their predilection for fashionable locations. In Paris the theatres are scattered over the whole city, and the fashionable milliners, jewellers, tailors, and all those who depend for their support upon the gay, the rich, and the fashionable, are to be found in by-streets, or in the mazes of narrow, dark alleys; but our people must have their amusements thrust under their noses, and a shopkeeper, if he hopes to succeed in business, must pay a rent of $4,000 or $5,000 in Broadway, when he might be equally well accommodated for $600 or $800 ten doors from it. But there is a greater obstacle to the success of the new establishment in the great number of theatres at present open in the city, each one of whom has some “bright particular star” shining to attract and dazzle the eyes of the multitude.

It is almost incredible that in these times of distress, when the study of economy is so great an object, there should be nine of these money drains in operation: The Park; the old Drury, of New York, which has done well during the whole of the hard times; the Bowery, with Jim Crow, who is made to repeat nightly, almost ad infinitum, his balderdash song, which has now acquired the stamp of London approbation to increase its éclat; the Franklin, in Chatham square; Miss Monier’s Theatre, in Broadway, opposite St. Paul’s, — little and weakly, and likely to die; the Euterpean Hall, Broadway, below Canal street, — short-lived, also, I suspect; the Broadway Theatre, next to Tattersall’s, which has been handsomely fitted up, and is to be opened next week; Mrs. Hamblin’s Theatre, formerly Richmond Hill, where the Italian opera first placed its unstable foot in New York; the Circus, in Vauxhall Garden, nearly in the rear of my house; and Niblo’s Vaudevilles, — the best concern of the whole at present, with a strong company playing little pieces à la française. Concerts, and rope-dancing, and other performances of the Ravel family, consisting of eight or ten of the most astonishing performers in their line who have ever appeared in this city. If Wallack can stand all this, he is immortal.

Comments: Philip Hone (1780-1851) was an American businessman and diarist, who was Mayor of New York 1825-1826. The National Theatre originally opened as the Italian Opera House in 1836. The actor-manager James William Wallack took over management in 1837, putting on a repertory of classic dramas. Wallack played Sir Anthony Absolute in this production of Sheridan‘s The Rivals. The theatre burned down in 1839, was rebuilt only to burn down again in 1841.

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The Diary of Philip Hone

Source: Bayard Tuckerman (ed.), The Diary of Philip Hone, 1828-1851 (New York, Dodd, Mead, 1889), vol. 1, p. 238

Production: William Shakespeare, As You Like It, Park Theatre, New York, 9 December 1836

Text: Miss Ellen Tree made, this evening, her first appearance in America, at the Park Theatre, in the character of Rosalind in “As You Like It,” and Pauline in a sort of melodrama called “The Ransom.” Her Rosalind was a most fascinating performance, full of grace and refinement and the part well adapted to her style of acting. The play, admirable as it is, and abounding in Shakespeare’s finest passages and most touching sentiments, is usually tiresome in the performance, and can be best appreciated in the closet; but on this occasion sweet Rosalind was so ably supported by all the other characters that it went off delightfully. The charming debutante was well received by a prodigiously crowded house, and was saluted by cheers and waving of hats and handkerchiefs. I was struck again, as in London, by the great resemblance of Ellen Tree to my daughter Mary. Her profile is much like hers, and her smile so like that it almost overpowered my feelings; they are both pretty well off for nose, neither being of the kind called “snub” by any means; “quite to the contrary, I assure you,” as Temple Bowdoin says; but Mary’s eyes are finer and more expressive than Miss Tree’s. Fanny Kemble was right in this matter.

Comments: Philip Hone (1780-1851) was an American businessman and diarist, who was Mayor of New York 1825-1826. He saw Shakespeare‘s As You Like It at the Park Theatre, New York, 9 December 1836. The British actress Ellen Tree (1805-1880) was known professionally as Mrs Charles Kean after her marriage in 1842.

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The Diary of Philip Hone

Source: Bayard Tuckerman (ed.), The Diary of Philip Hone, 1828-1851 (New York, Dodd, Mead, 1889), vol. 1, p. 62

Production: William Shakespeare, Hamlet, Park Theatre, New York, 17 September 1832

Text: Monday, Sept. 17. — Charles Kemble made his first appearance this evening at the Park Theatre, in the character of Hamlet, to a great house. He was well received, and listened to with great attention. There were not many ladies in the house, but the audience appeared to be critical and discriminating. It was precisely such acting as my recollection of Kemble and my opinion of his powers had led me to expect. The part was deeply studied and well understood; his reading is critically correct, his elocution distinct, and his manner dignified; but he is too formal, even for Hamlet. His pauses are too long and too frequent, so much so as to make the representation fatiguing; and for myself, I confess that, although my judgment is perfectly satisfied, his Hamlet falls far short of the power to interest me and give me pleasure of Kean’s or even Wallack’s, and he labours, moreover, under one great disadvantage, of which he has, unfortunately, no chance of amendment, — he is too old by thirty years for this part, and the expression of his face will do better for Lord Townly, Sir Edward Mortimer, King John, and other such parts. He is, on the whole, a fine actor, a good study for the younger men, and his visit to this country ought to improve the American stage. Fanny Kemble is to appear to-morrow evening in “Fazio.”

Comments: Philip Hone (1780-1851) was an American businessman and diarist, who was Mayor of New York 1825-1826. He saw Hamlet at the Park Theatre, New York, 17 September 1832. The British actor Charles Kemble visited America in 1832 and 1834, accompanied by his actress daughter Fanny Kemble.

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