THE stage needs a reliable and compendious yearly chronicie. Hitherto no such chronicle has existed. These, in brief, are the reasons why the NEW YORK MIRROR begins, with the present volume, the publication of an Annual. It is believed that a compact, complete, and convenient history of each succeeding dramatic year will prove a valuable supplement to the heretofore meagre and scattered annals of the contemporary theatre. Encouraging assurance has been received that this book and its successors will be heartily welcomed by the critic, the playwright, the actor, the manager, and the collector of works relating to the drama. I have personally had frequent occasion to deplore the lack of a handy and reliable dramatic record, and I know that many other writers for the press have felt the same want. How many precious hours have been consumed in hunting through cumbrous and confusing newspaper files for elusive dates and data! One of the objects of this Annual is to obviate perplexing research and economize the valuable time of busy men. It was at first intended that the Chronological Record should cover only the American stage, but its plan was ultimately extended to embrace all noteworthy dramatic events in England, France, and Germany. In recording new productions the original casts are given, and where the plays are sufficiently important synopses of plots are appended. Critical comments have been entirely omitted, as foreign to the scope and purpose of the Record, which deals simply with facts. The endeavor throughout has been to secure accuracy; but in the collection and condensation of a vast quantity of material some trifling errors and omissions may have been inadvertently overlooked. Mr. Albert Ellery Berg, the compiler of this department, has bestowed upon it the most patient thought and arduous labor. He has brought to bear every available source of information, months of diligent and persevering effort having been devoted to the task. I cheerfully and gratefully acknowledge the excellent manner of its fulfilment. The Necrology-which is supplemented by portraits of the more celebrated persons in the professional death-roll of the year—and the Bibliography have been made as complete as possible. A unique feature of this book is the first authentic Directory of the American Theatrical Profession ever published. It has often been reproachfully said that professionals of the present day are - nomads. That the exigencies of the so-called “combination system" compel almost constant travel during the greater portion of the year is true, but the current supposition that the large army of migratory players are waifs and strays is fallacious, and no stronger proof of the fact than this Directory has ever been put in evidence. Here will be found the permanent abiding-places or permanent addresses of thousands. Its correctness is attested by the statement that the information, in nearly all cases, has come direct from the people themselves. Where they were unable or unwilling to furnish a home address, they were requested to give an address where mail matter would be received

and promptly forwarded. It will be noted, as indicating the popularity and efficiency of the MIRROR's letter department, that many have given the MIRROR office as their permanent address. All classes of the profession, I am happy to say, have lent their aid in facilitating the preparation of the Directory. Its chief aim is to furnish a medium whereby managers and actors can freely communicate with one another. Those hungry sharks, the theatrical middlemen known as "dramatic agents," have for many years been able to feed on actors solely through the monopoly of the latter's private addresses. They have exercised a system of petty tyranny, unjust discrimination, deception, and barefaced extortion, without interference. The victims have groaned and suffered, but they have seen no avenue of escape from their wretched bondage. The time is ripe for a change. The dignity of the profession demands exemption from the miserable practices of the men that thrive on the dramatic intelligence office business. This Directory, which contains many times more names and addresses than all their jealously guarded registry-books combined, deprives the "dramatic agents" of their stock-in-trade and emancipates a large number of players from their galling and degrading yoke. Now managers can have absolute freedom for selection, while actors can make engagements without danger of extortion. I cherish the hope that the rank abuses common with the “agencies” will be abated, if not absolutely destroyed, by the means which the MIRROR has furnished. The classification of the names in the Directory under the various lines of business should greatly augment its value. This classification has been mainly left to the professionals themselves, and it will be understood that they appear under the respective lines in which they profess to be proficient. Where more than one line has been given, the name will be found under that which is rated as the more important. The difficulties that stood in the way of this compilation were manifold, but they have been successfully overcome. The Directory is approximately, if not actually, complete. From time to time it will be revised and republished. The managers and attachés of the theatres and halls throughout the country have been purposely left out, as it was desired to include only the members of stock and travelling companies and those directly connected with them, disengaged actors and actresses, etcetera. Even so prosaic a labor as the preparation of a directory has its humorous side. From a Western company was received a roster that contained the name of the business manager, who was gravely labelled “deceased." A comedian, who is a favorite member of one of the metropolitan stock companies, described his line of business to be the best parts he could get. A less fortunate brother-professional, touring with a small combination in a remote region, significantly stated his as any parts he could get." It may naturally be imagined that some little trouble was experienced in assigning to 'Human Enigma,' their proper places a “Man Monkey,” a a Human Frog," and a troupe of performing apes. The copious General Index is the work of that expert and careful indexer, Mr. Charles F. Durfee. It largely enhances the value of the Annual as a book of reference.

66

66

HARRISON GREY FISKE.

CHRONOLOGICAL DRAMATIC RECORD.

1887.

JANUARY.

1. Production of "A Glimpse of Paradise," farcical comedy in three acts, by Joseph Dilley, at Lyrie Hall, Ealing, England.- -Production of "Die Zauberin am Stein," drama by Franz Nissel, at the Ostend Theatre, Berlin, Germany.- First representation at Potsdam, Germany, of "O dieser Papa," comedy in three acts, by Ernst Connemy. First representation at the Court Theatre, Altenburg, Germany, of "Hertha," opera by Franz Curti.- -The American Opera Company closed its engagement at the Brooklyn Academy of Music, and started for Boston. Mrs. F. B. Thurber published an appeal, stating why the public should support the enterprise. 2. Production of "Vorurtheili," drama by Robert Buchholz, at the Thalia Theatre, Hamburg, Germany. Frank Murtha, Manager of the Windsor Theatre, New York, instituted Sunday-night concerts at his establishment.- -Death of Milton Tootle, manager, at St. Joseph, Mo. -Death of John P. Sutton, character actor, at Brooklyn, N. Y.

3. Goldmark's opera,

66

Merlin," libretto by Lipiner, was produced at the Metropolitan Opera House, New York, for the first time in this country, and with it began the second half of the season of grand opera in German of 1886-87. The principals of the cast were: King Arthur, Herr Robinson; Modred, Herr Kemlitz; Gawein, Herr Heinrich; Lancelot, Dr. Basch; Merlin, Herr Alvary; Viviane, Lilli Lebmann; Bedwye, Herr v. Milde; Glendower, Herr Sieglitz; Morgana, Frl. Brandt; Demon, Herr Fischer. The framework of the story is, in brief, as follows: The supernatural power of Merlin, which comes to him from his father, the Evil One, and has been exercised in behalf of the forces of King Arthur, being broken by his love for Viviane, and he himself being saved from the wrath of his demon father by her self-sacrificing love, the keynote of the drama is the old aphorism, "Love is stronger than death." Revival of "The Merry Wives of Windsor," at the Holliday Street Theatre, Baltimore, Md., the cast including W. H. Crane as Falstaff; Stuart Robson as Master Slender; Selina Fetter as Mistress Ford; May Waldron as Mistress Page, and W. H. Harris as Ford.- -"The Woman-Hater," an eccentric comedy, by D. D. Lloyd, presented for the first time in New York at the Harlem Theatre Comique. "The Custer Massacre of the Little Big Horn," presented for the first time by the CodySalsbury Wild West Show at the Madison Square Garden, New York, with Buffalo · Bill (W. F. Cody) as General Custer.- -“Romeo and Juliet" reproduced at the Union Square Theatre with the original scenery of the 1885 production, with Margaret Mather and Frederick Paulding in the title rôles.Judge Shepard, in the Circuit Court of Chicago, decided the habeas corpus case of J. H. Haverly, and discharged him from the custody of the detective agency employed to remove him to Kings County, N. Y. -The Columbia Theatre of Chicago reduced its prices, the highest charge for seats being placed at one dollar, and the price of admission at fifty cents.

"The Gold Mine," a drama in four acts, by Irene Ackerman, produced by The Yorick (amateur club) at the Lexington Avenue Opera House, New York. Death of Henrietta Henderson (Mrs. Donovan), at Montclair, N. J.-Death of Heinrich Doeblin, German actor, at Denver, Col., aged 65.- -Destruction by fire of the

Opera House, at New Lisbon, O.

4. Production of "Les Grenadiers de Mont-Cornette," at the Bouffes-Parisiens, Paris; a comic opera in three acts, libretto by Messrs. Dannis, Delorme and Edouard Philippe; music by Charles Lecocq; with the following cast: La Grenade, M. Maugé; BelAmour, M. Piccaluga; Canut, M. Lamy; M. Girassol, M. Gourdon; Le Duc de RioSeco, M. Gaussins; Tonio, Mlle. Margarete Ugalde: Gertrude, Mlle. Thibault; Pitchounette, Mlle. Tasselly. The plot hinges on the complications that ensue from the deception practised on the Duke of Rio-Seco. Compelled to fly from his Spanish estates, he entrusts his infant son to the care of Girassol, a nurse in the village of Mont-Cornette. Girassol substitutes her own daughter, who is brought up as a boy under the name of Tonio. Everything goes on swimmingly until a certain will turns up making provisions for the marriage of Tonio with the daughter of a French officer. Matters are finally adjusted by Tonio relinquishing male attire and marrying Canut, the real heir of the Duke.

Production of "Der letzte Abencerage," opera in four acts, libretto by Ludwig Bartok, music by Franz Sarosi, at Pesth, Hungary -"Erminie" was played for the two hundredth time at the Casino, New York, and souvenirs presented to the audience.. -First performance of the Early Dance and Comedy Club, a new amateur society, at the Lexington Avenue Opera House, New York. Bulwer's "Money" was presented by picked amateurs.—Adelina Patti appeared at the National Theatre of the City of Mexico.-William F. Blood, known on the stage as William F. Blande, was married to Eleanor Carey, at the Mayor's office, New York City. Both were members of the "Tangled Lives" Company, playing at the Fifth Avenue Theatre. -Co. H, of the Twenty-second Regiment, one hundred strong, in full dress, occupied seats at the hundredth performance of "The O'Reagans," at Harrigan's Park Theatre, New York. -Death of Henry Gilbert, a well-known circus-bill poster, at Indianapolis, Ind.

5. The McCaull Opera Company produced "Lorraine," a comic opera, with music by Rudolph Dellinger, and libretto adapted by William J. Henderson, for the first time in America, at the Chicago Opera House, Chicago, Ill.; with the following cast: Lorraine, Signor Perugini; Louis XIV., Eugene Oudin; Gaspard de Chateauvieux, De Wolf Hopper; D'Effiat, Harry Standish; Olivier de la Tour, Louisa Parker; Pierre, Herndon Morsell; Henri, Gertie Clark; Jerome, Florence Willey; Gervais, Clara Allen; Victor, Ida Bartelle; François, Grace Seavy; Achille, Minnie Echard; Eugene, Bessie Calloway; Alphonse, May Yohe; Le Bleu, Charles Jones; St. Trompe, George Carlisle; De la Sancierre, Carlo Russo; De Pantecot, Antonio Amadeo; An Old Man, L. Morrison; Captain of the Guards, A. M. Barbara; Madeleine, Gertrude Griswold; Oudarde, Emily Soldene; Louise la Valliere, Josie Knapp. The scene is placed at a hunting castle of King Louis XIV. of France, who is one of the prominent characters. Lorraine visits the place to solve the mystery of his paternity, his only knowledge being that his father was a noble at the court. At the castle is one Gaspard, a nobleman, his wife, Oudarde, and his niece, Madeleine, and complications arise on account of this gentleman promising the hand of his niece in marriage to all who ask for it. Lorraine is favored by Madeleine, and this makes every one else his enemy. The King discovers that his father was also Lorraine's, and after creating him a Count, gives orders that he marry Madeleine. Production of "On Tour; or, A Trip to Heidelberg," musical comedy, by W. F. Field, at Drill Hall, Ealing, England.- The Board of Directors of the New York Academy of Music decided at the regular quarterly meeting to send a circular to the stockholders asking whether they approved of leasing or selling the Academy.

6. THE NEW YORK MIRROR published an appeal for $2500 to complete the Actors' Fund memorial monument. -Else Hofmann, a German actress of note, made her American début at the Thalia Theatre, as Lorle, in "Dorf und Stadt.' Death of Marie de los Angeles José Tosso, theatrical conductor, and reputed composer of "The Arkansaw Traveler" melody, at Covington, Ky., aged 84.

7. Charles Wyndham closed the Piccadilly Theatre, London, England, to play "David Garrick," supported by his own company, at Sandringham, the country-seat of the Prince of Wales.- A new theatre, the Roumania Opera House, was opened at what was formerly known as the National Theatre, Nos. 104 and 106 Bowery, New York, with a performance of the operetta of "Rashi," by the new Hebrew Operetta Company from Roumania. —Ernest Harvier was enjoined from the receivership of Bartley Campbell's estate.- -Marie Prescott was given a benefit at Havlin's Theatre, Cincinnati, O.- -Death of Mme. Lust (Mrs. Charles E. Horne), operatic singer, at New York City.- -Death of A. W. Godkin (" Little Abe "), trapeze performer and theatrical manager, at Philadelphia, Pa., aged 31.

8. Production of "On the Stage," a musical farce, by Edward E. Kidder, at the Opera House, Paterson, N. J.; with the following cast: Kick, Frank Cushman ; Jonah Frost, W. Paul Bown; Herr Heinrich Pflugel, Will H. Mayo; Bolivar Brutus Brown, Russell Hunting; H. Q. Onion, Frank Emerson; Mrs. Murphy, Dan. Lacey; Molly, Pauline Harvey; Marie Rich, Palma Schroeder; Daisy Cutter, Josie Sutherland; Pomona Potter Pommery, The only Leon. The piece, as the title infers, is intended to set forth in an amusing manner typical characters and incidents of stage life. Production of "Deceived," by George H. Jessop and Frank Stephens, at Los Angeles, Cal. -First representation at the Thalia Theatre, Hamburg, Germany, of "Goldfische," comedy in four acts, by Franz von Schönthan and Gustav Kadelburg.Helen Dauvray gave the last performance of "A Scrap of Paper" at the Lyceum Theatre, New York, which was attended by one hundred members and guests of the Beefsteak Club, the ladies of the party leaving off their bonnets, to encourage the reform recommended by Daniel Frohman.

9. Death of Mme. Frontin, actress, at Paris, France.

tenor singer, at Paris, France.

-Death of Marius Audran, retired

10. Denman Thompson produced "The Old Homestead," a continuation of "Joshua Whitcomb," at the Fourteenth Street Theatre, New York; with the following cast: Joshua Whitcomb, Denman Thompson; Cy Prime, George A. Beane; Jack Hazzard, Walter Gale; Eb. Ganzey, J. L. Morgan; Henry Hopkins, Walter Lennox, Sr.; Judge Patterson, Gus Kammerlee; Reuben Whitcomb, T. D. Frawley; Aunt Matilda, Mrs. Louisa Morse; Annie Hopkins, Virginia Marlowe; Reckity Ann, Annie Thompson. The plot introduces old Uncle Josh at his home, surrounded by his relatives and friends. Josh's son has been for some time in New York, and not having heard from him, he goes to the Metropolis to visit a friend of his boyhood, Henry Hopkins, now a wealthy merchant. While seeking his son he wanders to Broadway, and opposite Grace Church on that thoroughfare he encounters a detachment of the Salvation Army, “one of the finest," and other familiar city characters. He finally discovers his son among some dissipated companions, restores his self-respect, starts him anew, and brings him back to the old homestead to share the farm and wed the prettiest girl in the neighborhood.

"Eli Wheatfield," a comedy in three acts, presented at Poole's Theatre, New York; with Aaron Woodhull in the title rôle. The plot deals with the murder of a wealthy banker. Eli Wheatfield, an eighty-year-old Vermont farmer, comes to New York to visit his nephew, Robert Collington, a bank cashier. The visit is characterized by a rapid succession of amusing incidents, and the old farmer falls an easy prey to innumerable schemes and deceptive allurements, and is made a butt for practical joking. But in the end he emerges as a hero in the prevention of a murder and in the reuniting of the usual "two young and loving hearts."