FOOTNOTES:[A]Thomas Potter Cooke, familiarly known as "Tippy Cooke," left London at the age of ten to join the navy, where he distinguished himself by courageous exploits on various occasions. The peace of Amiens closing that career he sought his second love—the stage, playing small parts in the provinces until engaged by Elliston as stage manager of the Surrey. He subsequently joined the Adelphi, Drury Lane, English Opera House and Covent Garden Theatres, performing eccentric and melodramatic parts suited to his mammoth frame, likeOrsonand theMonsterin "Frankenstein," and being especially liked inLong Tom Coffinand other sailor characters. In 1829 a poor playwright named Douglas Jerrold had "Black-Eyed Susan" accepted by Elliston, who made a small fortune out of its four hundred consecutive performances with Cooke asWilliam, whose representation became a part of English stage history. Mr. Cooke died in 1864.[B]Clara Fisher's first appearance at Drury Lane in 1817, when but six years old, occasioned a craze for the "Infant Phenomenon" that swept through England; and, that being exhausted, she was brought in 1827 to triumph in America as a sparkling comedienne. Until her marriage in 1834 to Professor James G. Maeder she was the favorite of the stage, and continued to act, though with diminished lustre, until 1880, when she left the profession.As an infant prodigy her greatest successes were inRichard III.,Douglas,Shylock, and similar parts, and her more mature and acceptable performances in her famous career throughout the United States for ten or fifteen years were in "Kate Kearney," "Letitia Hardy," "Clari," "Paul, the Pet," "Victoire," "Kate O'Brien" and the whole range of bright musical comedy and elegant vaudeville. She died at Metuchen, N. J., on November 12, 1898.[C]Joseph Jefferson, first of that name, the son of the comedian of Garrick's company, Thomas Jefferson, and grandfather of our Joe, was born in Plymouth, England, in 1774. Tired of the Plymouth stage, with which he had been connected from childhood, he came, at the suggestion of Manager Powell of Boston, to America at the age of twenty, and played with Hodgkinson and Hallam at the John Street Theatre, New York, until Dunlap opened the Park in 1798. For five years he there essayed comic and old men's characters until, in 1803, he was fortunately and permanently engaged at the then leading theatre of the country, the Chestnut Street, in Philadelphia. There he practically remained until his death, in August, 1832, the favorite and popular comedian of the American stage. Of the two hundred characters he essayed, many are unknown to the playgoer of the present day, but his versatile talent was greatly commended inPolonius,Jeremy Diddler,Touchstone,Bob Acres,Dominie Sampson,Mawworm,Captain Copp,Dogberry,ScaramouchandSolusin "Every One Has His Fault," a comedy by Mrs. Inchbald.Only careful and clear-headed readers of William Winter can form an idea of the comic genius involved in the name of Jefferson on the American stage. One of its most promising members, who died when but twenty-three, was John Jefferson, third son of Joseph. His last performance was in 1831, at Lancaster, in "The School for Scandal."—The cast was as follows:Sir Peter TeazleJoseph Jefferson, Sr.Sir Oliver SurfaceJohn JeffersonRowleyJoseph Jefferson, Jr.(Father of Our Joe.)Lady TeazleMrs. S. Chapman(Elizabeth Jefferson, John's sister, a celebrated and popular Park Theatre actress.)Mrs. CandourMrs. Joseph Jefferson, Jr.Lady SneerwellJane Jefferson Anderson(Daughter of John's sister Euphemia and mother of Effie Germon.)MariaMiss Mary Anne Jefferson[D]George Horton Barrett ("Gentleman George"), came here as an infant from England, where he was born June 9, 1794, and appeared, when but thirteen years old as Young Norval at the Park Theatre. He afterward became one of the best known light comedians on our stage, performing, with great success,Charles Surface,Puffin the "Critic,"Captain Absolute,Doricourt, and similar characters from 1822 to 1855, when he took his farewell testimonial benefit at the New York Academy of Music. Mr. Barrett was especially celebrated as a stage manager through a long part of his fifty years of professional life, first with Gilfert of the Bowery Theatre, then with Tom Barry at the Tremont Theatre in Boston: afterward with Caldwell of the New Orleans Theatre.He was best known in this city as the manager of Colonel Mann's Broadway Theatre from its opening in 1847. He was a tall and graceful actor, with a refined manner which secured his well-known appellation. He died in New York City, September 5, 1860.[E]Frances Anne Kemble, authoress, poetess, and actress, beautiful and gifted, was born in London, November 27, 1809. To save her father, Charles Kemble, from bankruptcy, she went on the stage in 1829 and at once took her place on the top of the ladder, disdaining, however (as did an eminent American actress), the steps which led to renown, and made friends, fame, and fortune. For nearly three years she filled Covent Garden and replenished its exhausted treasury with her wonderful impersonation ofJuliet(her first part), and inLady Teazle,Portia,Beatrice,Bianca, as well as her aunt's (Mrs. Siddons) great characters,Isabella,Euphrasia,CalistaandBelvidera. Equal to herJulietwas her original part ofJuliain the "Hunchback," and when she came with her father to America in September, 1832, her reception and continued support by the best elements of society were unprecedented. In the full tide of triumphant success she left the stage in 1834 to make an unhappy alliance with Pierce Butler of Philadelphia, who took her—an ardent abolitionist—to his plantation in Georgia. In 1845 she became divorced from Mr. Butler. The following year she spent with her talented sister, Adelaide Kemble Sartoris, in Continental travel, and in 1847 commenced her famous readings, with unvarying success both in America and England. The last of these in New York was given to crowded and cultured audiences in Steinway Hall, October, 1868. She died at her daughter's residence in London, January 16, 1893.[F]Charles, youngest of the Kemble family, was born the year his sister, Mrs. Siddons, made her first appearance at Drury Lane, 1775. This graceful, elegant actor, after awkward beginnings, became the incomparableMercutio,Falconbridge,Mirabel,Cassio,Orlando,Captain Absolute,Charles Surface,Romeo, andBenedickof the English stage for nearly a quarter of a century—most of it passed with his talented family at Drury Lane, Haymarket, and Covent Garden Theatres; of the last named he became manager, to his infinite loss and vexation.Saved from ruin by his daughter's talents, he brought her to America in 1832 to reap a golden harvest. His fame and her beauty, with their combined brilliant acting, filled the leading theatres of the country till 1834, when she married and in 1835 he returned to England to remain. Although he fairly performed leading parts in tragedies such asHamlet,Pierre,Richard III., andOthello, his gay, gallant, and effective personation of high comedy carried the intelligent audiences by storm.From 1835 to 1840 he occasionally acted in England, but preferred giving readings of Shakespeare, which he did frequently by royal command, though his increasing deafness interfered greatly with his stage performances. He held the position of Examiner of Plays, to which he had been appointed by the Lord Chamberlain, until his death on November 11, 1854.[G]Alexina Fisher, born in Frankfort, Ky., in 1822, inherited her brilliant talents from her popular father and mother, Mr. and Mrs. Palmer Fisher, the latter best known to fame and Philadelphia audiences as Mrs. Edward N. Thayer. Alexina, who appeared in infancy on the stage, made her first success asYoung Norvalat the New York Bowery in 1831, although she had previously appeared at the Park asClarain the "Maid of Milan," and she became, like her relative and predecessor, the celebrated Clara Fisher, a starring "infant prodigy," even performingJulietto George Jones'sRomeofor her benefit at the Bowery. From 1835 to 1850 Miss Fisher was attached for seven years to the Chestnut and eight years to the Walnut's regular companies in Philadelphia, dividing the honors, as a comedienne, with her mother.In 1851 she married John Lewis Baker and went with him to California for three years, performing there and subsequently at the various theatres he managed in Cincinnati, Louisville, and lastly the Grand Opera House, New York, all the leading characters in genteel comedy and lighter tragedy with unvarying success. Her last appearance in New York was in support of Edwin Booth during his famous Winter Garden engagement of 1862. She died in Philadelphia, March 27, 1887.[H]Madame Celeste, who came here under the name of Mademoiselle Celeste, in June, 1827, and bounded at once into the affections of young New York, claimed to be but fourteen years of age when she appeared at the Bowery, then called the American Theatre. The next year the precocious beauty became the wife of Henry Elliott, of Baltimore, but remained on the stage the onlypremière danseuseand pantomimist in the country.After two years of immense success in our cities she returned home to Paris, then to London, and became a star on the English stage. Every few years she would make her "last appearance in America," and her farewell benefits outnumbered Miss Cushman's. Much as she played in English-speaking lands she was unable to learn the language until late in her career, and her attractions were confined to her wonderfully expressive pantomime and her exquisite dancing; she createdMathildein the "French Spy,"Miamiin the "Green Bushes,"Fenellain "Masaniello,"Miriamin "The Woman in Red" and theBayadèrein Auber's beautiful ballet-opera.[I]Charlotte Saunders Cushman, descendant of the Puritan Cushmans of Mayflower days, fought down the ill-success attending her first essay in opera, and after years of struggling as a poorly paid stock actress at the Bowery and Park Theatres, by sheer merit rose to the position of the Queen of Tragedy, and maintained it for twenty years. From 1845 to 1849, and again from 1852 to 1857, she was so recognized in England and divided the applause with Macready at the Princess's Theatre in London on her first visit. Her forcible and almost masculine manner and face prevented success in comedy, but made herMeg Merrilies,Nancy Sykes, andHelen McGregor, as well asLady Macbeth,Alicia,Queen Catherine, andBiancaworld renowned. In heavy tragedy and melodrama no one has filled her place. She was acceptable asRomeo, which she often played, and passable asHamlet,Wolsey, and evenClaude Melnotte. During the war she performed several times for the sanitary commissions, and gave liberally of her large fortune. She contented herself with giving readings, which were uniformly successful, from 1870 to 1875, and died, in her native city of Boston, February 18, 1876, in her sixtieth year.[J]Thomas Apthorpe Cooper left unappreciative London in his twentieth year to try his fortune with Manager Thomas Wignell at the Chestnut Street Theatre in Philadelphia in 1796. There, as afterward in New York, his handsome face and figure, fine voice, and unquestioned ability made him the popular favorite in leading parts both of tragedy and genteel comedy.During the first quarter of the century he was the acknowledged leader of the profession, and both on and off the stage courted and admired. In 1806 he became, first with Dunlap then with Stephen Price, the manager of the Park Theatre until 1814. In 1803 he had visited England and again in 1810 with only moderate success. At the latter visit he induced George Frederick Cooke to come to America with him; during Cooper's last visit to England in 1828 he was coldly treated as an American, but welcomed home warmly when, with J. H. Hackett asIago, he produced "Othello" on his return. Both these parts, withHamlet,Macbeth,Leon,Pierre,Mark Antony,Beverly,Hotspur,Petruchio,Doricourt, andCharles Surfacewere ranked among the best of the one hundred and fifty characters he frequently appeared in. He practically left the stage in 1835, although he played occasionally until 1838. Through the influence of his son-in-law, Robert Tyler, he was appointed a New York Custom House officer, a position he held until his death at Bristol, Pa., in his seventy-third year, April 21, 1849.[K]Edmon Sheppard Conner, born in Philadelphia, September 9, 1809, at twenty left the tailoring board to do small parts at the Arch and Walnut Street Theatres, thence to Cincinnati and the West. He was a fine-looking, tall, and versatile actor; he played all sorts of business with Wemyss from 1834 to 1838 in Pittsburg and Philadelphia. In the latter year he became leading juvenile at Wallack's National Theatre in New York, and for several years thereafter performed mainly in New York and his native city lighter parts in both tragedy and comedy, with occasional dashes into melodrama, which was his best forte. His favorite parts wereClaude Melnotte,Wallace,Rob Roy, etc. He also, with moderate success, managed the Arch Street Theatre from 1850 to 1852, and the Albany Theatre in 1853 and 1854. For twenty years he made starring tours through this country (visiting England in 1875), where his commanding presence and remarkable versatility were fairly acceptable. He died at Rutherford, N. J., on December 15, 1891.[L]Thomas Sowerby Hamblin was born in London in 1800, and after performing for six years in England, rising from small business in the provinces to a prominent place at Drury Lane, came here, in 1825, and on November 1st appeared at the Park Theatre asHamlet. After starring through the United States for four years as a tragedian, he became the lessee of the Bowery Theatre, New York, "Baron" James H. Hackett being associated with him for the first year (1830). Five years of careful management made Hamblin sole owner, when in September, 1836, the theatre burned down after the performance of Miss Medina's successful play of "Lafitte," causing a total loss. Undismayed, Hamblin secured a lease of the rebuilt Bowery, which was burned in 1838 and again in 1845.In 1848 he procured and refitted the Old Park Theatre, which opened on September 4th, and was burned down on December 16th, closing the career of "Old Drury" and of Hamblin as manager at the same time. No man was better known in the thirties and forties in New York than Tom Hamblin, and his fine Roman head and strongly marked face were familiar at Windust's, Florence's, the Astor and all such places where men loved to congregate. He was a strong melodramatic actor but troubled with a severe asthma which frequently affected his speech. He died at his residence in Broome Street, January 8, 1853.[M]The French: the Marquesas, Paumotus, and Tahiti being all dependencies of France.[N]Stevenson's stepdaughter, Mrs. Strong, who was at this time living at Honolulu, and joined his party and family for good and all when they continued their voyage on from thence.
[A]Thomas Potter Cooke, familiarly known as "Tippy Cooke," left London at the age of ten to join the navy, where he distinguished himself by courageous exploits on various occasions. The peace of Amiens closing that career he sought his second love—the stage, playing small parts in the provinces until engaged by Elliston as stage manager of the Surrey. He subsequently joined the Adelphi, Drury Lane, English Opera House and Covent Garden Theatres, performing eccentric and melodramatic parts suited to his mammoth frame, likeOrsonand theMonsterin "Frankenstein," and being especially liked inLong Tom Coffinand other sailor characters. In 1829 a poor playwright named Douglas Jerrold had "Black-Eyed Susan" accepted by Elliston, who made a small fortune out of its four hundred consecutive performances with Cooke asWilliam, whose representation became a part of English stage history. Mr. Cooke died in 1864.
[B]Clara Fisher's first appearance at Drury Lane in 1817, when but six years old, occasioned a craze for the "Infant Phenomenon" that swept through England; and, that being exhausted, she was brought in 1827 to triumph in America as a sparkling comedienne. Until her marriage in 1834 to Professor James G. Maeder she was the favorite of the stage, and continued to act, though with diminished lustre, until 1880, when she left the profession.
As an infant prodigy her greatest successes were inRichard III.,Douglas,Shylock, and similar parts, and her more mature and acceptable performances in her famous career throughout the United States for ten or fifteen years were in "Kate Kearney," "Letitia Hardy," "Clari," "Paul, the Pet," "Victoire," "Kate O'Brien" and the whole range of bright musical comedy and elegant vaudeville. She died at Metuchen, N. J., on November 12, 1898.
[C]Joseph Jefferson, first of that name, the son of the comedian of Garrick's company, Thomas Jefferson, and grandfather of our Joe, was born in Plymouth, England, in 1774. Tired of the Plymouth stage, with which he had been connected from childhood, he came, at the suggestion of Manager Powell of Boston, to America at the age of twenty, and played with Hodgkinson and Hallam at the John Street Theatre, New York, until Dunlap opened the Park in 1798. For five years he there essayed comic and old men's characters until, in 1803, he was fortunately and permanently engaged at the then leading theatre of the country, the Chestnut Street, in Philadelphia. There he practically remained until his death, in August, 1832, the favorite and popular comedian of the American stage. Of the two hundred characters he essayed, many are unknown to the playgoer of the present day, but his versatile talent was greatly commended inPolonius,Jeremy Diddler,Touchstone,Bob Acres,Dominie Sampson,Mawworm,Captain Copp,Dogberry,ScaramouchandSolusin "Every One Has His Fault," a comedy by Mrs. Inchbald.
Only careful and clear-headed readers of William Winter can form an idea of the comic genius involved in the name of Jefferson on the American stage. One of its most promising members, who died when but twenty-three, was John Jefferson, third son of Joseph. His last performance was in 1831, at Lancaster, in "The School for Scandal."—The cast was as follows:
[D]George Horton Barrett ("Gentleman George"), came here as an infant from England, where he was born June 9, 1794, and appeared, when but thirteen years old as Young Norval at the Park Theatre. He afterward became one of the best known light comedians on our stage, performing, with great success,Charles Surface,Puffin the "Critic,"Captain Absolute,Doricourt, and similar characters from 1822 to 1855, when he took his farewell testimonial benefit at the New York Academy of Music. Mr. Barrett was especially celebrated as a stage manager through a long part of his fifty years of professional life, first with Gilfert of the Bowery Theatre, then with Tom Barry at the Tremont Theatre in Boston: afterward with Caldwell of the New Orleans Theatre.
He was best known in this city as the manager of Colonel Mann's Broadway Theatre from its opening in 1847. He was a tall and graceful actor, with a refined manner which secured his well-known appellation. He died in New York City, September 5, 1860.
[E]Frances Anne Kemble, authoress, poetess, and actress, beautiful and gifted, was born in London, November 27, 1809. To save her father, Charles Kemble, from bankruptcy, she went on the stage in 1829 and at once took her place on the top of the ladder, disdaining, however (as did an eminent American actress), the steps which led to renown, and made friends, fame, and fortune. For nearly three years she filled Covent Garden and replenished its exhausted treasury with her wonderful impersonation ofJuliet(her first part), and inLady Teazle,Portia,Beatrice,Bianca, as well as her aunt's (Mrs. Siddons) great characters,Isabella,Euphrasia,CalistaandBelvidera. Equal to herJulietwas her original part ofJuliain the "Hunchback," and when she came with her father to America in September, 1832, her reception and continued support by the best elements of society were unprecedented. In the full tide of triumphant success she left the stage in 1834 to make an unhappy alliance with Pierce Butler of Philadelphia, who took her—an ardent abolitionist—to his plantation in Georgia. In 1845 she became divorced from Mr. Butler. The following year she spent with her talented sister, Adelaide Kemble Sartoris, in Continental travel, and in 1847 commenced her famous readings, with unvarying success both in America and England. The last of these in New York was given to crowded and cultured audiences in Steinway Hall, October, 1868. She died at her daughter's residence in London, January 16, 1893.
[F]Charles, youngest of the Kemble family, was born the year his sister, Mrs. Siddons, made her first appearance at Drury Lane, 1775. This graceful, elegant actor, after awkward beginnings, became the incomparableMercutio,Falconbridge,Mirabel,Cassio,Orlando,Captain Absolute,Charles Surface,Romeo, andBenedickof the English stage for nearly a quarter of a century—most of it passed with his talented family at Drury Lane, Haymarket, and Covent Garden Theatres; of the last named he became manager, to his infinite loss and vexation.
Saved from ruin by his daughter's talents, he brought her to America in 1832 to reap a golden harvest. His fame and her beauty, with their combined brilliant acting, filled the leading theatres of the country till 1834, when she married and in 1835 he returned to England to remain. Although he fairly performed leading parts in tragedies such asHamlet,Pierre,Richard III., andOthello, his gay, gallant, and effective personation of high comedy carried the intelligent audiences by storm.
From 1835 to 1840 he occasionally acted in England, but preferred giving readings of Shakespeare, which he did frequently by royal command, though his increasing deafness interfered greatly with his stage performances. He held the position of Examiner of Plays, to which he had been appointed by the Lord Chamberlain, until his death on November 11, 1854.
[G]Alexina Fisher, born in Frankfort, Ky., in 1822, inherited her brilliant talents from her popular father and mother, Mr. and Mrs. Palmer Fisher, the latter best known to fame and Philadelphia audiences as Mrs. Edward N. Thayer. Alexina, who appeared in infancy on the stage, made her first success asYoung Norvalat the New York Bowery in 1831, although she had previously appeared at the Park asClarain the "Maid of Milan," and she became, like her relative and predecessor, the celebrated Clara Fisher, a starring "infant prodigy," even performingJulietto George Jones'sRomeofor her benefit at the Bowery. From 1835 to 1850 Miss Fisher was attached for seven years to the Chestnut and eight years to the Walnut's regular companies in Philadelphia, dividing the honors, as a comedienne, with her mother.
In 1851 she married John Lewis Baker and went with him to California for three years, performing there and subsequently at the various theatres he managed in Cincinnati, Louisville, and lastly the Grand Opera House, New York, all the leading characters in genteel comedy and lighter tragedy with unvarying success. Her last appearance in New York was in support of Edwin Booth during his famous Winter Garden engagement of 1862. She died in Philadelphia, March 27, 1887.
[H]Madame Celeste, who came here under the name of Mademoiselle Celeste, in June, 1827, and bounded at once into the affections of young New York, claimed to be but fourteen years of age when she appeared at the Bowery, then called the American Theatre. The next year the precocious beauty became the wife of Henry Elliott, of Baltimore, but remained on the stage the onlypremière danseuseand pantomimist in the country.
After two years of immense success in our cities she returned home to Paris, then to London, and became a star on the English stage. Every few years she would make her "last appearance in America," and her farewell benefits outnumbered Miss Cushman's. Much as she played in English-speaking lands she was unable to learn the language until late in her career, and her attractions were confined to her wonderfully expressive pantomime and her exquisite dancing; she createdMathildein the "French Spy,"Miamiin the "Green Bushes,"Fenellain "Masaniello,"Miriamin "The Woman in Red" and theBayadèrein Auber's beautiful ballet-opera.
[I]Charlotte Saunders Cushman, descendant of the Puritan Cushmans of Mayflower days, fought down the ill-success attending her first essay in opera, and after years of struggling as a poorly paid stock actress at the Bowery and Park Theatres, by sheer merit rose to the position of the Queen of Tragedy, and maintained it for twenty years. From 1845 to 1849, and again from 1852 to 1857, she was so recognized in England and divided the applause with Macready at the Princess's Theatre in London on her first visit. Her forcible and almost masculine manner and face prevented success in comedy, but made herMeg Merrilies,Nancy Sykes, andHelen McGregor, as well asLady Macbeth,Alicia,Queen Catherine, andBiancaworld renowned. In heavy tragedy and melodrama no one has filled her place. She was acceptable asRomeo, which she often played, and passable asHamlet,Wolsey, and evenClaude Melnotte. During the war she performed several times for the sanitary commissions, and gave liberally of her large fortune. She contented herself with giving readings, which were uniformly successful, from 1870 to 1875, and died, in her native city of Boston, February 18, 1876, in her sixtieth year.
[J]Thomas Apthorpe Cooper left unappreciative London in his twentieth year to try his fortune with Manager Thomas Wignell at the Chestnut Street Theatre in Philadelphia in 1796. There, as afterward in New York, his handsome face and figure, fine voice, and unquestioned ability made him the popular favorite in leading parts both of tragedy and genteel comedy.
During the first quarter of the century he was the acknowledged leader of the profession, and both on and off the stage courted and admired. In 1806 he became, first with Dunlap then with Stephen Price, the manager of the Park Theatre until 1814. In 1803 he had visited England and again in 1810 with only moderate success. At the latter visit he induced George Frederick Cooke to come to America with him; during Cooper's last visit to England in 1828 he was coldly treated as an American, but welcomed home warmly when, with J. H. Hackett asIago, he produced "Othello" on his return. Both these parts, withHamlet,Macbeth,Leon,Pierre,Mark Antony,Beverly,Hotspur,Petruchio,Doricourt, andCharles Surfacewere ranked among the best of the one hundred and fifty characters he frequently appeared in. He practically left the stage in 1835, although he played occasionally until 1838. Through the influence of his son-in-law, Robert Tyler, he was appointed a New York Custom House officer, a position he held until his death at Bristol, Pa., in his seventy-third year, April 21, 1849.
[K]Edmon Sheppard Conner, born in Philadelphia, September 9, 1809, at twenty left the tailoring board to do small parts at the Arch and Walnut Street Theatres, thence to Cincinnati and the West. He was a fine-looking, tall, and versatile actor; he played all sorts of business with Wemyss from 1834 to 1838 in Pittsburg and Philadelphia. In the latter year he became leading juvenile at Wallack's National Theatre in New York, and for several years thereafter performed mainly in New York and his native city lighter parts in both tragedy and comedy, with occasional dashes into melodrama, which was his best forte. His favorite parts wereClaude Melnotte,Wallace,Rob Roy, etc. He also, with moderate success, managed the Arch Street Theatre from 1850 to 1852, and the Albany Theatre in 1853 and 1854. For twenty years he made starring tours through this country (visiting England in 1875), where his commanding presence and remarkable versatility were fairly acceptable. He died at Rutherford, N. J., on December 15, 1891.
[L]Thomas Sowerby Hamblin was born in London in 1800, and after performing for six years in England, rising from small business in the provinces to a prominent place at Drury Lane, came here, in 1825, and on November 1st appeared at the Park Theatre asHamlet. After starring through the United States for four years as a tragedian, he became the lessee of the Bowery Theatre, New York, "Baron" James H. Hackett being associated with him for the first year (1830). Five years of careful management made Hamblin sole owner, when in September, 1836, the theatre burned down after the performance of Miss Medina's successful play of "Lafitte," causing a total loss. Undismayed, Hamblin secured a lease of the rebuilt Bowery, which was burned in 1838 and again in 1845.
In 1848 he procured and refitted the Old Park Theatre, which opened on September 4th, and was burned down on December 16th, closing the career of "Old Drury" and of Hamblin as manager at the same time. No man was better known in the thirties and forties in New York than Tom Hamblin, and his fine Roman head and strongly marked face were familiar at Windust's, Florence's, the Astor and all such places where men loved to congregate. He was a strong melodramatic actor but troubled with a severe asthma which frequently affected his speech. He died at his residence in Broome Street, January 8, 1853.
[M]The French: the Marquesas, Paumotus, and Tahiti being all dependencies of France.
[N]Stevenson's stepdaughter, Mrs. Strong, who was at this time living at Honolulu, and joined his party and family for good and all when they continued their voyage on from thence.