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The History of the Savannah Theater, 1865-1906

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The History of the Savannah Theater, 1865-1906 Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1970 The iH story of the Savannah Theater, 1865-1906. Robert Lane Overstreet Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Overstreet, Robert Lane, "The iH story of the Savannah Theater, 1865-1906." (1970). LSU Historical Dissertations and Theses. 1799. https://digitalcommons.lsu.edu/gradschool_disstheses/1799 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 71-3431 OVERSTREET, Robert Lane, 1930- < THE HISTORY OF THE SAVANNAH THEATER, j 1865-1906. ' ! ! The Louisiana State University and Agricultural \ and Mechanical College, Ph.D., 1970 } Speech-Theater j i j University Microfilms, Inc., Ann Arbor, Michigan [ s J THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED The History of the Savannah theater, 1865-1906 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Robert Lane Overstreet A.B., North Georgia College, 1950 M.A., Northwestern University, 1957 May, 1970 The History of the Savannah Theater, 186£-1906 Volume I ACKNOWLEDGMENT The writer gratefully acknowledges his debt to Dr. Claude L. Shaver, for whom his admiration has steadily increased, and to the members of his committee, Ur. Waldo W. Braden, Ur. Otis B. Wheeler, Dr. John Pennybacker and Dr, Clinton Bradford. He is also indebted to his friends Linda Welden and Ray Mitchell for their assistance and encouragement, and particularly to his wife, Mary Ann, without whom the work could not have been done. ii TABLE OF CONTENTS Page VOLUME I. ABSTRACT iv INTRODUCTION 1 CHAPTER ONE. THE SAVANNAH THEATER, 1865-1906: AN OVERVIEW 6 CHAPTER TWO. JOHN T. RAYMOND AND THEODORE HAMILTON /fl CHAPTER THREE. JOSEPH JEFFERSON 58 CHAPTER FOUR. JOHN T. FORD 72 CHAPTER FIVE. FORREST, BOOTH, FISKE, BERNHARDT, IRVING AND TERRY 88 CHAPTER SIX. OTHER STARS 110 CHAPTER SEVEN. LECTURERS AND READERS 160 SUMMARY AND CONCLUSION 188 BIBLIOGRAPHY 191 APPENDIX ONE. SELECTED CAST LISTS 195 VOLUME II. APPENDIX TWO. CHRONOLOGICAL LIST OF THE ATTRACTIONS AT THE SAVANNAH THEATER, 1865-1906 236 VITA 522 ill ABSTRACT This study traces the development of the Savannah Iheater from 1865* when the theater reopened after Sherman's capture of the city, until 1906, when a ma^or fire temporarily ended entertainment there. The study focuses on the theater's ownership and management; dif­ ferent kinds of audiences attracted to the theater; circuits, companies and, especially, stars involved in the plays presented there; lecturers and readers who appeared there; and points of comparison and contrast with theatrical activity in other Southern cities. Un­ fortunately, the scarcity of research on theater in other Southern cities during this time period precludes definitive comparisons. 31ie study does not attempt to prove a thesis but rather to describe the circumstances and activity at the Savannah Iheater in the given time period. The procedure of the study was to examine Savannah newspapers, particularly the Savannah Horning Hews, pub­ lished almost throughout the period; pertinent materials in the collections of the Georgia Historical Society; histories and annals of American theater; and biographies, autobiographies and memoires of actors and actresses associated with the Savannah Theater. Analysis of the data thus gathered revealed logical divisions by topic. The study therefore presents an overview to provide the necessary perspective and then pursues these topics, the careers of certain managers, actors and groups of actors closely “connected with the theater. An appendix provides an important chronology, listing by date every attraction at the Savannah Theater between 186£ and 1906. Another appendix contains selected cast lists. John T, Raymond and Iheodore Hamilton leased the Savannah Ufoeater for the l8 6f>-66 season and maintained a stock company there. After that season the stock company disappeared in Savannah, as it did in most of the country, and touring companies provided the city's entertainment. Joseph Jefferson, the most popular comedian of his day, played frequently to crowded houses in Savannah. Jefferson's friend, John T. Ford of Baltimore, managed tours that brought many stars to the theater. Ford was so highly respected in savannah that the city's leading amateur dramatics organization of the late 1 9th century named itself in his honor. Pord managed Edwin Booth's first post-Civil V7ar appearance in Savannah. Other prominent stars who played the Savannah ^Uieater included Edwin Porrest, Minnie Maddern Pi3ke, Sarah Bernhardt, Henry Irving, Ellen Terry, Laura Keene, James O'Neill, Fanny Janauschek, John E. Owens, Lawrence Barrett, Louis James, Frederick B. Warde, Lotta v Crabtree, Mary Anderson, John McCullough, Fanny Pavenport, Helena Modjeska, Clara Morris, Charles Coghlan, Otis Skinner, Ada Rehan, George M. Cohan, V/. C. Fields and Charles Coburn. A few significant readers performed at the Savannah, and more significant lecturers spoke there. Qfoe lecturers included Artemus Ward, Oscar Wilde, Robert G. Ingersoll, Ihomas E. Watson and Benjamin R. Tillman. Although research into theatrical activity in the South during the last part of the 19th century has been sorely neglected, this study provides other researchers with a basis for comparisons in this connection. It is probably safe to assert that no Southern city of similar si2 e had a more active theater. vi INTRODUCTION niio Savannah Hieater has a claim to being the oldest theater in America. Several buildings, all called the Savannah ^heater, all in the same location, have been providing entertainment to Savannah since 1818. Qhe only published account, however, of Savannah's theater history Is Savannah's Pioneer Theater from Its Beginnings to 1810 by J. Max Patrick. It is a slender volume published by the University of Georgia Press In 1953. Andrew Sparks, a staff writer for the Atlanta Journal-Constitu­ tion Magazine, completed a master's thesis on the subject for the University of Georgia in 19lj-0, giving his study the title, "A History of the Theatre in Savannah, I8OO-I8 3 6." Elvena Green, who teaches at Agnes Scott College, is currently preparing a dissertation for the University of Iowa, covering the history of theatrical activity in Savannah from 1810, when Patrick's study concludes, to December 2if., 1 86^., when Sherman entered Savannah. Theater historians are in general agreement that the study of regional theater is valid, significant and needed. 0. G. Brockett says that "considerable research has been completed on the history of the theatre in the South during the Civil War. Only a few localities have been covered for the entire period, however, and much remains to be 1 2 1 done before the picture is complete. 11 The paucity of material in print relative to theater in the South after the Civil War indicates the logic of extension of the period of his concern. William Stanley Hoole states that he "has been con­ stantly reminded of the lack of attention paid to drama in the South . Perhaps the most emphatic statement of the problem comes from Thomas F. Marshall: It is . particularly disturbing to observe the comparative lack of definitive studies per­ taining to other cities such as these CWew York and Philadelphia^?. The result is that we are often in the dark about practices which must have been very different in areas distant from the theatrical centers. Where satisfactory studies do exist, they are often limited to small periods of time, and have not been carried on to completion by other scholars. TCiis is unfortunate, since the work of the Charles­ ton theatres by Stanley Hoole rand} the study of the early Savannah drama by Max Patrick . ...are models of their kind, and should be extended,’ 0. G. Brockett, "The Theatre of the Southern United States from the Beginnings through 1865: a Bibliographical Essay," Theatre Research, II (Ho. 3# I960), p. 166. p 'William Stanley Hoole, The Ante-Bellum Charleston gfceatre (University, Ala.: University of Alabama Press, 19^6), pp. xvi-xvii. ^Qhomas F. Marshall, "Beyond New York: A Bibliography of the 19th Century American Stage from the Atlantic to the Mississippi," Theatre Research. Ill (No. 3, 1961), p. 208. 3 The purpose of this study is to help complete the picture, to help relieve the inattention paid to drama in the South, to carry on toward completion the history of theater in Savannah started by J. Max Patrick. During the years between 1865, when the Savannah Theater reopened after the city fell to Sherman, and 1906, when the theater suffered one of its major fires, it was the scene of a dazzling amount of richly varied theatrical activity, some of it typical, some of it distinctive. This dissertation covers that period, tells of the theater's ownership and management; circuits, companies and stars involved in the plays presented there; points of comparison and contrast with theatrical activity in other Southern cities, such as Charleston, Atlanta and Hew Orleans; different kinds of audiences attracted to the theater; and lecturers and readers who appeared there. The topical material covered in the separate chapters is handled chronologically, allowing the reader to follow a particular development uninterruptedly from its begin­ ning to its conclusion. The usual chronological arrange­ ment of theater histories denies this possibility. For instance, Joseph Jefferson's association with the Savannah Theater is discussed in Chapter Three. In contrast, his association with the Hew Orleans stage is covered on four­ teen widely separated pages in John Kendall's The Golden Age of the Hew Orleans Theater.
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