Colonial Williamsburg Digital Library

THE SECOND THEATRE

About six years after the first theatre, located near the Palace Green, had been turned over to the City of Williamsburg, the Capitol became the centre of a renewed interest in theatrical productions. The movement to build a new theatre received its impetus from an that a company of comedians from New York was coming to Williamsburg:

Williamsburg, August 27, 1751.
By Permission of His Honour the PRESIDENT,
WHEREAS the Company of COMMEDIANS that are in New-York intend performing in this City; but there being no Room suitable for a PLAY-HOUSE, 'tis propos'd that a THEATRE shall be built by Way of Subscription: Each Subscriber, advancing a Pistole, to be entitled to a Box Ticket, for the first Night's Diversion.
Those Gentlemen and Ladies who are kind enough to favour this Undertaking, are desired to send their Subscription Money to Mr. Finnie's, at the Raleigh, where
Tickets may be had.
N. B. The House to be completed by October Court. [Virginia Gazette , William Hunter, August 29, 1751.]

On September 2, 1751, Alexander Finnie, tavern keeper, acquired lots 21 and 22, east of the Capitol, on which the second theatre was soon to be erected, from Benjamin Waller. From a later deed it appears that Waller had acquired this property from Mann Page. [York County Records, Book 5, Deeds , p. 627] The deed by which the property was conveyed by Waller to Finnie was an follows:

September 2, 1751

Waller, Benjamin Martha, his wife
to
Alexander - Tavern Keeper

Consideration: 40 Pounds.

All those two pieces, parcels or lots of land lying and being on the East side of the Eastern Street 2 of the city of Williamsburg in the Parish of Bruton, county of York, and bounded an followeth: Beginning at the lot No. 23, thence along the said street North ½ degree East 10 poles to the lot No. 20, thence along the lot No. 20 South 89½ degrees East 15 poles to the end of the said lot and the lot No. 25 South ½ degree West 10 poles to the corner of the lot No. 24 in the line of the lot No. 25, thence along the lines of the lots 24 and 23 North 89½ degrees West 15 poles to the beginning, which said lots are denoted in the plan thereof annexed to the deed recorded in the said Court from the said Waller to Stephen Brown by figures 21, 22 and is part of a tract of land purchased by the said Waller of Mann Page.
Provided he build 2 good dwellings 16 ft. x 20 ft. or one good dwelling house 50 ft. long 20 ft. broad at least with brick chimneys thereto, the said houses to front in a line with the row of lots in which they stand at the distance of 6 ft. from extreme western bounds of the said lots.

(York County Records, Book V - Deeds , pp. 449-450)

A deed of the following year shows that the theatre was erected on this property. (York County Records, Book V - 497)

The Company of Comedians, in which were such well known actors and producers as Walter Murray and Thomas Kean, found it necessary to call the public to its assistance in a second appeal:

THE Company of COMMEDIANS having been at a greater Expence than they at first expected in erecting a THEATRE in the City of Williamsburg and having an immediate Occasion for the Money expended in that Particular, in Order to procure proper Scenes and Dresses, humbly hope that those Gentleman who are Lovers of theatrical Performances, will be kind enough to assist them, by way of Subscripton [sic], for the Payment of the House and Lots, each Subscriber to have a Property therein, in Proportion to the Sum subscribed. As the Money is immediately wanted, we hope the Gentlemen will be kind enough to pay it as they subscribe, into the Hands of Messrs. Mitchelson and Hyndman , who have obliged us so far as to receive the same, and to whom Deeds will be delivered, on the Subscription being compleated, for the Purpose above-mentioned. Which shall be gratefully acknowledged, by
Their most obliged humble Servants,
Charles Somerset Woodham,
Walter Murray,
Thomas Kean. [Virginia Gazette, Hunter, October 24, 1751]

3

It was announced on September 26, 1751, that a play would be given in the "New Theatre" on October 21, 1751:

By Permission of His Honour the PRESIDENT,
ON Monday the 21st of October next, will be perform'd, at the new Theatre, in Wiliamsburg : The Tragical History of King Richard the Third; to which will be added a Grand Tragic Dance, compos'd by Monsieur Denoier , call'd the Royal Captive, after the Turkish Manner, as perform'd at His Majesty's Opera House, in the Hay-Market. [Virginia Gazette, Hunter, September 26, 1751]

Since the house was to be ready for use within two months, it would appear that it could not have been a very pretentious one.

A later announcement regarding the play shows that the new building was furnished with a pit, boxes, and a gallery.

By Permission of His Honour the PRESIDENT,
At the New THEATRE in Williamsburg , On Monday the 2lst Instant, will be presented a TRAGEDY, called King RICHARD the Third: To which will be added, a Grand Tragic Dance, compos'd by Monsieur Denoier , called The ROYAL CAPTIVE. After the Turkish Manner, as perform'd at His Majesty's Opera House, in the Hay Market.
Boxes 7s. 6d. Pit 5s. 9d. Gallery 3s. 9d.
No Person to be admitted behind the Scenes. [Virginia Gazette, William Hunter, October 17, 1751]

Finnie sold his property in 1752 to Lewis Hallam for £150 10s. In this deed, the house on lots 21 and 22 were referred to for the first time as the first Play House. [ York County Records , Book V - Deeds , p. 497]

Hallam soon changed the Play House into a "regular Theatre."

We are desired to inform the Publick, That as the Company of Comedians, lately from London , have obtain'd His Honour the Governor's Permission, and have, with great Expence, entirely altered the Play-House at Williamsburg to a regular Theatre, fit for the Reception of Ladies and Gentlemen, and the Execution of their own Performances, they intend to open on the first Friday in September next, with a Play, called The Merchant of 4 Venice (written by Shakeapear) and a Farce, call'd The Anatomist, or Sham Doctor . The Ladies are desired to give timely Notice to Mr. Hallam, at Mr. Fisher's, for their Places in the Boxes, and on the Day of Performance to send their Servants early to keep them, in Order to prevent Trouble and Disappointment.
[Virginia Gazette, Hunter, August 21, 1752]

Just what changes were made, it is impossible to say, but in an advertisement which appeared in the Virginia Gazette a week after the above announcement, "balconies" are mentioned for the first time.

…No Person, whatsoever, to be admitted behind the Scenes. Boxes, 7s. 6d. Pit and Balconies, 5s. 9d. Gallery 3s. 9d. To begin at Six o'Clock.
Vivat Rex. [ Virginia Gazette, Hunter, August 28, 1752]

Further light is thrown on the alterations of the playhouse in a letter of George Gilmer to Walter King written on November 14, 1752:

By Capt. Lee in the Sally arrived one Hallam with a Company of Strollers. They met great opposition from the governor on account loose behaviour… At last the voice of the Country, and proper application, obtained his leave, on which they purchased Finnie's theatre, enlarged it mostly lining it, so altering it as to make it a regular house. [Dr. George Gilmer Letter Book, 1752. Mss. Copy made by Dr. Robert A. Brock.]

Evidence of a successful performance during September 1752 appeared in the Virginia Gazette, [Hunter], in the issue of September 22:

On Friday last the Company of Comedians from England, open'd the Theatre in this City, when The Merchant of Venice, and the Anatomist, were perform'd, before a numerous and polite Audience, with great applause. . .

Gilmer, in the letter quoted above, gave proof of the generous support given Hallam's Company:

The money kept burning till they opened and then it flew among this Association of indigent wretches with a lavishness you would be surprised at. 5 Before Court they acted thrice a week at about 60/2d a night. Since Court every night except two and received sometimes as much as £300 a night. Notwithstanding they take so much money never were debts worse paid.

When the "Emperor" and "Empress" of the Cherokee Nation were entertained that year, apparently by the governor and council at the Theatre, with the play, "the Tragedy of Othello," and a pantomime performance, the fighting with naked swords on the stage, "occasioned the Empress to order some about her to go and prevent their killing one another." [Virginia Gazette, Hunter, November 17, 1752]

It appears that a servant of the company slept in the playhouse to protect the properties perhaps:

WILLIAMSBURG, December 8.
Last Friday Night about 11 o'Clock, the Play-House in this City was broke open by one White Man and two Negroes, who violently assaulted and wounded Patrick Malony, Servant to the Company, by knocking him down, and throwing him upon the Iron-Spikes, one of which run into his Leg, by which he hung for a considerable Time, till he was relieved by some Negroes: The Villains that perpetrated this horrid Fact escaped, but a Reward is offered for apprehending them, and as the aforesaid Patrick Malony continues dangerously ill of his Wounds, it is hoped they will be taken and brought to Justice. [Virginia Gazette, Hunter, December 8, 1752]

In May, 1753, Lewis Hallam conveyed a title to the playhouse and lots to John Stretch and Edward Charlton for a consideration of five shillings.

May 19, 1753

Hallam, Lewis
to
Stretch, John
Charlton, Edward

Consideration: 5 shillings

All those two Lotts lying contiguous together whereon the Play House now Stands lying and being in the Parish of Bruton in the County of York adjoining the City of Williamsburg which said two Lotts of Land the said Lewis Hallam purchased of Alexander Finnie.

[York County Records, Deeds, pp. 553-554]

6

For over a decade (1753-1767) information regarding the use of the theatre and the plays given in Williamsburg is scarce. It is impossible to determine whether the following advertisement refers to the first or the second theatre in the city.

To be seen and heard, at the late Play-House, in Williamsburg, that elaborate and celebrated Piece of Mechanism, called the MICROCOSM, OR, THE WORLD IN MINIATURE;… [Virginia Gazette, Hunter, October 10, 1755]

George Washington's Diaries and Ledgers supply the dates October 8, 1760, and April 26, 28, and May 2, 19, 1763, when he paid for "Play tickets" in Williamsburg. [Fitzpatrick, George Washington, Colonial Traveller , pp. 151, 162-165]

In 1768 the Virginia Company of Comedians announced that the tragedy, Douglas , would be given "At the old Theatre, near the Capitol." [Virginia Gazette, Purdie and Dixon, March 31, 1768] The spring of 1768 saw a busy season for the playhouse. At least three businessmen thought the playhouse an important and well known location in the public mind. William Page advertised his lodging house "fronting the play house." [Virginia Gazette, Rind, March 17, 1768] Thomas Brammer, merchant, advertised his goods in "a house opposite the play-house." [Virginia Gazette, Rind, July 28, 1768] William Willis, gunsmith from Birmingham, informed "the publick" that he had "lately opened shop near the playhouse." [Virginia Gazette, Purdie and Dixon, September 22, 1768]

In 1769 the playhouse was used as a school by Joseph McAuslane, who on September 7 announced that it was the only "tolerable convenient place" he could procure for a school, and that he had been using it for that purpose, unsuccessfully, for six weeks. [Virginia Gazette, Purdie and Dixon, September 7, 1769]

7

In 1770, 1771, and 1772, plays were given, presumably at this theatre. [Fitzpatrick, quoted above, p. 264; Virginia Gazette, Purdie and Dixon, April 25, October 24, November 7, November 21, 1771; April 2, April 9, April 16, April 23, November 19, 1772] George Washington was present at many of these productions. [See Fitzpatrick, quoted above]

The action of Continental Congress in condemning plays, in 1774, probably ended the use of the playhouse for that purpose:

In 1774 the Congress which met in Philadelphia to discuss resistance to Great Britain resolved and recommended to the people "to discountenance and discourage every species of extravagance and dissipation, especially all horse-racing, all kinds of gaming, cock-fighting, exhibitions of shows, plays and other expensive diversions and entertainments. [Stanard, Mary Newton, Colonial Virginia - Its People and Customs, p. 250]

Students at the College of William and Mary, however, were still interested in plays, as the records of the Phi Beta Kappa Society show. At a meeting, November 13, 1779, "Mess^rs Ballindine and Roane appointed to declaim and Mess^rs Savage and Page to argue. The Theme of Disputation wether Theatrical Exhibitions are advantageous to States or y^e Contrary." [William and Mary Quarterly, Vol. IV(1), p. 233]

The history of the later ownership of the lots on which the playhouse stood has not yet been definitely determined, and in that sense this report is to be regarded as a preliminary one.

THEATRE

William and Mary College Quarterly, Vol. IX, Series 2, p. 268.
Letter of P. Davenport to Elizabeth Pelham [Williamsburg] June 14th. [1791]
We have had some strolling players lately, they perform'd two Nights, and I had the pleasure of going both times--but as the fine Gentlemen who have join'd in applauding at the theatres in London, execrated, and cou'd hardly endure the performances in Rich'd so I--who have been so delighted there, I could hardly sit--was quite shock'd here at the lame attempts of these poor vagrants--they are return'd, I am told--& notwithstanding my disgusts, I doubt not I shall suffer myself to be pursuaded to see the Creatures again--

Hogarth Moralized (1891), p. 185 The smallness of a strolling company frequently obliges women to play the part of men, and men to take the characters of women.

The theatre and plays
Nov. 16, 1751. John Blair's Diary - Wm & M Q 8 (1) 14 This evening Mr. Pr[est] on to prevent the young gentlemen at ye College from playing at a rehearsal in ye dormity, how they could act Cato privately among them selves, did himself, they say, act the Drun[ke]n Peasant; but his tearing down the curtain is to me very surprising.

Theatricals
Original Records of the Phi Beta Kappa Society.
in William and Mary Quarterly , Vol IV, series I, p. 232-233

At a meeting convened November 27th, 1779 …….

……. Messrs Ballindine and Roane appointed to declaim and Messrs Savage and Page to argue. The theme of Disputation whether Theatrical Exhibitions are advantageous to States or ye Contrary.

The Theatre
Wm & M Q. Vol II (1) pp. 240-41
Hudson Muse, Virginia to his brother Thomas Muse, Dorchester Co. Md.

Northumberland Courthouse, April 19, 1771

"In a few days after I got to Virginia, I set out to Wmsburg, where I was detained for 11 days, tho' I spent the time very agreeably, at the plays every 2 night, & realy must join Mr. Ennalls & Mr. Bassett in thinking Miss Hallam super fine. But must confess her luster was much sullied by the number of Beauties that appeared at that court. The house was crowded every night, & the gentlemen who have generally attended that place agree there was treble the number of fine Ladyes that was ever seen in town before-for my part I think it would be impossible for a man to have fixed upon a partner for life, the choice was too general to have fixed on one.

About the latter end of this month, I intend down again, & perhaps shall make out such another trip, as the players are to be there again, and its an amusement I am so very fond of.

April 17, 1752
By Permission of His Honour the GOVERNOR,
At the New THEATRE, in Williamsburg,
For the Benefit of Mrs. BECCELY,
On Friday , being the 24th of this Instant
will be performed, a COMEDY, called the
C0NSTANT C0UPLE:
OR A
TRIP to the JUBILEE.
The Part of Sir Harry Wildair to be perform'd
By Mr. KEAN.
Colonel Standard,
By Mr. MURRAY,
And the Part of Angelica to be perform'd
By Mrs. BECCELY.
With Entertainment of SINGING between the Acts:
Likewise a DANCE, called the DRUNKEN PLEASANT.
To which will be added, a Farce, called the
LYING VALET.
TICKETS to be had at Mrs . Vobe's, and at Mr. Mitchel's, in York. [Virginia Gazette, William Hunter, April 17, 1752.]

Williamsburg, April 30, 1752
THE Company of COMEDIANS, from the new Theatre at Williamsburg, propose playing at Hobb's - Hole, from the 10th of May to the 24th; from thence they intend to proceed to Fredericksburg, to play during the Continuance of June Fair. We therefore hope, That all will favour us with their Company. [Ibid., April 30, 1752]

Charles Coleman Sellers, Portraits and Miniatures by Charles Willson Peale, (issued as Volume 42, Part 1, of the Transactions of the American Philosophical Society held at Philadelphia for Promoting Useful Knowledge, Independence Square, 1952), pp. 95-96.

HALLAM, SARAH.

342. The highlight of the brief theatrical season at Annapolis in the autumn of 1770 was Cymbeline , with a now young actress in the part of Imogen. "She exceeded my utmost idea," the reviewer in the Maryland Gazette of Sept. 6 declared. "Such delicacy of manner! Such classical strictness of expression! The music of her tongue! The vox liquada , how melting!" Just below the review there appears a poem, To Miss Hallam , calling upon Maryland's new painter to perpetuate with his brush this new triumph of poetic and dramatic art.

Hail, wondrous Maid! I, gratefully hail
Thy strange dramatic Pow'r:
To thee I owe that Shakepeare's Tale
Has charmed my Ears once more.

……

Ye Gods! 'Tis Cytherea's Face;
'Tis Dian's faultless Form:
But her's alone the nameless Grace
That ev'ry Heart can charm.

When laid along thy grassy Tomb,
What Pencil, say, can paint
Th' unlust'rous, but expressive Gloom
Of Thee, fair, sleeping Saint!

Or thine, or none, self-tutor'd PEALE!

Oh! then, indulgent, hear
Thy Bard's Request, and let him kneel
A weeping Hermit there!

The "American Company" having moved on to its Williamsburg engagements, it was not until the following season that Peale responded to the poet's flattering invocation. In the meantime, a new theater had been built at Annapolis by popular subscription, seating six hundred, and with new scenery from London. Cymbeline was presented again, and Annapolis' own painter set down on canvas that "nameless Grace that ev'ry Heart can charm"-showing Imogen in the forest where, forlorn, disguised an the boy, Fidele, she emerges from her cave into the presence of Bellarius and her royal brothers. The poet, schoolmaster-person Jonathan Boucher (Boucher, Reminiscences, 66), sounded his gratitude in the Maryland Gazette of Nov. 7, 1771-lines which the delighted painter copied into his letter book, to keep by him forever.

The grand design in Grecian schools was taught;
Venetian colors gave the pictures thought.
In thee, oh Peale, both excellencies join;
Venetian colors and the Greek design.
Thy style has matched what e'en the ancients knew,
Grand the design and as the coloring true.
Pursue the path thou hast so well begun,
And second be to nature's eldest son.
Shakepere's immortal scenes our wonder raise,
And next to him thou claim'st our highest praise.
When Hallam as Fedele comes distressed,
Tears fill each eye and passion heaves each breast.

In conclusion he asks the painter next to turn his attention to another member of the company, Maria Storer as Ariel, an appeal that seems to have met with no response. (Both poems are quoted in full in Seilhamer, Geo. O., History of the American Theatre … 1:279-281, Phila., 1888.)

Sarah Hallam continued as leading lady of the "American Company," playing Ophelia, Juliet, Jessica, Mrs. Hardcastle, Lucia in Cato , Arpasia in Tamerlane , Polly in the Beggar's Opera, and all the other parts. She was living in Williamsburg in 1775, where her success had been as great as at Annapolis, advertising herself as a teacher of drawing. Nothing could be more likely than that Peale had himself introduced her to his own art, as he gave lessons to everyone willing to listen and to try. Miss Hallam is said to have brought her American laurels later to the British stage, but, if so, all record of her there is sadly lacking.

Peale kept the picture in his painting room as an exhibition piece, and later hung it in his Museum. Catalogued as a landscape, No. 246, at the sale of 1854, it was bought by "Baird" for the modest sum of $5.50.

343. The sale of the collections of Evert Jansen Wendell at the American Art Association, Oct. 15-25, 1919, included (Cat. no. 4865) an oil painting on panel, "Miss Hallam as the Flower Girl. Signed and dated, C. W. Peale 1787, height 33½, width 22." It was inscribed on the back, "Miss Hallam-Flower Girl. Southwark Theatre. For E. Reinagle. C. W. Peale, 1792."

Unlocated .

Mary Caroline Crawford, The Romance of the American Theatre, pp. 22-24

The Hallams had scarcely better luck when they arrived a little later.

"As our expedition to New York seems very likely to be attended with a very fatal consequence," their statement in the contemporary press sets forth, "and ourselves haply censured for undertaking it without Assurance of Success; we beg leave humbly to lay a true State of our Case before the worthy Inhabitants of this City; if possible endeavour to remove those great Obstacles which at present lie before us, and give very sufficient Reasons for our Appearance in this part of the World, where we all had the most sanguine Hopes of meeting a very different Reception; little imagining that in a City, to all Appearances so polite as this, the Muses would be banished, the works of the immortal Shakespeare, and others, the greatest Geniuses England ever produced, denied Admittance among them, and the instructive and elegant Entertainment of the Stage utterly protested against; When, without Boasting, we may venture to affirm that we are capable of supporting its Dignity with proper Decorum and Regularity.

"In the Infancy of this Scheme it was proposed to Mr. William Hallam, now of London, to collect a Company of Comedians and send them to New York and the other Colonies in America. Accordingly he assented and was at a vast expense to secure Scenes, Cloathes, People, etc. etc. And in October, 1750, sent over to this Place Mr. Robert Upton, in order to obtain Permission to perform, erect a Building, and settle everything against our Arrival; for which Service Mr. Hallam advanced no inconsiderable Sum. But Mr. Upton, on his Arrival, found here that Sett of Pretenders with whom he joined and, unhappily for us, quite neglected the Business he was sent about from England. For we never heard from him after.

"Being thus deceived by him the Company was at a Stand till April, 1752 when, by the persuasions of several gentlemen in London and Virginia Captains, we set sail on board of Mr. William Lee and arrived, after a very expensive and tiresome Voyage at York River on the 28th of June following; where we obtained Leave of His Excellency the Governor and performed with universal Applause and met with the greatest Encouragement; for which we are bound by the strongest Obligations to acknowledge the many repeated Instances of their Spirit and Generosity. We were there eleven Months before we thought of removing; and then, asking Advice, we were again persuaded to come to New York by several Gentlemen etc. whose Names we can mention but do not think proper to publish. They told us that we should meet of a genteel and favorable Reception; that the Inhabitants were generous and polite, naturally fond of Diversions rational, particularly those of the Theatre: Nay they even told us there was a very fine Play-House Building and that we were really expected. This was Encouragement sufficient for us as we thought and we came firmly assured of success; but how far our Expectations are answered we shall leave to the Candid to determine, and only beg leave to add, that as we are People of no Estates, it cannot be supposed that we have a Fund sufficient to bear up against such unexpected Repulses. A Journey by Sea and Land, Five Hundred Miles, is not undertaken without Money. Therefore if the worthy Magistrates would consider this in our Favor that it must rather turn out a publick Advantage and Pleasure, than a private Injury, they would, we make no Doubt, grant Permission and give an Opportunity to convince them we were not cast in the same Mould with our theatrical Predecessors; or that in private Life or publick Occupation we have the Affinity to them."

[Ibid., pp. 42-43] "While we are on the sad subject of funerals, we may as well chronicle the death, in 1774, of Mrs. Douglass, who, as Mrs. Hallam, had been one of the little band of pioneers sailing on the Charming Sally at the very dawn of dramatic history in America. The paper which reported her death referred to her as 'wife of Mr. Douglass, manager of the American Company of Comedians, mother of Mr. Lewis Hallam and of Mrs. Mattocks, of Covent Garden Theatre and aunt of Miss Hallam.' It further declared her 'a lady, who, by her excellent performances upon the stage and her irreproachable manners in private life, had recommended herself to the friendship and affection of many of the principal families on the Continent and in the West Indies.' That this worthy woman should have died before the outbreak of the Revolution, in Philadelphia, where the attitude towards players was always a comparatively friendly one, seems a kind dispensation of Providence. It is very pleasant to read that all the ladies in the neighborhood of Fifth and South Streets attended her funeral, and that she was buried with impressive ceremonies in the grounds of the Second Presbyterian Church at Third and Arch Streets. For she had done rather more than a woman's part towards establishing the theatre as a dignified institution in America."