The Early German Theatre in New York 1840–1872 9780231893312

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(Colombia Xttiurrjattg Ärrmantr THE EARLY GERMAN THEATRE IN NEW YORK

THE EARLY GERMAN THEATRE IN NEW YORK 1840-1872 BY

FRITZ A. H. LEUCHS

NEW YORK

COLUMBIA UNIVERSITY PRESS 1928

Copyright 1928 By COLUMBIA UNIVERSITY PRESS Printed

from type.

Published

October,

Printed in the United States of America Braunworth

& Co., Inc.

Brooklyn, New York

1928

TO MY PARENTS Antonia Jteitz feuclj« ( f I 9 2 0 ) AND

3Jo!|it JleiirljB

PREFACE THE subject of the present study was first suggested to the author by his colleague and friend, Dr. Frank Mankiewicz, and the investigation was carried on and attained its final form under the most careful and encouraging guidance and the indispensable supervision of Professor Robert Herndon Fife of Columbia University. The attempt has been made with the use of all available sources to present the early history of the German theatre in New York, not in annalistic form but as a connected narrative. By this method the author has hoped to give in adequate perspective the important phases in the development of German theatrical enterprises. Especially in treating the "Liebhabertheater" (Chapter I V ) and the Altes Stadttheater (Chapter V ) , it has been necessary to subordinate chronology in the effort to give a definite picture of these early undertakings. All the data of importance that could be gleaned from the sources have been classified and assembled under appropriate headings in the numerous appendices at the end of the book for the benefit of those who may be interested in further investigations in the field of the present treatise or in related fields. In connection with his work the author takes great pleasure in acknowledging his sincere and grateful appreciation to the many individuals, named and unnamed, who have so generously placed at his disposal their valuable time and expert advice. Without the unflagging interest vii

viii

PREFACE

and untiring efforts of Professor Fife, who amended and revised the manuscript with the closest attention not only to the general conception of the thesis but also to the minutest details of content and style, this study could not have been completed in the form in which it appears. Professors George C. D. Odell and Henry H. L. Schulze of Columbia University likewise read the manuscript most patiently and carefully. From the former the author received many valuable suggestions. The latter subjected the entire treatise to a microscopic examination of the finest scale and thoroughly revised it. With infinite good will Dr. C. F. Ansley and his associates and assistants of the Columbia University Press assumed the arduous task of editing the manuscript. In the reading of proofs the author was helped not a little by his wife. And finally it must be mentioned that Dr. J. W. H. Emmert of the New Yorker Staatszeitung made accessible the oldest files of that newspaper, without which the study could not have been begun. To all the author owes a debt of deepest gratitude. F. A. H. L. New York City August, 1928

CONTENTS PAGE

xiii

INTRODUCTION

CHAPTEE

I

T H E CULTURAL BACKGROUND o r T H E PERIOD

CHAPTEE EARLY

GERMAN

PERFORMANCES

1

II

IN N E W

YORK

CITY

(1840^9)

A. The German Drama in English on the American Stage B. The F i r s t Becorded Performances in German, in J a n u a r y and February of 1840 C. The First Season a t the Franklin Theatre (February 15 to April 29, 1840) D. The Second Season at the Franklin Theatre (August 9, 1841, to J a n u a r y 28, 1842) E. The Third (and L a s t ) Season at the Franklin Theatre (September 14 to December 16, 1842) . . . . F . The Sporadic Attempts to Give German Drama in Various Halls between 1843 and 1849 . . . .

15

15 17 22 29 41 44

CHAPTEE I I I THE

GERMAN

A. B. C. D. E. F.

STAGE IN T H E E A R L Y F I F T I E S

Introduction The Year 1850 The Year 1851 The Year 1852 The year 1853 The year 1854

(1850-54)

.

.

48

48 50 53 59 60 66 Lx

X

CONTENTS CHAPTER

T H E " LIEBHABERTHEATER "

IV

PAGE

AND T H E M I N O B G E R M A N STAGE IN

THE F I F T I E S

68

CHAPTER

V

T H E A L T E S STADTTHEATEB ( 1 8 5 4 - 6 4 )

75

A. Introduction B. The Repertoire 1. Preliminary Remarks 2. Shakespeare—Schiller, Leasing and Goethe . . 3. Other Major German Dramatists . . . . 4. Minor German Dramatists 5. Plays by Insignificant Authors 6. Plays by German-American Authors—Dramas with Local Settings 7. Minor " Tendenzstiicke "—Concluding Remarks . C. The Actors D. The Operation of the Theatre and the Reception of Plays E. The Theatre and the Press F. Concluding Remarks

75 80 80 81 86 87 91 95 99 103 113 117 123

CHAPTER VI T H E N E U E S STADTTHEATER

(1864-72)

AND O T H E R

NOTEWORTHY

D R A M A T I C E N T E R P R I S E S OP T H E T I M E

A. B. C. D.

The The The The 1. 2. E. The 1. 2. F. The 1. 2. 3.

Season of 1864-65 Season of 1865-66 Season of 1866-67 Season of 1867-68 At the Stadttheater Fanny Janauschek at the Academy of MuBic Season of 1868-69 At the Stadttheater Other Performances in German Season of 1869-70 The Terrace Garden Summer Theatre . The Stadttheater The Terrace Garden Winter Theatre . .

125

.

. .

125 130 134 149 149 . 155 160 160 170 172 . 172 173 .177

CONTENTS

XI PAGE

G. The Season of 1870-71 180 1. General Eeview of the Season 180 2. Marie Seebach 183 H. The Season of 1871-72 191 1. The Summer of 1871 191 2. The Stadttheater 191 3. The Minor German Stage 194 L The Summer and Autumn of 1872—The End of the Stadttheater 195 J . Summary—Conclusion 197 CHAPTER V n T H E PRINCIPAL, P O I N T S OF CONTACT B E T W E E N THE GERMAN- AND THE ENGLISH-LANGUAGE STAGES o r

NEW

YORK CITY

DURING

THE MIDDLE OP T H E N I N E T E E N T H CENTURY

200

A. Introductory Remarks 200 B. Evidences of External Relationship between the Two Stages 203 C. Actors and Actresses Appearing on Both Stages . . 206 D. The Dramas That Were Common to Both Stages . . 209 1. Prefactory Note 209 2. Plays Originally Given on the German Stage and Later Adopted by the American . . . .210 3. Plays on the English-Language Stage of New York That Were Later Adopted by the Local German Theatre 214 4. Plays That Were Common Property of Both Stages 219 E. Summary of the Chapter 220 APPENDICES APPENDIX I

223

Halls and Theatres of New York City in Which the Earliest Performances in the German Language Occurred (1840-48) APPENDIX I I

225

Plays Produced in German in New York City (1840-48) APPENDIX I I I

German " Liebhaberbühnen " (Amateur and Minor Stages) in and about New York City in the Fifties

230

xii

CONTENTS PAG*

APPENDIX I V O

232

Actors and Actresses of the Altes Stadttheater APPENDIX T V 6

235

Actors and Actresses of the Neues Stadttheater APPENDIX V

238

Das Alte Stadttheater—Last Season, 1863-64 APPENDIX

VI

244

Das Neue Stadttheater—Third Season, 1866-67 APPENDIX

VII

251

Plays Produced at the Altes and the Neues Stadttheater APPENDIX V I I I

277

German-American Journalistic Publications of New York and Vicinity Prior to 1872 BIBLIOGRAPHY

279

INDEX

283

INTRODUCTION N E W YORK CITY has had five successive German theatres of importance, the dates of which form practically a continuous chain from the year 1854, when the Stadttheater first opened its doors, until the year 1917, which marks the most recent limit of regular performances in the German language at the Irving Place Theatre. In their chronological sequence these theatres were: (1) Das Alte Stadttheater (1854-64), (2) Das Neue Stadttheater (1864-72), (3) Neuendorffs Germania Theater (1872-81), (4) Das Thalia Theater (1879-88), and (5) Das Irving Place Theater (1888-1917 J.1 Plays have of course been acted in German on many other stages in New York City. The first performance in the German language of which any record has been found occurred in a little hall located at 83 Anthony Street 2 on January 6, 1840. During the succeeding period of four-

1 For an excellent cursory survey of these theatres, cf. the newspaper article of Arthur G. Abrecht, " D a s deutsche Theater in New York,'' in the Sonntagsblatt der New Yorker Staatszeitung, Apr. 16, 1905. Abrecht supplements the above-mentioned list by two additional institutions of minor importance: Philipps Germania Theater (1893-1902) and Das Star Theater (1881-83) and illustrates his account with photographic pictures of all seven theatres. Similar illustrated articles on the German theatre in New York have appeared in the following Sunday editions of the N. Y. Staatszeitung: Apr. 21, 1901, by Udo Brachvogel; Aug. 11, 1901, by C. Stürenburg; Apr. 24, 1910, by A. Pulvermacher. 2 Anthony Street is at present known as Worth Street. xiii

xiv

INTRODUCTION

teen years we find at first sporadic performances of such plays, then series of performances now at one and now at another theatre, wherever a temporary footing was gained, until in the year 1854 the German stage found its first permanent abode in the Stadttheater. Since the year 1854, too, many German performances have been staged both singly and in cycles at various New York theatres. The more recent period of the German theatre in this city has been treated in an article by Edwin H. Zeydel.3 It is the purpose of the present treatise to trace in some detail the history of the earliest period of the local German stage—i.e., the period from its incipiency in 1840 until the end of the Neues Stadttheater in 1872. This theatre, a direct offspring of the Altes Stadttheater, may be regarded in conjunction with the parent institution as constituting New York's first permanent German playhouse. In order to provide our theatrical picture with a suitable frame, a brief study of the cultural background of the period with reference to the German element in New York City may not prove amiss. Then it will be necessary to investigate, as fully as the records at our disposal permit, the infancy of the German-language stage in our city. At the same time a consideration of the "Liebhabertheater," or so-called amateur stage, that flourished extensively during the early fifties is essential, for this "Liebhabertheater" was in reality the source from which the professional stage sprang. The main body of this investigation, however, will be devoted to a history of the two Stadttheater. Finally 3 Edwin H. Zeydel, '' The German Theatre in New York City, with Special Consideration of the Years 1878-1914," published in the Jahrbueh of the Deutsch-Amerikanische Gesellschaft von Illinois, Vol. XV, 1915, pp. 255-309. The author merely summarizes in a brief introduction the period preceding 1878.

INTRODUCTION

XV

the material on hand makes possible a comparative study of the German- and the English-speaking stages of New York in the three decades under consideration. The scope of the present work involves a detailed investigation of the various theatres in which plays were performed in German. In this study an examination has been attempted of the following points in particular: (1) the history of the more important theatrical enterprises and institutions; (2) the titles of the plays presented and the frequency of performance of individual plays; (3) the classification of plays (a) as to character (tragedies, comedies, farces, etc.), (b) as to authorship and period of origin (Shakespearean, classical German, etc.), and (c) as to source, especially if foreign (French, English, etc.) ; (4) the casts and the individual actors and actresses, particularly those of greatest renown (the Hoyms, Bandmann, Dawison, Methua-Scheller, Haase, etc.) ; (5) the quality of the performances, their merits and demerits, their success or failure, their reception by the public, the criticisms they received in the press; (6) the most noteworthy events in the theatrical world of Little Germany in New York; finally, (7) certain other isolated features warranting observation. However, German operatic performances, numerous especially during the latter part of our period—they were frequently included in the repertoire of the Stadttheater—must on the whole be disregarded. 4 They are referred to only when they attain unusual significance. The annual files of the New Yorker Staatszeitung 5 form the chief source of the data upon which this investigation is based. This German newspaper was founded as a • Frédéric Louis Bitter, Music in America, N. Y., 1884 and 1890, includes data of considerable interest in connection with German musical activities in New York. 5 For convenience, hereafter referred to simply aB S.

xvi

INTRODUCTION

Wochenblatt in December, 1834,6 but the earliest number that could be found is Volume III, Number 1, bearing the date of December 21, 1836. Thereafter the file of the weekly runs continuously, with the exception of the following missing volumes: IV (December, 1837-December, 1838) ; 7 V (1838-39); X (1843-44) ; X I (1844-45) ; X I I I (1847) ; X X I I I (1857) ; X X V I (1860) ; X X V I I (1861) ; X X V I I I (1862). In August, 1842, a Tageblatt was inaugurated, which at first, however, appeared but three times a week. Only eight numbers of the year 1842 and twelve of 1843 have been preserved, and from the entire period between the years 1843 and 1866 only the following volumes could be located: 1853; 8 1856 (January 1 - J u n e 30) ; 1858 (April 20-December 31); 1859 (all of March, also July 1-December 31) ; 1863 (July 1-December 31) ; 1864 (complete). Beginning with the year 1866 the file runs without interruption to the present date. Of the Sonntagsblatt, begun in 1849, all volumes from 1866 on are available; earlier, only the volumes for 1859, 1863 and 1864.® Without the minute and extensive data contained in the Staatszeitung, chiefly in the form of theatrical advertisements that regularly appeared there together with the less regular reports of per® The initial number, issued on December 24, contained the following motto: " I m Volke ruht die K r a f t , / Im Volke muss sie walten, / Wo diese K r a f t erschlafft, / Wird Freiheit auch e r k a l t e n . " Cf. S., Mar. 20, 1858. 7 During the first eleven years, each new •volume began in the middle of December; from 1847 on, the volumes coincided with the calendar year. 8 At this time the Tageblatt actually appeared every day. 9 Practically all the extant numbers prior to 1863 are to be seen at the offices of the Staats-IIerold Corporation, 22 North William Street. For the subsequent years the New York Public Library has a very complete file, with the exception of the entire volume for 1865,

INTRODUCTION

xvii

formanees, the present history of the German theatre could not have been written. Second in importance to the Slaatszeitung as a source is the Belletristisches Journal™ a weekly founded in 1852, which continued to exist until 1911. This publication contains critical articles of rare excellence discussing in great detail and with much intelligence the worthiest performances on the local German stage. Owing to the continuity of its file it is especially valuable to bridge over the gaps that arise from the missing numbers of the Staaszeitung. As another supplementary source for the early period of the German stage the Deutsche Sehnellpost is of value, inasmuch as it contains the announcements of various scattered attempts that were made to give plays in the German language in New York between the years 1843 and 1848. A file of this publication was located at the Harvard College Library and very kindly placed at the disposal of the io Belletristisches Journal, New York, 1852-1911 (hereafter to be referred to as B.) : at the N. Y. Public Library, "Vols. I - X L V I I I and Li-LX (Vols. L - L I X incomplete). For the period of our study, therefore, this journal offers a complete and uninterrupted source, beginning with the year 1852. The volumes are bound and, for the most part, in excellent condition. The title varies as follows: Vol. I : New Yorker Criminal Zeitung; Vol. I I : Belletristisches Journal und New Yorker Criminal Zeitung; Vols. I I I - X I I : New Yorker Criminal Zeitung und Belletristisches Journal; Vols. X I I I - X X X V I I : New Yorker Belletristisches Journal. During the years covered by this study it was published by Rudolph Lexow at 17 North William Street. I t was printed on fine heavy paper and each number consisted of sixteen large-sized pages. In addition to a story (often a serial based on some episode of city life) the Journal contained a number of historical sketches and notes, the police blotter, correspondence and articles on political topics, literature, art, music and the theatre, also the latest news from Europe and many advertisements. The publication appeared every Friday, selling for seven' cents a copy or $3.50 per year.

xviii

INTRODUCTION

author. The Deutsche Schnellpost was published by Eichthal and Bemhard at 3 Spruce Street. A "Probeblatt" appeared on December 28, 1842, the first number following on January 4, 1843. Thereafter it appeared twice a week and the file is fairly regular, particularly during the first two and a half years. A wide gap interrupts its continuity, however, between the months of July and November in the year 1846, after which the sequence is not again seriously impaired until March 25, 1848. A t this point a second breach is found in the Harvard file, extending to October 30, 1848. The folio terminates shortly after this date.11 The Deutsche Schnellpost was a four-page newspaper which sought in the main to acquaint its German readers with European news. While the paper contains no descriptions of plays, its advertisements of performances help to fill in the voids left by the absence of Volumes X, X I and X I I of the Staatszeitung. Of specific value for the season of 1851-52, for want of other records, is the publication entitled Figaro,12 a weekly journal in the English language, devoted to art, music and the drama. It seems to have run but a single season and 11 Little is known about the Schnellpost after this date. I t appears that on September 1, 1845, Bernhard had retired from the partnership and Eichthal continued to publish the paper until his death, which occurred about January 1, 1848, whereupon Wilhelm Wagenitz assumed the editorship. On August 23, 1851, the Staatszeitung still listed the Deutsche Schnellpost as a contemporary newspaper. I t is extremely interesting to note on the very first page of the Harvard collection the words, written in pencil, " G i f t of Professor H. W . L o n g f e l l o w , " together with the date 1852. 12 Figaro, or Cortyn's Chronicle of Amusements, New York, 185051 (not to be confused with the later and much better known German-American publication, New York Figaro, N . Y . 1882-99). A file of Figaro, in excellent condition, was found in the N . Y . Public Library. The spelling of German names and titles of dramas in Corbyn's magazine is extremely faulty.

INTRODUCTION

xix

was edited by the owner of a well-known theatrical agency of the day. I n addition, the contemporary Deutsche Monatshefte 13 contain regular items dealing with the German stage and are of value for the earliest years of the older Stadttheater. The five publications just mentioned contain most of the material required for a satisfactory examination of New York's early "Deutsches Theater." From them, especially from the Staatszeitung, the Belletristisches Journal and the Deutsche Schnellpost, a fairly unbroken, if at times uneven, picture of the German stage during the period of 1840 to 1872 may be obtained. It may furthermore be confidently asserted that the minor interruptions in the sources, mentioned as occurring during the decade 1840 to 1850, are not detrimental even to a detailed study, for the material on hand fully justifies the belief that there was no stage of importance in those years. The information gleaned from the extant sources, then, is sufficient for an adequate survey of those first abortive and irregular theatrical undertakings. Of somewhat greater significance is the absence of the entire daily file of the Staatszeitung for the years 1854, 1855, 1857, 1860, 1861 and 1862, and the fragmentary state of each of the remaining volumes between 1854 and 1863.14 These omissions preclude a day-by-day study of the Altes Stadttheater, and for this reason it has seemed best to treat the period of that institution not chronologically but according to a topical arrangement. Fortunately the perfect condition of the file of the Belletristisches Journal makes possible a fairly accurate survey of the development i* Deutsche Monatshefte, New York, 1853-56, A. Kolatschek (also in the N. Y. Public Library). Known also, by a variation of the title, as Meyers Monatshefte, Aug. 1853 to June, 1855. " S e e p. xvi.

XX

INTRODUCTION

of the older of the two Stadttheater. Naturally in the treatment of the later Stadttheater a change of method from the topical to the chronological seemed advisable, for with the single exception of the year 1865 an unbroken daily file could be drawn upon for the entire period of its existence. Leaving aside for the present the five major sources above mentioned, it is only reasonable to assume that articles dealing with the German stage in New York must have appeared from time to time in one or another of the numerous German periodicals15 published in this city during the years under discussion, copies of which can no longer be found. The English-language press, however, as may be expected, only occasionally took cognizance of the German stage. During the first two decades we find absolutely no references of any account, and it was only in the sixties, when Bogumil Dawison, the L'Arranges, Marie Seebach and other stars arrived, that the New York Herald and a few other newspapers gave space to German theatricals and at times printed regular, consecutive notices and criticisms. These reports will be referred to in due time, in their chronological sequence. Attempts have been made in various articles (in addition to those mentioned) to treat the subject of the German theatre in New York City as a whole. For the most part these are rather brief résumés of a popular, non-scholarly character. The most important of the essays dealing with the era with which this study is concerned are by Ford,16 « The author has compiled, from t h e catalogue of the N . Y. Public L i b r a r y and f r o m other sources, a list of names of the most important pioneer German journalistic publications of New York City. Unfortunately it has been possible to locate copies of b u t a few of them. F o r this list cf. App. V I I I . 16 J a m e s L. F o r d , ' ' The German S t a g e in America, ' ' in Mwnsey's Magazine, Vol. XX, pp. 232-45, Nov., 1898.

INTRODUCTION

xxi

Moses,17 Huch,18 and Müller,19 together with a report in Das Buch der Deutschen in Amerika.20 The German stage in New York is also discussed in the works of Boernstein,21 Cronau,22 and Kadelburg,23 and considerable data relative to the topic may be found in Brown's History of the New York Stage.2* " Montrose J . Moses, The Life of Heinrich Conried, N . Y., 1916. Chapters I I , I I I and I V (pp. 23-170) give a synopsis of t h e German t h e a t r e f r o m i t s beginnings to Conried's departure f r o m t h e Irving Place Theatre in 1903. Only the first few pages, however, deal with t h e early period. is C. F . Huch, ' ' Das deutsche Theater in New York bis zum J a h r e 1 8 6 0 , ' ' contained in the Mitteilungen of the Deutscher Pionier Verein of Philadelphia, Sechstes H e f t , 1907. I t is a five-page monograph, excellent, as f a r as it goes, f o r t h e earliest years. Huch mentions as his source Heinrich S c h m i d t ' s Almanach der deutschen Bühnen in Amerika, which the author has not located. i s Wilhelm Müller, ' ' Das deutschamerikanische T h e a t e r . ' ' The article is included in the book entitled Amerika, published b y A. Tenner (pp. 110-31 of t h a t w o r k ) . Müller mentions as his authority an essay on the subject by Adolf Neuendorff, which cannot be found. 20 ' ' D a s deutsche Theater in New Y o r k . ' ' This article f o r m s p a r t of a chapter called " D a s deutsche Theater in T m e r i k a , " a p p e a r i n g in Das Buch der Deutschen in Amerika, edited by t h e Deutsch-Amerikanischer Nationalbund, Philadelphia, 1909 (pp. 4 2 3 - 3 5 ) . T h e article Tefers to t h e accounts of Abrecht (cf. Note 1) and Huch ( N o t e 18). Georg C. H . Boernstein, Fünfundsiebzig Jahre in der Alten und der Neuen Welt. F o r the German theatre in N e w York, cf. Vol. I I , pp. 222 f . 22 Budolf Cronau, Drei Jahrhunderte deutschen Lebens in Amerika, Berlin, 1909 (with a more recent edition). See p p . 5 1 7 - 2 1 f o r a brief chapter, ' ' Das deutsche Theater in A m e r i k a . ' ' 23 Heinrich Kadelburg, Das deutsche Theater in New York, N . Y., 1878. I n reality this constitutes a sharp polemic directed againBt the Germania Theater. 24 Thomas Allston Brown, A History of the New York Stage from the First Performance in 17S2 to 1901, Dodd, Mead & Co., 1903. I t contains many records of German performances scattered over i t s three volumes, but there a r e also very many omissions, incomplete records a n d inaccuracies.

CHAPTER I T H E CULTURAL BACKGROUND OF T H E PERIOD THE age that witnessed the beginnings of the German stage in New York City covers, roughly speaking, the middle third of the nineteenth century and therefore synchronizes with an era characterized by a remarkable growth and by an unprecedented development in the metropolitan city. In 1840 the population of New York amounted to 312,710; by 1870 it had grown to 942,292. No previous stretch of thirty years had shown so great a numerical increase nor has any subsequent span of like length yielded an equally high percentage of growth, excluding, of course, the arbitrary additions to the city's population that resulted from the incorporation of Greater New York in 1898. Within the single decade of 1840 to 1850 the population mounted from 312,710 to 515,547. This tremendous physical expansion was accompanied by an unheard-of development in which probably no single foreign element participated more extensively than did the German constituency of the city. No detailed account of the German-Americans of New York can be given here.1 It does seem desirable, however, to call attention to some of the more important cultural features of " Kleindeutschi For detailed accounts of the life and the activities of the German element in New York the reader should consult the book of Budolf Cronau and some of the other works mentioned at the conclusion of the Introduction, and also the following: Albert B . Faust, Va*

1

2

THE CULTURAL BACKGROUND OF THE PERIOD

l a n d " in the years that marked the early evolution of the German stage. The extremely reactionary policy exercised by the governments of Prussia and other German states in the thirties and forties of the last century drove thousands of discontented, liberty-loving Germans from their native land to the shores of the New World and resulted in a marked increase of immigration into the United States. Of the 60,722 aliens who landed in the port of New York in 1840, 20,000 came from Germany. In 1850 there were 45,768 Germans out of a total of 221,799.2 During the years immediately following, the numbers increased by leaps and bounds, so that the figures for 1854 disclose not only a vast numerical but also a striking percentual augmentation. In the course of that year, of the huge number of 323,700 foreign arrivals in New York, no less than 179,600, or well over fifty percent, had set out from Germany.3 A very considerable portion of the German immigration naturally settled in New York. These Germans did not, Deutschtum in den Vereinigten Staaten; Friedrich Kapp, Die Deutschen im Staate New York; Gustav Koerner, Das deutsche Elemfnt in den Vereinigten Staaten von Nordamerika (1818-48); Th. Lemke, Geschichte des Deutschtums von New York ( g i v i n g the lives of leading individuals); Otto Lohr, The First Germans in North Alexander America and the German Element of New Netherland; Schern, Deutschamerikanisches Konversationslexikon; Reinhold Solger, Deutsch-Amerikanische Bibliothek; Otto Spengler, Das deutsche Element der Stadt New York. For excellent, comprehensive bibliographies, cf. Cronau; A . P . Griffen, A List of Works Belating to the Germans in the United States; Julius Goebel, Das Deutschtum in den Vereinigten Staaten. 2 For these figures cf. S., Jan. 22, 1853 (Wochenblatt). 3 Cf. also S., Feb. 24, 1855 ( W o c h e n b l a t t ) . It is furthermore stated there that out of a total immigration of 514,277 into all parts of the United States in 1854 the Germans numbered 225,000.

THE CULTURAL BACKGROUND OF T H E PERIOD

3

however, spread out promiscuously over the various sections of the city, but generally preferred to join their " Landsleute,:' who had established their colony "Kleindeutschland" in a well-defined part of the town. In the early forties they were concentrated largely in the district south of Houston Street, west of Attorney, north of East Broadway and east of Lafayette. The central part of this territory, cut by the longitudinal arteries Elizabeth Street, the Bowery, Chrystie, Forsythe and Eldridge Streets, and included between the cross streets Rivington (on the north) and Canal (on the south), formed the nucleus of Nev York's Little Germany during these years. At this time not a few Germans, of course, still resided in the lower city—that is, south of City Hall. Year by year "Kleindeutschland" expanded, and in 1854, when the Stadttheater was opened, an examination of newspaper advertisements shows Germans living in considerable numbers as far east as Pitt Street and on Monroe to the southeast. Addresses of German homes and business establishments are frequently found in the vicinity of Lafayette Street, Broadway, and in the lateral streets that cross these thoroughfares south of Canal Street. During the fifties and even later, many German business locations continued to exist south of City Hall. Now, for the first time, isolated private residences occupied by Germans are noted north of Houston Street, and, indeed, as far uptown as Twenty-sixth Street in the neighborhood of Second Avenue. A single physician advertises his office as located at One Hundred and Twenty-fourth Street and Fourth Avenue, one of the earliest German pioneers of Harlem. In 1872, the closing year of this study, the geographical limits of Little Germany had become decidedly more complicated. By this time New York had, of course, expanded

4

THE CULTURAL. BACKGROUND OP THE PERIO®

greatly northward, and the older German element, without forsaking its quarter on the lower East Side, had shifted the northern boundary thereof from Houston to East Eleventh Street. B y the thousands Germans had poured into the rectangular district that is included between these two lateral streets and extends from Avenue C to Second Avenue. A little island of German folk is found along Third Avenue near Thirtieth Street, and a surprisingly large group inhabited the section east of Third Avenue between Fiftieth and Sixtieth Streets. Judging by the newspaper advertisements, most of these residents occupied private homes and could afford domestic help. German addresses are also recorded along the West Side near Sixth Avenue, between Fifteenth and Fifty-fifth Streets, and especially in the streets north of Fiftieth. The late sixties and the early seventies also marked the opening of numerous popular picnic parks in Harlem and in the villages of Melrose and Morrisania (now a part of Bronx Borough). It is worth noting that the German colony of Yorkville, which subsequently attained such prominence, was rather unimportant prior to 1872. It would be a great mistake to suppose that the new racial element that was thus flocking into our land and swelling the population of New York was merely numerically strong. There were many evidences of a very positive cultural interest on the part of the newcomers. At an early date it became clear that they were determined to assert themselves and that they would play an important part socially, economically, politically and culturally—in fine, that they would turn their steps to all the many fields of activity which their new surroundings offered to them. It is indeed a significant fact that, not many years after the high tide of immigration had set in, a strikingly large

T H E CULTURAL BACKGROUND OP THE PERIOD

5

number of newspapers printed in the German language made their appearance. The establishment of New York's principal German newspaper in 1834 has already been spoken of.4 Others, to be sure less important and in many cases short-lived, followed as the German population grew. A list of such newspapers that were printed in the city in the year 1856, together with their circulations, shows the following : 5

Staatszeitung Staatsdemokrat Abendzeitung Neue Zeit Pionier Criminal Zeitung Katholische Kirchenzeitung.

Daily 15,300 3,400 2,300

Weekly 11,000 2,000 150 3,000 1,200 6,000

4,000

Some of these newspapers also used their printing apparatus to publish other matter, as, for example, Eichthal and Bernhard, the owners of the Deutsche Schnettpost, had done in the preceding decade. Vast quantities of German books, pamphlets, periodicals and newspapers thus circulated in lower Manhattan, largely through the distributing agencies of B. Westermann & Co. at 290 Broadway and L. W. Schmidt at 191 William Street. The catalogues of Westermann were reputed to have been a veritable storehouse of plays presented in New York.8 In many fields of business and industry German names, some of them with a sound very familiar to the present* See p. xvi. 0 For this list cf. S., July 19, 1856. «Cf. B., Nov. 30, 1855, for this assertion.

6

THE CULTURAL BACKGROUND OF THE PERIOD

day New Yorker, began to make their appearance at this time. The two largest German steamship companies led the list. In 1856 the New York service of the HamburgAmerican Line was organized, and in 1858 the vessels of the North German Lloyd began to ply between Bremen and New York. German names also invaded the domain of finance, for in the Deutsche Schnellpost of the mid-forties one meets the advertisements of Philip Speyer, Wechselgeschäft, 51-53 Wall Street, and as early as 1853 the announcements of Knauth, Nachod and Kühne are regularly found in the Staatszeitung. On July 1, 1859, the Deutsche Sparbank 7 was opened. From such rather limited and select spheres of business the activity of the Germans extended downward through every conceivable branch of retail trade and handicraft, principally to those of the grocer, butcher, baker and liquor dealer. The lists of men in the professions, especially in that of medicine, were filled out of all proportion with Germanic names. The specifically cultural interests of the Germans in New York are reflected, in part, in the large number of school items and advertisements appearing in the journals during this period. At an early date it becamc clear that the newcomers were anxious to have their offspring taught the language of the Fatherland and, in some cases, even to have their children educated largely through the medium of that language and along pedagogical lines insisted on in the Old Country. One of the first German schools to be founded in the city was August Gläser's Deutsche Bildungsschule für Knaben und Mädchen at 141 Chrystie Street, of which we get reports as early as 1846.8 In the year 1853 we meet the notices of the Deutsche Bürger7

Known at the present time as the Central Savings Bank. « C f . Schnellpost, J u l y 18, 1846, for the announcement.

THE CULTURAL BACKGROUND OF THE PERIOD

7

schule, directed by E. Feldner at 191 "William Street.9 Other such schools of the fifties were the Deutsche Freischule in Allen Street 10 and Dulon's German-American School, situated at 11-13 Market Street.11 Furthermore, the Staatszeitung of September 17, 1859, reports the laying of the corner stone of the Freie deutsche Schule, which had formerly been conducted at Hoym's theatre.12 In 1866 it is recorded that German was even being taught in the public school at 5 Mott Street, as well as in several other public schools, and the Staatszeitung 13 urges a more general introduction of this language into the curricula of the city schools. The Deutschamerikanische Akademie, another private institution, is noted in 1867 as located at 649 Third Avenue, and a year later we hear of the Freie deutsche Volksschule in Fourth Street 14 under Director Straubenmiiller—a name familiar to present-day schoolmen of our city. This expansion of German school interests was accompanied by a rising professional spirit among German teachers. The Staatszeitung of December 3, 1867, contains an article on the " Deutschamerikanischer Lehrerverein von New York und Umgegend," stating that this organization ® S.f Mar. 5, 1853. Cf. S., May 5, 1855. The newspaper reports the closing of this school after an existence of five years. n For data concerning this school cf. S., Sept. 28, 1855, also Aug. 13, 1859. In 1859 this institution is reported as having an enrolment of 240 pupils instructed by twelve teachers, with the following rates for a quarter of twelve weeks: board, $50; washing, $2.50; tuition, $6 to $15. i« Cf. B., May 3, 1859, and Apr. 6, 1860. Within a year's time this school increased its enrolment from 500 to 1115 pupils. is S., Feb. 21, 1866. " S., Jan. 7, 1868. The school had a monthly registration of 680 at this time.

8

THE CULTURAL BACKGROUND OF THE PERIOD

had come into being in March of that year and had a membership of almost thirty. Its meetings were held in Pythagoras Hall, at 134 Canal Street, every second Saturday, the program usually consisting of a lecture based on a pedagogical topic. German, as a subject of study, had also found its way into higher education in this city. Columbia College had long had the language on its program of instruction. As early as 1784 the Rev. Dr. John Daniel Gross was elected professor of geography and German, and he taught till 1795.15 On July 10, 1843, we are informed in the Staatszeitung of the establishment of the chair of Gebhard Professor of Germanic Languages and Literatures at Columbia. Along with German schools many German churches sprang up, some of which antedated the earliest educational undertakings of which we have just read. The columns of the Deutsche Schnellpost of 1844 contain announcements of the Vereinigte deutsche lutherische Kirche at Walker Street near Broadway and those of the Deutsche Methodisten-Kirche at Second Street near Avenue C. Others, too numerous to mention here, both of the Catholic faith and of the various Protestant denominations, followed in later years. That Little Germany's interests also embraced the ethics and the morality of the community as a whole may be deduced from frequent items in the Staatszeitung. This newspaper was of course particularly insistent on stressing any statistics and happenings that might be interpreted to cast a favorable light upon standards of conduct current among the Germans. Thus with 15

His seems to have been the first collegiate appointment in German in this country. Cf. C. E. Castañeda, Modern Language Instruction in American Colleges, 1770-1800; also the History of Columbia University, 1754-1904, pp. 69-75.

THE CULTURAL, BACKGROUND OP THE PERIOD

9

keen satisfaction on at least one occasion 16 the editor proclaims the fact that in a drive undertaken against prostitutes there was not a single German woman in forty-nine cases of arrest! The establishment of the German Hospital, 17 the German orphan asylum Wartburg 18 in Mount Vernon and of other similar institutions of lesser dimensions was plainly indicative of an interest on the part of our German-Americans in social welfare. Beneficiary societies such as the Deutsche gegenseitige Unterstiitzungsgesellschaft fur Witwen und Waisen, whose announcements are to be found in the Deutsche Schnellpost of 1844 and subsequent years, were not lacking. In this connection must be mentioned the time-honored Deutsche Gesellschaft, which had been founded in the remote year of 1783, aiming to serve in various ways the German immigrant. Although this organization still exists, its position was far more prominent seventy years ago. Conducted on a strict business basis, it met regularly and was accorded wide publicity in the columns of the German press. The German-Americans of New York also manifested a keen interest in various other phases of culture and civilization. Lectures were delivered in the German language and received due attention in the newspapers.19 During is S., May 26, 1855. " Its present name is the Lenox Hill Hospital; the Staatszeitvmg of Sept. 3, 1866, reports the laying of its corner stone. is The Staatszeitung of Oct. 10, 1856, states that it has just opened its doors to its first inmates. i® The Staatszeitung announces on Dec. 1, 1855, a course of lectures in German at the Mercantile Library. In 1867-68 the actor Oscar Outtmann, who appeared at the Stadttheater, delivered a series of lectures in German at Steck's Music Hall, 141 Eighth Street, on The Merchant of Venice, The Taming of the Shrew, Minna von Barnhelm and other dramas then given at the Stadttheater. So frequent were such lectures that it is utterly impossible to note them here.

10

THE CULTURAL BACKGROUND OP THE PERIOD

the winter of 1855-56 an exhibition of one hundred and fifty famous paintings at the Düsseldorfer Gallerie 20 continued to arouse interest for many weeks. Remarkably widespread and intense was the participation of the German population in the world of music. A list of members of the first orchestra of the New York Philharmonic Society, founded in April, 1842, contains names more than half of which are purely Germanic.21 In the late forties, the fifties and the sixties German "Sängerfeste" were abundantly held by well organized singing societies,22 many of which dated from this period. As early as 1853 attempts were made to found a German opera,23 which later met with singular success in the numerous performances at Niblo's Garden, the Academy of Music and in other halls. Steinway Hall in Fourteenth Street, opened October 31, 2° I t was located a t 497 Broadway. Season tickets, good f o r 60 days, were sold at 60 cents. Cf. S., J a n . 23, 1856, and subsequent numbers. 21 Cf. Ritter, Music in America, pp. 275f. 22 The most important of these singing societies are the Licderkranz and the Rheinischer Sängerbund, both founded in 1847, the Arion, in 1854, and the Yorkville Männerchor, in 1856. Of course there are many others. L a t e in J u n e and early in J u l y of each year g r e a t annual ' ' S a n g e r f e s t e ' ' were held, which generally lasted a few days and received the widest publicity in the German newspapers. Especially noteworthy was the festival of 1858, in which the large number of 278 instrumental musicians and 300 singers took p a r t . The festival opened with a performance of Beethoven's Ninth Symphony a t the Academy of Music on Sunday evening, J u n e 27, and continued on the following morning with a procession through the streets of the city, followed by an excursion to J o n e s ' Wood, the most popular picnic resort of the time, located along the E a s t Eiver, north of Sixtieth Street. The Staatszeitung states t h a t 28,000 admission ribbons were sold on this occasion and estimates the attendance a t 50,000! 23 Cf. S., Nov. 21, 1853.

THE CULTURAL BACKGROUND OP THE PERIOD

11

1866, and demolished as recently as 1925, deserves mention here. The social life of New York's German population centered largely in the numerous "Vereine," some of which fostered music, as we have just noted, others literature, dramatics or gymnastics. Above all they cultivated "deutsche Gemütlichkeit" and "Geselligkeit." The Deutscher Verein, which subsequently attained considerable importance, dates from the year 1842; and even before this, in 1835, Germania had been founded. The dramatic societies may here be passed over, inasmuch as we shall meet some of them in the course of our history of the German stage. In 1850 the Nord-Amerikanischer Turnerbund and the New York Turnverein were formed, and during the ensuing decade two Turnzeitungen 24 made their appearance. Most of these German clubs, especially the Turner, enjoyed frequent outings during the milder season of the year, and very often the Staatszeitung reports more or less serious disorders resulting from clashes between the German celebrators and the Irish element of the city, for between these two factions a perpetual feeling of hostility seems to have prevailed. 25 During this period originated also the local chapters of the secret-society lodges: the Freimaurer, the Deutsche Bichenloge, etc. On evenings when the average German-American was not occupied with one or another of these numerous clubs, he might be found, with or without his family, at a German beer garden or tavern. The Staatszeitung is replete with advertisements of such "Lokale," most of which, in addition to beer, wine and food, offered their guests the most diverse dramatic, acro2« Cf. App. V I I I , Nos. 13 and 25. 25 Cf. 8., May 31, 1851, for lengthy reports of the German May festival and the attending riot. For similar accounts cf. 8., July 29, 1854, and Mar. 6, 1868.

THE CULTURAL BACKGROUND OF THE PERIOD

12

batic or vaudeville entertainments. 26

L i t t l e Germany was

addicted in a marked degree to celebrations, so that

it

rarely allowed an event of special significance to pass by without duly observing it.

Thus the Schiller centenary

on November 10, 1859, is marked by announcements and advertisements in the Staatszeitung

of no less than twenty

" Schillerf este." A word must be said, in conclusion, about the political interests of New Y o r k ' s Germanic stock during the middle of the century.

There were, of course, attempts to organize

politically, but, f o r the most part, the results were highly unsatisfactory and f e l l wofully short of what might have been expected of a body of citizens numerically so strong. In this respect the Germans were completely outdone by the Irish.

Internal

strife, born of

petty

jealousy

and

rivalry, together with that spirit of particularism and that idealistic vein which shrinks f r o m the worldly contact and intimacy of practical politics—traits that are inseparably bound up with the character of the average German—all these combined to defeat the German-American in his desire to obtain political influence and ascendency. rarely

did

he gain

"Landsmann,"

a momentary

triumph,

a

John T . Hoffmann, was elected to serve

as mayor of the city

(1866-68).

In domestic politics the leading questions f o r deutschland" were the so-called temperance and l a w " movements and the nativistic or agitations.

Only

as when

"Klein"blue-

"Know-Nothing"

The latter were felt to be especially obnoxious

in the fifties,27 and the Staatszeitung New York Express

bitterly attacks the

as the leading journalistic organ of the

Know-Nothing P a r t y .

Frequent, too, are the accounts of

many a promising German picnic hopelessly spoilt by the 26 Cf. especially Chap. I V . 27 Cf. S., Dee. 23, 1854.

T H E CULTURAL BACKGROUND OF T H E PERIOD

13

operations of ordinances, so detestable to the German, which forbade the sale of beer and the staging of performances of various kinds on Sunday. Politically the Staatszeitung, the mouthpiece of the majority of German-Americans in the city, was strongly anti-Whig and Democratic in ita sympathies. It bitterly opposed Harrison, Polk and Taylor and supported Buchanan with equal energy. Lincoln was denounced with a feeling of animosity seldom paralleled in a newspaper north of Washington, although the Staatszeitung and the Germans in New York supported the cause of the Union in the Civil W a r in a most patriotic manner. I n its foreign policy the Staatszeitung espoused enthusiastically the doctrines of the champions of German democracy. Hecker, Kossuth, Kinkel and other leaders who came to New York and to other parts of the United States were publicly welcomed, demonstrations of the most elaborate sort were prepared and funds collected to support the movement. Further to illumine the sphere in which Little Germany moved about would too greatly distort the scale upon which this study has been planned. From what has been noted in this chapter it is evident that the German population of New York, with a vigorous and rapidly expanding cultural life, was well fitted to form a rich soil from which theatrical undertakings might grow. During the generation after 1840 its numbers were swelled to hundreds of thousands and the bonds which bound the sons and daughters of the Fatherland to the art interests of their old home were constantly renewed by fresh streams of immigration. Year by year the economic situation of the earlier comers grew more favorable; the social life, especially as fostered by club and Verein, flourished in the new environment in highly varied and colorful forms. With such a background the theatre was born and grew, reflecting, as we

14

T H E CULTURAL BACKGROUND OP T H E PERIOD

shall see, much ideal enthusiasm for art and literature but also many superficial and sordid characteristics of the rapidly growing city. In general its history is that of a sincere attempt to transplant an ancient national culture on a new and not altogether hospitable soil.

CHAPTER II EARLY GERMAN PERFORMANCES IN NEW YORK CITY (1840-49) A . THE GERMAN DRAMA IN ENGLISH ON THE AMERICAN STAGE LONG before there was any German stage in New York City, translations and adaptations of German plays were given here on the English stage.1 The first German drama ever produced in America is said to have been a translation of Lessing's Minna von Barnhelm, performed at Charleston, S. C., on Februaiy 18, 1795,2 while the first German play that New York witnessed was a translation of Schiller's Räuber, staged at the John Street Theatre on the 14th of April or the 14th of May * in the same year. The following dramas dealing with German subjects are mentioned by Baker, the historian of the German drama in 1 For an excellent history of German plays in English on the New Tork stage, cf. Louis C. Baker, The German Drama in English on the Neto Tork Stage up to 1830, "Americana Germanica," No. 31. The" data used in the opening paragraphs of the present chapter are borrowed largely from Baker's work. 2 Cf. Charles F. Brede, The German Drama in English on the Philadelphia Stage from 1794 to 1830, "Americana Germanica," No. 34, p. 55. But Budolf Gronau, op. cit., p. 535, sets the year as 1785, without, however, documenting h ü assertion. s Baker, op. cit., p. 8, gives the earlier date; Brede, op. cit., p. 4, the later. 15

16

EARLY GERMAN PERFORMANCES

English, as having been produced at the John Street house during the next season: Cumberland's Wheel of Fortune (a cleverly constructed version of Kotzebue's Menschenhass und Reue); William Dunlap's opera, The Archers (which treats the story of Wilhelm Tell); and F. Reynold's Werther and Charlotte (a dramatization of Goethe's novel. William Dunlap, at this time manager of the John Street Theatre, now became interested in the German drama, specifically in Kotzebue, and on December 10, 1798, offered to the patrons of his hall his own version of Kotzebue's Stranger (Menschenhass und Reue). With the well-known actor Cooper in the title role, the play proved immediately successful. Indeed it was intensely popular during the next few years and remained, with interruptions, a drawing card until as late as the year 1860. Dunlap now turned to the translation and presentation of other Kotzebue plays, and set himself to the task with such vigor that in the season of 1798-99, in addition to The Stranger, which was given twelve times, there were eight performances of Lovers' Vows, four of Count Benyowsky and one of The Indians in England. Thus a total of twenty-five Kotzebue performances was the result—more than one-fourth of the ninety-three given in the John Street playhouse in the course of the entire season. Two other German plays were likewise presented, namely The Minister (Kabale und Liebe), of which there were two performances, and Don Carlos, given once only. During the following theatrical year, that of 1799-1800, no less than fourteen Kotzebue creations together with four additional German dramas were seen by New York audiences. These eighteen German works enjoyed fifty representations, well over half of the ninety-four performances that the season yielded in all! Thereafter, however, we note a steady decline in the popu-

17

EARLY GERMAN PERFORMANCES

larity of plays of German authorship,4 and as the years passed, the place they had occupied for a brief period in the repertoire of New York's English-language stage was usurped by plays of French origin. B.

THE

FIRST

RECORDED PERFORMANCES IN

GERMAN,

IN

JANUARY AND FEBRUARY OF 1 8 4 0

The birth of the German theatre in New York was an extremely painful and protracted process, accomplished with all the expenditure of energy and all the struggle that seem almost inevitably to attend upon the development of Germanic institutions everywhere. Between the date of the first recorded performance of a play in German, in 1840, and the founding of what may first be called a "permanent" stage almost fifteen years elapsed. In that interval attempts, numerous to the point of monotony, were again and again made to give to the German muse a lasting abode. A close study of the era of experimentation reveals the fact that hundreds of scattered and sporadic performances were essayed at dozens of small halls, for the most part with highly indifferent if not, in many cases, negligible results. In the first eight years for which we have reports—that is, between the years 1840 and 1848—eighty-two "Theater* The following assertion: Season.

1800-1801 1801-1802 1802-1803 1803-1804

statistics,

recorded by Baker, substantiate

perform •Vo. of plays of .Vo. of ances of these German origin German plays 14 14 12 4

44 28 27 7

this

Total No. of performances of all plays 106 91 118 25

18

EARLY GERMAN PERFORMAN CES

abende" are noted, on which German plays were given at a dozen small halls and restaurants located in lower Manhattan—in Chatham, Anthony, Frankfort, Chambers, Elizabeth and Pearl Streets, on the Bowery and on Broadway. Inasmuch as two or even three plays often were crowded into a single evening we find, by addition, a total number of one hundred forty-nine performances of eighty-eight different works during this period.5 Of these earliest dramatic ventures by far the largest number, fifty-seven "Abende," occurred at a tiny house known at the time as the Franklin Theatre, situated at 175 Chatham Street, which flourished between the years 1840 and 1843, and may therefore fittingly be termed New York's first German theatre. In those remote days the plays were acted in general by loosely formed, often leaderless companies or "Vereine" of men and women, usually amateurs, who possessed at best a certain amount of talent and good will, but who had, as a rule, little experience, little money, and little tact. Lack of the necessary financial backing and of adequate theatrical quarters; the absence of proper organization and, above all, of a strong guiding hand; all too frequent outbursts of jealousy among highly nervous, sensitive rival actors; an apathetic public and an unreliable press, which vacillated between warm recognition on one day and hypercritical censure, if not complete scorn and neglect, on the next; finally, the trying economic conditions of those hard pre-Civil War times—all of these factors contributed both singly and collectively to doom to a more or less speedy but equally certain failure each of the many early dramatic enterprises. A perfect, microscopic picture of the period is out of the question. When it is remembered that there was, at first, no daily German newspaper; that, in many instances, copies of journals that did appear have not been preserved; furthermore that, as has been sug5 Cf. App. I and II.

EARLY GERMAN PERFORMANCES

19

gested, the press often overlooked entirely those first ventures in the field of dramatic production—when all this is borne in mind, the impossibility of a statistically accurate and historically perfect survey becomes all too obvious. That, however, is no great loss. Even though we are not in possession of a hundred percent of the facts, we do have at our disposal a great bulk of them—a sufficiently large proportion to leave no doubt as to what was happening. And when we consider how very little was actually accomplished in that first decade covered by our study, our material, fragmentary as it may appear, seems at times to impress us as being painfully plenteous in comparison with its meagreness of quality. With all good will the records we have can be welded into but a dull and dry narrative, which would grow only the more tedious by the addition of further facts. An examination of the eighty-two theatrical programs noted between 1840 and 1848 discloses few plays of literary merit. The repertoire was dominated by comedies, chiefly those of Kotzebue, and farces and vaudeville sketches of the day. The bright spots of the "Spielplan" were very rare attempts at Schiller's Rduber, Kabale und Liebe and Wilhelm Tell. The fate tragedy was represented by Grillparzer's Ahnfrau and by Mullner's extreme example, Die Schuld, and the romantic drama by Kleist's Kathchen von Heilbronn. The only other noteworthy works were Zschokke's Abellino, cited because of its earlier popularity on the English stage in this country, and Nestroy's Lumpaci Vagdbundus, here mentioned in view of the unceasing attention which that Vienna farce subsequently attracted. With the single exception of Friedrich Schwan, the actors who appeared were not heard of in the later history of the stage and belong, therefore, to the passing generation of pre-forty-eighters. The performances were, as a rule, of a decidedly mediocre quality, the scenery and the stage

20

EARLY GERMAN PERFORMANCES

mechanics crude and uninspiring. Since, however, the facts embodied exist only in perishable form—so far as is known, they are found in newspaper files of which there are but few copies and which may, several decades hence, no longer be available—it has been thought advisable to narrate them here. The exact date on which the first play in the German language was staged in New York City cannot be positively established. The first notice referring to such a performance that has been discovered appeared in the Staatszeitung of November 8, 1837: " A s we hear, the German Amateur Theatrical Society of Philadelphia has arrived here and intends to give performances in the near future." What this group of players was and whether the promised performances ever took place cannot be verified. The following five numbers of the Staatszeitung—the last five of Volume III—make no further mention of the matter, and the next two volumes are missing. Thus no records are on hand for 1838 and 1839, but on January 1, 1840, the Staatszeitung reports that a number of Germans in New York, after overcoming many obstacles, have succeeded in establishing a "Deutscher dramatischer Verein." This organization is entitled to a position of importance in the following pages, since it seems to have initiated German-language drama in this city. The Verein's activities opened on January 6 with performances of Theodor Körner 's Hedwig die Banditenbraut and Kotzebue's Der grade Weg, der beste, given at 83 Anthony Street. It was announced that the "Musikalischer Tiitigkeitsverein" would assist. Admission was limited to members of the club, by tickets costing fifty cents each, and to such other persons as were willing to join the Verein as honorary members. The next issue of the newspaper 6 contains a short report s

S.,

J a n . 8, 1840.

EARLY GERMAN PERFORMANCES

21

and criticism of the performance, rating it as highly successful in view of the novelty and the difficulty of the enterprise. Judging by the latter statement,7 and in the absence of earlier data, we may perhaps assume that this was the first dramatic representation in the German language in New York City. The part of Rudolph in Hedwig was very acceptably played by a certain Dessoir (or Dessau?), whose articulation was, however, "not always clear." A Miss Weiss, as Hedwig, "was very pleasing but might have been freer in her movements." The Kotzebue farce is reported as having been more of a success, players named Jöllrich, Buck and Frau Ostermeyer impersonating respectively the roles of the Major, the Schoolmaster and Frau Krebs. The music was also favorably criticized. In conclusion the German Dramatic Club is advised to confine itself to short comedies and farces. Encouraged by this successful debut, the Verein followed it up with three further performances, on January 16 and 27 and on an unrecorded date early in February. For the first named date an advertisement announces Kotzebue's Der Zitherschläger und das Gaugericht and Lebrün's two-act comedy Humoristische Studien,8 also at 83 Anthony Street.® These plays likewise elicited warm commendation. * It is spoken of as a " neue und überraschende Erscheinung.'' « C f . S., Jan. 15, 1840. Karl August Lebrün (1792-1842) was a Prussian actor on the staff of the Berlin Hoftheater under Iffland. H e showed considerable skill in dramatic adaptations from French sources, taking Kotzebue as his model. Cf. Allgemeine deutsche Biographie (hereafter to be referred to as A. T>. B.), X V I I I , 101. b In the same issue (Jan. 15, 1840) a second theatrical advertisement appears over the name of " G. Nölke, Direktor,'' announcing a first performance in the Gasthaus zu den 22 Cantonen at 83 Washington Street. A five-act tragedy, Vampyr, by an unmentioned author, is to be presented on Jan. 16, at 6 p. m., admission twentyfive cents I. Eang, one shilling II. Rang. However, no report to show that the performance actually took place could be found in subsequent issues.

22

EARLY GERHAN PERFORMANCES

The third bill, on the 27th, consisted of Kotzebue's Der arme Poet and Die eifersüchtige Frau. A short critical note 10 on the 29th found the former piece very tiresome, the latter quite pleasing. The acting of one Schwägerle in Die eifersüchtige Frau, is especially lauded. A complaint is registered, however, that the curtain was very late in rising—perhaps a constitutional failing at German functions. The same issue of the Staatszeitung, that of the 29th, includes also a lengthy advertisement of the Verein, promising Die Entführung oder der alte Bürgerkapitän,1X a Frankfurt comedy in two acts, and the one-act comedy Die ZerstreutenThe date of this program is to be made public later. That the pieces were actually given is shown by a note on the 12th of February containing a favorable criticism of the former play. Two actors apparently distinguished themselves, for Schnepf's command of the Frankfurt dialect is praised and the efforts of Kreutzer were also generously applauded. The newspaper further states that several talented actors had joined the Verein.

C. T H E FIRST SEASON AT THE FRANKLIN THEATRE (FEBRUARY 1 5 TO APRIL, 2 9 ,

1840)

Pleased with the outcome of these first four theatrical evenings in the hall at 83 Anthony Street, the Deutscher dramatischer Verein now rented the Franklin Theatre, 10

All these theatrical criticisms are unsigned. In fact practically none of the many hundreds of " Theatemachrichten" examined by the author bear signatures. 11 One of the many insignificant creations (1820) of Karl Malsz, who '' sketched the rough peculiarities of the Frankfurt people in numberless plays with stock figures.'' Cf. Witkowski, German Drama of the Nineteenth Century, p. 37. 12 By Kotzebue.

EARLY GERMAN PERFORMANCES

23

situated at 175 Chatham Street.13 Here it entertained its guests on about a dozen different occasions in the late winter and early spring of the year, opening its new home on February 15 with repetitions of the Kotzebue comedies Der Zitherschläger und das Gaugericht and Die eifersüchtige Frau.1* Now, for the first time, subscriptions 15 were sold costing four dollars for eight performances, the price of single admissions ranging from twenty-five to seventy-five cents. The prologue, which invariably accompanied the opening of a German theatrical venture, was spoken by Dr. Forsch, prominent in German-American circles of the day. A rather long contributed article in the Staatszeitung of February 19 contains a highly sympathetic and favorable review of the first night at the Franklin. In the same issue may be read an account of a shameful trick on the part of an unknown gentleman, who, on that opening evening, falsely directed fifty unwitting German theatregoers to the neighboring Chatham Street Theatre, in which an English play was scheduled! Initial difficulties having been successfully overcome, German performances now continued more or less regularly at the Franklin at the rate of approximately one per week. For February 19 Kotzebue's two-act comedy Incognito and, "by request," a repetition of Die Entführung18 were billed. The program for the 26th called for Humoristische Studien and Kotzebue's one-act comedy Die Brandschatzung; 17 that i s Brown (op.

cit.)

states that this house, located in the block

between James and Oliver Streets, was a mere box of a place, twentyfive feet in width, but seating five hundred and fifty persons.

I t had

been originally opened on Sept. 7, 1835. « Cf. S., Feb. 12, 1840. i s The practice of issuing subscriptions (Abonnement) was fairly common in German theatricals. i « C f . S., Feb. 19, 1840. i t Cf. S., Feb. 26, 1840.

24

EARLY GERMAN PERFORMANCES

of the 29th gave notice of Körner's three-act drama Toni and more Kotzebue, this time the one-act farce Wer weiss wozu das gut ist? Little Germany's young and enterprising dramatic club was now, however, no longer satisfied with light comedies and farces alone, for in the Staatszeitung of March 4 we are informed that the theatre will remain closed for a week owing to preparations for the production of Pius Alexander Wolff's romantic play Preciosa This drama, given about March 7,19 must have proved a success, for the issue of the 11th contains a half-column report full of unreserved commendation. Indeed, in view of the good attendance at the Franklin, the critic boldly calls for the establishment in New York of a permanent German "Musenheim." Fräulein Wiese, the earliest idol of "Kleindeutschland," whose name is frequently met with, is glowingly praised as the heroine in Preciosa, and Schnepf, as Pedro; and a repetition is scheduled for that same evening, March 11. A fairly long article on the 18th states that Wolff's romantic play has now been given three times in rapid succession 20 and has certainly become all the rage, with a fourth performance planned for the 20th in connection with Kotzebue's Zerstreuten, as a benefit to Fräulein Wiese. This "Kulissenliebling" is lauded as a rare artist of quite unusual and manifold talents, melodic speech, pure, sweet tone (the parts she assumed often involved singing), graceful action, eloquent gesture, etc. A second actress, Madame Holm, is mentioned for the first time. w Preciosa (1809-10) was first given at Berlin, Mar. 14, 1821, and retained its popularity for the greater part of the century. Weber composed music for the play. Cf. A. D. B., X L I V , 45. 10 The author is inclined to assume the 7th, for that was a Saturday. 20 The third performance probably occurred on the 14th.

EARLY GERMAN

PERFORMANCES

25

The Verein was now impelled by its initial success further to extend and to regularize its activities. In the Staatszeitung of March 18 an advertisement is printed stating that the "Franklin Theater" (the first occurrence of this caption) has been leased until May 1. Six new pieces are promised, a very ambitious program, for among them were Kleist's Käthchen von Heilbronn and two operas: Der Freischütz and Die Schweizer familie}1 Subscriptions for the six performances were to sell at ten dollars for "eine Bank," five dollars for "eine halbe Bank" and two and a half dollars for "einen Sitz." Commendatory reports on the Deutscher dramatischer Verein are included in the next two issues of the Stoat szeitung,22 and the writer urges the organization to seek publicity in the English-language press. Fräulein Wiese, Herr Creutzer (probably the .Kreutzer mentioned above) and Madame Holm are especially praised for their clever acting. For Thursday, March 28 (the 26th must have been meant), Käthchen von Heilbronn is now definitely advertised at prices ranging from eighteen to seventy-five cents. That this performance as well as a repetition occurred is attested by the reference, on April 1, to the "two presentations" of Kleist's play of knighthood "during the past week.'' 23 Wiese, Holm and Kreutzer, as usual, win the laurels, which are shared by Schnepf, Buek and one Müller. For April 1 a triple Kotzebue bill is announced as a "Zweite Abonnements-Vorstellung": Der grade Weg, der 21 The text was written by Ignatz Franz Castelli (1781-1862), a dramatic poet and collector of plays of Vienna. He is said to have amassed some twelve thousand dramatic works. The opera Schweizerfamilie, based on Castelli's text, was composed by Weigl. Cf. A. D. B., IV, 63. 22 Cf. 8., Mar. 25 and Apr. 1, 1840. 23 Perhaps the second performance took place on Saturday, Mar. 28.

26

EARLY GERMAN PERFORMANCES

beste, followed by Der Gimpel auf der Messe, and finally, Der Nachtwächter. The newspaper issues of April 8 and 17 " include no articles on the theatre, but in the latter edition a brief advertisement states that certain difficulties (of what nature is not mentioned) prevented the giving of Lumpaci Vagabundus, which had been scheduled "for Wednesday" (either the 8th or the 15th). On April 22 Preciosa is repeated as a benefit 25 to Schnepf, and now we hear for the first time of a " guest-actor.''26 He is Herr Icks, stage manager of the German theatre in New Orleans, and he is to appear on the evening of the Schnepf benefit in the role of "Der Mann" in Kotzebue's one-act comedy, Der häusliche Zwist. The presence of the visitor makes possible a new venture, the staging of the Verein's first classical play. For April 29 Die Räuber is advertised, with Icks as Karl Moor. On that date 27 the Staatszeitung published a long unsigned contribution reviewing this— the first—season of the German stage in New York. The work of the Verein is duly appreciated, while regrets are expressed that the performances have not drawn good-sized audiences. The actors and actresses thus far named, together with two newcomers (Herr und Frau Becker), are praised for their efforts. This review, together with the absence of further notices in the succeeding numbers of the Staatszeitung, makes it probable that the Räuber, on April 29—if the Schiller drama was actually performed 28—marked the close of New 2* The Staatszeitung regularly appeared on Wednesday; by exception, however, on F r i d a y , Apr. 17, 1840. 25 Such benefit performances were, as we shall see, very common on the New York German stage. 26 The f r e q u e n t appearances of so-called " g u e s t " or visiting actors has been another characteristic f e a t u r e of the German stage. 27 Cf. S., A p r . 29, 1840. 28 No report confirming the performance could be found.

EARLY GERMAN PERFORMANCES

27

York's first season of the German stage. To summarize it, we may state that it was a season of comedies, and, in accordance with the taste of the time, almost exclusively of Kotzebue plays. Nevertheless at least two significant dramas were attempted. With the Rauber (assuming it to have been given) and Kathchen von Heilbronn the classic and the romantic drama made their appearance on the local German-speaking stage. And a second romantic play, Preciosa, had scored a decided hit. Considering the poor economic conditions of those early times and the newness of the attempt, a highly satisfactory start had been made. Unfortunately, however, this modest beginning could not be followed up immediately, for, as we shall see, external circumstances, quite beyond the control of the Deutscher dramatischer Verein, militated against its continued activity. More than fifteen months, indeed, were to elapse before New York's "Kleindeutschland" was again to be entertained by a play in German. In a most hopeful spirit the Stoatszeitung, as early as May 20, published a '' Bekanntmachung,'' 28 inviting those interested in the German theatre to attend a meeting on the 22d, called for the purpose of discussing the possibilities of continuing "Das deutsche Theater" and of establishing it on a firmer basis. But there the matter rested. As the summer came the Germans soon found themselves deeply involved in bitter racial conflicts, aroused, no doubt, by their rapid growth in numbers and by their increasing economic and social importance. The storm broke with great fury on 2» Among the seventeen signatures of this notice was t h a t of G. A. Neumann, a t that time owner of the Staatszeitung. A second invitation appeared on the 27th calling f o r a meeting on the 30th, but we do not know whether this was a second meeting or whether the first had been postponed.

28

EARLY GERMAN PERFORMANCES

Friday, August 14, when a most violent anti-German demonstration marred a serenade tendered by the sons of the Fatherland to their countrywoman, Fanny Elssler, the celebrated dancer, who had been performing here. The issues of the Staatszeitung of the 19th and the 26th are filled with accounts of the riot, and with intense feeling retaliatory measures are planned. The Dramatischer Verein, evidently bent upon waging the fight with weapons of culture—so rumor had it on September 9—made preparations to bring out, during the following week, Zedlitz' Herr und Sklave30 and Kettel's Richards Wanderleben.31 It is doubtful, however, whether these plays, subsequently added to the repertoire of New York's "Deutsche Bühne," were given at this time ; a full fortnight later 3 2 the newspaper expresses its satisfaction at the "prospective" renewal of the Verein 's dramatic work, doubly welcome, so we are told, at a time characterized by such vehement antagonism to German culture in the city. Naturally all Germans in New York are urgently requested to support the theatrical undertaking. However no further items on " D a s Theater" appear in New York's German newspaper during the rest of 1840 ; 3 3 in fact no theatrical notice is so Freiherr

von

Zedlitz-Nimmersatt

rechter A l t ö s t e r r e i c h e r . "

(1790-1862),

"ein

echter,

Starting as an independent poet, he soon

came under the influence of Schrevvogel and later followed the conventional Vienna school. in trochees.

Herr

und Sklave

(1831) is a two-act play

I t is Spanish in form and in conception and treats

problems of honor.

Cf. A. D. B., X L I V , 742.

ai Johann G. Kettel (1789-1862) was a Vienna actor.

H e joined

tho " L i e b h a b e r " theatre in that city and made his début in 1814 in Kotzebue's Die

beiden Klingsberg.

I n 1816 he joined the H o f b u r g -

theater under Schreyvogel and prepared a series of dramas f o r the stage: Richards etc.

Wanderleben,

Der Findling,

Der betrogene

Betrüger,

Cf. A. D. B., X V , 669.

32 Cf. S., Sept. 23, 1840. 33 T o be sure the issues of Nov. 4, N o v . 11, Dec. 2 and Dec. 9 are

29

EARLY GERMAN PERFORMANCES

found prior to July, 1841, so that it is safe to assume that the Verein had lost its importance and that there was in reality no German dramatic season for 1840—41. D . THE SECOND SEASON AT THE FRANKLIN

THEATRE

(AUGUST 9, 1 8 4 1 , TO JANUARY 2 8 , 1 8 4 2 )

On July 14, 1841, a brief notice in the Staatszeitung states that a German theatre will in all probability be opened on August 1. Again the Franklin, newly decorated, is to be used, and subscriptions are solicited "to cover expenses." 34 There is a slight delay, however, in launching the new undertaking, for on August 4 an advertisement conveying the information that the Franklin has been rented until May 1, 1842, states that the "Deutsche Schauspieler Gesellschaft" will open there on August 9 with Kotzebue's Pagetistreiche. This was no false alarm, for on the 11th the event is reported with the remark that a large audience was delighted with the histrionic skill of Fraulein Wiese as the Page, Madame Holm as Deborah, and also with the efforts of Herren Buek, Schlee, Schnepf and Becker. Three adverse comments are voiced: confusion in the assignment of some of the seats, poor illumination and a poor selection of musical numbers by the orchestra. Since all the actors mentioned, with the single exception of Schlee, had been members of earlier casts, it is perfectly safe to assume that the "Deutsche Schauspieler Gesellschaft" was but a reorganization of the Verein which had inaugurated the German stage. The season which now opened was to prove not only missing, but the absence of four numbers in a period covering nine months is surely not significant. 34 A second notice, one week later, alleges that great interest is being shown in this new attempt.

30

EARLT GERMAN PERFORMANCES

much longer than its predecessor, but by far the most extended and the fullest of the entire decade of the forties —a season that was not again equalled quantitatively until the German stage had really begun to expand widely in the fifties. Between the 9th of August and January 28 of the following year (1842) there were no less than thirtyfive theatrical evenings, fairly evenly distributed, with a slight acceleration noted during the last two months.85 A qualitatively strong repertoire was, of course, not yet to be expected, since we are still dealing with the earliest infancy of the German stage. Light comedy and vaudeville naturally continued to predominate and the high points were restricted to renditions of Schiller's Räuber, Act V, Zschokke's Abellino and Müllner's Schuld. However, Körner and Raupach were beginning to infringe slightly upon the monopoly heretofore enjoyed by Kotzebue. Considered all in all, a history of this season, too, must of necessity result in a rather monotonous and tiresome narrative but for the sake of completeness we must follow it. Kotzebue's Pagenstreiche was followed, on August 18,38 by that author's Der Gimpel auf der Messe together with the Raupach comedy Der versiegelte Bürgermeister. A shortage of actresses at this time evidently prompted the management to insert an advertisement inviting the immediate services of '' zwei deutsche Schauspielerinnen.''36 On the whole, the presentation of the 18th was described as well done,37 Schnepf playing the parts of Lampe and Stoffelsack excellently, while Becker, Fräulein Wiese and Fräulein Schroder (evidently a newcomer) also acted with great skill. Bree was quite humorous but Buek was sharply 35 Cf. App. I . 36 Cf. S., Aug. 11 and 18, 1841. « Cf. 8., Aug. 25, 1841.

EARLY OEHMAN PEHTOBMANCES

31

berated for his poor memory, and the orchestra was likewise characterized as poor. A violinist appeared in the intermission between the two plays.38 The next announcement was for the 27th, when Kotzebue's Der häusliche Zwist and Raupach's two-act comedy Der Platzregen als Eheprokurator oder das Schmalztöpfchen und der Silbergroschen were billed. These performances, indeed, were appraised by the Staatszeitung as unquestionably the best yet given, and were well attended despite most unfavorable weather.39 In the Raupach farce the honors were shared by Wiese (as Gustel, a Berlin cook) and Bree (a Prussian foot-soldier). Herr Icks (as the Captain) acted well enough but wore a most unsatisfactory costume, while Madame Holm (as the Kommerzienrätin) was considered much too old for the part. The evening's entertainment certainly turned out to be a long one, for Kotzebue's Zerstreuten was also given. The efforts of Schnepf (David), Buek (the Neighbor) and Fräulein Marder (Charlotte), a new member of the company, were duly commended.40 For September 3 another lengthy program was put together, consisting of Kotzebue's two-act comedy Incognito, followed by Bendix' 4 1 comic pantomime Der Deserteur aus Liebe oder der gefoppte Alte, solo num38 The reader has, by this time, become thoroughly familiar with the practice, in vogue on New York's German stage, of producing two or even three short plays on a single evening, in which case the resulting intermissions were frequently filled out by musical or dance numbers. 39 The weather seems to have played a determinative role in New York's German theatricals, for the Staatszeitung time and again attributes Little Germany's failure to attend performances to snow, rain, wind-storms or other sinister meterological conditions. 40 Cf. S., Sept. 1, 1841, for this report. 41 Perhaps the actor who joined the company at this time; cf. p. 33.

32

EARLY GERMAN PERFORMANCES

bers by Wiegers and Kurz (probably two musical artists) and finally a two-act comedy, Der Trunkenbold.*2 For the 10th 43 the company promised "by request" Der Platzregen and Die sieben Mädchen in Uniform,** a sketch which had long been contemplated and which was, in later years, to become an extremely popular show. Strangely enough neither of these two September bills was reported by the Staatszeitung. Since, therefore, the German newspaper seemed at this time not to be according our young Theater a sufficient degree of publicity, it must not surprise us to find a long letter of complaint, signed "Petermännchen," addressed to the editor. From this letter 45 we learn not only that the "Theaterabend" of the 10th had materialized, but that Körner's Toni and a repetition of Die sieben Mädchen had occurred on the 13th. Both performances were rated high, although the critic ventured to hope that the company would confine itself to light diet and renounce its dreams of Tell, Faust and Fiesco (dreams of which the correspondent must have had private information). A second letter,46 on September 22, under the caption "Deutsches Theater," likewise made propaganda for the «2 The author's name is not divulged, nor has it been possible to establish the identity of the play. The identification of obscure and insignificant dramatic works, of which not a few are encountered, forms one of the difficult, often unsolved, problems of the present investigation. In certain instances, such plays, especially if they were local products, were probably never published and the stage versions have, no doubt, long since been lost. « Cf. S., Sept. 8, 1841. « B y Louis A. Angely (1788-1835). Cf. A. D. B., I, 457. He was a writer of vaudevilles and farces at Berlin, which he borrowed mainly from French sources and adapted not without skill to Berlin conditions. Among his most popular creations which we shall presently meet are: Das Fest der Ilandwtrker, Paris in Pommern, etc. « 8., Sept. 15, 1841. Signed: '' Matz Michel Rübezahl von der Schneekoppe''!

EARLY GERMAN PERFORMANCES

33

new institution and extolled the performances of the 20th, when Körner's one-act comedy Der Vetter aus Bremen and Richards Wanderleben were acted. In the former Bree (Veit), Becker (Franz) and Demoiselle Wiese (Gretchen) appeared with the usual satisfactory results. Icks, who took the leading part in the Kettel play, was criticized for slips in grammar and pronunciation, and for the first time the popular Wiese received an unsatisfactory rating. Two new actors, Schmidt and Bendix, were mentioned as very promising. The critic furthermore gave vent freely to his disapproval of the excessively long intermissions between acts and plays and found the music "herzlich schlecht."—For September 30 Preciosa, preceded by Der Vetter aus Bremen, was advertised as a benefit to Wiese, with the usual musical numbers in between. The fresh impulse given to the German theatre by the increased publicity continued, and, under the heading "Deutsches Theater—Erster Artikel," we find on September 29 the longest theatrical article that had yet been printed in the Staatszeitung. The writer, who styles himself " E i n Freund deutscher Kunst," is delighted with the prospect of a permanent German stage. Actors are urged to improve their standards of enunciation and language. In the meantime dramatic performances continued at varying rates of once or twice a week. For October 7 47 repetitions of Richards Wanderleben and Die sieben Mädchen in Uniform were advertised and presumably given. On the 11th 48 came Kotzebue's Freimaurer with Wiese as Caroline and Icks as the Baron, followed by Nestroy's Lumpaci VagabundusThis Vienna farce, a satire on the many magic operas of the age, remained a " S., Oct. 6, 1841. is S., Oct. 13, 1841. 49 The full title was Der böse Geist Lumpacivagabundus, liederliche Kleeblatt.

oder das

34

EARLY GERMAN PERFORMANCES

perennial fixture of the repertoire of the German theatre for the next thirty years and longer, and was offered, especially on holidays, more regularly than any other farce. The article above mentioned was followed on October 13 by a "Zweiter Artikel," which took the form of an earnest plea for the elevation of aesthetic taste, asserting that the Theater should be not merely a source of enjoyment and distraction, but a "Bildungsanstalt" as well. But this well-meant exhortation found little direct response, for on October 15 Lumpaci and Häuslicher Zwist50 were repeated, and on the 18th came Bäuerle's two-act songplay Die falsche Catalini,51 as a benefit to Schnepf and Becker, who had apparently been promoted to the rank of directors. In the issue of October 20 the new management thanked the public for its generous support and announced the opening of a second subscription on the 31st.52 In the meantime, on the 22d, Bree was the recipient of a benefit at which were seen: Kotzebue 's Die Einladungskarte oder U. A. W. G., Th. Körner's Die Braut, Raupach 's Platzregen and finally Beckmann's Der Eckensteher Nante,53 all of them one-act comedies—the last, in fact, so S., Oct. 20, 1841. 51 It is described in the Staatszcitung of Oct. 20 as a sequel to Kotzebue's Die Kleinstädter; a review of the plot is given. Adolf Bäuerle (1786-1859) was a Vienna theatrical critic, journalist and writer, the author of eighty plays, most of them '' Volksstücke,'' which, for many years, delighted audiences at Vienna 's ' ' Vorstadtbühnen" (Leopoldstrasse, etc.). In his Bürger in Wien (1813) he created the so-called " S t a b e r l " or latest incarnation of the Vienna '' Hanswurst,'' which displaced the older figures of '' Kasperl'' and " T h ä d d ä d l . " A whole series of " S t a b e r l " plays now followed— Staberls Hochzeit (1815), Staberls Wiedcrgenesung (1816), etc.— some of which were later given in New York. Cf. A. D. B., II, 147; also Arnold, Das deutsche Drama, 601-2. 52

This date was apparently later changed to Nov. 5; cf. p. 36. 53 Cf. S., Oct. 20 and 27, 1841. Friedrich Beckmann (1803-66) was

EARLY GERMAN PERFORMANCES

35

a popular farce. Interest in the theatre was now reflected by the increasing space allotted to it in the Staatszeitung —for instance, an entire column in the newspaper of the 27th, discussing the Bree benefit and commending the actor's feat of essaying four different roles in one evening. But, with the greater attention bestowed upon the stage by the press, the danger of clashes between the two became more and more imminent. Consequently we find, in the issue of the 27th, the earliest evidence of friction between an actor and a journalist. Not satisfied, it seems, with the mere discharge of his assigned part during the Bree benefit, Icks very dramatically stepped before the curtain and complained bitterly to the astonished audience of gross injustice on the part of a certain "ignorant" writer." That the actor's remarks had an effect is shown by a long contributed letter in the Staatszeitung of the 27th, defending Icks and justifying his outburst. On November 3 55 a roster of the company was published for the first time: Director, Becker; Stage Manager, Bree; Music Director, Wiegers; Prompter, Siemon; Property Man, Buek; Actors: Becker, Schnepf, Bree, Buek, Busch, Schmidt, Icks, Bendix; Actresses: Icks, Wiese, an excellent comedian and immensely popular with the mid-century audiences of Vienna's Hofburgtheater. Laube thought highly of him (cf. H. Laube's Das Burgtheater, especially pp. 374-79). His moBt applauded roles were in Eckensteher Nante and in Der Vater der Debütantin, which we shall also meet with in the present study. Nothing could be found, however, which sheds any light on Beckmann as a writer. Cf. A. D. B., I I , 237. si Evidently the author of a rather acrimonious report printed in the Staatszeitung shortly before this occasion. so There must have been one more theatrical evening in October, namely on the 29th. The Staatszeitung of November 3 reprints a prologue, written by Dr. Forsch and spoken in the Franklin on the 29th by Icks, but no mention is made of what plays were given on that occasion.

36

EARLY GERMAN PERFORMANCES

Koch, Holm, Schroder, Marder. Thus we note the presence of several unfamiliar members in addition to the members whose acquaintance we have already made. In this way, needless to state, new artists keep springing up in the course of our narrative. At first they appear singly and sparingly, then more frequently and in groups, until they finally overwhelm the investigator by their sheer numerical mass. Some of the actors vanish almost as soon as they have been introduced; others abide. Naturally the great body of these Thespians have long been forgotten. Whence they came and whither they went are questions we can never hope to answer. The provenience of even the more important actors and actresses is one of the most difficult and unsatisfactory problems of the present study—a problem with which the author has had little success. In the relatively few instances in which the origin of an actor has been established it will be mentioned. But, to return to our story, the new subscription opened on November 5 with Clauren's four-act comedy Der Wollmarkt,5e preceded by Korner's one-act tragedy Die Sühne. Unfortunately the audience on that evening was a small one, and for almost two weeks we hear little of the activities of the Schauspieler Gesellschaft. On the 19th 5 7 Lumpaci Vagabundus, as a non-subscription bill, was repeated. In fact it was acted a third time on the 26th, while in the interval, on the 22d,58 a new production, Carl 56

H e i n r i c h Clauren, pseudonym f o r Carl G. S. Heun ( 1 7 7 1 - 1 8 5 4 ) , enjoyed a considerable vogue, which was, however, short-lived. In his sentimental comedies as in his novels he catered to t h e lower t a s t e of the people a n d was thoroughly satirized b y W. H a u f f . Cf. A. D. B., TV, 281; L a u b e , Das Burgtheatcr, 94 a n d 332; also Arnold, Das

deutsche Drama, 590. " Cf. S., Nov. 17 a n d 24, 1841. 5 s The Staatszeitung of t h e 17th

announces this as a " f i f t h subs c r i p t i o n , " t h e first h a v i n g occurred on the 5th. P e r f o r m a n c e s , f u r -

EARLY GERMAN PERFORMANCES

37

XU auf Rügen, a four-act comedy by Schneider,59 taken from the English of Both, was introduced to the patrons of the Franklin, to be repeated on the 29th. To supplement Nestroy's satirical comedy on the 26th the first act of Preciosa was given, "mit falscher Besetzung," 60 while the evening of the 29th was rounded out with Act V, Scene 1 of Die Räuber, as was claimed, for the first time in New York.61 Thus, as the season advanced, the theatre developed an increasingly active and versatile program. The frequency with which the directors of the Franklin brought out plays continued unabated in December. On the 1st came a series of short sketches and miscellaneous numbers (as a benefit to Herr and Frau Icks) consisting of the following: Robert Macaire (adapted from an English melodrama) by one Weidemeyer; Ein Kinderballet; Marsano's comedy Die Helden;62 Kotzebue's Die Beichte, and finally thermore, are announced as taking place regularly on Monday and F r i d a y of each week. Obviously, then, the newspaper f a i l s to mention some of the theatrical evenings a t the Franklin, and it is only f a i r to assume t h a t t h e second, t h i r d and f o u r t h subscription performances were given on the 8th, 12th and 15th respectively. sä Ludwig Schneider, t h e popular author of comedies, f a r c e s and song-plays, born a t Berlin, 1805. Among his productions given on the New York German stage were Der Kurmärker und die Pikarde, Der Heiratsantrag auf Helgoland, Der reisende Student ( ? ) , etc. Together with a captain of t h e artillery, W. Förster, Schneider edited " B ü h n e n r e p e r t o i r e des A u s l a n d e s , " under the pseudonym L. W. Both (i.e., " B e i d e " ) . Cf. Brümmer, Lexikon deutscher Dichter, VI, 264. o« T h a t is, with men t a k i n g the p a r t s of women and vice versa. ei Bree played F r a n z , and Schmidt, P a s t o r Moser. This scene must have been omitted in the earlier p e r f o r m a n c e ; c f . p. 26. «2 Wilhelm von Marsano (1797-1871) was an Austrian a r m y officer and an author of unusually attractive personality. H e was called the " P r a g e r A l c i b i a d e s . " I n K o t z e b u e ' s Almanach dramatischer Spiele, Vols. X X V I I , X X V I I I and X X I X , appeared his three plays:

38

EARLY GERMAN PERFORMANCES

some recitations. The 3d saw repetitions of Eckensteher Nante and Die eifersüchtige Frau. Kotzebue's Kreuzfahrer, a five-act drama of chivalry, was presented on the 7th; and on the 10th Lebriin's three-act comedy Der Quartierzettel and the one-act farces Unser Verkehr and Je toller, je besser were given. Quality, however, did not go hand in hand with quantity, and sometimes the former left much to be desired. Adverse criticism stressed the annoying habit of hesitation on the part of the actors, due to their unfamiliarity with roles and with the stage setting.63 The repetition of Kreuzfahrer on the 13th elicited the comment "herzlich schlecht." Herr and Frau Icks were characterized as especially poor and in a laughing mood, certainly a false note in a romantic drama! On the 15th the performance of Hedwig die Banditenbraut was stamped as "wretched"; it was asserted that the actors made a real burlesque out of this tragedy by their flippant attitude, so that many a friend of the theatre felt ashamed. These instances of unsatisfactory acting and of weak discipline in the company may have been due in part to a spirit of internal discord, of which the first symptoms came to light at this time. In connection with the performance of the 20th we learn of an altercation between two actors. Herr Schmidt, the beneficiary of the evening, inserted a notice in the newspaper, protesting against the conduct of his colleague Bree, whom he accused of having withdrawn from the performance at the last moment, of having incited the actors against him, and furthermore of having torn up the program sheets of the occasion! Yet the month of December was not without its redeeming features. The Kotzebue comedy Die Rosen von Die Phlegmatiker, Die Helden, XX, 429. 63 S., Dec. 15, 1841.

and Das Spiegelbild.

Cf. A. D. B.,

EAKLY GERMAN PERFORM AN CES

39

Malesherbes, given on the same evening with Hedwig (December 15), was well acted, and on the 20th Müllner's Schuld, contrary to all expectations, turned out to be so pleasing that it was characterized as the season's best achievement.64 The noticeable orderliness of audiences at the Franklin, in contrast with gatherings at other New York theatres, also evoked words of praise at this time.95 Two more theatrical evenings completed the month at the German playhouse. On the 25th Kotzebue's Pagenstreiche, designated as the eleventh subscription, was excellently given,66 and the year closed on the 30th with a thoroughly mixed variety and dance bill, consisting of Fanny Ellsler's Cracovienne, Schneider Fipps, Die schlaue Witwe, Die Helden, and a children's ballet called Der Carneval von Venedig oder die Grenadiere Friedrichs des Grossen in Italien. The year 1842 67 opened with a special performance on New Tear's Day of three plays the titles of all of which are familiar to us: Der Gimpel auf der Messe, Die sieben Mädchen in Uniform and Zedlitz's Herr und Sklave. On January 6, after many months of preparation and various postponements, came Zschokke's Abellino,6B one of the very first German plays given in translation on the American stage, forty years before this time. Kotzebue's five-act farce Pachter Feldkümmel followed on the 11th.69 It proved a great attraction. The same formalistic imitator of Schiller again furnished the bill for the 14th with Die ei Cf. S., Dec. 22, 1841. es Cf. S., Dec. 1, 1841. «6 Cf. S., Dec. 29, 1841. Cf. S., Jan. 5, 1842. 6® Cf. 8., Jan. 12, 1842. This drama must have been cut considerably, for the reporter speaks of "fragments" of Abellino as having been given. «0 Cf. S., Jan. 19, 1842.

40

EARLY GERMAN PERFORMANCES

Komödianten aits Liebe, which failed to arouse any enthusiasm, and with a Shrovetide play entitled Das Landhaus an der Heerstrasse,70 For the 18th Richards Wanderleben was scheduled; for the 20th, a series of short sketches ending with Wallensteins Lager—a benefit to Buek. However, a subsequent notice 71 informed the reader that this did not materialize, owing to insufficient attendance. The notice—it bore the signature, "Wahrheit, Achte Avenue" •—deplored this lack of support of the theatre on the part of the thirty thousand Germans living in the city. On the other hand a German performance, on the 22d, of Weber's Freischütz, in the Franklin Theatre, announced as the first complete rendition of that opera in America, was highly successful 72 and surpassed all expectations. New York's finest artists took part and the music was reported excellent. The opera was repeated on the 29th. 73 For the 26th Pachter Feldkümmel74 was advertised once more, preceded by Döring's one-act comedy of Geliert,75 and the closing evening of the month as well as of the season was featured by the English actress Miss Clemence, who participated in a vaudeville and medley program composed of Schneider Fipps, La Bayadere, Die Grenadiere Friedrichs des Grossen and various dances.76 With that the winter's theatrical offerings came to a 70 S., Jan. 12, 1842; Das zugemauerte Fenster was also promised for the same evening. " S., Jan. 26, 1842. 72 Ibid. ™ S., Feb. 2, 1842. " The Staatszeitwng of Jan. 20 erroneously mentions the 20th as the date.

™ Georg- C. W. A. Döring (1789-1833) was an uninspired playwright, whose productions yielded satisfaction only for the moment. In addition to Geliert, he wrote the dramas Cervantes, Posa, and Der treue Eckart. His novel So-nnenberg furnished Bireh-Pfeiffer material for her Pfefferrösel. Cf. A. D. B., V, 347. ™ S., J a n . 26, 1842.

41

EARLY GERMAN PERFORMANCES

rather abrupt end at the Franklin, f o r on February 9 we are informed that the local German company is about to leave f o r Philadelphia, there to perform f o r several weeks at the Arch Street Theatre. The Staatszeitung wishes the players the best of success and hopes they will avoid the errors they made in New York, but what these errors were the newspaper does not state. E.

THE

THIRD

(AND

LAST)

SEASON

AT

THE

FRANKLIN

THEATRE (SEPTEMBER 14 TO DECEMBER 16, 1 8 4 2 )

W e next hear of the German theatre on September 10, 1842. On this date a long advertisement appeared in the Staatszeitung, signed by F . Wiese, 77 announcing the opening of the Franklin on Wednesday, September 14, with a program of six numbers, including two dramas: Wer weiss, wozu das gut ist? by Kotzebue, and Das Gasthaus zum goldenen Löwen, a four-act comedy by Carl Stein. 78 This marked the beginning of a third and, as it turned out, last season of German drama at the little house in Chatham Street. Indeed, we may hardly speak of this as a season, inasmuch as only seven scattered performances are noted between the limiting dates of September 14 and December 16. Aside from a single presentation of Kabale und Liebe, this last three months' session of the German dramatic muse at the Franklin offers no bright spot. On September 24 Kotzebue's three-act comedy Der Rehbock oder die schuldloßen Schuldbeitrussten and Körner's Vetter aus Bremen make up the bill, yet the difficulty of once more setting the machinery of the theatre in motion is painfully apparent. I n an effort to stabilize his undertaking Director Wiese on October 1 announces that he has rented the Franklin until M a y 1, 1843, and 11 F . Wiese was the father of Elise (cf. pp. 24, 25, etc.) and Agnes (cf. p. 42). His identity has not been definitely established.

42

EARLY GERMAN PERFORMANCES

calls upon the public for its support. He advertises no less than twenty-four performances at subscription prices ranging from six to ten dollars! 79 As an additional inducement patrons are notified that the two favorites, Icks and Schmidt, have been reengaged and will appear, for the first time in eight months, in a triple bill made up of the two Kotzebue one-act plays, Der Hahnenschlag and Das Landhaus an der Heerstrasse, followed by a one-act comedy after Florian entitled Die beiden Billets. In spite of all his heroic efforts "Wiese seemed unable to arouse his little playhouse from its inertia and it continued to drift along. The first subscription evening was finally set for October 25 80 —a one-act comedy, Der Freimaurer, and a musical medley ("Quodlibet"), Der reisende Student oder das Donnerwetter,81 with La Cracovienne, danced by Agnes Wiese, in the intermission. An advertisement on the 29th stated that the Franklin was to remain closed until November 5, owing to preparations for Kabale und Liebe, slated as the "third subscription." 82 But the Theater continued its dilatory policy, for on the 5th another postponement disappointed its friends. This time the excuse was that the building was being repaired and newly decorated! Finally, on the 12th, Schiller's middleclass tragedy was promised for both the 18th and the 19th, while on the latter date it is announced for that same evening, without mention of any performance on the 18th. Probably only one performance was given after all, and that on the 19th, since the Staatszeitung set the date of the "vierte Abonnement" as November 23.83 ™ Cf. S., Oct. 8, 1842. so Cf. S., Oct. 22, 1842. «1 There is a play by this name by L u d w i g Schneider (cf. p. 37, Note 59). 82 There is no record of a second subscription performance. 83 S., Nov. 21, 1842.

EARLY GERMAN PERFORMANCES

43

From the constant postponement of plays the hard struggle which the German stage was experiencing during these months becomes only too obvious. The reason is not hard to find when we consider the economic depression that marked the winter of 1842-43. Indeed even the Park Theatre, one of the most prominent playhouses of the city at that period, was forced to reduce its prices of admission as a result of the hard times.8* Through it all Wiese struggled bravely on; he announced for December 2,85 as a benefit for Madame Icks, another lengthy medley bill, including the initial presentation of no fewer than three one-act comedies—Castelli's Zwei Freunde und ein Rock, Körner's Der grüne Domino, and Das Anekdotenbüchlein, by Scribe and Delavigne. The director, again impelled by the desire to systematize his venture, stated that he would henceforth open his house regularly on Tuesday and Friday evenings each week, and promised Kabale und Liebe for December 6. Gaps in the newspaper file make it impossible to ascertain whether Wiese was really able to carry out his plans, but we are in a position to state that at best he had to put them off and probably could not even inaugurate them. For December 16, the next recorded date, three more short comedies and farces were planned86—Der junge Pathe, by Schneider, and Herr Blaubart oder das geheimnisvolle Cabinet and Der Schmarotzer in der Klemme, both by Angely. However, the economic situation continued seriously to affect the theatre, so that the fulfilment of projects was often accompanied by the greatest delays, if, indeed, not entirely frustrated. Thus a local five-act comedy entitled Herr Hampelmann sucht ein Logis (by an unknown au»* S., Nov. 26, 1842. as S. (Tageblatt), Nov. 28, 1842. so Cf. 8., Dec. 16, 1842.

44

EARLY GERMAN PERFORMANCES

thor) was announced as a benefit for Schnepf on the 23d." Yet on the 31st the identical benefit was advertised for January 6, 1843, as a " f i r s t " performance, thus proving that it certainly could not have taken place on the date originally set. To make matters worse, a brief exhortation on January 7 urged the readers of the Staatszeitung not to forget the " c o m i n g " Schnepf benefit, which would seem to prove that the actor was experiencing the same disappointment week after week. Further checking up on this benefit to Schnepf becomes impossible, for the issue of the Staatszeitung for January 14 is missing. The last recorded performance, therefore, of this highly abbreviated and fragmentary season at the Franklin was probably that of December 16, and by way of summary we may note that the only work of literary merit given during the winter was Kabale und Liebe. F . THE SPORADIC ATTEMPTS TO GIVE GERMAN DRAMA

IN

VARIOUS H A L L S BETWEEN 1843 AND 1849

The cessation of performances at the Franklin in the midst of the trying winter of 1842-43 88 denoted not only another failure in the annals of German dramatics in this city; it signified, as well, what may be considered the end of the first period of New York's German stage. While, to be sure, no permanent Deutsches Theater had as yet been established, this early period (1840-43) had witnessed the successful efforts of the Deutscher dramatischer Yerein to introduce the German muse—efforts that had resulted in three seasons of drama at the Franklin. The ensuing years, 1843-49, represent, by contrast, a very barren period during which, in all, only twenty-one widely separated theatrical evenings are noted at no less than nine different «7 S„ Dec. 17, 1842. ss Only one more performance, on May 22, 1843, is recorded at the Franklin Theatre; cf. p. 45.

EARLY GERMAN PERFORMANCES

45

halls. These figures alone will make it clear to the reader that it becomes utterly impossible to speak of any more "seasons" during the remainder of the decade. It appears, after all, that the novelty of the undertaking, coupled with the numerical weakness of Little Germany, and finally the severe economic conditions, all combined to defeat, for the present, the sincere attempts that had been made to create a real German stage. Director Wiese, indeed, found successors who were willing to take up the task, and the hard times did not prevent private experiments in the theatrical field. One of the first problems of the new sponsors of the German theatre was to find a suitable hall, as is shown by the fact that the seven isolated play-nights recorded for the entire year 1843 occurred at three separate localities. However, we must not fail to mention one bright spot at this time— namely, that New York saw what was probably its first performance of Wilhelm, Tell in German. Let us examine this period somewhat more in detail. On January 28 a certain M. H. Dessau announces that he has rented the Bowery Amphitheatre (at 37 Bowery) for his own benefit on February 3, promising a performance of Die Ahnfrau, which he states has been played several times with success in Philadelphia. Unfortunately no positive evidence exists that Dessau accomplished his object. A gap of four months in the reports on the theatre affords another bit of mute testimony as to the precarious condition of German dramatics in the metropolis. On May 15 a new director, Rudolph Riese,89 appears on the scene and announces as his opening play Kotzebue's Graf Benyowsky oder die Verschwörung auf Kamtschatka, to be staged at the Franklin. This event received a highly so The name of Riese had appeared in the Staatszeitung of May 11, 1842, in connection with an attempt to establish a German theatre in New Orleans.

46

EARLY GERMAN PERFORMANCES

encouraging review,'0 and Biese, but recently come from New Orleans, besides being characterized as a capable, energetic director and actor, was hailed as a "new star in the heaven of the German theatre." Among his histrionic colleagues on this occasion we meet our old friends Schmidt, Schnepf, Bree and Fräulein Wiese. The critic points out that the prompter had very little to do during the evening—a most "unusual state of affairs." The "slim" attendance is attributed to the many recent disappointments to which German audiences had been subjected. On May 31 9 1 Biese plans to take his company to St. John's Hall, at 8 Frankfort Street, for a second performance, selecting for this occasion three short plays—Der Taugenichts, Die Frankfurter in Hannover and Der reisende Student. Again successful, and full of aspiration, Biese's wandering troupe now turns to the Bowery Amphitheatre, where it gives Die Räuber on July 14 92 and Wilhelm Tell on August 1. A sympathetic review, signed '' Theaterfreund,'' 93 commends the company highly for its pains and urges the public to support this latest venture, calling attention especially to the excellent work of Biese himself (Gessler), Schmidt (Tell) and Wiese (Bertha), the last mentioned being lauded as the "crown" of all actresses! But it seems that this diet was somewhat heavy for "Kleindeutschland" in the midst of a hot summer. At any rate, Biese was only yielding to popular demands, as he claimed, when he announced for August 22 Kotzebue's four-act comedy Der verbannte Amor oder die argwöhnischen Eheleute, followed by Holtei's short romantic musical play Der alte FeldherrAnd therewith 90

C f . S., " C f . S. »2Cf. S. 83 Cf. S., »4 Cf. S.,

May 30, 1843 (should probably be May 2 7 ) . {Tageblatt), May 31, 1843; ( W o c h c n b l a t t ) , J u n e 3, 1843. (Tageblatt), J u l y 10, 1843; ( W o c h e n b l a t t ) , J u l y 8, 1843. Aug. 5, 1843. Aug. 19, 1843

EARLY GERMAN PERFORMANCES

47

Riese's directorial activities terminated, for we hear of him subsequently only once or twice, and then in the capacity of actor. Only one more German performance is on record for the year 1843. On December 18 the Deutsches LiebhaberTheater announces itself as located at Abelmann's restaurant, at 508 Pearl Street, near Centre. The two plays which this organization promises for that evening are the familiar Vetter aus Bremen and Die Zerstreuten. The prices on this occasion ranged from thirty-seven and a half to twelve and a half cents. For the next six years only three volumes of the Staat szeitung—those for 1846, 1848 and 1849—are available.95 However, inasmuch as the three extant folios contain no theatrical items, we are led to believe that the rest of the decade of the forties was not marked by any developments of importance in the field of German dramatics. From the files of the Deutsche Schnellpost, which also cover this period, and which are fairly continuous, a list of but fourteen thoroughly isolated and sporadic performances has been gleaned. They were staged at no fewer than six scattered halls located in Pearl, Elizabeth and Chambers Streets and on the Bowery and Broadway, and took place at various dates between 1844 and 1848.96 For the most part they consisted of previously noted plays by Kotzebue, Angely and Raupach. The novelties were: Der Pariser Taugenichts; C. A. West's Das Leben, ein Traum; and Roderich Benedix's five-act prize comedy, Doktor Wespe. A single offering of Schiller's Kabale und Liebe also deserves mention. Thus the German dramatic muse in New York, after so hopeful a beginning in the early forties, steadily declined and all but perished as the years rolled by. »5 Cf. p. xvi. »6 Cf. App. I and II.

CHAPTER III THE GERMAN STAGE IN THE EARLY FIFTIES (1850-54) 1 A.

INTRODUCTION

THE very irregular and spasmodic character of the German stage in New York during the early fifties makes it necessary for us to scatter our attention over a coni Owing to the heterogeneous and f r a g m e n t a r y nature of t h e sources, t h e period covered by the present chapter is unusually difficult of treatment. During these years the Staatszeitung was issuing a daily newspaper as well as its original weekly. B u t with the appearance of the daily edition the Wochenblatt, with singular consistency, avoids theatrical items, which find a place only in the Tageblatt. Unfortunately, however, only a single volume of the l a t t e r — t h a t of 1853—has been preserved. For the years 1850, 1851, 1852 and 1854 we are therefore forced to turn to other sources, which are, f o r t h e most p a r t , mere journalistic reviews and, as such, must be used with the proverbial grain of Bait. The two chief sources at our disposal are the contemporary articles of Meyers Monatshefte (cf. p. xix), which were written between 1853 and 1856, and an account which C. F. H u c h (cf. p. xxi) wrote in 1907. Our study of the period is f u r t h e r complicated by the f a c t that those two authorities, as we shall see, do not agree—which is not so strange when we consider that they are separated by fifty years in time. F o r a brief span in 1851 we have d a t a given by a journal, Figaro (cf. p. xviii) and f o r the period beginning with 1853 the Belletristisches Journal (cf. p. xvii). Brown's History of the New York Stage (cf. p. xxi) also contains titles and dates of plays performed in German during this time. I n view of these extraordinary conditions a thoroughly accur a t e and homogeneous study of these years becomes impossible. 48

T H E GERMAN STAGE IN THE EARLY FIFTIES

49

siderable area and to introduce into our narrative several theatrical enterprises whose names have today merely an annalistic importance. A broad survey of these years shows clearly that the pains attending the birth of the new institution-to-be were rapidly growing more and more acute, the nearer we approach that hopeful day in the month of September, 1854, when the Stadttheater welcomed its first audience. To obtain a general picture of conditions during this early post-forty-eight era one needs merely to multiply by three or four the theatrical ventures described in the last chapter, to imagine two or even three such undertakings as coexistent for brief periods, and, of course, to keep doubling, trebling and even further accelerating the rates at which performances had heretofore taken place. Moreover we must now attach increased importance to the leaders, who were springing up with greater frequency than ever before and whose competence naturally grew as time advanced. For the first time we meet the names of directors who had gained experience in the playhouses of the Fatherland. As the tremendous tide of German immigration noted above 2 set in, it was only natural that the attempts to give plays in German should become more and more numerous. But this flood tide was unfortunately accompanied by a treacherous backwash, for we know that the unnaturally hasty and convulsive growth of the city for a time resulted in an economic distress that threatened to shipwreck Little Germany's theatrical ambitions, until, one fine day, out of all the whirlpools and eddies of the flood a lasting theatre arose. About the only stage of those mentioned above that lived to see the dawn of 1850 was the house at Mager's.* But apparently it did not satisfy the more pretentious taste 2 Cf. p. 2. 3 Cf. App. I.

50

T H E GERMAN STAGE I N T H E EARLY FIFTIES

of the newly arrived intellectual forty-eighters, for already before the end of 1850 some of Mager's players deserted and a rival house was started on Broadway at the Olympic, which lasted, to be sure with violent interruptions, until 1852. In 1851 dissension at the latter had again caused a split, and this time the irreconcilables fled to Chambers Street to make a fresh start at Burton's Lyceum. Along came the terrible winter of 1851-52 and temporarily halted all three enterprises. Undaunted promoters, however, tided over the imperiled German stage by giving performances at the Astor Place Opera House. In 1852 there was further rivalry between the Olympic and Burton's Lyceum, both of which had reopened their doors, but soon failed. The year 1853 saw two new, flourishing stages— prosperous, no doubt, since they were not, as had been their predecessors, simultaneous, but successive. They were the Deutsches National Theater and the St. Charles. Only the latter kept its head above water in 1854 and was still on the scene when the Stadttheater was founded. This, in brief, is the picture which we must now proceed to examine somewhat more minutely under separate annual headings. B . T H E YEAR 1 8 5 0

One of the retrospects in Meyers Monatshefte pictures the theatre at Mager's as a very inferior institution, which attracted its audiences by the bait of a dance after each theatrical representation. Here "orgies and bacchanalia" were enacted which lowered the reputation of the hall to the point at which, as Meyer asserts, it was impossible to speak of the German theatre in respectable society. The performances were of a simplicity bordering on the primitive, the orchestra consisting of a cellist and a violinist, whose constant companion was his pipe. The actors were

THE GERMAN STAGE IN T H E EAELT FIFTIES

51

persons who followed other occupations during the day. But the repertoire, according to Meyer, was by no means limited, and classical plays were not infrequently staged, the author recalling a presentation of Don Carlos that struck him as "spanisch genug." For want of new plays, Mager would produce old ones under new titles, an abuse which the critic of the Monatshefte still deplored as late as 1854. Changes of management became more and more frequent as the theatre declined, and managers often turned out to be men of low character. When the theatre continued thus to deteriorate, a new stage was opened on Broadway 4 in 1850 under the direction of one Fassert, whose undertaking, so we are informed by the critic, ruined Mager. Fassert's attempt was said to have begun most auspiciously. Crowded houses found the performances quite to their taste, and the German public, after its many disappointments, now felt it a matter of duty to support what had all the earmarks of a decent institution. Yet in spite of the propitious beginning, intrigues soon arose and Fassert showed all too plainly that he was not the man to check them. Within a few brief months the manager found himself bankrupt, but the members of the company decided to continue, and by sharing their expenses they contrived to keep the house open for a few additional weeks. In discussing these earliest years of the decade of 1850 Huch, by contrast with Meyer, paints a much more favorable picture of German theatrical conditions. The former declares that a certain W. Herrmann 5 had opened a German theatre in Mager's concert hall in Elizabeth Street •» Presumably at the Olympic, 442 Broadway. s A German-American actor of the Deutsches Theater at Cincinnati, who made several trips to New York and was frequently seen on various stages here during the late forties and the early fifties.

52

THE GERMAN STAGE IN THE EARLY FIFTIES

in 1850, supported by a group of players many of whom were soon to attain prominence in their field. The leading actors were Stein, Schwan,6 Hoym,T Wenzlawski and Horning, and the leading actresses, Lindemann and Schmidt. The presence of these histrionic artists, even at this earlier period of their careers, must, indeed, have lent the Mager stage a finer atmosphere than Meyer would have us believe. However, even Huch admits that the more exacting demands of the immigrants after the Revolution of 1848 were not satisfied with the quality of the offerings in the Elizabeth Street hall and that this dissatisfaction led to the Broadway undertaking of Fassert. The only theatre item in the Wochenblatt (of the Staatszeitung) for the year 1850 takes the form of a translation of an English letter, which had been published in the Washington Union of November 20.8 It had been written by a co-worker of that newspaper, named Wallach, who likewise judges the situation more optimistically than Meyer. The journalist asserts that there are in town no less than seventy thousand Germans, who live apart from the rest of the population and support two small theatres 9 at which semi-weekly performances are given in the German language. In Elizabeth Street the correspondent finds the plays just as good as anywhere in the city with the possible « Friedrich Schwan (cf. p. 60) had made a vain attempt to establish a German stage at Palmo's Opera House in Chambers Street on Aug. 11, 1845. Cf. App. I. 7 This is the earliest reference to Otto Hoym, founder of the New York Stadttheater. According to Abrecht he had been a member of the Court Theatres at Dresden and Darmstadt, had come to New York in 1850 and had soon won favor here because of his handsome appearance, his splendid voice and his unusual ability as an actor. s Cf. S., Nov. 29, 1850. s Without doubt the critic has in mind Mager's hall and Fassert's playhouse.

THE GERMAN STAGE IN THE EARLY FIFTIES

53

exception of Burton's. The reviewer then describes how, at the conclusion of the dramatic program each evening, the benches are removed and the theatre is transformed into a dance hall, where the younger set may amuse themselves until one o'clock. Neither drunkenness nor coarse behavior is to be noted, but clouds of tobacco smoke fill the air and claret and lager beer flow freely. With this portrayal and with the other descriptions above given we must take leave of the German theatre during the year 1850. C. THE YEAR 1851

That the German stage kept up its struggle to gain a permanent foothold in New York during the year 1851 appears from several sources. The Staatszeitung attributes to the New York Herald of July 4 the statement that "even the local German theatre is enjoying support." 10 Somewhat earlier, in the spring of the year, the Figaro reports a whole series of German performances at the Olympic—undoubtedly a sequel to Fassert's. Plays are advertised between March 26 and May 10, a span of slightly more than six weeks, which probably represents but a fraction of a longer season. The Figaro journalist quite frankly confesses his ignorance of German, which language he pretends to "brush u p " for his visits to the Theater, and his mutilation of the titles of plays together with his wretched orthography certainly substantiate his contention to the fullest. He further admits that he "sees rather than hears" what takes place on the stage and attributes his ability to follow the performances largely to the merits of the players. His tone throughout is clearly that of the flattering and ignorant newspaper writer, solely bent on securing the patronage of the theatre for his publication, and under these circumstances no great value can be ati « C f . 8., July 5, 1851.

54

THE GERMAN STAQE IN THE EARLY FIFTIES

tached to his criticisms. For our purposes the importance of the Figaro must be sought almost entirely in the data it gives us for a period not otherwise adequately covered, and in the fact that we find here one of the first instances of publicity given to the German muse by an Englishlanguage journal. The Figaro advertises the titles of twenty-three plays, which titles of course appear in English translation. The only classical offering of the series was William Tell, while the most popular drama seems to have been one variously listed (owing no doubt to inaccurate orthography) as The Confession{s) and The Confusion(s)which was seen five times—a large number, as German performances run. Then followed "Lumpartzi and Vagdbundres" [Lumpaci Vagabundus] and the Rogue of the Streets (called on one occasion the Rogue of the Streets of Paris),12 each of which was given three times. William Tell, La Marseilleuse 1 1 This may have been Eduard von Bauernfeld'a three-act comedy Die Bekenntnisse. Bauerafeld was a very productive playwright, whose creations attained great popularity on the Vienna stage in the thirties. He delineates Viennese society ill a highly Bkillful, realistic and sympathetic manner. His comedies Bürgerlich und Romantisch, Das Liebesprotokoll and Die Bekenntnisse were all produced on the New York stage during the period of the present study. Cf. Laube, 114 ff. and Witkowski, 50. 12 Perhaps Töpfer's four-act comedy Der Pariser Taugenichts (1839). Karl F. G. Töpfer was born in Berlin in 1792, became interested in the stage early in life and was attracted by Schreyvogel to Vienna, where he spent six years (1815-21). I n 1822 he went to Hamburg, where he remained until his death in 1871. His comedies were immensely popular. Among those which met with great success on the early German stage of New York were Hermann und Dorothea, Der beste Ton, Freien nach Vorschrift, Des Königs Befehl, Die Gebrüder Foster, Bosenmüller und Finke and Der Pariser Taugenichts. However he borrowed much from Scribe and never transports his audience into a higher poetic world. Cf. A. D. B., X X X V I I I , 446.

THE GEHMAN STAGE IN T H E EARLY FIFTIES

(or the Vicomte de Letoriere),13 mezzo (or The Farmer's First

55

Charles XII11 and InterNight in the Residence) 15

each enjoyed two performances. In all, thirty-five theatrical evenings were announced in the Figaro, occurring regularly on Monday, Wednesday, Friday and Saturday of each week, with special "benefit-evenings" on Tuesdays and "sacred concerts" on Sundays. The wardrobe is described as not especially brilliant. The leading actors seem to have been Herr and Frau Hoym,16 Friedrich, Buchheister, and Mmes Engelmann and Müller. The Figaro's reporter speaks of the lovers of "Der Faderland[!]" as rallying around the worthy manager (his identity is not revealed) and filling the house night after night. The newspaper critic expresses the hope, too, that the German theatre will soon be established on a permanent basis in New York. Sometime between May 10 and June 18 there must have is Prölsa (Robert Prölss, Geschichte des Hof theaters zu Dresden von seinen Anfängen bis zum Jahre 1862, Dresden, 1878) mentions a three-act comedy of this title a f t e r the French of Bayard by C. Blum—first performed in Dresden on J u l y 1, 1850. Of Carl Blum, Witkowski (p. 36) states t h a t he " i m p o r t e d the short opera, called vaudeville, f r o m F r a n c e and composed numerous comedies in the Kotzebue m a n n e r . " H i s Ich bleibe ledig (1835) and Erziehungsresultate (1840) were favorites on New Y o r k ' s mid-century German stage. 14 A two-act comedy, taken f r o m the English by Th. Hell. Theodor Hell was the pseudonym of K a r l G. Th. Winkler (1775-1856), who f r o m 1814 until his death was connected with the H o f b u h n e a t Dresden. P r ö l s s ' catalogue of plays given on t h a t stage is filled with the creations of this author. Among those best known to " K l e i n d e u t s c h l a n d " were Die Königin von sechzehn Jahren and Ein Glas Wasser. Cf. A. D. B., L I V , 209. 15

Das Intermezzo oder der Landjunlcer zum ersten Mal in der 'Residenz, a five-act f a r c e by Kotzebue. 18 Apparently H o y m ' s first wife. I n 1853 he married Elise HehlDieffenbacher.

56

T H E GEEMAN STAGE IN THE EARLY FIFTIES

been an interruption in the run of performances at the Olympic for, in his account of that playhouse, Brown 17 states that on the latter date "Burgthal's German National Theatre" (seemingly a new organization) was inaugurated in the building at 442 Broadway. Humoristische Studien, billed on the 18th, was followed by Die Schvle der Verliebten18 on the 20th, Der Vater der Debutantin18 on the 24th, and Weber's opera Preciosa on the 25th. Brown then abruptly dismisses the Burgthal company, stating that the theatre was shortly thereafter remodeled into stores. We must add, however, that Brown's data with reference to German performances cannot be regarded as complete, inasmuch as that historian wholly overlooks the entire spring season at the Olympic reported by the Figaro. Both Huch and Meyer charge Burgthal with incompetency, and the latter states that during this period almost every actor of the company successively took a turn at the management for a couple of weeks at a time. Huch reports that in the ensuing strife one of the members, Stein, withdrew, formed an independent troupe, and enjoyed great artistic success with the theatregoing public. This actor was said to have been especially effective as Shylock, in which part he was wont to be well supported by Frau Lindemann as Portia. In continuing his historical sketch Huch says that Alexander Pfeiffer of the Mannheim Thea« Cf. Brown, I, 288. i» A four-act comedy by Carl Blum (cf. Note 13), taken from Sheridan Knowles. The play is listed by Prolss as having its first Dresden performance on Oct. 21, 1845. i® A four-act comedy, from a French source, by Bernhard A. Herrmann (1806-76), a dramatist and theatrical director, who was in charge of the Hamburg Stadttheater from 1862 to 1866, and again from 1871 to 1873, and is said to have kept that stage at a high artistic level. He is reputed to have translated 123 French plays. Cf. A. D. B., X I I , 217.

THE GERMAN STAGE IN THE EABLY FIFTIES

57

ter assumed the directorship of the Burgthal stage in the late summer of the year and starred particularly as the King in Zopf und Schwert, as Don Ramiro in Die Schule des Lebens,20 and as Molière in Das Vrbild des Tartiiffe. But in spite of Pfeiffer's histrionic ability the public refused to be attracted, salaries had to be reduced, and, as was so often the case, friction developed within the company. As a result, Pfeiffer resigned (this must have happened in the fall) and together with Otto Hoym opened a new German theatre in Burton's Lyceum, in Chambers Street. This move apparently forced Burgthal to recall Stein as his stage manager, but in the resulting rivalry both houses failed. The winter that followed (1851-52) was unusually severe, and according to Huch it brought great hardship to the local German actors, who for the most part were left absolutely stranded. Pfeiffer finally made another theatrical attempt at the Astor Place Theatre, which met with some support from the public, but he was unwilling to risk the money needed to continue the enterprise and turned over the reins to the director of an Italian opera company that had leased the house. A fresh start was made with Schiller's Ràuber, but after a few weeks, so we are told by Huch, the effort had to be abandoned. Brown, under the caption of the Astor Place Opera House, lists two German performances as having been staged there in November—viz., The Camp of the Warriors,21 A Day in Naples and The Ugliest of Seven,22 all on the 22d, and The Bell Ringer of the Church of Notre Dame (or 20 A five-act play by Ernst Raupach. 21 In view of a report published in the New York Criminal Zeitung (B.) of Mar. 27, 1852, one wonders if this may not have been Wallensteins Lager. Cf. Note 25. 22 A four-act comedy by Louis A. Angely.

58

THE GERMAN STAGE IN THE EARLY FIFTIES

Esmeralde the Gypsy Oirl),M characterized as a "first New York performance," on the 29th. Brown connects Stein with these productions in Astor Place, so that if both he and Huch are correct we may believe that the Chambers Street as well as the Olympic company had a share in the German drama uptown. Before we leave the fitful year of 1851, a detached performance of German drama on an American stage should be mentioned, since it seems to have attracted considerable attention at the time and was even reported in the Englishlanguage press. On August 12 an all-day benefit was tendered at Castle Garden to Director Marshall of the Broadway Theatre. The very long program was extremely varied in character, including dramatic selections in English and in foreign languages, musical numbers and vaudeville. As part of the bill the members of the Burgthal company were invited to participate, and Die weibliche Schildwache 24 was offered with Otto Hoym in the leading role. This was perhaps the earliest instance of a direct contact between the English- and the German-language stages of New York. At any rate it is significant as showing that even at this early date the Deutsches Theater had, on one occasion, succeeded in winning recognition outside of its immediate sphere. One is much inclined to believe that the publicity which the Figaro had accorded the German stage may have helped pave the way for this invitation extended to German players to appear at an American theatrical function. Unfortunately, however, this isolated event was not at all followed up, and many years were to elapse before any further relations were established between the two stages. 23 Birch-Pfeiffer's Der Glockner von Notre Dame. 24 By an oft-mentioned playwright Friedrieh, otherwise not identified.

THE GERMAN STAGE IN THE EARLY FIFTIES

59

D . T H E YEAR 1 8 5 2

Apparently the trying economic conditions of the closing months of 1851 continued to prevail during the early part of the following year, thus precluding the founding of a lasting German stage in the city at this time. Huch reports that a merchant bearing the highly suggestive name of Monnie became interested and opened (he might more accurately have said reopened) the Olympic for the stranded German Thespians, but the plan soon had to be abandoned, whereupon the actors scattered. As the next attempt Huch cites that of an actor named Benroth, who came to New York with his wife and reopened Mager's hall, but likewise failed. On March 20 the first number of the New Yorker Criminal Zeitung was published, and the very second issue, that of the 27th, contained an article entitled "Die Presse und das Theater." This account makes it clear that the most recent German performances must have achieved fairly high standards of artistic merit, even though, as has been noted, they had not attained financial success. The critic even asserts that during the short time of its existence the German stage has risen above the plane of the English theatre, and deplores the inferior taste and the utter lack of educational initiative of the latter! To confirm his claim about the finer taste of the German public our journalist points to the "recent production of classical plays at the Astor Place Opera House," among which he mentions Egmont, Hamlet and Wallensteins Lager!25 It is interesting to read that "many Americans" attended these performances, although one seeks in vain any advertisements or announcements of them in the con25 Cf. Note 21. It is to be regretted that neither Huch nor Meyer mentions the production of these classics.

60

T H E GERMAN STAGE I N T H E E A R L Y FIFTIES

temporary English-language press. A t the conclusion of the article the reader is informed that a Verein deutscher Schauspieler is planning to give plays at the Olympic, which project the public is warmly urged to support. Although a weak attempt to give German drama in the open air in Hoboken, New Jersey, during the summer months proved anything but successful, conditions took a decided turn for the better in the autumn of the year. Above all, the economic situation was once more improving and, even though two more years were to pass before New York should have its first enduring "Musenheim," the fall of 1852 marks a distinct turning point in German dramatics in this city. Now, for the first time, it becomes possible to talk of a fairly regular and continuous activity on the part of the German stage. Huch tells us that Eduard Kriiger, an impersonator of powerful characters at Mager's, now engaged a small company that found modest audiences at Burton's Lyceum in Chambers Street. Emanuel Pleyel of Vienna took over the management, Worret was stage manager, and Bruno Berndt, Friedrich Schwan and Frau Lindemann were the leading players. Berndt was hailed as the hero of the day. While Huch adds no further details and gives no dates, these events must have happened in the late autumn or in the early winter, for on January 1, 1853, we find the company well organized, no longer, to be sure, in Chambers Street, but under a new name, the Deutsches National Theater, on the Bowery. E.

THE

YEAR

1853

The Deutsches National Theater apparently 26 inaugurated its new home at 53 Bowery on New Year's Day and 2« Since we have no complete daily file of the Staatszeitung

before

Jan. 1, 1853, this statement cannot be proved, but inasmuch as a

THE GERMAN STAGE IN THE EARLY FIFTIES

61

continued to give regular "Theaterabende" until May 7. Then followed a two-months summer session at Becker's Garden in Hoboken, extending from May 23 to July 22, and advertised as under the management of Pleyel and Worret. The former got into financial difficulties, however, and had to flee, so that in the autumn Kriiger and Eduard Hamann took charge and opened the St. Charles Theatre at 17-19 Bowery, which continued not only during the remaining months of the year, but throughout the entire winter and spring following, and was, in fact, the immediate predecessor of the Stadttheater. We must now examine somewhat more closely the three theatrical ventures just outlined. The Deutsches National Theater, then, opened on January 1 with Heinrich Clauren's Wollmarkt and closed on May 7 with Kabale und Liebe. Seventy-six "Spielabende" in all are recorded, which took place regularly four times a week. The prices ran from one dollar to eighteen and three-quarter cents. While the repertoire shows a wide range, there were few classical representations and few outstanding features. Schiller was heard about once each month, with three presentations of Die Rauber and two of Kabale und Liebe. Kotzebue was beginning to yield the leadership which he had heretofore enjoyed to Charlotte Birch-Pfeiffer, who contributed no fewer than seven different plays to the season's list. Of the remaining significant dramatists Gutzkow, Laube, Holtei, Benedix, Korner and Mosenthal were represented, but played a very minor part. Highly interesting as a reflection of the attitude of the prologue featured the evening's entertainment the author is inclined to believe that the Deutsches National Theater, after staging performances at Chambers Street (perhaps under a different name) during the concluding months of 1852, moved into its new quarters on the Bowery on January 1.

62

T H E GERMAN STAGE IN THE EARLY FIFTIES

German-Americans toward their adopted fatherland was the presentation, on February 22, of Julius Dornau's" five-act patriotic play George Washington. At this time, too, New York's German theatre felt independent enough occasionally to scorn the "Made in Germany" stamp which had always characterized its offerings, for the local actor Worret had written a farce (with song and dance) entitled Herr Hampelmann in Californien oder goldene Berge, ein Traum, which was acted on the 12th of February. The discovery of gold in California of course explains Herr Worret's theme. The public was urged particularly to attend the performance of January 24, given as a benefit to Nees von Esenbeck.28 described as a veteran of German science who had been persecuted for his ultra-democratic views. This is but one of several instances indicative of Little Germany's interest in European politics and of its sympathy with the Revolution of 1848. On the roster of players appear the names of Berndt, Schwan, Heinrich Schmidt, August Horning, Frau Lindemann and Amelie Klaus. A guest who seems to have attracted considerable attention, but about whom little is known, was Albertine Kenkel. The Hoboken Sommer-Theater was an open-air undertaking. Three performances a week were scheduled, but unfavorable weather sometimes necessitated postponements. 27

Julius Dornau, the pseudonym of A. Julius Naundorff. He was born at Dresden in 1821 and became a soldier and officer in the Saxon army. Literature was his avocation. Brummer gives the date of his drama, George Washington, as 1862—obviously an error. Cf. Briimmer, V, 107. 2» Christian G. D. Nees von Esenbeck (1776-1858) was a noted German botanist, who, in spite of his advanced age, broke with the old political regime in 1848, became thoroughly radical and joined the social democratic party. He was removed from his professorial chair at Breslau in 1851 and dismissed without a pension. His last years were spent in poverty and distress. Cf. A. D. B., XXIEI, 368.

T H E GEB MAN STAGE I N T H E EARLY FIFTIES

63

No plays of any merit were recorded, and accordingly the venture may be dismissed without further comment. The Deutsches Theater in St. Charles Theatre, later known simply as the St. Charles Theatre, was originally announced as intending to open in a newly built hall next to Burton's Theatre, in Chambers Street, but a subsequent advertisement locates this most recent stage at 17-19 Bowery. Messrs. Krüger and Hamann turned the management of their house over to W. Boettner, a theatrical director who had lately come over from Germany. Considerable publicity marked the opening on September 12. Karl Töpfer's four-act comedy Freien nach Vorschrift oder wenn Sie befehlen was seen, followed by a dance and a little sketch, Der Tod des Erzbischofs auf den Barrikaden von Paris. While admitting the shortcomings of the theatre (its small size and inadequate stage equipment and facilities) and the lack of good actors, the Staatszeitung earnestly pleads for the support of the "Musenhalle." The newspaper deplores the absence of names like Hoym, Pfeiffer, Berndt, Fräulein Klaus and other players who even at this time must have enjoyed some repute, but were not found with the troupe. The leading parts were taken by the actors Worret, Szmock, Wilhelmi, Unger, Nordhausen, Meyer and Otto Kriiger and the actresses Lindemann, Boettner, Herzog, Wolf and Kraft. Only a few of these names are familiar to us. Buchheister (cf. page 55), who also appeared, was referred to as a popular comedian of the time, but we are left in the dark as to his provenience. On December 9 Fräulein Hehl of the Stadttheater in Düsseldorf, who was to become the second wife of Otto Hoym** and one of the leading actresses of the Stadttheater in New York, made her début. That histrionic decorum was 2» Cf. N o t e 16.

64

T H E QEBMAN STAGE I N T H E EARLY FIFTIES

not always strictly observed at the St. Charles, one gathers from the fact that at least one of the actors, Stein, insisted on delivering political improvisations from the stage—a bit of license roundly condemned by the Staatszeitung.30 Qualitatively the repertoire reveals no marked improvement over that of the earlier German theatres, although novelties were constantly added. Much is made of a fiveact drama Die Grabesbraut oder Gustav Adolf in München, whose author, a certain Bahrt, has not been further identified. Hamann and Krüger introduced this play on November 21, hoping that it would make a strong appeal in view of the Crimean War, which was, of course, the principal political topic of the day. The following announcement is subjoined to the advertisement of the work: A t the present time, when all eyes are fixed upon the Orient eager to see the smouldering torch of liberty there burst into a bright flame, whose glorious light may perhaps dispel darkness from all the countries of Europe, the presentation of the abovenamed work of acknowledged merit—a work which also pictures a similar struggle of tyranny with rising liberty—ought to be of special interest. 31

As at the Deutsches National Theater, so also at the St. Charles, classical plays were practically absent from the repertoire. Faust was given on September 28 and Die Räuber on October 1, after which no further efforts were made along these lines, owing perhaps to the weak character of the ensemble and the want of "stars." Instead, the programs were overloaded with the melodramas of BirchPfeiffer and the comedies, farces and musical plays that the contemporary European stage was likewise offering in 30 Cf. S., Sept.14, 1853. " Cf. S., Nov. 21, 1853.

THE GERMAN STAGE IN THE EABLY FIFTIES

65

abundance. On one or two occasions American atmosphere penetrated into the hall. A German dramatization of Harriet Beecher Stowe's Uncle Tom's Cabin12 was presented on October 20 and enjoyed a single repetition. Then, too, some attention was aroused by a three-act farce written especially for the St. Charles, and given on September 10. It was called Fürsten zum Land hinaus oder die Schul' ist aus,*3 and its scene was laid successively in a barroom, in the Gasthof zum Königsmörder, on a pier in South Street, in a park, and in one of New York's leading GermanAmerican rendezvous, the Shakespeare Hotel. The time of the action was described as "die nächste Erntezeit der Republikaner," and from this annotation it is clear that the theatre was feeding its patrons on another morsel of political propaganda. Nothing further of interest remains to be added with regard to the activities of the St. Charles 32

F o r a history of the many dramatic versions of Uncle Tom's Cabin on the English-language stage of America, cf. Brown, I, 314-19. According to that authority the first ' ' Uncle Tom's Cabin'' of which he has any record was written by Professor Hewett of Baltimore and was produced at the " M u s e u m " in that city on Jan. 5, 1852. This play was not, however, a dramatization of Mrs. Stowe's novel, but was written to counteract that book and was called "Uncle Tom's Cabin, as It I s . " Brown asserts that the first production in America of a dramatic version of Mrs. Stowe's work occurred at Purdy's Chatham Theatre in New York, Aug. 23, 1852. I t s author was Charles Western Taylor, and the play was adjudged a failure, running but eleven nights. Highly successful, on the other hand, was George L. Aiken's version, which was first given at the Chatham Theatre on July 18, 1853, and was performed almost daily until Apr. 19, 1854, and thereafter less frequently. Thus only three months elapsed between the first performance in New York of Aiken's play and the giving of ' ' Onkel Tom 's H ü t t e ' ' at the St. Charles. »»It was the product of Max Cohnheim, "collaborator on the Berliner Kladderadatsch." Cf. S., Dec. 10, 1853.

66

THE GERMAN STAGE IN T H E EARLY FIFTIES

during the year 1853. In all, eighty-one performances are recorded prior to January 1, 1854. F . THE YEAR

1854

The St. Charles continued rather to amuse, we may say, than to uplift its audiences during the first half of the year 1854. Meyer notes in this year that it was struggling along in the old rut and that it needed a thorough cleansing—above all, a more efficient management. Huch, on the other hand, insists that Krüger and Hamann gained a higher degree of success than had ever before been achieved. Be that as it may, stimulated by the fact that it had survived a full and uninterrupted theatrical season, the St. Charles reopened its doors in September, 1854, and might have lasted another year, perhaps eventually to have won the honor of becoming New York's first permanent German theatre, had not a rival house appeared on the scene. On September 4 the Stadttheater, 34 managed by Messrs. Hoym and Siegrist, staged its opening performance. For a month the two rivals struggled side by side, then the older institution rapidly lost support. Krüger shrewdly abandoned the sinking ship and early in October the St. Charles closed its doors. Sporadic, but futile, attempts to reopen this theatre in January and in February of the following year (1855) left the Stadttheater in undisputed possession of the field. The older house had not departed, however, without leaving a legacy, for Director Hamann of the St. Charles soon replaced Siegrist as co-director of the Stadttheater, and under the skilful guidance of Hamann and Hoym the latter theatre during the next ten years provided New York German-Americans with continuous performances on a higher plane than those of any previous period. 3* Located at 37-39 Bowery. Cf. Chap. V.

THE GERMAN STAGE I N THE EABLY FIFTIES

G.

67

CONCLUSION

A review of the brief span of four or five years that has been discussed in the present chapter shows a positive advance in the direction of a permanent German stage in New York. Clearly, this period marks a transition from the widely scattered, haphazard endeavors of the previous decade to the actual establishment of an institution that was to function every day for many successive years. The intensified efforts noted above to create a Deutsches Theater were no doubt due to the steady stream of the highly intellectual immigration which deluged the United States after the Revolution of 1848 and which, to a considerable extent, made New York its home. Without this reinforcement, it is safe to say that the initial steps taken in the forties in the theatrical field could not have been successfully followed up. Although most of the numerous ventures thus far recorded vanished like the first snowflakes of winter, without leaving any perceptible trace, they were not in vain. The pioneers were destined to fail, but pioneers there had to be. At least one of the recent stages, the St. Charles, as we have seen, held itself above water for a considerable time and gave promise of lasting success. Finally it is to be noted that the actors and theatrical enterprises of the period of 1850 to 1854 surpassed their predecessors both in energy and in magnitude. In some instances, at least, these pathfinders did not succumb with the undertakings with which they had first been identified, but will be met in the subsequent history of the German stage.

CHAPTER IV T H E ' ' L I E B H A B E R T H E A T E R ' ' AND T H E MINOR GERMAN STAGE IN T H E F I F T I E S No account of the evolution of New York's German theatre would be complete without at least a partial consideration of the so-called "Liebhaber-" or "Dilettantentheater,'' which added so much color to the motley picture that Little Germany presented during the middle of the past century. But before we examine this highly interesting institution it must be clearly understood that the German "Liebhabertheater" included a much wider range of dramatic enterprise than is covered by the term amateur dramatics. We, in America, are wont to restrict this phrase to the activity of men and women who take up the histrionic art solely as an avocation. Such folk, their daily duties ended, turn in the evening to dramatics for amusement. Usually they form a club, hold rehearsals once or twice a week and occasionally present a play before a select audience of friends. As a rule they receive no remuneration for their efforts, but are content with the satisfaction of cultivating whatever talent they may possess and with the gratification of their social wants and desires. The admission fees collected at functions are generally just sufficient to cover expenses, and if there is a small surplus it is added to the club's treasury. This conception, to be sure, is equally applicable to a certain type of the "Liebhabertheater"—that, namely, represented by the earliest Deutscher dramatischer Verein, 68

THE "LIEBHABERTHEATER"

69

whose course we followed in Chapter II, but which apparently soon developed into a professional theatre. And it is the strictly amateur type of organization that is found in the Dramatische Sektion of the New York Turnverein to which reference will be made later. Such "Theatervereine," conducted on the basis outlined above, have illways enjoyed great popularity among German-Americans; but in the early days, the young German who felt within himself a pronounced dramatic bent, was often inclined to commercialize it as soon as possible. Together with two or three others of his kind he would apply to the proprietor of a "Bierhalle" or "Weinstube" for the privilege of entertaining patrons with some sort of simple dramatic act. As he always insisted on a financial compensation—a large portion of it often took the form of food and drink—he was, strictly speaking, a professional actor. The dozens of "Lokale" that dotted "Kleindeutschland" naturally afforded ample opportunity for the carrying out of this arrangement, and at least a few of these crude undertakings expanded presently to the point where they could be dignified by the name of stages. The spread of this species of "Liebhabertheater" in our town during the fifties was truly remarkable. What may perhaps be regarded as the first example of considerable importance was undoubtedly the hall of Mager during its first years, the only stage in fact, as we have noted, that survived the dawn of the fifties. Mager found a host of imitators in the course of the decade. In 1853 the names of four such "Theater" appear among the advertisements of the Staatszeitung. The movement reached its apex in 1856 when the names of no less than twenty are gleaned from the newspaper within the period of six months from January to June, and it is only fair to assume that several more could be added to the list if data for the rest of the

70

THE ' ' LIEBHABERTHEATER''

year were available. Again in 1858 fourteen names are recorded over a period of seven months, though the following year the number had dropped to seven within a period of half a year. Thus a list 1 of forty-five such ' ' Liebhaberbiihnen" may be compiled for the years mentioned, the most prominent of which were: Eustachi, the Deutscher Volksgarten, Odeon, Elfsium, Busam, the Deutsches Volkstheater, and the Blumenthaler Liebhabertheater. Arguing from extant records it is safe to set the number of German performances staged at all these halls at well over a thousand and the aggregate repertoire at several hundred different plays! These stages arose, as has been said, chiefly in restaurants, beer halls, wine taverns and, during the summer, in public gardens. Frequently no admission whatsoever was charged, since the income derived from the thirsty German's beer or wine check proved sufficient to defray the costs of producing the plays. 2 However, when the owner did not have great confidence in his patron's purse or in the latter's willingness to spend enough for refreshments, he would generally exact a small entrance fee, ranging between six and fifteen cents or more. 3 At the Deutscher Volksgarten in 1858 ten cents was collected, which entitled the guest not only to a seat but to a glass of beer as well, and he was even permitted to bring along his wife and children free of charge! (We are not informed as to whether this privilege was often abused!) Whenever a ball followed the performance, a ticket became somewhat more expensive, costing from twelve cents upward. 1 The 1 For this list cf. App. I I I . 2 This seems to have been the case in the Odeon, the Elysium and even in E u s t a c h i ' s Liebhabertheater. 3 Busam charged from six and a q u a r t e r to twelve and a half cents; the Volkstheater, ten cents, etc. 4 As at t h e Blumenthaler Liebhabertheater and at other halls.

THE " LIEBHABERTHEATER "

71

highest fees were demanded at the Deutsches Volkstheater in 1853, since it gave its plays in a regular theatrical hall •—which probably minimized, if it did not entirely preclude, any other source of revenue. Here tickets run from eighteen and three-quarters to fifty cents apiece. Generally speaking, this large group of minor German stages presented audiences with an unbroken run of light comedies and farces of passing interest and of no real literary or dramatic merit. This is especially true during the years 1853 and 1856, when one looks in vain for classical dramas. Between January 1 and June 30, 1856, Eustachi, by far the most active theatrical producer in this field, offered no fewer than ninety-four bills, consisting largely of plays by Kotzebue, Benedix, Lebrün, Friedrich, Schneider, Nestroy and the like, uninterrupted by even a single classical work! When Die Räuber was given at Dramatic Hall on Easter Monday, March 24, 1856, it stood out as a striking exception. A definite, if slight, change for the better is noted in 1858. Influenced without doubt by the more elevated standards set by the Stadttheater, which had at that time existed some four years and had educated the public to higher tastes, a few of the minor stages did occasionally turn to the classics. Eustachi, in that year manager of the New Yorker Volks-Theater, took the lead, and it is refreshing to note on the repertoire of this house, side by side with the farces and comedies of Angely, Schneider, Kalisch and others, eleven Schiller performances, including Kabale und Liebe, Die Räuber, Wilhelm Tell, Die Jungfrau von Orleans and Maria Stuart. In the course of his ninety-five "Theaterabende" between April 21 and December 22, Eustachi also staged Brachvogel 's Narciss, Mosenthal's Deborah, and plays by Laube, Birch-Pfeiffer and of course the indispensable Kotzebue—all of which were regularly given also at the Stadttheater. In fact for weeks at a time

72

THE ' ' LJEBHABERTHEATER''

Eustachi 's "Spielplan" could easily be mistaken for that of the town's real German theatre. Hartmann, who, in 1858, took over the hall in Forsythe Street hitherto occupied by Eustachi, adopted a similar policy, staging nine performances of Schiller plays: Die Räuber, Wilhelm Tell, Fiesco and Don Carlos. Two more offerings of the firstnamed play at Lindenmüller's Colosseum and two of Tell at the Odeon provide further evidence of an awakening interest in Schiller, due, no doubt, to the approaching Schiller centenary. In the following year, 1859, Eustachi continued his policy of including at least a limited number of substantial works in his vast repertoire. The unusually large number of a hundred and forty-eight presentations of about sixty different dramatic works is noted in the half year ending with December 31, 1859—an average of almost one a day—and the list embraces works by Schiller, Shakespeare, Kleist, Gutzkow and Laube, in addition to the lighter offerings of Kotzebue, Birch-Pfeiffer, Raimund, Benedix, Halm, Friedrich, Nestroy and others. What is true, however, of these few "Bühnen" can not be claimed for the rest, which persisted in their old rut of trashy comedies, farces and vaudeville. Worthy of mention is the increasing number of plays of purely local import, and by local playwrights. In some instances these were merely Berlin farces rewritten to suit New York conditions. Thus, for example, Eustachi brought out in 1859 Kalisch's New Yorker Aktiengrocer, a forerunner of Adolf Philipp's Corner Grocer of Avenue A, and similar farces. A genuine "Gelegenheitsstück" was that called Bekehrung

vom Temperenz

Wahnsinn

oder vor

und nach der Elektion, recorded at the Volkstheater on December 6, 1859. But the real hit of the closing months of that year was unquestionably a highly spectacular threeact production of Berg and Kalisch entitled Das Volk, wie

THE " LIEBHABERT HEATER"

73

es weint und lacht, which had opened very successfully at the Stadttheater on November 3 after a run of two hundred and fourteen nights at Berlin. Naturally the minor German stages in town soon took it up, and it is most amusing to note the keen rivalry that marked their efforts to outdo one another in the matter of scenic effects. With great pride the managers of the Stadttheater had announced the piece as being given "Mit 2,000 Gaslampen"— for in those days the electric light had, of course, not yet made its entrance into the theatre. When Eustachi introduced the play on December 10 he boasted that six thousand gas lights supplied his illumination. One week later the Deutscher Volksgarten, not to be eclipsed, varied the title to Das Volk, wie es lacht und, sich amüsiert'' Mit 2,000 und mit 6,000 Gasflammen, also mit 26,000 Gasflammen!" On the 29th Eustachi came back with still another version: New York, wie es lebt und webt, depicting scenes of New York life at the Five Points, Fifth Avenue, the German quarter on the East Side and elsewhere. While the actors on these petty stages were, for the most part, insignificant dilettanti, it not infrequently happened that men of repute, hailing from the Stadttheater itself, appeared at some of the halls. As was to be expected, Eustachi took the initiative in attracting to his establishment players of more than average ability. For his Schiller performances in 1858 he engaged no less an actor than our Friedrich Schwan as his " s t a r . " Schwan, who had already made his debut at the Stadttheater, had by now acquired an enviable reputation, and one wonders how Eustachi found it possible to present him to audiences that were paying only ten cents for a ticket and received free beer! During Eustachi's biggest season, in 1859, when the price of admission still remained at a dime, the names of

74

THE ' ' LIEBHABERTHEATER''

Worret, Grieben, Schmidt, Volkland, Herr and Prau Wachter, and Herr and Prau Lindner 5 appeared on his roster—all of them experienced and well known. Perhaps the small salary earned by the average actor or the occasional development of internal friction at New York's leading German stage caused one or the other of these Thespians to withdraw temporarily from the Stadttheater and to direct his steps to one of the "Dilettantentheater." The performances in the beer and wine halls of '' Kleindeutschland" must, at best, have left much to be desired from an artistic point of view. The arrangement of serving guests with food and drink at movable tables and chairs, often while the curtain was up, caused much noise and confusion that inevitably distracted from the play. Still the average guest, governed as much by his appetite as by his feeling for the aesthetic, was content; for whenever he tired of conditions and whenever his artistic side seriously asserted itself he could pay a visit to the real Theater. The scenery, settings and entire mechanism employed in the beer halls must also have been most unsatisfactory and crude in the extreme. That the minor German stage flourished so extensively at this time, in spite of all its shortcomings, can only be interpreted as a bit of eloquent testimony to the sincere love of dramatics which the average immigrant had brought over with him from the Old Country and which had not yet been diluted by the flood of new ideas and ideals that were to saturate his life in the New World. With these brief remarks we take leave of New York's charming mid-century "Deutsches Liebhabertheater," to turn our attention to the principal theme of the present work—a discussion of the New York Stadttheater. s The first throe of this group of names will be found in the list of actors appearing at the Altes Stadttheater, App. IV, a.

CHAPTER

V

THE ALTES STADTTHEATER

(1854-64)

A . INTBODUCTION

THE Stadttheater, New York's first regular and dignified house for German drama, opened its doors for the first time on the evening of September 4, 1854, and closed them for the last time on June 30, 1864. Apart from the summer months (usually in June, July and August) and with certain other sporadic exceptions, chiefly in the first year of the Civil War, daily performances were given continuously during the period of almost ten years included by the above-mentioned dates". The building1 which the Deutsches Theater occupied had formerly been known as the Bowery Amphitheatre and was located at 37-39 Bowery.2 It had been erected by the Zoological Institute in 1833 and was originally used as a menagerie. Subsequently it was turned into an amphitheatre where equestrian exhibitions were held. In 1852 the structure was occupied by a circus and in the summer of 1854 it was rebuilt as a theatre, which seated 2,500 persons. On the opening night of the new German theatre,3 this large hall was entirely filled in spite of a temperature of ninety i For the details following, cf. Brown, I, 238-40. * This site is at present covered by a section of the approach of the Manhattan (Canal Street) Bridge. 1 The details of the opening performance are well given by Meyer, i n , 463-65. 75

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degrees, thereby establishing an attendance record for a German dramatic house in New York. The prologue was spoken by a Dr. Langenschwarz, who had been associated with Director Kriiger of the St. Charles Theater.4 The program continued with two dancers, and then followed the play of the evening, Charlotte Birch-Pfeiffer's Das Forsthaus, with Otto Hoym and his wife and the actors Worret and Hacke in the leading parts. A general survey of the Altes Stadttheater shows us that during the entire period of its existence its management was almost continually confronted by two alternatives, neither of which was highly attractive. The directors could choose either to give plays of real dramatic worth, in which case they very often ran the risk of drawing small audiences, or they could attract large gatherings to their hall, as a rule, however, only by plays of thoroughly inferior quality. How to offer habitually the finest dramas and how, at the same time, to keep up the attendance—that was for Hamann and Hoym a constant source of worry. And so the Stadttheater as a whole was but another aspect of that eternal conflict between irreconcilable antitheses to which the German mind likes to cling so tenaciously—the desire to unite aesthetic idealism with material success. How did the directors meet this problem? They faced it with a psychology that was characteristically German. At times we find the Theater fully conscious of the very great and important educational mission that it feels itself called upon to fulfil, and aspiring to give to its patrons classical works of the very highest order—generally those of Schiller and Shakespeare; at other times we find it stooping to the most meaningless popular comedies and farces of the day, calculated merely to fill the box office with dollars and to amuse the theatre public. The "zwei Seelen" of the 4Cf. 63 ff.; also B., Sept. 29, 1854.

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management are thus constantly engaged in a struggle, in which almost periodically the one or the other triumphs for the moment. But, in terms of Richard Wagner, the calls of Frau Venus find a far more ready response than do those of Elizabeth, and we are often forced to tarry for months in Klingsor's magic gardens before we can spend a few days in the sacred domains of the Grail. In consequence of this, each of the ten seasons of the Altes Stadttheater—in many cases, even a small fraction of a season—offers us practically the same picture: The presence of one or two especially capable actors, generally in the fall or in the spring of the year, stimulates the directors to stage a few classical plays. For a time the public responds, laudatory criticisms appear in the Staatszeitung and in the Belletristisches Journal, and all seems to be going well. But after a more or less brief period something inevitably happens and the Theater tumbles from the heights of its idealism. As a rule the public is at fault in refusing to be long satisfied with a diet of the classics, and the playgoers all too easily become discouraged—perhaps even by a single imperfect performance that they have been called upon to witness. An empty house is the immediate result, and the well-meaning entrepreneurs, remembering that they must meet expenses, suddenly become panic-stricken and descend to the depths of third- and fourth-rate dramatic trash. For weeks the magic farces of Angely, Schneider, Räder, Nestroy and their like—which at least draw fair-sized audiences—dominate the repertoire. At best these offerings are varied by a Benedix comedy, a Birch-Pfeiffer melodrama, a romantic play of Halm or a fairy comedy of Raimund, but when even these magnets begin to fail, a New York "Lokalposse" of the lowest order imaginable is introduced. Such a theatrical debauch may continue for weeks. Usually the first element to resent it

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is the German-language press, which hurls scathing remarks at the "Herren Direktoren," and when these are of no avail, inaugurates a complete strike and consistently declines to print even a single word on the subject of the theatre. Presently public and management alike are, in true German fashion, affected by a genuine "Katzenjammer." The directors once more grow inspired with their theatrical mission and their minds are saturated with all manner of noble thoughts about the ethical functions of the theatre. Lofty phrases about "deutscher Idealismus" fill the atmosphere on the Bowery, a fresh start is taken and more Schiller, Shakespeare and other high-class drama is attempted, until the process described above sets in again. Generally speaking, then, the history of the Stadttheater is a succession of such cycles. The inferior comedies, farces and vaudevilles invariably outnumber the works of lasting value. Naturally this cyclic course pursued by the playhouse on the Bowery very often drew it away from the direct line of progress that its founders strove to follow. Two external obstacles likewise militated severely against the growth and development of the theatre, and since they lay quite beyond the pale of "Kleindeutschland," we must discount them before passing final judgment on the Stadttheater. One was the economic depression of 1857, and the other the Civil War. In each case, however, the Theater with all the resilience of youth accomplished a speedy recovery. The biennium 1858-60 yielded both an artistic and a financial success that far surpassed anything attained before and marks one of the two big crests in the annals of the Stadttheater. The second of these peaks came, strange to say, in the midst of the Civil War, during the years 1863-64, just before the theatre was closed. Thus the slump occasioned by the outbreak of the war lasted but a year and a half, for as early as 1863 the institution regained its poise and the final, banner season witnessed over half a

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hundred classical performances! All in all, then, in spite of the ailments to which it fell prey, New York's first enduring German theatre proved to be a thoroughly healthy organism, which grew and developed, as will be further noted, in every direction. At its closing, in 1864, the Stadttheater stood on a distinctly higher plane than ever before. The fragmentary condition of the daily file of the Staatszeitung, which alone contains complete theatrical advertisements, together with the absence of such complete play-lists in other publications, precludes anything like a perfect statistical analysis of the activities of the Stadttheater. However, the abundant data available are more than sufficient to give a very detailed and satisfactory view of the Theater. In the first place, it is possible from the newspaper files to make a day-by-day study of at least one entire season, that of 1863-64, and of several other half-seasons. Secondly, Huch gives us considerable information about the Altes Stadttheater prior to 1860, so that from the various cross sections thus obtainable and from the supplementary material provided by the weekly numbers of the Belletristisches Journal, a good description of New York's first permanent German stage is possible. Huch states that in 1859, with Meaubert and Knorr as stage managers, one hundred and thirty-eight different plays were performed at the Stadttheater. He gives a list of twenty-seven plays that were seen more than twice,0 including Faust, Don Carlos, Maria Stuart, Wilhelm, Tell, Fiesco, Die Räuber, Wallensteins Lager, Nathan der Weise, Minna von Barnhelm, Emilia Galotti, Der Kaufmann von Venedig, Romeo und Juliet, and Hamlet. For the finnl season, that of 1863-64, the author of the present study has compiled a list of one hundred and twenty-three different plays (exclusive of the Sunday sacred concerts), which reis Cf. H u c h , 31.

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ceived a total of two hundred and eighty-nine performances.® There were forty-eight presentations of so-called classical plays, including no less than thirty-six by Shakespeare: Macbeth (3), 7 Die bezähmte Widerspenstige (6), Ein Wintermärchen (10), 8 Ein Sommernachtstraum (7), Der Sturm (2), Hamlet (6), Der Kaufmann von Venedig (1) and König Richard 111 (1). Schiller is a poor second with only ten offerings of six dramas: Maria Stuart (2), Die Räuber (1), Kabale und Liebe (2), Wallensteins Lager (1), Wilhelm Teil (2) and Die Jungfrau von Orleans (2). Finally there were Goethe's Faust (2) and Grillparzer's Medea (4). The balance of the two hundred and eightynine performances consisted largely of the plays of sentiment and effect and the comedies, farces and vaudeville sketches already alluded to. A few operas and operettas were also included in the repertoire. With this introduction we are now prepared to examine the Altes Stadttheater in greater detail under the following headings: (1) the repertoire, (2) the actors, (3) the operation of the theatre and the reception of plays, and (4) the relations of the theatre and the press. B . T H E REPERTOIRE 1. PRELIMINARY REMARKS

An analysis of the repertoire of the Altes Stadttheater « Cf. App. V, which contains the complete repertoire of the last season (1863-64) of the Altes Stadttheater, together with a statistical summary including the d a t a here given. 7 F i g u r e s in parentheses indicate the respective number of performances of plays. The considerable amount of Shakespeare given may have been p a r t l y due to the f a c t t h a t the year 1863 marked the three-hundredth anniversary of the birth of the great English poet. 8 This marks the greatest number of performances of any ono drama during t h e season.

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in the ten years of its history reveals the practice, peculiar to the German stage throughout its existence, of offering different plays on successive nights and of consistently avoiding long runs. Only rarely is this rule violated, and even then the run is generally broken after the third or fourth night. The very longest runs recorded do not surpass seven or eight performances. Consequently a single year's repertoire, as we have had occasion to see, shows an unusually large number of plays—more than a hundred at the very lowest, and, at times, reaching a much higher figure. Under these circumstances many of the plays vanish from the stage after two or three performances, if not after the very first. As has been noted, a goodly portion of the dramas given —fully half—consisted of light comedics, farces, and vaudevilles from the pens of contemporary or recent German and Austrian authors and of insignificant local playwrights. The musical farce supplemented by dances was unquestionably the favorite genre, and the type known as the "Zauberposse" was so persistently shown that the critics repeatedly wearied of it. Of the remaining half of the "Spielplan," the larger part was represented by the plays of Birch-Pfeiffer, Benedix, Brachvogel, Mosenthal, Halm and other contemporary German and Austrian dramatists, among whom the first-named easily overshadowed all her rivals. When the theatre was at its zenith, onefifth of all the works produced were classical plays or dramas which today still hold a place in the literary world. As a rule, however, and on the average, this fraction was much smaller. 2 . SHAKESPEARE—SCHILLER, LESSING AND GOETHE

The best part of the repertoire consists, of course, of the dramas of Shakespeare, Schiller, Lessing and Goethe, with

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the two first named leading not only in the number of plays presented but also in the total number of performances of each. Of the English poet eleven works are recorded: Romeo und Juliet, König Lear and Othello, in addition to the eight titles listed above.® While Shakespearean performances are on record for practically every season, they were very rare during the early years, during which they were limited to König Richard, III and Hamlet. Late in the fifties a Shakespeare crescendo set in, which naturally reached its forte in the final year 1863-64, when, as before noted, eight of the dramatist's works were staged on no less than thirty-six occasions. The production of Shakespeare often seems to have depended on the presence in the theatrical company of this or that particular star, who felt able or inclined to undertake a major Shakespearean role. König Richard III and Hamlet were most frequently revived. The first impersonator of a Shakespearean part was the actor Hacke, who appeared in the former of these two plays on March 14, 1855. Two years later Bruno Berndt, whose popularity in the metropolis has already been commented on,10 but who had gone to Philadelphia, returned as a visiting actor and starred in the two dramas just mentioned. In the fall of 1858 the simultaneous presence at the Stadttheater of a powerful constellation of actors—Hoym, Knorr and Fräulein Grahn—resulted in half a dozen or more "Shakespeare-Abende. ' ' König Lear had a strong cast in 1860, with Knorr and the three actresses Hoym, Scheller and Fischer, and in 1861 the capable Fallenbach made a splendid Shylock and Richard I I I . The coming of Daniel Bandmann in 1862 was the occasion for excellent portrayals of Hamlet, König Richard I I I , Othello and Der Kaufmann von Yene9

Cf. p. 80. Cf. p. 60.

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dig, and the great Shakespeare revival of the closing years of the Altes Stadttheater would probably not have occurred without the assistance of the actors Hoym, Knorr and Scherer. In general the Schlegel-Tieck translations were employed, as was specifically announced in the theatrical advertisements, but there were exceptions. For Macbeth none other than Schiller would satisfy; for Ein Wintermarchen the translation of Dingelstedt was used; and for Die bezdhmte Widerspenstige, the arrangement of Baudissin's translation which Deinhardstein had prepared for the Vienna stage. Unfortunately the actual stage versions used by the Stadttheater are not available and, if at all extant, they are probably hopelessly hidden in unknown attics and cellars. Therefore the merits and the shortcomings of these texts must be judged from second-hand sources. It is clear, however, that great liberties were taken both with the Shakespeare original and with the translations, so that the resulting stage versions often showed wide deviations from both. Cuts were constantly made, especially in Hamlet and in Der Kaufmann von Yenedig, resulting in frequent complaints on the part of the press that the part of Horatio was all but obliterated, that Portia's role, too, was mercilessly pruned, and that the famous court scene was reduced to a very few lines and its effect thereby destroyed. Performances varied as to quality. Der Sturm was so poorly done that it had to be dropped after the second attempt. Hamlet and Konig Richard 111, on the other hand, were regularly well given and were usually rewarded by good houses. Ein Sommernachtstraum, although carefully staged, was accorded a very discouraging reception by the public, while Ein Wintermarchen, as we have seen, burst forth in a blaze of glory during the final season and easily established a record of ten repetitions within a compare-

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tively brief space of time. I n the main the leading Shakespearean parts were in the hands of stars, but this system led to a corresponding slighting of the minor roles. Of Schiller, as might be expected, every major play excepting Die Piccolomini found its way across the boards. In the ten dramas there is a rather interesting and sharp division of five and five as to popularity and reception. Die Räuber, die Jungfrau von Orleans, KabaZe und Liebe, Maria Stuart and Wilhelm Tell were the first five to be produced and later turned out to be by far the most popular, while Wallensteins Tod,11 Don Carlos, Die Braut von Messina, Fiesco and Wallensteins Lager were but sparingly attempted. November 10, needless to say, seldom was permitted to pass without a Schiller drama at the Stadttheater, the banner year naturally being 1859 on account of the Schiller centenary. Of particular interest is the presentation of the poet's free translation of Gozzi's Turandot.12 A f t e r a single repetition it was withdrawn, never again to reappear, and was dismissed by a newspaper critic with the remark that the public had outgrown the Turandot type of play. The Schiller performances together with those of Shakespeare may be counted among the highest artistic achievements of the Stadttheater. Practically without exception the leading characters were effectively impersonated. Die Jungfrau von Orleans receives the most favorable general criticism with respect to acting, staging, costuming and scenery, whereas Tell seems to have proved less satisfactory. A specially prepared stage version of the latter by a 11 The performance of Wallensteins Tod given on Nov. 12, 1856, was announced as " t h e first in New Y o r k . " Cf. B., Nov. 14, 1856.

Cf. S., Oct. 20, 1858. This five-act tragi comic " M ä r c h e n " was given with the music of Weber. The work has acquired renewed interest in view of Puccini's recent opera of the same title.

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certain Esslair 13 was adopted, which must have been a sort of telescopic arrangement, for it is announced sometimes as in four, and sometimes as in five acts. In neither case, however, did it meet with the approval of the critics, who repeatedly voice their displeasure at the omission of entire scenes and half-acts !14 In the case Maria Stuart the press takes sharp exception to the dropping of the last scene and to the very faulty pronunciation of the English names. Aside from these few imperfections, however, Schiller was excellently rendered and the German newspapers generally greeted the dramas of the Swabian poet with most lavish praise. While the three major plays of Lessing are all recorded, it has not been possible to note more than five performances in all. A single presentation of Minna von Barrihelm on March 18, 1859, proved highly refreshing; why it was not repeated can not be explained. The same might be said of Emilia Galotti, which was likewise received with favor, while the first of the two Nathan performances given was admitted to have failed because of the histrionic deficiencies of the actor Schmidt, who undertook the title role. Goethe's Egmont is noted once, Götz von Berlichingen twice, while Faust appeared, to be sure at long intervals, some six or seven times. Whenever Goethe's masterpiece was given it was dismissed with the comment that its demands far exceeded the limitations of the theatre, wherefore the drama had best not be attempted. Thereupon it was regularly shelved until unpleasant memories faded, only to reappear after a year or two with the same disappointing result. It required a Daniel Bandmann as Faust is Perhaps Ferdinand Esslair (1772-1840), dramatic artist, who was a highly successful actor at Munich, Prag, Stuttgart and Nuremberg. Cf. A. D. B., VI, 384.

" Cf. 8., Oct. 22, 1854, et alia.

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and a Fallenbach as Mephistopheles to arouse any degree of enthusiam whatsoever. 3 . OTHER MAJOR GERMAN

DRAMATISTS

Leaving the strictly classical side of the repertoire, the remaining bright spots are provided by the far fewer plays of half a dozen important nineteenth century dramatists, that found their way sparingly into the hall of the German theatre. "Young Germany" fared best, inasmuch as Gutzkow and Laube are each represented by four works: the former by Uriel Acosta, Zopf und Schwert, Der Königsleutnant oder Goethes Jugendjahre and Werner oder Herz und Welt; and the latter by Graf Essex, Friedrich Schiller oder die Karlsschüler, Cato von Eisen and Die eine weint, die andere lacht. The most popular of these were unquestionably Uriel Acosta, Königsleutnant, Graf Essex and Die Karlsschüler. Of Grillparzer only Der Traum ein Leben and Medea were given. The latter, as pointed out above, enjoyed four performances during the closing season with one of the Stadttheater's very finest actresses, BeckerGrahn, in the title role. The only play of Kleist that was staged was Das Käthchen von Heilbronn, which, although it was seen only at long intervals, was nevertheless produced consistently throughout the ten years. The arrangement of Holbein was always used. Turning to the early realistic field we note that Ludwig's Erbförster was very well given in 1860 but, although recognized as a striking and fascinating tragedy, was apparently not again attempted. Freytag's Journalisten also made its bow but failed to create a favorable impression, for the reviewer states that this comedy loses too much of its charm in an American atmosphere, that the situations lacked originality

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and that the dialogue was often draggy and dull! 15 It is beyond all doubt in the domain of the major German drama of the nineteenth century that the German theatre of New York suffers most by comparison with the leading stages of Europe. When one considers, for instance, the stormy reception accorded to Hebbel as early as 1848 and 1849 at the Vienna Burgtheater, when one recalls Laube's untiring efforts to give Hebbel and Grillparzer their due place on the stage throughout the period of which we are writing, we must realize the inferior position of the local Stadttheater, where the works of the former poet, at least, are singularly conspicuous by their absence. 4 . MINOR GERMAN DRAMATISTS

The farther we descend in our course downward from Germany's three matchless classic poets to the fourth-rate manufacturers of trivial farces, the more plentiful grows our material in dealing with the repertoire of the Stadttheater. A fair-sized portion was occupied by minor writers, who only rarely succeeded in achieving anything of outstanding worth. Of Iffland, who at this time had all but vanished from the European boards, only Die Jäger and Die Spieler are noted at the theatre on the Bowery. Raimund, but at least Raimund at his best (Das Mädchen aus der Feenwelt oder der Bauer als Mülionär, Der Alpenkönig und der Menschenfeind and Der Verschwender)

remained a regular though at times infrequent visitor throughout. To a far less degree this was true of Theodor Körner, who was fast receding from the more prominent place he had formerly held. A badly mutilated version of Zriny is recorded. Decidedly more pronounced was the popularity enjoyed by Friedrich Halm (Freiherr von « Cf. 8., Dec. 5, 1858.

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Münch-Bellinghausen) whose Griseldis, Der Sohn der Wildnis and Der Fechter von Ravenna made a strong appeal to audiences that were ever drawn by the sentimental type of drama. And Halm's Austrian compatriot, Josef Weil,1® in whom the same romantic spirit is discernible, was represented by his Tristan und Isolde. Most surprising is the almost total eclipse suffered by Kotzebue. Notwithstanding this author's complete domination of the New York stage at the dawn of the century and his overwhelming vogue on the various petty stages of "Kleindeutschland" discussed above, Kotzebue was emphatically neglected and all but excluded at the Stadttheater. We read of but two or three of his plays, such as Pachter Feldkümmel von Tippeiskirchen and Die eifersüchtige Frau. Quantitatively he was succeeded at the Bowery playhouse by Charlotte Birch-Pfeiffer, that indefatigable mid-century playwright, who transformed German, French and English novels of the period into melodramas at an amazing rate. Quite in accord with the favor she enjoyed on the Continental German stage, BirchPfeiffer turned out to be by far the most popular and the most frequently produced dramatist of Hamann and Hoym's theatre. Since her plays offered to the actor an abundance of engaging and effective roles and infallibly dissolved in tears the average sentimentally inclined theatregoing public of the times, they were never absent from the repertoire for any length of time, and the managers invariably depended upon her to stave off impending disaster when box-office receipts were at a low ebb. Over 16

Josef Weil, Ritter von Weilen ( 1 8 2 8 - 8 9 ) , dramatic poet and author, whose fame rests largely on his two dramas Tristan und Isolde (1859) and Edda (1864), both given in New York. The date of the former synchronizes remarkably with that of the completion of Richard Wagner's immortal music drama. Cf. A. D. B., X L I , 488.

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thirty of her dramas are recorded as having been acted, usually with many repetitions, but the reviewers gave a plus rating to only a scant half dozen: Dorf und Stadt, Der Glöckner von Notre Dame, Die Grille, 's Lorle vom Schwarzwald, Der Leiermann und sein Pflegekind and Die Waise von Lowood. This last named dramatization of Charlotte Bronte's Jane Eyre was brought out at a time when the English drama of that name was given on the New York stage, while Birch-Pfeiffer's 's Lorle vom Schwarzwald was translated into English for the wellknown actress Maggie Mitchell, who scored a big hit in it.17 The closest rival of the favorite Berlin actress-playwright was undoubtedly Roderich Benedix, about a dozen of whose works, chiefly comedies, were repeatedly given at the Stadttheater. Those best liked were Mathilde, which enjoyed the second highest number of performances—sixteen—of all plays presented in 1859, and Ein Lustspiel oder die drei Junggesellen. January 18, 1864, which marked the twenty-fifth anniversary of Benedix' first drama, Das bemooste Haupt, was celebrated with a performance of Die Banditen. This was in response to a circular appeal sent from Leipzig by Eduard Devrient and Heinrich Laube "to all the German stages in the world" urging that one of Benedix' early works be revived in honor of the occasion.18 The name of Ernst Raupach, one of the many lifeless imitators of Schiller, who catered to the inferior taste of the sensation-loving public, may also be read rather frequently in the playbills of the theatre. Five of his dramas are on record, including at least two of his best, which are placed first in the list: Der Müller und sein Kind oder der Geisterzug in der Christnacht, Isidor und i i Cf. Chap. VII, p. 211 f . i s This appeal had been issued in November, 1863. Cf. S., Jan. 18, 1864, which contains a reprint; also B., Jan. 22, 1864.

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Olga, Die Schleichhändler oder die Räuberbande vom Katzenstein, Rübezahl oder die Kegelspieler von Seedorf and Die Schule des Lebens. The two individual plays, however, which enjoyed a steadier and far more enduring success at the Stadttheater than all others of their type were Brachvogel's Narciss and Mosenthal's Deborah. As everywhere in Europe, so also in New York, both continued to be money magnets long after the Stadttheater had ceased to exist. The popularity of the former work seems to have been due to the peculiar conception of the hero, a character with much of the distraction, helplessness and at-odds-with-the-world spirit of a Hamlet. Narciss incorporates to a marked degree the philosophy of the period following the Revolution of 1848—an age of extreme mental doubt and of uncertain ideals, and a time of bitter disappointment, when man was more conscious than ever of his limitations and restrictions. In Deborah the audience is held by the problem of social prejudice—the persecution of the Jews in peasant circles—and by the struggle heroically waged by a Jewess of noble soul to the point of highest resignation. During the sixties both plays were translated for the English stage of New York, where, as we shall presently see, they also enjoyed great popularity. The dramas heretofore mentioned in the present chapter fairly exhaust the dignified portion—it is the smaller one —of the repertoire of the New York Stadttheater, and it is worth noting that in practically every instance they are paralleled on the German stages of Europe. In addition to the authors thus far mentioned, very few others will come up in our narrative whose names have obtained a place in standard histories of German literature. And so, as we proceed to the weaker half of the "Spielplan," we shall soon realize that it was filled with the creations

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—they are largely comedies, farces and vaudevilles, often musical in character—of writers most of whom have long since been forgotten and can be identified, if at all, only from biographical encyclopedias or other special sources. We shall treat them in the following sections. 5 . PLAYS BY IN SIGNIFICANT AUTHORS

19

Like most theatrical audiences the world over, those of our own "Kleindeutschland" had a marked weakness for the genre known as the light comedy and for the so-called "Posse"; and to satisfy this craving the management constantly turned to the most productive of the minor Continental German stages, namely those at Berlin and Vienna. From the former were imported in large numbers the sketches of Angely (Die sieben Mädchen in Uniform, with various modifications; Das Fest der Handwerker, etc.); those of the father of the "Berliner Lokalposse," David Kalisch 20 (Hundert tausend Taler; Das Volk, uñe es weint und lacht—an especially popular piece manufactured with the help of Berg; 2 1 Der Aktienbudiker, etc.); further1» These plays are largely comedies, farces and vaudeville sketches. Wherever it has been found possible to identify any of the more obscure writers mentioned in the present section the information has been introduced in the form of a footnote. It is to be noted that some of them have been identified earlier in onr narrative. «i David Kalisch was born at Dresden in 1820 and died at Berlin in 1872. He was the founder of the Kladderadatsch (1848). His first farce, Einmal hundert tausend Taler (Berlin, Dec. 23, 1847) proved a huge popular success. Cf. A. D. B., XV, 23. " O. F. Berg" was the pseudonym of Otto Franz Ebersberg, who was born at Vienna in 1833 and died at Döbling in 1886. He was the author of about one hundred and fifty plays, many of them written for the VorBtadttheater in Vienna. In 1862 he founded the Bunte Blätter-Kikeriki. Cf. Briimmer, II, 92.

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more the products of Weihrauch 2 * (Die Maschinenbauer oder Arbeit macht das Leben süss, Wenn Leute Geld haben, Kiselack und seine Nichte vom Ballet, etc.), as well as those of Ludwig Schneider (Der reisende Student, Der Kieselack und seine Nichte vom Ballet, etc.), as well as sure, although we mention them here, were Holtei's plays Hans J urge and Lorbeerbaum und Bettelstab, which were "Zugstücke" of considerable power. We may also group with the Berlin writers the scholar Wollheim,23 whose romantic product Die Rosen des Nordens met with no little response, and Görner 24 (Tante Kobold und Onkel Satan, Meines Onkels Schlafrock and Ein geadelter Kaufmann). The leading representative from Vienna among the dramatists seen on the Bowery was of course Nestroy, whose "Volksstücke" (Lumpaci Vagabundus, Die beiden Nachtwandler, Titus Feuerfuchs, Till Eulenspiegel, Dreissig Jahre aus dem Leben eines Lumpen, etc.) never quite lost their charm, however fiercely the newspapers, when in a stern moral mood, raged against them. Nestroy had a close rival in his younger associate Kaiser 15 (with Stadt 22 A u g u s t Weihrauch ( v a r . : Weirauch, Weyrauch), comedian and playwright, who died in 1883 at Eudolstadt. Like Kalisch, he was considered one of the most popular writers of farces in Berlin and his pieces were veritable money magnets at the Wallnertheater. Cf. A. D. B., X L I , 484. 23 Anton E. Wollheim was born at H a m b u r g in 1810 and died a t Berlin in 1884. H e was a linguist of exceptional ability, who took his PhJD. degree a t Berlin (1831) and later (1847) was invited to lecture a t the university there. H i s transcription of D u m a s ' Kean, given a t the Königsstädter Theater (Dec. 6, 1836) a t t r a c t e d attention. Cf. A. D. B., X L I V , 146. " K a r l Aug. Görner (1806-84), actor and playwright of North Germany and particularly of Berlin. H i s specialty was dramatizing f a i r y tales (Schneewittchen, Aschenbrödel, etc.). Cf. A. D. B., X L I X , 462. 25 Friedrich Kaiser (1814-74), author of over one hundred farces,

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und Land, Im Dunkeln oder Fahrten und Abenteuer eines Zuckerbäckers, and especially Geld! Geld! Geld!). Nor must we forget Karl Elmar 's M Unter der Erde, which proved to be a particular favorite, and a few comedies of Feldmann 27 (Der Sohn auf Reisen, etc.). But Hoym and Hamann, having all Germany to choose from, did not confine themselves to Berlin and Vienna. From Dresden they imported the magnetic farces of Räder 28 (Der artesische Brunnen, Ein Prophet oder Johannes' Leiden und Freuden, Robert und Bertram oder die lustigen Vagabunden and Der Weltumsegier wider Willen), all of which were sure to fill the house. Prim Lieschen, a three-act farce by Heydrich,29 was produced very soon after it had been published in 1861, and caused a sensation. From Hamburg, too, came several pleasing creations of the same sort by Karl Töpfer (Der Pariser Taugenichts, Die Einfalt vom Lande and Rosenmüller und Finke). Another great favorite in this field of lightest theatrical diet was Friedrich, whose Er muss aufs Land, Die Tochter Luzifers oder in der Hölle und auf der Erde, Mariette und Jeannetton, Hans und Hanne, In der Geister"Charakterbilder" and "Zeitgemälde," who especially favored the "Wiener Lokalposse." Cf. A. D. B., XV, 6. 26 Pseudonym for Karl Swiedack, a Vienna actor, born in that city in 1815, the author of several well-liked plays. Cf. Briimmer, VII, 145. " Leopold Feldmann (1802-82) was a writer of comedies of Munich. Cf. A. V. B., X L V m , 513. 28 Gustav Räder, actor, singer, comedian and playwright, was born at Breslau (1810). His favorite motive in his farces was the often employed pair of "good-for-nothings" exemplified by Lumpaci Vagabundus. Between 1841 and 1862 no less than twenty-one of his creations appeared on the Dresden stage. Cf. A. D. B., XXVII, 120 f. so Gustav M. Heydrich (1820-85), a dramatic author of Dresden of no significance. Cf. A. D. B., L, 310.

94

THE ALTES STÄDTTHEATER

stunde, Muttersegen, and Don Cäsar de Bazano—the last named a romantic play—remained drawing cards at all times. Two other obscure writers who must here be referred to are Hermann Hersch 80 and Arthur Müller.31 The former ingratiated himself above all by his five-act "Tränenstück" Anne-Liese, while Loreley, a romantic drama of his also found its way across the boards. Müller contributed the historical comedies, Die Verschwörung der Frauen oder ein Page Friedrichs des Grossen, Das Haus Habsburg und die Jesuiten, and was further represented by his Gute Nacht, Hinsehen and a tragedy, Der letzte König der Juden. Finally a few parodies were occasionally sprinkled in among the motley playbills of New York's German theatre. Faust seems to have been singled out most often as a target for laughter, and the historian of the "Fauststoff" has no difficulty in finding at least half a dozen satirical treatments and burlesques of that undying theme: Doktor Fausts Zauberkäppchen oder die Räuberherberge im Walde (Posse mit Gesang von Fr. Hopp 32) ; Fausts Leben, Taten, und Höllenfahrt oder die vier Todsünden (dramatisches Gemälde von Dr. A. Klingemann); Faustin der erste Kaiser von Hayti (Posse von Feldmann und Bertram); Ein moderner Faust (Zauberposse von Trautmann33)-, Hermann Hersch (1821-70), whose reputation was established by his dramas Sophonisbe (1857) and Anne-Liese (1858). Cf. Laube, 276. si Arthur Müller, a mediocre writer of tragedies and comedies, was born at Breslau in 1830 and died in Munich in 1873. Cf. A. D. B., X X I I , 515. 32 This may possibly have been Franz Hoppe, an actor who was born at Petrograd in 1810 and died in Berlin in 1849. Cf .A.D. B., X I I I , 114. S3 Franz Trautmann (1813-87), a Munich author and man of outstanding culture. Cf. A. D. B., X X X V n i , 516 f.

THE ALTES STADTTHEATER

95

Anton in Amerika oder Fausts SoU und Haben (Neu Yorker Lokalposse von Seeberg); and Faust und Gretchen (dramatischer Scherz von Jacobson3*). Weber was parodied, to the delight of Bowery audiences, in Staberl als Freischütz oder der Parapluiemacher in der Wolfsschlucht, and the author of a certain not unpopular tragi-comic melodrama of the day, Lord und Räuber oder des Meeres und des Lebens Wogen, may have had Grillparzer in mind, at least in formulating his title. 6. PLATS BY GERMAN-AMERICAN AUTHORS—DRAMAS WITH LOCAL SETTINGS

The repertoire of the New York Stadttheater, as thus far described, shows few striking deviations from that of the average German stage of the time—average, it must be emphasized, for the best of these stages, above all the Burgtheater at Vienna, stood on a distinctly higher level, aesthetically speaking. However, in justice to Hamann and Hoym, it must be remarked that the play-lists of even the Hoftheater of Dresden include practically all the minor "Possenfabrikanten" noted above, to be sure with perhaps a larger proportion of plays of merit to offset some of these inferior products. We must now turn our attention briefly to the plays of German-American authors and of local setting, which were few in number and constituted the weakest part of the repertoire. Occasionally this or that Roscius would venture to write a play for the Stadttheater and would sometimes assume a part in it. Otto Hoym quite appropriately took the lead, translating from the English and revising for his 34

Eduard Jacobson (1833-97), a most productive author of comedies and farces, wbo settled at Berlin, where his first effort, the abovementioned play, achieved much success (Apr. 21, 1856). Cf. A. D. B., L, 606.

96

THE ALTES STADTTHEATER

stage Der fliegende Holländer oder das gespenstische Schiff, a four-act melodrama with songs by I. Ellison. From novels of Lippard and Ruppius, Hoym created respectively his Empire City and Der Pedlar. The actor Meaubert was responsible for at least two works given: Das englischfranzösische Bündnis oder der Student von Bonn, and Friedrich Schiller und Gustel von Blasewitz. A third actor, Heinrich Schmidt, wrote and appeared in a five-act "dramatic hodgepodge" entitled Der Flüchtling aus Lucca oder der Talisman der blinden Mutter, while a fourth, Freitag, was the author of Drei Tage der Weltgeschichte oder die Reise in die Türkei, a farce based on the French of Gautier. The actress Frau Spengler treated the subject of ¡Catherine Parr in a historical drama based on a novel of Luise Mühlbach, and her work turned out to be one of the best bearing the stamp " M a d e in America." Another local player, Lehmann, tested his skill as a dramatist in the three-act comedy Die Ehestands-Invaliden, an adaptation from the French of Dumanoir and Lafargue, and Otto Reiffarth, also of the Hoym company, was the writer of a very popular comedy, Wie man seine Töchter verheiratet. In addition Fortner, one of Little Germany's best liked comic actors, was sometimes seen in insignificant sketches of his own. Most of these efforts were, after all, mere ephemera, and it remained for other German-Americans, who did not themselves tread the boards, to supplement the repertoire with numbers not much better in quality, yet often more popular with theatrical audiences. The most active and successful of these local authors was unquestionably Max Cohnheim (whom we have already introduced into our narrative) with his New York und Berlin, Herz und Dollar, Fürsten zum Land hinaus, Der Sohn des Jongleurs and Der Mord an West Broadway, the titles of which speak

THE ALTES STADTTHEATER

97

for themselves. In the first of these farces and melodramas we find ourselves alternately in New York and Berlin, with an intermediate act on board a vessel on the Atlantic, while Herz und Dollar takes the audience to Jones' Wood, Greenwood Cemetery, and other places familiar to the New Yorker of the age. Cohnheim's closest competitor was Emil Pohl, whose Jongleur was the precursor of Cohnheim's play. Pohl's remaining farces, Bruder Liederlich and Die Sterne wollen es, were more coldly received. Several other local dramaturgic efforts found their way upon the boards of the Stadttheater, of which the farce Anton in Amerika has already been cited in connection with the Faust parodies. Hermann Muhr, a GermanAmerican poet, reworked a popular "Zuavenroman" into a three-act comedy, Zuavenstreiche in Amerika. The play sought to give a picture of life in the New World, the first two parts playing in the residence of a wholesale merchant in the South, the last in New York and Hoboken. Similar sketches were Berger's 35 Das Rendezvous in der Grand Street, Bürgeler's Der Pilot von Long Island oder ein New-Yorker Alderman, and Reichenbach's Wildröschen oder Lehen und Treiben in South Carolina, all of which, in reality, are pictures of American life as seen through German eyes. Probably the most dignified of all these New World creations under discussion—although it proved to be a flat failure at the box office—was a tragedy entitled Abelard und Helo'ise by Gustav and Amalie Strove.38 3« Brümmer 's Lexikon deutscher Dichter mentions a Heinrich Beiger, born at Breslau in 1816, who emigrated to the United States in 1848 and settled in New York City. 38 Gnstav Strove (born at Munich in 1805, died at Vienna in 1870) had a most active and varied career and deserves far greater attention than he has in the past received, or than it is possible to give him here. By his extremely radical publications and by his fearless political agitations he constantly antagonized the reactionary au-

98

THE ALTES STADTTHEATER

On very rare occasions Hamann and Hoym's audiences were treated to a play of genuine American content, which may perhaps be construed as evidence of Little Germany's interest in the culture of its adopted Fatherland. Thus Washington's birthday anniversary in 1864 was observed by the presentation of a five-act play by E. Doench, Der Spion oder George Washington, based of course on Fenimore Cooper's Spy. Other works of the same genre, whose titles alone make further comment superfluous, were Rip van Winkle oder die Dämonen der Gatskül Berge, a melodrama in four acts from the English of John Kerr, arranged for the German stage by none other than Thomas West,37 and also Die Macht des Goldes oder Deutschland und Californien, described as a grandiose "Charakterbild" in three acts by A. Mödinger, with music by Steigmann. A review of these Americana that now and then found a place on the playbills of the Stadttheater makes it obvious that they were a negligible factor. They occupied probably not over one-twentieth of the entire repertoire and were both artistically and financially, on the whole, a dismal failure. The German element in New York, in spite of its numerical strength and in spite of the cultural legacy thorities of the pre-forty-eight period, particularly in Baden. Not content with the pen as a weapon, he at various times during the Eevolution raised armed forces to help Heeker and his cause. He was in turn exiled, arrested, and freed by force, and finally he fled to New York, where he arrived May 11, 1851. Not even the liberal atmosphere of the New World could quite satisfy his restless spirit and he so antagonized this city by his ultra-radical speeches and publications, that at least on one occasion he barely escaped violence. H e fought in the Civil War, but returned to Europe June 2, 1863. I t is said that Struve and his w i f e wrote Abelard and HSloise at the invitation of Hamann and Hoym. The drama, given Jan. 29, 1855, failed completely. Cf. A. D. B., X X X Y I , 681 ff. 87 Schreyvogel adopted the name of Thomas West, as well as that of C. A. West.

THE ALTES STADTTHEATER

99

which it brought along from the Old World, had not succeeded—as, indeed, it has not to this very day—in giving worthy dramatic expression to its thoughts and ideals in a form of sufficient merit to command serious attention. 7 . MINOR " T E N D E N Z S T U C K E "

CONCLUDING REMARKS

At this point we have practically completed our sketch in the rough of the theatrical program that was enacted in the German playhouse on the Bowery between the years 1854 and 1864. Before leaving the repertoire, however, it might not be amiss to point out a few special dramas, too insignificant to be remembered at the present day, the contents of which reflect Little Germany's interest in European politics. That political events beyond the Atlantic often aroused considerable feeling in the vicinity of the lower East Side is clearly shown in the columns of the Staatszeitung. The average German-American of the period was concerned, as has been explained in an earlier chapter, about two great questions that filled the minds of his compatriots who had remained behind: first, the growth, development and eventual unification of the German states, and, secondly, the triumph of those democratic principles so intimately associated with the year 1848 and—more broadly speaking—with the entire mid-century era. Our German citizen's enthusiasm for the former ideal aroused very often his chauvinistic vein and impelled him to look askance at the foreign enemies of the "Vaterland," particularly at France. Thus he was prepared to enjoy such plays as Anne-Liese, whose success was due to the revival of nationalism of the fifties and sixties, and to the antiFrench sentiment it engendered.38 The same spirit actu38 Cf. B., Apr. 8, 1859.

100

THE ALTES STADTTHEATER

ated the staging of Philip Palm, oder ein, deutscher Bürger, by A. Ringler, the story of a patriotic Nuremberg book publisher, who was shot, at Napoleon's behest, for refusing to divulge the name of an anti-French polemicist." Quite opportunely and with a view to appealing to similar emotions, the Theater offered to its patrons in 1864 the fiveact "Zeitgemälde" Deutsch und Dänisch oder Schleswig Holsteins erste Märtyrer. But the liberty-loving German of New York was often keyed to a still higher pitch by his worship of Freedom and Democracy, and the Stadttheater not infrequently served him with food calculated especially to satisfy his appetite in this direction. Audiences were attracted by announcements that this or that play had been forbidden on one or another German stage by reactionary authorities. Thus Oskar von Redwitz' Der Zunftmeister von Nürnberg was discussed as follows: What assured the Zunftmeister of an especially favorable reception on the other side [i.e., in Europe] and what procured for it even the honor of a ban at Vienna, is probably the circumstance that political allusions were discerned in the play. The patricians and the guild-members of the free city of Nuremberg represent the democrats and the aristocrats, the high council is the German princes, and the monsters that threaten the city and the republic are France with all its greed for the left bank of the Rhine, perhaps for more. 40

Another play which had been forbidden abroad and which Hamann and Hoym hoped would thrive in the more liberal atmosphere of New York was Julian Werner's Ein verhängnisvoller Abend oder die Vertreibung der Jesuiten aus Portugal: 39 Cf. B., Jan. 4, 1861. •o Cf. B., Feb. 22, 1861. Oskar von Bedwitz, a '' degenerate descendant of the Romanticists," whose Philippine Weiser (1859) was also seen on the German stage of New York. Cf. Witkowaki, 60.

T H E ALTES STADTTHEATER

101

A piece which was forbidden in Berlin and in Breslau in 1847 and which has not been produced on any other stage since, may perhaps to a certain extent arouse the curiosity of the public here. 41 Wilhelm W o l f s o h n ' s Nur eine Seele was another drama of this general t y p e that f o u n d its w a y into the repertoire: The play attracted much attention in Germany, which it owes in part to its real dramatic worth, in part to its opportune appearance. It pictures the struggle of Russian emancipation against the old conservative Moscow party. 42 A s may well be expected, the theatrical almanac of N e w York's German playhouse, covering ten long years and o f t e n involving nightly changes of playbills, is sufficiently bulky to invite further analysis f r o m other viewpoints which would here lead us too f a r afield. Thus the investigator of the prose tale pauses at the titles Hans Kohlhaas, Soil und Hdben and Der Erbvertrag oder das Majorat,*3 although none of these three dramas was at all successful on the Bowery. The historian of music finds the titles of m a n y operas and operettas, which intruded at times upon the boards of the Stadttheater, generally u n d e r the auspices « Cf. B., Feb. 2, 1855. « C f . B., Jan. 27, 1860. Wolfsohn was born of poor Jewish parents in Odessa in 1820, and spent the latter part of his life at Leipzig and Dresden. He became a successful dramatist at the last-named city, where he died in 1865. Cf. Briimmer, VHI, 28.

6

Haus der Barneveldt (das) Haus der Confusionen (das) oder Maler, Barbier und Musiker.. . Hedwig, die Banditenbraut Heimann Levy auf der Alm Heimliche Zimmer (das) Heinrich IV Heinrich von Schwerin oder Deutschland und Dänemark. . . Heiratsantrag auf Helgoland (der) Heiratsbureau (ein) oder das Ganse beruht auf Diskretion.. . Helden (die) Hermann und Dorothea oder eine deutsche Bäckerfamilie

Scha. 3 (After Fren.) A. E. Brachvogel Tr. 5 F. Dingelstedt Fr. Hopp Po. 2 Scha. 3 Th. Körner ? Sz. 1 Schröder Lu. 4 Shakespcare-SchrÖder Tr. 5 Scha. 5 Meyer ?

Schw. 1 Salingree Lu. 1 Marsano Po. mit Gsng. 1 Kaiisch and rauch Schw. 1 Wilh. Kläger Quod.3 mit Mu. Stegmeyer Scha. 5 Scha. 5 Vkst. 4 Vkst. 4 Scha. 5 Lebd. mit Gsog. 4

Weih-

Melchior Meyr Frau v. Weissenthurn Max Cohnheim Max Cohnheim Hermann Herech

APPENDIX v n

Mo.

Yr. Da. 18—

Mar. Apr.

4 7

69 69

Oct. May

6 24

58 58

May Jan.

20 1

67 56

Nov. Apr. June

? 24 3

65 66 68

Apr. May Nov. Jan.

19 5 19 17

67 67 66 56

June Oct. Sept. Feb. Dec. Oct. Jan.

3 10 10 17 20 10

68 63 65 66 66 54 66

Dec. Feb.

12 5

66 70

Jan.

3

67

Feb.

2

70

Nov. Jan.

T 21

60 56

June May Oct.

14 14 24

56 58 64

?

Sept.

25

58

Jan. Apr.

7 1

55 56

Jan. Oct. May Dec. Sept. Apr.

? 12 ? 3 7 16

61 63 57 58 66 69

Oct.

7

60

Type; Number of Acts

Title Höflicher Mann (ein) Hofmeister (der) in Aengsten

261

tausend

Lu. 1

Author L. Feldmann

(After Fren.) Theo. Hell Börnatein Hohe Brücke und tiefer Graben.. Po. 1 Hugenotten (die) oder die Pariaer Drge. 5 ( A f t e r D u m a s ) F . Bluthochseit Adami Humoristische Studien Lu. 2 Lebrun Hunderttausend Thaler Po. mit Gsng. 3 D. Kaiisch Ich bin ich H. BörnBtein Lu. Carl Blum Ich bleibe lcdig Lu. 3 Ich esse bei meiner Mutter (After Fren.) Drost; Lu. 1 Winterfeld Ich werde mir den Major einladen Lu. 1 (After Fren.) Moses Iffland Chst. 4 Ch. Birch-Pfeiffer Im Carcer Jacobson Po. 1 Im Dunkeln oder Fahrten und Abenteuer eines Zuckerbäckers. Po. mit Gsng. 3 (After Scribe and St. Georges) Fr. Kaiser Im ersten Aufgebot Grbd. 1 S. Hahn Im Mondschein Öhst. 1 Wilh. Kläger Im Voriimmer seiner Exwllen«. .. Lebd. 1 Rudolf Hahn Im Vorsimmer seiner E x s e l l e m . . . Lebd. 1 Rudolf Hahn Im Wartesalon erster Klasse. . . . Lu. 1 Hugo Müller In der Geisterstunde Po. Friedrich In der Heimath oder Schwarswald und Paris Scha. 5 Ch. Birch-Pfeiffer Infanterie und Kavallerie Schw. 1 Sigel In Saus und Braus Po. mit Gsng. Jacobson and Hahn; music by Neuendorff Irrenhaus au Dijou (das) Dr. 3 (After Delavigne) A. Prix Isabella Orsini oder das Opfer der Medici Mosenthal Dr. 5 Isidor und Olga E . Raupach Tr. 3 Jack Sheppard oder das Leben der Verbrecher in London Scha. 4 J . B . Buckstone Jäger (die) Drge. 5 W. A. Iffland Jerusalems letste Nacht Scha. 5 Wollheim Jesuit (der) und sein Z ö g l i n g . . . . Lu. 4 ( A f t e r F r e n . ) A. Schreiber Jocko, der brasilianische Affe. . . . Dr. 3 (After Gabriel) L. Bach Johanna von Montfaucon 7 7 Johannes Guttenberg, der Erfinder der Buchdruckerkunst Scha. 5 Ch. Birch-Pfeiffer Jongleur (der) E . Pohl Po. 3 Jongleur (der) E . Pohl Po. 3 Joseph in Egypten Opte. Mehul Journalisten (aie) G. Frey tag Lu. 5 Jude (der) Scha. 3 Cumberland Jude (der) Scha. 4 (After Cumberland) Seydelmann Juden (die) von Worms Vkst. 5 Th. Gassmann Lu.

262

APPENDIX v n

Yr. 18—

Type; Number of A c t s

Mo.

Da.

Apr. SeptOct. J&D. May

4

66

Julius O a e s a r

?

54 64 60

J u n g f r a u v o n Orleans ( d i e ) Schiller Tr. 5 Jungfrau v o n Orleans (die) Tr. 5 Schiller J u n k e r O t t o oder ein W e i b w i e es nicht sein soll R. Benedix Lu. 4 J u n k e r O t t o oder ein W e i b w i e es nicht sein soll R. Benedix l.u. 4 Jux ( e i n e n ) w i l l er sich m a c h e n . .. P o . 4 Nestroy K a b a l e und L i e b e Tr. 5 Schiller K a b a l e und L i e b e , ein Soloscherz. S e h « . E. Dohm K a b a l e und L i e b e in der T h e a t e r E. Dohm garderobe Po. 1 Kadetten Optc. 1 Ad. Neuendorff Kadetten-Launen Opte. 1 Hahn K a i s e r r e i c h ( d a s ) oder drei U n glückstage aus dem Leben (After Dumas) E, Napoleons Scha. Baudius Kakadu Optc. 3 ( A f t e r Fren.) H o p p Kammerkätschen oder Dotuestikenstreiche Schi. 1 Jacobson Kanonenfutter Lu. 3 Julius R o s e n Kapellmeister (der) von Venedig. Quodl. ( A f t e r BreitenBtein) L . Schneider mit M u .

1 r

Title

Tr. 5

June

10

64

Nov. Nov. Nov. Nov.

28 11 27

67 64 65 66

Feb. Jan. Apr.

26 11 23

60

Oct. Oct.

31 22

70 69

Oct. Feb.

?

1

69 59

Jan.

25

68

Kapellmeister (der) von Venedig.

Nov.

25

64

Feb. Apr.

19 ?

56 61

Kartenschlägcrin (die) oder die Juden von W o r m s Käthchen von Ueilbronn (das) . . Katharina Parr

Mar. Jan.

27 7

68 56

Katherina Howard Katberine Howard und Schaffut

Feb.

14

68

Jan. Oct. Jan.

13 27 23

68 58 56

K a u f e t ße a K i e n h o l * o d e r eine Schillerfeier K a u f m a n n und S e e f a h r e r K a u f m a n n von Venedig (der). . . . Kcan oder Leidenschaft und Genie

?

?

58

Mar.

?

61

May

14

64

Jan. Feb. Oct.

?

r> 8

61 66 59

8 3

67 68

May Feb. Nov. Oct.

4

58

17

64

oder

Krone

Author Shakespeare-Schlegel

Quodl. ( A f t e r Breitenstein) L . Schneider mit M u . V k s p . 5 T h . GaBsmann Scha. 6 K l e i ß t - H o l b e i n ( A f t e r Louise MühlDr. bach) Frau Spengler Tr. 5 Rudolf Gottschall Scha. 5 ( A f t e r Dumas) Jerrmann

Ed.

Lebd. 1 Rethwisch Chbd.2 Rethwisch Shakespeare-Schlegel Dr. 5

Scha. 5 ( A f t e r D u m a s ) L. Schneider K i e s e l a c k u n d Beine N i c h t e v o m Hallet Chat. 4 Weihrauch K i e s e l a c k und seine N i c h t e v o m Ballet OhBt. 4 W e i h r a u c h Bireh-PfeiPfer K i n d des G l ü c k e s ( e i n ) Dr. K i n d deB G l ü c k e s ( e i n ) Birch-PfeifTcr Dr. K i n d e r ( d i e ) des R e g i m e n t s oder der Invalide Vaud. ( A f t e r Fren.) ? K i v a t e r n (in L o w G e r m a n ) Scha. Bärmann K l a a s E h l e r s oder ein S c e m a n n s Ldsp. 1 Ernst Rethwisch Jubiläum K l o i n e R i c h e l i e u ( d e r ) o d e r der (After Fren.) F. Heine erste WafTengang Lu 2 K l e i n e r D ä m o n ( e i n ) oder d u r c h A. Bahn Lu. 4 gesetzt

APPENDIX VN

Mo.

Da.

Yr. 18—

Type; Number of Acts

Title

Jan.

1

66

Kleingeld

Oct.

27

59

König Allgold Thränen

May Oct. Apr.

21 28 16

64 63 64

Apr.

?

55

Nov. May Oct.

*

10 8

60 67 58

Dec. Apr.

12 7

66 57

König Cotton Königin Bell Königin Margot und die Hugenotten König Konradin oder die letzten Hohenstaufen König Lear König Lear Königreich der Weiber (das) oder der Aufruhr im Serail Königreich für zwei Kinder (ein). König Richard I I I

May

11

64

Sept. Mar. Nov.

3 7 9

58 66 64

Nov. Jan.

11

56 56

Jan. May

28 30

67 66

Feb. Feb. May

? 28 5

63 66 66

Mar.

21

66

Sfept.

23

69

May Mar. Mar. Oct. May Sept.

26 23 T 7 15 21

64 64 64 68 67 64

Feb. Apr.

4 ?

68 60

Apr.

28

64

Feb. Nov. June Dec.

11 ? 1 S

69 61 67 66

Oct.

20

54

7

oder

263

die

drei

Author

Po. mit Gsng. 3 E. Pohl Drmä. mit Gsng. 4 Kneisel-Neuendorff Büke. 1 Moser Scha. 5 Birch-Pfeiffer (After Dumas) Adami Dr. 6 Tr. 5 Tr. 5

E. Raupach Shakespeare Shakespeare

Po. Po. 1 Tr. 5

Elmar W . Drost Shakespeare-Schlegel-

König Richard I I I

Tr. 5

Shakcspearc-Schlegcl-

Königaleutnant (der) König und Müller König von sechzehn Jahren (der) oder wer wagt der gewinnt. . . . König Wein Korsikanischcn Brüder (die) oder die Blutrache

Scha. 5 Gutzkow Chge. 4 Hermann Hcrsch

Kosak, Franzos und Vicrländerin Kosmos des Herrn v. Humbolt (der) oder Liebe aus Caprice... Kranke Familie (eine) Krethi und Plethi Kreuzfahrer (die) oder die Belagerung von Nicäa Küfermeister Martin und Beine Gesellen

Lu. 2 Far.

(After Fren.) Forst T

Scha. 4 (After Dumas) West ?

Th.

Fe. Wehl Lu. 1 Lu. ? Vkst. 3 Kalisch Scha. 5 A. v. Kotzebue

Vklu. 5 (After Hoffmann) F. v. Holbein Kunst (die) geliebt su werden. . . Ldsp. 1 (After Fren.) Gumbert Kurmärker und die Pikarde (der). Grbd. 1 L. Schneider Lady in Trauer (die) Scha. 5 Trauen ? ? Laubfrösche Leben (das) ein Traum Scha. 5 Calderon-C. A . West Lebendigtodten Eheleute ( d i e ) . . . Schw. 1 Schikaneder Leichte Person (eine) Po. mit Gsng. 3 E. Pohl Leiden (die) eines Choristen Sz. 1 (After Fren.) T Leiermann (der) und sein Pflegekind Scha. 5 Birch-Pfeiffer Leiermann (der) und sein PflegeScha. 5 Birch-Pfeiffer kind Schz. 1 Schlesinger Leitartikel und Feuilleton Leonore oder die Todtenbraut. . . Scha. 3 C. v. Holtei Leonore oder die Todtenbraut. . . Scha. 3 C. v. Holtei Lu. 3 (After Fren.) Th. Letzte Brief (der) Gassmann 's letzte Fensterle und drei Jahre nach dem letzten Fensterle. . . . Snfcs. 1 J. G. Seidl and Stein

264

APPENDIX VN

Da

Yr 18—

Oct.

T

60

Oct. May May Dec. Jan. Jan. June Nov. Sept. Oct.

15 17 22 7 8 21 4 23 4

?

63 66 58 58 56 67 68 66 67 65

May

24

66

Oct. Nov.

26 7

69 68

May Nov. June

?

57 66 56

Mar. Oct. Dec. May Dec. Mar.

30 26 19 2 15

64 67 56 64 67 69

May Dec.

2 16

70 70

Jan. Nov. Jan.

?

24 15

55 64 56

Jan.

29

58

Dec.

31

59

Sept.

14

58

Oct. June

21 9

63 56

Oct. Oct.

2 23

63 58

Nov Dec. Feb. Dec.

t ?

?

65 66 65 60

Sept.

19

63

Mo.

2 4

?

3

Title L e u t e Hanswurst ( d e r ) oder die deutsche Bühne i m vorigen Jahrhundert Letxte K ö n i g der Juden ( d e r l . . . . Leutnant ( d e r ) i m Arrest Lichtensteiner ( d i e ) Liebesprotokol ( d a s ) Liebefttrank (der) Liebhabereien Lieder des M u s i k a n t e n ( d i e ) Lieschen W i l d e r m u t h 's Lieserl Lisette, hilf oder ich gehe meinen eigenen W e g Lisette, hilf oder ich gehe meinen eigenen W e g Loch ( d a s ) in der W a n d Lola M o i i t e x als Sängerin oder M u r r k o p f muss K o m ö d i e Bpielen Lorbeerbaum und B e t t e l s t a b . . . . Lorbeerbaum und B e t t e l s t a b . . . . Lord und Räuber oder des M e e r e s und des L e b e n s W o g e n (trag.-komisch.) L o r e - L e y oder die N i x e des RheinB Lorenz und seine Schwester 's Lorle v o m S c h w a r z w a l d 'B Lorle v o m S c h w a r z w a l d L u d w i g der Eiserne LudwigB deB X I l e t z t e T a g e

Type; Number of Acts

Lu. Tr. 5 Schz. Drge Lu. 3 Opte. Po. 3 Vkst. Lu. 4 Ldsp. Po. 1

Author

Fr. K a i s e r Arthur Müller 1 G. P u t l i t z 3 J F. Bahrdt Bauernfeld 2 ( A f t e r Fren.) ? H. Salingree 5 R u d o l p h Kneisel Krüger 1 I. K n e i f f Hegewald

Hegewald Po. 1 Schw. 1 A. Christen H. Döbelin Po. 1 Scha. 3 C . v Holtei Scha. 3 C . v . H o l t e i Fr. A d a m i 5 H e r m a n n Hersch Friedrich 5 Ch. Birch-Pfeiffer 5 Ch. Hirch-Pfciffer 5 Alex. R o s t (After Delavigne) H. Külb Harleville Po. 1

Dr. Scha. Po. 1 Scha. Scha. Vkst. Dr. 5

P.

Lügner ( d e r ) und sein Sohn Lügner ( e i n ) der die W a h r h e i t lügt Schw. 1 Paul H ü b n e r Lumpaci Vagabundus Opte. 3 Nestroy L u m p a c i Vagabundus Opte. 3 Neetroy Lumpensammler von Paris (der) . Dr. 5 (After Fren.) H. Schmidt Lustigen lebendigen und toten Eheleute (die) Schikaneder Schw. Lustige Schuster ( d e r ) oder der Dricberg T e u f e l ist los Po. 5 LuBtBpiel (ein) oder die drei Junggesellen R. Benedix I.u 4 Macbeth Tr. 5 Shakespeare-Schiller Macht (die) des G o l d e s oder Deutschland in C a l i f o r n i e n . . . . Ohbd.3 A. M ö d i n g o r M a c h t der Vorurteile (die) Scha. 4 C h . B i r c h - P f e i f f e r M a d a m e Lafarne oder die Gebieterin von St. T r o p e z Scha. 5 ( A f t e r F r e n . ) P . Jerrmann Madchenpfiffe I u 1 Starke Lu. 1 Starke Mädohenpfiffe A. Blank Mädchen v o m D o r f e ( d a s ) C h s t . 5 J. K r ü g e r - E . Sangelli (i.e., Ch. BirchPfeiffer) Mädchen v o m D o r f e ( d a s ) Chst. 5 J. K r ü g e r - E . Sangelli (i.e., Ch. BirchPfeiffer)

APPENDIX

Mo.

Da. Yr. 18—

Nov.

21

64

Jan.

25

69

Dec. Sept.

17 2

66 67

Apr.

9

64

June

8

66

June

18

66

Nov.

7

68

Apr.

7

69

Jan.

NOT.

15 24

66 66

Oct. NOT.

13 28

54 68

Feb.

21

56

Oct. Apr.

26 9

64 56

Deo.

28

59

NOT

Feb.

10 16

63 56

Feb.

T

60

Oct.

8

63

Jan.

T

59

Feb.

25

64

Feb. Apr.

T 18 27 7

61 71 «7 68 65 63

NOT.

May

NOT.

Sept.

?

14

Title

265

TO

Type; Number of Acts

Author

M ä d c h e n von Lyons (das) oder d e r falsche FürBt Scha. 5 (Bulwer) Mademoiselle de Belle Isle oder Dr. 5 (After D u m a s ) F r a n s die verhängnisvolle W e t t e Holbein Malchen u n d Milchen Lu. 1 Fe. Wehl M ä n n e r von heute oder die Julius Rosen seltsame W e t t e Lu. 4 M a n n (der) mit dem Freischein.. Scha. 4 ( T o m T a y l o r ) C . Jacoby M a n n (der) mit der eisernen (After Arnold and Maske Dr. 5 F o u n d e r ) L. Schneider M a n n (ein) ohne H e r l

(After D u m a s Fils) A1 Lu. 3 Paun M a n soll den Teufel nicht a n die W a n d malen Lu. 1 Fe. Wehl M a n sucht einen Erzieher oder so bringt m a n O r d n u n g ins Lu. 2 (After Fren.) B a h n Haus M a r g a r e t h e (eine) Lu. 1 C . v. Holtei Maria, Prinzessin von M o n t p e n Scha. 5 A. E. Brachvogel Maria S t u a r t Tr. 5 Schiller Marie A n n a oder die beiden M ü t (After Fren.) Carl Dr. 4 ter Friedrich Marie-Anne, ein Weib aus dem Volk Vkst. 5 (After Fren.) Joseph Mendelssohn Marie, T o c h t e r des R e g i m e n t s . . . Opte. 2 Donizetti M a r i e t t e u n d J e a n n e t t o n oder die M a r k e t e n d e r i n n e n der R e p u blik Vaud.3 (After D u m a s ) W. Friedrich Marquise von Villette oder der Jakobiter-Club Scha. 5 Ch. Birch-Pfeiffer M a r t e Steifes S c h i l l e r - F e i e r . . . . G. Stein MaaanieUo oder der S t u m m e von Mldr. Portici mit Gsng. 3 (After Fren.) music b y Auber Maschinenbauer (die) oder Arbeit Vkst. 3 A. Weihrauch m a c h t d a s Leben süss Maschinenbauer (die) oder Arbeit m a c h t das Leben süss Vkst. 3 A. Weihrauch Mathilde oder ein W e i b wie es sein soll Scha. 4 R. Benedix Mathilde oder ein W e i b wie es Scha. 4 R. Benedix sein soll ? M a u r e r von Berlin (die) M a u r e r (der) u n d der Schlosser. . Opte. 3 (Auber) Dr. Krach Maximilian, Kaiser von Mexico.. T r . 5 Ztbd. 5 R. Griepenkerl Maximilian Robeepierre Dr. 5 R. Gottschall Maseppa Tr. 5 Grillparzer

266

Mo. Feb.

APPENDIX v n

Da.

Yr. 18—

Type; Number of A c t s

Title

Author

6

87

M e i n M a n n g e h t aus

Lu. 2

( A f t e r Fren.) Heinrich Börnstein

i 16

61 66 69

Po. 5 Po. 5

Görner Görner

Oct.

7

68

Meines Onkels Schlafrock Meines Onkels Schlafrock M e m o i r e n des S a t a n s ( d i e ) oder d e r SchlosBteufel v o n R o n q u e rolleB MenBchenhaaa u n d R e u e

Mar.

12

69

M e n t o r (der) oder der f e i n d in der K l e m m e

May

6

08

Michael Kohlhaas

Oct. Mar Sept. May Dec. Mar.

5 7 15 15 27

67 59 68 67 56 67

Jan. Oct. Apr.

29 15 7

58 64 59

Nov. Dec. Dec.

18 28 17

67 64 59

Oct.

22

67

Nov.

?

55

Milch der Eselin (die) Minna von Harnhelm M i t der Feder Mitgefangen, mitgehangen M o d e r n e r FauBt ( e i n ) M o d e r n e V a g a b u n d e n oder Faust und Gretchen M ö n c h und Soldat Mönche (die) Mondecaus, der Erfinder der Dampfmaschine Monsieur Herkules M o n t j o y e , der M a n n v o n Eisen.. M o n t r o s e , der Bchwarze Markgraf M o r d ( d e r ) in d e r K o h l m e s e e r gasBe M o s e s , oder der Auszug der K i n d e r I s r a e l aus E g y p t e n M o B e s , o d e r der A u s z u g d e r K i n d e r I s r a e l aus E g y p t e n M o s e s u n d die P r o p h e t e n . . . Mottcnberger (die)

Mar.Apr. Dec. Sept.

Apr.

?

9

?

66

Weiber-

Dec. Jan.

22

65 70

Nov.

16

64

Nov.

9

70

M o z u r t g e i g e (die) oder der D o r f m u a i k a n t und sein K i n d M o z u r t und S c h i k a n e d e r

Dec.

30

59

Mulatte (der)

Dec. Apr. Jan.

?

10 8

56 71 68

Müller und M i l l e r Mr.ll-r und Miller M ü l l e r und SehulzeB t e u e r in I t a l i e n

Jan.

4

56

Jan.

12

56

M ü l l e r ( d e r ) und Bein K i n d o d e r d e r G e i ß t e r z u g in d e r C h r i ß t naeht M u t t e r s e g e n o d e r d i e neue F a n chon

Liebesaben-

L . Schneider Lu. 3 v. Kotzebue-DeScha. 4 A . vrient ( A f t e r F r e n . ) J. W . Lu. 1 Lembert Scha. 5 ( A f t e r Kleist) Louis Schenk Po. 1 (After Fren.) Bittner Lessing Lu. 5 D r l t . 1 Sieg. Schlesinger Schw. 1 Warburg Zbpo. Trautmann Po. 3 Po. Lu. 3

Jacobson Kaiser M . Tenelli

Scha. 5 A . E . B r a c h v o g e l Schw. 1 G. Belly Lebd. 5 0 . Feuillet-A. Bahn Scha. 5 H . L a u b e Po. 1

A. Berger

Scha. 5 A u g . K l i n g e m a n n Scha. 5 Aug. K l i n g e m a n n Salingree P o . mit Gsng. 3 Weihrauch and Kaiisch Scha. r> E l m a r L. Opte. 1 (After Stephany) Schneider (music by Mozart) Hell (after Scha. 3 T h e o d o r Fren ) Schw. 2 Elz Schw. 2 Elz Drged.

R . Kneisel (music Neuendorff)

by

Vkdr. 5 E. Raupach Scha. mit Gsng. 5

(After Fren.) Friedrich

W.

267

APPENDIX VH

Da. 1Y8r—. 14 13 25 5 ?

Mutter und Sohn Nach den hundert Tagen Nach der Schlacht bei Sedan. . Nacht (eine) in Baden Nacht (eine) in der Resident. . Nacht und Morgen

31 7 27 7 27 11 7 ?

20

57 64 3 4 17 4

71 67 66 60 67

14 7 7

58 58 69 61 66 63 62

23

64

20 20

67

19 7 21 »

68

13

55

7 10

65

20

67

29 5 26 7 21 7 28 7

Title

68 72 67 66 57 68 57 64 61

Type; Number of Acts

Author

Scha. 5 Ch. Birch-Pfeiffer Scha. 5 A. Dombrowsky Skie. 1 Karl Heigel ( A f t e r Fren.) 7 Po. 1 A. Hopf Po. 3 Dr. 5 (After Bulwer) BirchPfeiffer Po. Kaiisch

Namenlos Nan, der Taugenichts von New Schi. 1 (After Eng.) J. E . York Maud Tr. 5 A. E. Brachvogel Narciaa Tr. 5 A. E. Brachvogel Narciss Drged.5 Lessing Nathan der Weise Po. New York bei Tag und Nacht. . New Yorker KünBtler Vkst. New Yorker Leben mit Mu. 3 Berg (muBic by Neuendorff) New York und Berlin oder wo macht man am besten aus?. . . . Drbd.5 Max Cohnheim New York und Berlin oder wo Max Cohnheim macht man am besten aus?. . . . Drbd. Hebbel Nibelungen (die)-part notepecified Tr. Görner Lu. 1 Nichte und Tante O. Mylius Po. 3 Nichts Gewisses Wil. Wolfsohn Scha. Nur eine Seele (After Brisebane) W . Schw. Nur Hindernisse Friedrich L. Schneider Obrist (der) von achtschn Jahren. Lu. ? Opte. Ochsenmenuette (die) Hugo Müller Onkel Moses oder der erste Stern. Scha. H. Cremieux Orpheus in der Unterwelt (Bske.). Opte. H. Cremieux Orpheus in der Unterwelt (Bske.). Opte. Wolfsohn Dr. Osternacht (die) Shakespeare-SchlegelTr. 5 Othello Tieck Shakespeare-SchlegelTr. 5 Othello. Tieck Po. 3 Otto Bellmann D. Kaiisch Otto von Wittelsbach, der Kaisermörder Pachter Feldkummel v . TippelsLu. kirohen Kotxebue Kotiebue Pageostreiche Lu. 3 (After Schröder) HolPantoffel und Degen bein Papa Buddendörfer oder ein alter Lu 1 Clarinettist Ernst Rethwisch Po. mit Parepa Rosa Gsng. 1 Kaiisch Vaud. 1 (After Fren.) Angely Paris in Pommern Grbd. 7 (After Fren.) L. Flerx Pariser Carneval (ein) 7 Pariser Droschkenkutscher (der). Lebd.4 (After Fren.) ReinPariser Nächte hard Töpfer Lu. 4 Pariser Taugenichts (der). Töpfer Lu. 4 Pariser Taugenichts (der). Parlamentswahl (die)

268

APPENDIX VU

Mo.

Da

Yr. 18—

June Jan.

13 ?

66 59

Mar.

10

69

Feb. Nov.

?

59 64

28

Apr.

?

60

Oct.

18

67

Nov. Sept. Apr.

18 13 ?

67 66 55

Apr.

15

72

June

7

55

Apr.

22

58

Mar.

19

64

?

61

Sept. Feb.

16 7

59 66

Dec.

?

60

May

26

72

Mar. Feb. Jan.

?

2 25

59 67 67

Jan.

Dec.

9

70

Sept. Jan.

19 1

68 56

May Sept. June Sept.

26 25 22

71 54 64 70

Jan.

?

55

Feb.

7

55

Oct.

28

54

Dec

17

66

•>

Title

Type; dumber of ActB

Author

P a r q u e t Loge N r . 3 S c h w . 1 R. H a h n P a r t e i e n w u t h oder drei v e r h ä n g nisvolle T a g e a u s C r o m w e l l s Schreckcnherrschaf t ? Ziegler P a r t i e P i q u e t (eine) Lu. 1 (After Fournier) Deneke P a s q u i l l a n t (der) Lu. Schmidt Pech-Schul«e Chst. mit Gsng. 3 H. Salingree P e d l a r (der) Scha. (After Kuppiua) O. Hoym P e l z p a l a t i n (der) u n d d e r K a c h e l o f e n o d e r d e r J a h r m a r k t zu Rautenbrunn F. H o p p Po. 3 P e n s i o n a t (das) Opte. 2 Suppée Personal-Akten Lu. 2 O. G u t t m a n n P e t e r S z a p a r y , d e r H e l d in S k l a venketten Scha. 5 Birch-Pfeiffer P f a r r e r v o n K i r c h f e l d (der) Vkst. mit G s n g . 4 L. G r u b e r (i.e., A n s e n gruber) P f a r r h e r r (der) o d e r d e r S t u r z des Ministers B i rch-Pfeiffer Scha. 5 PfefTerrösel o d e r die F r a n k f u r t e r M e s s e i m J a h r e 1274 Scha. 5 Birch-Pfeiffer P f l e g e t o c h t e r (die) o d e r z w a n z i g R. Benedi x J;ihre Strohwitwe Lu. 3 P h i l i p p P a l m o d e r ein d e u t s c h e r A. R i n g l e r Hürger Scha. P h i l i p p i n e Weißer Scha. 5 Redwits und P i e t r a o d e r die G u e l f e n Ghibellinen Tr. 5 S. H . M o s e n t h a l P i l o t (der) v o n L o n g I s l a n d o d e r ein New Yorker A l d e r m a n . . . . Vkst. Bürgelen P l a u d e r s t u n d e n o d e r wo b r i n g e ? i c h m e i n e A b e n d e zu? Lu 1 L. F e l d m a n n Lu 3 P o r t r ä t d e r G e l i e b t e n (das) L. F e l d m a n « P o r t r ä t d e r G e l i e b t e n (daß) Lu 3 Kaiser (music by P o s s e a U M e d i z i n (eine) Po. 3 Adolf A d a m ) FriedPostillon von L o n j u m e a u (der). . Opte. 3 (After Fren.) rich Poatillon von M ü n c h e b e r g (der).. Po. 3 Jaeobson-Linderer P r e r i o s a o d e r die Z i g e u n e r in Spanien S c h a . 4 P . A. Wolff Prinz Eugen Opte. 3 G u s t a v S c h m i d t P r i n z Lieschen o d e r d e r C a r n e v a l . Po. 5 M. Heydrieh P r i n z Lieschen o d e r d e r C a r n e v a l . P o . 5 M. Heydrich P r o l i i e r - M a m e e l l (die) I.ebd. mit Gsng. i Berg-Jacobeon P r o l e t a r i a r u n d seine F a m i l i e o d e r der Ilettigjunge Ztge. 4 Fr. L u b o j o t s k i (After Mügge) G Proletariat und Aristokratie Scha. Metternich P r o p h e t o d e r J o h a n n e s ' Leider u n d F r e u d e n (ein) Zbpo. Räder Meilitz Pro/.ess u m einen K u s s ( e i n ) . . . . Lu. 1

APPENDIX VN

Da.

Yr. 18—

Sept. Jan.

11 10

54 56

May

29

67

Mar. Apr.

? 13

63 70

Reiche F r a u (eine) Reichsgräfin Giaela Reise (die) auf gemeinschaftliche Kosten Reise (die) auf gemeinschaftliche Kosten Reisende S t u d e n t (der) R e k r u t und Dichter

Mo.

Mar.

?

59

Apr.

13

68

Jan. Feb.

? 29

55 64

Oct.

ie

67

Dec. June

8 4

69 64

Jan.

2

66

Dec. Nov.

10 18

67 54

Dec.

1

58

Apr.

26

56

Dec. Feb.

2 14

63 66

Dec.

30

63

Jan.

11

60

Feb. Oct. Nov. Mar.

7 26 5 16

59 66 58 69

Apr. Oct. Nov.

7 30 10

57 63 58

Sept.

3

63

Sept.

11

58

Oct.

10

64

Title

269

Type; Number of Acts

Räuber (die) Tr. 5 Rechnungsrat 1 Rechnungsmeister] (der) und seine T ö c h t e r Lu. 3 Reich an Liebe oder wer borgt mir fünf Dollar? Po. 1

Rekrutierung (die) der Zwerge in Krähwinkel Relegierten Studenten (die) Rendes-vouB in der G r a n d Street (das) R e i e p t gegen S c h w i e g e r m ü t t e r . .

Author Schiller L. Feldmann

(After F r e n . ) Friedrich Dr. (After F r e n . ) G r a v e Scha. 4 (After M a r l i t t ) Wexel and Wegener Drge. 5 L. Angely Drge. 5 L. Angely ? Opte. Lu. 3 (After Schücking) Hollpein

Po. 1 Lu. 4

H.

Theo. F l a m m 11. Benedix

L. Berger (After Don Manuel J u a n D i a n a ) König Ludwig 11 Scha. 5 Gutzkow Po. 2 Lu. 1

Richard Savage Richards Wanderleben (Wild Oats) Lu. 4 (After E n g . ) K e t t e l Ring (ein) oder der Goldschmied Scha. 5 C h . Birch-Pfeiffer und sein Kind R i p van Winkle oder die Dämonen Dr. 4 (After J o h n Herr) T h . der Catskill-Berge West Lu. 1 G. Hittl R i t t e r (der) der D a m e n R i t t e r (der) des Nebels (After E n g . J a c k Sheppard) F r . T i e t i R o b e r t und B e r t r a m , die luBtigen Po. mit Vagabunden Gang. 4 GuBtav R ä d e r Roman eines armen jungen Scha. 6 (After O. Feuillet) E . M a n n e s (der) J u i n and P . R e i n hard Schw. 1 Fe. W e h l R o m e o auf dem Bureau Schw. 1 Fe. Wehl R o m e o auf dem Bureau Tr. 5 Shakespeare-Schlegel R o m e o und J u l i e t Rosen (die) dea Herrn v. MalesDrge. 1 Kotaebue herbea Lu. 5 C. T ö p f e r Rosenmüller und F i n k e Lu. 5 C. T ö p f e r RosenmüUer und F i n k e D r m ä . Rosen (die) vom Norden Gsng. Rose und R ö s c h e n oder Fahrten und Abenteuer eines WeBtinScha. diers R o t h m a n t e l oder der gespenZbpo. stische B a r b i e r mit Gsng. Scha. Roth-Schild

3 Dr. Wollheim 3 C h . Birch-Pfeiffer

4 Kottebue-Coltherack 5 Hermann Reich

270

APPENDIX

Vn

Type; Number of Acts

Da.

Yr. 18—

Title

Mar.

8

69

May

31

56

May Apr. Nov. Jan. Apr. Jan. Mar.

30 10 27 7 4 4

66 58 68 64 68 67 68

Sept. Jan. Dec. Nov

2 6 15 6

68 60 69 68

Royalisten (die) oder die Flucht C a r l S t u a r t s I I von E n g l a n d . . Rübezahl oder der KegeUpielcr von Seidorf R ü c k k e h r (die) aus der S t a d t . . . . Sachsen in Preussen Sächsischer Schulmeister ( e i n ) . . . Salomos Urteil S a l i der E h e (das) S a n d in die Augen S a n f t e Heinrich (der) oder R u h e ist die erste Bürgerpflicht Sappho Sartanello S c h a c h dem König Schauspielerin (die)

Nov.

?

60

Oct. Nov.

22 8

66 69

Mar.

24

56

Apr. Sept. Feb.

? 6 15

61 67 69

Dcc.

3

67

Mo.

?

Schiller, Goethe oder das des Volkes Schlechter Mensch (ein) Schleicher und Genossen

Kind

Schleichhändler (der) oder die R ä u b e r b a n d e am K a t z e n s t e i n . . Schlimmen Frauen (die) im Serail. Schöne G a l a t h 6 c (die) Schöne Genoveva (die) von Gerolstein (Carnevalsopte.) Schöne Helene (die)

May

9

70

Schöne Müllerin (die)

Oct. Sept.

30 22

68 58

June AUR.

Sept.

14 31 ?

64 68 65

Feb.

21

68

Oct.

6

68

May

20

56

Schuld (die) Schule (die) des LebenB oder König und Goldschmied Schule der Verliebten (die) Schulz (der) von Altbüren Schwäbin (die) oder Weiberlust geht über alles Schwäbin (die) oder Weiberlust geht über alles Schwager Spürnas oder ein vorsichtiger E h e m a n n Schwarze Ruch (das)

Apr. May Oct.

?

60 70 67

Schwarze Doktor (der) Schwarze Peter (dcrl Schwätzer (die) von Saragossa. . . Schwätzerin (die) oder sie mengt sich in alles Schweizer in Neapel (die) Schwert (das) des D a m o k l e s Schwestern von Prag (die) SeernannB-Jubilftum Seine D r i t t e oder Amerika und Spandau

21 28

Nov.

?

65

Aug. Jan. Nov. May Sept.

23 9 30 12 23

66 68 59 6!) 59

Author

S c h a . 4 E . Raupach Vkmä. Po. 1 Grbd. Grbd. Scha. Sehl. Lu. 2

5 E. Raupach Starke Emil Pohl Emil Pohl Schröder Görner (After Fren.) Berger

1 1 3 1

Chbd.3 Starke Grillparzer Tr. 5 ? ? I.u. 4 H. A. Schauffert (After Fournier) Frie1 u 1 drich S c h a . 4 Ludwig E c k a r d Lu. 4 J . v. Rosen Lu. 5 (After R. B. Sheridan) Rud. Gen6e Lu. 4 ErnBt Raupach ? ? Opte. 1 Poly Hcnrion-Supp6e Opte. 4 C a r l Buchheister Opte. 3 ( A f t e r Meilhac-Ha16vy) Dohm-Offenbach Lu. 1 (After Fren.) Schneider Tr. 4 Adolf Müllner Scha. 5 E . Raupach Lu. 5 C. B l u m Scha. 4 S. H. Mosenthal Lu. 1

Castelli

Lu. 1

Castclli

Sehw. 1 (After Fren.) Förster Dr. 5 (After Fren.) 11. F . Scha. Fe. Oschatz Schw. 1 G ö r n c r Opte. (After Fren.) Carl T r e u m a n n-OfTenbach Po. 3 Julius Scha. 5 A. E . Brachvogel Schw. 1 G. Putlitz Opte. Müller Ldsp. 1 E . Rethwisch Schw. mit (Isng. 1 E . Pohl

APPENDIX v n

Da.

Yr. 18—

May

14

66

Mar.

31

68

Mo.

May

9

70

Jan. Dec.

7 17

68 58

Feb.

r

55

Nov. Sept. Nov. Oct.

T 24 10 31

57 63 69 67

Mar.

4

69

May

17

66

Nov. Jan. Oct. Oct. Nov. Sept. Apr.

4 30 ? e r 27 T

56 64 54 68 61 58 61

Nov. Jan.

15 20

66 64

Oct. May Jan.

18 3 13

64 56 68

Oct. May Feb.

22 31 22

67 58 64

Feb.

9

56

Nov.

T

56

May

21

64

May Apr.

1 28

68 66

May May

16 19

70 56

Sept. Jan. Nov.

T 31 8

62 60 66

Title

271

Type; Number of A c t s

Author

S e l b s t m ö r d e r i n (eine) oder die letzte Stunde einer Putzmacherin Schz. 1 Julius Selige (die) a n den V e r s t o r b e n e n . L u . 5 (After Clairbille-Victor Bernard) Friedrich Sefiora P e p i t a , mein N a m e i s t Meyer Schw. 1 E . Hahn Servua, H e r r S t u t z e r l Karl Juin-Louis Flerx Po. 1 S i e b e n H ä u s e r und k e i n e S c h l a f stelle Max Ring Po. S i e b e n M ä d c h e n [also N e u n M ä d chen] in U n i f o r m (die) Sngs. 1 (After Fren.) Angely ( A f t e r Sue) D a w i s o n S i e b e n T o d s ü n d e n (die) Ludwig R c l l g t a b SiebzehnhundertBecnsundfünfzig. Lu. 5 Görner Sie geht z u m T h e a t e r Solo 1 W o l f g a n g M ü l l e r (of Sie h a t i h r H e r s e n t d e c k t Lu. 1 Königswinter) Sic i s t wahnsinnig Lu. 3 ( A f t e r Mellville) L. Schneider Sie s c h r e i b t a n sich s e l b s t oder Ziegenpeter und S o h n C a r l v. H o l t e i Lu. 1 S o h n auf R e i s e n (der) L. F e l d m a n n Lu. 2 S o h n der N a c h t (der) Scha. 4 (After S i j o u r ) S o h n der W i l d n i s (der) Drged.5 Fr. Halm Sohn der W i l d n i s (der) Drged.5 Fr. Halm S o h n (der) des J o n g l e u r s M a i Cohnheim Po. S o h n des W u c h e r e r s (der) S c h a . 4 A. K . B r a c h v o g e l Soll und H a b e n Scha. (After G. Freytag) Werel Sololustspiel (ein) in drei A k t e n . . L u . 3 Saphir Shakespeare (with S o m m e r n a c h t s t r a u m (ein) Lu. 5 music by Mendelssohn) Sonntagsjäger Bkse. 1 Kaiisch S o n n w e n d h o f (der) Vkst. 5 S. H. Moeenthai S ö r e n S ö r e n s e n , der t a p f e r e L a n d Boldat Grbd. E. Rethwisch Sperling u n d S p e r b e r S c h w . 1 C . A. G ö r n e r Spieler (der) S c h a . 5 Iffland S p i o n (der) oder G e o r g e W a s h i n g ton Coopcr) E. Scha. 5 (After Doench S t a b e r l a l s F r e i s c h ü t z o d e r der P a r a p l u i m a c h e r in d e r W o l f schlucht Par. J . Bohrer S t a d t und L a n d oder d e r V i e h händler a u s O b e r ö s t e r r e i c h . . . . P o . 4 A. K a i s e r S t a d t u n d L a n d oder d e r V i e h händler a u s O b e r ö s t e r r e i c h . . . . P o . 4 A. K a i s e r S t a d t h a l t e r (der) von B e n g a l e n . . S c h a . 4 H . L a u b e S t a r k e r T a b a c k oder B e r l i n in Jacobson Amerika Po. 3 S t e c k b r i e f (der) R . Benedix Lu. 3 Steffen L a n g e r aus G l o g a u oder d e r holländische K a m i n Lu. 5 Ch. Birch-Pfeiffer S t e r n e (die) wollen es Lu. E . Pohl S t e r n e n m ä d c h e n (das) Drmä. Faber S t i e f m u t t e r (die) Lu. 3 R. Benedix

APPENDIX v n

272

Mo.

Da.

Yr. 18—

Sept.

9

58

Jan.

5

67

Oct. Feb. Feb. Jan.

8

22 0

63 62 66 68

Sept. Apr.

23 27

68 68

Dec.

16

70

?

Sept. Mar. Feb.

21 16 16

56 64 67

Oct.

18

58

Mar. Nov. Jan.

? 14 23

65 67 67

Mar. Oct. Feb. Jan. May Mar Sept. Sept. Dec.

•>

14 4 26 12 ?

13 ?

7 ?

?

60

Sept.

22

63

Nov.

?

54

Dec.

25

67

Dec. May

12 8

Po. 1

Sigmund Haber

Satr. 1 Po. Lu. 5 Scha. 3

E. Hirthe Friedrich Shakespeare (After Fren.) mann

3 u l l i v a n o d e r N a b o b u. S c h a u spieler Taunhäuser Tannhäuser Tannhäuscr, ZukunftsposBe m i t v e r g a n g e n e r M u s i k in g e g e n wärtigen Gruppierungen

T e u f e l ( d e r ) ist los T e u f e l (der) oder der Blinde v o n Paris T e u f e l ( d e r ) und der S c h n e i d e r . . Theaterskandal (ein) T h e a t r a l i s c h e r Unsinn T h e a t r a l i s c h e Studien T h e o d o r K ö r n e r o d e r d i e Schlacht bei G a d e b u s c h T h e r e s e KroneB o d e r Geheimnisse aus d e r C o u l i s s e n w e l t v . Paris Therese Krones oder Geheimnisse aus d e r C o u l i s a e n w e l t v . Paris T i l l Eulenspiegel oder Schabernack über S c h a b e r n a c k T i l l Eulenspiegel oder Schabernack über S c h a b e r n a c k T i t u s Feuerfuchs T o c h t e r ( d i e ) des G e f a n g e n e n o d e r f ü n f z e h n Jahre in den K e r k e r n der F e s t u n g G l a t z

Mar.

?

Struensee S t ü n d c h e n ( e i n ) auf d e m C o m p toir S t ü n d c h e n ( e i n ) auf W i l h e l m s höhe S t ü n d c h e n ( e i n ) in d e r S c h u l e . . . . Sturm (der) S ü h n e ( d i e ) eines M a n n e s

65 56

23

54 56

Author

Lu. 3 Lu. 1 I.u. 4 1 ii 4 Schw. 1

T a n t e K o b o l d und O n k e l S a t a n . . T a n t e K o b o l d und O n k e l S a t a n . . Tasse T e e (eine) T ä u s c h u n g auf T ä u s c h u n g Telegraphische Depeschen T e s t a m e n t ( d a s ) des K u r f ü r s t e n . T e s t a m e n t (daB) des O n k e l s

61 66 70 65 67

Type, Number of A c t a

S t i l l e W a u e r Bind tief oder w i e d u eine F r a u siehat so baat d u sie Still Waters Run Deep (in English) Stoff (ein) von Gerson Störenfried (der) Störenfried (der) Streit (der) um Kaisers B a r t . . . .

59 69 67 71 69 59 67

Dec Dec. Apr. Oct. Sept.

17 9

Title

Lu. 4

Schroder

Tom Taylor G. v. Moser K. Benedix H. Benedix (After Julius mann) Scha. 5 M i c h a e l B e e r

Herr-

Wich-

Scha. 3 E d . J e r r m a n n Binder-Nestroy Par. 3 Par. 3 Binder-Neatroy Lewittschnig; music b y CarlBinder (same as p r e c e d i n g ? ) C. A. Gorner Lu. 3 C. A. Corner Lu. 3 Lu. 1 ( A f t e r Fren.) Drost Scha. 5 v o n ? Lu. 1 Holbein Putliti Scha. (After Fren.) NeuLu. 3 mann Lu. Arthur Müller

Par. 3

Scha. Lu. Po. 1 Po. 4 Solo 1

(After Fren.) ? R. Benedix Neamüller Norlander C. A. Gorner

Dr. 1

H. Dreher

Scha. 3 H a f T n e r Scha. 3 H a f f n e r Po. 4

Nestroy

Po. 4 Po. 3

Ncstroy Nestroy

Scha. 4 ( A f t e r Fren.) Hirch-Pfeiffer

Ch.

273

APPENDIX VH

Da. 20 ?

17

Yr 18—

61 63 56 62 66

31 26 30

59 56 70

20 16 15 7 3 5

59 60 63 58 54 54 61 66 70

29

59

4 18

69 66 63 68 59 56

10

69 18 28 16 16 ?

66 56 68 71 56 67

20

67

27 ?

69 65 66 55 66

5

56 67

Title

Type; Number of Acts

Author

Tochter (die) des Gefangenen.... Scha. 5 (After Fren.) W . Friedrich Ely Sangelli (i.e., Ch. Chat. Birch-Pfeiffer; cf. B. Mar. 8, 1861) Tochter (die) des Südens Scha. Ch. Birch-Pfeiffcr Töchter (die) Luzifers oder in der Hölle und auf der Erde Zbsp. 6 W . Friedrich Tochter Zions (die) T Toni und seine Walburg oder der Mond an der Kapelle Chge.3 Frani Pruller Tower (der) in London Scha. 4 L. Hahn Traum (der) ein Leben Drmä. 4 Grillparser TrBupmann, der Mörder von Pantin Chskze. 9 Nennstiel Treue Liebe E. Dcvrient Tristan und Isolde Tr. 5 Josef Weilen Trödler (der) A. E. Brachvogel Dr. Turandot Drmä. 5 Gozzi-Schiller Turm von Nesle (der) (After Fren.) ? ? Tyrann von Padua (der) Ueber den Ocean E. Graus Dr. Um die Krone oder die Wette, Put Ii ts Lu. 5 l'ncle Toms Hütte Ztgc. 3 (After Stowe) Therese Meyerle Undine oder eine verlorene Seele. Drmä. mit Gsng. Stiegmann Ungeflchliffner Diamant (ein).. . . Lu. 1 (After Fren.) Juliua Unglücklichen (die) Lu. 1 A. v. Kotzebue Unruhige Zeiten oder es geht los.. Po. 3 K Pohl Unruhige Zeiten oder es geht los.. Po. 3 E. Pohl Unser Vetter aus Amerika Vogel Unter der Erde oder Arbeit bringt Segen Chst. 4 C. Elmar Urbild (das) der Fenella oder die Stumme von Portici Beke. 1 Bahn Gutzkow Urbild (das) des Tartüfle Lu. 5 Gutzkow Tr. 5 Uriel Acosta Scha. 5 Gustav Freytag Valentine (die) Scha. 3 Scribe Valerie oder die Blinde Po. 4 (After Bayard) B. A . Vater (der) der Debütantin Herrmann (After Bayard) B. A . Vater (der) der Debütantin Po. 4 Herrmann Verbotene Früchte oder Nachbars Aepfel Schw.3 (AfterSardou) Förster A. Langer Po. 1 Verfolgte Unschuld (eine) Arthur MQller Lu. Verhängnisvolle Feldwebel (der) Vaud. 1 Friedrich Verhängnisvolle Omelette (die) . Julian Werner Lu. 5 Verhängnisvoller Abend ( e i n ) . . . Verirrung (eine) oder die Schuld einer Frau (Supplice d'une femme) Sardou and Scha. 3 ( A f t e r Girardin) P. B. Wichmann Haffner Dr. Verkaufte Schlaf (der) Verlobung (die) bei der Laterne.. Opte. 1 (After M . Carre and L. Battu) Tochter (die) der Grille

274

APPENDIX TO

Type; Number of A c t s

Da.

Yr. 18—

May Jan.

13 24

58 56

Verräther ( d e r ) Verschwender (der)

Nov. Aug. Dec. Nov. Oct. May Oct. Oct.

23 31 7

5« 5» 65 54 63 61 67 58

Verschwörung (die) d e « F i e s c o . . . Verschwörung (die) der F r a u e n . .

Mo.

Sept. Jan. June May Dec. Dec.

?

1

?

23 13 5

? f

54 55

Title

Holbein Lu. 1 Chst. 3 mit F. Raimund Gsng. Schiller Tr. 5 Arthur M ü l l e r Lu. 5 7 Alex. Baumann Sz. 1 A l e x . Baumann Sz. 1 Schz. 1 Jacobson Schz. 1 Jacobson

Versprechen (das) hinterm H e r d . Versprechen (das) hinterm H e r d . Verwandlungen Verwandlungen Vetter ( d e r ) oder die B a u m w o l lenspekulation Lu. 3 V i c o m t e de Letorieres ( d e r ) Lu. 3 Viehhändler aus Oberösterreich (der) Po. 2

14 ?

65 67 65

Viel L ä r m um nichtB Lu. 5 Viel L ä r m um nichts Lu. 5 Viel Vergnügen oder die G e h e i m -

2

63

Vierzehn M ä d c h e n in U n i f o r m . . . Viola oder die Brautnacht in der 8t. Johannisnacht Vogelschie8Ben (das) oder ein deutsches Schützenfest in alter Zeit Volk (das) w i e es weint u. lacht. . V o n sieben die Hässlichste V o n Stufe zu Stufe oder zwanzig Jahre aus dem Leben einer Frau V o r hundertundneun Jahren V o r n e h m e E h e (eine) W a f f e n s c h m i e d (der) in W o r m s . . W a i s e aus L o w o o d ( d i e ) [Jane EyreJ

Jan.

?.

56

June

9

58

Nov. May Mar.

3 22 3(1

59 56 70

Nov. Oct. Feb. Oct.

11 13 4

68 68 67 54

June

17

64

W a i s e aus EyreJ

June Dec Nov. Mar. Nov.

18 in n IS

64 59 56 67 58

May

7

64

Wald-Lieschen Wallensteins I.ager Wallensteins T o d Wallensteins T o d Walpurgisnacht (die) oder die Sensenschmiede itn T a l e v. St. Gillen W a r t e (eine) am Rhein oder deutscher Bürger, hilf dir selbst. . . . W a s ihr wollt Wechsel (ein) W e i b (das) dcB Soldaten Weiblichen Drillinge ( d i e ) Weiblichen Studenten ( d i e ) Weiblicher Otello (ein)

?

?

?

Apr. Mar. May Dec.

11 2fi 15

65 69 56 66

Oct. May

17 9

59 70

Lowood

(die)

[Jane

Autbor

R. Renedix C . Blum Kaiser (cf. " S t a d t u. Land") Shakespeare-Holtei Shakespeare-Hot tei

Kalisch V a u d . 1 A n g e l y (cf. " S i e b e n Mädchen, e t c . " )

Scha. 5 A u f f e n b e r g I I . Clauren Po. 5 Vkst. 3 O. Berg and D. Kalisch (After T o l d ) Angely Lu. 3 Lebd. Fesp. Scha. Opte.

5 1 5 3

Hugo Müller C a r l Jendersky (After Octavc Feuillet) Lortzing

Currer Scha. 5 ( A f t e r Birch-Pfeifler H . Laube

Bell)

Currer Scha. 5 ( A f t e r Birch-Pfeiffer H. Laube Chst. 3 Carl E l m a r D r b d . 1 Schiller Schiller Tr. 5 Schillcr Tr. 5

Bell)

Zbsp. 4 C h . Birch-PfeifTer Scha. 5 Lu. 5 Grbd. 1 Scha. 5 P o . mil Gsng. 1 Lu. 3 Po. 1

F. Friedrich Shakeepeare-Putlitz Fr. W o l t e r e c k B. A . Herrinann Holtei D r . J. Lederer ( A f t e r Fren.) L. G u n ther

APPENDIX

Mo.

Da. Y r . 18—

Type; Number of Acts

Title

May

24

56

Weibliche Schildwache (die)

May Dec.

2 27

70 71

Weibliche Seeleute Weihnachten

Oct.

10

68

Weinprobe (eine)

Nov.

4

70

Weisse Dame (die)

May

20

68

Weisse Othello (der) bengalischer Tiger

Apr. Oct. June May

8 18 22 15

64 67 66 56

Sept.

28

63

Apr.

30

56

Weltumsegler (der) wider Willen. Wem gehört die Frau? Wenn Frauen weinen Wenn Leute Geld haben oder Herr Piefke als Ehemann Wenn Leute Geld haben oder der Schuster als Millionär Wenn Leute Geld haben oder wo du nicht bist, Herr Organist, da schweigen alle Vögel

May

17

Mar. Oct. Dec.

T 1 12

Aug. Oct.

27 8

Nov. Oct. Sept. Apr. Jan.

12 25 3 24 ?

Oct.

18

NOT.

17

Oct. Deo.

22 9

Oct. Sept.

30 5

Feb. Deo. Nov. Nov.

10 23 2 19

Aug.

27

275

TO

oder

ein

Author

Sngs. 1 (After Lemoine) Friedrich Weihrauch Po. 2 Grbd. mit Gsng. 1 Drost Tellechner and Schw. 1 R. Heimerding Opte. 3 (After Scribe) R. A. Ritter

Po. 4 Po. 1 Lu. 1

(After Brisebane) W. Friedrich G. Räder 7 Winterfeld

Chbd.

G. Starke

Po. 1

Drbd.3 Weihrauch

Lebd. mit Gsng. 3 Weihrauch 87 Wer isst mit? Vaud. 1 ( A f t e r D g s a u g i e r s ) Friedrich Scha. 5 Gutskow 61 Werner oder Hers und Welt Moser 63 Wie denken Sic über Russland?.. Lu. 1 66 Wie ein Kammermädchen lesen (After Fren.) Alex. lernt Lu. 1 Berger 60 Wie man Häuser baut Ch. Birch-Pfeiffer Scha. 63 Wie man seine Töchter verheiratet O. Reiftarth Po. Carl. v. Holtei 88 Wiener (die) in Berlin Lu. 1 66 Wiener (die) in Paris Grbd. 1 Carl. v. Holtei Fr. Gerstäcker 67 Wilderer (der) Dr. 5 88 Wildfeuer Drged.5 Friedrich Halm 61 Wildröschen oder Leben und Treiben in Süd-Carolina Dr. Moriti Reichenbach 59? WildschQts (der) oder die Stimme der Natur Opte. 3 ( A f t e r K o t s e b u e ' s Rehbock) ? 70 Wildschüts (der) oder die Stimme der Natur Opte. 3 ( A f t e r K o t s e b u e ' s Rehbock) ? Scha. 5 Schiller-Esslair 55 Wilhelm Teil Lu. 5 Shakespeare-Di ngel83 WintermÄrchen (ein) stedt 58 Wölfe in Schafskleidern Lu. 5 Adel 59 Wolf gang Amadeus Mosart oder ein KQnstlerleben Lebd.4 B e r n h a r d W o h l g e muth 66 Wort (ein) an den Minister Grbd. 1 Laube-A. Lange Wurm und Würmer J. Krüger 68 Chbd.3 68 " Y 1 " Lu. 3 J. v. Rosen Yelva oder die Waise aus Russ58 Dr. Th. Hell 66 Zärtlichen Verwandten (die) Lu. 3 R. Benedix

276

Mo.

APPENDIX

Yr. Da. 1 8 —

Vn

Title

Type; Number of Acta

Author

Nov.

T

54

Zauberschleier (der)

X.

Apr.

25

66

Zauberachleier (der)

X.

Apr. Apr. Jan. Jan. Jan.

24 16 30 16 20

67 69 69 68 68

May Feb.

29 4

67 56

Nov. Mar.

22 T

58 55

Apr. Feb. Sept.

19 7 23

67 61 59

Dec.

27

67

Nov. Nov.

24 27

58 66

Oct.

27

66

Feb.

?

55

Zbpo. 4 (After Scribe) F . Told Zbpo. 4 (After Scribe) F . Ti noia U Zehn Mädchen und kein M a n n . . Opte. 1 Suppfa Zerbrochene Krug (der) Lu. 1 K l e i s t - F r . Ludwig Zerstreuten (die) Lu 1 Kot*cbue Zigeuner (der) G r b d . 1 Alois B c r b a Zigeuner (der) in der SteinmetEwerkst&tte Lebd. 2 F r . Kaiser Zillerthaler (die) Sngs. 1 Neemüllcr Zopf und Schwert oder der preuasische Hof im J a h r e 1728. Lu. 5 Gutzkow Zuavcnstreiche in Amerika Lu. 3 Hermann M u h r Zu ebner Erde und erster S t o c k . . Po. mit Gsng. 4 J . Nestroy Zugemauerte Fenster (das) Lu. 1 Kottebue Zunftmeister (der) von Nürnberg Oscar v. R e d w i t i Zurücksetzung oder die verkannte Tochter Scha. 4 Töpfer Zwei alte Freunde oder ein ganzes Haus voll Schwiegersöhne V k s t . 3 Julius Findeisen Zwei berühmte B o x e r Lu. Fortner Zwei B r ä u t e oder S t a d t - und Landliebe Po. 1 R . Hahn Zwei T a g e aus dem Leben eines Deinbardstein Fürsten Lu. 2 Zwei T o t e auf Reisen oder zwei verwechselte Pistolen. . .. Kaiser

T o t a l number of plays ìq the above list, 8 3 1 .

APPENDIX Vili Chronological list of German-American journalistic publications of New York (and vicinity) prior to 1872, with explanatory notes. 1 1. Der deutsche Freund, founded 1819 by Friedrich C. Schaefer, running only a few numbers; claimed by Spengler (cf. Otto Spengler, Das deutsche Element der Stadt New York) to have been the first German newspaper in New York City. 2. Der Vernunftgläubige, 1838, edited by J. A. Forsch; mentioned by Koemer (cf. Gustav Koerner, Das deutsche Element in den Vereinigten Staaten von Nordamerika von 1918 bis 1848). 3. Der Wahrheitssveher, 1839, edited by S. Ludvigh (cf. Koemer). 4. Die allgemeine Zeitung; mentioned in the Staatszeüung (1840) and in the Belletristisches Journal (1852) as a contemporary publication. 5. Der Wächter am Hudson, edited by J. A. Forsch; described in the Staatszeitung (Oct. 14, 1840) as a new German weekly. 6. Die Stimme aus der Zukunft; mentioned by the Staatszeüung (Oct. 21, 1840) as a new German weekly. 7. Die deutsche Schnellpost (cf. Introduction). 8. New Yorker Demokrat, edited by W. Schlüter, 1846 (cf. Koemer). 9. Der Beobachter am Hudson. (?), appearing in the 1850's. 10. Hummel, edited by Eduard Pels; reported in the Staatszeitung (Dec. 21, 1850) as a new German weekly. 11. Lucifer, edited by Dr. E. J. Koch; reported in the Staatszeüung (Dec. 21, 1850) as a new German weekly. 12. Deutscher Zuschauer; a German weekly appearing in July 1851 (cf. Allgemeine deutsche Biographie, Vol. 36, p. 685). 13. Turn Zeitung, New York and Philadelphia; Jahrgang 1-3, 1851-54, in New York Public Library. 14. Deutsche Monatshefte (Meyers), 1853-56 (cf. Introduction). 15. Theater Journal, edited by Eduard Herrmann. Its appearance was announced in the Belletristisches Journal (Dec. 29, 1854) and it was said to contain a historical sketch of the German-American stage. Herrmann was Regisseur of the Stadttheater. 16. New Yorker Sonntagsblätter, founded April, 1854, by A. Dulon (cf. Meyers Monatshefte). 17. New Yorker Republikaner, appearing in the 1850's. 1

Cf. a Lao Introduction. Of course New York's leading G e r m a n journals, the New a n d t h e BeUetrietischee Journal, are not repeated in this list.

Yorker Staatizeiluna

277

278

APPENDIX V i n

18. Revue, a German weekly; reported in the Staatszeitung (Sept. 6, 1856). 19. New Yorker Handelszeitung; 1855 to date, in the New York Public Library (cf. Staalszeitung, Sept. 23, 1854). 20. Die Abendzeitung (daily and weekly). This publication and the four following (Nos. 21, 22, 23, 24) are listed in the SUuUszeitung of July 19, 1856, as current German newspapers. 21. Newyorker Staatsdemokrat (daily and weekly). 22. Katholische Kirchenzeitung (weekly). 23. Der Pionier (weekly); cf. also Staalszeitung of Jan. 8, 1853. 24. Die neue Zeit (weekly). 25. Turn Blatt für die Vereine; published in Williamsburg. Nos. 1-24, Oct., 1856, to Sept., 1858, are in New York Public Library. 26. Familienblätter, edited by Dilthey; reported in the Staatszeitung (cf. S. May 1, 1858). 27. Frank Leslie's Illustrierte Zeitung (weekly); for its advertisement, cf. Staatszeiiung of Jan. 9, 1858. 28. New York Humorist (?); an illustrated weekly reported in Staatszeitung (Jan. 8, 1859). 29. Europa (?); a magazine dealing with art, the German theatre, etc., 1864. 30. Deutschamerikanische Gartenlaube; two volumes, 1865-66, in the New York Public Library. 31. Die neue Zeit (cf. No. 24); apparently a second publication of the same name; found in the New York Public Library. Vol. 1, No. 1 is dated Sept. 25, 1869, and the following numbers (1869 to 1872, and later) contain notes on the theatre. 32. Steiger's literarischer Monatsbericht, 1869-71; two volumes in the New York Public Library. 33. Die Well, 1870-71; in the New York Public Library. The later numbers contain regular criticisms on German theatrical performances.

BIBLIOGRAPHY» A. Sources for the History of the German Theatre in New York. I. Contemporary Newspapers and Periodicals (in order of importance). 1. New Yorker Staalszeitung, 1836-72 (cf. pp. xv-xvii). 2. Belletristisches Journal, New York, 1852-72 (cf. p. xvii). 3. Deutsche Monatshefte (var. Meyers Monatshefte), A. Kolatschek (editor), New York, 1853-56 (cf. p. xix). 4. Deutsche Schnellpost, New York, 1842^8 (cf. pp. xvii f.). 5. Figaro or Corbyn's Chronicle of Amusements, New York, 1850-51 (cf. p. xviii). 6. New York Herald (as cited in special references). 7. New York Times (as cited in special references). II. Subsequent Works and Articles. (a) Periodicals and Newspapers 1. Jahrbuch, Deutsch-Amerikanische Gesellschaft von Illinois, Vol. XV, 1915, pp. 255-309: Edwin H. Zeydel, "The German Theatre in New York City, with Special Consideration of the Years 1878-1914." 2. Mitteilungen des deutschen Pionier Vereins von Philadelphia, Sechstes Heft, 1907: C. F. Huch, "Das deutsche Theater in New York bis zum Jahre 1860." 3. Munsey's Magazine, Vol. XX, Nov. 1898, pp. 232-45: James L. Ford, "The German Stage in America." 4. New Yorker Staalszeitung: "Das deutsche Theater in New York;" Sonntagsblatt, Apr. 21, 1901 (by Udo Brachvogel); SonntagsblaU, Aug. 11, 1901 (by C. Stürenburg); SonntagsblaU, Apr. 16, 1905 (by Arthur G. Abrecht); SonntagsblaU, Apr. 24, 1910 (by A. Pulvermacher). (6) Books and Pamphlets 1. Amerika, Berlin, 1886, A. Tenner (editor), pp. 11031: Wilhelm Müller, "Das deutschamerikanische Theater." 1 T h i s bibliography does n o t include works of a general a n d encyclopedic character. Such works, when employed, are of course duly cited in foot-notes. Only t h e special books, pamphlets, periodicals a n d newspapers consulted by the a u t h o r are listed below. For a detailed discussion of t h e bibliographical material, cf. I n t r o duction.

279

280

BIBLIOGRAPHY

2. Brown, Thomas Allston, A History of the New York Stage from the First Performance in 1732 to 1901 (in 3 vols.), Dodd, Mead and Co., 1903. 3. Das Buch der Deutschen in Amerika (edited by the Deutsch-Amerikanischer Nationalbund), Philadelphia, 1909, pp. 423-35: " Das deutsche Theater in Amerika." 4. Moses, Montrose J., The Life of Heinrich Conried, New York, 1916 (cf. Introduction). 5. New York Turn Verein, zur Jubelfeier seines 75 jährigen Stiftungsfestes, 1850-1925, New York, 1925. B. Miscellaneous Sources. 1. "Americana Germanica," Philadelphia: No. 31, 1917: Louis C. Baker, The German Drama in English on the New York Stage up to 1830. No. 32, 1917: Alfred H. Nolle, The German Drama on the St. Louis Stage. No. 34, 1918: Charles F. Brede, The German Drama on the Philadelphia Stage from. 1794 to 1830. 2. Arnold, Robert F. (editor), Das deutsche Drama, München, 1925. 3. Costenoble, Carl Ludwig, Aus dem Burglheater, 1818-37, Wien, 1889. 4. Laube, Heinrich, Das Burgtheater, Wien, 1868. 5. Prölss, Robert, Geschichte des Hof theaters zu Dresden von seinen Anfängen bis zum Jahre 1862, Dresden, 1878. 6. Ritter, Frédéric L., Music in America, New York, 1884 and 1890. 7. Witkowski, Georg (L. E. Horning, translator), The German Drama of the Nineteenth Century, New York, 1909. SUPPLEMENTARY

BIBLIOGRAPHY

NOTE.—The following works are of importance for a study of the cultural life of the German element in New York. Numbers 2, 4 and 5 contain much valuable bibliographical material. The author begs to state, however, that he has gleaned the material presented in Chapter I almost exclusively from the contemporary files of the Staatszeitung and the Belletristisches Journal. 1. Boernstein, Georg C. H., Fünfundsiebzig Jahre in der Alten und der Neuen WeÜ, Leipzig, 1881. (Cf. especially Vol. II, pp. 222 ff.) 2. Cronau, Rudolf, Drei Jahrhunderte deutschen Lebens in Amerika, Berlin, 1909 (2d rev. ed., Berlin, 1924). 3. Faust, Albert B., Das Deutschtum in den Vereinigten Staaten in seiner Bedeutung für die amerikanische Kullur, Leipzig, 1912.

BIBLIOGRAPHY

281

4. Goebel, Julius, Das Deutschtum in den Vereinigten Staaten, München, 1904. 5. Griffen, A. P., A List of Works Relating to the Germans in the United States, Washington, 1904. 6. Kapp, Friedrich, Die Deutschen im Staate New York bis zum Anfange des neunzehnten Jahrhunderts, Leipzig, 1868. 7. Koerner, Gustav, Das deutsche Element in den Vereinigten Staaten von Nordamerika, 1818 bis 1848, New York, 1884. 8. Lemke, Theodor, Geschichte des Deutschtums von New York von 1848 bis auf die Gegenwart (in 2 vols.), New York, 1891-92. 9. Schern, Alexander J., Deutschamerikanisches Konversationslexikon (in 11 vols.), New York, 1869-74. 10. Spengler, Otto, Das deutsche Element in der Stadt New York, New York, 1913.

INDEX Abilard und Heloüe, 97 Abellino, 19, 30, 39 Abfllmann, 47 Abendzeitung, 5 Abraham Lincoln, 177 Abrecht, xiii, xii Academy of Music, 10, 129, 155 ff., 167, 170 f., 181 Achtzehnhundertsechsundsechzig, 177 Actors and actresses at the Altes Stadttheater, 232-34 Actors and actresses at the Neues Stadttheater, 235-37 Adrienne Lecouvreur, 134, 155, 165, 184 f., 188 f., 196 Ahnfrau, die, 19, 45 Aktienbudiker, der, 91 Alpenkönig und der Menschenfeind, der, 87 Alte Feldherr, der, 46 Alte Junggeselle, der, 141 Altes Stadttheater, xiii, xiv, xix f., 49 f., 75-124, 232-34, 238-43, 251-76 Alvensleben, 174 Amateur stage, German, in N. Y., 68-74, 230-31 American Dramatic Association, 205 Anekdotenbüchlein, das, 43 Angely, 47, 71, 77, 91 Anna von Oesterreich, 219

Anne-Liese, 94, 99, 171, 189 Anthony, St., xiii, 18, 20 f. Anton in Amerika, 95, 97 Archers, the, 16 Arch Street Theatre (Philadelphia), 41 Arion, 10 Armen und die Beichen von New York, die, 154, 218 Arme Poet, der, 22 Artesische Brunnen, der, 93, 114 Arzt, ein, 134 Ascher, 161 Astor Place Opera House, 50, 57 ff. Aus der Oesellschaft, 168 Bahrt, 64 Baker, 15 f., 209, 221 Banditen, die, 89 Bandmann, xv, 82, 85, 104, 110, 112 f., 118 ff., 128 f., 133 f., 143, 145 f., 149, 160 f., 181, 185, 192 ff., 197, 206 ff., 211, 214 Barbara Ubryck, 176 Barbier von Sevilla, der, 154 Bärendorf, 162, 164 ff., 168, 198 Barfüssle, 153, 212 Bastille, die, 130 Bateman, 213 Baudissin, 83 Bäuerle, 34

284

INDEX

Bauernfeld, 54 Be&uforts, the, 211 Becker, 26, 29 f., 33 f . Becker-Grahn, 82, 86, 110 f., 112, 132, 135, 140, 169, 172, 178, 181 Becker's Garden, 61 Beckier, 194 Beckmann, 34 Beethoven's Ninth Symphony, 10 Beichte, die, 37 Beiden Billets, die, 42 Beiden Klingsberg, die, 167 Beiden Nachtwandler, die, 92 Bekehrung vom Temperenz Wahnsinn, 72 Bekenntnisse, 54 Belletristisches Journal, xvii, xix, 5 Bemooste Haupt, das, 89 Bendir, 81, 33, 35, 148 Benedix, 61, 71 f., 77, 81, 89 Benroth, 59 Berg, 91 Berger, 97, 130 Berkel, 133 Berndt, 60, 62 f., 82, 109 Bernett, 172, 179 Bernhard, xviii, 5 Bertram, 94 Bezähmte Widerspenstige, die, 80, 83, 127 f., 133, 147, 165, 168, 179, 183 f., 189 Binder, 148 Birch-Pfeiffer, 61, 64, 71 f., 77, 81, 88 f., 117, 148, 211 f . Blaubart, 175 Blum, 55 Blumenthaler Theater, 70 Boernstein, rxi Boettner, 63

Böller, 179 Booth, 119, 136, 142, 171, 206, 208 Böse Verhängnis, das, 129 Böse Zungen, 169 Bowery Amphitheatre, 45 f., 75 Brachvogel, A . E., 81 Brachvogel, U., xiii Brandschatzung, die, 23 Braut, die, 34 Braut von Messina, die, 84, 129, 150, 170 Brede, 15 Bree, 30 f., 33 f., 38, 46 Brown, xxi, 56 ff. Bruder Liederlich, 96 Briiggem&nn, 144 Brunhild, 155, 157 Buchanan, 13 Buch der Deutschen in Amerika, das, xxi Buchheister, 55, 63 Bucklige Marquis, der, 140 Buek, 21 f., 25, 29 f., 35, 40 Bulwer, 134 Bürgeler, 97 Burgthal 's German National Theatre, 56 ff., 205 Burton's Lyceum, 50, 57, 60 Burton's Theatre, 63 Busam, 70 Busch, 35 Cafe National, 125 Camp of the Warriors, the, 57 Carl XEr auf Rügen, 37, 55 Carneval von Venedig, der, 39 f. Castañeda, 8 Cast ell i, 25 Castle Garden, 58 Cato von Eisen, 86

INDEX

Chatham Street Theatre, 23, 203 Chorherr, 175 Ciyil War, 78, 111, 115, 124 £. Ciaaren, 36 Clemence, 40 Cohnheim, 65, 96 Collins, Wilkie, 146, 211 Colmar, 181 Colonel Small, 169 Colosseum, 72 Colombia College (University), 8 Commodore Foot, 169 Confessions, the, 54 Conned, xxi, 113 Cooper (actor), 16 Cooper, Pen., 98, 215 Corbyn, xviii Coriolanus, 131-32 Corner Grocer of Avenue A, the, 72 Count Benyowsky, 16 Count of Montechristo, the, 220 Cracovienne, 39, 42 Crimean War, 64 Cronau, xxi, 1, 15 Cultural manifestations, German, in N. Y., 4 ff. Cumberland, 15, 201 Czmock, 108 Daily Daly, Dame Dame

News, 118 181, 208, 211 mit den Camelien, die, 174 von Paris, die, 131

D&mpfwagenreiBe, eine, 148

Dawison, xv, xx, 136 ff., 149, 154 f., 161, 167, 183, 185, 190, 197, 199, 204 ff. Day in Naples, a, 57

285

Deborah, 71, 90, 128, 133, 135, 148, 155 ff., 159, 162, 171, 181, 184, 189, 212 Deinhardstein, 83 Delavigne, 209 Demetrius, 130 Deserteur aus Liebe, der, 31 Dessau, 45 (cf. 21) Dessoir (Dessau ?), 21 (cf. 45) Deutschamerik. Akademie, 7 Deutschamerik. Lehrerverein, 7 Deutsche Bildungsschule, 6 Deutsche Bürgerschule, 7 Deutsche Eichenloge, 11 Deutsche gegenseitige Unterstützungsgesellsch., 9 Deutsche Gesellschaft, 9 Deutsche Methodisten-Kirche, 8 Deutsche Monatshefte, xir Deutschen von Schleswig, die, 127-28 Deutsche O p e r n g e s e l l s c h a f t , 173 f. Deutscher, dramatischer Verein, 20 ff., 44, 68 Deutscher Verein, 11 Deutscher Volksgarten, 70, 73 D e u t s c h e Schauspieler-Gesellschaft, 29, 36 Deutsche Schnellpost, xvii f., 5 f. Deutsches Liebhaber-Theater, 47 Deutsches National Theater, 50, 60 f., 64 Deutsche Sparbank (Central Savings Bank), 6 Deutsches Volkstheater, 70 Deutsch und Dänisch, 100 Devrient, 89 Dilettantentheater, 68-74, 23031 Dingelstedt, 83, 137

286 Döbelin, 168 Doench, 98 Doktor Fausts

INDEX

Hauakäppchen,

168

Doktor Fausts Zauberkäppchen, 94 Doktor Bobin, 134, 140 Doktor Wespe, 47 Dombrowsky, 172 Don Carlos, 16, 51, 72, 79, 84, 108, 110, 116, 128, 140, 147, 155 f., 163, 165 Don Cäsar de Bazano, 94, 167, 220 Don Manuel Juan Diana, 131 Donna Diana, 140, 213 Dorf und Stadt, 89, 153, 163, 189, 211 Döring, 40 Dornau, 62 Dramas, German, given in N. Y., 225-29, 238-76 Dramatic Hall, 71 Dramatischer Verein Urania, 171 Dreher, 154 Dreissig Jahre aus dem Leben eines Lumpen, 92 Dreissigste November, der, 167 Drei Tage der Weltgeschichte, 96 Dresden Hoftheater, 95, 239 Dulon's School, 7 Dumanoir, 96 Dumas, 209 Dunlap, 16, 209 Düsseldorfer Gallerie, 10 Eckensteher Nante, der, 34, 38 Edda, 130 Egmont, 59, 140, 147, 155, 163, 189

Ehemann von fünfzehn Jahren, der, 131 Ehestandsexercitien, 165 Ehestands-lnvaliden, die, 96 Eichthal, xviii, 5 Eifersüchtige Frau, die, 22 f., 38, 88 Eifersüchtigen, die, 193 Eine weint, die andere lacht, die, 86, 189 Einfalt vom Lande, die, 93 Einladungskarte, die, 34 Eismeer, das, 215 Elisabeth, Königin von England, 171 Eliza Eestel, 169 Ellison, 96 Elmar, 93 Elssler, 28, 203 Elysium, 70 Emilia Galotti, 79, 85, 128, 135, 147, 150, 153, 155 f., 165, 189 Empire City, 96 Engelmann, 55 Englischfranzösische Bündnis, das, 96 English-language stage of New York, the, 200 ff. Entführung, die, 22 f. Erbförster, der, 86 Erbvertrag, der, 101 Er muss aufs Land, 93 Erziehungsresultate, 190 Esenbeck, 62 Esslair, 85 Eustachi, 70 ff. Evening Post, 157 Fallenbach, 82, 86, 110 f. Falsche Catalini, die, 34 Fanchon, 212

INDEX Fassert, 51 f . Faust, 32, 64, 79 f., 85 f., 94 f., 97, 110, 114, lltf, 128 f., 133, 137 f., 147, 159, 163, 168, 183 f., 187 f., 206 Faust, A., 1 Faust (opera), 174 Faustin der erste Kaiser von Hayti, 94 Fausts Leben, Taten, und Höllenfahrt, 94 Faust und Gretchen, 95, 148 Fechter, 181 Fechter von Uavenna, der, 88, 155 f . Feldmann, 93 f . Feldner, E., 7 Fenster im ersten Stock, das, 141 Fest der Handwerker, das, 91, 107, 109 Fidelio, 174 Fiesco, 32, 72, 79, 84, 129, 133, 147, 163 FigaTO, xviii, 53 ff., 58 Fischer, 82 Fliegende Holländer, der, 96, 114, 215 Florian, 42 Flott« Bursche, 152 Flüchtling aus Lucca, der, 96 Ford, xx Forsch, 23 Forsthaus, das, 76 Forrest, 118 Fortner, 96, 193 Fortunios Lied, 151 Fourteenth Street Theatre, 183 ff., 189 Frank, 130 ff., 135, 172 Frankfurter in Hannover, die, 46 Franklin Theatre, 18, 22 ff., 44 f., 203

287

Franko, 173 Frau in Weiss, die, 146, 211 Freie deutsche Schule, 7 Freien nach Vorschrift, 63 Freimaurer, 11 Freimaurer, der, 33, 42 Freischütz, der, 25, 40, 102, 114, 151 Freitag, 96 Friedrich, 55, 71 f., 93, 134, 148 Friedrich Schiller, 86 Friedrich Schiller und Gustel von Blasewitz, 96 Fritze, 133, 135, 172, 177, 181 Fürst, 109 Fürsten zum Land hinaus, 65, 96 Gasthaus zum goldenen Löwen, das, 41 Gautier, 90 Geadelter Kaufmann, ein, 92 Gebildeter Hausknecht, ein, 152 Gebrüder Foster, 163 Gefängnis, das, 168 Gegenüber, 127 Geheimnisse von Paris, die, 215 Geizige, der, 137, 143 Geld! Geld! Geld!, 93, 134, 216 Geliert, 40 Genie, O., 130 f., 133 f., 143 ff., 176, 179, 197 Genie, R., 176 Genoveva, 129, 133, 147 George Washington, 62, 215 German Amateur Theatrical Society of Philadelphia, 20 German-American cultural manifestations in N. Y., 4 ff. German-American political activity, 12 f .

288

INDEX

German-Americans in New York, 1-14 German-American social life in N. Y., 10 ff. German (Lenox Hill) Hospital, 9 German immigration into the U. S., 1 f. German newspapers in N. Y., 5, 277-78 German Opera Company, 192 German schools and instruction in N. Y., 6 ff. German settlement in N. Y., 3 f. German singing societies, 10 German Vereine, 10 f . Giacometti, 171 Gimpel auf der Messe, der, 26, 30, 39 Gläser, 6 Glas Wasser, ein, 128, 168, 192 Glöckner von Notre Dame, der, 57-8, 89 Goebel, 2 Goethe, 16, 81, 85, 147, 191, 210 Goldbauer, der, 194 Good for Nothing, 217 Gormansky, 140 Görner, 92, 131, 148 Götz von Berlichingen, 85, 108, 110, 115, 163 Grabesbraut, die, 64 Grade Weg, der beste, der, 20 f., 25 Graf Benyowsky, 45 Graf Essex, 86, 144, 152 f., 159, 163, 193 Graff, 121 Graf von Montechristo, der, 220 Graf Waldemar, 146 Grahn, 82; see also Becker-Grahn Grant, 189

Grau, 174 Graupenmiiller, 133, 136 Grieben, 73 Griffen, 2 Grille, die, 89, 110, 171, 189, 212 Grillparzer, 19, 86, 95 Griseldis, 88, 189 Gross, 8 Grossmann, 145 Grüne Domino, der, 43 Gute Nacht, Hänschen, 94 Guth, 177 Guthery, 176 Guttmann, O., 9, 135 f., 141, 143, 170, 193 Gutzkow, 61, 72, 86, 132, 147 Haase, Fräulein, 129 Haase, Friedrich, xv, 162, 166 ff., 171, 185, 190, 197 ff. Habelmann, 182 Hacke, 76, 82 Hahn, 134 Hahnenschlag, der, 42 Halm, 72, 77, 81, 87 f. Hamann, 61, 63 f., 66, 76, 93, 101 f., 107, 111 ff., 127, 133 ff., 143, 150, 154 f., 158, 160 f., 165, 168, 175, 178, 180, 182, 189, 192, 195 f., 214 f. Hamburg-American Line, 6 Hamlet, 59, 79 f., 82 f., 128, 131, 133 f., 140, 143, 145 ff., 164, 167, 189, 192, 206 f. Hans Jürge, 92, 137 Hans Kohlhaas, 101 Hans Lange, 130 Hans Sachs, 152, 164 Hans und Hanne, 93 Harrison, 13

INDEX

Harting, 127 f., 133, 135, 141, 142, 176, 194, 196 Hart mann, 72 Hartmann's Hotel, 125, 196 Haus Hababurg, das, 94 Häusliche Zwist, der, 26, 31, 34 Hebbel, 87, 147 Hecker, 13 Hedwig die Banditenbraut, 20 f., 38 f., 154 Hehl, 63; see also Hoym, Elise Heinrich IV, 131 Heinrich von Schwerin, 126 Helden, die, 37, 39 Hell, 55 Hendrichs, 162 ff., 168, 197 f. Henrion, 151 Herr Blaubart, 43 Herr Hampelmann in Californien, 62 Herr Hampelmann sucht ein Logis, 43 Herrmann, 51 Herrmann, B. A., 56 Hermann, J., 172 Herr und Sklave, 28, 39 Herach, 94 Herzog, 63 Herzog Albrecht, 163 Herzogin von Gerolstein, die, 175 Herz und Dollar, 96 f., 117, 136, 150 Hesse, Aug., 134 Hesse, Hed., 127 f., 133, 141, 176 Heydrich, 93, 131 Hinko, 207 Hoboken, 60 f., 191 Hoboken Sommer-Theater, 62, 191, 194 Hoffmann, E. T. A., 133 Hoffmann, H., 127

289

Hoffmann, J . T., 12 Höfl, 153 Höflicher Mann, ein, 166 Holbein, 86 Holm, 24 f., 29, 31, 36 Holtei, 61, 92, 147 f. Homann, 191 Hopp(e), 94 Hörning, 52, 62 Hoym (first wife of Otto Hoym), 55 Hoym, Elise, xv, 63, 76, 82, 105 ff., 111, 118, 129, 134 f., 140, 143, 150, 161, 173 Hoym, Otto, xv, 52, 55, 57 f., 63 66, 76, 82 f., 93, 95 f., 101 f., 105 ff., 111 ff., 118 ff., 127 ff., 131 ff., 135 ff., 143 f., 149 ff., 161, 173, 179, 181, 193 f., 196, 214 f. Hoym's theatre, 7 Hübner, 135, 172, 181, 193 Hübsch, 135, 172, 179, 196 Huch, xxi, 51 f., 56 ff., 66, 79 Hugo, 209 Humoristische Studien, 21 f., 56 Hunderttausend Taler, 91 Icks, 26, 31, 33, 35, 37 f., 42 Icks, Madame, 35, 37 f., 43 Iffland, 21, 87 Im Dunkeln, 93 Immigration, German, into the U. S., l f . Im Vorzimmer seiner Exzellenz, 134 Im Wartesaal erster Klasse, 190 Incognito, 23, 31 In der Geisterstunde, 93 Indians in England, the, 16 Ingomar, 213

290

INDEX

Intermezzo, das, 55 Iphigenia, 159 Irschick, 140, 143 ff., 152, 162, 169, 172 Irving Place Theatre, xiii, x i i , 113, 198 Isabella Oreini, 174, 189 Isidor und Olga, 89 Jack Sheppard, 216 Jacobson, 95, 148 Jäger, die, 87 Jakoby, 108 Janauschek, 155 ff., 166 f., 170 f., 181 ff., 185 ff., 208 J a n e Eyre, 89, 219 Jean Petit, 152 Jean Piccolo, 152 Jendersky, 168 J e toller, j e besser, 38 Jew, the, 218 Jocko der brasilianische Affe, 220 Jocko the Brazilian Ape, 220 John Street Theatre, 15 f. Jöllrich, 21 J o n e s ' Wood, 10 Jongleur, der, 117 Journalisten, die, 86 Journals, German, published in N. Y. prior to 1872, 277-78 Jude, der, 143, 218 Julius Caesar, 133, 163 Junge Pathe, der, 43 J u n g f r a u von Orleans, die, 71, 80, 84, 144, 147, 165, 174, 189, 205

Kabale und Liebe, 16, 19, 41 ff., 47, 61, 71, 80, 84, 127, 147, 155 f., 165, 171, 184, 187, 189

Kadelburg, xxi Kaiser, 92 f . Kaiser, Frl., 208 Kaiisch, 71, 91, 133, 148, 151 Kapp, 2 Karlsschüler, die, 127, 155 f., 193 Katharine die Zweite, 171 Käthchen von Heilbronn, das, 19, 25, 27, 86, 163, 169, 173, 177, 189 Katherine Howard, 143, 165 Katherine P a r r , 96 Katholische Kirchenzeitung, 5 K a u f m a n n und Seefahrer, 153 K a u f m a n n von Venedig, der, 79 f , 82 f., 128, 133 f., 137 f., 146 f., 167 Kenkel, 62 Kerr, 98 Kessler, 173 Kettel, 28 Kind des Glückes, das, 212 Kinderballet, ein, 37 Kinkel, 13 Kieselack und seine Nichte, 92 Kiss Jozsi, 152 Klaus, 62 f. Klein, 193 Kleindeutschland, see Little Germany Kleist, 19, 72, 86 Klingemann, 94 Knauth, Nachod and Kühne, 6 Knorr, 79, 82 f., 110, 132 f. Know-Nothing agitations, 12 Koch, 36 Koerner, G., 2 Kolatschek, xix Komödianten aus Liebe, die, 40 König Lear, 82, 140, 147 König Bichard I I I , 80, 82 f., 128, 134, 137 ff., 142, 147, 193, 206

INDEX Königsleutnant, der, 86, 110, 137, 167 Koppe, 172, 194 Körner, Th., 20 ff., 30, 61, 87, 154 Kossuth, 13 Kotzebue, 16, 19 ff., 27, 29 f., 47, 61, 71 f., 88, 148, 209 Krach, 152 Kraft, 63 Kramer, 134 Krebs, 21 Kress-Jakoby, 108 Kreutzer, 22, 25 Kreuzfahrer, 38 Krilling, 111 Kronfeld, 109 Krüger, 60 f., 63 f., 66, 76 Küfermeister Martin, 133 Kühne, 130 Kurmärker und die Pikarde, der, 92 Kurz, 32 La Bayadere, 40 Lady of Lyons, the, 216 Lafargue, 96 Landhaus an der Heerstrasse, 40, 42 Lange, 135 Langenschwarz, 76 L'Arronge, Frau, xx, 151 f. L'Arronge, Theo., rx, 141, ff., 150 ff., 176, 197 Lasswitz, 130 Laube, 61, 71 f., 86 f., 89, 169 Leah the Forsaken, 212 Leah the Forsook, 212 Leben, ein Traum, das, 47, Lebrün, 21, 71

das,

143

147,

163

291

Lehmann, 96 Leichte Person, eine, 127 Leiermann und sein Pflegekind, der, 89 Lemke, 2 Lennert, 127 Lenore, 190 Lessing, 81, 85, 147, 165, 210 Letzte König der Juden, der, 94 Lexow, xvii Lichtmay, 182 Liebhaberbühne, xiv, 68-74, 23031 Liederkranz, 10 Lincoln, 13, 130, 205, 207 Lindemann, 52, 56, 60, 62 f., 108 Lindner, 74 Lindner, A., 171 Lingard, 205 Lippard, 96 Little Barefoot, 212 Little Germany, xv, 1-14, 88, 91, 106, 129, 135, 158, 161, 164, 174 f., 178, 191, 195 f., 203 ff. Lobe, 181 Logeling's Konditorei, 125 Lohengrin, 182 Lohr, 2 Lola Montez als Sägerin, 168 f . Longfellow, xviii Lorbeerbaum und Bettelstab, 92, 109, 137 f . Lord und Bäuber, 95 Loreley, 94 Lorle, 208 Lorle 's Wedding, 211 f. Lorle vom Schwarzwald, 's, 89, 109, 211 Love Chase, the, 217 Love's Masquerade, 213 Lovers' Vows, 16

292

INDEX

Liumpaci Vagabundus, 19, 26, 33 f., 36 f., 54, 92, 135 Lumpensammler von Paris, der, 109, 140, 220 Lund, 121 Lubíspiel, ein, 89 Lysiah the Abandoned, 212 Macbeth, 80, 83, 129, 150, 153, 155, 163, 171 Macht des Goldes, die, 98 Mädchen aus der Feenwelt, das, 87 Mädchen yon Lyon, das, 216 Mager, 49 ff., 59, 69 Malers Meisterstück, des, 141 Mainz, 22 Maltitz, 101 Mann mit dem Freischein, der, 217 Mann mit der eisernen Maske, der, 134, 220 Man with the Iron Mask, the, 220 Marble Heart, the, 207 Marchand, 133 Marder, 31, 36 Maria Stuart, 71, 79 f., 84 f., 108, 147, 150, 152 f., 155, 159, 165, 171, 181, 184 f., 187 f. Marie-Anne, 155, 165 Mariette und Jeannetton, 93 Marmor-Herz, das, 207 Marsano, 37 Marseillaise, die, 54, 141 Marshall, 58, 205 Martha, 174 Martin, 196 Maschinenbauer, die, 92 Mathilde, 89, 184, 189

Maximilian, Kaiser von Mexico, 152 Meaubert, 79, 96, 109, 145 Medea, 80, 86, 129, 137, 155 ff., 159, 171 Meines Onkels Schlafrock, 92 Mendelssohn, 155 Menschenhas8 und Beue, 16, 163 Merchant of Venice, 9, 192, 206 Methua-Scheller, xv, 82, 111, 118, 127 ff., 141 f., 149, 160, 181, 206, 208, 211, 214 Meyer, 63 Meyern, 126 Meyers Monatshefte, xix, 50 ff., 56, 66 Michael Kohlhaas, 163 Minister, the, 16 Minna von Barnhelm, 9, 15, 79, 85, 165 Mitchell, Maggie, 89, 211 f., 214 Moderner Faust, ein, 94 Moderne Vagbunden, 148 Mödinger, 98 Moesinger, 207 Mollenhauer, 181 Money, 134, 216 Monnie, 59 Mord an West Broadway, der, 96 f . Mosenthal, 61, 81 Moses, xxi Mühlbach, 96 Muhr, 97 Mulder-Fabbri Company, 193 f. Müller, W., xxi Müller (actor), 25 Müller (actress), 55 Müller, A., 94 Müller, Bertha, 169 Müller, Hugo, 177 Müller und sein Kind, der, 89

INDEX

MülLner, 19 Miinzinger Hall, 180 Musikalischer Tätigkeitsverein, 20

Muttersegen, 94 Nacht und Morgen, 168, 211 Nachtwächter, der, 26 Nan, der Taugenichts von New York, 217 Narciss, 71, 90, 110 f., 127 f., 132, 134 f., 137, 152, 164, 167, 179, 184, 189, 193, 212 f. Narcissus, 192, 206 f . Nathan der Weise, 79, 85 Naumann, 145 Nestroy, 19, 71 f., 77, 92 Neuendorff, xxi, 148 f., 162, 169, 172, 179, 192, 195 f. Neuendorffs Germania Theater, xiii, xxi, 196 f. Neues Stadttheater, xiii, xiv, xx, 124, 125-99, 235-37, 244-50, 251-76 Neue Zeit, die, 5 Neumann, 27 Neville, 176 Newspapers, German, in N. Y., 5, 277-78 New York City (population, immigration, etc.), I f f . New Yorker Aktiengrocer, der, 72 New Yorker Leben, 169 New Yorker Staatszeitung, xv f., xix, 5 f., 7 ff., 13 New Yorker Volkstneater, 71 New York Express, 12, 118 New York Herald, xx, 53, 118 f., 138 ff., 156 ff., 181, 185 ff., 190, 207

293

New York Philharmonie Society, 10 New York Times, 185 New York Turnverein, 11, 69, 104, 110, 127, 180, 207 New York und Berlin, 96 New York, wie es lebt und webt, 73 Nibelungen, die, 184, 189 Niblo'8 Garden, 10 Niemeyer, 110 Night and Morning, 211 Nölke, 21 Nord-Amerik. Turnerbund, 11 Nordhausen, 63 North German Lloyd, 6 Nur eine Seele, 101, 140 Odeon, 70, 72 Offenbach, 151, 175 f. Old Bowery (Thalia) Theatre, 194 Olympic, 50 ff., 56, 58 ff. Onkel Toms Hütte, 177 Orpheus in der Unterwelt, 151 Ostermeyer, 21 Othello, 82, 118, 137, 141 f., 147, 176, 189, 206 Otto von Wittelsbach, 163 Our American Cousin, 213 Pachter Feldkümmel, 39 f., 88 Pagenstreiche, 29 f., 39 Pariser Taugenichts, der, 47, 54, 93 Park Theatre, 43, 200, 204 Pech-Schulze, 129, 155, 182 Pedlar, der, 96 Pelosi, 111, 141 Petersen, 179

294

INDEX

P f a r r e r von Kirchfeld, der, 193 Pfeiffer, 56 f., 63, 110 Phädra, 159, 171 Philip Palm, 100 Piccolomini, die, 84 Pilot von Long Island, der, 97 Pionier, 5 Platzregen als Eheprokurator, der, 31 f., 34 Pleyel, 60 f. Plittersdorf, 152 f., 161 Pohl, 97 Political activity, German, in N. Y., 12 f. Polk, 13 Poor of New York, the, 218 Pope, 128, 206 Preciosa, 24, 26 f., 33, 56 Prinz Lieschen, 93, 131 Prophet, ein, 93, 114 Pulvermacher, xiii Putlitz, 130 Pythagoras Hall, 8

Quartierzettel, der, 38 Rachel, 155, 185 Räder, 77, 93, 148 Ragpicker of Paris, the, 220 Raimund, 72, 77, 87 Räuber, die, 15, 19, 26 f., 30, 37, 46, 57, 61, 64, 71 f., 79 f., 84, 108, 127 f., 131, 133 f., 137 f., 147 ff., 152, 168, 173, 189, 193 Raupach, 30 f., 47, 89 Redwitz, 100 Rehbock, der, 41 Reichenbach, 97, 153 Reiffarth, 96, 153 f., 218 Reisende Student, der, 42, 46, 92

Rendezvous in der Grand Street, das, 97 Rethwisch, 153 Revolution of 1848, the, 62, 67 Reynold, 16 Rezept gegen Schwiegermütter, 131, 136, 172 Rheinischer Sängerbund, 10 Richard Savage, 152 f. Richards Wanderleben, 28, 33, 40, 217 Richter, 179 Riese, 45 f. Ringler, 100 Rip van Winkle, 98, 202, 215 Ristori, 137 ff., 155 f., 171, 183, 185 f. Ritter, r v Ritter des Nebels, die, 216 Robert Macaire, 37 Robert und Bertram, 93, 168 Rohde, 131, 133, 135, 181, 193 Romance of a Very Poor Young Man, the, 220 Roman eines armen jungen Mannes, der, 220 Romeo und Juliet, 79, 82, 116, 127, 147, 150, 153, 155, 165, 189 Rosa, 192 Rosenberg, 150, 154 f., 158, 160 f., 165, 168, 175, 178, 180, 182, 189, 192, 195 Rosen des Nordens, die, 92 Rosen von Malesherbes, die, 38 Rosenmüller und Finke, 93 Rübezahl, 90 Rudolf, 161 Ruppius, 96

Salingree, 129, 133

INDEX Sand, 209 Sappho, 169 Scheller, 82; see alto MethuaScheller Schern, 2 Scherer, 83, 118 Schermann, 181 Schüler, 12, 61, 71 f., 76, 78, 80 f., 83 ff., 102, 107, 129, 133, 147, 165, 168, 191, 202, 210 Schlaue Witwe, die, 39 Schlee, 29 Schlegel, 83, 132, 147 Schleicher und Genosen, 176, 217 Schleichhändler, die, 90 Schmarotzer in der Klemme, der, 43 Schmidt, Frau, 52, 108 Schmidt, Heinrich, xxi, 33, 35, 38, 42, 46, 62, 73, 85, 96, 140, 172 Schmidt, L. W., 5 Schmitz, 111 Schmitz, Eug., 145 Schneider (Both), 37, 71, 77, 92, 138 Schneider Fippg, 39 f. Schnepf, 22, 24 f., 29 f., 34, 44, 46 Schöne Galathée, die, 151 Schöne Helene, die, 151, 175 f. School for Scandal, the, 176, 217 SchoolB, G«rman, in N. Y., 6 ff. Schreyvogel-West, 140 Schröder, 30, 36, 131 Schuld, die, 19, 30, 39, 163 Schule der Verliebten, die, 56, 217 Schule des Lebens, die, 90, 163 Schulz von Altenbüren, der, 162 Schwägerle, 22 Schwan, 19, 52, 60, 62, 73, 108, 172, 177, 180, 193, 196

295

Schweizerfamilie, die, 25 Schweizer in Neapel, die, 135 öcribe, 209 Sea of Ice, the, 215 Secrets of Paris, the, 215 Seebach, xx, 182 ff., 197, 199 Seeberg, 95 Settlement, German, in N. Y., 3 f. Shakespeare, 72, 76, 78, 80 ff., 102, 117, 123 f., 131 ff., 147, 150, 165, 191, 201, 209 f., 214 Sheridan, 201, 209 Shylock, 82 Sieben Mädchen in Uniform, die, 32 f., 39, 91 Siegrist, 66 Sie ist wahnsinnig, 141, 166 Siemon, 35 Singer, 169 Social life, German, in N. Y., 10 ff. Sohn auf Reisen, der, 93 Sohn der Wildnis, der, 88, 115, 163, 213 Sohn des Jongleurs, der, 96 f. Solger, 2 Soll und Haben, 101 Sommer, 111 Sommernachtstraum, ein, 80, 83, 150, 153 Sonnthal, 112 Son of the Wilderness, the, 213 So reu Sörensen, 153 Spengler, 2 Spengler-Spranger, 96, 109, 129 Speyer, 6 Spieler, die, 87 Spion, der, 98, 215 Spy, the, 98, 215 Staatsdemokrat, 5 Staberl als Freischütz, 95

296

INDEX

Stadttheater, see Altes Stadttheater, Neues Stadttheater Stadt und Land, 92-3 St. Charles, 50, 61, 63 ff., 76 Steckbrief, der, 177 Steglitz-Fuchs, 110 f., 127, 132, 135, 137, 149, 167, 169, 172, 178 f. Stein, Carl, 41, 52, 56 f., 64, 108, 129 Stein, W., 133 Steigmann, 98 Steinway Hall, 10 Stemmler, 144, 172, 179 Steme wollen es, die, 96 Stille Wasser sind tief, 218 Still Waters Bun Deep, 205, 218 St. John's Hall, 46 Stranger, the, 16 Straubenmüller, 7 Struensee, 163 Struve, 97 Stürenburg, Tiii Sturm, der, 80, 83 Sue, 140, 209 Sühne, die, 36 Suppie, 151 f. Szmock, 63 Taming of the Shrew, the, 9 Tannhäuser, 102, 148 Tante Kobold, 92 Tasse Tee, eine, 184 f., 189 Taugenichts, der, 46 Taylor (President), 13 Taylor, Tom, 201, 209 Tenner, xri Terrace Garden Theatre, 172 f., 177 ff., 180 f., 194 Thalburg, 128 Thalia Theater, xiii, 194, 198

Thalia Theater (Harting), 141, 142 Theatralische Studien, 131 Theatres in N. Y., list of earliest German, 223-24 Theodor Körner, 154 Therese, 205 Three Musketeers, the, 219 Ticket of Leave Man, the, 217 Tieck, 83, 132, 147 Till Eulenspiegel, 92 Titus Feuerfuchs, 92 Tochter Luzifers, die, 93 Tod des Erzbischofs, der, 63 Toni, 24, 32 Töpfer, 54, 63, 93 Tower of Nesle, the, 220 Traum ein Leben, der, 86 Trautmann, 94, 131 Tristan und Isolde, 88, 130 Trunkenbold, der, 32 Turandot, 84 Turm von Nesle, der, 220 Uncle Tom's Cabin, 65, 177, 202, 215 Unger, 63 Unglücklichen, die, 138 Union League Club (Theatre), 166 Unser Verkehr, 38 Unser Vetter aus Amerika, 213 Unter der Erde, 93 Urbild des Tartüffe, das, 133 Uriel Acosta, 86, 132, 134 f., 140, 146, 164, 173, 179, 193 Valentine, die, 166 Valerie die Blinde, 184 f., 189 Vampyr, 21

INDEX Vanek, 196 Vater der Debütantin, der, 56 Veneta, 184, 193 Verbannte Amor, der, 46 Verein deutscher Schauspieler, 60 Vereinigte deutsche luther. Kirche, 8 Verhängnisvoller Abend, ein, 100 Verschwender, der, 87, 109 Verschwörung der Frauen, die, 94 Versiegelte Bürgermeister, der, 30 Vetter aus Bremen, der, 33, 41, 47 Viel Lärm um Nichts, 130, 140, 147, 165 Vienna Burgtheater, 87, 95 Vierunddreissigste Strasse Theater, 194 Volklandt, 73, 172, 179 Volk, wie es lacht und sich amüsiert, das, 73 Volk, wie es weint und lacht, das, 72 f., 91, 114 Von sieben die Hässlichste, 176 Von Stufe zu Stufe, 177 Vor hundert und neun Jahren, 168 Voss, 147

Wachtel, 192 "Wächter, 74 Wagener, 128, 136, 143 Wagenitz, xviii Wagner, 77, 88, 148 Waise von Lowood, die, 89, 163, 184, 188, 219 Wallach, 52 Wallen Steina Lager, 40, 59, 79 f., 84, 150 ff.

297

Wallensteins Tod, 84, 140, 147 Wartburg, 9 Washington Union, 52 Was ihr Wollt, 130 Weber, 95 Wedderin, 169 Weibliche Schildwache, die, 58 Weidemeyer, 37 Weigl, 25 Weihrauch, 92, 148 Weil, 88, 130 Weiss, 21 Weltumsegler wider Willen, der, 93 Wenn Frauen weinen, 173 Wenn Leute Geld haben, 92 Wenzlawski, 52 Werner, 86 Werner, J . , 100 Werther and Charlotte, 16 Wer weiss, wozu das gut ist?, 41 West, 98 Westermann, 5 Wheel of Fortune, 15 Wiegers, 32, 35 Wie man seine Töchter verheiratet, 96 Wiener in Paris, die, 138 Wiese, Agnes, 42 Wiese, Elise, 24 f., 29 f., 33, 35, 46 Wiese, Emma, 174, 193 f . Wiese, F., 41 ff., 45 Wild Oats, 217 Wildröschen, 97 Wildschütz, der, 151 Wilhelmi, 63 Wilhelm Teil, 16, 19, 32, 45 f., 54, 71 f., 79 f., 84, 108, 128, 132, 134 f., 143, 147, 150, 163 Wintermärchen, ein, 80, 83, 147 Wolf, 63

298

INDEX

Wolff, 24, 108 Wolfsohn, 101 Wollheim, 92 Wollmarkt, der, 36, 61 Woman in White, the, 211 Worret, 60 f., 63, 73, 76, 108, 172, 193 Yorkville, 4 Yorkville Männerchor, 10 Young Germany, 86 Zärtlichen Verwandten, die, 136 Zauberflöte, die, 148, 174 Zedlitz, 28 Zehn Mädchen und kein Mann, 145, 151

Zerboni, 130, 132 f., 135 Zerbrochene Krug, der, 167 Zerstreuten, die, 22, 24, 31, 47 Zeydel, xiv Zimmer mit zwei Betten, ein, 173 Zitherschläger und das Gaugericht, der, 21 f. Zopf und Schwert, 86, 135, 173 Zriny, 87 Zschokke, 19, 50 Zuavenstreiche in Amerika, 97 Zugemauert« Fenster, das, 151 Zunftmeister von Nürnberg, der, 100 Zwei Freunde und ein Rock, 43 Zwei Tage aus dem Leben eines Fürsten, 138

COLUMBIA UNIVERSITY

PRESS

COLUMBIA UNIVERSITY NEW YOBK

FOREIGN

AGENT

OXFORD UNIVERSITY

PRESS

HUMPHBEY MILFORD AMEN HOUSE, LONDON, E . C .