Theatrical Performances Begun in State April 15, 1754

The amusements of the young people were for many years of the simplest and most innocent kind. Riding, swimming and skating afforded pleasant outdoor sport.

Yearly Meeting, in 1716, advised Friends against “going to or being in any way concerned in plays, games, lotteries, music and dancing.” In 1719 advice was given “that such be dealt with as run races, either on horseback or on foot, laying wagers, or use any gaming or needless and vain sport and pastimes, for our time passeth swiftly away, and our pleasure and delight ought to be in the law of the Lord.”

Various early laws of the Province prohibited stage plays and amusements, not only bull-baiting, bear-baiting and cock-fighting, but such as were neither immoral nor cruel, as bowls, billiards and quoits.

Macauley said of the Puritans that they opposed bear-baiting “not because it gave pain to the bear, but because it gave pleasure to the spectators.”

Quaker legislation as to games was, indeed, scarcely stricter than Henry VIII’s, but Quakerism discountenanced excitement.

In 1723 a wandering showman arrived in Philadelphia and set up a stage just below South Street, where he was outside the jurisdiction of the City Corporation. At the desire of the Quaker Assemblymen, the Speaker, Joseph Growdon, on March 30, asked Lieutenant Governor Keith to prohibit any performance. This he declined to do, but promised that good order should be kept.

So the actor issued his playbills and gave what is supposed to have been the first entertainment in Pennsylvania that might be called theatrical.

As the man who entertained by his “Comical Humour” in April, 1724, called himself the audience’s “Old friend Pickle Herring,” he may be presumed to have been the owner of both shows. In 1724, he introduced the “Roap-Dancing” as “newly arrived.” The rope-walkers were a lad of seven years and a woman. There was also a woman who would spin around rapidly for a quarter of an hour with seven or eight swords pointed at her eyes, mouth and breast. Governor Keith himself attended one or more of these performances.

Small shows now, from time to time, made their appearance. In 1727, “The Lion, King of Beasts,” was advertised to be exhibited on Water Street.

The Quakers and rigid Presbyterians, who in the early days frowned down dancing and other “frivolous amusements,” could not be expected 270to countenance the introduction of the drama in Philadelphia. So when Murray and Kean’s company of Thespians made their appearance in 1749 they were not permitted to make a long stay, but were ordered off as soon as the worthy rulers of the city’s morals realized the fact that their entertainments possessed irresistible attractions. So Murray and Kean went to New York and for five years the Philadelphians did not see a play.

In August, 1749, mention is made of the tragedy of Cato being acted; but January 8, 1750, attention being called to some persons having lately taken upon themselves to act plays, and intending “to make a frequent practice thereof,” the City Council asked the magistrates to suppress the same.

In the year 1753 Lewis Hallam’s English company, after traveling a year in the Southern colonies and performing in various places in Virginia and Maryland, went to New York, where they opened their theatre in the month of September. The report of the great success of their talented actors awakened a desire among the more liberal-minded Philadelphians that Hallam should visit the Quaker City.

On April 15, 1754, they gave their first performance in the large brick warehouse of William Plumstead, situated in King or Water Street, between Pine and Lombard Streets. This house remained standing until 1849, when it was pulled down.

The opening piece was the tragedy of “The Fair Penitent,” followed by the farce “Miss in Her Teens.”

Mr. Rigby spoke a prologue and Mrs. Hallam an epilogue written for the occasion, in which, after defending the stage from the accusation of sinfulness and alluding to the effect produced by the tragedy upon the audience, she asked:

“If then the soul in Virtue’s cause we move

Why should the friends of Virtue disapprove?”

This temporary theatre was neatly fitted up and opened to a full house. The license was for twenty-four nights but this number was extended to thirty, and the theatre closed June 24 after having had a brilliant and profitable season. One of the performances was given for the benefit of the charity school.

Hallam’s company came back to Philadelphia in 1759 to occupy a permanent theatre erected for them in Southwark, at the corner of Cedar (or South) and Vernon Streets, on Society Hill.

This theatre was opened June 25, 1759, but either because the house was too small and not well equipped or because of discouraging opposition the company only played in it one season. They remained away five years.

On their return a new house, much larger than the first one, was 271built at the corner of South and Apollo Streets. This new theatre was opened November 12, 1766.

It was in this theatre and by “The American Company” that the first play by an American author performed on any regular stage was given April 24, 1767. This was “The Prince of Porthia,” by Thomas Godfrey, Jr., of Philadelphia.

The American Company played at this theatre several seasons. The theatre remained closed from the beginning of the Revolutionary War until it was opened by the British officers during their occupancy of the city, 1777–78.

These amateur performers gave regular plays, the proceeds going to widows and orphan children of the soldiers. The ill-fated Major Andre and Captain Delancy painted the scenes and other decorations. The curtain, representing a waterfall scene, the work of young Andre, remained in use until the theatre was destroyed by fire May 9, 1823.

After the return of the Continental Congress the Legislature of Pennsylvania legislated against theatrical performances. No plays were given until 1789, when a petition signed by 1900 citizens, asking the repeal of the prohibiting provision relating to theatres, was presented to the Legislature. The religious community presented a petition signed by more than 1000 citizens as a remonstrance against the repeal.

The restrictive portion of the act was repealed and Hallam and Henry opened the Southwark Theatre January 6, 1790, with “The Rivals” and “The Critic.”

The season was unusually brilliant, and the theatre in Philadelphia and elsewhere throughout Pennsylvania has since been popular.