André

WILLIAM DUNLAP:
FATHER OF THE AMERICAN THEATRE
(1766-1839)

The life of William Dunlap is full of colour and variety. Upon his shoulders very largely rests the responsibility for whatever knowledge we have of the atmosphere of the early theatre in America, and of the personalities of the players. For, as a boy, his father being a Loyalist, there is no doubt that young William used to frequent the play-house of the Red Coats, and we would like to believe actually saw some of the performances with which Major André was connected.

He was born at Perth Amboy, then the seat of government for the Province of New Jersey, on February 19, 1766 (where he died September 28, 1839), and, therefore, as an historian of the theatre, he was able to glean his information from first hand sources. Yet, his monumental work on the "History of the American Theatre" was written in late years, when memory was beginning to be overclouded, and, in recent times, it has been shown that Dunlap was not always careful in his dates or in his statements. George Seilhamer, whose three volumes, dealing with the American Theatre before the year 1800, are invaluable, is particularly acrimonious in his strictures against Dunlap. Nevertheless, he has to confess his indebtedness to the Father of the American Theatre.

Dunlap was many-sided in his tastes and activities. There is small reason to doubt that from his earliest years the theatre proved his most attractive pleasure. But, when he was scarcely in the flush of youth, he went to Europe, and studied art under Benjamin West. Throughout his life he was ever producing canvases, and designing, and his interest in the art activity of the country, which connects his name with the establishment of the New York Academy of Design, together with his writing on the subject, make him an important figure in that line of work.

On his return from Europe, as we have already noted, he was fired to write plays through the success of Royall Tyler, and he began his long career as dramatist, which threw him upon his own inventive resourcefulness, and so closely identified him with the name of the German, Kotzebue, whose plays he used to translate and adapt by the wholesale, as did also Charles Smith.

The pictures of William Dunlap are very careful to indicate in realistic fashion the fact that he had but one eye. When a boy, one of his playmates at school threw a stone, which hit his right eye. But though he was thus early made single-visioned, he saw more than his contemporaries; for he was a man who mingled much in the social life of the time, and he had a variety of friends, among them Charles Brockden Brown, the novelist, and George Frederick Cooke, the tragedian. He was the biographer for both of them, and these volumes are filled with anecdote, which throws light, not only on the subjects, but upon the observational taste of the writer. There are those who claim that he was unjust to Cooke, making him more of a drunkard than he really was. And the effect the book had on some of its readers may excellently well be seen by Lord Byron's exclamation, after having finished it. As quoted by Miss Crawford, in her "Romance of the American Theatre," he said: "Such a book! I believe, since 'Drunken Barnaby's Journal,' nothing like it has drenched the press. All green-room and tap-room, drams and the drama. Brandy, whiskey-punch, and, latterly, toddy, overflow every page. Two things are rather marvelous; first, that a man should live so long drunk, and next that he should have found a sober biographer."

Dunlap's first play was called "The Modest Soldier; or, Love in New York" (1787). We shall let him be his own chronicler:

As a medium of communication between the playwriter and the manager, a man was pointed out, who had for a time been of some consequence on the London boards, and now resided under another name in New York. This was the Dubellamy of the English stage, a first singer and walking-gentleman. He was now past his meridian, but still a handsome man, and was found sufficiently easy of access and full of the courtesy of the old school. A meeting was arranged at the City Tavern, and a bottle of Madeira discussed with the merits of this first-born of a would-be author. The wine was praised, and the play was praised – the first, perhaps, made the second tolerable – that must be good which can repay a man of the world for listening to an author who reads his own play.

In due course of time, the youthful playwright reached the presence of the then all-powerful actors, Hallam and Henry, and, after some conference with them, the play was accepted. But though accepted, it was not produced, that auspicious occasion being deferred whenever the subject was broached. At this time, young Dunlap was introduced to the stony paths of playwriting. He had to alter his manuscript in many ways, only to see it laid upon the shelf until some future occasion. And, according to his confession, the reason the piece did not receive immediate production was because there was no part which Henry, the six-foot, handsome idol of the day, could see himself in to his own satisfaction.

Dunlap's next play was "The Father; or, American Shandy-ism,"¹ which was produced on September 7, 1789. It was published almost immediately, and was later reprinted, under the title of "The Father of an Only Child."

Most historians call attention to the fact that to Dunlap belongs the credit of having first introduced to the American stage the German dialect of the later Comedian. Even as we look to Tyler's "The Contrast" for the first Yankee, to Samuel Low's "Politician Out-witted" for an early example of Negro dialect, so may we trace other veins of American characteristics as they appeared in early American dramas.

But it is to "Darby's Return,"² the musical piece, that our interest points, because it was produced for the benefit of Thomas Wignell, at the New-York Theatre (November 24, 1789), and probably boasted among its first-nighters George Washington. Writes Dunlap:

The eyes of the audience were frequently bent on his countenance, and to watch the emotions produced by any particular passage upon him was the simultaneous employment of all. When Wignell, as Darby, recounts what had befallen him in America, in New York, at the adoption of the Federal Constitution, and the inauguration of the President, the interest expressed by the audience in the looks and the changes of countenance of this great man became intense.

And then there follows an indication by Dunlap of where Washington smiled, and where he showed displeasure. And, altogether, there was much perturbation of mind over every quiver of his eye-lash. The fact of the matter is, as a playgoer, the Father of our Country figured quite as constantly as the Father of our Theatre. When the seat of Government changed from New York to Philadelphia, President Washington's love of the theatre prompted many theatrical enterprises to follow in his wake, and we have an interesting picture, painted in words by Seilhamer (ii, 316), of the scene at the old Southwark on such an occasion. He says:

[The President] frequently occupied the east stage-box, which was fitted up expressly for his reception. Over the front of the box was the United States coat-of-arms and the interior was gracefully festooned with red drapery. The front of the box and the seats were cushioned. According to John [sic] Durang, Washington's reception at the theatre was always exceedingly formal and ceremonious. A soldier was generally posted at each stage-door; four soldiers were placed in the gallery; a military guard attended. Mr. Wignell, in a full dress of black, with his hair elaborately powdered in the fashion of the time, and holding two wax candles in silver candle-sticks, was accustomed to receive the President at the box-door and conduct Washington and his party to their seats. Even the newspapers began to take notice of the President's contemplated visits to the theatre.

This is the atmosphere which must have attended the performance of Dunlap's "Darby's Return."

The play which probably is best known to-day, as by William Dunlap, is his "André,"³ in which Washington figures as the General, later to appear under his full name, when Dunlap utilized the old drama in a manuscript libretto, entitled "The Glory of Columbia – Her Yeomanry" (1817). The play was produced on March 30, 1798, after Dunlap had become manager of the New Park Theatre, within whose proscenium it was given. Professor Matthews, editing the piece for the Dunlap Society (No. 4, 1887), claims that this was the first drama acted in the United States during Washington's life, in which he was made to appear on the stage of a theatre. But it must not be forgotten that in "The Fall of British Tyranny," written in 1776, by Leacock, Washington appears for the first time in any piece of American fiction. Dunlap writes of the performance (American Theatre, ii, 20):

The receipts were 817 dollars, a temporary relief. The play was received with warm applause, until Mr. Cooper, in the character of a young American officer, who had been treated as a brother by André when a prisoner with the British, in his zeal and gratitude, having pleaded for the life of the spy in vain, tears the American cockade from his casque, and throws it from him. This was not, perhaps could not be, understood by a mixed assembly; they thought the country and its defenders insulted, and a hiss ensued – it was soon quieted, and the play ended with applause. But the feeling excited by the incident was propagated out of doors. Cooper's friends wished the play withdrawn, on his account, fearing for his popularity. However, the author made an alteration in the incident, and subsequently all went on to the end with applause.

A scene from the last act of "André"⁴ was produced at an American Drama Matinée, under the auspices of the American Drama Committee of the Drama League of America, New York Centre, on January 22nd and 23rd, 1917. There are many Arnold and André plays, some of which have been noted by Professor Matthews.⁵ Another interesting historical study is the stage popularity of Nathan Hale.

We might go on indefinitely, narrating incidents connected with Dunlap as citizen, painter, playwright, author, and theatrical manager, for within a very short time he managed the John Street and New Park Theatres, retiring for a while in 1805.

But this is sufficient to illustrate the pioneer character of his work and influence. Inaccurate he may have been in his "History of the American Theatre," but the atmosphere is there, and he never failed to recognize merit, and to give touches of character to the actors, without which our impression of the early theatre in this country would be the poorer. The name of William Dunlap is intimately associated with the beginnings of American painting, American literary life and the American Theatre. It is for these he will ever remain distinguished.

As a playwright, he wrote so rapidly, and so constantly utilized over and over again, not only his own material, but the materials of others, that it is not surprising to find him often in dispute with dramatic authors of the time. A typical disagreement occurred in the case of the actor John Hodgkinson (1767-1805), whose drama, "The Man of Fortitude; or, the Knight's Adventure," given at the John Street Theatre, on June 7, 1797, was, according to Dunlap, based on his own one-act verse play, "The Knight's Adventure," submitted to the actor some years before.

Only the play, based on the 1798 edition, is here reproduced. The authentic documents are omitted.