Wallack’s Theatre

“The sensational drama of ‘Long Strike’ will be brought out at Wallack’s on next Monday evening, by the company now performing there in ‘Dora’ and ‘Black-Eyed Susan’ The Boston company will be strengthened by the addition of Mr. J. H. Stoddart, who will resume his great role of Moneypenny, and Mr. William R. Floyd, who will sustain the character of Johnny Reilly. This will be Mr. Floyd’s first appearance in this city after an absence of two years.”

“Next week Mr. Moss will bring out Boucicault’s play of ‘The Long Strike.’” Discusses the agreeableness of the cast.

“On Monday evening next ‘The Long Strike’ will be produced, with a strong cast, including the present company, with the addition of Messrs. Floyd and Stoddart. ‘The Long Strike’ will have possession of the Wallackian boards for just one week, and will be followed by the new play of ‘Self.’” Provides some details about Self in closing.

No mention of music; notes good cast.

Positive review; no mention of music.

“The chief event of this week will be the revival of ‘The Long Strike,’ at Wallack’s, with Mr. J H. [sic] Stoddart (and not Mr. George Stoddart, as we inadvertently stated), as Moneypenny.”

“‘The Long Strike,’ which was produced at this establishment on Monday evening last, was, to a certain extent, a ‘short strike,’ as well as a ‘wrong strike,’ and was attended with very queer results, and led last evening to an entire change in the cast. ‘The Great Boston Combination Company,’ as it was euphoniously termed upon the bills, sought by a combined movement behind the scenes on Monday evening, when the curtain was down upon the second act of the piece, to force Manager Moss to comply with certain terms which they dictated to him. Placed in the awkward predicament, a large audience in front fast growing impatient at the unaccountable delay in the piece, and a score or more of actors and actresses in the rear in open rebellion, the unfortunate manager had no other alternative but to accede apparently to their demands. This he did; but it did not prove so advantageous to the rebels as to the management. The piece passed off smoothly after this flare up, ‘The Great Boston Combination Company’ imagining that their little combination had been successful; but in the morning, to their horror, they ascertained that they had been completely flanked by the strategic manager, and that they, the ‘strikers,’ had been struck from the pay rolls of the establishment. Of course they did not appear in the piece last night, their places having been ably filled at the shortest notice by members of Mr. Wallack’s regular company and other New York favorites, who are deserving of the highest praise for the admirable manner in which they acquitted themselves in their several rôles. The change in the cast in many respects has been quite an improvement and was favorably received by the large audience who were in attendance. As the cast now stands Mr. W. R. Floyd sustains the part of Johnny Reilly, the noble-hearted sailor; Mr. J. H. Stoddart, that of old Moneypenny the attorney, (his original rôle); Miss Effie Germon appears as Jane Learoyd; Mr. B. T. Ringgold as Jem Starkie, the engineer; Mr. C. H. Morton as Noah Learoyd, and Mr. C. H. Rockwell as Radley, the overseer. Thus ended the ‘short strike’ in ‘The Long Strike.’”

Full cast list.

“‘Black-Eyed Susan’ has retired from the boards at Wallack’s because of the mutiny of Captain Crosstree and his jolly sailors. The mutineers did not gain the object of their revolt.”

“‘The Short Strike,’ by ‘the Great Boston Combination Company,’ in the drama of ‘The Long Strike,’ at Wallack’s theatre [sic], on last Monday evening, was a very funny and ludicrous affair. The members of this company, numbering some sixteen persons, male and female, by an exceedingly silly combination behind the scenes on the night in question, sought to coerce Manager Moss into paying them certain back salaries, for which another party was responsible, and which he had no more right to pay them than had Brother Beecher. The play was about half through, the curtain down on the second act, and the audience in front fast growing impatient at the unaccountable delay. ‘The Great Boston Combination Company’ were in open rebellion behind the scenes and refused to go on the stage again unless their demands were complied with. It was, indeed, a sorry plight for the manager—mutinous actors in the rear and an impatient public in the front. He gave them a ‘check’ for the full amount demanded, which appeased their wrath, and, chuckling over their easy victory, they graciously condescended to finish the play, which they did without more ado, and the audience went home contented and happy, as did also ‘the Great Boston Combination Company.’ And so did manager Moss, too, for he had flanked the ‘combination’ by a strategic movement as unique as it was effective, and had already stopped payment on the ‘check,’ which had been as good as forced from him. The next morning the ‘strikers’ were struck from the pay roll of the establishment, and their places in the piece were occupied at short notice by old New York favorites, who appeared in the cast on Tuesday evening, winning from their auditors round after round of the heartiest applause for the admirable manner in which they acquitted themselves in their several roles. Thus ended ‘The Short Strike’ in ‘The Long Strike.’ The change in the cast has been a decided improvement in almost every instance.

‘The Great Boston Combination Company’ are, however, exceedingly happy. And they have just cause and sufficient reasons for thus being joyously elated. Though one solitary New Yorker proved himself more than a match for the entire sixteen of the ‘combination,’ and though the members thereof could not exactly close up a New York theatre or get the better of a New York manager, yet they can now, to a certain extent, do just as they please in other respects, and therefore it is that they are happy. Though out of an engagement they call still ‘wheel about and jump about’ for their own edification, if not for that of the New York public. Their time being now their own they can do this whenever they feel like it, the only difference being that they receive no recompense for amusing themselves. Good payment for their services and the balm of applause for their endeavors to please is naught to them. For their recent disgraceful antics they have the proud satisfaction of knowing that the public generally regard their late attempt to stop the performance at an unreasonable hour as wholly uncalled for and unjustifiable, and that they are to-day the laughing stock of the entire dramatic profession. They were handsomely ‘checked’ in their rash career, and will probably benefit by their experience in Gotham. We trust that when next the ‘Hub’ sends us a ‘combination company’ it will be such a one as can be relied upon. If there is one thing in this world more disagreeable than another it is to leave one’s home to go to a theatre in expectation of seeing an enjoyable performance, but seeing only half a one, and that half exceedingly poor, owing to the flurried state of the turbulent spirits taking part in it. So much for ‘The Great Boston Combination Company.’ Requiescant in pace.”

“Several versions of this little difficulty have been published in the daily papers, but as yet a full and correct account has not appeared. Knowing that the profession all over the country will look to the Clipper for an unbiased statement, we have, after some little trouble and hearing both sides of the story, got at the actual facts of the case. When the season closed at Selwyn’s Theatre, Boston, a gentleman by the name of E. J. Biddle, a festive young Bostonian of reputed wealth, having panted for managerial honors, and, at the same time being, it is said, enamored of a fair young damsel, a prominent member of Selwyn’s company, was induced by the aforesaid and another individual to bring the company from the ‘Hub’ to the metropolis. The first move was to secure the French Theatre on Fourteenth street, but not being satisfied with the arrangements made, Grau demanded from the manager better terms, which the aforesaid manager could not see, and not liking the location, and having had the Fifth Avenue Theatre offered, was glad enough to have some excuse for shaking Grau, which was quickly done, and the bills changed to the Fifth Avenue house, which was rented by Fiske [sic, throughout], Jr., to the manager at a weekly rental of $450, and the company opened in ‘Dora’ and ‘Black Eyed Susan.’ Mrs. F. S. Chanfrau had been announced to appear, but this engagement fell through, and Lizzie Price was called to fill the role of Dora. The initial performance was witnessed by only a moderately filled house, and the entertainment proved that there were but very few real artists in the company, and had it not been for the untiring endeavors of Stuart Robson and Frederick Robinson to please, the speculation would have proved at once a lamentable failure, though failure it was, for Fiske, Jr. found it necessary to inform the manager, at the close of the second or third week, that there was some monies due for rent, which he was willing to receive. This fact sorely trouble [sic] Biddle, who did bite his finger nails incontinently. It was at this time he encountered Theo. Moss, who had also been terribly bitten by the burlesque failure of ‘Mother Hubbard’ at Wallack’s. An agreement was entered into and contract signed, by which the Boston company were to open at Wallack’s. By the terms of the contract Moss was to furnish house, gas, printing, door-keepers, ushers, stage hands, &c., while Biddle was to furnish the company and give the performance. From the opening the business was as bad, if not worse, than it had been at the Fifth Avenue house, consequently Biddle did not receive money enough the first week of his show to pay salaries. Moss paid his liabilities, amounting to $2,300. For the first week, ending July 17th, there were but $400 for Biddle to receive out of that week, and as this would not pay salaries, he was compelled to journey to Boston to raise a stake. Fred Robinson terminated his engagement that night, but as he was to leave on Sunday for St. John, he was anxious to have his week’s ‘sal,’ and threatened not to go on for ‘Dora’ unless it was paid him, and it took all the persuasive powers and threatening of Harry McGlennan to get him to go on. Several times during the performance of ‘Dora,’ on July 17th, he sent round to Harry (who was acting as business manager), insisting upon his ‘sal.’ However, the performance was finished. Monday morning, July 19th, came, and it was the day for ‘King Henry’s Ghost’ to walk and liquidate, but as Biddle remained in Boston, there was much trouble in the Wallackian camp, and no ‘sals’ to be seen. This hastened Harry McGlennan to the ‘Hub’ to investigate affairs. After considerable skirmishing he found Biddle, who informed him that he had been ill and his financial affairs were considerably deranged, but he would settle up everything. This appeared to satisfy the ‘Combination’ for a while, but as the week ending July 24th was fast drawing to a close and Biddle continued, non est, the company became uneasy, and intimated to Moss that they would not go on unless they had some guarantee that they would be paid. Moss told them that if Biddle did not pay them for that week he would, and would also be responsible for the week ending July 31st, if they would continue. It appears that the salary for the week ending July 17th had not been paid, and he informed the company that he had nothing whatever to do with that. To this proposition they had all consented, and ‘on went the show.’ Biddle wrote to Harry McGlennan, from Boston, informing him that he would be prepared to pay up all indebtedness on Monday, July 26^th, at [illeg. – noon?] o’clock. He arrived in town, called upon Moss and found a deficiency of $600 to complete the salary list for the week ending July 24th. He left, promising to return in two hours and settle. The drama of ‘The Long Strike’ was being rehearsed for that night. Two o’clock came, but nary Biddle. Loud murmurs were heard from the company, when Moss paid them for that week, and promised to do so for the week ending July 31st if Biddle did not. The company departed apparently jubilant. At four o’clock Monday afternoon, July 26th, a young man called at the box office with a package for Moss, containing $600; also an apology from Biddle for his non appearance. This money was for the ‘sals’ for the week ending July 24th. That evening the ‘Long Strike’ was presented to a big audience. Some of the company had heard that Moss had received $600 from Biddle and they insisted upon having it divided among them. The company then went into secret session and resolved that as there was a good house, they would before the piece had half finished make a strike on their own account and demand of Moss payment of ‘sals’ for the week ending July 17th, and if he refused to pay they would stop the performance. This was carried out to the letter, for at [illeg.] o’clock Mr. Moss was informed of their intentions. He went behind the scenes and informed them that he was not responsible for that week, and stated for what purpose he had received the $600 that day from Biddle. But they would not listen to reason. Mr. Robinson, who had been prevented from appearing four evenings the previous week, caused by inhaling too much ‘animonia,’ [sic] not only demanded payment of back salary, but a written guarantee that he should be paid for the week to come. A consistent actor truly. In consequence of this ‘[illeg.] behind the scenes,’ the curtain was kept down so long that the audience became impatiently clamorous, and Mr. Selwyn, who happened to be in front went behind and addressed the rebellious strikers, saying that it was a disgraceful affair, and that it was no time to do such a thing, etc., and if they would [illeg.] go on with the show, he, their Boston manager, would see that they were paid. This quieted their nerves, and they consented to go on. The curtain was rung up and the third act commenced, but allow as not as quiet as supposed, for it appears that they had reconsidered their determination, for Jem Starkey (Vandenhoff) would not enter when he got his call, and the prompter had to lower the curtain in the middle of the act. Then things indeed became lively. A demand was made for Moss and then $600 he had from Biddle. This completely cowered Moss, who, not wishing for the audience to be disappointed, was compelled to yield or dismiss the audience. He, therefore, wrote a check for $600 (under protest) and gave it to Selwyn, who showed it to the ‘strikers,’ when harmony was once more restored. The play proceeded without further interruption. Biddel [sic] was at once sent for, but could not come. He, however, wrote a note, of which the following is a correct copy:—

‘My Dear Moss.—The money I sent you ($600) was to pay [illeg.] for the week ending [illeg. – probably “24th"] stated there was a balance of $311 in my favor, the salaries being about $300.

‘E. J. Biddle.’

Armed with this, Moss notified Selwyn that he would stop payment on the check. The check was not presented for payment, and judge of the surprise of the strikers to learn the following morning that they were not wanted any longer, as a new company had been engaged. The ‘Long Strike’ was presented on Tuesday evening with great success and to a crowded house. William R. Floyd, J. H. Stoddart and Effie Germon received special marks of approbation. Messrs. Selwyn, Biddle and Harry McGlennan denounced the action of the strikers in severe terms, whiel Harry Pearson and Harry Josephs were in no way associated with the strikers, refusing to join them in what they called a ‘disgraceful transaction.’ So ends the first chapter.”