Tony Pastor’s Opera House

Event Information

Tony Pastor's Opera House

Event Type:
Minstrel, Variety / Vaudeville

Record Information


Last Updated:
31 March 2016

Performance Date(s) and Time(s)

19 Nov 1866, Evening
20 Nov 1866, Evening
21 Nov 1866, Evening
21 Nov 1866, 2:30 PM
22 Nov 1866, Evening
23 Nov 1866, Evening
24 Nov 1866, Evening
24 Nov 1866, 2:30 PM

Program Details

Cast included also "infant acrobats."

Fairies of the Hudson includes a Zouave drill.

Performers and/or Works Performed

Text Author: White


Advertisement: New York Herald, 19 November 1866.
Announcement: New York Herald, 19 November 1866, 5.
Announcement: New York Clipper, 24 November 1866.

“In the course of the piece a large corps de ballet will appear in a number of divertissements, marches, drills and tableaux. It has been so carefully gotten up that it is expected to run through the holidays.”

Advertisement: New York Sun, 27 November 1866.
Advertisement: New York Clipper, 01 December 1866, 271.
Review: New York Clipper, 01 December 1866, 270.

“‘Fairies of the Hudson’ is the title of the extravaganza written by John F. Poole expressly for Tony Pastor’s Opera House, and produced there on Nov. 19th to a crowded house. It is something on the style of the ‘Seven Sisters,’ who come up from the mighty deep to see the sights on earth. The extravaganza opens with a submarine grotto under the Hudson River. The corps de ballet appear in a divertissement, surrounded by Neptune, his two sons. Tony Pastor then appears in the deep, coming from above, as Brother Jonathan. He invites old Neptune, his two sons and Hendrick Hudson to visit the earth and see New York. The scene changes to a street in New York, with the sea kings dressed as in modern times. They met Johnny Bull, which is the second best dressed and acted part in this piece. The party now commence their rambles around town. They first visit Jerome Park on race day, after which a view of the Hudson is presented. The party are all of a sudden shown the Capitol at Washington, and the corps de ballet do a Zouave drill. They march very well, keep excellent time, and their movements were very soldierly. The scene changes to an American landscape and then to the Bowery, where a view of Tony Pastor’s Opera House is presented by gas light. We next have a street in New York. After this, thirteen ladies appear in a march representing the thirteen original States; after which we are carried down to the abode of fairies of the Hudson, and the extravaganza ends with a display of red fire. The extravaganza is about the best thing Mr. Poole has yet done. It is sharply written, is replete with fun, has capital hits at the times, and, taken altogether, reflects credit on its author. Mr. T. G. Riggs, as John Bull, was very good, and his frequent repetition of ‘blow me tight, ya know,’ brought down the house. He dresses the character well and acts with taste and discrimination. Tony Pastor made all that was possible out of Brother Jonathan. G. F. McDonald as Columbia, and Jennie Engel as the Queen, were all good. The piece has been placed on the stage in a careful manner, every scene having been painted expressly for the occasion, and they are all very truthful and life-like representations. The scene of the grotto is very handsome. Crowded houses were in attendance last week. The ‘Fairies of the Hudson’ keeps the bills this week.”