Wood’s Museum and Metropolitan Theatre

Preparations for the reopening under the new management of George Wood.

Lydia Thompson’s burlesque troupe was to sail from Liverpool on Aug. 12.

“Wood’s Museum and Metropolitan Theatre.” Describes plans for grand opening.

The Royal English Opera Bouffe Troupe, also known as the Louisa Pyne Company, performs the matinees. The Misses Susan and Blanch Galton are in the leading parts with Mr. Whiffen as tenor. 

There was a press preview last evening [08/27/68]. Opens to the public on Monday.

“WOOD’S MUSEUM AND METROPLITAN THEATRE.

The management of this reconstructed establishment, last evening, gave an entertainment to the members of the Press, and other gentlemen especially interested in the progress of art. The company as a very numerous one, and appeared to be unanimous in expressions of admiration at the many changes for the better that have been made in the establishment exterior and interior. The theatre, or lecture-room, has undergone a complete transformation, and may now be considered one of the handsomest, as well as one of the most comfortable places of public amusement, in the City. That portion of the edifie devoted to the Museum proper, is already well stocked with rare curiosities, but we have the assurances of Messrs. Wood, Barunum & Colville, that ‘the greaest is behind’—in other words, present attractions are as nothing to those which the future has in store. The house will be thrown open to the public on Monday next.”

“Miss Lydia Thompson and grand comedy and burlesque troupe, engaged for this theater, have arrived.”

“This establishment has already been described minutely in the Sun. . . .The house will be thrown open this morning at 8 o’clock. . . . After Mr. Barnum’s speech will come the new English opera bouffe troupe, consisting of the Misses Susan and Blanche Galton, Susan Pyne Galton, and Mr. Thomas Griffin, a tenor of considerable reputation.” 

“WOOD’S MUSEUM AND THEATRE.—Wood’s Museum and theatre was thrown open to the public yesterday. A matinee performance of English opera bouffe was given in the afternoon when addresses were made and the theatre opened in due form. In the evening, ‘Lorle,’ a new play adapted from the German by Mr. G. H. Rosewald, was presented. In a pecuniary sense it was very successful, the house being crowded in every part. For the play itself but little can be said. It has at least a good moral, but the plot is very poor and is so clumsily worked out that the interest is not sustained throughout. Parts of the dialogue give evidence that much has been lost in the translation. The wretched attempt at humor in the part allotted to Christopher Dalder (Mr. G. C. Davenport) is very poor. One scene, however, in the fourth act—where a peasant girl is suddenly brought before a German serene highness and is introduced to the court—redeems the piece. The constrained and awkward manner of the country-bred damsel is very natural and forms a proper contrast to the stately manners of the courtiers. Miss Maggie Mitchell as Lorle, the peasant girl, made as much of the character as was possible, but one could not help regretting that she was not cast in a better piece. Rheinhard, the artist, was fairly represented by Mr. J. W. Collier. The other characters in ‘Lorle’ were well supported, but it would be well if a little less rant was indulged in. The scenery of the piece is good, but its effect was somewhat marred by the way in which the scenes were shifted. This is a defect, however, almost inseparable from first night performances.

During the progress of the play a numerous concourse of people who could not find seats in the theatre, or who were not sufficiently interested in the piece, roamed through the tasteful and well stocked museum, and commented favorably on the improvements in the construction of the interior of the building and the arrangements made for the comfort and convenience of the patrons of the establishment.”

Long review of “Lorle,” including a plot synopsis. “The new play was well received, although parts of it lagged. The scenery was good and the music indifferent.”

“The new Museum and Metropolitan Theatre, in Broadway near Thirtieth-street, had a successful opening yesterday. That Mr. Wood's new enterprise in behalf of a public hungering for amusement fills a void, was certainly evidenced in the crowds which thronged to this establishment all day yesterday, sauntered through the curiosity halls at all hours, and filled the theatre to its outer limits during two performances. The formal opening—to which we shall confine our remarks this morning—took place in the afternoon, when Mr. Barnum appeared upon the stage of the theatre, (after the orchestra had discoursed some harmonious strains as though it would prepare the public mind for the declaration of peace and partnership which was about to be uttered,) and, in his off-hand businesslike way, the famous ex-showman delivered the address which follows [quotes Barnum’s speech] . . .

Two of Offenbach's earlier works, the ‘Marriage by Lanterns’ and ’66,’ were given in the afternoon. They are trifles which may serve to fill up a programme, but which barely suffice for an entire entertainment. In the way of opera bouffe we have already arrived at the best, and retrogression is an impossibility. The haste and inconvenience of an opening day may perhaps excuse many defects in yesterday’s representation, but, making every allowance for these drawbacks, it does not seem possible that the present company should either win or expect success. The orchestra is curiously bad. Not only are the performers unconscious of the resources of their instruments, but they are indifferent also to the small demand that is made upon them by Mr. Offenbach. We must presume that a conductor had difficulty in forming the band. It seems impossible, indeed, that he should have succeeded. Nine such players can hardly exist in any other city, and of this recromantic [sic, necromantic?] number is the orchestra composed. It is perhaps of no consequence whether they had had a rehearsal or not, but it is certain that they require more knowledge of the art of playing together; and in whatever way they can arrive at it is better for the reputation of the management. Miss Susan Galton, the prima-donna of the troupe, is a relative of Miss Louisa Pyne. It is evident that she has studied the manner of the celebrated English cantatrice and much more closely than her method—although at this day there is little to be said even on that subject. Miss Walton [sic] had a pretty voice, neither impressive nor peculiar, but steady and reliable in all that is required of it—save strength. The lady’s presence was agreeable, and she is not and should not be ignorant of the fact. Her vivacity of the stage is a long (?) way more commendable than her vocalism. Of Mr. Whiffin, the ‘accomplished tenor,’ we may have another opportunity to speak. His accomplishments were not apparent yesterday. Of the two or three others, it is only necessary to say that they belong to the class which we usually meet in masses and ordinarily at the commencement or end of the act. Our remarks, we may add, refer mainly to the second piece, ‘66.’

In the evening Miss Maggie Mitchell commenced an engagement, and produced a new drama entitled ‘Lorle.’ The piece is announced as by Prof. J. H. Rosewald. It is a rather close translation, with some foreign additions, of a German play called ‘Lorle of the Black Forest,’ which, in its turn, was a dramatization of a German novel entitled ‘The Professor’s Wife.’ The piece is not unfamiliar to New-York audiences. Miss Scheller, upon the occasion of her debut on the English stage, produced an entirely distinct version of the same drama at the Winter Garden, under the name of ‘Lorlle’s [sic] Wedding.’ The original play, like most German pastorals, is rather a quiet affair. The original author appears to have written it in a church-yard, with the Book of Proverbs open before hi m, so full of mortal reflections is its dialogue. The present adapter has not disturbed this melancholy spirit. Still, he has continued to chop scenes here and there, introduce a dance, and otherwise temper the sad monotony of his original, until it is positively bearable, and last evening was received with a good share of earnest applause. We may have something more to say about the piece again. At present it is but necessary to add that Miss Mitchell, Miss Mary Wells, Mr. Collier, Mr. Mestayer and Mr. G. C. Davenport infused a degree of hearty life into the leading parts which carried some of the acts to quite a spirited termination, and twice secured a recall of the tableau.”

“Miss Maggie Mitchell has been very successful at Wood’s Theatre the past week. The character of Lorle, although not essentially unlike those she has previously assumed, is nevertheless a pleasing variation.”

“Wood’s Museum and Metropolitan Theatre opens this afternoon for the first time. An inaugural address will be given by Mr. Barnum, after which the English Opera Bouffe Troupe will appear in Offenbach’s comic operas of Marriage by Lanterns and Sixty-Six, with Miss Susan, Miss Blanche, and Mrs. Susan Galton, and Thomas Whiffin in the cast. In the evening the play of Lorle will be given, with Maggie Mitchell and J. W. Collier in the principal roles, supported by George Mitchell, Fred Marsden, G. C. Davenport, Lewis Mestayer, James Thompson, T. P. Edwards, M. C. Daly, Harry Stewart, Annie Browne, Aggie Wood, and Mary Wells. There are to be seen on exhibition, from 8 in the morning until 10 in the evening, the Siamese twins with their children, the baby woman Sophia Gantz, Anna Swan the giantess, General Grant the dwarf, an automaton Leotard, and a large number of curiosities.”

“Musical: The English opera bouffe company at Wood’s Theatre is rather a disappointment. The patrons of the theatre are looking anxiously for the Lydia Thompson burlesque company.”

Praises production of Lorle.

Brief: “Miss Susan Galton, by her vivacious and pleasant ways, and her agreeable voice, continues to win warm marks of approval from the audiences at Wood’s Museum.”

“Wood’s Museum and Metropolitan Theatre was formally opened on Monday afternoon, August 31st, with an inaugural address by P. T. Barnum, followed by two of Offenbach’s operatic trifles, entitled, The Marriage by Lanterns, a sparkling musical farce, and Sixty-six, another musical gem. Susan Galton, who made her debut as Fanchette in the first, is possessed of a pleasing voice, but not of much strength. She is rather prepossessing in appearance, and from her first bow enters right into the spirit of the scene. Mr. Whiffen, the tenor, did not please his audience; probably the character did not please him. Both pieces went off smoothly, and afforded considerable amusement while they lasted. The attendance was not large. In the evening Maggie Mitchell opened a star engagement of three weeks, appearing for the first time in this city in a dramatization from the German entitled, Lorle. It is in five acts, is one of the most pleasing and entertaining plays we have witnessed for a long time, and, next to Fanchon, will no doubt prove the most attractive one in Maggie’s repertoire. The piece has been adapted to suit Maggie, and in no character exempting Fanchon has she appeared with so much satisfaction to herself as in Lorle. The role is a capital one; so is that of Barbal, excellently well played by Mary Wells, and Reinhard by James Collier, who appeared to good advantage. Mr. George Mitchell as Lindenhost, and Annie Brown as the Countess, are clever. The rest need no mention. The character of Christopher should be omitted altogether, as it has no connection with the plot, and very little if any interest is felt in his troubles or successes. The play was well placed upon the stage, everything being new and in good taste. All the curiosities have not been placed in their proper cases, but everything will be arranged satisfactorily very soon. The Automaton Leotard is one of the most wonderful pieces of mechanism ever seen in this country. The attendance during the week has been pretty good, and Maggie has met with a hearty reception.”