American Theatre

Event Information

Venue(s):
Butler's American Theatre [444 Bdway--before 3/66]

Proprietor / Lessee:
Robert W. [manager] Butler

Manager / Director:
Paul Brilliant
John M. La Thorne

Event Type:
Variety / Vaudeville

Record Information

Status:
Published

Last Updated:
18 September 2013

Performance Date(s) and Time(s)

16 Mar 1863, Evening
17 Mar 1863, Evening
18 Mar 1863, Evening
19 Mar 1863, Evening
20 Mar 1863, Evening
21 Mar 1863, Matinee
21 Mar 1863, Evening

Program Details

Paul Brilliant, dir. of ballet; Mr. La Thorne, stage manager.
Schultze Sisters appear on 3/18.

Performers and/or Works Performed

2)
aka Omnibus; Pat's blunders
Text Author: Pocock

Citations

1)
Advertisement: New York Herald, 15 March 1863, 7.
2)
Announcement: New York Herald, 16 March 1863, 5.
3)
Advertisement: New York Herald, 16 March 1863, 7.
4)
Advertisement: New York Herald, 17 March 1863, 7.
5)
Advertisement: New York Herald, 18 March 1863, 7.
“CHARLEY GARDNER, the great original ‘Hop-Lite-Loo.’”
6)
Advertisement: New York Herald, 19 March 1863, 7.
7)
Advertisement: New York Herald, 20 March 1863, 7.
8)
Advertisement: New York Herald, 21 March 1863, 7.
9)
Review: New York Clipper, 28 March 1863, 395.
“We never saw such a house as the American Theatre has last Saturday night. There wasn’t even standing room, much less a place to sit down. . . . Up stairs and down—there they were, hanging on almost by their teeth, and straining every nerve to get a sight at the performance. . . . What do you think of fifteen hundred tickets being sold to the gallery alone? Well, that was the number at ten o’clock. . . . There’s an important secret about 444 that Mr. Robert Butler and Mons. La Thorne are the possessors of, that makes this one of the greatest houses in America. It is the continual scene of novelty presented. No waits, no bungling; Mons. La Thorne’s little whistle regulates the performers like a vast machine. The fiddlers and handlers of brazen instruments are never caught tuning up—no time for that; but presto! change! and one act follows the other as regular as the clock. . . . Collins as the Female Cure, is still the great feature. . . . Paul Brilliant’s ballet troupe are better than ever. Miss Fanny Forrest’s singing is too well known and appreciated for any comment whatever.”