Old Heads and Young Hearts

Appears that Baker had recently been working at Nixon’s. “From the fact that Tom Baker is not now at Nixon’s, we infer that his services will be needed soon by Laura Keene, to whom he is already under engagement.”

“The Orchestra, under the direction of Thomas Baker, will perform a number of new selections.”

List of the company. Cast.

“Thomas Baker resumes his place in the orchestra.”

Cast.

“Baker will conduct the orchestra as usual.”

“Miss Keene has deferred the opening of her theatre till rather late in the season, but the delay has given her time to organize her forces, elaborate her plan of campaign, and perfect all those managerial details upon which success so frequently depends. Having made up her mind to commence at last, she has done it in a dashing, brilliant sort of way, that remind one of the palmiest period of her triumphant, energetic past. She has rallied around her a strong and well selected company (with the aid of which she can produce the very highest class of pieces,) and has announced a programme of immediate operation, which looks very like a spirited attempt at a revival of the ‘sterling, standard’ drama. . . . the performance of the comedy was admirable throughout. Mr. Blake met with a hearty reception on his return here, and Mr. Wheatleigh (who has been absent from the City some two years,) was welcomed back with warm and friendly greeting. Miss Keene’s appearance on the stage of course ‘brought down the house.’ She had to acknowledge round after round of applause, for the space of several minutes. Mr. Thomas Baker, the popular conductor of the orchestra, had also to respond to similar demonstrations from the audience. The new drop scene, painted by Mr. Minard Lewis, is very pretty and nicely executed. The scenery on the stage is, as it always was, beautiful and appropriate.”

Review of Baker’s orchestra, its place among other theatre orchestras and problems with theatre orchestras in the city in general. 

“Keene opened her theatre for the regular fall campaign on Monday, Sept. 22, and her well selected company were greeted by a full but not crowded house. ‘Sister Laura’ has deemed to her advantage to do a little business in the line of the legitimate drama this winter, and consequently has selected company with a view to success in that department of theatrical representation. . . . In fact, every character was well played, Stuart Robson, who made his first bow to a New York audience on Monday, meeting with considerable applause in the course of the evening. Laura, not to be out done in the drop curtain business, ordered Minard Lewis to do his best for her, and he succeeded handsomely, his picture being very finely drawn, indeed. The orchestral department certainly takes the lead in excellence over that of every other in the city.  The instruments are not only well selected, according finely with each other, and producing a good effect as a whole, but the music is just the thing for the popular ear.  The generality of leaders of our theatrical orchestras either affect too much science – and not having the instrumental strength, fail entirely – or, lacking the ability, they scarcely equal the mediocre efforts of concert saloons.  Now Baker, having the requisite ability, manages to hit the happy medium, pleasing the ear of the connoisseur, and delighting the amateur.  This orchestral feature of our theatres is sadly neglected.  Managers in general do not appreciate the attractive power of the musical part of the programme they offer, and lose much that they would otherwise gain.  When persons have been in doubt as to which theatre they would patronize when two or more have offered equal attractions in the dramatic way, Baker’s orchestra has frequently given Laura’s theatre the choice.  This she knows full well, and hence its excellence, Baker having carte blanche to make it all he wants it to be.”