New-York Theatre

     “New-York Theatre.--On Saturday night [sic, apparently] a new theatre will be opened by Mark Smith and Lewis Baker. The edifice was once occupied by Rev. Dr. Osgood’s congregation, then by Miss Lucy Rushton, and now having passed into other hands and changed entirely its appearance internally and externally, is what it never was before, attractive. It is the intention of Messrs. Smith and Baker to make their theatre entirely a place of comedy, burlesque and light operas.  Mr. Eichberg, for many years leader at the Boston Museum, the composer of the comic operas so successful last Spring, has been engaged, and this is regarded as evidence of the completeness which the managers propose to secure in every department.  Mrs. Gomersall [sic], a lady of intelligence and versatility, with an excellent and well cultivated voice, will sustain the principal roles.”

     “Mr. Mark Smith and Mr. Lewis Baker will open their New York Theater [sic] to-night.  The house has been reconstructed and is said to be elegant in aspect and very comfortable. The opening performance is . . . “Old Phil’s Birthday,” which has never yet been acted in this city.”

Complete cast.

     “Mr. Eichberg’s part of the programme in futuro is looked for with great interest.  He has a good orchestra; his operas are already favorites with the public; he is to be provided with a more than ordinarily proficient personnel, and will do much toward rendering the New-York Theatre a place of universal resort. . . . Mrs. Gomersal, who is a rare combination of actress and singer, has made a decided hit.” 

     “There were many rival attractions on this evening, yet the new house attracted a considerable audience and the opening was auspicious.  ‘Old Phil’s Birthday’ was especially well received, and Mrs. Gomersal, an excellent singer, though not much of an actress, made a very palpable hit in ‘Lola Montez’. . . . The theatrical company at the New York Theater [sic] has merit, but is susceptible of improvement.  The orchestra, organized and conducted by Mr. Julius Eichberg, is one of the best that has ever been heard in this city. . . . It may be well for us to specify the nature and intent of this new enterprise.  Public institutions are like public individuals.  They cannot long exist in the public eye without becoming identified with some particular idea of interest.  Thus, nearly every theater in New York has its specialty.  That of the New-York Theater [sic] is to be a mingling of light comedy, burlesque, and English comic opera.  In brief, the managers of this house will aim directly and almost exclusively at amusement.  No elaborate effort in art is to be undertaken.  Whatever is done is to be done well, but the tasks essayed are to be light and the manner of their performance is to be brilliant.  The spectator, who attends a representation here, is to establish himself comfortably in a comfortable seat, and commit himself unresistingly to the fairies of fun.  He will have no need of his critical spectacles, and may leave his habits of analysis at home.  He will look upon bright scenes, and hear sparkling songs, and follow the pleasing plots of pretty comedies, and he may go away in a tranquil state of mind, thereafter, to his pipe or his evening beer, or his peaceful slumber.  That is the aim of the managers—to please everybody with simple pleasures.  They have commenced under favorable circumstances, and we anticipate that they will achieve abundant success.  There is room for just such a theater as is herein organized and it has fallen to the lot of precisely the right conductors.  Mr. Baker is one of the most experienced and judicious of managers, and Mr. Marks Smith is one of the ablest and most popular actors on the local stage. . . . As to its local habitation, changes have been made without and within.  The grim old tower is nearly swallowed up already, and may be expected ultimately to disappear altogether.  The floor of the parquette has been properly graded, and the seats have been so arranged that a clear view of the stage may be obtained from all parts of the house.  The ornamentation of the lobbies has been renewed, after a neat device, and a commodious promenade has been constructed in the rear of the gallery.  At various points within the walls the hand of the skillful decorator is pleasantly visible.  The house is lighted from above, as before, and the ventilation is amply sufficient.”

     Describes renovations to the theatre. “Mrs. Gomersall [sic] appeared in all her glory, playing the role of Katharine Kloper very cleverly, and singing ‘La Mahola’ and ‘Pit-a-Pat’ to the delight of all her hearers.  This lady is a capital actress and possesses a very sweet, musical voice.”