The Boston Theatre

An 1892 account of the Theatre

539 Washington Street, Boston, Massachusetts.

The Boston Theatre is one of the largest play houses in the country. Although its exterior is not in
keeping with the showy business structures in the vicinity,its interior is grand in proportions and finish.
Its doors first opened early in September, 1854, when it was owned by a stock company and placed
under the management of the late Thomas Barry. Mr. Wyzeman Marshall succeeded Mr. Barry, and
was manager for about a year and a half. The house then passed into the control of B W. Thayer and
Orlando Tompkins, and the management was in the hands of Henry C. Jarrett for two years; then J B.
Booth had the direction of affairs for a term of five years. In 1878 Eugene Tompkins (son of Orlando)
assumed the duties of acting manager, and on the death of his father, in 1885, became joint proprietor
with Noble H. Hill, who had succeeded Mr. Thayer (1875). The following year the entire control of the
theatre passed to Mr. Tompkins, and he has ably maintained it as a playhouse of the first class.
His elaborate productions, enjoying long runs, have been notable. " The Exiles," I " Michael Strogoff,"
I " The World," I " Jalma," I " Zanita," I " Run of Luck," I " The Soudan," and " The Old Homestead "
will live in our dramatic annals as evidences of his prescience, liberality, and capacity to provide
entertainment for the New England public. The construction of the Boston is more elaborate in every
detail than any modern theatre, for the reason that it was erected at a time when the cost of building
was much less than at the present day, and the promoters of the enterprise, having sufficient funds at
their disposal, spared no expense in any department of the work. As a result it is, from pit to dome,
commodious and substantial, with spacious lobbies, broad staircases, large retiring-rooms, and every
comfort for its patrons. Extending from Washington street through to Mason street, it affords a convenient
rear-entrance for those using carriages, as well as ample access to the stage. The auditorium is 90 feet
in diameter, and reaches a height of 54 feet, and the house will seat over three thousand persons. It is
illuminated with the electric light, which displays to the best advantage the tasteful coloring of the walls.
There are three balconies and six proscenium boxes. Behind the curtain is found the same complet-
eness of detail. The stage has a depth of about 75 feet, from the footlights, and a height of 66 feet to the
fly floor, and the curtain-opening is 48 by 41 feet. Every precaution against fire has been taken in the
provision of thick brick partitions, an iron curtain, and a complete system of sprinklers, stand-pipes, and
fire-hose. Ample accommodations in the way of dressing-rooms are provided, and below the stage,
where there is an apartment 30 feet high, are the rooms for the members of the orchestra, supernum-
eraries, dressing rooms, and stage machinery. The architect of the building was E. C. Cabot. Besides
the special productions of the management, grand opera is given here, and on its ample stage during
the past quarter of a century the most famous singers have appeared. A number of grand balls and fairs
have also been held in this theatre, notable among the former being those in honor of the Prince of
Wales and of the Russian Duke Alexis, and among the latter that in aid of the Sanitary Commission,
the National Sailors' Fair, and the French fair. Mr.Tompkins has associated with him on the managerial
staff H. A. McGlenen and other able men who have done much towards making the house the success it is.

Brief notes from 1890

Notes from Saturday - November 8, 1890., ongoing

The " Soudan " still keeps up its run of unqualified success, though now well past its 50th performance. The play has made more
money than any other presented there, and has only just begun its run. Excursions are run almost daily from the neighboring towns,
and the great theater is packed at every performance. It is, in fact, a play that is rarely to be seen on the account of the magnitude
of the scenery required alone, and it is a play that will be remembered a lifetime. It has its comedy and its tragedy, and every part in
it is taken by an actor of marked ability. It has certainly struck the popular fancy, and seats are sold weeks in advance.

Notes from Saturday, November 22, 1890.

The " Soudan " at the Boston Theatre still keeps up its unrivaled success and is doing its own booming now. The attendance at every
performance fills every seat in the large theatre, and many had to stand. There is no doubt but that it is one of the best things of its kind
that ever came to the city. Excursions are now run daily from the neighboring towns. It is not likely, however, that manager Tompkins will
be able to buy off some of the attractions already booked at the Boston, and he may have to take the piece of suddenly in spite of its success.

Notes from Saturday, December 27, 1890.

It has been decided at last that the " Soudan, " which has had such a wonderful run at the Boston Theatre, should be taken off to make room
for " The Crystal Slipper " which has been booked so many months ago. During the remainder of its stay it will undoubtedly be attended by
enormous audiences. Seats should be ordered in advance, as it is impossible to procure good ones at a late hour. Those who go late will have
to content themselves with back seats or standing.

Brief notes from 1891

Notes from Saturday, January 24, 1891.

The Crystal Slipper at the Boston theatre has drawn large and delighted audiences every day since commencing. It closes with
tonight's performance. On Monday The Hanlon-Volter and Martinetti English Pantomime and Novelty company will open a brief
engagement. Besides the world-famed Hanlon trapeze artists, it includes the Martinetti company in the pantomime " A Terrible Night; "
the Montaine troupe in a specialty called " The Chinese Fair; " Dora Emerson, vocalist; the Hurlines, musical clowns; Rodo Rapoli,
the ladder balancer; Stebb and Trepp, song and dance pair; Walter Emerson, the celebrated cornet soloist, and others.

Saturday, January 31, 1891.

Pantomime still reigns supreme at the Boston theatre, the Hanlon Volter Martinetti English pantomime and Novelty company occupying
the Boards.The opening feature, " A Terrible Night, " is an original farcical comedy in pantomime that is a clever, skillfully constructed piece
for a half hour of constant roars of laughter. It affords an opportunity for the display of the most laughable gymnastic exhibitions and feats,
and this the Martinetti family improve to its greatest advantage. The troupes mid-air performances are simply amazing.

Saturday, February 7, 1891.

Commencing on Monday next Charles H. Hoyt's latest success " A Trip to Chinatown " will be presented at the Boston theatre. Mr. Hoyt is
pleased to call it " a musical trille " but it is one of the best things he has turned out and the New York Herald says: " It is just the sort of
entertainment to drive away all thought of storm, rheumatism, pneumonia, and money stringency. Light and purposeless as a bit of down,
it is blown breezily in one's face and tickles it. There is no horseplay worth noticing in it, but a rippling stream of sparkling melody runs
through the performance, broken continually by the sharp tones of witty lines. The first selection is as bright as the eyes of the pretty girls
who interpret it; the second part is loaded to the neck with specialties, and the third part ends the notable performance.

( Charles Hale Hoyt passed away in 1900, with eighteen plays to his credit, his first play " A Rag Baby "
was performed back in 1884. " A Brass Monkey " mentioned below, was another play from C. Hoyt.)

Saturday, March 14, 1891.

At the Boston theatre the beautiful Swedish dialect play " Yon Yonson " has been drawing very good houses. The play follows the usual plot
of the melodrama but has several varieties to it which make it a very enjoyable performance. The staging of the play is very fine and the river
scene is simply grand. Next week Primrose & West's minstrels.

Saturday, March 28, 1891.

At the Boston theatre " A Brass Monkey " has been the bill this week. The force is said to be somewhat improved since last seen in Boston
and has pleased big crowds. Next week George Thatcher's minstrels will be the drawing card.

Saturday, April 4, 1891.

George Thatcher's minstrels have been at the Boston theatre, this week, and have met with a most flattering reception. Several evenings
during the week they received a perfect oration. Commencing on Monday " A Midnight Bell " will be presented. This piece has also received
very flattering comments on previous occasions.

Saturday, April 11, 1891.

At the Boston theatre on Monday a benefit was given to Mr. McGlennon, the theatre's genial press agent. Hoyt's masterpiece " A Midnight Bell "
has chimed this week and has charmed with its chimes. The play will run one week longer after which " The Soudan " will be revived. If it meets
with anything like the success of its former presentation it is booked for another long run.

Looking forward to 1901 and the Specs for The Boston Theater.

The Boston Theatre - Boston, Massachusetts.

Eugene Tompkins, Prop. and Mgr ------------------------------------------------------- F E. Pond, Bus. Mgr.
Seating Capacity, 3,172 ------------------------------------------------------ Prices 25C., 50., 75., $1, $1.50.

STAGE DIMENSIONS

Width of proscenium opening, ............... 50 ft. .................................................... 7 grooves.
Height of proscenium opening, ............. 48 ft. 6 in. ..... Illum., Elec. Volt 110. Amperes, 5,000.
Footlights to back wall, ........................ 90 ft. ................................... Edward C. Smith, elec.
Curtain line to footlights, ...................... 10 ft. .............................................. 14 in orchestra.
Distance between side walls, ................ 90 ft. ................................... Napier Lothian, leader.
Distance between fly girders, ................ 54 ft. ................................ J P. Sullivan, prop. man.
Stage to rigging loft, ............................. 70 ft. ...... J L. Getz & John Sommers, scenic artists.
Depth under stage, .................................................................................................... 32 ft.
3 bridges. ......................................................................................... W P. Harris, adv. agt.
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( Thanks to Mr. Ron Salters for the lead to the above theatre specs. )

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