A better Ollapod never excellent in high comedy. graced the stage. His Sir Thomas Clifford, in "The Hunchback," elicited the praises of Sheridan Knowles. We might run over the list of old comedies in vogue fifty years ago, and now only occasionally revived among the crowd of upholstery dramas or society plays, and from the press notices of the day, and the remembrance of old citizens still keenly appreciative, show what a fine general actor and general favorite he was. Had he chosen to star it instead of managing, he must have achieved a grand success. But having entered the field of management, he at once proved himself admirably adapted to the dual position he occupied as actor and manager. He had a splendid physique, was exceedingly active and energetic in all his multifarious duties, and as we learn from one of our successful business men, was one of the best business men he ever saw. He ran, both at one time, the Pearl street theatre, and the Arch street theatre, Philadelphia, his time being divided between the two places. Meanwhile, he had under way a fine theatre in Buffalo, and had under management a roving company, made of the Arch and Pearl street stock, and performing with varied success in New England, and between Albany and Buffalo. It was his intention to establish a complete line of theatres from Albany to Buffalo, taking in, one after another, the interior cities. Under his indefatigable and judicious management, this would no doubt have proved a successful enterprise, his extraordinary business capacity affording ample assurance of such a result. The corner stone of the theatre in Buffalo was laid January 4th, 1835, in presence of the mayor, common council, and a large collection of citizens. A silver plate, placed under the corner stone, was inscribed as follows: BUFFALO THEATRE, Founded by Wm. Duffy, January 4, 1835, In presence of E. Johnson, Mayor, and Common Appropriate speeches were made by the Mayor and Mr. Duffy, and the affair passed off with great eclat. At the Pearl street and the Arch street theatres, under Mr. Duffy's management, great attention was paid to stage effects, and all that carpentry and mechanical genius had up to that date devised, was brought into play, both here and in Philadelphia. The elaborate and efficient manner in which he placed Forrest's pieces on the stage, "Metamora," "The Gladiator," "The Broker of Bogota," and "Oraloosa," elicited very flattering encomiums, not only from Mr. F., but from the press and public generally. He had two excellent scene painters, John Leslie and Mr. Coyle. Coyle tried his hand at shade painting, as well as stage scenery, and probably the most elaborately painted window shades ever hung in Albany, up to 1835, were from his facile brush. All the other departments of the theatre were well filled. There was no better stage manager in the country than John Greene, who at the same time rivalled the famous Tyrone Power in Irish characterization. But while paying close attention to the requirements of management, keeping well advised as to finance, stage properties, the merits and deficiencies of employees, the public pulse, and the thousand-and-one details of dramatic business, Mr. Duffy played parts with as much seeming ease and relish, as though free from all cares behind the curtain. He had a remarkable memory, and though seldom more than glancing over a part once acted, was generally letter-perfect. When his managerial duties required much time and attention, and he had a lengthy part to play, he would don his theatrical harness a short time before the curtain rose, run hurriedly over his lines, and occasionally "winging it," to speak professionally, would go through with as much ease and accuracy as though hours of study had been devoted to the part. As illustrative of his skill with the sword, we take the following anecdote from Mr. Stone's "Reminiscences: It was at the Pearl street theatre, and the elder Booth was playing Richard. He had, in the morning, warned Duffy, who was to play Richmond, "to be on his guard, as he felt in fighting trim. The play went off finely, Booth never, perhaps, appearing more brilliant in the character. The combat at last commenced, and a terrific one it was. Booth having worked himself up to a high degree of excitement in the battle scene, had become desperate. His thrusts, lunges and cuts were fearful. Duffy was cool and collected, parrying with consummate skill. He was an excellent fencer- sparks of fire rolling from their swords, the chances appearing about equal. Booth finding, finally, that he had his match, resorted to his old dodge of playing down,' or 'driving to the corner,' his antagonist. Duffy, however, was fully on his guard, and by making a 'feint,' threw Booth off his guard, striking Booth's sword with great force, and hurling it several feet over his head. Booth, evidently chagrined at his discomfiture, storming and fretting like a caged tiger, quickly made vain attempts to regain his weapon, but finding himself so much. exhausted, made the 'last fall,' thus ending one of the most severe stage combats we ever witnessed." Mr. Duffy was reserved and dignified in his general deportment; indeed, was known among friends as "The Dominie." He took a warm interest in the success of the Young Men's Association, of which he became a life member, as did also Edwin Forrest and William Forrest, his brother. Mr. Duffy had in him all the elements of a successful manager, as well as actor, a combination rarely found in one man. What he might have finally accomplished in either line, can only be conjectured, as, at the early age of thirty-three, he was cut off by a violent death, dying March 12th, 1836, from a wound. inflicted by John Hamilton, an actor in the stock company. 136 CHAPTER XII. 1829-1830. The South Pearl Street Theatre-End of the North Pearl Street Circus. MESSRS. Duffy & Forrest's stock company con He tinued to play from June 9th till the 24th, without the assistance of any extra attraction. On the 18th, Miss Greer made her first appearance, as Agnes in the drama of "William Tell." William C. Forbes had a most remarkable faculty of turning pale at will. made his debut in this city; probably at the Thespian hotel, although we have no official record of it. He subsequently managed a theatre in Providence, Rhode Island, for ten years. His wife was a handsome woman, who could sing "Coming through the rye" with much effect. Harry Knight was the low comedian and used to sing "The Poachers." It is related of him that as opportunities to sing his favorite song did not occur frequently enough to satisfy him, he used to go up in the upper boxes and call for "Knight! Knight!" till the gallery took it up, and then scud around behind the scenes and answer to the call. He married Eliza, one of the Kent sisters, and finally died from having his leg cut off on the railroad, between Baltimore and Philadelphia, in 1839. His widow married George Mossop, was divorced, and marrying Mr. DeCosta, a merchant, retired from the stage. Mrs. LaForrest was formerly Miss Sophia Eberle, sister of the Eberles, of whom we have spoken, and aunt of Mr. E. A. Eberle, late of the Leland. In 1828, she had married Charles LaForrest, a famous equestrian. Mr. Judah was, we think, the man by the same name who was drowned in 1839, in the Gulf of Mexico. June 22d, the drama of "Blood for Blood," founded upon Scott's "Fair Maid of Perth," was produced, and is memorable, from the fact that its representation did not belie its sanguinary title. William Forrest, who was playing Sir John Ramorny, was struck in the breast by a dagger, which was supposed to be a spring one. It was not, however, and a wound was inflicted near the heart, which, for some days, was thought would prove mortal. June 24th, Mr. William Pelby, the first star, appeared as Hamlet, and June 25th, his wife Rosalie, as Juliana, in "The Honeymoon." He was a favorite manager in Boston, and a tragedian of some repute, but lacked the necessary requisite of a good voice. He was born in New York, March 16th, 1793, and died in Boston, May 27th, 1850. Mrs. Pelby was noted for her beauty. She was born in Kinderhook, New York, March 17th, 1791, and made her debut in Boston, in 1813. Under her husband's management, she became a great favorite there, at the National. She died on board the steamer Northern Light, in June, 1855, while en route from California, where she had been visiting with her daughter Julia, also a favorite actress, who married Mr. J. W. Thoman, in July, 1858. said July 2d, Booth appeared as Richard, for one night, and Miss Emery, who had previously played as a star, became attached to the company. Her history is one of the saddest known to the stage. She was born in London, and made her first appearance at the Surrey theatre, in 1827. She was a very large woman to be the largest ever known to the stage in this country and played tragedy with grand effect. The English press called her "the actress of the day." She appeared first in this country at the Chestnut street theatre, in Philadelphia, October 31st, 1827, as Belvidera, in "Venice Preserved." She appeared March 17th, 1828, at the Chatham theatre, in New York, and |