lack. She and Brougham separated, and, in 1845, she returned to England, and remained seven years, during which time they were divorced. She was known there as Emma Williams. Subsequently she returned to the United States as Mrs. Robertson, and died in New York, June 30th, 1865. (The second Mrs. Brougham, was a Miss Nelson, of the London theatres, remembered particularly for her beautiful hands and feet. She danced and sang to the delight of many, but at last became so very large around, that she was compelled to leave the stage.)

John Brougham, the well-known actor and author, made his American debut at the Park theatre, October 4th, 1842, and has ever since been closely connected with the stage in this country. He was born in Dublin, in 1814, and has been an actor since 1830. The plays and burlesques he has written have been almost without number. During his first Albany engagement, he produced one of the latter on "Metamora," playing the principal character, of course, in imitation of Forrest. This took immensely in Albany, and, combined with Brougham's accomplishments as an Irish actor, made him extremely popular here, as he was elsewhere. Indeed, it would be difficult to mention a more popular man than John Brougham has been in his lifetime. His greatest single success as a playwright was his dramatization of "Dombey & Son," produced this same summer of which we write. It was for many years almost unequalled in its repetitions and the length of its runs. It was first played at Burton's, where Brougham was stage manager, and has never been improved upon. Mr. Nickinson and daughter as Dombey and Florence, Mrs. Vernon as Mrs. Skewton, Burton as Captain Cuttle, Brougham as Bunsby and Bagstock, Oliver B. Raymond as Toots, made up the principal part of the cast. To follow in detail all the scenes and incidents of interest in the life of John Brougham, would be to write a volume. He has been reported busy on such a work, and we hope it may soon be given to the public. His last visit to Albany,

a year or two since, was most unfortunate. Business was bad, he was seriously ill, and a valuable gold watch was stolen from him at his hotel. The farewell tour which he was then making, proved disastrous, and it was only through a grand complimentary benefit given him in New York, January 17th, 1878, whereby nearly $10,000 was raised, that, in his old age, he is not a victim to poverty.

As has been stated, rivalry was brisk between the two theatres, the same stars appearing first at one place and then at the other. In May, it was determined to enlarge the Museum by adding thereto the two adjoining buildings on the north, and John M. Trimble was engaged to draw the plans and perform the work. We must now, however, turn back to sketch the history of the Odeon.

CHAPTER XIX..

1847-1848.

The Brief, Eventful History of the Odeon.

VER since the Pearl street theatre had been turned into a church, there had been talk of a new playhouse, and many plans were projected by many people. The Museum saloon and stage were quite too small, and the Dallius street amphitheatre, though certainly large enough, had run down and was nothing but a circus to begin with. In September, 1846, plans were. drawn for a building which was opened under the name of the Odeon, February 1st, 1847. It was situated on the east side of Broadway, just south of Division street, and had formerly been a store. It was small, but very neat, unique in its adornments, and resembled rather a magnificent steamboat saloon than a theatre. It was in fact owned principally by two steamboat men, Col. John W. Harcourt, for so many years connected with the People's line, and "Pug" Houghton, captain of the steamer Rochester.

There was an opening address from the busy pen of C. W. Taylor, spoken by James Hall, the stage manager. Among the stock company were Messrs. G. Chapman, Gilbert, James Canoll, Hield, Jr., Thompson, Crouta, Myers, Miller, Mrs. Chapman, Miss Greenwood, Mrs. D. C. Anderson. The leader of the orchestra was Mr. Underner; machinists, Messrs. Wilkins and Warner; costumer, Mrs. Crouta; properties, Mr. Carter.

John Crouta was the acting manager. He afterwards kept a very neat little garden in the south of

Greenbush, till one day in high water, the waves from the steamer New World washed over his place and swept it clean away. He died in 1874.

Mr. Jason Collier, of Albany, played in the orchestra here for a few months. He says he has reason to remember it, for one of the men who, after a performance, was putting out the lamps about the stage, fell from an upper box and landed on the top of Mr. Collier's hundred dollar bass-viol, which was lying on its side in the orchestra. The instrument, with a noise like a young cannon, was broken into a hundred pieces.

In

Charlotte Barnes was the first star, and played in the opening drama, which was "The Soldier's Daughter." The after-piece was "The Actress of All Work," in which Mrs. Chapman, the soubrette, appeared. The rivalry between the Odeon and the Museum, showed itself in various ways. February 27th, the former gave a benefit for the sufferers in Ireland, and March 18th, for Ireland and Scotland. March 1st, prices at the Odeon were reduced to twenty-five cents to the parquette, and one shilling to the gallery, and soon after it was announced that a single ticket to the dress-circle would admit a gentleman and lady. April, Gus Addams came and crowded the little house from top to bottom. Addams was a favorite here, although not so much a one as Forrest. Still both had their partisans. It is said to-day, that Addams had more natural ability than ever Forrest had, but while. the latter was intent on study, Addams preferred the society of his boon companions and they ruined him. Even at this time, he was drinking heavily. It is remembered that one night he could not be found, and scouting parties were sent out in search of him. He was discovered down near the dock, dead drunk. He was taken to the theatre, his dress put upon him, and he was roused up as much as possible. When his cue came he was put upon the stage, and habit did the He went through his part, and few in the audience imagined what was his condition. Between the acts he was like a log, but heavy doses of brandy

rest.

carried him through. Similar stories are told of Scott, and, we believe, of the elder Booth.

The season closed May 26th and another opened June 7th, under the management of W. M. Fleming, with the play of "Masaniello" and "Born to Good Luck," Barney Williams appearing in the latter as Paudeen O'Rafferty. Barney (his real name was Bernard Flaherty), was born in the barracks of Cork, August 20th, 1824, and came to this country in 1831. He began life as an errand boy, and working in a New York printing office. He was a supernumerary at the old Franklin theatre, and one night, an actor named Alonzo Williams, being ill, Bernard took his place, and did so well that he was promoted and was ever aftewards known as Barney Williams. He is remembered as being about the Albany museum, in a subordinate capacity, long before his name graced any play-bill. He then tried the negro minstrel business, about that time coming into fashion, and it was not till 1846, that he became identified with Irish comedy. Just prior to his first appearance here as a star, he had made a successful tour in the south. Three years later, he tried to play Mose at the old Olympic, in New York, but only got to the end of the second act, when the boys became so outspoken in their criticism, that the attempt had to be given up. He was almost hooted from the stage. Instead of playing the third act, "Born to Good Luck" was put on, and as Paudeen, the actor who an hour before had been treated with scorn, was received with thundering plaudits. This decided him, and ever after, with few exceptions, he played Irish characters. His fellow artists never thought much of his dramatic powers, and those most familiar with him would say, "Barney, you are funny, but you are not an actor.' In 1850, he married Mrs. Mestayer nee Pray, and after six years' managing and acting, they went to Europe, he playing Irish and she Yankee characters. Dublin public declared that Barney was an actor, and he was satisfied. Four times he played before Queen Victoria. On his return, he was able to command half

The