ARCHIVE.
[Theatre] Proceedings of the Brooklyn Histrionic Society. Constitution, by-laws &c. [Brooklyn, NY: 1857-1859].
8vo.; 240 pp.(66 covered); seven printed announcements and playbills laid-in; ¾ black leather boards; manuscript labels affixed to the upper panel; front hinge tender; worn. In a specially made cloth slipcase.
A scarce manuscript documenting the founding of an amateur theatre company whose first president was a woman. In 1857, Mrs. L.L. Burnham gathered a group of friends together to form a society devoted to “mutual improvement in the Histrionic Art” (1). The first page of the book lists the 13 people (6 women, 7 men) who were present at this initial meeting and the shared last names indicate that many were married couples. Mrs. Burnham was elected President, Mr. E.L. Molineaux (whose wife was also a member) was elected Secretary and Treasurer, and three rules were adopted:
1—That every member must consent to act if called upon to do so.
2—That non-attendance at any meeting of the society should be fined (ten cents) 10¢
3—That absence at roll call at any meeting should subject the meeting of the society to a fine of
five cents (5¢)
Members suggested a number of plays to be performed first, and ultimately, John Tobin’s 1770 play “The Honeymoon” was selected. Roles were assigned by drawing lots and Mr. Lord offered his parlor as a performance space. After three rehearsals and “the members feeling somewhat competent to enact in Public it was resolved to give the first Public Performance on the evening of April 17th” (2-3). The outcome of the premiere performance is described in detail:
The first appearance in Public of the Brooklyn Histrionic Society was before a select and appreciating audience, who were apparently much pleased with the endeavors of the young society—Several of the role’s [sic] were taken with great spirit & elicited expressions of approbation from the guests—The arrangements of scenery and costume were as appropriate as the means of the Society would permit and on the whole it might be termed a successful and encouraging attempt. (4)
The remaining pages include minutes from later meetings (including names of those absent and the fines imposed), inductions of new members, as well accounts of rehearsals for subsequent productions. A fourth rule was added during rehearsals for the second production: “That any member who came unprepared with his part at a second rehearsal it should be the duty of the manager to transfer the character to some other member” (6). New officers were appointed in 1858 and candidates all gave speeches “which elicited some applause and numerous groans” (34).
The official Constitution and By-Laws for the Society are laid out toward the end of the book—the Constitution contains eight articles explaining membership rules, Officer duties, and the process by which plays will be chosen. The By-Laws deal with financial matters and rehearsal/performance guidelines, including a humorous caveat that stipulates that members may not offer criticism or advice with regards to each other’s acting abilities. The Constitution was signed by 20 members, six of whom apparently resigned from the Society soon after.
The seven printed pieces, pasted onto cut pages, offer charming and often hilarious insights into the nature of the productions. On one program, which included scenes from “Ivanhoe,” it is noted that during intermission, “the Orchestra, under the able conductorship of Miss Margaret Molineaux, will proceed to electrify the audience, unless the state of the weather should prove unfavorable to the development of lightning” (183). The plays all appear to have been staged in the homes of the various members. The Society tended to favor obscure 18th-century comedies and historical dramas, though the final program is for Shakespeare’s “The Merchant of Venice,” which was performed in January of 1859.
The Brooklyn Histrionic Society does not look up in any reference materials, so it is unknown whether it continued beyond 1859.
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