The Mormons and the Theatre or The History of Theatricals in Utah

In rather sharp contrast to other Christian denominations, the Mormons believe in and are fond of dancing and the theatre. So much is this the case that Friday evening of each week during the amusement season is set apart by them in all the settlements throughout Mormondom for their dance night. Their dances are generally under the supervision of the presiding bishop and are invariably opened with prayer or invocation, and closed or dismissed in the same manner, with a brief return of thanks to the Almighty for the good time they have enjoyed.

The theatre is so popular among the Mormon people, that in almost every town and settlement throughout their domains there is an amateur dramatic company.

It is scarcely to be wondered at that Salt Lake has the enviable distinction of being the best show town of its population in the United States, and when we say that, we may as well say in the whole world. It is a well established fact that Salt Lake spends more money per capita in the theatre than any city in our country.

Such a social condition among a strictly religious people is not little peculiar, and is due, largely, to the fact that Brigham Young was himself fond of the dance and also of the theatre. He could "shake a leg" with the best of them, and loved to lead the fair matrons and maidens of his flock forth into its giddy, bewildering mazes. Certain round dances, the waltz and polka, were always barred at dances Brigham Young attended, and only the old-fashioned quadrilles and cotillions and an occasional reel like Sir Roger de Coverly or the Money Musk were tolerated by the great Mormon leader.

That Brigham Young was fond of the theatre also, and gave great encouragement to it, his building of the Salt Lake Theatre was a striking proof. He recognized the natural desire for innocent amusement, and the old axiom "All work and no play makes Jack a dull boy," had its full weight of meaning to him. Keep the people in a pleasurable mood, then they will not be apt to brood and ponder over the weightier concerns of life.

There may have been a stroke of this policy in Brigham Young's amusement scheme; but whether so or not he must be credited with both wisdom and liberality, for the policy certainly lightened the cares and made glad the hearts of the people.

Although Salt Lake City has been the chief nursery of these twin sources of amusement for the Mormon people, to find the cradle in which they were first nursed into life, we will have to go back to a time and place anterior to the settlement of Salt Lake. Back in the days of Nauvoo, before Brigham Young was chief of the Mormon church, under the rule of its original prophet, Joseph Smith, the Mormon people were encouraged in the practice of dancing and going to witness plays. Indeed, the Mormons have always been a fun-loving people; it is recorded of their founder and prophet that he was so fond of fun that he would often indulge in a foot race, or pulling sticks, or even a wrestling match. He often amazed and sometimes shocked the sensibilities of the more staid and pious members of his flock by his antics.

Before the Mormons ever dreamed of emigrating to Utah (or Mexico, as it was then), they had what they called a "Fun Hall," or theatre and dance hall combined, where they mingled occasionally in the merry dance or sat to witness a play. Then, as later in Salt Lake, their prophet led them through the mazy evolutions of the terpsichorean numbers and was the most conspicuous figure at all their social gatherings.

While building temples and propagating their new revelation to the world, the Mormons have always found time to sing and dance and play and have a pleasant social time, excepting, of course, in their days of sore trial. Indeed, they are an anomaly among religious sects in this respect, and that is what has made Salt Lake City proverbially a "great show town."

Mormonism during the Nauvoo days had numerous missionaries in the field and many converts were added to the new faith. Among others that were attracted to the modern Mecca to look into the claims of the new evangel, was Thomas A. Lyne, known more familiarly among his theatrical associates as "Tom" Lyne.

Lyne, at this time, 1842, was an actor of wide and fair repute, in the very flush of manhood, about thirty-five years of age. He had played leading support to Edwin Forrest, the elder Booth, Charlotte Cushman, Ellen Tree (before she became Mrs. Charles Kean), besides having starred in all the popular classic roles. Lyne was the second actor in the United States to essay the character of Bulwer's Richelieu-Edwin Forrest being the first.

The story of "Tom" Lyne's conversion to the Mormon faith created quite a sensation in theatrical circles of the time, and illustrates the great proselyting power the elders of the new religion possessed.

Lyne, when he encountered Mormonism, was a skeptic, having outgrown belief in all of the creeds. It was in 1841 that George J. Adams, a brother-in-law of Lyne's, turned up suddenly in Philadelphia (Lyne's home) where he met the popular actor and told him the story of his conversion to the Mormon faith. Adams had been to Nauvoo, met the prophet and become one of his most enthusiastic disciples. Adams had been an actor, also, of more than mediocre ability, and as a preacher proved to be one of the most brilliant and successful expounders of the new religion. Elder Adams had been sent as a missionary to Philadelphia in the hope that his able exposition of the new evangel would convert that staid city of brotherly love to the new and everlasting covenant.

In pursuance of the New Testament injunction, the Mormon missionaries are sent out into their fields of labor without purse or scrip, so Elder Adams, on arriving at his field of labor, lost no time in hunting up his brother-in-law, "Tom" Lyne, to whom he related with dramatic fervor and religious enthusiasm the story of his wonderful conversion, his subsequent visit to Nauvoo, his meeting with the young "Mohammed of the West," for whom he had conceived the greatest admiration, as well as a powerful testimony of the divinity of his mission.

Adams was so convincing and made such an impression on Lyne that he at once became greatly interested in the Mormon prophet and his new revelation. This proved to be a great help to Elder Adams, who was entirely without "the sinews of war" with which to start his great campaign.

The brothers-in-law put their heads together in council as to how the campaign fund was to be raised, and the result was that they decided to rent a theatre, get a company together, and play "Richard III" for a week. Lyne was a native of Philadelphia and at this time one of its most popular actors. It was here that Adams had met him a few years before and had given him his sister in marriage.

The theatrical venture was carried through, Lyne playing Richard and Elder Adams, Richmond. The week's business, after paying all expenses, left a handsome profit. Lyne generously donated his share to the new cause in which he had now grown so deeply interested and Elder Adams procured a suitable hall and began his missionary labors. His eloquent exposition of the new and strange religion won many to the faith; one of the first fruits of his labors being the conversion of Thomas A. Lyne.

Such an impression had Adams's description of the Mormon prophet and the City of the Saints (Nauvoo) made upon Lyne that he could not rest satisfied until he went and saw for himself. He packed up his wardrobe and took the road for Nauvoo. With a warm letter of introduction from Elder Adams to the prophet, it was not long before Lyne was thoroughly ingratiated in the good graces of the Mormon people. He met the prophet Joseph, was enchanted with him, and readily gave his adherence to the new and strange doctrines which the prophet advanced, but whether with an eye single to his eternal salvation or with both eyes open to a lucrative engagement "this deponent saith not."

The story runs that after a long sojourn with the Saints in Nauvoo, during which he played a round of his favorite characters, supported by a full Mormon cast, he bade the prophet and his followers a sorrowful farewell and returned to his accustomed haunts in the vicinity of Liberty Hall.

During his stay in Nauvoo, Mr. Lyne played quite a number of classical plays, including "William Tell," "Virginius," "Damon and Pythias," "The Iron Chest," and "Pizarro." In the latter play, he had no less a personage than Brigham Young in the cast; he was selected to play the part of the Peruvian high priest, and is said to have led the singing in the Temple scene where the Peruvians offer up sacrifice and sing the invocation for Rolla's victory. Brigham Young is said to have taken a genuine interest in the character of the high priest and to have played it with becoming dignity and solemnity. Here was an early and unmistakable proof of Brigham Young's love for the drama.

Mr. Lyne, while relating this Nauvoo incident in his experience to the writer, broke into a humorous vein and remarked:

"I've always regretted having cast Brigham Young for that part of the high priest."

"Why?" I inquired, with some surprise.

With a merry twinkle in his eye and a sly chuckle in his voice, he replied: "Why don't you see John, he's been playing the character with great success ever since."

There are still a few survivors of the old Nauvoo dramatic company, who supported "Tom" Lyne, living in Salt Lake. Bishop Clawson, one of the first managers of the Salt Lake theatre, is among them.

Lyne played a winning hand at Nauvoo. He made a great hit with the prophet, who took such a fancy to him that he wanted to ordain him and send him on a mission, thinking that Lyne's elecutionary powers would make him a great preacher. But "Tom" had not become sufficiently enthused over the prophet's revelations to abjure the profession he so dearly loved, and become a traveling elder going about from place to place without purse or scrip, instead of a popular actor who was in demand at a good sized salary.

Lyne had made his visit remunerative and had enshrined himself in the hearts of the Mormon people, as the sequel will show: but he drifted away from them as unexpectedly as he had come. Having become a convert to the new religion, it was confidently expected that he would remain among the Saints and be one of them; but he drifted away from them and the Mormons saw no more of "Tom" Lyne till he turned up in Salt Lake twenty years later, soon after the opening of the Salt Lake Theatre.

Lyne was the first star to tread its stage and played quite a number of engagements during the years from '62 to '70. He made money enough out of his engagements at the Salt Lake Theatre to live on for the remainder of his days. For the last twenty years of his life, he rarely appeared in public except to give a reading occasionally. With his French wife, Madeline, he settled down and took life easy, living cosily in his own cottage, and in 1891 at the advanced age of eighty-four Thomas A. Lyne passed peacefully away, a firm believer in a life to come but at utter variance with the Mormon creed, which he had discarded soon after his departure from Nauvoo.

Thus far into the bowels of the land

Have we marched on without impediment.

-Shakespeare.

When the Mormons came from Nauvoo to Salt Lake they brought with them to this wilderness in the Rocky Mountains, the love of the drama, and as a consequence it was not long, only a few years from 1847 to 1850, before they began to long for something in the way of a theatre.

The pleasant recollections of the drama as interpreted at Nauvoo by Mr. Lyne and his supporting cast, were still fresh in their memories, and almost before many of them had comfortable houses to live in they began to yearn for some dramatic amusement. As a result of this strong inclination for the play and a still more universal desire for dancing, it was but a short time before their wishes materialized.

As early as the fall of 1850 they had formed a club called the Musical and Dramatic Association. The name was a comprehensive one, intentionally so, for the organization included the celebrated "Nauvoo Brass Band," a number of whose members also figured in the dramatic company. Indeed it was from this musical organization that the dramatic company really sprang.

The members of this original dramatic company were John Kay, Hyrum B. Clawson, Philip Margetts, Horace K. Whitney, Robert Campbell, R. T. Burton, George B. Grant, Edmond Ellsworth, Henry Margetts, Edward Martin, William Cutler, William Clayton, Miss Drum, Miss Margaret Judd, and Miss Mary Badlam. Miss Badlam, in addition to playing parts, was very popular as a dancer and gave her dancing specialties between the acts, making something like our up-to-date continuous performance.

The first public dramatic performances were given in the "Bowery" (a very reminiscent name for a New York theatre goer of that day). "The Bowery" in this case was a summer place of worship which stood on the Temple Block near where the big Tabernacle now stands. In this place of worship as early as the year 1850, with the aid of a little home-made scenery and a little crude furniture, were the first plays presented to a Salt Lake audience.

The first bill consisted of the old serio-comic drama, "Robert Macaire, or the Two Murderers," dancing by Miss Badlam, and the farce of the "Dead Shot."

Judging by their titles, these plays were rather a gruesome selection to play in a church. As it is a matter of historic interest the cast so far as procurable is appended of "Robert Macaire:"

Robert Macaire ................................. John Kay

Jacque Stropp ............................. H. B. Clawson

Pierre .................................. Philip Margetts

Waiter .................................. Robert Campbell

Clementina ................................ Margaret Judd

Celeste ....................................... Miss Orum

Several other plays were given during this first dramatic season and were creditably performed, affording pleasure both to the audiences and actors; the only remuneration the actors received, by the way, for it must be remarked that these first dramatic efforts were entirely voluntary on the part of the company.

The orchestra which played in connection with this first dramatic company deserves to be made a matter of record quite as much as the company itself, for it was also drawn from the ranks of the historic "Nauvoo Brass Band."

William Pitt, the captain of the band, was the leader of the orchestra. He could "play the fiddle like an angel," handling the bow with his left hand at that. The associate players of Captain Pitt were William Clayton, James Smithers, Jacob Hutchinson, David Smith, and George Warde. The Musical and Dramatic Association played in the Bowery occasionally from 1850 to 1852.

The first amusement hall built in Salt Lake, which was used chiefly for dancing, was erected at the Warm Springs in the year 1850. It was a good sized adobe building and served as a social hall until 1852, when the Social Hall proper was completed. It was built at this out of the way place so as to combine the use of the Warm Springs for bathing with the social meetings held there. But it proved to be too difficult to get to, when the nights were dark and the roads were bad, so Brigham Young had the Social Hall built which was quite central and the Warm Springs music hall was converted into a roadside tavern and was run by Jesse C. Little for a time.

The first string band to furnish music for dances played at this hall and was composed of Hopkins C. (familiarly known as "Hop") Fender, Jesse Earl and Jake Hutchinson. These gentlemen deserve to be remembered in the musical history of Salt Lake City as the first to furnish the inspiring strains to which the worthy pioneers danced.

In the fall of 1852, the Musical and Dramatic Association was reorganized and renamed the "Deseret Dramatic Association." In this year the historic Social Hall was erected, and with a view to opening it with becoming brilliancy the original company was greatly added to, for the drama had become a popular amusement with the Saints, and many of the chiefs of the church, including President Young, held honorary membership in the "D. D. A."

The Social Hall, which is still standing and in well preserved condition, is one of the old landmarks that are fast disappearing. It is a comparatively small structure about 40x80 feet. It was considered in its time a fine amusement hall but has long since become dwarfed by the greater buildings which have gone up around it. It has a stage twenty feet deep, two dressing rooms under the stage, an ample basement under the hall for banqueting purposes. This auditorium is about 40x60 feet with a level floor for dancing for the amusement of the play and dancing were fairly and considerately alternated by the managers of the D. D. A.

In the early winter of 1852 this hall was opened with a dance to which the elect were invited, and it was a great crush. The first social gathering in the new hall formed a sort of punctuation mark in the social caste among the Saints.

Of course, the hall being small, the invitations had to be limited and many there were who felt slighted because they were not among the invited. Envy on the one hand and a supercilious superiority on the other gave birth to a feeling of caste which was altogether in bad taste among professing Saints.

The great event of this season in the amusement line was the dramatic opening. Local artists had been employed for some time and had stocked the stage with excellent scenery. Bulwer's classic play "The Lady of Lyons" was selected for the opening bill. The company had been so strengthened that the members could cast any of the great plays. To the original company had been added besides a long list of honorary members, the following named active male members: James Ferguson, Bernard Snow, David Candland (stage manager), John T. Caine, David McKenzie, Joseph Simons and Henry Maiben; to the female contingent had been added Mrs. Cyrus Wheelock, Mrs. Henry Tuckett, Mrs. Joseph Bull, Mrs. John Hyde, Mrs. Sarah Cook. It will be observed that they were all married women. This is a very noticeable feature, as it is so unusual in a dramatic company nowadays, either amateur or professional. The explanation of it, however, is simple enough. At that time there were few if any unmarried women in Utah that had arrived at the marriageable age. The only three women whose names appear in the original company were unmarried, Miss Judd, Miss Orum and Miss Badlam, which seems exceptional and they now seem to have all disappeared, or they are overshadowed by the married women, or perhaps they appear in the reorganized company under a new name with Mrs. attached.

The Social Hall theatrical opening was an event in the history of Utah. It may be truly said that it marked an epoch in the development of civilization in the Rocky Mountain region and the growth of the drama in the far West. Even San Francisco had not up to this time made any such ambitious attempt in the dramatic line.

I have not been able to procure a program of this opening performance but the cast of the principal characters was as follows:

Claud Melnotte ........................... James Ferguson

Monsieur Beauseant ....................... David Candland

Monsieur Glavis ........................... John T. Caine

Col. Damas ........................ John D. T. McAllister

Mons. Deschapples ..................... Horace K. Whitney

Landlord ................................ Philip Margetts

Pauline Deschapples ....................... Mrs. Wheelock

Madame Deschapples ................... Mrs. M. G. Clawson

Widow Melnotte .......................... Mrs. Sarah Cook

The play was a pronounced success and the players covered themselves with glory. A number of plays were now put on in rapid succession, for the D. D. A. had caught the true dramatic fire, and the people were hungry for the play. In the great plays, a number of which were essayed, the characters were strongly filled.

Bernard Snow, who had played with the elder Booth in California, which gave him a brief professional experience, was easily in the lead of all the Mormon actors. He played an Othello that would have done credit to Shakespeare anywhere, while Ferguson as Iago was scarcely less convincing. In "Damon and Pythias" also these players shone with more than ordinary brilliancy. Snow's Damon was pronounced a work of art, while Ferguson looked and acted Pythias to the admiration of all who witnessed it. Mrs. Wheelock as Calanthe and Mrs. Tuckett as Hermion made up a quartet of players that would have graced any stage in the country.

"Virginius" was also played here with Snow in the title role, a favorite with him. When Lyne came ten years later and played these same characters in the Salt Lake Theatre, many of the old frequenters of the Social Hall ranked Bernard Snow as Lyne's equal and they had to be brought to play together in the Salt Lake Theatre to gratify the many admirers of both.

"Pizarro" was the play chosen for this event and it served to pack the theatre. Lyne appeared as Pizarro for the occasion although Rolla was his favorite part. This gave Snow the advantage as Rolla is the star part. It proved a great hit both financially and artistically.

The Social Hall orchestra was a feature at all the dramatic performances, and came in for its due share of praise and admiration. It was under the direction of Domenico Ballo, who had formerly been a band master at West Point. He was a fine composer and arranger, and one of the best clarinet players ever heard. Professor Ballo was a graduate of the Conservatory of Music at Milan. He served several years as band master at West Point. He drifted into Utah at an early day and cast his lot with the Mormons. He organized a fine brass band here and built a fine dance hall which was known as "Ballo's Music Hall."

Salt Lake City has from a very early period in its history enjoyed an enviable reputation in a musical way. Its first musical organization as already mentioned was the Nauvoo Brass Band, organized originally in Nauvoo in connection with the Mormon militia known as the "Nauvoo Legion," of which Joseph Smith held the distinguished office of Lieutenant General. The exodus from Nauvoo and the formation soon afterwards of the "Mormon Battalion" demoralized to a great degree both the legion and the band. Both organizations, however, were reconstructed soon after the settlement of Utah, and each played a conspicuous part in its early history.

At the laying of the corner stone of the Salt Lake Temple as early as 1853, the Nauvoo Brass Band and Ballo's Brass Band were consolidated for this occasion and increased to sixty-five players under the leadership of Professor Ballo, who gave the people of Salt Lake a musical treat that would have been a credit to any metropolitan city. Ballo was a thorough and accomplished musician and his masterly work at such an early period had much to do with developing Salt Lake's musical talent.

From 1852 to 1857 the Social Hall continued to be the principal place of amusement for the people of Salt Lake City, as well as those who came in from various parts of the Territory. Those living at a distance and visiting the city either on business or pleasure (which were generally combined) deemed themselves extremely fortunate if there chanced to be a play "on the boards" during their brief sojourn in the city.

The fame of the Social Hall and its talented company of players, dramatic and musical, had spread abroad in the land and many of the smaller towns began to emulate Salt Lake City and organized dramatic clubs.

In the year 1857 amusements as well as business of all kinds received a sudden and severe shock from which it took a year or more to recover. In this year a rupture occurred between the Mormon chiefs and the United States Judges, which resulted in President Buchanan sending Albert Sidney Johnson to Utah with an army to crush the incipient rebellion. The heroes of the Social Hall stage now were cast to play more serious parts. The stage was now to be the tented field, their music, the roll of the drum and the ear-piercing fife.

"Jim" Ferguson, one of the leading actors, was Adjutant General of the "Nauvoo Legion," as the Territorial militia was called, and all the other stage heroes were enrolled under its banners. The "Legion" was sent out into the mountains to check the advance of the invading army. Not only did all amusement and business generally come to a sudden stop, but so serious was the situation that a general exodus of the people to the south was ordered by the church authorities and Salt Lake City was abandoned.

Meeting houses, theatre, stores and nearly all the dwellings in the city were vacated, and the intention was to burn the city rather than this "hell born" army should occupy and pollute it.

No occasion for carrying into effect this insane resolution transpired, for which the people have ever since been thankful. Soon after its adoption a better understanding was reached between the refractory Saints and Uncle Sam's government, and the people gradually came back to their homes in the city, glad indeed that the sacrificial torch had not been applied to them.

"The invading army" had passed peacefully through the city and made its encampment forty miles away. Things began to resume their normal condition, but the winter of 1857-8 was a blank in the Mormon amusement field.

Now is the winter of our discontent

Made glorious summer by this son of York,

And all the clouds that lowered upon our house,

In the deep bosom of the ocean buried;

Now are our brows bound with victorious wreaths,

Our bruised arms hung up for monuments,

Our stern alarums are changed to merry-meetings

And our dreadful marches to delighted measures.

-Richard III.

The Mormon war cloud that lowered so portentously during the winter of 1857-8 had been dispelled without bloodshed, and peace once more brooded over the land. The soldiers of the "Nauvoo Legion" had "hung up their un-bruised arms for monuments" and resumed their old avocations, and the wheels of trade, "the calm health of nations," were once again running in their accustomed grooves.

The people had set to work with redoubled energy to make up for the losses "the war" had entailed upon them, so that they had little time or inclination for amusement. The advent of Johnson's army into Utah, although encamped forty miles from the city, had its effect; it brought in its wake, as an army always does, a lot of camp followers,-hangers-on-a contingent that was thrown largely into Salt Lake, and not a desirable one. This made the Mormon people wary and suspicious, and inclined them more than ever to isolate themselves from strangers.

Notwithstanding this condition of affairs, in the winter of '59 they began to resume their usual amusements, and a number of plays were given that winter in the Social Hall.

By this time the "army" having no active service, began to feel the need of some amusement, and some of the soldiers improvised a theatre in the camp.

Sergt. R. C. White, better known later among Pacific coast theatricals as "Dick" White, was the leading spirit in this affair. White was a scholar as well as a soldier; moreover, he had the poetic and dramatic instinct in him, and in common with all living creatures, he felt that he must exercise his faculties. So in order to give vent to his pent up love of the drama, he organized a dramatic company among the soldiers of Camp Floyd. The Sergeant, or "Dick" as he was called, was not only a clever amateur actor but a poet, and something of an artist as well. By his skill in this latter line he soon had the necessary scenery painted for the Camp theatre. Pigments were scarce in the camp and even in Salt Lake at that time, but White was resourceful, and equal to every emergency, so he made levy on the quartermaster's department for liberal supplies of mustard, red pepper, ox blood, and other strange materials with which to get in his color effects.

The "Camp Floyd Theatre" as it was called, was not a stupendous structure, only large enough to accommodate about two hundred persons, and the stage in proportion to the auditorium. It was built of rough pine boards and canvas-principally canvas-but answered all the requirements of a theatre for the amusement of the camp.

White had but little trouble in organizing his corps dramatique, so far as men were concerned, but the female contingent gave him much concern and considerable trouble to secure. Women in the camp were scarce, and female talent was at a premium. There were a few officers whose wives were with them and some "hired help" of the female persuasion, but none of the women of the camp had any experience in theatricals. Several were willing, and even eager to try; so White made a selection and cast a play and put it in rehearsal, but "woe is me!" the women were all such tyros that he was almost in despair, until he suddenly conceived the project of engaging one of the Social Hall actresses to play the leading female character; if he could do that, then, he reasonably argued that he could get along, but could a Mormon actress be induced to come to Camp Floyd?

Here was a dilemma; but the bold Richard perhaps thought of the lines of his renowned namesake, Richard Plantagenet:

"Dangers retreat when boldly they're confronted,

And dull delay leads impotence and fear,"

so he took courage. He opened up a correspondence with Mrs. Tuckett of Social Hall fame. White was an accomplished writer, and poetical, and there is no doubt he could write a winning letter. We have no knowledge of what inducements he offered, so can only surmise that a liberal salary was the temptation held out to her. Suffice it to say that Mrs. Tuckett accepted the offer and joined the Camp Floyd Theatre Company, thus making a noticeable weakening of the Social Hall force, and creating a commotion among her fellow players in Salt Lake, and the people generally, as she went in opposition to the wishes of her husband and friends and the church authorities. It was regarded not only as an unwise step for Mrs. Tuckett to take, but a discreditable one.

It was a reproach to the Saints to have one of their number go and mingle with the ungodly soldiers who had come out here to destroy them. Mrs. Tuckett was looked upon from the moment of her departure as a lost sheep from the fold. These apprehensions were not unfounded, for Mrs. Tuckett, whether wearied of her Mormon environment, or led away by the unusual attentions shown her by the officers and men of the camp (with whom her acting soon made her a great favorite), lost any former love she may have had for Salt Lake, and sundered all social and family ties there.

"Dick" White, poet, actor, artist, achieved another conquest; not only had he succeeded in getting Mrs. Tuckett away from the Social Hall company, but later on he won the affections of the Mormon actress and took her completely away from her family, friends and church. In some way White severed his connection with the army before the breaking out of the Civil War and had gone to California "taking the fair Desdemona with him." He married her and they lived together in Folsom, California; only a few years, however; Mrs. Tuckett-White died there in '63.

Mrs. Tuckett, whose maiden name was Mercy Westwood, was of English birth, came to Utah in the early '50s where she soon afterward married as a polygamous wife. The Westwood family had a strong predilection for the stage; three of her brothers, Richard, Phillip and Joseph Westwood, figured conspicuously a little later on in the Springville Dramatic company. Her desertion from the ranks of the Social Hall company had created a vacancy they found it difficult to fill. She had been playing the leading roles, filling the place of Mrs. Wheelock who also became disaffected and went to California in '57 with a number of others, under protection of Col. Steptoe's command.

What particular reason Mrs. Wheelock had for withdrawing from the Mormon people, we do not know. She settled in Sacramento where after a time she became Mrs. Rattenbury, and has never returned except for a brief visit and this quite recently.

Mrs. Tuckett was the wife of Henry Tuckett who is still living in Salt Lake; and had four children by him at the time she left, and in abandoning husband and children to share the fortunes of the soldier actor Dick White, she subjected herself to a vast amount of severe and apparently just criticism. There is little known of her life after she left Utah even by her relatives; she probably regretted the step she had taken when too late.

The Mormons never forgave White for taking Mrs. Tuckett from them. He visited Salt Lake about four years after the death of his Mormon wife, in the dramatic company of John S. Langrishe, who had Mr. C. W. Couldock with him and was traveling by stage overland to the gold mining towns of Montana; Virginia City of vigilante fame being their objective point.

The Langrishe-Couldock company opened in the Salt Lake Theatre, August the first, 1867, in the "Chimney Corner" with Couldock in his favorite character of Peter Probity. R. C. White was the Solomon Probity of the cast. White was apprehensive of trouble if he should be discovered by the friends of Mrs. Tuckett, who regarded her peculiar "taking off" almost in the sense of an abduction. Conspicuous among Mrs. Tuckett's friends were the managers of the theatre, H. B. Clawson and John T. Caine; so White discreetly kept himself secluded during the day as much as possible, and only put in an appearance at the theatre when it was time to dress for the play.

White was not personally known to the managers, or any of the employees about the theatre. He had been little in Salt Lake during the army's occupation of Camp Floyd and consequently was scarcely known. Trusting to these circumstances he hoped to escape recognition, and avoid the storm of abuse he felt sure would be showered on his guilty head; but unfortunately his name was on the program and although a common name and one that might easily escape especial notice, White was by no means a common man and his performance of Solomon attracted special attention to him.

Some man in the audience who had met him at Camp Floyd recognized him, and quietly informed the managers who he was. The whisper spread about with amazing rapidity and he began to be pointed out as the "reprobate and unscrupulous scoundrel" who had enticed Mrs. Tuckett away from home and friends and people.

To make sure that this was the veritable White, the manager made some inquiries regarding him of Jack Langrishe, his manager. This was sufficient to arouse the curiosity of the company with regard to White's previous experience in Utah. White did not make a second appearance at the theatre. He had caught something of the buzz that was in the air about him, and quietly dropped out of the Langrishe company for the remainder of its Salt Lake engagement.

The Langrishes remained two weeks and then moved on to Montana. White had not been entirely idle in the interim. He had made the acquaintance of a second Salt Lake woman, whom he prevailed upon to join him soon after his departure, and they were married shortly after; the woman casting in her fortune with the Langrishe troupe and doing such parts as they thought fit to cast her in.

Mr. and Mrs. White eventually drifted into Portland, Oregon, and made that their home for many years. It was there the writer made their acquaintance some fifteen years later when he went to play leads for John Maguire at the New Market Theatre. They appeared to be living harmoniously and had four lovely children, two boys and two girls, the eldest about twelve years of age and a promising young actress. White was then the editor of the "Bee," an afternoon paper, and played on occasions in Maguire's Stock company.

Some years later White with his family removed to San Francisco, where he became the stage manager of the Tivoli. It was during his incumbency of this position that he made the first dramatization of Rider Haggard's "She," and gave it its first production on the stage, which proved to be a great success and started numerous other companies to play it.

White has now "fallen into the sere and yellow leaf" and for the last dozen years has been affectionately called by the profession "Daddy White."