"Beautiful bare-legged girls hanging in flower baskets; others stretched in groups on great sea shells; others clustered around fluted columns; others in all possible attitudes; girls - nothing but a wilderness of girls - stacked up, pile on pile, away aloft to the dome of the theatre, diminishing in size and clothing, . . . The whole tableau resplendent with columns, scrolls, and a vast ornamental work, wrought in gold, silver and brilliant colors - all lit up with gorgeous theatrical fires…" gushed Mark Twain in reporting his New York experience to his San Francisco readers.
He described
The Black Crook, the first American musical, then in the middle of a long run, having opened September 12, 1866. Since then, shows such as
Showboat, Porgy and Bess, Oklahoma!, Westside Story, and
A Chorus Line have established the American musical as a true and unique contribution to world culture.
William Wheatley (1816-1876)
William Wheatley, 50 when he achieved his greatest success,
The Black Crook, dressed in dark fashionable clothes. A long frock coat covered a vest with watch chain, every bit the gentleman from his high collar and ascot tie with stick pin to his shinny shoes. His fashionably long hair, dark, and curly, gave him an artistic aspect along with his full, slightly unkempt, moustache. True to his actor's good looks, Wheatley spoke with perfect diction and rolled his rrrrs to give his voice dramatic affect. William Winter, who didn't much care for him said, "His bearing was pompous, yet urbane." In his appearance and manner
s Wheatley was picturesque. The very embodiment of both an artistic innovator and a businessman, Wheatley was a true theatrical entrepreneur.
Born in the proverbial actor's trunk in 1816 into a theatrical family, William Wheatley's mother and father were both actors. He first trod the boards at the age of 10. In October, 1826, Master Wheatley had a rare opportunity. Just one month earlier, in September, William Charles Macready, a star English actor, "sailed for America, and opened at the Park Theatre, New York, Oct.2, as Virginius." He needed a child to play young Albert in his forthcoming production of William Tell. Wheatley opened in the part on October 13. The child's performance impressed the famed actor, who praised his talent and asked "his parents to let him accompany him on his starring tour through the States, for the express purpose of personating the character of Albert." Following his first remarkable success, young William next made a strong impression starring in the popular play Tom Thumb. By the time he was eleven, Wheatley's life as an actor was assured.
However, acting became work rather than play and twice he temporarily retired from the stage. In 1849, the actor became disgusted with his profession, "He had labored in it long and hard, and rather than waste more of his years and energy upon labor so unrenumerative, resolved to leave it."
William Winter, the Tribune's critic, assessed Wheatley's acting,
"The parts in which he was best were showy, romantic, and pictorial. His Captain Absolute was a perfect embodiment. He was admirable in Claude Melnotte and in Doricout. His acting did not inspire affectionate interest, and it may be doubted whether any performance that he gave is remembered by any person with delight. . . . His influence upon the Stage was at times good, but it was neither deep, comprehensive, nor permanent. He was not a great actor, . . . "
Joseph Whitton expressed a different opinion:
"While he lived, the Stage knew but few better actors than William Wheatley, and since his time it has known but few so good. In 'juvenile' parts he was always acceptable, but 'light comedy' was the field better fitted for the show of his
ability. In such characters as 'Rover,' 'Young Rapid,' 'Bob Handy' . . .. and the 'Copper Captain". . . he had no peer--with the possible exception of James E. Murdoch."
Wheatley was a competent and popular actor, but unlike popular actors such as Edwin Forrest, he was unrewarded financially. Unwilling to continue suffering for his art, his interests turned elsewhere. He worked for a year on Wall Street. Then, he and Whitton opened The American Hotel in Virgin Bay, Nicaragua.
After an initial success, the hotel ventured turned unprofitable and Wheatley returned to the states to make his fortune. Naturally, he turned to what he knew best, the theatre. However, he did not return solely to act, but also to theatrical management, stage production, and, eventually, prosperity.
In the Spring of 1862, after an acting engagement at Niblo's Garden, he leased the theatre and started full-time management of all of the theatre's productions. A step that would lead him to the greatest triumph of his life.
