The Madison Square Theatre, situated on the south side of Twenty-fourth Street, a little way westward from Madison Square and adjacent to the old Fifth Avenue Hotel, stood on the site of what had been Daly’s first Fifth Avenue Theatre, opened August 17, 1869, and burnt down January 1, 1873. That site had, previous to 1869, been for several years occupied by a building, erected in the Civil War time, by Amos R. Eno, and devoted to public amusements. I remember it as once the professional abode of negro minstrels, and again as a sort of vaudeville theatre conducted by a journalist, then well-known, Thaddeus W. Meighan (1821-18—). In 1868 the notorious James Fisk, Jr., acquired control of it, and, in a much improved condition, it was opened, January 25, 1869, as Brougham’s Theatre, and such it continued to be until the following April 3, when Fisk summarily ousted Brougham and presently installed a company of French performers in opera bouffe, headed by Mlle. Irma. A few weeks later Augustin Daly obtained a lease of the building from Fisk, made extensive alterations in it, and opened it as the Fifth Avenue Theatre. Some time after its destruction by fire, in 1873, it was rebuilt, and presently it was leased by James Steele Mackaye (1842-1894), an actor and manager of rare talent and eccentric character, who named it the Madison Square Theatre, and opened it, April 23, 1879, with a revival (as “Aftermath; or, Won at Last”) of his play which had originally and successfully been produced, as “Won at Last,” December 10, 1877, at Wallack’s Theatre. Later, Mackaye formed an association with the Mallory brothers,—the Rev. Dr. George Mallory, editor of an ecclesiastical newspaper called “The Churchman,” and Marshall H. Mallory, a highly energetic and enterprising man of business,—the Mallorys becoming the proprietors of the theatre and Mackaye the manager. Under this new control great changes were made in the building; the auditorium was newly and richly decorated, a double stage, which could be raised and lowered, thus facilitating changes of scene, was introduced (the device of Mackaye), on a plan somewhat similar to that which had been successfully adopted ten years earlier by Edwin Booth, at Booth’s Theatre; a strong dramatic company was organized, and on February 4, 1880, the house was opened, with a drama by Mackaye, called “Hazel Kirke,” a rehash of an earlier play by him, called “An Iron Will,” which, in turn, had been adapted from a French drama.

“Hazel Kirke” met with extraordinary success, chiefly because of the superb impersonation of its central character, Dunstan Kirke, by Charles Walter Couldock (1815-1898). It was acted 486 consecutive times, at the Madison Square, and subsequently it was performed all over the country. Couldock withdrew from the cast, temporarily, after the 200th performance in New York, and Mackaye succeeded him. The run of “Hazel Kirke” at the Madison Square terminated on May 31, 1881, and on June 1 it was succeeded by William Gillette’s farce of “The Professor,” which held the stage till October 29, following, when it gave place to a play called “Esmeralda,” by Mrs. Frances Hodgson Burnett, which had 350 performances. Meanwhile Mackaye had become dissatisfied with his position and had determined to withdraw from it. His contract with the Mallorys, as he told me at that time (for I knew him well and he often talked with me about his affairs), had been heedlessly made and largely to his disadvantage. Contract or no contract, Mackaye and the Mallorys could not have long remained in association on amicable terms, because they were as antagonistic as fire and water. Mackaye was a wayward genius, of poetic temperament, wildly enthusiastic, impetuous, capricious, volatile, prone to extravagant fancies and bold experiments, and completely unsympathetic with regulative, Sunday-school morality. The Mallorys, on the contrary, were shrewd, practical business men, in no way visionary, thoroughly conventional in character,—in fact, moral missionaries, intent on making the Theatre a sort of auxiliary to the Church, their whole scheme of theatrical management being, originally, to profit by the patronage of the Christian public. Some persons, like some things, are incompatible. Mackaye resigned and withdrew while “Esmeralda” was still current, and thus the office was left vacant to which David Belasco succeeded.