While still an adolescent, Elihu Vedder left New York and traveled with his family to the Caribbean, where he determined to be an artist.
Figaro discusses his twenty-year struggle to form an opinion about Charles Kean with Mr. Editor. Figaro discusses in detail Kean's debut performance in Henry VIII at the Broadway this week and engages in a long discussion of Kean's acting style and its parallels to art (specifically painting). Figaro claims he hasn't had a chance to see Ward at Irving Hall yet, but plans to in the next week, as Ward will be followed by Mr. Bateman the week after that. Figaro updates readers about the "war" between Maretzek and the Herald, reporting that the Times has joined the Herald's side. Figaro promises updates next week if things continue and notes that Maretzek will be opening at the Academy with the "best operatic company that exists in the world" (73). Figaro also gives a general list of theatrical news, including reports that Jefferson is starring in a version of Rip Van Winkle written by himself and Boucicault at the Adelphi in London and that De Walden has finished his new play, Sam and is headed to Indianapolis with Frank Chanfrau to try it out.
Figaro compares Booth's Hamlet to Charles Kean's Hamlet. Figaro likens Booth's portrayal to a "portrait by Vandyke" (72).
Figaro reports that De Walden has finished his new play, Sam, and is headed to Indianapolis with Frank Chanfrau to try it out (73).
Figaro reports that Jefferson is at the Adelphi in London, performing in a version of Rip Van Winkle written by himself and Boucicault (73).
Figaro recollects a discussion of art with Vedder (73).
Figaro claims that he's been so busy watching the Keans at the Broadway that he's been unable to get over to Irving Hall for Ward's lectures; "to laugh and cry over Artemus Ward's 'Adoo!'" (73).
The Vault at Pfaff's
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