Copyright © 2020 by Wendy Waszut-Barrett
On Christmas Day in 1880, the “New York Clipper” included an advertisement for the sale of scenery painted by Henry C. Tryon: “SCENERY for a tropical transformation , properties, dresses , etc… and the manuscript and music or The Tale of Enchantment are offered for sale by Henry C . Tryon , who advertises.” (New York Clipper, 25 Dec 1880). 1879 advertisements in Baltimore marketed “A Tale of Enchantment and the Grand Transformation Scene” (Baltimore Sun, 1 March 1879, page 1).
It was the inclusion of “tropical transportation” that caught my eye, and I immediately thought of the tropical wings painted for the Tabor Opera House by Henry E. Burcky in 1890. Burcky and Tryon had worked together in 1881, painting scenes for the Opera Festival in Cincinnati. Both worked for the Tabor Grand Opera House in the 1880s. Burcky’s extant jungle wings at the Tabor may be our closest visual example for Tryon’s tropical transformation, both in period and technique.
Based on “The Black Crook,” the Tryon Brothers presented a “grand spectacular romance in four acts” (Baltimore Sun, 24 Feb 1879. Page 1). It was first performed at Baltimore’s Front Street Theatre in 1879.
The Tryon Brothers presented this advertisement promised, “Replete with all the elements of the most wildly romantic interest, produced at an actual cost of three thousand dollars. 100 superb and costly dresses, rich appointments, and glittering paraphernalia.” Ethe advertisement went onto describe the inclusion of eighteen members from the “Great Vienna Ballet Troupe,” under the direction of “well-known Maître de Ballet, Mons. A. Blandowski.” In all, there were one-hundred member’s in the company. The “Baltimore Sun,” reported the inclusion of a “beautiful and charming transformation scene – Fairy Palace of Pleasure – Dazzling and Glittering Dresses and Gorgeous Lovely Cupids” (“Baltimore Sun,” 27 Feb 1879, page 1).
Although it had been thirteen years since the premiere of “The Black Crook,” the current owners of the show filed objected to the close imitation, again. A legal notice was also posted on February 24, 1879 in the “Cincinnati Daily Star” – “The injunction against the Front-street theater for presenting “A Tale of Enchantment,” is threatened by owners of the “Black Crook, which is claimed to be the same play” (Cincinnati Daily Star, 24 Feb 1879, page 1). This legal notice became a great marketing devise for the Tryon Bros. show; two days later, only standing room was left to see the show at the Fourteenth Street Theatre in Baltimore. This also did not stop the show from completing the Baltimore run or touring that year. If anything, “A Tale of Enchantment now embraced its similarities to the “Black Crook.”
Litigation issues, citing “The Black Crook” imitations, were not new. On November 30, 1867, the “New York Clipper” included an article entitled, “The ‘Black Crook’ in Court” (page 270). The article noted “On the 16th inst. an injunction was issued in Memphis, Tenn., enjoining George Deagle from performing the spectacle of a ‘Tale of Enchantment’ at the Greenlaw Opera House. The injunction was granted at the instance of J.H. Vicker, who appeared as ‘attorney in fact’ of John E. McDonough, who purchased the right to produce the spectacle entitled ‘The Black Crook’ from the author, C.M. Barras, in Memphis and several other prominent cities of the country. The injunction was granted on the grounds that the ‘Tale of Enchantment,’ as produced by Mr. Deagle, was ‘a colorable imitation of the ‘Black Crook’,’ and hence there was an alleged infringement of the rights of Mr. McDonough in the premises.”
Despite legal concerns in 1879, the Tryon Bros. took their show on the road. On May 26, 1879, a “Hartford Courant” advertised the show at the New National Theatre, announcing, “A Tale of Enchantment. Producing fac similes of all the dazzling effect of the Black Crook. New music – new ballets – new effects in illuminations – new properties – new and beautiful scenery – new costumes etc., etc.” (Hartford Connecticut, page 1). The tropical transformation scene was now referred to as, “Grand Manœuvre de Amazon.” It featured, “twenty-four young ladies of the Ballet, led by Stilecta. Grand Transformation Scene, introducing the Enchanted Home of the Fairies.”
The production did not always receive positive feedback from theatre critics in newspapers. When it was performed at Hamlin’s Theatre in Chicago, the “Inter Ocean” published a scathing review. Keep in mind that at least two of the original scenic artists for the original 1866 production of the “Black Crook” were living and working in Chicago during 1879. The Aug. 20 “Inter Ocean” article reported, “That old and much-abused spectacular drama, “The Black Crook,” is being presented at this place, under the precautionary title “A Tale of Enchantment.” It is not being severe to say that it is badly presented, at that. It is wanting in the two primary elements of success, the scenic gorgeousness and ballet effects.( The display of the latter respect is rather inadequate, to put it mildly. Imagine, moreover, 200 pounds of embonpoint as Queen of Flowers, and a corresponding obesity as the heroine of the mortal story! And the fairies correspond to all possible shapes from their queen down to the diminutive proportions of May Treat. Inasmuch as there is no call for good acting, that feature is not to be expected, and in the failure of all other traditionary features, the piece fails sadly into inferiority in every department. To somewhat atone for this, an olio is interspersed through the fete scene, made up of the Hamilton sisters, Fredericks, and Gloss Brothers, Forman and Butler, John Welch and Harry Stanly, who succeed in the duty of propitiation. Success would be more assured for the week is an addition was made of the limbistic attractions. The concluding or transformation scene is good” (Inter Ocean, page 7).
Regardless, the show was still touring at the end of the year. On Dec. 3, 1879, the “St. Louis Globe-Democrat” included an advertisement for “The Tale of Enchantment” at the Globe Theatre, noting that it had proven to be “a mine of popularity and patronage to this theater, and the specialties which are introduced and greatly to the interest of the spectacular show” (page 3).
By 1880, the Tryon Brothers production was soon faced with competition when the Kiralfy Brothers decided to produce the exact same show, but better. The Kiralfy’s version of “A Tale of Enchantment” advertised “On a scale of magnificence and grandeur surpassing anything ever seen in America. Entirely new and novel costumes. Brilliant and glittering armors and jewels, marvelous mechanical effects. Full corps de ballet, Grand cosmopolitan ballet of fifty ladies in glittering armor. Immense demon ballet. The world’s greatest premiere De Rose, Mlle. Pagaleri and Mons. Arnold Kiralfy introducing the following great European Specialty artists: Les Fantochs Valotte; the famous Ulm Sister in their eccentric Styrian Songs; the Three Ronaldos; Master Carling, the extraordinary Caricaturist; Grand Amazon March, and led by beautiful and charmingly formed young lady.” In regard the scenery, the advertisement noted, “A few of the numerous Stage Pictures are Village in Harz Mountains, a Wild Cross Path in Brocken, the Grotto of Stalacta, Palace of Lace, Laboratory, Pandemonium, Subterranean Vaults, the Grand Staircase of the Golden Terrace, Burning Forest, and the Grand Transformation Scene – the Homes of the Fairies.”
At the end of the first successful year for the Kiralfy’s production, Henry C. Tryon posted notice for sale of his scenery, indicating that the run of his production was over. By the summer of 1881, however, a new production of “A Tale of Enchantment” was advertised in Cincinnati. It is possible that this new production used Tryon’s scenic investitures. By August 31, 1881, the “Cincinnati Enquirer” reported “Vine-Street Opera-House now open with the TALE OF ENCHANTMENT, superior in every way to the renowned BLACK CROOK. New scenery and gorgeous costumes, with Signor Novissimo and his magnificent Spanish Ballet of 24 young ladies. Also, a number of America’s best specialty artists” (page 5).
To be continued…
