Both Ernest Albert and Walter Burridge worked for Harley Merry at his Brooklyn Studio. Burridge started in 1870, just prior to Merry’s involvement with the Brooklyn Theatre. Albert started in 1877, after Merry had been let go from his position at the Brooklyn Theatre.
Merry was well-known as both a performer and scenic artist in England and Scotland. His birth name was Ebenezer J. Britton, and he performed with his wife Louise M. R. Britton (1844-1914). There is some confusion about the spelling of their last name as historic records use both Britton or Brittain. Louise used the stage name of Adelaide Roselle, and also later Adele Roselle Merry. She was a fairly successful actress, having performed with many well-known personalities, including James O’Neil and William Crane. Merry first traveled to the United States in 1869, permanently moving his family by 1871. He initially worked in New Orleans and Chicago before settling in Brooklyn, New York, where he became associated with the Brooklyn Theatre and Academy of Music. He produced scenery for a variety of well-known actors and producers in New York, including Conway, Sothern and Marlowe.
Merry became known for his painted illusions and spectacular stage effects the included the 1872 production “The Son of the Night.” It was advertised as a “Grand Marine Panorama and Sea Fight between the Pirate and the Spanish Fleet, painted expressly by Harley Merry, covering 5,000 square feet of canvas” (The Brooklyn Daily Eagle, Vol. 33, No. 287, pg. 1). He also provided all of the new scenery for “The Naiad Queen, or the Mysteries of the Lurleiburg,” a production that ended with “the grand transformation scene [that] designated the Silver Temple of Brilliant Plummage in the Elysium of Air Songstresses” (The Brooklyn Daily Eagle, vol. 33, No. 135, pg. 1). This design was dedicated to Conway “as a farewell souvenir” prior to Merry’s departure for London. He returned the following year and resumed both his acting and artistic career, performing as Mr. Barnaby Bibbs in the farce, “The Quiet Family.”
From 1871 until 1874, Merry designed for Conway at the Brooklyn Theatre. The company had initially performed at the Park Theatre, but early in 1870 Kingsley, Keeny and Judge McGue (who owned the property on the corner of Washington and Johnson Streets) decided to build a theatre.
The Brooklyn Theatre was designed by the architect T. M. Jackson and opened on October 2, 1871 with the comedy “Money.” We know much about the history of the theater from an article published after its fiery destruction in 1876. The Brooklyn Daily Eagle described the interior and those who contributed to the ornate structure during its 1871 opening (Dec. 7, 1876, pg. 2). Five years later, a horrific fire took the lives of 238 individuals when the scenery quickly ignited during a performance of “The Two Orphans.”
The paper recorded that “one of the pieces of canvas out of which trees and so forth are made was broken from its fastenings and hung from the flies immediately over the border lights near the center of the stage. The canvas had begun to smolder and the paint on it to crackle, and the carpenter was directed to ascend to one of the grooves and remove the dangerous object. He could barely reach it with his hand and he drew it hastily up. The rapid motion through the air of the half ignited and highly inflammable canvas, caused it to burst into flame which rapidly spread to the adjoining material, equally susceptible. All efforts to extinguish the flames were aborted, and the carpenter had to retire to save his own life.” Although the actors became aware of the fire, they continued to play their parts, hoping it would pass. This makes me wonder how many fires spontaneously occurred during performances at that time. History records that Mr. Studley, Mr. Farren and Miss Claxton went on with their parts even after flames became distinctly audible. However, sparks began to show overhead and the “unmistaken crackle of fire was heard. Then an ember dropped to the stage, and the canvas which formed the roof of the hut in which the scene was enacted burst into flames.”
Miss Claxton was reported to have crawled over the heads of audience members to later escape. There were 1,200 people in the house before panic ruled and bodies became crushed in the corridors.
Luckily for Merry, he was no longer painting for the venue. His position as scenic artist was terminated upon his return from London in 1874. This incident is an interesting story in itself, one that probably altered his perception of the industry, stage managers, and the artists’ need for representation. Merry brought action against the Brooklyn Theatre’s stage manager Edward F. Taylor. He was attempting to recover $5,000 in damages, stating that Taylor had procured his discharge by false representations that he made to Mrs. Conway of the Brooklyn Theatre. A February 19, 1875, article in the Brooklyn Daily Eagle reported, “Harley Merry, late scenic artist at the Brooklyn Theatre, has begun an action through Messrs. Carson & Hirsch, against Edward F. Taylor, stage manager for having procured his discharge by complaining to Mrs. Conway that he neglected his duties” (page 4).
I thought back to Merry’s involvement in establishing the Actors’ Order of Friendship and the American Society of Scene Painters, specifically their complaints against stage managers. Did his involvement all stem from this particular incident?
UPDATE: Since my initial posting, I have been in contact with Merry’s descendants. Here is a wonderful article about the the Merry’s stage name:
https://heritagefound.com/tag/http-heritagefound-com-harley-merry-lousia-rowe-merry-article-ancestors-with-multiple-names-a-case-study-of-an-19th-century-theatrical-family/
To be continued…
Thank you for all this information on my 3? times great grandfather Harley. When I first learned his birth name, I was shocked. It was a blow to my own sense of identity as a Merry. Then I realized he chose a wonderful adjective as the surname for his progeny, as if to instill cheerfulness upon us a birthright. I, too, am a comedian – and now I know it’s a genetic gift from Harley and Adelaide. I appreciate your hard work and research!
You are welcome. I have been contacted by a few of your distant cousins over the years too!
Hi ! My name is Carol Ahrens , I kinda stumbled on your story today by searching Ancestry.com ! My Grandmother ( Lillian Fitzgerald Siegler)
1911-1994 , her Mom Ellen Wallace Fitzgerald was married to Frederick Harley Brittain some where around 1920. They lived at 121-30 172nd St.
In Jamaica Queens, where my Mother grew up !
My Grandmother was about 8 at the time , her Dad passed in 1911.
My Mother has been trying to put the pieces together for years .
Your story about the Harley/ Brittain family is fascinating !
Thank you for Sharing !
Carol Ahrens
You are welcome!