Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1894-11-18
COL. JOHN A.M'CAULL
A SKETCH OF THE LIFE OF THE "a
NOUS iMPRESARio AND MANAGER.
His own story-To Protect . Client Ho
Became Theatrical Manager
His Chicago Fall

In the course or special from treehS-
boro', n. c.. to the Chicago Inter-Ocean,
occurred the following:
SIX years ago Colonel McCauli fell on
the ice In Chicago. since which he has
never been well.
No man introduced more operas and
brought out more stars than Cid Colonel
Mccaull. Lillian Russell. Marion Mano-
"a. Lily Post, Louise Paulin, Jennie Reif-
Earth, DeWolff Hopper. Francis Wilson.
DIgby Bell, Perugini, w. L. Carleton
Eugene OudIn, Harry McDonough. Ma
ttude Cottrell, and n host OF others were
nrotegcs of his. In 1850 Colonel Mccauli
became Interested with James Barton Key
IN the production OF 1.-THE Pirates OF Pen
zance" at the Fifth Avenue theatre. and
later entered into partnership with Emily
Melville. The Mccaull Opera Company
soon became a prominent factor In tns
theatrical world, and for ten years urder
his management was one OF the most pop
mar organizations of its kind. Under
his direction were produced Faiha'
."The Black Hussar." 1.-The 'Mlkauo,
"Rellman." Glover" 1.-The Lady and the
Tiger" and many others. ,
In iSs2 Colonel McCaull became nhan-
ciaIly interested in the CASINO ana ~,
three years comic opera was iesnene ne
at that house, under his direetion.
AGREEMENT with the Aronsons forced MS
rst,rement. February IL, 1892. monster
nerformance was given for his dement, at
the Metropolitan Opera-hou'e'
receipts were $500.
Colonel McCaull, In spite or prusque
manner. was much beloved by all win
whom he had any business relations. for
n brief time his daughters, Wlhhiireue
end Angela, played small parts with 1ohn
Mason and Marion Manola, In friehu
Fritz" leaving that company because
they were required 10 do dance that
was distasteful to them.
HOW HE BECAME A MANAGER.
That Colonel McCaull should have In
his lifetime been one OF the Leading
caterers to the musical tastes or great
people is one of the inexplicable Things III
the economy of nature. He was not ohiy
not a musician, but cared so little for the
art that he never learned to distinguish
one note from another. His mother de-
signed him for the priesthood, but ne ran
away from the seminary to join the Con-
federate army. When he laid down MS
sword he took up Blackstone, and became
a lawyer and politician. or his pas age
from the bar and forum to the lyric stage
he once told this story:
zone of my clients was John I. Ford.
the well-known theatrical manager. who
made the first production in this country
of Gilbert &c Sullivan's comic opera,
'Plnafore.' Notwithstanding its wonderful
success, the financial outcome of that en-
terprise could scarcely be termed salts
factory to it's manager Meanwhile, how
ever he had contracted with Gilbert ~
Sullivan TO produce Il new opera they had
written, and he had paid In advance $1,000
in cold cash for the use Of the Fifth-Ave-
nue. Theatre where he intended having
the initial production. The authors, how
ever, refused to name the title OF the
piece, or to give him an inkling or It's ar
gument, or TO furnish him the slightest
Information whereby he could Judge OF
its probable success. Their reason for this
secretiveness was that they were afraid
the theme might leak out and their Ideas
be stolen. This mysterious uncertainty
and his misfortune with "Pinafore" i'm
bued Mr.. Ford with profound mistrust,
and so he asked me as his counsel TO go
TO New York and have him released from
his contract with the Fifth-Avenue Thea
ire, or else dispose OF IL to some theatrical
Spectator. I started upon this errand In
December, 1879. and l saw William 5.
Gilbert and Arthur Sullivan and informed
them of the state in which my client was.
INSPIRED THEM WITH CONFIDENCE
In some way inspired them with con-
fldence and they Informed me that the
new opera was to be named THE Pirates
of Penzance." Mr.. Sullivan-he was not
"Sir Arthur then--asked me II l knew
anything about music. / Informed him
that ad not the slightest musical y l.
cation, but that I had naturally very
correct ear. Then" said Sullivan, Il
would rather have your opinion than that
Of an accomplished critic, because you
represent the popular taste. l Will play
the new opera for you on the plano
And he did and then and there l became
imbued with the fever which led to my
becoming a manager. Ford still wanted
TO get rid Of his contract, but the Firm
Avenue people would not return the
g. 600. and the pirates of PenZance' was
not ready for representation. Gilbert
& Sullivan advised a grand pr)1 Htion
of "PInafore" with their original English
company. l said It would prove fall
ure. The authors said It would prove
success. Making a sudden resolution, l
took Ford's contract off his hands, and,
associating with me his son. Charles II.
Ford. I invested in the enterprise every
penny | owned. Against my better Judg-
ment I presented "Pinafore' in the Fifth
Avenue theatre with the original English
company, and. after a run Of four weeks,
found myself 5000 out OF pocket by
that time, however, THE Pirates OF Pen
zance" was ready, and 1t made great
success. 1t ran for nine weeks. and our
profits during that period were sl1cV.
A STREAK OF HARD LUCK.
Young Ford and myself next secured the
building now known as the Bijou Opera
House. which then had a most unenyiable
reputation az a dance hall. After spending
$1,000 In putting this into proper shape
we began a presentation OF small musical
pieces similar 10 Reeds's, In st. Jamesa
Hall. London. The house was opened with
Ages Ago. by Frederick Clay and Char
ity Begins at Home by Alfred Collier
The performances were over the heads or
New York people. and after We had lost
$1,000 and were $}s 900 in debt. young Ford
weakened and left me alone in New York.
In this, the darkest hour OF my stage ex~ !
periencc. / bethought me OF Senator VIII |
liam Malone. far down in Virginia. | had |
been his chief supporter in the Legislature |
Of that State. and some OF my friends are J