Kansas City daily journal., 1896-10-18

mediately took charge, and was also in
the sick room at the time OF his friends
death.
Mr.. Abbey had been heard of but little
publicly since the publication OF his wife's
action for divorce, and the reorganization
of his firm. which caused such a sensation
in the amusement world a few months ago.
Only his intimate friends knew where he
was living. and they only had an intima-
tion Of the seriousness Of his condition.
For this reason the announcement Of his
death came a startling surprise.
Henry z. Abbey started line in the
atricals that was particularly his own. He
would handle only the greatest attrac-
tions. In the presentation of these stars
and productions, involving great risk, law
fish display and boldness Of conception, Mr..
Abbey was unequaled.
To Mr.. Abbey Americans are indebted for
introducing to them Bernhard, Henry Irv-
1ng, Patti, Jane Harding, Mount-Sully, De
Rejane, Beerbohm Tree, Josef Hoffman,
Melba, Calve and many others. He also
managed the last tour OF Mary Anderson.
Mr.. Abbey was born in Akron, o.. in 1916.
He was the successor of his father in the
jewelry business in that city. In 1863 he
became manager OF the summer opera
house in Akron. A year later Mr.. Abbey
took to the road. He first managed the
Worrall sisters. then Edwin Adams. and
later he was the manager of Edwin Booth
and Lotta- With the latter he is said to
have made much money.
In 1876 Mr.. Abbey assumed control of
the Academy of Music in Buffaio. He took
as q partner John B. Schoeffel, whom he
made manager. A year later they acquired
possession of the Park theater, in this city
On October 30. 1852. fire broke out in the
theater and spoiled Mrs. Langtry's Ameri-
can debut.
The firm of Abbey & Schoeffel has since
managed the Grand opera house in this
city, Booths theater, the Park and Tre-
mont theaters in Boston; the Metropolitan
opera house in this city twice. and the
Lyceum theater in London.
Mr.. Abbey Is credited with the distinc-
tion of having restored Italian opera in
this country. In this attempt he was as
sociated with Maurice Grau. Their first
attempt was a disastrous failure. Mr.. Alb
hey. in 1884. was given a benefit at the
Metropolitan opera house that netted, II
is said. $4,000.
Mr.. Abbey was an enthusiastic club man
and belonged to a number of clubs. His
first wife was Miss Kingsley. After her
death. he married Florence Girard, well
known actress. who recently sued him for
separation on the ground OF cruelty. Mr.
Abbey's answer was that his wife was ex.
trarasant, abusive and jealous. He ac.
cused her OF setting q servant to spy or
him. Mr.. Abbey's daughter, Miss Kate
Abbey, IA years old, by his first wife, de.
clared that her father always used the cec-
ond Mrs. Abbey kindly
The name of Mr.. Abbey will always have
a distinct and honorable association with
that American musical epoch that marked
the restoration of Italian opera His sew,
eral failures will be forgotten in the brill
liant successes that can only be surpassed
by generation of more gifted singers
and that seems to be hardly probable.
The greatest of Mr.. Abbey's successe:
were during the seasons Of 1S93-4 and tht
one following. 1t will be remembered thai
We had no grand opera In 1882, fire having
ruined the audience-room of the Metropol
itan opera house in August. 1892, and 1t be
ing thought impracticable to attempt tt
reconstruct .he theater before the time fol
the season to begin.
The sensation was a novel one to tht
New York public, and was variously view
ed. Perhaps the most philosophical atti
tude was that Of the friends of the German
institution. which had been supplanted b!
Messrs. Abbey and Grau in the fall o
1890. They We're not a little surprised tha
Mr. Abbey should be willing to undertake
q revival of Italian opera after his expert
ence of ten years before and again in th
winter of 1s9l-92, but 50 strong was thei
conviction that the experiment would re
suit in failure and that failure would re
suit in the establishment OF German op
era possibly on a sounder and more artistic
footing than ever that some OF them ac
tually reioiced in the change. 1t was yer.
rash Under the best of circumstances to at
tempt to say anything about the future o
opera and the notions of managers. Moth
ing In this world is quite paradoxica
as the business Of opera giving. The pro
foundest philosopher in the business wa
the Englishman. Taylor. who managed tn
Royal Opera In London from the inside O
Fleet prison. where he had been sent be
:, wlulln't
debts, and accepted his fate cheerfully, be
cause. he said. no man insane enough Z
become an opera manager had right I
be at large, and, within the shelterin
walls of the Fleet he was safe from tn
opportunities of his singers.
Having failed in his undertakings to tn
tune of some s25O0oo ten years before, an
made a failure of II from a financial poin
of view two years before, Mr.. Able
plunged into the speculation deeper tina
ever How much IL cost him on a
average to raise the curtain" every nigh
that season only those intimately cor
nected with the enterprise knew-S5,G
was a very conservative estimate.
Mr.. Abbey might easily have become
great international manager, had h
chosen for his services We're often sougf
from abroad. strange as 1t may seem ths
European art interests should seek dire,
tion of American hands. Two years ae
he was asked whether he could not
combine things as to keep this wonderfl
company continually employed for po
tion of the year here. and the remand,
of the year on the other side.
"Outside of the season directed by S
Augustus Harris in London" he said, a.
would be quite possible, but 1 should n,
care to be the one to undertake IL. Fl
instance. some time ago we had an Off
TO take hold of the Grand opera house
Paris and run 1t under the same syste
as now exists. We promptly declined.