Shakespeare plays performed in a theater come across as quaint to many people nowadays. In the days before multiplex cinemas, hundreds of channels on cable, and streaming movies online, theater was the only game in town for those who wanted to see acting. In the nineteenth century, theater was a mass phenomenon. And among theatrical productions, Shakespeare ruled in both Britain and the US. Star actors had not only loyal followers, but fanatical ones. As seen below, they were so fanatical they rioted over which Shakespearean actor was the best.
The First American Superstar Actor
It is hard to picture Broadway attendees these days brawling over who they think is the best thespian. Back in the nineteenth century, however, mobs of theatergoers were not above beating the daylights out of each other to express for preference for one thespian over another. Especially if nationalism was involved, as was the case in the first half of the nineteenth century. Back then, US-born actors were often seen as second rate. Especially when compared to British actors, who dominated American theaters.
Then Edwin Forrest arrived – the first American superstar actor who was considered just as good, or better, than Britain’s best thespians. With nationalist feelings aroused – especially on the US side of the Pond, a heated controversy developed as to whether or not American actor Edwin Forrest was better than Britain’s best Shakespearean actor, William Charles Macready. Edwin Forrest was a great actor, but he was also a great jerk. Among other things, he followed Macready around. He sailed all the way to Britain, just to heckle and criticize his rival’s performances.
The Growing Rivalry Between America’s and Britain’s Best Thespians
Nineteenth century media, especially the American media, ate up the beef between Edwin Forrest and William Charles Macready, and devoted countless columns over the years to the rival actors and their merits. The thespian rivalry fed into a growing alienation from Britain in American cities. It was especially fueled by Irish immigrants, who loathed the British. There was also a class divide component, with working class Americans supporting Forrest, while Anglophile upper class elites backed Macready.
By 1849, the rivalry between Forrest and Macready had grown so heated that the British actor feared to perform in NYC. Against his instincts, however, he decided to tour the Big Apple. As things turned out, perhaps he should have heeded his instincts. It all came to a head in a bout of deadly unrest that claimed dozens of lives. Despite being hounded by Edwin Forrest’s rabid fan base, who pelted William Charles Macready with rotten eggs and potatoes, the British actor persevered and put on masterful performances. Then, came his tour finale.
A Challenge that Fanned the Flames and Inflamed Forrest’s Fans
To cap off his tour, William Charles Macready decided to go head-to-head against his American rival. He would perform Macbeth in Edwin Forrest’s favorite venue, The Astor Place Opera House in Manhattan, on the same night that the American star was putting on a Macbeth performance elsewhere. Macready scheduled his final New York City tour performance for May 10th, 1849. The Astor Place denied entry to hundreds of Edwin Forrest supporters who had bought tickets in order to heckle and pelt the British actor, so they loitered in front of the opera house.
Soon, the number of Forrest fans in front of the Astor Place grew to over 10,000. In the meantime, the few Forrest fans who had managed entry tried to burn the opera house down. Despite the mounting mayhem, Macready and his troupe continued on with their performance – although they were forced to mime the end of the play when the sounds of rioting and bricks smashing through windows got too loud. They then hurriedly took their bows, and escaped from the Astor Place in disguise.
Calling out the Militia to Quell a Riot Over Who Was the Best Shakespearean Actor
Unrest continued outside the Astor Place Opera House, even after William Charles Macready and his Shakespearean acting troupe fled the building. Things steadily got worse with each passing minute. Although the play was over and the hated British actor was long since gone, Edwin Forrest’s rabid fans continued in their quest to burn down the opera house. To quell the unrest – which by now was a full blown riot – New York City authorities called out the militia. They were immediately attacked by the American actor’s supporters, and many militiamen were injured.
The rioters were issued numerous warnings, but refused to disperse. So the soldiers lined up and opened fire, first into the air, and when that did nothing, the militia discharged several volleys directly into the riotous crowd. Dozens were killed and wounded. The following night, thousands attended a rally in City Hall Park, where speakers urged them to seek vengeance against the heavy-handed authorities. An angry mob headed up Broadway towards the Astor Place, while others set up improvised barricades from which behind which they fought the militia. By the time order was finally restored, around 30 people had been killed, and over 120 had been injured.
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Some Sources & Further Reading
Burrows, Edwin G., and Wallace, Mike – Gotham: A History of New York City to 1898 (1999)
Cliff, Nigel – The Shakespeare Riots: Revenge, Drama, and Death in Nineteenth-Century America (2007)
History Halls – Disco Demolition Night: When Disco Haters Rioted and Disco Died
