The History and Construction of Thalian Hall – Part II

In the mid 19th century most cities the size of Wilmington had an Opera House. In the ensuing years many of those buildings have been lost and yet Thalian Hall still stands proudly in downtown Wilmington 152 years after its opening. What makes it different?

What makes a theater endure through changes in styles interests tastes and popular culture? Executive Director Tony Rivenbark speaking with the perspective of an experienced theater manager defines the question. “Its all about making money. How can you make it go?”

Flexibility is essential. In fact the Halls longevity may be due at least in part to its ability to capitalize on popular trends in entertainment. For instance in the middle of the Reconstruction Period Rivenbark explains “things werent going so great. [They] put in a new floor downstairs remodeled it and turned it into a dance hall. It didnt last too long but it was a fad.” Indeed the Hall has always responded to the desires of its audience. In 1871 the Star newspaper noted that it was possible for a skating contest to draw an audience away from a theatrical performance so in the next decade during a lull in professional engagements Thalian installed a skating rink.

From the beginning Thalian Hall has been on the cusp of change. In 1897 before it even had electricity it embraced the future of entertainment. When Edisons Projectoscope (also called a projecting kinetoscope) was booked for an engagement at the Hall the Wilmington Electric Company spent all one day wiring the theater so crowds could see the wonders of moving pictures projected across a canvas screen.

Rivenbark says that films “were pretty much a novelty” at the Hall perhaps because there was more money in bringing in plays or because the theater was too big for showing movies to be economically viable. But Thalian refused to be left out of the nations growing fascination with the silver screen. Birth of a Nation was shown accompanied by a full orchestra and during the 1930s Shirley Temple movies were popular. Now Thalian hosts the Cinematique film series.

The history of movies at Thalian illustrates a surprising fact. While outward forms may change the essence of theatrical entertainments often remains remarkably the same. Lecturers for example attracted large crowds during the Halls early years. One of the most popular was Oscar Wilde who spoke on aesthetics and his theory of beauty. Temperance lectures were another big draw during Thalians early years while today its more common to hear an author talk about architecture or a filmmaker discuss popular culture from Thalians stage.

Often modern equivalents of old-fashioned entertainments continue to amuse Thalians audiences. Sances which once riveted the population are seldom seen now but other entertainers such as humorists magicians hypnotists and ventriloquists have had longer stage lives. Japanese acrobats who were declared “the most wonderful jugglers in the world ” when they performed at Thalian in 1867 have been replaced in the 21^st century by the stylized and athletic performance of the Shanghai Huai Opera which performed in 2009.

Musical performances have proven to be a remarkably consistent part of Thalians history. Opera companies as well as individual singers visited with regularity and operettas enjoyed wide acclaim. All kinds of vocal and instrumental groups have performed at Thalian from all-female cornet bands to John Phillip Sousa and from symphony orchestras to the US Marine band. As with movies many concerts have moved to more specialized venues but a variety of musical acts continue to appear. Now the Hall is as likely to showcase a classical pianist as a jazz trio or an African acappella group.

As with music celebrity appearances have long been a dependable element in Thalians appeal. During the age of “trouping” in the 19^th century star performers brought shows to all parts of the United States including southeastern North Carolina but they occasionally encountered difficulties here. Companies traveled by rail but although Wilmington was an important rail center the trains timetables didnt always accommodate actors schedules. Often performances had to be cut short to enable a company to catch the departure of the night train much to the audiences dismay.

Still celebrities visited Thalian Hall from its earliest days. Rivenbark explains that in the 19^th century “the way people capitalized on their celebrity status was to create a play and travel around the country because that was where the big bucks were.” John L. Sullivan appeared in a boxing play and Buffalo Bill Cody before he developed his Wild West show came to Wilmington twice. In 1875 he brought a “combination show” to Thalian that the newspaper called “a lavish expenditure of paint and powder.” He returned in 1875 with the play May Cody or Lost and Won. After that performance according to Star he “gave a short exhibition of his skill in handling the rifle.”

Other 19^th century celebrities who visited were Joseph Jefferson (one of the most popular actors of the day best known for playing Rip Van Winkle) and Tom Thumb (Charles S. Stratton) as well as James ONeill (father of playwright Eugene ONeill). And although the 20^th century saw a marked decline in celebrity touring Tyrone Power Agnes Morehead Charles Lawton and Nelson Eddy also performed at Thalian. In recent years nationally and internationally recognized stars often actors who now call Wilmington home have appeared on Thalians stage including Linda Lavin Pat Hingle Peter Jurasik Joe Gallison and Henry Darrow.

Amateur theater has long been a mainstay at Thalian Hall even though the kinds of performances have altered. In 1869 the ladies of St. Johns church presented an evening of Tableaux Vivant. These “living pictures” featured performers costumed (sometimes scantily) and arranged to reproduce famous paintings or statuary.

While such amusements were popular audiences still preferred plays. As early as 1868 the newspaper declared that “The legitimate drama surely has enough admirers in Wilmington to support a first-class company here ” and in the same year the Star carried a proposal that the Thalian Association be revived. It was and the groups current incarnation continues to perform at the Hall along with a number of other companies who also call Thalian home. Among them is Opera House Theatre Company which celebrates its 25^th anniversary this year.

From its beginning Thalian has embraced talented local performers including Robert Howlette a 19^th century Wilmingtonian who performed a tight rope act with an amateur “Humpty-Dumpty troupe” (a variety show which included acrobats music and pantomimes.) He was so well received that he eventually left his job with the Star and performed with several circuses billed as “The Slack-Wire King.”

Production values as well as types of entertainment reinforce the notion that “everything old is new again.” The modern era obviously offers technical advancements such as amplified sound special lighting effects and sophisticated scenery but audiences have always appreciated spectacle. In the 19^th century many theaters used a device called a “thunder roll” or “thunder run” to create the sound of an approaching storm.

At Thalian the thunder roll consists of wooden troughs suspended above the ceiling near the front of the stage. Cannonballs are dropped into and rolled through the troughs to create the rumble of thunder. While these devices were once common in opera houses Thalian Hall is believed to possess the only one still in existence in the United States.

19^th century performances at Thalian also were known to feature scenic effects that included a “brook of real water ” a “prismatic fountain with different colored jets ” and a railroad explosion. An arctic play even presented “glaciers and a snow storm.”

Technical advancements have been made on both sides of Thalians stage. Originally the theater wasnt especially comfortable. In the 1880s a reporter noted that “while our Opera House is a pretty one it is certainly not a comfortable one.” On that night the cold was apparently so bitter that the singer “shivered all over ” and she had to hold her music on the piano “as the wind was constantly blowing it over.” With the most recent renovation audiences will certainly have a much different experience.

Audiences themselves have also changed. In Thalians early years theater was an activity that was according to Rivenbark “almost like what television is to us.” Performances were widely attended by all segments of the population although ladies usually frequented only those events that were considered appropriate. Or they might go to less acceptable ones wearing veils. Now women at Thalian are audience members volunteers performers directors designers technicians and staff members.

Visiting Thalian almost invariably tempts us to try to imagine what it must have been like to be present at an event there a hundred or more years ago. While the audience cant experience the theater in an earlier age it can sometimes catch a glimpse of that world. During its 150^th anniversary celebration Thalian presented a series of events meant to both recall its past and celebrate its future. One of these was Toby Tyler or Ten Weeks with a Circus a play based on a childrens book published in 1881.

After the show the audience exited the building through the south door facing Princess Street originally the main entrance into the theater but largely unused for decades. No longer surrounded by the familiar stone and glass lobby they emerged from the narrow dimly lit hallway into the park where a crowd gathered on the lawn and suddenly they could see Thalian through new eyes.

It was possible to envision an event the Star described in 1883. ” the park and hall were illuminated with Chinese Lanterns. The Cornet Concert Club played on the south portico and a fireworks display on the lawn climaxed the evening.” In that moment it was easy to see that with Thalian Hall the more things change the more they stay the same.