Theatre Design & Technology - Winter 1975 - 9

A PHYSICAL DESCRIPTION OF BOOTH'S
THEATRE, NEW YORK, 1869 - 1883
UNIVERSITY OF SOUTHERN CALIFORNIA

LOREN HUFSTETLER
Booth's Theatre, in New York, was perhaps the most
innovative, opulent, and technically advanced American
theatre of the Nineteenth Century. It was built in 1869
and dismantled in 1883, leaving only the sparest evidence
as to its physical nature. There are no extant plans for
the theatre, only a few drawings and a small collection of
written accounts, but from this it is possible to reconsti·
tute the basic aspects of its structural configuration.
As actor·manager of the Winter Garden Theatre in
New York City in the 1860's, Edwin Booth was well
on his way toward developing a repertory theatre de·
voted to quality productions of serious dramatic works.
In 1866 he staged his record one hundred performances
of Hamlet, and had earlier mounted a production of
Julius Caesar with the only joint appearance of himself
and his two brothers, Junius Brutus, Jr. and John Wilkes.
However, on March 22, 1867, the theatre caught fire
and burned to the ground. Shortly thereafter he resolved
to build his own theatre, grander and more advanced
than any other ever before seen in this country.
After forming a partnership with his new business
manager, Richard A. Robertson, a plot of land at the
southeast corner of Sixth Avenue and Twenty·third
street was acquired for $165,000. 1 The cornerstone was
laid on April 8, 1868 and on February 3 of the following
year the theatre opened its doors with a production of
Romeo and Juliet. The theatre is reported to have cost
Booth over a million dollars,2 making it one of the most
expensive theatres in the world at that time. Most of the
cost was financed by Robertson through numerous
short term notes. 3 The net profits of the theatre were
over $102,000 for the first year, $85,000 the second
year, and $70,000 during the third, most of which went
toward retiring the mortgage. By the fourth year it had
been reduced to about $350,000,4 but the theatre's very
high rate of return was not sufficient to satisfy Robertson's
many creditors, and in June, 1873, Booth was forced to
relinquish control of his theatre. He did, however, manage
to transfer the management to his brother, Junius, who
was able to keep it operating another five months before
the enterprise was forced into receivership. The failure of
Booth's Theatre is generally attributed to a combination
of Robertson's questionable financial management, pres·
sures brought on by the economic recession of 1873·74,5
and by Booth's unrealistic dream of maintaining a per·
manent home for serious drama in spite of its attendant
high production costs and an increasing public apathy
toward this type of theatrical entertainment.
After passing from the Booths' control, the theatre
changed hands several more times within the next few
years, with the quality of its productions progressively
diminishing to the level of mundane melodramas, farces
and musical comedies. Unfortunately, the basic design of
the house was not conducive to the staging of shabby

I

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commercial ventures and it became increasingly difficult
to return a profit. In February, 1883 the theatre was sold
at auction for $507,500 and was subsequently rebuilt as
a dry goods store.6
The building itself was made of granite "in the graceful
style called the Renaissance"7 (Figures 1 and 2). It
measured 150 feet along Twenty·third Street by 100 feet
deep, and rose to a height of 125 feet. The main facade
was broken into three architectural segments, each topped
by a tower which formed part of the Mansard roof. The
outer segments were each pierced at ground level by a
large arched doorway, the eastward-most bein g the stage
door, which also accommodated large scenic elements
and pieces of equipment. The central segment contained
three smaller arched doors opening directly to the audio
torium and west boxes. Above the doors were large
pilastered recesses which housed sculptures. The three
main architectural masses were separated by smaller
segments, each with an arched window on the ground
level and a pilaster·framed window above. Attached to
the west end of the theatre, facing Sixth Avenue was a
five story wing for commercial shops built along similar
but separate lines. It extended 34 feet along Twenty·
third Street, and 76 feet along Sixth Avenue. The basement of this unit housed a restaurant and the main floor
held retail shops. A contemporary description indicated
that, "Above the lower frontage rose four stories, divided
into saloons and apartments for art students."8 The top
floor was reserved for Booth's private quarters.
The entrance to this wing was on Sixth Avenue and
provided an additional access to the theatre lobby, which
extended the full width of the structure. At the south end
of the lobby was a large granite stairway that led to a
second lobby above the first. A bust of Junius Brutus
Booth, Sr. was located midway up the staircase. 9 The
east wall of the lobby was semicircular and contained
three arched doors opening to the auditorium. 10 These
doors plus the ones opening directly on Twenty-third
Street made it possible as one observer marveled, for
"the building . . . [To] be vacated in five minutes."11
The main floor of the auditorium, reported to be
"probably the most complete and elegant in the
world,"12 was divided into the parquet, seating about
275, and the orchestra circle with over 300 seats. The
upper lobby led to a balcony called the dress circle
which held about 450. Above that was the family circle
and above that a gallery or amphitheatre, each holding
about 350 13 (Figure 3). The gallery was served by a
separate set of stone stairs from the Sixth Avenue en·
trance, isolating it from the rest of the audience. In
addition to the seating in the main house six to eight
preferred patrons could be accommodated in each of
the boxes. Although the number of boxes is in dispute
it is believed that during Booth's tenure there probably

THEATRE DESIGN AND TECHNOLOGY

WINTER,1975

9



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1975

Contents
Theatre Design & Technology - Winter 1975 - 1
Theatre Design & Technology - Winter 1975 - 2
Theatre Design & Technology - Winter 1975 - 3
Theatre Design & Technology - Winter 1975 - Contents
Theatre Design & Technology - Winter 1975 - 5
Theatre Design & Technology - Winter 1975 - 6
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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