THE OPENING OF MONTREAL'S THEATRE ROYAL, 1825

Owen Klein

A census of Montreal, taken in 1824 by Viger and Guy, listed a total population of 26,154; the census also indicated 10,881 primarily English-speaking inhabitants and 14,906 French-speaking residents.¹ This ethnic imbalance was offset in favor of British influence into all spheres of Montreal's life, including cultural pursuits since civil authority and most economic interests were in the hands of the English minority. It is not surprising, therefore, that in this predominantly francophone city, the first permanent theatre was established by the English speaking merchants.

Notice that there was to be a new theatre in Montreal appeared early in January 1823, with the request for tenders published in the Montreal Gazette:

The plans, together with the specifications for the mason work and carpenter's work are deposited in the hands of Mr. Phillips, St. Laurent Suburb, to be by him communicated to undertakers who are required to give in to the undersigned, tenders for doing the work. The tenders to be scaled and addressed Theatre Tenders to be given in on or before the lst, February next.

The Mr Phillips, who held the specifications, operated a grocery shop at 125 Laurent Street and George Auldjo was another of the local merchants who eventually gave considerable financial support to the new enterprise.²

Two other key figures who became the prominent names in the story of the first Theatre Royal were John Molson, SR, brewer and steamboat proprietor, and his son, John Molson, JR. Much of the information concerning the finances of the theatre is in the Molson family account books now in the Molson Brewery Archives in Montreal. Most of these accounts were maintained by Henry Griffin, the accountant for John Molson, SR, who conducted the official business of the theatre.³ The Griffin records, now in the Department of Archives at the Montreal Superior Court, contain many of the original contracts and agreements for the construction of the building and for the operation of the theatre.

While tenders were being submitted to the Building Committee, negotiations were underway for the financing of the theatre. It took nearly two years to assure financing for the project. On 4 December 1824, there was an expense of 7/6 for 'printing 100 small circulars to stockholders' listed in a John Molson ledger.⁴ There is no indication what the circular contained, though it must have set forth preliminary terms of agreement for the prospective investors.

On 25 December 1824, the following notice appeared in the Gazette:

The meeting at the coffee house led to the signing of the final Articles of Agreement on 1 February 1825.⁵ This eleven-page, handwritten agreement had been carefully drawn up by Henry Griffin, prior to this final meeting, for the individual signature of each shareholder. The Articles state that it was proposed by John Molson that a theatre be erected in Montreal by subscription with shares at a value of twenty-five pounds each, and that the theatre was to be erected on Molson's property on St Paul Street. His shares were to be equal to the value of the property. As it turned out, Molson accepted 150 pounds less than the assessed value of his property.

It was further agreed that for the purpose of purchasing the lot, building and completing the theatre, there would be a joint stock of 5,000 pounds. John Molson, SR, was given forty-four shares equal to 1, 100 pounds. Even though he did not receive full value for his land, Molson became the major shareholder by this agreement.

The stockholders then agreed to form a trustee committee of five or seven, as deemed necessary, to represent the entire group in any and all business connected with the theatre. Included are the names of the five duly 'nominated and appointed' committee members, John Molson, JR, Horatio Gates, Tancred Bouthillier, David Handyside and James Logan. This committee had a term of office extending to 1 May 1826, when a general meeting would be held for reports and election of new trustees. Further general meetings of stockholders were scheduled for each succeeding first day of May.

The agreement provided for deciding questions of policy by a vote and the number of votes each stockholder could cast ranged from one to twelve depending on the number of shares held. All parties, or their representatives, affixed their signatures with a notation indicating the number of shares pledged. In terms of cash purchase, a widow, Mrs Elizabeth Platt, pledged twenty shares at a cost of five hundred pounds, making her the second largest shareholder to Molson, JR. Other notable subscribers were John Molson, JR, ten shares, John Spragg, auctioneer, five shares, Francis Rosco, hotel keeper, four shares, and four shares each to three merchants, William McGillivray, John Richardson, and Samuel Gerrard. The remaining investors purchased one or two shares per person. Payment on the shares was extended to five instalments with a forfeiture penalty attached to non-payment. It is interesting to note that among the ninety subscribers only seven names appear to be of French-Canadian origin, an inverse ratio compared to the ethnic division of Montreal at that time.

Once the financial arrangements were complete, the elected theatre committee began letting out the various contracts for the construction and finishing of the theatre. The first contract was signed on 4 March 1825, with Barnett and Forbes, Carpenters and joiners, who undertook 'to do and perform all the carpenter and joiners work and all the pointing etc., etc., for the building finishing and completing of a theatre in Montreal⁶ The cost of this work was to be 1, 145 pounds. On the fifteenth of March 1825 a contract was signed with John Redpath, mason, for all clearing and mason work at a cost of 1,495 pounds.⁷

The last contract to be let was with Whetheritt and Perry 'for Plastering the New Theatre' for a payment of 240 pounds. This contract, somewhat more brief in its specifications than the others, can be summed up in this short extract:

The ceiling of all the boxes, lobbies, rooms and staircases, pit, gallery, - the green room and dressing rooms and the ceiling of the portico - the entrance box lobby with the passages and rooms thereto belonging, the box ceilings, pit room ceiling and portico to have three coats and the remainder two good coats.⁸

In August, the committee insured the theatre against fire. The first policy, dated from August 10, was for a value of 2,000 pounds and an additional policy for 3,500 pounds was added on 12 November.⁹ The combined policies amounted to 51,500 pounds. If this figure was close to the real cost of the building, excluding the lot, then the construction costs ran to approximately 1,500 pounds more than had been subscribed. Of the original 5,000 pounds raised, 1,100 pounds had been in the form of property and not cash so 3,900 pounds was available for the building. Further evidence for the unexpected expenditures is found in the committee's attempt to raise exactly 11500 pounds through a mortgage offer the following May.

With the theatre under construction, the committee had begun a search for a suitable lessee with advertisements in the Montreal papers as well as in the New York Spectator and New York Albion:¹⁰

Montreal Theatre - The Montreal Theatre is in a state of forwardness and will be completed by contract on the first day of November next; the dimensions are 110 feet deep by 50 feet in breadth, built of stone having a cut stone front - it comprises a well proportioned stage with orchestra and convenient dressing and green rooms, a pit, and a gallery with a suitable salon, and will contain about 1,000 seats.

The committee between this day and the 15th of August next, will receive proposals in writing, to be addressed to their treasurer, John Molson, Jr., Esq., for leasing of the said building as a theatre, for one year from the day of its completion - which proposals must be accompanied with respectable references for character, and for ability as manager for such an establishment.¹¹

On 15 September 1825, the Montreal theatre was leased to Frederick Brown. Unfortunately, the lease for the theatre is not in the Superior Court Archives, although from later Molson ledgers it appears the rental of the theatre was established at twenty-five pounds a month. Brown, an Englishman, had some success as a child actor in the provinces but had never done well on the London stage. He and his wife Sophia came to the Federal Street Theatre in Boston about 1816;¹² he first appeared in Montreal in 1818, and during subsequent engagements in Montreal prior to 1825 he had been well received.

One of Brown's first acts as manager was to hire William Bernard from Boston, as designer and scene painter. The terms of agreement read:

William Bernard is engaged to Frederick Brown from the 12th day of Sept., 1825, to the first of May, 1826, to paint scenery and prepare the Montreal Theatre, or other theatres under the direction of said Frederick Brown, for dramatic performances, receiving for his services the sum of three pounds per week till the opening of the said theatre and the sum of three pounds, fourteen shillings after the theatre opens. And to this agreement we, the said William Bernard and Frederick Brown, do each and severally bind ourselves under a penalty of one hundred pounds in case of either not fulfilling said agreement.¹³

Bernard began working immediately on the interior decoration of the theatre and, according to Griffin's accounts, was paid his first three weeks wages by the theatre committee on 1 October.

While the theatre was being completed, Brown took the opportunity to reintroduce himself to Montreal audiences by appearing as an actor at Blanchard's Royal Circus on Craig Street, which had been opened by Charles Blanchard on 24 March 1824. By May, Blanchard had erected a stage and had begun producing equestrian dramas such as Timour, the Tartar, Lodisha And The Forty Thieves, though he also presented some non-equestrian pieces: Sylvester Daggerwood. Ellen Rosenberg, The Romp, No Song, No Supper, among others. The Circus closed its first season in October 1824, but Blanchard remained in Montreal until 1830 and scheduled his performances for periods when they would not conflict with the regular theatre. Sheridan's Pizarro was scheduled for 22 August 1825, with Brown in the lead as Rolla. The announcement in the edition of the Montreal Herald of 19 August emphasized that this was Mr Frederick Brown's first Montreal appearance in six years and that there would be no ring performance (equestrian acts) since the space was needed for extra seating. Although he was originally scheduled to appear 'for one night only', Brown took a benefit on 1 September in Othello. No reviews of either play are available, but it appears from both the need for extra seating and the added performance that Frederick Brown's popularity with the Montreal audiences had not diminished despite his six year absence.

In the Montreal Gazette of 5 November 1825, Brown formally introduced his management:

Mr. Frederick Brown respectfully announces to the public that he has taken a lease of the NEW THEATRE in Montreal which will be ready for dramatic performances on the 14th November.

The interior of the building will be furnished in a style of elegance and comfort not to be surpassed by any theatre on this side of the Atlantic. Mr. Brown is now in treaty with performers of established talent and respectability, both in England and the United States: and he pledges himself that no endeavor shall be wanting on his part, to procure a good company, and to establish a regular and well conducted theatre, on a scale as extensive as the public patronage will allow him. Mr. Brown offers a silver ticket, entitling the holder to the freedom of the theatre for the season to anyone who shall produce the best poetic address, for the opening of the theatre, not to exceed 50 lines and not to be under 40. The addresses, with a particular signature by which the author may be known, to be sent to Mr. F. Brown, Mansion House, Montreal ... The choice will be made by five gentlemen appointed to decide on the merits on each address.

The theatre occupied a plot of ground next to the Masonic Hall Hotel on the southwest corner of St Paul and Victor Streets. The property had sixty-two feet frontage on St Paul Street and was one hundred and eighteen feet deep. The building itself was fifty feet wide, one hundred ten feet deep and thirty-two feet in height from the level of St Paul Street. The slope of the ground from St Paul Street down to Commissioners Street behind, allowed a basement storey at the rear which held the two dressing rooms, the green room and two flights of stairs up to the stage.

The main entrance on St Paul Street opened onto a salon, or lobby, leading to the lower tier of boxes. Two short staircases led from the two sides of the lobby to the second tier of boxes which were entered through an upper lobby at the top of the staircases. There, another flight of stairs led to the gallery above the second boxes. Running along the sides of the upper house at right angles to the gallery, were the slips, or third tier. There was also a flight of stairs from the main entrance leading down to the pit lobbies behind and below the first boxes. In front of these boxes was the pit, itself. The theatre held approximately 1,000 spectators and appeared to be well furnished, if the contract specifications were met.

The stage was complete with a full proscenium arch, designed in the Georgian manner, with proscenium doors in the sides of the arch itself, windows above the doors, with the overhead arch acting as a sound board, giving acoustic assistance. The orchestra was below and in front of the stage, divided from the pit by a low wood-panelled partition. Although the actual plans are not filed, the various contracts provide complete specifications for the entire building. In addition to these contracts, a Sheriff's Sale Writ from 1829 gives added information on the construction of the building.¹⁴ An engraving done c. 1832 by one Christig Adolph shows the front of the theatre. Adolph's engraving very closely resembles contractual particulars, such as shape and placement of windows, doors and gable.

The Georgian styling and approximate capacity were similar to a general description, by John Alden, of the Federal Street Theatre in Boston. That theatre had a seating capacity of 1,060 with 350 seats in the two rows of boxes, places for 280 in the pit, 280 in the gallery and 150 in the 'slips', or side galleries.¹⁵ (Considering the many ties which Montreal theatre had had with Boston during the prior twenty years, it is possible that the final interior design of the Theatre Royal was similar in some ways to the Federal Street Theatre in Boston.)

In little more than six months, the theatre was erected and furnished completely with finishing decor. Stage scenery had been prepared by Mr Bernard, the company assembled, and Frederick Brown was ready for opening night on 21 November 1825, only one week behind the originally proposed schedule.

There is no evidence of any strong opposition to the opening of a new theatre in Montreal. The Montreal Gazette, however, indicated in an editorial that some citizens may have had misgivings:

A great portion of the community have been withheld from attending performances in the regular theatre for conscientious principles, yet it is strange no such motive is urged against their visiting the less instructive and infinitely more demoralizing scenes of circus performances and unmeaning pageantry so ludicrously introduced in the spectacles; denominated melodramas where the show passes for sense and vulgar ranting passes for elegant declamation. Others, it has been brought to our attention, refrained for reasons perfectly reconcilable to good taste. The actors were of so inferior a description as to not merit the attentions of our citizens.

Another obstacle has been the want of a fit and proper place. Needless to say this circumstance has been more than amply corrected.¹⁶

An earlier editorial promoting the theatre had been advanced in the hope that the new theatre and 'its rays will be sufficiently penetrating to dispel the mists and popular error which have so long hung in somber clouds over the understanding of Montreal's inhabitants'.¹⁷

On Saturday, 19 November 1825, an elaborate announcement and bill appeared in both the Herald and the Gazette. First, Brown introduced members of his company:

Among those performers already engaged are Mr. Watkinson of the Theatre Royal, Drury Lane, and late of the New York theatre; Mr. Horton, Mr. Essender, Mr. Herbert, Mr. Clark, Mr. Heyl and Mr. Scott from the southern theatres; Mr. & Mrs. Forbes, Mr. Harris, Mrs. Meline, Mr. Logan. Miss Riddle, who has lately been performing in New York with such distinguished success, is also engaged for a limited number of nights.

He then promised a succession of celebrated guest performers as well as new and popular plays along with the works of Shakespeare and other established dramatists. To assist the company of actors there was to be a complete orchestra conducted alternately by Mr Richard Honey and Mr Duff. Ticket prices, which Brown insisted would remain constant, were as follows: lower tier (dress circle), five shillings; second tier, five shillings, pit and third tier (slips), two shillings, six pence; gallery, one shilling, three pence. (If we could assume that the conformation and number of seats were roughly similar to those of the Federal Street Theatre in Boston, the gross income from a full house could be estimated at approximately 150 pounds or 500 to 600 dollars.) Also included were provisions for the comfort and safety of the theatre-goers:

Behind the second tier of boxes a salon is furnished for the reception of those ladies and gentlemen who may wish to retire from the boxes between the play and farce or during the intervals of the acts. The room adjoining will be supplied with refreshments of coffee, tea, wine, jellies and etc., a separate apartment is prepared where ladies may leave their cloaks, scarfs, bonnets and etc. in the care of a female who will be in attendance.

Smoking was, of course, prohibited in the theatre, as was admittance behind the scenes to anyone not connected with the performance.

Following the above particulars, the newspapers printed the first bill of the Theatre Royal, Montreal:

Quartetta: Mr. Harris, Mrs. Meline, Mr. Weir and Mrs. Brown. Chorus: Messrs. Watkinson, Essender, Horton, Forbes, Logan, Scott, Herbert, Hart, Brazier, Brewster, Leher, Heyl, Clynch, Laws, Clerk, Horton, Ramage, Talbot, Fr. Brown, etc., etc., and Mesdames Horton, Brundage, Brazier, Talbot, Forbes, and Miss Riddle.

(In which she will sing two songs of "Since Then I Am Doomed," and "I Am a Brisk and Sprightly Lad.") In Act 2'd, a Sailor's Hornpipe by Miss Riddle.

The Scenery of the Theatre designed and executed by Mr. Bernard, Mr. Drake, Mr. T. Honey and assistants. The machinery of the Stage designed by Mr. Bernard and executed under his direction by Mr. Johnson, Mr. Fielder and assistants.¹⁸

The entire company eventually numbered fifty or more, including the fourteen musicians. Added to these were the guest artists who, although they were temporary, became an additional strain on the theatre's financial structure as the year progressed.

The Herald reported that most of the boxes were taken some days previous to the opening of the theatre and at an early hour on the evening of Monday, 21 November, the doors were besieged by an immense crowd seeking admission. The theatre was full to overflowing a few minutes after the doors opened at six pm and the Montreal audience gained its first view of the city's newest home for the theatrical arts.¹⁹

Although no single account fully describes the interior of the Theatre Royal, it is possible to piece together a partial description from the contracts and the notices in the newspapers.

Most of the interior woodwork was in cherry, and the plastered areas were painted a light blue. The fronts of the first boxes were ornamented with the rose, the thistle, and the shamrock, indicative of the English, Scottish and Irish heritages, respectively. The remainder of the box facings were of plain panelling. Columns from the front corners of the second boxes supported the gallery, from which place similar 'turned' columns extended to the ceiling.

The ceiling over the pit was a dome, painted light blue, with a large chandelier suspended from the center. Further illumination was provided by Argand, or 'patent' oil lamps hung on the back and side walls. These lamps, using cylindrical wicks and glass chimneys, provided bright, steady light and had superseded candles in theatres by 1800. The interior doors were panelled, with the exception of the doors leading to the salon which were covered with a baize, a green feltlike fabric, and studded with brass nails.

The top facing of the proscenium arch was decorated with a bust of Shakespeare in the center, and the masks of Comedy and Tragedy were posed on either side. The motto, 'To hold the Mirror up to Nature,' was inscribed below the bust. The front drop curtain, painted by Mr Drake, represented a view of the ruins of Athens, complete with broken columns and statuary. The curtain was described as 'extremely well painted, with the lights and shades so judiciously introduced as to give the whole a fine effect'.²⁰

While the audience viewed the ruins of Athens, they could also listen to the overture, which began at half past six. The orchestra was both 'superior' and 'strong', according to the Gazette and Herald, while the Irish Vindicator proclaimed it the best Montreal had ever experienced. At seven o'clock Mr Essender came forward to give the prize address, the author of which was to receive a silver season's ticket.

The reviewer for the Irish Vindicator wrote that there were some problems at this point in the evening:

... owing, we believe, to the short time which he (Essender) had to study it ... frequent unpleasant pauses in the recital, which evidently arose from his not being entirely perfect; of this the too audible voice of the prompter communicated to the house a sufficient intimation.²¹

 The poor delivery of the address prevented the Vindicator reporter from 'estimating its qualities', despite the fact that he goes on to note 'the accommodations in the boxes are excellent both for hearing and observing'.

The editor of the Montreal Gazette did not let the fumbling delivery by Essender interfere with literary judgment:

Mr. Brown, we understand, very wisely refrained from deciding on the merits of the different addresses for the opening of the house. Who the judges were, we are altogether ignorant, but we should humbly conceive that something better than the address adopted might easily have been found.²²

 A brief controversy over the address appeared in the Gazette when a losing 'Candidate for the Silver Ticket', in a letter to the editor, questioned whether Brown had offered a prize which he never meant to give. The writer's major point of contention was the fact that Brown refused to make public the name of the winner. The Gazette refused to support the gentleman's grievance and reminded him that Brown had promised anonymity for anyone who wished. It was noted that it would be an 'act of extreme cruelty' to drag such a person before the public against his or her will.²³

The address was spoken again the following Friday, and on 30 November it was printed in the Herald with the comment that 'poetical talent must be at a very low ebb in Montreal if it is assumed to be the best piece sent in on the occasion'.

THE PRIZE ADDRESS

When golden commerce fraught with honest zeal,
First over the Atlantic, urged her loaded Reel;
And winds and waves, at length auspicious bore
Her proofs of science to this Mountain's shore
Where nature, lovely in her wildest vest,
Beamed Emerald bright, within her water's breast,
A paradize of Wealth! - but yet unknown,
The sullen Indian claimed it as his own,
And idly gazed on blest Creation's power,
Without a thought beyond the present hour!
But when aloft fair Europe's flag unfurled
Her march of Science won this sylvan world!
Thus wisdom dawned - then savage darkness frowned,
And backward drew from off the enlightened ground! -
Now mansioned over, a spacious city rears
Her silvery Domes above her crowded Piers;
Whence far and wide the treasures of her soil,
Expanding comfort, cheer the labourer's toil.
Still yet, the mind over tales dramatic, dreams
From scenes half told, where classic learning gleams.
Like splendid fragments full of sterling ore,
But courting talent to enhance them more:
To chasten down, embody, and display
Those gems of nature in their pure array!
Give Shakespeare's fire! and Bard-like tears and strife
The strength and ardor of Persanic life!
Lead Genius forth and clear the Mental ray
From struggling twilight into Noon-tide day.
For this, these walls, in gay theatric pride,
Here towering hold, by Wisdom typified,
"The Glass of Nature," where by Nature's plan,
We'll show the Passions of her God-like man!
Soothe Virtue's Path, despise the Tyrant's curse;
Wake Pity's sigh; Expand the Miser's purse;
Assuage Distress and point the moral tale.
In Truth's fair colors from her native vale!
Hold up to Scorn, to punishment and Death,
Discordant Vice, and spurn the Slanderer's breath!
Unmask Hypocrasy and make the Fool!
When prone to vice, a mark for ridicule!
Thus may our efforts, neath your fostering care,
Receive that crown which Merit fain would wear.
We court no smile, unless the smile were due
We ask but justice; - judgement rests with you.
And yet, how oft has Merit been decried
When idle Patrons step not forth to guide,
And raise the gifted over Distractions power
To Fame's proud Temple, or some peaceful bower
Where, in the Vale of Years, their scene might close
Enriched by Faith and pure from Earthly woes!

"Edwin," a lover of the Drama²⁴

The excitement of an opening night in the new theatre captured more attention from the reviewers than did the performances. Comments on the play were brief and generally complimentary. The Vindicator praised Frederick Brown for his portrayal of Vapid in The Dramatist:

The comedy went off in an easy and satisfactory manner. Mr. Brown in Vapid was in reality at home, and received the warmest marks of approbation. Miss Riddle in Marianne was extremely fascinating, and the general satisfaction which she afforded was acknowledged in a manner highly flattering to her feelings. - We were pleased to notice the respectable appearance and agreeable manner of our old acquaintance Mrs. Brazier, late of the Circus who was a good representation of Letty. Lord Scratch was well performed by Mr. Horton whose voice and manner gave indication of his being a favorite with the Montreal audiences. The other characters were decently supported and considering the company is composed of persons who were, before Monday, strangers of each other's particular mode of acting, the whole corps promise to afford us a rational source of amusement.²⁵

The Herald left out any particulars and simply stated that the 'whole performance went off with great "eclat" and it may be said that the New Theatre was opened under very auspicious circumstance'.²⁶

The columns of the Gazette mixed some editorial comments into a description of the evening:

The theatre is very neatly finished and does credit to those who have so quickly executed the design. The expenses, however, of the house, and a company as numerous as that which Mr. Brown has engaged must be very heavy, and while we pronounce Mr. Brown a bold man to have undertaken the concern, we are as sincere as any of his friends in wishing him every success. The performance, considering that everything was new, went off as even Mr. Brown himself could have wished, and it must in justice be confessed that Mr. Brown's own personal exertions contributed not a little to induce the applause which the audience so deservedly bestowed.²⁷

 The first night was an apparent success and the luxury of a new theatre was appreciated by those who attended and recorded their impressions in the Montreal papers. The task which remained for the new manager was to capitalize on this initial enthusiasm and make the first Theatre Royal an integral part of Montreal's cultural and social milieu.

APPENDIX

Miss Turner
Mrs Brazier
Mrs Horton
Mrs Forbes
Mrs Meline
Mr Clynch
Mr Weir (singer)
Mr Duff (in charge of orchestra, overtures)
Mr Richard Honey (in charge of orchestra, symphonies)
Mr Bernard (designer and carpenter)
Mr Drake (designer and carpenter)
Mr Thomas Honey (designer and carpenter)
Mr Johnson (stage carpenter)
Mr Fielder (stage carpenter)
Fourteen musicians in the orchestra.

Play bills for the above plays were the most extensive of those in the press and consequently indicate one or two types of roles for the greatest number of the company.
 

Notes

THE OPENING OF MONTREAL'S THEATRE ROYAL, 1825

Owen Klein
 

1 THOMAS STORROW BROWN, Montreal, 50 Years Ago, Montreal 1868, pp 3-4
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2 THOMAS DOIGE, An Alphabetical List of the Merchants, Traders and Housekeepers Residing in Montreal, Montreal, 1819, is used here and in later instances to identify as completely as possible the individuals who were instrumental in promoting and financing the Theatre Royal.
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3 For an excellent account of the early Molsons, see: Merrill Denison, The Barley and the Stream, The Molson Story Toronto 1955, pp 1-157.
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4 Molson Ledger, Vol 41, 1820-25, Molson Archives, Unit I, Series A (1), p 319
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5 Articles of Agreement between John Molson SEN, and others for Establishing a Theatre in Montreal by joint Stock, dated 1 February 1825. Montreal Superior Court Archives.
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6 Contract and Agreement between Barnett and Forbes and John Molson Junior, Horatio Gates and Others, dated 4 March 1825. Montreal Superior Court Archives.
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7 Contract and Agreement between John Redpath, Mason, and John Molson Junior, etc., Dated 15 March 1825. Montreal Superior Court Archives.
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8 Contract and Agreement between Whetheritt and Perry and John Molson Junior, Horatio Gates and others for Plastering the New Theatre, Henry Griffin's Notarial Records No 5630, dated 19 March 1825. Montreal Superior Court Archives.
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9 Molson Ledger, Vol 52, pp 49-50
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10 Molson Ledger, Vol 52, 1825-30, p 49, Molson Archives, notes payment for advertising lease in both New York journals.
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11 Canadian Courant and Montreal Advertizer 27 May 1824
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12 CHARLES DURANG, quoted in Graham, Histrionic Montreal pp 41-43
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13 Memorandum to Henry Griffin from William Bernard stating terms of agreement. Formal contract was drawn up by Griffin and signed and notarized on 24 September 1825.
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14 Montreal Gazette 12 March 1829
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15 JOHN ALDEN, A Season in Federal Street Worcester, Mass., 1955, p 12
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16 Montreal Gazette 19 November 1825
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17 Montreal Gazette 16 November 1825
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18 Gazette 19 November 1825. See Appendix for complete list of company members during the first year of the Theatre Royal.
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19 Herald 23 November 1825
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20 Irish Vindicator 23 November 1825
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21 Ibid
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22 Gazette 23 November 1825
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23 Gazette 26 November 1825
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24 Herald 30 November 1825
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25 Irish Vindicator 23 November 1825
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26 Herald 23 November 1825
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27 Gazette 23 November 1825
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