The theatre had its beginnings in the Bowery and old Social Hall members of the Deseret Dramatic Association, which had been reor¬ganized, were Hyrum Clawson, Phil Margetts, Robert Campbell, John T. Caine, R. T. Burton, Wil¬liam Clayton, David O. Calder, Joseph Simmons, Henry Maiben, Horace Whitney, John Kay, and William C. Dunbar. Among the ady members was Miss Judd, later Mrs. Margaret Clawson. EL B. Clawson was the manager of the company. Said Mr. Clawson one evening in his lecture on "Theatricals in he Early Days," "Governor young insisted that I write to the noted publishing houses both American and England for lays. I corresponded with the anagers of Daly's Theater, Tony astor's in New York, and His Majesty's Theater in London. We ad the bust of William Shakespeare above the stage to inspires to seek the best in our literature." For many years the Social Hall mained the center for the drama. It was also used for veral sessions of the Territorial sgislature and for concerts and blic lectures. It stood until May 22, as a worthy expression of ideals of the pioneers. IT WAS NOT LONG before resident Young and others had mind a larger building for the ama and music, and this re- Ited in the construction of the lit Lake Theater, the portals of lich were graced by Booth and .rrett, Couldock, Irving, and umcefort, and a host of others the world's greatest actors, round was broken for the erec- on of the theater, July 1, 1861. lliam B. Folsom was the archi- ct It was the object of the pro- loter of the theater to build a ouse that would rank as one of e finest in the United States. B. Leavitt says in his book, Fifty Years of the American four feet, with walls eighty-four feet to the square. The rock work three feet thick rose twenty feet above the ground, from which point the adobe walls were two and a half feet thick. The interior was handsome, fitted up gor¬geously for those times. ... The total cost of the building was over one hundred thousand dollars." In building the theater, there were many difficulties to over- com. An old water wheel on City Creek, just north of the play¬house, furnished the power for hoisting the massive timbers used in the building. How to obtain iron and steel was also a problem, but President Young was again resourceful. He remembered that in the course of the Utah war, many of the government wagons had been burned and destroyed beyond Fort Bridger. President Young sent a number of men to find the iron and steel junk, which was brought in and ham¬mered by hand into nails. When the first plays were staged, the footlights were tallow candles. If the stage was to be darkened, the lights were blown out, then relighted as the scene required. THE THEATER was dedicated on the evening of March 6, 1862. Daniel H. Wells offered an elo¬quent prayer of dedication, a few words of which we quote: "In the name of our Lord and Savior, Jesus Christ and in the authority of the holy and eternal priesthood of Almighty God, we concentrate and dedicate this building, with its surroundings above and below and upon each side thereof, unto Thee, our Father and God. We dedicate the ground upon which it stands, and the foundation of the building, and the superstructure thereon. All and every part of this building we consecrate and dedicate unto Thee, our Father that it may be Suffer no evil nor wicked in¬fluences to predominate or pre¬vail within these walls; neither disorder, drunkenness, debauch¬ery or licentiousness of any sort or kind; but rather than this, sooner that it should pass into the hands or control of the wicked or ungodly, let it utterly perish and crumble to atoms; let it be as though it had not been an utter waste, each and every part re¬turned to its natural element; but may order, virtue, cleanliness, sobriety and excellence obtain and hold fast possession herein, the righteous possess it, and "Holiness to the Lord" be forever inscribed therein." An opening anthem, composed by Eliza R. Snow, then was Sung, and the orchestra played "The Star-Spangled Banner." A num¬ber of addresses were given, and, on March 8, two days later, the "Pride of the Market," with John T. Caine as leading man, was played. This was followed by the managed and John their years appeared rs of Eng- the dra- ed without who were ern states pensation, for it was a long Journey over the plains from the Missouri River by stage-coach to Utah. Among these were Thomas A. Lyne, Sir George Pauncefort, John McCullough, Julia Dean Hayne, Annie Adams, and Sarah Alexander. In 1867 C. W. Coul¬dock came with his daughter from Rawlins, Wyoming, by stage-coach. The history of the first three seasons of the theater will tell something of the interest the peo¬ple took in the old playhouse. T. A. Lyne came again in the early part of 1862. He had acquired fame in Philadelphia, and on his arrival in Salt Lake City he headed a stock company, and dur¬ing the season of 1862-1863 gave "The Honeymoon, "Damon and Pythias," "Richelieu," "Othello," "Richard III," "William Tell," and "Pizarro,' Lyne always took the leading role. THEN CAME Mr. and Mrs. Seldon Irwin, comedians, who ar¬rived from Denver by stage¬coach. They brought with them "Camille," "The Lady of Lyons," and "Our American Cousin." The Irwins were popular, and after¬wards returned to Salt Lake to play engagements. In 1864 came Sir George Pauncefort, a scholarly English actor, whose teachings and acting probably did more to advance the talents of the home performers than any other agency up to that time. He was the original "Armand" in "Camille," played by Matilda Herron in New York in 1858. Under his direction "Ham¬let," "Macbeth," and "The Ro¬mance of a Poor Young Man" were given. After Pauncefort, came many noted people of the stage, among whom was the beautiful Julia Dean Hayne. With George B. Waldron as leading man, she gave "Camille," "Macbeth," "Leah the Forsaken," "Peg Woffington," "The School for Scandal," and "Lucretia Borgia." When she left Salt Lake City in 1866, she was given a reception in the "Play¬house," and her farewell words touched the hearts of the people. She said: "LADIES and gentlemen: It is but seldom I lose the artist in the woman or permit a personal feel¬ing to mingle with my public duties; yet, perhaps, in now tak¬ing leave, I may be pardoned if I essay to speak of obligations which are lasting; If during my lengthened stay within your midst, some trials have beset my path, many kindnesses have cheered the way, the shafts of malice have fallen powerless, and the evil words of falser hearts have wasted as the air. And per¬haps in teaching me how sweet the gratitude I owe these friends, I should almost thank the malig¬nancy which called their kindness forth. For such, believe me, mem¬ory holds a sacred chamber where no meaner emotion can intrude. "To President Young, for very many courtesies to a stranger, alone and unprotected, I return these thanks, which are hallowed by their earnestness; and I trust he will permit me, in, the name of my art, to speak my high ap¬preciation of the order and beauty that reigns throughout this house. "I would the same purity pre¬vail in every temple for the dra¬ma's teachings. Then, indeed, the grand object would be achieved and it would become a school. 'To wake the soul by tender strokes of art, 'To raise the genius, and mend the heart. But I speak too long and pause, perhaps, before the last farewell— 'A word that has been and must be, 'A sound that makes us linger, Yet farewell!' " JULIA DEAN returned to New York, where she died in 1868. Her grave marked by a headstone erected by Joseph Jefferson is in the cemetery at Port Jarvis, New York. The following beautiful poem was written in her honor by Sarah Carmichael, the most noted poet of that day: A form of sculptured beauty; A deep, magnetic face, That draws the gazer's worship To its intense embrace; Her beauty presses on the heart, Yet shines above it far. With a strange polar luster, Exquisite 'woman's star Her beauty hath a splendid stress That words cannot explain, Expression swoons in its caress— Julia Dean Hayne. A still repose of motion, An animate repose; Expressive power of silence, No language can disclose; Her lip, with languid motion, turns Each leaf in feeling's book; Her voice can picture all things, but Her eloquence of look. A warm pulse in the world's great heart, She thrills its every vein; And bids its tear-drops stay or start— Julia Dean Hayne.