The smoking gods: Tobacco in Maya art, history, and religion by Francis Robicsek
By Francis Robicsek
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Of course there were other musical entertainments to divert theatregoers in 1866-1867. The San Francisco Minstrels opened their season on 3 21 September, the night of Joseph Jefferson's premiere. Three weeks later the troupe interpolated a burlesque of The Black Crook. The travesty so delighted audiences it was retained on the bill for most of the remaining season. While the San Francisco Minstrels had quickly established a reputation as "the most dignified, the most settled" of blackface bands, demands for their sort of entertainment held steady enough to allow a number of other organizations to flourish.
Balfe's The Enchantress, which premiered at the Chatham on 25 May 1846, was almost as popular, while other of his works were brought forth with varying success. A third major English composer was William Vincent Wallace. His greatest work, Maritana, was first performed in America in Philadelphia in 1846, then two years later brought to the Bowery on 4 May 1848. Gypsies and nobles mingled in its plot much as they had in The Bohemian Girl. In this case the gypsy girl, Maritana, and a young noble, Don Caesar, go off to consummate their marriage despite the intrigues of Don Jose on behalf of the lascivious King of Spain.
This latest one—one that gave him a vehicle for the remainder of his life and became one of the best-loved stage pieces in American history—was prepared for the actor by Dion Boucicault. Although Boucicault had just spent several profitable years in the United States and with time would return to end his days here, the author was Irish born and London trained. He and Jefferson presented their new version in London for a season before bringing it to New York. The few sensations that seemed to have no foreign connection were disasters—namely, the fiery destruction of the Winter Garden and of the New Bowery theatres.