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Astor Place Riot
Astor Place Riot Tragedy
A feud between two actors embodies class tensions in the mid 1800’s and started the Astor Place Riot
The Players
Edwin Forrest was one of the foremost American actors of his time, celebrated for his robust interpretations of Shakespeare’s heroes. His style was emblematic of American theatrical tastes: loud, physical, and emotive, appealing particularly to the working classes who saw in him a reflection of American vigor and independence. Forrest’s rise paralleled the growing sense of American nationalism, and he became a cultural hero to many, representing the ideal of the self-made American.
In contrast, William Charles Macready was the quintessence of the British theatrical tradition—refined, controlled, and intellectual. His performances appealed to the upper echelons of society, who admired British culture and appreciated Macready’s methodical approach to acting. Macready was not just a symbol of British artistry but also of the social and cultural aspirations of America’s elite.
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Credit: Harrison, Gabriel 1889 Edwin Forrest The Actor and the Man. Critical and Reminiscent
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Credit: Royal Shakespeare Company Collection
The Backdrop
The mid-19th century was a period of intense cultural and social flux in the United States. With the ongoing influx of immigrants, especially from Ireland, and the rapid expansion of urban centers, American society was grappling with questions of identity and class division. Theaters became focal points for these tensions, as they were among the few public spaces where different social classes mingled.
The rivalry between Forrest and Macready was more than professional jealousy; it tapped into deeper nationalistic and class resentments. Forrest’s supporters used his rivalry with Macready to stoke anti-British sentiment, which was already prevalent among certain segments of the population, particularly Irish immigrants and other groups who felt marginalized by the Anglophile tendencies of the American elite.
Both actors frequently toured both sides of the Atlantic. Their encounters in Britain were marked by increasing hostility, culminating in Forrest’s public display of disdain for Macready during a performance in Edinburgh, where Forrest allegedly hissed at him. This act was widely publicized and inflamed their rivalry, being perceived not just as personal animosity but as a national affront.
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When Macready announced his 1849 tour to the United States, it was against the backdrop of this heated rivalry. Choosing to perform at the Astor Place Opera House—a symbol of cultural elitism—was seen as a provocative act by Forrest’s supporters. The opera house, with its upscale location and clientele, was viewed by many as an enclave of British sympathies.
As Macready began his performances, Forrest’s supporters organized protests. These were initially limited to vocal disruptions during Macready’s shows but soon escalated into more organized opposition. . One particularly shocking event occurred during one of Macready’s performances when an angry mob expressed their disdain by throwing a half-dead sheep onto the stage—a grim symbol of their rejection of British theatrical influence. Newspapers and public figures took sides, framing the conflict as a battle between American artistry and British arrogance.
This animosity culminated during a Macready performance on May 7, 1849, at the Astor Place Opera House in New York City. The audience, filled with Forrest supporters and anti-British theatergoers, disrupted the show by throwing objects at the stage and making so much noise that the actors could hardly be heard.
Macready announced his intention to leave for England on the next boat, but he was persuaded to stay and continue performing by a petition. It was signed by almost 50 upper class New Yorkers, including authors Herman Melville and Washington Irving.
The Astor Place Opera House Riot, May 10th, 1849
The day began with an uneasy anticipation. Word had spread that William Charles Macready would continue his performance of “Macbeth” at Astor Place Opera House despite the disturbances at earlier shows. Both supporters and detractors of Macready prepared for what many anticipated would be a significant confrontation.
In the streets surrounding the Astor Place, laborers, artisans, and clerks, many of whom were fans of Edwin Forrest or simply opposed to the perceived British elitism of Macready, began to gather. Their numbers were bolstered by various nativist groups and Irish immigrants, who saw the event as a broader protest against British influence and upper-class pretensions.
The city officials, aware of the potential for violence, prepared by stationing police officers around the theater. Notices were published in newspapers calling for calm and respect for law and order, but these seemed only to heighten the sense of impending conflict.
As the evening approached, attendees of the performance, many from the upper classes of New York society, began to arrive. They were met by jeers and insults from the growing crowd. The police formed lines to allow theatergoers to enter, creating a tense corridor through the hostile crowd.Macready began his performance to a packed house, though the mood inside was tense, with many attendees aware of the commotion outside. The theater had taken precautions, barring the doors and increasing security inside.
The Show Begins
Outside, the crowd swelled to several thousands, some estimates suggesting as many as 10,000 people. The initial chants and boos turned into a barrage of stones, bricks, and rotten vegetables thrown at the building. Windows shattered, and the noise of the crowd drowned out the actors on stage.
The police, outnumbered and unable to disperse the mob, called for reinforcements. The Mayor of New York, who was present at the theater, ordered the National Guard to be mobilized.
By mid-evening, the National Guard arrived. They formed up in front of the theater, bayonets fixed, facing the increasingly aggressive crowd. The presence of the militia heightened the tension, and the crowd began to push against the soldiers. The Astor Place Riot had begun.
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As projectiles continued to rain down and the crowd attempted to break the police lines, the militia officers gave the order to fire warning shots. The gunshots failed to deter the crowd, and the safety of those inside the theater seemed at risk. The militia began to fire directly into the crowd.
The result was chaotic and deadly, killing at least 22 people, with more than a hundred others wounded. The crowd panicked and dispersed, leaving behind a scene of carnage and bodies amongst the debris. The shock of the event quickly spread through the city and would dominate national headlines. The public reaction was one of horror and disbelief that a cultural event could turn so violent.
The riot not only marked a tragic day but also set a precedent for how cultural and class conflicts could escalate into violence. It underscored the deep divisions within American society and the volatile nature of public sentiment. The Astor Place Opera House riot remains a stark reminder of the impact of cultural elitism, nationalism, and class strife, encapsulating a moment when the theater became a battleground for larger societal battles.
References:
- Burrows, Edwin G., and Mike Wallace. Gotham: A History of New York City to 1898. New York: Oxford University Press, 1999. ISBN 0-195-11634-8.
- Cliff, Nigel. The Shakespeare Riots: Revenge, Drama, and Death in Nineteenth-Century America. New York: Random House, 2007. ISBN 978-0-345-48694-3.
- Morrison, Michael A. John Barrymore, Shakespearean Actor. Cambridge Studies in American Theatre and Drama, vol. 10. Cambridge: Cambridge University Press, 1999. ISBN 9780521629799.