The Mormons and the Theatre; or, The History of Theatricals in Utah — Context and Discussion

From Dance Nights to the Salt Lake Theatre

Lindsay grounds his narrative in the social fabric of Mormon life. He describes how dances were opened with prayer and closed with thanks, and how Brigham Young barred round dances like the waltz and polka, favoring quadrilles and cotillions. The theatre's popularity is tied directly to Young's example: he built the Salt Lake Theatre as a striking proof of his encouragement. Lindsay suggests that Young recognized the need for innocent amusement, and that keeping people in a pleasurable mood prevented brooding. The author then traces the theatre's early years, noting that Salt Lake City became the best show town per capita in the United States.

Touring Stars and Stock Company Shifts

The middle sections of the book read like a detailed ledger of visiting performers. Lindsay recounts engagements by Daniel E. Bandmann, who played five nights including Macbeth and Hamlet, and notes Bandmann's German accent and later career as a horse and cattle breeder. J. K. Emmett, known as "Joe," filled the theatre with his character "Fritz" and catchy lullabies. The author also tracks the comings and goings of stock company members: Hardie left for Virginia City, Lindsay himself visited England, and Miss Alexander drifted east. The arrival of J. M. Carter and Carrie Carter from Denver helped fill gaps in the weakened company.

Edwin Adams and John McCullough: A Notable Pairing

Lindsay devotes particular attention to the engagement of Edwin Adams and John McCullough in July of an unspecified year. Adams opened as "Rover" in Wild Oats and played Enoch Arden and Black Eyed Susan. McCullough brought Helen Tracy as leading female support. The two actors performed together in Damon and Pythias, with McCullough as Damon and Adams as Pythias. Lindsay reports that critical Salt Lakers declared it was "Pythias" and "Damon" on that occasion, putting Adams ahead of McCullough in their admiration. Adams also played Iago to McCullough's Othello, further strengthening his favorable reputation.

Recurring Patterns in Lindsay's Chronicle

Throughout the excerpts, Lindsay employs a consistent structure: he introduces each performer with a brief biographical note, lists the plays performed and dates, then offers a personal assessment of their voice, accent, or acting style. He frequently notes the financial success or failure of engagements—Bandmann's ranch, Emmett's full houses, the Hernandez couple's poor attendance. The author also tracks the movement of stock company members between cities, creating a sense of a mobile theatrical network. His tone is anecdotal and occasionally wry, as when he notes that Bandmann "bred a large family of children on that same ranch."

Lindsay's history is less a systematic analysis than a personal chronicle, rich with specific dates, play titles, and performer details. Readers interested in the intersection of religion and entertainment will find a firsthand account of how Mormon leaders shaped theatrical culture. The book's value lies in its accumulation of concrete evidence—who played what, when, and how they were received—rather than in broad interpretive claims.

I remember Mr. Lindsay’s history, how Puritan Salt Lake still craved its painted curtains and gaslights. A people can deny a stage, yet build one anyway. There’s a similar tenderness in Amphitryon — Reading Notes, where a god borrows a mortal’s shape. Both speak of disguise, and of the strange comfort found in pretending to be what we are not.