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A History of Mexican American Professional Theatre in Texas Prior to 1900
Published online by Cambridge University Press: 07 July 2009
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The last quarter of the nineteenth century witnessed the beginning of Mexico's “Golden Age.” During this time Mexico received bounteous foreign capital, industry and agriculture flourished, railroads pushed their way south from the United States, the ancient reales de minas of the Spaniards reopened, and smelters began to “belch their yellow fumes into the desert air.” The valuable silver, gold, copper, lead, and zinc flowed north to feed the rapidly expanding commerce and industry ofthe United States, and many domestic products found a ready market abroad. The capital city was cleaned up and modernized, electric lights and streetcars were everywhere, and many new buildings arose, such as the elaborate Palace of Fine Arts. Porfirio Díaz, Mexico's president during these years, surrounded himself with able científicos, a group of brilliant lawyers and economists who “worshipped at the new and glittering shrine of Science and Progress” and who as cultivated men brought, along with Mexico's material improvements, cultural ornaments as well. They encouraged poetry, novels, art, and music, all of which thrived in Mexico City. The theatre was just as much a part of that cultural growth as the other arts. Beyond question the economic and cultural development of Mexico during the regime of Don Porfirio was great.
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References
Notes
1 Simpson, Leslie Byrd, Many Mexicos (Los Angeles: University of California Press, 1969), p. 294Google Scholar.
2 Simpson, p. 289.
3 Simpson, p. 289.
4 The Institute of Texan Cultures (San Antonio: The University of Texas at San Antonio, 1970–1979)Google Scholar. A series of pamphlets dealing with the many kinds of people who have contributed to the history and heritage of Texas.
5 McWilliams, Carey, North From Mexico (New York: Greenwood Press, 1968), pp. 59, 60Google Scholar.
6 McWilliams, p. 61.
7 Texan Almanac and State Industrial Guide for 1870 (Dallas: The Galveston-Dallas News, A.H. Belo & Co., 1870), p. 126Google Scholar. 1982–83 Texas Almanac (Dallas: Dallas Morning News, A.H. Belo & Co., 1982), p. 166Google Scholar. U.S. Bureau of the Census, Abstract of the Eleventh Census of the U.S.: 1890, p. 36. U.S. Bureau of the Census, Abstract of the Twelfth Census of the United States: 1900, p. 61.
8 Acuña, Rodolfo, Occupied America: A History of Chicanos, 2nd ed. (New York: Harper & Row, 1981), p. 44Google Scholar. McWilliams, pp. 84–88, 98–114, 170.
9 Institute of Texan Culture Series on “The Mexican Americans,” pp. 1–29, and “The Spanish Americans,” pp. 1–31. McWilliams, pp. 19–62.
10 Evidence to support the fact that Spanish-language companies were performing in Texas on a regular basis and were paid for performances may be found in the following newspaper accounts: El Correo de Laredo, Laredo, , 22 July 1891, p. 3Google Scholar; 10 September 1891, p. 2. Reserved seats were sold in advance for the performances of the Compañía Roncoroni. La Fe Católica, Antonio, San, 2 July 1898, p. 3Google Scholar; 14 May 1898, p. 3; 21 May 1898, p.3. In the account of 2 July 1898 we learn that season tickets had been sold for the performances of the Compañía Solsona.
11 Brokaw, John W., “A Nineteenth-Century Mexican Acting Company — Teatro de Iturbide: 1856–57,” Latin American Theatre Review Fall 1972, pp. 5–18Google Scholar. Mañon, Manuel, Historia del Teatro Principal de México (Mexico: Editorial “Cultura,” 1932), pp. 45–228Google Scholar. de la Maza, Luis Reyes,El teatro en México con Lerdo y Díaz: 1873–1879 (Mexico: Universidad Nacional Autonoma de Mexico, 1963), pp. 9–307Google Scholar. de la Maza, Luis Reyes, El teatro en México durante el porfirismo (Mexico: Universidad Nacional Autonoma de Mexico, 1965), Vol. 2, pp. 9–386Google Scholar. de la Maza, Luis Reyes, El teatro en México en la epoca de Juárez, 1868–1872 (Mexico: Universidad Nacional Autonoma de Mexico, 1961), pp. 9–220Google Scholar. de la Maza, Luis Reyes, El teatro en México entre la reforma y el imperio, 1858–1861 (Mexico: Universidad Nacional Autonoma de Mexico, 1958), pp. 11–172Google Scholar.
12 Manry, Joe, “A History of the Theatre in Austin: 1839–1905,” Ph.D. Diss., University of Texas at Austin, 1979, pp. 1–33, 227–228Google Scholar. Myler, Charles Bennet, “A History of the English-Speaking Theatre in San Antonio before 1900,” Ph.D. Diss., University of Texas at Austin, 1968, pp. 1–13, 346–355Google Scholar. Yocum, Jack H., “A History of Theatre in Houston: 1836–1954,” Ph.D. Diss., University of Wisconsin at Madison, 1955, p. 140Google Scholar.
13 Brady, Donald V., “The Theatre in Early El Paso: 1881–1905,” Southwestern Studies, 4, No. 1 (1966), 25–37Google Scholar. Manry, pp. 171–226. Reeves, Ann Taylor, “Nineteenth Century Theatre in Northeast Texas,” M.F.A. Thesis, University of Texas at Austin, 1962, pp. 40–92, 177–246Google Scholar.
14 Brady, pp. 25–37, 39. Carvajal, Christa, “German Theatre in Central Texas,” Ph.D. Diss., University of Texas at Austin, pp. 3, 35–36, 57–60, 65–66, 82–85Google Scholar. Hatch, James V., Black Theatre U.S.A.: 45 Plays — 1847–1974 (New York: New York Free Press, 1974)Google Scholar, Introduction by Ten Shine, p. 1.
15 The Spanish text of Los Pastores was published in San Antonio, Texas, in 1949 and again in 1976. The performance of this religious play has survived through uninterrupted yearly performances by the Guadalupe Church Players of San Antonio. See introductory pages in: Carmelo Tranchese, Los Pastores (San Antonio: Treviño Printing & Lithograph, 1949, 1976). Huerta, Jorge A., “Chicano Teatro: A Background,” Aztlán, II, No. 2 (Fall 1971), pp. 65–66Google Scholar. Huerta, Jorge A., “Concerning Teatro Chicano,” Latin American Theatre Review (Spring 1973), p. 13Google Scholar. Jones, Willis Knapp, Behind Spanish-American Footlights (Austin: University of Texas Press, 1961), pp. 460–461Google Scholar.
16 Campa, Arthur L., Spanish Religious Folk Theatre in the Southwest, 2nd Cycle (Albuquerque: University of New Mexico, 1934), p. 6Google Scholar.
17 El Correo de Laredo, Laredo, , 9 January 1892, p. 3Google Scholar. Garza, Roberto J., Contemporary Chicano Theatre (South Bend, Indiana: University of Notre Dame Press, 1976), pp. 1–2Google Scholar. Huerta, Jorge A., “The Evolution of Chicano Theatre,” Ph.D. Diss., University of California at Santa Barbara, June 1974, pp. 42–43Google Scholar.
18 Brokaw, John W., “A Mexican-American Acting Company, 1849–1924,” Educational Theatre Journal, 27 (1975), 23–27CrossRefGoogle Scholar. Brokaw, John W., “The Repertory of a Mexican-American Theatrical Troupe: 1849–1924,” Latin American Theatre Review (Fall 1974), pp. 23–25Google Scholar.
19 Manry, pp. 35, 38.
20 This study deals with the origins and development of Spanish-language theatre in Texas and I have selected the term “Mexican American” for this particular stage for it most adequately conveys the sense of the broad spectrum which the study treats. The term “Mexican American” as used here refers to Mexicans remaining in Texas after it was acquired by the United States through the Treaty of Guadalupe Hidalgo. The term also refers to other Mexicans who migrated to Texas after this time. In effect, the continuing presence of a Mexican culture in Texas is due to the fact that after the treaty was signed Mexican nationals continued to reside in the State. Thus, one becomes a Mexican American while residing within the State, for whatever duration, although such individuals may not necessarily use the term. It is in this respect that the term is applied within this study, both to the theatre and to the companies. See Acuña, Rodolfo, pp. 3, 18, and Brokaw, John W., “Chicano Theatre: Some Reflections,” Educational Theatre Journal, 29, 4 (December 1977), 536–537Google Scholar.
21 El Horizonte, Laredo, , 3 December 1884, p. 2Google Scholar.
22 El Horizonte, Laredo, , 3 December 1884, p. 2Google Scholar; 6 December 1884, p. 2. The two accounts mention the distinguished actors Sres. Baladía and Solórzano and the actresses Cejudo and Toscano. Also Sr. Morales and “his companion” are mentioned in the performance of the comic afterpiece. The first four names are mentioned several times in the years prior to 1900 in the history of the Mexican stage: “Tomas Baladía y Rita Cejudo de Baladía,” p. 141, and “el actor Francisco Solórzano y su esposa, la actriz, Emilia Toscano,” p. 136, both in Mañon. See also: Reyes de la Maza, El teatro en México con Lerdo y Díaz: 1873–1879, pp. 45, 108, 110, 151, 166, 201, 202; and Reyes de la Maza, El teatro en México durante el porfirismo, pp. 12, 67.
23 The repertory selections mentioned in the accounts of this company are: El anzuelo, a full-length drama by Blasco, followed by a one-act afterpiece entitled Casa de campo; Pasionería, a full-length drama; El gran Galeoto, a full-length drama by José Echegaray; and the first part of Don Juan Tenorio by José Zorrilla. On 6 December 1884 it was reported that the night before they had performed El gran Galeoto followed by Heráclito y Demócrito. El Horizonte, Laredo, , 6 December 1884, p. 2Google Scholar.
24 Mañon, p. 118, 136. de Olavarria y Ferrari, Enrique, Reseña histórica del teatro en México, 1538–1911 (Mexico: Editorial Porrua, 1961), pp. 1133passimGoogle Scholar.
25 El Horizonte, Laredo, , 6 December 1884, p. 2Google Scholar.
26 El Horizonte, Laredo, , 3 December 1884, p. 2Google Scholar; 6 December 1884, p. 2.
27 Ibid.
28 List of companies known to have appeared in Texas prior to 1900:
The following list includes the names of companies that appeared in Mexican cities very near the Texas border and were announced in newspaper accounts as expected to appear in
Texas:
29 According to available accounts, we know that at least eight dramatic companies appeared in Texas although there were probably others. There were four opera companies, one zarzuela, and one operetta. Among the sources for this information are: El Correo de Laredo, Laredo, , 22 July 1891, pp.2, 3Google Scholar;27 August 1891, p.3;4 November 1891, p.2;9 January 1892, p. 3; 31 March 1892, p. 3; 15 December 1892, p. 3; 17 December 1892, p. 3. La Fe Católica, Antonio, San, 22 May 1897, p. 3Google Scholar. Las Noticias, Paso, El, 21 October 1899, p. 1Google Scholar; 23 December 1899, p. 2.
30 El Correo de Laredo, Laredo, , 26 August 1891, p. 2Google Scholar.
31 El Correo de Laredo, Laredo, , 11 September 1891, p. 3Google Scholar.
32 El Correo de Laredo, Laredo, , 4 November 1891, p. 2Google Scholar.
33 Accounts of social and cultural events appeared frequently in newspapers, and these apparently were not paid ads since they appeared in information and news columns that were distinctly different and apart from the paid advertisement columns.
34 La Fe Católica, Antonio, San, 7 May 1898, p. 3Google Scholar. The Compa
ía Solsona had seasonticket holders according to the account of 2 July 1898, p. 3, in La Fe Católica.
35 We know nothing of the Compañíia Valdéz, which apparently had been working in San Antonio for some time. El Correo de Lrredo, Laredo, , 31 March 1892, p. 2Google Scholar.
36 While we cannot be certain of the length of residence of other companies within the State, the Compañía Solsona was clearly residing on a permanent basis in Texas although they are referred to by the newspapers as a Mexican company in the city. See note 20.
37 El Correo de Laredo, Laredo, , 4 November 1891, p. 2Google Scholar.
38 The lines of business of each of the company members are indicated from the roles they played in each performance. See La Fe Católica, 21 May 1898, p. 3; 4 June 1898, p. 3; 9 June 1898, p.3; 11 June 1898, p.3; 18 June 1898, p. 3; 25 June 1898, p.3; and 9 July 1898, p.3.
39 John W. Brokaw, “A Nineteenth-Century Mexican Acting Company — Teatro de Iturbide: 1856–57.” See p. 8 for typical lines of business organization of a dramatic company in Mexico. The principal lines of business found in a full cast of a Mexican dramatic company would include the following roles: leading actors and actresses (Primeros actors and Primeras actrices); second-line female (segunda dama) and second-line male (segundo hombre); character actress (característica) and character actor (actor de caracter); comic actress (actriz cómica) and comic actor (actor cómico); young gallant (galan jóven); and ingenue (dama jóven). See Mañon, pp. 132–133. Also see Luis Reyes de la Maza, El teatro en México en la epoca de Juárez: 1868–1872, p. 50, 145.
40 Amateurs were included in the performance on Sunday, 5 June, and the performance was said to be adequate. La Fe Católica, Antonio, San, 11 June 1898, p. 5Google Scholar.
41 The Teatro Salon San Fernando seems to have been used for other activities, some of which may have occurred through the week. See La Fe Caiólica, Antonio, San, 25 June 1898, p. 3Google Scholar.
42 El Correo de Laredo, Laredo, , 26 August 1891, p. 2Google Scholar; 11 September 1891, p. 3.
43 The Latin American Library Collection of the University of Texas at Austin has acquired two repertory collections under the new Mexican American Collection project. The repertory of the Compañia Hernández-Villalongín is listed in the article by John W. Brokaw in the Educational Theatre Journal, “The Repertory of a Mexican-American Theatrical Troupe: 1849–1924.” The collection has been expanded, however, to include 7 more dramas and 4 more one-act pieces. Brokaw's original listing included 146 dramas and one-act pieces. The Lalo Astol Collection has recently been acquired by the same library. This collection belonged to the Compañía Azteca under the direction of Sr. Astol's father, Leonardo F. García, and includes 39 promptbooks.
44 These were referred to as juguetes cómicos but more often they simply sang choruses from popular plays rather than performing complete zarzuelas.
45 This practice was also found in the dramatic company with which Sr. Solórzano appeared in Laredo just prior to 3 December 1884. They circulated programs announcing the performance of the first part of Don Juan Tenorio (1844). [This two part religio-fantastic drama, written by Jose Zorrilla, may be found in the repertory of the Compañía Hernández- Villalongín.] El Horizonte, Laredo, , 6 December 1884, p. 2Google Scholar. A member of another company, however, recalls that one of the major changes they made was to end the practice of performing parts of a full-length drama on separate nights. Interview with Sra. María Luisa Villalongín de Santos, San Antonio, May 1981.
46 The following is a list of plays known to have appeared on the Mexican American stage in Texas prior to 1900.
47 The sources for the repertory of the Compañía Solsona are: La Fe Catolica, Antonio, San, 14 May 1898, p. 3Google Scholar; 21 May 1898, p. 3; 28 May 1898, p. 3; 4 June 1898, p. 3; 11 June 1898, p. 3; 18 June 1898, p. 3; 25 June 1898, p. 3; 2 July 1898, p. 3; 9 July 1898, p. 3.
48 La Fe Católica, Antonio, San, 25 June 1898, p. 3Google Scholar.
49 Other events occurring at Teatro Salon del Mercado in Laredo include: amateur productions by Sociedad Hidalgo; the Company of Automatons from Mexico, a variety company probably comprised of mechanical puppets.
50 Interviews with Sra. María Luisa Villalongín de Santos, San Antonio, May 1981; Sr. Lalo Astol, 19 May 1981; and Sra. Belia Camargo, 15 July 1981.
51 La Fe Católica, Antonio, San, 25 June 1898, p. 3Google Scholar; 9 July 1898, p. 3. Interviews with Sra. María Luisa Villalongín de Santos, San Antonio, May 1981; Sr. Lalo Astol, 19 May 1981; and Sra. Belia Camargo, 15 July 1981.
52 Interviews with Sra. María Luisa Villalongín de Santos, San Antonio, May 1981; Sr. Lalo Astol, 19 May 1981; and Sra. Belia Camargo, 15 July 1981.
53 El Horizonte, Laredo, , 6 December 1884, p. 3Google Scholar. Interviews with Sra. María Luisa Villalongín de Santos, San Antonio, May 1981; Sr. Lalo Astol, 19 May 1981; and Sra. Belia Camargo, 15 July 1981.
54 La Fe Católica, Antonio, San, 4 June 1898, p. 3Google Scholar. Interviews with Sra. María Luisa Villalongín de Santos, San Antonio, May 1981; Sr. Lalo Astol, 19 May 1981; and Sra. Belia Camargo, 15 July 1981.
55 El Correo de Laredo, Laredo, , 22 July 1891, p. 3Google Scholar. Interviews with Sra. María Luisa Villalongín de Santos, San Antonio, May 1981; Sr. Lalo Astol, 19 May 1981; and Sra. Belia Camargo, 15 July 1981.
56 El Correo de Laredo, Laredo, , 22 July 1891, p. 3Google Scholar.
57 La Fe Católica, Antonio, San, 25 June 1898, p. 3Google Scholar.
58 La Fe Católica, Antonio, San, 18 June 1898, p. 3Google Scholar.
59 La Fe Católica, Antonio, San, 21 May 1898, p. 3Google Scholar.
60 El Correo de Laredo, Laredo, , 22 July 1891, p. 3Google Scholar.
61 Ibid.
62 Ibid. Also Brokaw, “A Mexican-American Acting Company, 1849–1924,” p. 24.
63 El Correo de Laredo, Laredo, , 31 March 1892, p. 2Google Scholar.
64 La Fe Católica, Antonio, San, 18 September 1897, p. 3Google Scholar.
65 La Fe Católica, Antonio, San, 7 May 1898, p. 3Google Scholar.
66 La Fe Católica, Antonio, San, 21 May 1898, p. 3Google Scholar.
67 Ibid.
68 La Fe Católica, Antonio, San, 14 May 1898, p. 3Google Scholar.
69 There are many accounts of the national anthem of Mexico having been sung on stage or played prior to a performance. Among these accounts are the following: Mulet, Juan Cid y, México en un himno (Mexico: B. Costa-Amic Editor, 1974), pp. 80, 86–7, 98–100Google Scholar; Olavarría y Ferrari, pp. 578, 583, 650, 712; Reyes de la Maza, El teatro en Mexico entre la reforma y el imperio: 1858–1861, pp. 19, 34, 139, 168; El teatro en M´xico en la epoca de Juárez: 1868–1872, p. 151; and Mañon, pp. 107–108.