Lafayette Circus Theatre emerged in Manhattan in 1825 as an equestrian circus arena; in 1826–1827 it was rebuilt into a conventional theatre hall with an orchestra pit and advanced rigging.[1] It boasted equipment for both equestrian (Hippodrama) and aquatic drama.[2] The theatre was destroyed by fire in 1829.
Lafayette Circus (named after the Marquis de Lafayette) was built on the corner of Laurens (now West Broadway) and Grand Street by Charles W. Sandford, a land developer and speculator who erected the theatre as a main attraction of a newly developed neighborhood.[3] Hippodrama, part drama and part circus, the intended main event, was a recent invention that evolved from circus and horsemanship shows of the 18th century.[4] It emerged in England and France and quickly spread to the United States.[4] Lafayette Circus was the first American theatre specifically designed for hippodrama, followed by the Philadelphia Amphitheater and the Baltimore Roman Amphitheatre.[4]
The shows attracted lower classes, laborers and seamen,[5] "ready to riot at the slightest provocations";[6] "in fact, much of recorded rowdyism of the mid-1820s" took place at Lafayette Circus.[5] Notable public disturbances and gang fights were recorded in December 1825 and in July 1826, when a watchman attempting to expel a prostitute barely escaped from the mob.[6][7]
Horse drama and other para-theatrical shows failed;[1] in 1826 the circus was sold and became the Lafayette Theatre, redesigned by Peter Grain, architect and theatrical designer. In October 1827 the New York Mirror described the building as "the largest and most splendid ever erected for theatrical purposes in the United States. The stage with its scenery and machinery exceed all former attempts in this country".[1] Nearly 100 feet wide and 120 feet deep, the stage was greater than anything existing in the United States or the United Kingdom.[1] Stage lighting was described as "more natural"; a new lighting layout eliminated stage lamp ladders and allowed opening the whole width of the stage to the spectators.[1]
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