The Astor Place Riot of 1849 by Matt Cromwell

March 16, 2011 Page 1 of 3

This is an analysis of an account of the Astor Place Riot which occurred on May 10, 1849. The

document in review is called “Account Of The Terrific And Fatal Riot At The New-York Astor

Place Opera House” (NY: H. M. Ramsey, 1849). The title page continues with detailed descriptions

of the contents:

With the Quarrels of Forrest And Macready, Including All the Causes Which Led to that Awful Tragedy! Wherein an Infuriated Mob was Quelled by the Public Authorities And Military, with Its Mournful Termination in the Sudden Death or Mutilation of More than Fifty Citizens, with

Full and Authentic Particulars.

It then concludes with the ominous quote: “Let Justice be Done, though the Heavens Fall!”

Despite the author’s overt persuasions and biases, this is a well-documented account of an

ongoing feud between two actors over time and across continents that leads to a disastrous and

fatal. My aim here is to present a summary of the document interspersed with analysis and

concluding with a short discussion of the documents contribution to Antebellum American history.

The author of the pamphlet, H.M. Ramsey1, opens with a brief summary of the events that

unfolded that night followed by an account of the feud that arose between the American actor,

Edwin Forrest, and the British actor William Macready. The author is clearly biased towards

Forrest in his account, but his argument is supported by several “cards” written by the actors to

newspapers to justify their artless behaviors. The feud crosses the Atlantic and follows Forrest

from America to England, as well as Macready from England to America. Did Forrest’s tour in

England go badly because Macready sabotaged him; or vice versa? Was Forrest’s “hissing” of

Macready in England simply constructive criticism, or was he purposely seeking to subterfuge

him in his own country?

1 I was unable to unearth any further information on the identity of this author. Gretchen Sween cites

this piece and calls him an anonymous author in her article “Rituals, Riots, Rules, and Rights: The Astor Place Theater Riot of 1849 and the Evolving Limits of Free Speech.” 81 Tex. L. Rev. 679 (2002-2003).

The Astor Place Riot of 1849 by Matt Cromwell

March 16, 2011 Page 2 of 3

Ramsey then sets the scene for the imminent riot by describing the general furor among the

New York populace towards the announcement that Macready would be coming to New York on

the heels of his injury against Forrest. He describes a concerted effort by Forrest’s friends and

supporters to purchase tickets to Macready’s showing with the express intent of booing and

hissing him off the stage. The strategy worked far beyond what was initially imagined. The well-

to-do opera house quickly became host to a mob of between ten- to twenty-thousand citizens.

Ramsey claims that “a riot was anticipated by all who were acquainted with the circumstances”

(pg. 102). Ramsey claims that though the mayor suggested that the Opera House be closed, the

lessees of the Opera House “were determined to stand upon their rights, and the city authorities

decided… to sustain them… with all the force at their disposal” (pg. 11) and therefore requested the

presence of the police and military in advance.

Then almost as an aside, a question is raised: Would “all these extraordinary preparations…

have been made to protect the legal rights of humble citizens”? (pg 11). Ramsey begins to lay down

his argument against the wealthy establishment. It was the lessees of the Opera house, after all,

who invited Macready to perform, insisted that he perform again on May 10 after he was hissed off

the stage on May 7, and who invited the police and military to be prepared for the rioters. It was

the mayor who, though he was well informed of the coming riot and issued that the military be

there, did not issue a warning to the citizens that disturbing the peace at the Opera house would

be a potentially lethal business that night.

After another brief summary of the events of the night, Ramsey then provides 4 first-hand

accounts of the scene. These are particularly helpful and generally consistent with the overall

narrative that Ramsey presents. After listing the dead and wounded from that evening, Ramsey

2 Page numbers are provided according to the attached manuscript.

The Astor Place Riot of 1849 by Matt Cromwell

March 16, 2011 Page 3 of 3

concludes by asking “Where lies the blame?” (pg. 19). Ramsey’s blame sits squarely on the

authorities. He characterizes the mob as just “well meaning, but ignorant, rash, and misguided

men.” He defends that the military simply “acted naturally, under the circumstances.” It was,

though, the authorities who put the military in the square for all to be aroused by. It is a very

populist message; very anti-establishment.

Several aspects stand out in regards to this tract. The first is the medium itself. This

pamphlet was not published in a newspaper or journal, it was printed alone, for the purpose of

dissemination. It is a political, persuasive tract attempting to provide detailed first-hand accounts

of the tragedy and its background for posterity while also using the event as a teaching moment

for the local citizenry. Such a medium seems virtually non-existent today.

Secondly, it becomes clear that the circumstances surrounding the Forrest-Macready feud

touched on many raw nerves in the New Yorkers minds. This was not about their “favorite” actor,

but about American pride versus English elitism. Forrest was also very popular among the lower

class, while Macready was favored by the wealthy, adding class tensions as well.

New York native, author, and columnist Kevin Baker claims that the Astor Place Riot

“remade the city” by inspiring the establishment of the New York Union League, the Republican

Party, and New York Central Park3. University of Texas lecturer and lawyer Gretchen Sween cites

the Astor Riot as an early American example of the restriction of free-speech. The plethora of

opinions and perspectives on this event illustrate how densely complex and diverse American

culture was at the time. But what stands out clearest is, despite or even including the bias of the

author, this piece provides enormous historical value to this event.

3 Kevin Baker. American Heritage. New York: Nov 1999. Vol. 50, Iss. 7; pg. 20.

http://proquest.umi.com.libproxy.sdsu.edu/pqdlink?Ver=1&Exp=03-15-2016&FMT=7&DID=45951034&RQT=309. Accessed March 16, 2011.