In February of 1881, a new play opened at Booth’s Theatre in New York.1 Attributed to a Chicago journalist named James B. Runnion, the play was entitled One Hundred Wives, and it was heralded as “an American play, because it deals with a subject wholly and essentially American. The subject is Mormonism-a fl agrant evil which is allowed to thrive, weed-like, in our free land.”2 The review continues on to praise the production for its “many novel features of dramatic strength,” and its “spacious picturesque scenery and . . . series of striking pictures.” Most importantly, the reviewer noted that Mr. Runnion’s work is “entertaining and illustrates truthfully in some degree a life which is for the most part utterly beyond the knowledge and comprehension of our people.”3