Archive for the Broadway Category

Stars of Vaudeville #1031: Florence Roberts

Posted in Broadway, Melodrama and Master Thespians, Vaudeville etc., Women with tags , , , on February 14, 2017 by travsd

mv5bngjlmzq0ndytmdaxoc00n2iylwfmndktotrmnzizode0ntrhl2ltywdll2ltywdlxkeyxkfqcgdeqxvymzi5ndcxnzi-_v1_uy317_cr140214317_al_

Today is the birthday of Florence Roberts (1871-1927). This is yet another Florence Roberts, quite a different one from the professional old lady we wrote about here. This Florence Roberts was a San Francisco based trouper in melodrama and vaudeville, known for her Shakespearean acting. Her one Broadway credit was a 1906 show called The Strength of the Weak. In 1912 she appeared in a film version of the stage sensation Sapho. The following year she appeared on a bill at the Palace Theatre, the very first week it was open. In the late teens she toured South Africa with a production of Mrs. Wiggs of the Cabbage Patch. She was the step-grandmother of actresses Joan, Barbara and Constance Bennett. 

For more on vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

safe_image

Stars of Vaudeville #1030: Aida Overton Walker

Posted in African American Interest, Broadway, Dance, Vaudeville etc., Women with tags , , , , , , , , , on February 14, 2017 by travsd

enhanced-buzz-18873-1378397938-2

Today is the birthday of Aida Overton Walker (1880-1914). singer, dancer, actor, choreographer, comedienne and “Queen of the Cakewalk”.

Born Ada Overton (she later embellished the spelling for professional reasons) in Greenwich Village, Overton was the daughter of a waiter and a seamstress. Her dancing talent was so evident from a young age that her parents provided her with formal training. She was only 15 when she joined John Isham’s Octoroons, an all-black minstrel show in 1895. In 1896-97 she was a member of the legendary Black Patti’s Troubadours.  In 1898, the comely chorine answered a call to model for an advertisement for Walker and Williams vaudeville revue at Koster and Bial’s. This led to her joining the show in the chorus, which then led to her being a featured performer with her partner Grace Halliday. Overton and Halliday performed as the Honolulu Belles in the first of the Walker and Williams musicals The Policy Players (1899).

That year, she also married George Walker and attained star status in the company, essentially becoming a third partner in the most celebrated African American act of the era. Overton was to choreograph all the Walker and Williams shows, as well as Cole and Johnson’s 1911 show Red Moon. The  Walkers became the most celebrated cakewalking couple in the country. Overton was to gain inroads into white society by teaching the dance at private functions. Meanwhile, she was in the process of becoming the top female African American stage performer of her day. In The Sons of Ham (1900) she made a hit with “Miss Hannah from Savanna”.  In Dahomey (1902) was the show that turned the decades-old cakewalk into a dance craze with whites as well; it toured as far as London, where the company gave a Command Performance for King Edward VII. Next came Abyssinia (1905) and Bandanna Land (1907). The latter show featured Overton’s tasteful, refined take on the Salome dance craze then sweeping the nation.

As Salome

As Salome

In 1909 George Walker collapsed while they were still performing Bandanna Land, incapacitated by late-stage syphilis. Overton took over his role in the show in addition to her own, an indication of the scope of her talents. Walker passed away in 1911,but Overton remained in the limelight. She appeared in and choreographed Cole and Johnson’s Red Moon (1909), co-starred with J.S. Dudley in the Smart Set Company’s production of His Honor the Barber (1910). And she toured Big Time Vaudeville. In 1912 she performed her Salome dance at the Victoria Theatre. The following she returned at the head of an entire troupe. She also donated her time organizing benefit shows charities.

When she died suddenly and mysteriously of kidney failure in 1914 it was mourned as a great loss throughout the African American community. She was only 34. Bert Williams would pass away only 8 years later.

For more on vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

safe_image

Stars of Vaudeville #1029: Helen Dauvray

Posted in Broadway, Melodrama and Master Thespians, Sport & Recreation, Vaudeville etc., Women with tags , , , , , , , , on February 14, 2017 by travsd

612full-helen-dauvray

Today is the birthday of actress Helen Dauvray (1859-1923). A prominent stage actress of her day (and one of the few female actor-managers), today she is best remembered for her private life and a brief connection to baseball.

Dauvray began her career as a child actress under the stage name Little Nell, the California Diamond. A fortunate investment in the Comstock Mine made her financially independent. She went to Paris to study, and performed at the Folies Dramatique in 1884. In 1885 she came to New York and started producing her own stage vehicles, including Mona at the Star Theatre, and at the Lyceum, Dakolar, and then Bronson Howard’s One of Our Girls, which turned out to be a major hit, which she frequently revived and toured across the U.S. and England. She also composed a popular song called “The One of Our Girls Polka”. Other plays she produced and appeared in at the Lyceum included A Scrap of Paper, Met By Chance, Masks and Faces, and Walda Lamar. She also played on variety stages as was the custom of the time.

wardmonte

In 1887, she married John Montgomery Ward, a member of the New York Giants who had recently graduated from law school, and was one of the founders of the first players union. She boasted that he was a “charming and cultured man” who could “speak five languages fluently”. On account of their celebrated relationship, professional baseball’s first championship trophy, instituted in 1888, was known as the Helen Dauvray Cup. (It was known by that time until after the couple divorced. In 1893 it was renamed the Temple Cup.) When the couple first married, Dauvray retired from the stage briefly, causing her to break a contract with Henry Miner, resulting in negative publicity. She and Ward caused a scandal by when they separated in 1890.

agwinterhalter-loc-photo-01

In 1896 she married naval officer Albert Winterhalter, who would be the man who first raised the American flag in Hawaii following its official annexation (1898), and would eventually attain the rank of Admiral, commanding the U.S. Asiatic Fleet 1915-1917. Dauvray retired upon her marriage to Winterhalter as well, with the exception of one comeback vaudeville engagement at Proctor’s in New York in 1901. When the reception was not encouraging, the writing was on the wall.

For more on vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

safe_image

Stars of Vaudeville #1028: Helen McKellar

Posted in Broadway, Hollywood (History), Melodrama and Master Thespians, Movies, Vaudeville etc., Women with tags , , , , on February 13, 2017 by travsd

5432372076_17cdb043f6

Today is the birthday of actress Helen MacKeller (1895-1966).

Originally from Detroit, MacKellar began trouping in melodramas and vaudeville as a teenager. I see references to her in reviews and playbills as early as 1910 appearing in cities like Spokane, Scranton, San Francisco and Salinas, Kansas. In 1916 she made her Broadway debut in the original production of Seven Chances (later adapted into the famous Buster Keaton vehicle).  Throughout the teens, twenties and early thirties she was a big wheel on Broadway and in Big Time Vaudeville. In 1917, she toured the big time with a one-act called “The Jay Driver” by Edmund Burke. Her notable Broadway vehicles included Back Pay (1921) by Fanny Hurst and The Mud Turtle (1925). It is said that Eugene O’Neill was a particular fan and wanted her for All God’s Chillun Got Wings but she couldn’t wrap her head around the miscegenation. With the exception of a stint as a replacement in Dear Ruth (1944-46), her last Broadway show was Bloody Laughter (1931-32).

Her Hollywood career began auspiciously when she starred in The Past of Mary Holmes (1933), featuring Jean Arthur, Skeets Gallagher and Rosco Ates, and Crane Wilbur’s High School Girl (1934). But despite her illustrious stage past she was destined not to be top-billed in films, but instead a character actress and often even an uncredited bit player. She was often in westerns such as Dark Command (1940) and The Great Train Robbery (1941). MacKellar retired from films in 1944 to return to the stage for Dear Ruth, then spent her last 20 years in retirement.

For more on vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

safe_image

Stars of Vaudeville #1027: Ralph Riggs and Katherine Witchie

Posted in Broadway, Dance, Vaudeville etc. with tags , , , , , on February 12, 2017 by travsd

mn13884

Today is the birthday of dancer Ralph Riggs (1885-1951). With his wife Katherine Witchie (d. 1967) had an acrobatic dance act in vaudeville for many years. A description of their act from The Independent in 1917 says they presented “…Dance Divertisements, composing a wide range of dances from the modern steps to dainty classical numbers.” From Billboard, June 2, 1917, re their performance at the Majestic in Chicago: “Ralph Riggs and Katherine Witchie have a dancing number that is always worthy of he highest praise. Both are artists of real ability and their offering contains enough variety to keep the audience thoroughly interested.” A 1934 New Yorker piece calls them the “Inventors of the Adagio Dance.”

By 1911, they had broken onto Broadway in a show called The Entrantress. Other shows included All Aboard (1913), The Princess Pat (1915-1916), The Passing Show of 1919, Cinders (1923), Ed Wynn’s The Grab Bag (1924-1925), Nic Nax of 1926, and Oh, Ernest (1927). The latter was Witchie’s last show but Riggs went on to still greater glory in the original productions of Of Thee I Sing (1931-1934), Let ‘Em Eat Cake (1933-1934), The Farmer Takes a Wife (1934-1935), Parade (1935), Yokel Boy (1939-1940), Louisiana Purchase (1940-1941), Oklahoma! (1943-1948), and many others. He is also appeared in several musical film shorts in the 1930s, and many broadcast appearances during the earliest days of television.

For more on vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

Hall of Hams #112: McKee Rankin: Hub of America’s Greatest Acting Dynasty

Posted in Broadway, Hollywood (History), Melodrama and Master Thespians, Movies, The Hall of Hams with tags , , , , , , on February 6, 2017 by travsd

2003-24433

Today is the birthday of Arthur “McKee” Rankin (1844-1914). Rankin is they keystone of America’s greatest acting dynasty. I don’t call him the founder because he’s more at the center; it starts back in the late 18th century and goes all the way to Drew Barrymore. 

Rankin himself was a key figure in 19th century American theatre, unjustly swallowed up by time. Originally from Ontario, Canada, he was only 21 when the Arch Street Theatre in Philadelphia, by some measures the leading theatre in the country at the time, made him their star. He was renowned in particular for his portrayals of the leads in MacBeth and Othello. In 1869, he married popular actress Kitty Blanchard and they became America’s most popular husband-wife acting team. Rankin also directed and produced his productions, taught acting, and wrote many plays, many with a western setting (a factor of his own extensive tours of western mining and logging camps). He would go on to start his own theatres in both New York and San Francisco.

Rankin’s plays included:

  • his own adaptation of Rip Van Winkle (1870), plainly an effort to compete with the successful Joseph Jefferson vehicle
  • Nannie, or the Dutch Orphan (1870)
  • The Danites, a tale of life among the Mormons co-written by P.A. Fitzgerald and based on The First Family of the Sierras by Joachin Miller (toured 1877-1881, made into a movie in 1912)
  • 49, a tale of San Francisco miners, also based on Joachin Miller material (1881)
  • The Metropolis, a tale of the underside of New York City (unproduced)
  • The Golden Giant, a tale of San Francisco co-written by Clay Greene (1885)
  • The Runaway Wife, co-written with Frederick Maeder, a melodrama in which a painter goes blind and his wife, told that he is dead by an evil sister, marries a nobleman (1888-89). This was made into a movie in 1915
  • Abraham Lincoln (1891)
  • The Baxters (1893), a comedy, written for actor Charles Cowles
  • a number of vaudeville one acts and the full-lengths Magda and The Fires of St. John, adapted from works by German writer Hermann Sudermann, in which Rankin co-starred with Nance O’Neil 1895-1908
  • Invasion (1909), an uncanny play in which the Japanese invade California. For some context, this was in the wake of Japanese victory in the Russo-Japanese war, at a time when Japan was in the process of colonizing Korea

Rankin’s last Broadway directorial credit was Judith of Bethulia (1904), which was adapted into a movie by D.W. Griffith ten years later.

The definite source for information about Rankin is David Beasley’s McKee Rankin and the Heyday of American Theatre (2002). 

41avk7mpajl-_sx315_bo1204203200_

Oh, but we’re not done! I wanted to take the opportunity to, as best I can, lay out the whole glorious tangle of this extended theatrical family.

THE RANKINS

The Rankins had three daughters with notable theatrical associations:

Gladys Rankin (1870-1914) was the first Mrs. Sidney Drew in the stage and screen team of Mr and Mrs Sidney Drew. Their son was the actor Sidney Rankin Drew. More on the Drew family below. Since Drew was Lionel Barrymore’s uncle, and Gladys sister’s Doris (below) was married to Lionel, Gladys was both Lionel’s aunt and sister-in-law.

Phyllis Rankin (1874-1934), a notable Broadway star in her own right. She was married to actor Harry Davenport (best known as Dr. Meade in Gone with the Wind). Phyllis and Harry’s son Arthur Rankin was also a minor player in films (he took his mother’s more famous surname as his professional name. That’s gotta hurt!) Arthur’s son was producer-animator Arthur Rankin, Jr. is of Rankin-Bass fame.

imgres

Doris Rankin (1888-1947), also a succesful stage and screen actress. Doris’s mother was not Blanchard, but some other unknown actress. Doris was married to Lionel Barrymore from 1904 through 1923.

THE DREWS

This estimable line begins with London actress Eliza Trentner (1796-1887), whose theatrical husband was a Mr. Lane, either Thomas Frederick Lane or William Haycraft Lane. Accounts differ, and as Eliza moved to America in 1826 with her six year old daughter and without Mr.Lane, the truth has been hard to uncover.

Louisiana Lane Drew, grandmother and mentor of the three Barrymores. By all reports she cut a formidable, if not  terrifying figure

Louisiana Lane Drew, grandmother and mentor of the three Barrymores. By all reports she cut a formidable, if not terrifying figure

The six year old girl was the formidable actress Louisa Lane (1820-1897) whose third husband was Irish-American actor John Drew, Sr (John Henry Drewland, 1827-1862). Drew’s brother Frank Drew (1831-1903) was also an actor.

Their oldest child Louisa Drew (1852-1888) married a theatrical manager but seems not to have gone on the stage, though the others did, including John Drew Jr. (1853-1827), Georgina (1856-1953), and the above mentioned Sidney who was adopted by Louisa Lane Drew after John, Sr. passed away

Georgina married Maurice Barrymore; their children were of course Ethel Barrymore, Lionel Barrymore and John Barrymore. 

lionel_ethel_and_john_barrymore_cph-3b04450

THE BARRYMORES

Ethel’s children were: Samuel Colt (1809-1986, a Hollywood agent), and Ethel Barrymore Colt (1912-1977) and John Drew Colt (1913-1975), both actors.

Lionel had two daughters with Doris Rankin; both died in infancy. After his divorce from Doris, he married actress Irene Fenwick (1887-1936), a former lover of his brother John.

John had four wives: socialite Katherine Corri Harris (who appeared in three silent films); the fascinating playwright and actress Blanche Oelrichs a.k.a “Michael Strange”;  actress Dolores Costello, daughter of Maurice Costello; and Elaine Barrie.

His performing children included Diana Barrymore (1921-196o), whose husbands included actors Bramwell Fletcher and Robert Wilcox; and John Barrymore Jr. (1932-2004) , who, like his father married four times, twice to actresses (Cara Williams and Nina Wayne). Two of John Jr’s children became actors: John Blyth Barrymore III (b. 1954) and Drew Barrymore (b. 1975). Whew!

Chip off the old block

Chip off the old block

 

 

 

Stars of Vaudeville #1024: Percy Helton

Posted in Broadway, Child Stars, Hollywood (History), Movies, Vaudeville etc. with tags , , , , , , on January 31, 2017 by travsd

percy-helton-03

Today is the birthday of ubiquitous Hollywood character actor Percy Helton (Percy Alfred Michel, 1894-1971). We’ll get get into his movies anon, but few people probably know how charmed his career was in its early years.

Helton’s career began at the age of two in the vaudeville act of his father, British-born Alf Helton (real name William Alfred Michel). By age 12 he was on Broadway, appearing in Julie BonBon. He was in the original production of David Belasco’s The Return of Peter Grimm (1911) and the original production of George M. Cohan’s The Miracle Man (1914). And he was to be a familiar face on Broadway stages through 1942. Here is a clip I found from his theatre days:

59dc245a-d760-4db4-ae64-48fd2e524e93

Meanwhile in 1915 he began appearing in films. His first movie sounds too good to be true: In The Fairy and the Waif (1915), directed by Marie Hubert Frohman (wife of Gustave Frohman), he played the Waif to a Fairy played by Mary Miles Minter (later a chief suspect in the William Desmond Taylor murder). He appeared in another 5 silent movies through 1925 and then doesn’t return to Hollywood films until 1936, and THAT’S when he becomes the Percy Helton we all know and…”love”, I guess?

The leap, the important difference, was that now he was middle aged. He was a small guy. In fact he was playing children’s parts well past childhood. For example, in The Return of Peter Grimm, when he played “Little Willem”, he was 17 years old. And so he was a juvenile for as long as he could get away with it. But when he reached middle age, he became something of a grotesque, almost freakish in appearance. Short and rotund and yet stooped, nearly hunchbacked, he would have been a good person to play Marshall P. Wilder. Then that face: the venal, leering eyes, a Nixonian nose, and a toothy, drooling gash of a mouth. He was balding, and such hair as he possessed always seemed too long and unkempt.  And he had a high-pitched, scratchy voice not unlike that of the equally ubiquitous John Fiedler.

For such a unique and strange character, Helton’s uses in film ensembles appeared to be limitless. Who knew there would be so much need for seedy, nasty, cowardly little creeps in movies? Here’s something interesting: the first place I truly sat up and took note of him was in a screening at a film festival of the noir classic Kiss Me Deadly (1955). When detective Mike Hammer (Ralph Meeker) gets fed up with Helton’s infuriating lack of cooperation, he slaps his face and crushes his fingers in a desk drawer until he complies. It’s a shocking, appalling scene, perhaps all the more so because a) it’s being done to this familiar person; and b) he pretty much deserves it.  But what I find especially interesting is, when I look at his credits, I had easily seen him in two dozen other movies prior to this. This one shocked me into taking note of who he was, so that I would always note him ever after.

He was especially sought after for westerns, usually as bank tellers, train conductors, hotel clerks, and that sort of thing. There’s no point in listing them — it’s dozens. Same with noir: he’s always, like, a pawn broker, or the manager of a fleabag hotel or something. He plays the drunken Santa who gets fired in Miracle on 34th Street (1947). Jerry Lewis seemed to be a special fan: Helton appears in My Friend Irma (1949), The Stooge (1951), Sacred Stiff (1953), The Big Mouth (1967), and Lewis’s TV show. He also appears with Groucho Marx in A Girl in Every Port (1952), with Abbott and Costello in Abbott and Costello Meet the Killer Boris Karloff (1949) and numerous Bowery Boys comedies. Really, he was in pretty much everything. Cyrano de Bergerac (1950), A Star is Born (1954) White Christmas (1954) 20,000 Leagues Under the Sea (1954) Jailhouse Rock (1957), The Music Man (1962), Butch Cassidy and the Sundance Kid (1969). He’s even in the Monkees’ movie Head (1968). It’s worth a peek at his IMDB page, it’s quite impressive.

For more on vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold

%d bloggers like this: