Archive for actor

Albert Carroll: Kind of a Drag

Posted in Broadway, Dance, Drag and/or LGBT, Impressionists with tags , , , , , , , , , , , , , , , , , , , , , , , on March 13, 2017 by travsd

Today’s as good a day as any to tell you about Albert Carroll, an extraordinarily talented and well-known guy in his day to have become so obscure in ours. Carroll was a Broadway actor,  dancer, impressionist, female impersonator, lyricist and choreographer. Sources differ as to his birth. IBDB gives ca. 1895-1956, and a 1900 Chicago census seems to bear this out. IMDB gives march 13, 1898 through 1970, although they might be conflating him with another Albert Carroll, possibly the New Orleans piano player, who was African American. To further confuse matters, our subject sometimes rendered his name as Albert J. Carroll.

I’ve gotten some info about his earliest years from F. Michael Moore’s book Drag! Male and Female Impersonators on Stage, Screen and Television. Moore says that Carroll staged an amateur revue in Chicago when he was 16, and that when he got to New York, he performed during interludes in silent movie screenings. About his private life, or how he came to New York I’ve so far found nothing. Since his earliest credits were all with the Neighborhood Playhouse we can make some deductions about he got his start on the stage. The Neighborhood Playhouse was founded in 1915 and had grown out of youth education programs at Henry Street Settlement on the Lower East Side, which remains a center of theatrical activity to this day. Carroll’s first couple of shows with the company appear to have opened at the downtown theatre and then moved to the Maxine Elliott Theater on Broadway.  He’s about the right age to have been involved with Henry Street’s theatre programs in his late teens and young adulthood, and gotten involved with the company that way. His first professional credit was a show based around visiting British actress Gertrude Kingston in 1916. The next was a play called 39 East by Rachel Crothers in 1919, in which Carroll appeared with Henry Hull and Alison Skipworth. It was made into a silent film the following year with a much of the same cast, including Carroll.

For the next three decades Carroll was to be a star of Broadway, often with Neighborhood Playhouse productions, in over three dozen shows. He was a notable stand-out as performer, choreographer and lyricist in several editions of the revue called the Grand Street Follies, participating in the inaugural 1922 edition, as well as ones in annual editions from 1924 through 1929. Other revues he appeared in included The ’49ers (1922),  The Garrick Gaieties (1930), The Ziegfeld Follies (1931) and The Seven Lively Arts (1944). In these revues he was famous for impersonating famous actors and dancers, many or most of whom were female.  He did impressions of both John and Ethel Barrymore. He also did Pavlova, Irene Castle, Lynne Fontanne, Bea Lillie, Gertrude Lawrence, Laurette Taylor, Groucho Marx, and NYC Mayor Jimmy Walker.   Some photographs of him in character can be found of him on a blog called the Mouse Art Notebooks. He also contributed humor, poems and stories to the New Yorker between 1927 and 1930. He also acted in straight plays and comedies and even classics. His last known credits are musicals with the Paper Mill Playhouse in New Jersey in 1946 and 1947. After this he appears to have returned to Chicago, where he passed away about a decade later.

Several sources say the great Southern novelist Thomas Wolfe disliked Carroll, whom he met in the 1920s through the Neighborhood Playhouse’s set and costume designer Aline Bernstein, who was Wolfe’s patron and lover. (He is said to have been uncomfortable with Carroll’s flamboyant and foppish personality, i.e. he was homophobic).

Another interesting tidbit: Carroll’s younger brother Eugene “Gene” Carroll had a vaudeville career, and hosted a local television show in Cleveland for decades.

To find out more about vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famousavailable at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on silent  film please see my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc

Stars of Vaudeville #1036: Louise Beavers

Posted in African American Interest, Hollywood (History), Television, Vaudeville etc., Women with tags , , , , , , , , , , , , , , , , , , , , , , on March 8, 2017 by travsd

Louise Beavers’ (1902-1962) birthday is today.

Originally from Cincinnati, Beavers moved to the Los Angeles area with her family at age 11. Her mother was a singing instructor. Through her, Beavers started singing in choirs and amateur concerts, eventually joining a group called “The Lady Minstrels” which played dates in vaudeville and presentation houses. In early adulthood she worked as a domestic to stars like Leatrice Joy and Lilyan Tashman, an irony given the large numbers of servants and house slaves she would play during her movie career. As was sadly common at the time, those sorts of characters were almost exclusively what she got to play.

Her first film work was as an extra in the 1927 version of Uncle Tom’s Cabin. When talking films came in she instantly progressed to small speaking roles. She’s in Mary Pickford’s first talkie Coquette (1929), the lost classic Gold Diggers of Broadway (1929), with Mae West in She Done Him Wrong (1933), 42nd Street (1933), Bombshell (1933) and dozens of others.

In 1934 she attained the highlight of her career, co-starring with Claudette Colbert in the classic race drama Imitation of Life (1934). While she had ample chance to shine in that movie, and received plenty of good notices, it unfortunately didn’t lead to lots of similar work. She was instantly relegated back to the same sort of domestic roles in films like General Spanky (1936), No Time for Comedy (1940), Holiday Inn (1942), and Mr. Blandings Builds His Dream House (1948), although she did get a fine part in The Jackie Robinson Story (1950) as the star player’s mother. In the 1950s she was a familiar face on television on shows such as Beulah (1952) and Make Room for Daddy (1953-1954).

To find out more about vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famousavailable at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on early  film please see my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc

Stars of Vaudeville #1035: Guy Kibbee

Posted in Broadway, Hollywood (History), Movies, Vaudeville etc. with tags , , , , , , , , , , , , , , , , on March 6, 2017 by travsd

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Guy Kibbee (1882-1956) has a birthday today.

Character actor Kibbee became a professional performer at age 13 in his native El Paso, wracking up nearly 35 years of stage experience on showboats, and in stock companies and vaudeville before making his first film, a 1929 Vitaphone called For Sale directed by Bryan Foy, and starring Gregory Ratoff. He appeared in two Broadway plays, Torch Song and Marseilles, in 1930 before definitely making the move to Hollywood just before reaching the age of 50.

Those Pre-Code years at Warner Brothers covered him in glory: he was much in demand in racy comedies and musicals (and sometimes dramas), generally as a cheerfully lecherous moneybags, all leering eyes, flashing teeth, and shiny bald forehead. His skin seemed so ruddy from boozing it up you could detect it in films that were in black and white. His raspy voice further cemented the idea that this guy had done some hard partying. He’s in Blonde Crazy (1931), 42nd Street (1933), Gold Diggers of 1933, Footlight Parade (1933), Wonder Bar (1934), and Dames (1934), among many others during these years. Once the Code was in force, he proved his versatility in all sorts of pictures, such as westerns, costume epics, and dramas as well as comedies and musicals, generally playing avuncular authority figures like judges, army generals, politicians and the like. Important later films included Captain Blood (1935), Mr. Smith Goes to Washington (1939), Our Town (1940), and two John Ford westerns Fort Apache and Three Godfathers, both 1948.

Top comedians he supported over the years included Bert Lahr (Flying High, 1931), Joe E. Brown (Fireman, Save My Child, 1932, Earthworm Tractors, 1936, and Riding on Air, 1937), Red Skelton (Whistling in Dixie, 1942), and Jack Benny (The Horn Blows at Midnight, 1945). He also supported Shirley Temple in Miss Annie Rooney (1942), and even had his own starring series of comedies for RKO as Scattergood Baines, six films produced between 1941 and 1943, a topic for its own blogpost someday no doubt. His younger brother Milton Kibbee became a bit player in films, as well.

 To find out more about show biz historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famousavailable at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on early comedy film please see my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc

Hall of Hams #113: Rex Harrison

Posted in Broadway, Hollywood (History), Melodrama and Master Thespians, Movies, The Hall of Hams with tags , , , , , , , , , , , , on March 5, 2017 by travsd

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Sir Rex Harrison, Inventor of Speak-Singing 

Today is the birthday of stage and screen Sir Rex Harrison (Reginald Harrison, 1908-1990). It’s safe to say that Harrison was the first serious English actor with whom I had any wide familiarity as a child, and I’m betting that’s true of many Americans of my age. He was frequently on television variety and talk shows throughout the 1970s (he was funny and also famous for his many marriages — six — as well as some notorious affairs). I imagine I encountered his films in roughly this order: Dr. Doolittle (1967), My Fair Lady (1964), Cleopatra (1963), The Agony and the Ecstasy (1965), Blithe Spirit (1945), Major Barbara (1941), The Ghost and Mrs. Muir (1947), Ann and the King of Siam (1946) and, quite recently, Preston Sturges’ Unfaithfully Yours (1948). This leaves plenty I’ve yet to see; I’m particularly interested in Night Train to Munich (1940).

Harrison was certainly an early pathway to Shaw for me through My Fair Lady and Major Barbara. Onstage he’d also starred in Caesar and Cleopatra, Heartbreak House, and The Devil’s Disciple. I think of him as the consummate interpreter of Shaw, virtually his mouthpiece. For example, I’ve never seen him as Shaw’s Caesar (it’s Claude Rains in the 1945 film) yet I always picture the character as him when I read the play. Possibly partially because he played him in the 1963 blockbuster, but also because one comes to know and cherish Harrison’s delivery. It is a perfect match. Another stage performance of his I’d wish I’d seen is his Henry VIII in Maxwell Anderson’s Anne of the Thousand Days (1948) — it’s Richard Burton in the 1969 movie.

Harrison’s also the inventor of the technique of “speak-singing” which I confess I’ve always found frustrating. I’m the farthest thing from a musicals-Nazi, but often you hear the terrific melody the songwriters have written, and well, it feels a cheat not to hear it sung.

Originally from Lancashire, Harrison was educated in Liverpool College, where he began his career in the professional theatre in 1924. He first appeared in films and on the West End in 1930, and went to Hollywood in 1946.

To find out more about show biz historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famousavailable at Amazon, Barnes and Noble, and wherever nutty books are sold.

Stars of Vaudeville #1033: Edmund Lowe

Posted in Broadway, Hollywood (History), Movies, Vaudeville etc. with tags , , , , , , , , , , , , , , on March 3, 2017 by travsd

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DASHING SCREEN STAR EDMUND LOWE GOT HIS START IN VAUDEVILLE. 

Today is the birthday of Edmund Lowe (1890-1971). The son of a California judge, Lowe considered careers in the ministry and the law before his love of language and elocution drew him to the theatre. He began his professional life in vaudeville, but was quickly hired as a member of the Oliver Morosco stock company. His Broadway career began in 1917 and encompassed a dozen shows over as many years. Today, he is best known for work as a film actor, which began in 1915 and includes such well-known movies as the original (silent) version of What Price Glory? (1926), The Cisco Kid (1931), Chandu the Magician (1932), Dinner at Eight (1933), Every Day’s a Holiday (1937), and his last film Heller in Pink Tights (1960), which was inspired in part by the life and Adah Isaacs Menken,

He was married to actress Lilyan Tashman from 1925 until her death in 1934.

To find out more about vaudeville historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famousavailable at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on silent film please see my new book Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Media, also available from amazon.com etc etc etc

 

 

Zero Mostel: The High Brow’s Low Brow

Posted in Broadway, Comedians, Comedy, Hollywood (History), Jews/ Show Biz, Movies with tags , , , , , , , , on February 28, 2017 by travsd

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Today is the birthday of the great Zero Mostel (1915-1977).

It would be par for the course that such an eccentric actor and performer as Mostel would also have a highly idiosyncratic career in the bargain. He is best known his hot streak in the 1960s, encompassing the original Broadway production and film versions of A Funny Thing Happened on the Way to the Forum, the original Broadway production of Fiddler on the Roof, and the original film version of Mel Brooks The Producers. These iconic star turns, combined with one of his last roles, as a blacklisted comedian in The Front (1976) helped, I think, to cement a false if welcome image of Mostel as the traditional Jewish-American show biz creature, perhaps someone who had been in vaudeville and burlesque, and then later worked as a Catskills comedian. As it happened, Mostel had the right background for that: Jewish immigrant parents, and a childhood in Brooklyn and the Lower East Side. And he was just that kind of a broad, physical comedian, with such a sure-fire repertoire of schtick, that one could be forgiven for thinking he had developed in those time honored schools of show biz. He certainly would have thrived there, with his uninhibited, scenery-chewing mania, his hilarious comic mask with those flashing, popping eyes, and his populist, earthy appeal.

But if you look at his birth year, he was just a little bit too young for vaudeville and burlesque. Technically, he could have performed there as a child or teenager, but as it happens, he didn’t. A precocious, intellectual child, he drifted into show business in the most unlikely way possible — as an art instructor. An accomplished painter himself, he gave gallery talks at New York City museums as part of a New Deal works program in the mid to late 1930s. He was so funny and entertaining, he began to be hired for private parties and other functions. This led to performances at cabarets and night clubs. By the early 40s, he was getting roles on Broadway and in Hollywood films (Dubarry Was a Lady).

Service in the army during World War II, and anti-Communist blacklisting in the early to mid ’50s were speed bumps in his career. A local tv show with Joey Faye in 1948 may have been the closest he ever got to real burlesque. In reality he was drawn to high-brow theatrical roles and Absurdism, including Brecht (The Good Woman of Setzuan on Broadway, 1957), Joyce (Ulysses in Nighttown, off-Broadway 1957-58, Broadway 1974), Beckett (Waiting for Godot, television, 1961), and Ionesco (Rhinoceros, Broadway, 1961, and film, 1974). These critically acclaimed turns helped catapult him into the comic tour de forces he is best known for.

It goes without saying to anyone familiar with his work that Mostel was a bundle of insane, animated energy, a performer of genius, but one of a particular type. He shone best as the untrammeled star of whatever he appeared in. But parts for his special talents — a mercurial Jewish zany in his late 50s — don’t come along every day. Many of his roles in the ’70s tended to hide his light under a bushel, shoehorning him into films in more conventional character parts. He died of an aortic aneurysm following a crash diet at the relatively young age of 62.

For more on slapstick comedy don’t miss my book: Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube, just released by Bear Manor Mediaalso available from amazon.com etc etc etc. For more on show biz historyconsult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold.

Help Charles Lane Make His New Web Series

Posted in African American Interest, Movies, Movies (Contemporary), PLUGS with tags , , , , , , on February 21, 2017 by travsd

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No one is happier than this commentator to see actor/director Charles Lane re-emerging from wherever he’s been for the past 20 years. Lane’s day in the sun was 1989-1993, when he had an extremely promising, very interesting run. His debut silent feature Sidewalk Stories put him on the map as the “Black Chaplin“, and today it’s not only an incredible record of a very different NYC (the one I moved to, in fact, so it makes me nostalgic) but to a time when film-makers were putting that much heart and humanity into their work. There is zero commercialism in his film, just integrity and craft, and at the time, that was still enough to make people take notice. I wrote about the film here when its was restored and shown at Tribeca Film Festival back in 2014. I found the film transformational.

The success of Sidewalk Stories landed Lane a gig directing a film for Touchstone in 1991; British comedian Lenny Henry’s American debut entitled True Identity. I saw it when it came out, and it seemed to make a lot of sense for both Lane and Henry conceptually. It’s very high concept; not unlike Tootsie. A black actor puts on white make-up so he can escape from the mob. It has echoes of Godfrey Cambridge in Watermelon Man, and presages the Wayans Brothers in White Chicks. Both Lane and Henry did fine work, but the script itself was pretty lacklustre (Touchstone is Disney after all, so this potentially explosive concept was at best timidly explored). And Henry didn’t click as a star in the states. Lane himself also appeared in the film, and was quite funny. In 1993, he was the comic relief in Mario Van Peebles’s interesting all-black western Posse. That year he also directed an episode of American Masters called Hallelujiah, with a cast that included James Earl Jones, Keith David, Ruth Brown, Isaac Hayes and others.

On the face of it, he seemed to be a guy who was going places, but after this he vanished,emerging only recently with the renewed interest in Sidewalk Stories. I’ve come across no commentary as to why. People do get discouraged in this business, even people as talented and promising as Lane. And I can imagine the sort of projects that typically get offered to African American artists being insulting in any number of ways. And that could add to the discouragement. All I know is I am glad to have him back. We need art right now, especially art with Lane’s sensibility. He’s just launched this Kickstarter for a new web series called Please Date Me Now. I don’t have a pot to piss in at the moment; all I can do is endorse his talent and the idea that he deserves your backing. Learn all about the project here.

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