Archive for entertainer

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 #1030: Aida Overton Walker

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

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

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.

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Stars of Vaudeville #1025: Jack Waldron

Posted in Comedians, Comedy, Stand Up, Vaudeville etc. with tags , , , , , , , , , , , , , , , , , , , , , , on February 3, 2017 by travsd

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Brooklyn’s own Jack Waldron (Jack Kestenbaum, 1893-1969) was born on this day. In vaudeville days, Waldron was a comic, singer and dancer with a team called Lockett and Waldron; he later worked with a succession of others partners including Betty Winslow, Myrtle Young, Emma Haig, and Harry Carroll; and was also briefly teamed with Shemp Howard in 1925.

Waldron had spots in four Broadway shows in the twenties: Flossie (1924), The Great Temptations (1926), Hello, Daddy (1928), and Woof Woof (1929-1930). He made two Vitaphone picture shorts: A Breath of Broadway (1928), and Radio and Relatives (1940). Throughout the 30s and 40s, he was mostly a night club comic and m.c., prized for his one-liners. As such he was highly influential; some have gone so far as to claim him as the first stand-up comedian, although the same claim has also been made about many earlier performers. Jack E. Leonard claimed to have patterned his rapid-fire insult style after Waldron, quoting him as saying to a heckler, “Let’s play horse. I’ll be the front end, and you just be yourself!”

In 1948 Waldron did The Ed Sullivan Show, his one tv spot. and then three Broadway shows in the 50s: Pal Joey (1952-53), The Pajama Game (1954-56), and The Vamp (1955). In 1961, the Sobels included him in their A Pictorial History of Vaudeville. And in 1969 he became Shepherd (president) of the Lambs, a post he held until he died.

You can see him in action in his Vitaphone A Breath of Broadway here.

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

Stars of Vaudeville #1020: Uke Henshaw

Posted in Music, Tin Pan Alley, Vaudeville etc. with tags , , , , , , , , , , , , on January 13, 2017 by travsd

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UKE HENSHAW

Today is the birthday of Charles Robert “Uke” Henshaw (1896-1969).

Originally from Wheeling, West Virginia, where his family had lived for many generations, Henshaw also spent some of his childhood in Columbus and St. Louis. By his early twenties he had already established himself on the vaudeville circuits as one of the top ukulele performers and his likeness was already being printed on sheet music. By 1920 he was already playing Paris — international stardom was to follow. For a time, his first wife Vera Van Atta was partner in his act. Most descriptions of his playing mention his uncanny ability to make his uke mimic other musical instruments. When vaudeville passed from the scene, he continued to play on radio, toured with the USO, and appeared in films and on television. His name was also used to market a brand of ukuleles. Much more detail about the performer can be found here, including appearances he made in films as an extra which aren’t mentioned on IMDB.

Henshaw was the second cousin of the famous singer Annette Hanshaw and Frank Hanshaw, a successful show biz agent. Uke’s third wife was the popular singer and actress Deane Janis.

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

Stars of Vaudeville #1015: Klondike Kate

Posted in AMERICANA, Art Models/ Bathing Beauties/ Beauty Queens/ Burlesque Dancers/ Chorines/ Pin-Ups/ Sexpots/ Vamps, Bowery, Barbary Coast, Old New York, Saloons, Singers, Vaudeville etc., Women with tags , , , , , , , , , , , , , , , , on December 23, 2016 by travsd

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Klondike Kate (Kathleen Eloise Rockwell, 1873-1957) was a real person! She was the toast of Dawson, Yukon during the Gold Rush, performing in saloons, the Savoy Theatrical Company, and the Palace Grande Theatre, where her famous “Flame Dance” earned her as much as $750 a night in the boom town economy (the equivalent of over $21,000 in today’s money). She got involved romantically with Alexander Pantages, and helped bankroll his Seattle-based vaudeville circuit. Pantages proceeded to throw her over and marry another woman. Kate continued to perform in west coast vaudeville for a time in the early years of the 20th century, eventually retiring to Oregon.

Born in Junction City, Kansas, Kate grew up in North Dakota; Spokane, Washington; and Valparaiso, Chile. She moved to New York City at age 18, which is where she got her first experience as a chorus girl and dancer in Coney Island, and vaudeville houses throughout the city.

Ann Savage played a fictionalized version of her in the 1943 movie Klondike Kate. Mae West paid her homage in the title of Klondike Annie (1936), although her character’s story is quite different in that picture.

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.

Stars of Vaudeville #1012: Norma Terris

Posted in Broadway, Impressionists, Singers, Singing Comediennes, Vaudeville etc., Women with tags , , , , , , , , , , , , , , , , , , , , , , , , , on November 13, 2016 by travsd

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NORMA TERRIS: THE ORIGINAL MAGNOLIA

Today is the birthday of Norma Terris (Norma Allison, 1904-1989).

Originally from Kansas, Terris started out in vaudeville performing singing celebrity impressions, an act that sounds not unlike that of Elsie Janis. I see it claimed in various places that she was featured in the Ziegfeld Follies, however my own Follies resources (bills for each year) and IBDB don’t reflect that. She may have been a replacement, or toured with the show. However, she was definitely featured doing her impersonation specialty in two Shubert revues A Night in Paris (1926) and A Night in Spain (1927). This lead to her best known theatrical credit: she was the original Magnolia and Kim in the first productions of Show Boat (1927-1929 and 1932). She was tried in two Hollywood features, Married in Hollywood (1929) and Cameo Kirby (1930), but apparently she did not click in pictures; when films were made of Show Boat in 1929 and 1936, she was passed over.

She starred in a couple more short-lived Broadway shows (her last was in 1938), then sang for ten seasons with the Municipal Opera Company in St. Louis. After this she retired to Connecticut with her husband. Ironically, it is her activity during this “retirement” for which she may be best known today, for she became heavily involved, both as a singer and a benefactor, with the Goodspeed Opera Company, which named one of its theatre buildings in her honor.

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.

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