Several Seminal Salomés and the History of the Dance of the Seven Veils

Salomé, by Pierre Bonnaud, 1900

Today is St. John’s Day, the traditional birthday for John the Baptist. Note the timing: just as Christmas is pinned close to the winter solstice, St. John’s Day falls right after the summer solstice. No accident! In America the only folks who still give it much attention are the voodoo practitioners of New Orleans; as a culture we’ve transferred the impulse for a summer holiday to the Fourth of July.

At any rate, we take the occasion to talk about a St. John related fad that swept through American pop culture, especially vaudeville, in the early 20th century: the Salomé craze. If you know your New Testament or your Josephus, you know the tale: how Herod’s wicked step-daughter Salomé did a naughty dance (The Dance of the Seven Veils) for daddy, then demanded and received the head of John the Baptist on a platter. The story was tailor made to be a kink in the Victorian moral armor, Biblical in origin yet titillating. It became a frequent subject for painters in the 19th century.

Beardsley illustration for Wilde’s “Salomé”

It finally made its way to the stage (almost) in 1892 with a play by Oscar Wilde. Wilde’s Salomé began rehearsals that year with Sarah Bernhardt as star but was banned by British censors. Something was in the air. The following year Little Egypt made her debut in the Streets of Cairo exhibition in the World Columbian Exposition in Chicago. One used a Biblical justification, the other an anthropological one, but the bottom line was clear: whatever the rationale, people wanted to look at sexy dances. At any rate, Wilde’s Salomé was first published in France in 1893, then in England in 1894, both editions with provocative illustrations by Aubrey Beardsley. The first (private) British production was in 1905, but the ban for public productions was in place until 1931.

Alice Guszalewicz in the Strauss opera

But ya know how it is; if you want to create a market for something, forbid it. So, first buzz was created on the continent. In 1902, Max Reinhardt directed a version in Berlin in 1902. Richard Strauss saw this version, and was inspired to adapt it into an opera, which premiered in in 1905.  But the crucial leap to the popular stage came the following year.

Maud Allan

In 1906 Canadian-born modern dancer Maud Allen premiered her production Visions of Salomé in Vienna. It and she became a sensation. Billed as “The Salomé Dancer” she toured British music halls in 1908, playing 250 stands that year, and published her autobiography. This set off the craze.

Gertrude Hoffman

Gertrude Hoffman was the first to bring the Salomé dance to the American vaudeville stage in 1908, launching the local mania. Read my short squib on her here, and a much more robust post about the Brooklyn Public Library’s Gertrude Hoffman Collection by scholar/ librarian Ivy Marvel here. 

Mademoiselle Dazie

Mademoiselle Dazie was one of the first to imitate Hoffman’s Salomé act and present it on the vaudeville stage though we don’t have a picture of her in costume. Learn more about her here. 

Lotta Faust

Broadway star Lotta Faust was another who got in on the ground floor, touring vaudeville with a Salomé dance as early as 1908. We’ll be writing more about her in the coming months.

Julian Eltinge

Female impersonator Julian Eltinge also include a Salomé  number among his many drag specialties starting in 1908. Another female impersonator who did the Dance of the Seven Veils was British music hall performer Malcolm Scott.

Eva Tanguay

Though we don’t have a photo for it, Eva Tanguay’s 1909 Salomé  was said to have taken the whole thing up a notch, simulating orgasm, and further increasing her notoriety.

Aida Overton Walker

African American vaudevillian Aida Overton Walker toured with her Salomé act in 1911.

The Salomé  fad had wound down on stages by this point. But in later years, there were some notable films that kept the story out there:

Theda Bara

The 1918 film starring the notorious screen vamp Theda Bara is sadly lost — a tragedy for red-blooded heterosexual men everywhere!

Nazimova

The great Russian actress Alla Nazimova’s 1923 screen version was at once too retrograde (it was a long dead fad by the Jazz Age) and too modern (full of art deco design and contemporary dance — who wants a reinterpretation of this quintessential staple?) So it bombed at the box office, although it makes an interesting, if anomalous, artifact.

Kathryn Stanley

Mack Sennett Bathing Beauty Kathryn Stanley posed for this publicity still in 1926, although it doesn’t seem to be in support of a Sennett movie (seems to have been a local stage production). Too bad! A Mack Sennett spoof of the subgenre could have been a major hoot, although I’m sure it would have been deemed too blasphemous by religious groups. That John head needs to grow a beard though.

Salomé, Where She Danced (1945)

The 1945 film Salomé, Where She Danced, put Yvonne de Carlo on the map. And what a map! Va va voom!

Salomé (1953)

We sometimes forget that Rita Hayworth started out as a dancer. She reminds us and then some when she does the Dance of the Seven Veils in the 1953 Hollywood film.

Salomé’s Last Dance (1988)

Typically cray-cray Ken Russell version, complete with an Oscar Wilde framing device.

Salomé (2013)

I was lucky enough to see Al Pacino play Herod in Circle in the Square’s 1992 production of Wilde’s Salomé, with Twin Peaks’ Sheryl Lee as the title character. Pacino chewed up the scenery in the play, perhaps the first time the title character had been bumped from the center of her own vehicle. In 2013, he directed his own movie version and — same thing. Jessica Chastain is Salomé , but I had to hunt around for a bit for a photo where Pacino isn’t hogging the limelight!

My version! How could I not include it? In my 2008 revue No Applause, Just Throw Money: The Show That Made Vaudeville Famous at Theater for the New City I cast Leela Corman (best known as an illustrator and graphic novelist, but who is also an accomplished belly dancer) as Salomé, and Art Wallace as the cat-calling head of John the Baptist. And on that sacrilegious note, we end our post.

For more on the history of vaudeville, including fads and phenomena like the Salomé craze,  consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever titillating books are sold.

Helene Costello: Born with Summer; the Rest Was So Much Winter

Helene Costello (1906-1957) was born the first day of summer, June 21. She is usually spoken of as part of a pair with her older sister Dolores Costello, also an actress. Both were daughters of the patriarchal thespian Maurice Costello. Dolores is best remembered today for having been married to John Barrymore, and for starring in The Magnificent Ambersons. Helene was married and divorced herself four times; her most famous husband was actor and director Lowell Sherman.

Dolores and Helene started out as child actresses in productions of their father’s, on the legit stage, in vaudeville and in silent movies. They appeared in the 1924 edition of George White’s Scandals together. Helene was voted a WAMPAS Baby Star in 1927. As talkies began to be phased in, she was in some notable landmark features, including the semi-talkie Lights of New York (1928), and the musical revue Your Show of Shows (1929), in which she performed a number with Dolores.

At this stage, she was poised for a great career in sound films, but a long list of personal problems (two divorces, a custody battle, money woes, and drug and alcohol problems) conspired to keep her away from the camera for the first half of the 1930s, crucial years to miss. By the time she attempted a return with a small role in Riffraff (1936) it was too late to regain momentum. There followed two more decades of the very same sorts of personal difficulties, and a single walk-on role in The Black Swan (1942). She died in a psychiatric hospital in 1957.

For more on the history of show business consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever vitally informative books are sold. For more on early film, consult Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube,  released by Bear Manor Media, also available from amazon.com etc etc etc. 

100 Years Ago Today: Eddie Cantor and Will Rogers Debut in The Follies

100 years ago today, the 1917 edition of the Ziegfeld Follies opened at the New Amsterdam Theatre. Why is this worth noting? Because this was the edition during which Eddie Cantor and Will Rogers both joined the show for the first time, and they were both to be regulars for many editions thereafter. The Follies, as it did for so many, made stars of them both. Also in this legendary edition were W.C. Fields, Bert Williams, Fanny Brice, Walter Catlett, Marie Wallace, Lilyan Tashman, Peggy Hopkins, Dorothy Dickson and Carl Hyson, the Fairbanks Twins, et al. Staged by Ned Wayburn, sets by Joseph Urban, costumes by Lady Duff-Gordon, and about a dozen top playwrights and songwriters in the mix as well.  Some considered it the greatest edition of The Follies ever. W.C. Fields did his lawn tennis sketch (one of the few of his sporting routines never to make it film). Rogers did his folksy monologues and rope tricks for a Broadway audience for the first time. Fanny Brice did her “Egyptian” number, and sang and danced a duet with Cantor. Cantor also did sketches with Bert Williams.  Can you imagine such a show?

For more on vaudeville performers like Eddie Cantor, Will Rogers and everyone else on this page, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever vitally informative books are sold

 

Joseph Hart: The Original Foxy Grandpa

Performer, producer and songwriter Joseph Hart (Joseph Hart Boudrow, 1861-1921) was born on June 8. Hart was the nephew of Josh Hart, who managed Boston’s Howard Athenaeum. Through his uncle, he played boy’s parts in productions at the Howard, leading to a career in the professional theatre.

Hart started out as an end man in minstrel shows (including Tony Pastor’s), singing, doing comedy routines and playing the banjo. For a time, he performed in Gilbert and Sullivan musicals. In 1888 he teamed up with Frederick Hallen, and for six years they toured in the musical comedies Later on and The Idea. After splitting with Hallen in 1894, Hart spent over a decade touring (and performing on Broadway) with a succession of his own starring vehicles. From our perspective, the most notable of these would be Foxy Grandpa (1902), based on a then-popular comic strip created by Carl E. Schultze. Here he is as the rascally old gentlemen:

Why I say his Foxy Grandpa characterization is most notable to us is that Hart made ten silent Biograph film shorts in 1902. Several of these are extant and can be viewed on Youtube. I had seen these little films years ago without knowing the backstory on the performer or the comic strip. 1902 is extremely early in film history; the films are only a couple of minutes long, and contain a single shot from a single angle, and were undoubtedly created to be watched on Nickelodeon machines (Mutoscopes, in this case — “Biograph” was originally the American Mutoscope and Biograph Company”). At any rate, you can watch Hart’s funny performances any time you like — knock yourself out!

In 1904, Hart also made a comedy called A European Rest Cure with Edwin S. Porter.

From 1892, Hart’s wife and co-star was the actress and singer Carrie de Mar. Hart also toured his own vaudeville revues (much as Weber and Fields did), in opposition to the circuit model being established by the big time managers at the same time. A number of color lithographs advertising his shows survive, telling us that some of the acts who performed in his shows were Elizabeth Murray, O’Brien & Havel, The Three Rosebuds, Frank Gardiner, Smith & Campbell, the Van Aukens, and Fleurette de Mar, Carrie’s sister, a dancer, billed simply as “Fleurette”. Many of his posters (see above, which dates from 1899), touts that he is “direct from Weber and Fields’ Music Hall”, although the credit isn’t mentioned in IBDB or in From the Bowery to Broadway, which is the definitive book on Weber and Fields. If I learn what the connection was, I’ll drop it in here.

For more on the history of vaudeville, consult No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever nutty books are sold. For more on silent film, consult Chain of Fools: Silent Comedy and Its Legacies from Nickelodeons to Youtube,  released by Bear Manor Media, also available from amazon.com etc etc etc. 

Dorothy Stone: Broadway Legatee

Stage and screen performer Dorothy Stone came into the world on June 3, 1905. The daughter of Broadway and vaudeville legend Fred Stone (the original Scarecrow in the Broadway version of The Wizard of Oz), Dorothy managed to crawl past her dad’s large shadow, but only just barely. Most of her Broadway credits were either shows that she appeared in with her dad, or shows in which she replaced the original star. The first Fred Stone shows she appeared in were Stepping Stones (1923), Criss Cross (1926), and Three Cheers (1928; Will Rogers replaced his friend Fred prior to opening when the latter was injured in a plane crash).

By 1930 the elder Stone had recovered and Dorothy appeared with both her parents as well as her younger sister Paula and Charles Collins, in Ripples (1930), an updated version of Rip Van Winkle. Collins became her dance partner; the two were married in 1931. Other “family affairs” included Smiling Faces (1932) with Fred and Paula; Sea Legs (1937), with Collins; a revival of You Can’t Take It With You (1945) with Fred and Collins; and The Red Mill (1945) with Collins; and the film shorts Shave it with Music (1932) with Fred and Collins, and Paree Paree (1934) with Collins and Bob Hope; A Radio Hook-up (1938) with Collins; and Latin High-Hattin’ (1938) with Collins.

As a replacement, she went in for Ruby Keeler in Show Girl (1929), and Marilyn Miller in As Thousands Cheer (1933), and got glowing notices in both cases, although these seem to have been her only outings without either a father or a husband around to team up with. Apart from one very special exception…

In 1936 she starred in the interesting horror movie Revolt of the Zombies, which we wrote about in this post about zombie films. That film, as well as the aforementioned Paree Paree, which is one of Bob Hope’s very first screen credits, is what she is best known for today. I managed to watch both films somehow without realizing that Dorothy was Fred Stone’s daughter.

Another frequent co-star of Dorothy Stone’s was Eddie Foy, Jr, who appeared with her in Show Girl, Ripples, Smiles, and The Red Mill. Foy’s dad was of course a contemporary of Fred Stone’s; this close connection is almost like yet another family connection. In addition to Paula, a third Stone sister Carol had a successful career on stage, and in film and television, one that was a bit more independent and longer lasting. While Collins managed to land some minor roles throughout the decades, Dorothy Stone’s last credits were in the late 1940s, scarcely outlasting the career of her dad. She died in 1974.

To learn more about vaudeville, show business, and Fred Stone, please see my book No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever illuminating books are sold.

June MacCloy: Sang Deep

With Groucho in “Go West” (1940)

June MacCloy (born this day in 1909) worked with many of the comedy greats on stage and in the movies, and was noted for her ability to sing in what was essentially the baritone range, making her sound like a man. Originally from Toledo, she started out in vaudeville, singing in a duo with a high school friend. Her first break came when she was cast in Earl Carroll’s Vanities in 1928, but her mother made her turn the job down due to the skimpy costumes. Lew Brown of the songwriting team of De Sylva, Brown and Henderson got her in the 1928 editions of George White’s Scandals; she was hired to sing the team’s “I’m on the Crest of a Wave” — while impersonating Harry Richman. This was probably the most creative use of her unique voice, and essentially her big break.

MacCloy’s Hollywood career began in 1930. She had decent roles in Reaching for the Moon with Douglas Fairbanks Jr, Bebe Daniels and Edward Everett Horton, and in the screen version of George S. Kaufman’s June Moon (1931) starring Jack Oakie and Frances Dee, directed by Eddie Sutherland. Most of her films were musical shorts — a notable one was the elaborate color fantasia Good Morning Eve (1934), in which she played Eve to Leon Errol’s Adam. In 1932, she returned to Broadway one last time to appear in Hot-Cha! with Bert Lahr, Buddy Rogers and Lupe Velez. Meanwhile, as she would through the end of her career, she was also singing with big bands in night clubs, resorts and hotels. After a break of six years, she returned to films in 1940 to take two of her best parts, a role in the crime drama Glamour for Sale; and the part of Lulubelle in the Marx Brothers’ Go West, which she is best known for today. In 1941 she married architect Neal Wendell Butler and retired to raise a family. She passed away in 2005 at the age of 95.

To learn more about vaudeville performers like June MacCloy, please see my book No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever fine books are sold.

 

On the Fearless Peggy Fears

The legendary Broadway figure Peggy Fears (1903-1994) was born on this day.

Originally from New Orleans and later Dallas, Fears was the daughter of a wealthy banker. She was all of 14 when she ran away from home and was cast in her first Broadway show the Bolton-Wodehouse musical Have a Heart (1917). From here she went into the Morris Gest show Midnight Whirl (1919-1920). Next came three Florenz Ziegfeld shows. There are two different stories about how she came to Ziegfeld’s attention. One says she was heard singing at a country club by Ziegfeld star Helen Morgan; another (Fears’ own account) says she bumped into him in his offices (after making a concerted effort to do so). At any rate, he put her in the shows Louie the 14th (1925), the Ziegfeld Follies of 1925 and No Foolin’ (1925).

Fears was bisexual. As a young girl she is said to have attempted to elope with a cattle heir named Tom Wharton, and to have dated John Hay “Jock” Whitney. While on the Ziegfeld shows she was the lover of Louise Brooks. In her memoir, Brooks writes of the experience, and of the two of them palling around with W.C. Fields, who always had booze, in his dressing room.

Fears’ last Broadway show strictly as a performer was Rufus LeMaire’s Affairs (1927). In that year she married the real estate millionaire Alfred Cleveland Blumenthal. In the 30s, she and Blumenthal produced several Broadway shows, including the Preston Sturges play Child of Manhattan (1932), the farce Nona (1932), the Oscar Hammerstein–Jerome Kern show Music in the Air (1932-1933), and the play A Divine Moment (1934), in which she also appeared as an actress. This is the last show she produced, and I imagine the date tells the story. We are now in the depths of the Great Depression, when Broadway was in danger of going under for good.

Next she tried her hand at Hollywood. She appears in only one film: The Lottery Lover (1935), with Lew Ayres, Sterling Holloway and Reginald Denny. It was a bit of stunt casting. In the film she plays a night club singer, a star of the Folies Bergere named “Gaby Aimee”. The film was a bit of an outlier for her. A nightclub singer was what she actually was, touring extensively throughout American and Europe for the next few decades.

Fears and Blumenthal separated, divorced and remarried several times, finally splitting up for good in 1950. In the ’50s she purchased land on Fire Island and built the Yacht Club at Fire Island Pines, which she later sold to John B. Whyte in 1966. During the Fire Island years, she was the lover of the radio actress Tedi Thurman (who may be known to some readers from Ed Wood’s 1954 movie Jail Bait). Thurman spoke of their relationship in the 2003 documentary When Ocean Meets Sky.

For more on show history, please see my book No Applause, Just Throw Money: The Book That Made Vaudeville Famous, available at Amazon, Barnes and Noble, and wherever fine books are sold.