Posts Tagged ‘Charles Dillingham’

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Sheila Hayes, London, 1915

September 12, 2013

Sheila Hayes (fl. early 20th Century), English actress
(photo: Rita Martin, London, 1915)

‘MISS SHEILA HAYES Another of the latest talented recruits to the film. Miss Sheila Hayes will be remembered as the beautiful Plum Blossom in that quaint and amusing Chinese play, The Yellow Jacket, which was produced at the Duke of York’s Theatre about two years ago. Miss Hayes has now gone abroad to study cinema acting.’
(The Sketch, London, Saturday, 15 December 1915, p. 333)

Although Sheila Hayes appeared in several London productions between 1911 and 1917, including the small part of Ko-Matsu in The Mousmé (Shaftesbury Theatre, 9 September 1911), it is for her playing Moy Fah Loy in The Yellow Jacket (Duke of York’s Theatre, 27 March 1913) that she is chiefly remembered. In spite of The Sketch‘s report (quoted above), no trace of her going abroad in 1915/1916 can be found. She did, however, go to America about 1919 where she appeared at the Garrick Theatre, New York, between August 1920 and April 1922 in the comedy, Enter Madame. Miss Hayes returned briefly to England before returning to America where in November 1922 she was in the cast of Charles Dillingham’s melodrama, Bull Dog Drummond at the National Theatre, Washington, with H.B. Warner in the lead. She remained in the United States until 1936, when she returned to England.

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Marilyn Miller – ‘Peter Pan (I Love You)’

April 9, 2013

Song sheet cover for ‘Peter Pan (I Love You)’ by Robert King and Ray Henderson. Marilyn Miller (1898-1936), American actress and dancer, as she appeared in the title role of Charles Dillingham’s revival of J.M. Barrie’s Peter Pan, which was produced at the Knickerbocker Theatre, New York, on 6 November 1924.
(photo: unknown, USA, 1924; published by Shapiro, Bernstein & Co Inc, New York, 1924)

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January 19, 2013

a photograph of Elsie Janis as Cinderella
with David C. Montgomery as Punks and Fred A. Stone as Spooks,
in Victor Herbert’s musical play, The Lady of the Slipper,
produced at the Globe Theatre, New York, 28 October 1912
(photo: unknown, New York, 1912)

THE LADY OF THE SLIPPER.
‘Globe (H.D. Kline, mgr.) – The Lady of the Slipper; or, a Modern Cinderella, a musical fantasy in three acts, book by Anne Caldwell and Lawrence McCarty, lyrics by James O’Dea, music by Victor Herbert, staged by R.H. Burnside, produced Monday night, Oct. 28, by Charles Dillingham, with this cast:
The Crown Prince Maximillian … Douglas Stevenson
Prince Ulrich … Engene Revere
Captain Ladislaw … James G. Reaney
Baron Von Nix … Charles Mason
Alzel … Vernon Castle
Mouser (the Baron’s cat) … David Abrahams
Albrecht … Samuel Burbanks
Louis … Harold Russell
Joseph … Edgar L. Hay
Matthias … Ed. Randall
Punks … David C. Montgomery
Spooks … Fred A. Stone
Cinderella … Elsie Janis
Dollbabia … Lillian Lee
Freskotte … Queenie Vassar
Romneys … Allene Crater
The Fairy Godmother … Vivian Rushmore
Valerie … Peggy Wood
Sophie … Florence Williams
Prins … Edna Bates
Clare … Helen Falconer
Ludovica … Gladys Zell
Malda … Lillian Rice
Gretchen … Angle Welmers
Premiere Danseuse … Lydia Loponklwa [i.e. Lopokova]
‘There are no more popular stars in musical shows to-day than the team of Montgomery and Stone and Elsie Janis, and a show that is headed by either the first two named or the last mentioned is reasonably sure of success, but when the three names are to be found in one entertainment, as they are in The Lady of the Slipper, there seems to be only one answer – pronounced and undoubted success.
‘The names of David C. Montgomery and Fred A. Stone have been inseparably linked with fun and frolic ever since years ago they forsook vaudeville to enter the musical comedy field, and the same applies to Miss Janis, and in their present vehicle they live up to their reputations to the utmost degree. The piece is little more than a vehicle, and if it had to rely upon either its book, lyrics or music it would stand little chance of winning the public favor, but it offers opportunities for the trio of stars to introduce their specialities, and these, familiar as they are to us, are always welcome.
‘Elsie Janis never did better work. She had several songs which she ”talked” in her usual clever manner, and the one in the first act with the ”kiddies” was ”put over” in the best style of this clever little lady. She had another song with David Abrahams, in the same set, that also won favor. For her waltz number with Douglas Stevenson she also scored. Then in the last act she gave her well known imitations of well known stage celebrities, for which she won well deserved storms of applause. She was recalled many times, and for one of her encores she gave a perfect imitation of Mr. Stone’s exit earlier in the piece, in which he uses a most peculiar dance step.
‘Montgomery and Stone first appear in characters that remind you of their famous roles in The Wizard of Oz. In this present show Montgomery is transformed from a pumpkin, while Stone is a scarecrow brought to life. They made several changes of costume, and in the second act they hark back to their early vaudeville days and reproduce a travesty on the first song and dance they ever did, entitled ”Then Were the Childhood Days.” Mongtomery, with the aid of a chorus, got a good deal out of a song entitled ”Bagdad.” Stone did a single number entitled ”Punch Bowl Glide,” in which he was immense. In this he introduced some eccentric movements and dancing, and also did some trampoline work, two tables, a lounge and a stage trap being supplied with the bouncing rubber.
‘Vernon Castle, assisted by a female chorus, did a capital number, entitled ”Fond of the Ladies.” Mr. Castle has a capital voice, and while the number gave him little chance to display it to the best advantage, he rendered it with good effect. But Mr. Castle is also a capital eccentric dancer, and the finish of this number was one of the most novel seen on the local stage. With a swaying dance movement, not unlike the ”Turkey Trot,” but absolutely devoid of objectionable features, the girls form a line, with Mr. Castle in the centre (he serving as a pivot round which the line revolves). With each half turn a girl joins the line until all of them, about sixteen in all, are in the line. Then with the same swaying movement the line revolves, and at each half turn a girl leaves the line until Mr. Castle once more stands alone. It is a capital number, and one which caught the house.
‘David Abrahams deserves great credit for his work as Mouser, the cat.
‘In the second act Lydia Lopoukowa [sic], premier danseuse, assisted by a corps de ballet, did some excellent dancing, and was deserving of the hearty applause accorded her efforts.
‘Founded upon the well known story of Cinderella, the work admits of very elaborate singing, which Mr. Dillingham has given it without stint, and the deficiencies of the authors are atoned for to a large extent by Mr. Burnside, who has put his best foot forward in staging the work, and this means that the very best results have been attained.’
(Whit., The New York Clipper, New York, Saturday, 2 November 1912, p. 6a)

‘Charles Dillingham has arranged to reproduce in moving pictures, in natural colors, the production of The Lady of the Slipper,’ which is now playing at the Globe Theatre. He has also arranged with the Victor Company to secure records of the score. These pictures and records will be kept on file.’
(The New York Clipper, New York, Saturday, 7 December 1912, p. 2c)