Posts Tagged ‘Moffett (photographers)’

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Mabel Hite

February 27, 2013

a photograph of Mabel Hite (1883-1912),
American vaudeville comedienne and musical comedy actress
(photo: Moffett, Chicago, circa 1908)

‘FIVE NEW ACTS IN VAUDEVILLE SHOW
‘Oakland Orpheum Has Mabel Hite and Mike Donlin at Head of Bill
‘OAKLAND, June 12 [1909]. – Mabel Hite and Mike Donlin open at the Oakland Orpheum tomorrow afternoon at the head of an unusually strong vaudeville show. Probably Mabel Hite and Mike Donlin would be sufficient in themselves to crowd the theater, but the management has associated with these brilliant players a galaxy of artists, including some of the highest prices vaudeville acts in the world. There will be five new acts in the show.
‘Mabel Hite is know as one of the cleverest comediennes in the land. Mike Donlin, her husband, the idol of New York ball players, for years one of the Giants and now an actor, has become under Mabel Hite’s tuition an interesting stage figure. They will appear in a musical sketch entitled ”Stealing Home.”
‘An extraordinary attraction is promised in the contribution of Gillingwater and his players. He was once one of Charles Frohman’s stars and made a hit in vaudeville. His play, a ”Strenuous Rehearsal,” is one of the vaudeville classics.
‘Mazuz and Mazotte will provide snappy acrobatic comedy. The Vindebonas from Europe have a musical novelty. Billy Van, an old minstrel star, will entertain. The sunny south act of 10 colored dancers and singers, the Baader-La Velle trio of cyclists and Peter Donald and Meta Carson in ”Alex McLean’s Dream” make up the bill.’
(The San Francisco Call, San Francisco, California, Sunday, 13 June 1909, p. 24e)

‘MABEL HITE DIES AFTER BRAVE FIGHT
‘New York, Oct. 23 [1912]. – Mabel Hite is dead. After a brave fight against conditions which were hopeless from the first, the little vaudeville actress and musical comedy star passed away at her apartment, 526 West One Hundred and Eleventh street, at 4 o’clock yesterday afternoon. She was conscious up to within a few minutes of the end and then fell into a sleep which merged into painless death.
‘Mrs. Elsie Hite, her mother, was with the actress when she died, but her husband, Mike Donlin, well known as a ball player, was not. Mr. Donlin was in Youngstown, O. where he had just opened in a vaudeville act, with Tom Lewis as his partner. He was notified by wire and replied that he would start for New York immediately. Until he arrives plans for the funeral will be held in abeyance.
‘Mabel Hite had been a Broadway favorite ever since her metropolitan debut as Nerissa in A Venetian Romance. She always displayed a distinct personality in grotesque parts and an unusual versatility in character roles. She had the facility of making her audience laugh or cry with her as she saw fit.
‘Miss Hite was born at Ashland, Ky., on May, 30, 1883. she was the daughter of Mr. and Mrs. Lewis Hite. Most of her girlhood was spent in Kansas City. Her first professional appearance on the regular stage was with Dunn & Ryly’s Company in [Charles Hoyt’s] A Milk White Flag.
‘Her first real hit was made as Estrelle in The Telephone Girl, which part was created by Clara Lipman.
‘Later Miss Hite appeared in vaudeville in partnership with Walter Jones. She married Michael J. Donlin early in 1906, when he was with the New York Giants. Vincent Bryan wrote them a baseball sketch and it was with his wife that Donlin made his first stage appearance. (The Newark Daily Advocate, Newark, Ohio, Wednesday, 23 October 1912, p. 10b/c)

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Daisy Le Hay in the United States touring production of The Dollar Princess, 1910

January 9, 2013

Daisy Le Hay (b. 1883), English actress and singer,
as she appeared during 1910/11 in the United States’ touring production of
The Dollar Princess as Alice Cowder, a part originated on the
English-speaking stage by Adrienne Augarde at the Knickerbocker, New York, 6 August 1909,
and by Lily Elsie at Daly’s, London, 25 September 1909.
(photo: Moffett, Chicago, 1910)

‘Daisy Le Hay is the Alice. She plays the part with fire, and has a voice that will keep her in the front rank of musical comedy artists. She sang the songs allotted to her with a resonance and quality of tone that were delightful.’
(The Washington Post, Washington, D.C., Tuesday, 21 March 1911, p.5b)

Lillian Russell and Daisy Le Hay, who are appearing in Chicago, model their dresses at a dressmakers’ convention, 1910
‘Actresses set the fashion in dress for America. So insisted Mrs. Idah McGlone Gibson in the address she delivered at the dressmakers’ convention. And the reason therefor is that actresses ”dress the part.” their dresses always are en rapport with the character they seek to portray.
”’For that same reason the fashionably dressed woman must choose a gown indicative of her own temperament,” said Mrs. Gibson. ”The best dressed actresses of the stage choose gowns that exactly fit their own personalities.”
‘Just at that moment a velvet curtain cutting off a portion of the stage was drawn aside and in the glare of the lights appears Miss Lillian Russell, her daughter, Mrs. Dunsmore, and Miss Daisy Le Hay, actresses appearing now in the Chicago theatres.
”’No woman in America has spent more money in the American dress shops than Miss Russell,” said Mrs. Gibson, after she had introduced the actresses and each had performed a bewitching smile for the benefit of the audience of dressmakers.
‘Then she pointed out that the dress worn by Miss Russell was just the sort that should be affected by the sort of woman Miss Russell is. Miss Daisy Le Hay was attired in a frock of another character in perfect consonance with her individual type of figure.
‘Then Mrs. Gibson proceeded to hammer home the philosophy of perfect gown wearing.’
(New Castle News, New Castle, Pennsylvania, Friday, 30 September 1910, p.9b)