Posts Tagged ‘vaudeville’


January 20, 2013

George Fuller Golden (1868-1912),
formerly of Ryland and Golden,
American Jewish Irish-dialect vaudeville and music hall comedian.
James F. Dolan and Ida Lenharr’s vaudeville sketch,
A High-Toned Burglar, was first produced in New York in the Fall of 1900.
(contemporary photograph of a twelve-fold lithograph poster, published by
The H.C. Miner Litho Co, New York, circa 1900,
probably after a photograph by Elmer Chickering, Boston.)

‘President of the White Rats Got into a Street Fight and Was Taken to Police Station.
‘Broadway was the scene of tumult that amounted almost to a riot shortly after midnight last night, when George Fuller Golden, President of the What Rates, was arrested for intoxication and disorderly conduct in front of the Delavan Hotel by detective Martineau.
‘Golden was talking with friends in front of the hotel, at Broadway and fortieth Street, the police say, when one of the party made a remark that offended Golden, and a fight started. Golden was arrested and the others got away.
‘It was just the time of night when the streets in that neighborhood are well filled with theatrical people, and when they saw the man whom so many recognize as their leader being led away to prison by the detective, all sorts of inducements were offered for his release, and when the detective refused all such propositions the friends of the prisoners [sic] formed into a great crowd and followed after.
‘At a saloon kept by a well-known prize-fighter, Corbett’s, Golden asked to be permitted to go in a see some friends to arrange about being bailed out, and the detective consented. The crowd, augmented by many who had left the street cards to see the end of the affair, waited outside. Golden staid at the bar for some time, and at last Martineau suggested that it was about time to go to the West Thirtieth Street Police Station.
‘Golden then refused to accompany him a step further, and the policeman seized him. They had a savage fight there, and many of Golden’s friends hampered the detective as much as they dared. The men rolled on the floor, and the detective was getting much the worst of the encounter when he remembered that the midnight squad was just turning out and blew his whistle.
‘The police were close at hand. They formed a line before the door of the saloon and refused to allow any one to pass till two of their number had gone in and separated the fighters and dragged Golden out. On his way to jail golden wept. At the station house, in answer to the Sergeant’s questions, Golden said he was thirty-three years old, of Alabaster, Mich., now living at 135 East Thirtieth Street.
‘Corbett and George Considine soon reached the station house, but the Sergeant refused to let Golden go in the condition in which he was.’
(The New York Times, New York, Tuesday, 14 May 1901, p. 1d)


Lily Lena’s song, ‘Have You Got Another Girl at Home Like Mary?’ 1908

January 11, 2013

Lily Lena (b. 1877), English music hall comedienne

Lily Lena’s song ‘Have You Got Another Girl at Home Like Mary?’
by Alf. J. Lawrence and Fred Godfrey, published by Francis, Day & Hunter, New York, 1908,
song sheet cover design by Starmer
(photo: unknown, circa 1908)

Lily Lena at the Oakland Orpheum, week beginning Monday, 2 August 1909
‘Lily Lena Holds Vaudevillians In Thrall of Cockney Magnetism.
‘Miss Lily Lena supplies the largest portion of Orpheum “fix” this week. She is a newcomer on the circuit, an English concert hall singer of very perceptible accent and a bewildering supply of gowns, which she manages to don between specialties. She bubbles over with magnetism, which affects the audience, even to the farthermost regions in the gallery, and there are no sleepy ones while she holds the boards. Her songs are of the usual order indulged in by “artists” of this class, the opening one having this refrain, “Swing me just a little bit higher, do” [i.e. ‘Swing Me Higher, Obadiah’], and Lily has a very fetching way of conveying to her listeners the meaning between the lines. She has won her spurs on the “other side” [of the Atlantic], and if last night’s reception was any criterion, will have no difficulty in gaining popular favor here. Her recalls were many, and after responding with an encore, miss Lena finally made acknowledgement in a gracefully worded speech.’
(Betty Martin, Oakland Tribune, Oakland, California, Monday, 2 August 1909, p.2c)


The Vedmars on tour in the United States with Watson’s Americans burlesque company, March 1903

January 10, 2013

The Vedmars (fl. early 20th Century), comedy acrobats
(photo: unknown, circa 1905)

The Vedmars on tour in the United States with Watson’s Americans burlesque company, March 1903
‘Watson’s Americans, which will be the attraction at the Gaiety for the first three days of next week, is one of the largest and oldest burlesque companies on the road. The management have spared neither time nor money to get the best talent in the profession this season. This large organization consists of 35 people. The company is headed by the versatile artists, Jeanette Dupre and W.B. Watson. Among the other artists are ”Selbini,” the phenomenal trick cyclist and juggler. This act alone is well worth the price you pay for admission. The Vedmars are direct from the music halls of London, which is a sufficient guarantee of their worth. Ella Shields, the phenomenal baritone; West and Williams, Hayman and Hayman, Batchellor Sisters, Burke and Raymond, and many others. Mr. Watson is producing the farce of Levy in Japan by request of different managers. This farce was a howling success last season. It introduces all members of the company.’
(The Albany Evening Journal, Albany, New York, Saturday, 21 March 1903, p. 6g)

‘The name sounds Hindoo, but the pose is Greek. The Vedmars, Renee and Bert, are, needless to say, lights of the vaudeville stage. There ”stunt” has a few original touches in it and is worth staying for, even if it’s after a musical act.’
(The Standard and Vanity Fair, New York, Friday, 16 February 1906, [p. 4])


January 6, 2013

Eva Tanguay (1879-1947), star of American vaudeville,
in characteristic pose on the cover of Up To Date, the London-published 3d weekly, Saturday, 11 May 1901
(photo: unknown, USA, circa 1900)

Eva Tanguay makes her mark in Who Is Who at Sweeney & Coombs’s Theatre, Houston, Texas, Thursday, 11 January 1900
Who Is Who Pleased a Large House Last Night.
Aunt Mandy’s Chewing Gum, or The Day the Mortgage Came Due, would be as appropriate as titles for the farce which was presented at Sweeney & Coombs’ theater last night as is Who Is Who, the name given it by its author, but, since it has been demonstrated that a rose would be just as fragrant if referred to as a limburger cheese, there is no good and valid reason why one should expect the find to find any connection between the aforesaid farce and its official designation. Who Is Who is not a classic. It is advertised as a ”fun show” and the claims that are made for it are substantiated in a very satisfactory manner. Its plot, which can be discovered without the aid of a microscope, if one’s eyes are good, is so constructed as to admit of the introduction of a number of specialities, most of which are good and some of which are very good. Charles A. Pusey and Bert St. John, who are featured in the respective roles of the lawyer and the German capitalist, are both clever comedians and for the most part their stuff is clean and enjoyable. Some excellent work is done by Eva Tanguay, who will be remembered for the performances in Blaney’s A Boy Wanted, The Brownies, The Merry World and other similar productions. Miss Tanguay is undoubtedly the hardest working soubrette on the American stage and she manages to interject more genuine ginger into the things she says and does than a score of ordinary girls. Her voice is not calculated to win her fame and fortune on the grand operatic stage and she is not as graceful as some of her sex, but in other respects she is a wonder. She is a real, live combination of centripetal energy and centrifugal force and, if, in making some of her rotary engine moves some night, she does not explode, it is to be hoped that she will nurse the by no means even tenor of her way for a long time to come.
‘Harry N. Welch, a diminutive young gentleman with a falsetto voice, manages to make himself the source of considerable amusement in the part of the collector, and Katherine Weston is not bad as Mrs. Sackett. The remaining characters are in more or less capable hands. Barring a superfluous amount of horse play at times and one or two jokes which are a little off color, the show is as good of its kind as one could wish to see. The audience which saw it last night enjoyed it immensely and with the usual persistency of a Houston audience encored everything in sight until everything in sight became tired of responding. The clever cornet playing of the Whiting sisters was especially well received.’
(The Houston Daily Post, Houston, Texas, Friday, 12 January 1900, p. 6d)


December 27, 2012

The Wilton Sisters (Rose and Mae), American vaudeville entertainers (fl. 1915-1920s) (photo: unknown, USA, 1922)

Palace Theatre, Fort Wayne, February 1918.

‘The Wilton Sisters, a couple of winning little lassies, one a comedienne of genuine talent and the other a perfect foil for her younger sister, will entertain the folks with some diversified bits of everything. The girls play the violin and piano, dance distractingly and sing delightfully, while they are unusually good to look at and pleasing in their personalities.’(Fort Wayne Journal-Gazette, Fort Wayne, Indiana, 24 February 1918, p.22a/b)


Julia Mackay

December 25, 2012

a J. Beagles & Co postcard photograph of Julia Mackay (otherwise Julie Mackay) (fl. late 19th/early 20th Century), American vaudeville/music hall singer and entertainer (photo: Durham’s Ltd, probably UK, circa 1900)

The Grand Theatre, Bolton, England, week beginning, Monday, 27 March 1899. ‘An extraordinarily attractive programme is presented here this week, including Miss Julia Mackay, an American artist with a pleasing voice and manner, who, on Monday last, took the house by storm, and had again and again to respond to the calls of the audience for encores. Other turns are Pat Rafferty, Irish comedian; Joe Wesley, burlesque Negro comedian and dancer; the Two Florettas (Gertrude and Willie), acrobatic performers; the Sisters Giannini, operatic vocalists; Fred Tryon, character comedian; Sibb and Sibb, double trapeze artists; Arthur Gleno, actor-vocalist; Miss Edith St. Clare, serio[-comic]; and Harland and Rollison, musical grotesques.’ (The Era, London, Saturday, 1 April, 1899, p. 21c)


Irving and Jack Kaufman

December 24, 2012

Irving and Jack Kaufman sing ‘When the Bees Make Honey (Down in Sunny Alabam’),’ Camden, NJ, 1919 (photo: Strand, New York, circa 1923)

Early 20th Century American Vaudeville entertainers and early recording artists Irving Kaufman (1890-1976) and his brother Jack here give a snappy performance of ‘When the Bees Make Honey (Down in Sunny Alabam’),’ written by Walter Donaldson, with words by Sam M. Lewis and Joe Young. It was recorded with orchestral accompaniment conducted by Rosario Bourdon for the Victor label (18553, matrix B-22672-1), at the studios in Camden, NJ, on Monday, 7 April 1919.