..... ..... "."I’.$",‘I’;t§£ A HISTORY OF THE CROSWELL OPERA HOUSE IN ADRIAN, MICHIGAN 1900- 1920 Thesis for the Degree of M. A MICHIGAN STATE UNIVERSITY STEPHEN FRANCIS KIERSEY 1977 3 35m. . I II III IIZIIIIIIII I III I III III III I III I _.H__.H ABSTRACT A HISTORY OF THE CROSUELL OPERA HOUSE IN ADRIAN, MICHIGAN 1900-1920 StepheniFrafigivaiersey At the turn of the century nearly every town and village in the state of Michigan possessed some type of public hall suitable for am- ateur or professional theatrical activity. More fortunate communities were able to support the construction and maintenance of an opera house wherein popular actors and actresses of the day appeared in melodramas, light opera, and the often repeated Uncle Tom's Cabin. Today, many of these buildings, if they have not already been torn down, stand empty and silent, ghostly remnants of an exciting and colorful period. Yet, very little historical research has been done to illuminate this aspect of Michigan's cultural heritage. Therefore, the purpose of this thesis is to provide an accurate history of the Croswell opera House in Adrian, Michigan from 1900 to 1920 and in so doing provide a heretofore neglected aspect of this the- atre's history. Secondly, it seemed important to examine previous his- tories of the early years of the Opera House in order>to'provide a basis for the present study and at the same time create a comprehensive pic- ture of the Croswell Opera HouSe and thus correct many of the miscon- ceptions which currently exist. And thirdly, an examination of dramatic trends and attitudes prevalent in Adrian as well as stage practice at the theatre are included to demonstrate how the Croswell was typical of its Period. Research for this thesis came from a variety of sources. The his- tory of the Opera House from 1880-1900 was primarily drawn from two pre- Stephen Franc is Kiersey vious studies of the early years of the Croswell Opera House by Washington Cooke in 1932 and Donald Thomas Shanower in 1960. The most accurate source of information on the period 1900-1920 was collected from the Adrian Daily Times and Expositor using the Adrian Daily Tele- m as a secondary source until 1914 when it became the only newspaper in Adrian. These papers were carefully searched for articles, advertise- ments, and critical reviews relating to dramatic activity as well as other forms of entertainments presented at the Croswell Opera House. Further information was gathered from Ormand "Dede" Eldredge, who served as a brace boy at the theatre from 1908 to 1916, and from Douglas Hurlbut, who ushered and sold tickets from 1910 to 1912. Interviews with these men yielded valuable information regarding stage practice and in- terior and exterior decoration of the building as well as many inter- esting anecdotes about performers and productions that appeared at the local theatre. The body of the thesis is divided into five chapters. Chapter One is divided into three parts that provide a general backgound on theatre in Michigan as well as the vogue of opera house construction in the state beginning around 1870, a brief history of Adrian and an examination of the popular forms of entertainments there prior to Construction of the Croswell Opera House, and finally a history of the building itself along with the dramatic activity at the Opera House from 1880 to 1900. Chapter Two provides a chronological study of the building and the entertainments produced there from 1900 through the 1909-10 season. Chapter Three is a continuation of Chapter Two and follows the activities at the Croswell from 1910 to 1919 when the theatre was given over to the movies. And Chapter Four reviews the dramatic trends and stage practices prevelant in Adrian during this period. Following the Conclusion is an appendix that Stephen Francis Kiersey contains a chronology of the dramatic events and other entertainments that occurred over the nineteen years. A HISTORY OF THE CROSWELL OPERA HOUSE IN ADRIAN, MICHIGAN 1900-1920 BY Stephen Francis Kiersey A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Theatre 1977 ACKNOWLEDGEMENTS I should like to acknowledge my appreciation to Professors Frank Rutledge, Jon Baisch, and Dr; Farley Richmond of the Michigan State University Theatre Department for their guidance and support in pre- paring this thesis. I would like to thank the Adrian Public Library and the Lenawee County Historical Society for their help in locating valuable material. To Mr. Ormand Eldredge, I am indebted for his keen memory and his love and respect for theatre which is infectious. I am further'indebted to my friends, especially Peter Berg for procuring a copy of'Uashington Cooke's study for my use: and to my good friend Robert Chmielewski for his invaluable artistic talent. And most im- portantly I would like to express my gratitude and appreciation to my family for their constant love and encouragement throughout the writing of this thesis as well as my entire graduate study. 11 TABLE OF CONTENTS CHAPTER I BACKGROUND . Theatre in Michigan: The Rise of the Opera House........... 1 . A Brief History of Adrian and Pre-Croswell Entertainments... At Croswell Opera House 1880-1900.............................. 9 O DWtic Activj'tyCOCOOOCCO.OOOOOOCOOOOCOOOOOOOUOOOO00...... 16 U0tfl> CHAPTER II THE CROSWELL ENTERS THE TWENTIETH CENTURY................ 25 CHAPTER III DRAMATIC ACTIVITY 1910-1920: THE END OF AN ERA.......... 42 CHAPTER IV DRAMATIC TRENDS AND STAGE PRACTICE AT THE CROSHELL.....oo 59 CHAPTER V CONCLUSION................................................ 69 Appendix............................................................ 73 BibliogaphyOOOOOOCOOOOOIOOOOOIOOOOOOOOIICCOOOOOOOOOOOII00.0.0.0... 120 iii CHAPTER I 3 BACKGROUND iv A. THEATRE IN MICHIGAN: THE RISE OF THE OPERA HOUSE In an age accustomed to motion pictures and television as well as live theatrical performances it is difficult to understand how people in the late eighteenth and early nineteenth century could flock to the opera house and view a second or even third rate repertory company pro- duoe Shakespeare poorly. And it is even harder to comprehend their undying devotion to such melodramas as East Lynne and Uncle Tongs gaggg, However, one must not forget that the opera house provided one of the main sources of entertainment in these early years. In order to understand fully the popularity and success of the Croswell Opera House, in Adrian Michigan, it is important to examine the theatre in Michigan and explore the conditions which led to the rise of the opera house intthat state. I Theatre arts have long been popular in Michigan. The first the- atrical productions in Michigan were performed by the officers sta- tioned at Detroit. They formed an amateur troupe in 1798 with a rep- ertory of The Rivals and The Mock Duke. Their costumes were constructed and the scenery painted by the wives of the soldiers involved. These productions were quite popular and continued to be staged at the gar- rison as late as 1830. 1 As Michigan became more populated and the city of Detroit grew, the theatre grew also. Soon Detroit became a booming town through which hundreds of land seekers and immigrants passed on their way to settling the wilderness of Michigan. 1 Willis Frederick Dunbar, Michigan Through the Centuries, Vol. III (New York: Lewis Historical Publishing Co., 1955) p. A20. At this time the general dramatic performance consisted of a three or four act play followed by a one-act farce. Between the acts singing and dancing specialties were provided. This format remained re- latively unchanged until the 1920's. In addition to dramatic offerings equestrian companies were equally popular. Among the actors who toured the Midfflest were Junius Brutus Booth, Edwin Forrest, Charles Kean, James H. Hackett, Fanny Elssler, Jane Placide, and Ellen Tree who was a ”spe- cial favorite, always drawing a big house." 2 As towns and villages grew all over Michigan the demand for enter- tainment increased. But few communities could afford the luxury of building an opera house before 1860. Instead their concern and finances favored the development of land and industries, the building of schools and establishing churches. Thus, the church, the schoolhouse, or the town hall had to serve for large community gatherings. None of these were suit- able for theatrical performances. Moreover, the Protestant churches disapproved of theatre. All "social fatherings, amusements, and entertainments had to have church sanc- tion to succeed.” 3 Oddly enough, however, while the theatre was considered anathema, ”singing schools, spelling bees, lyceum lectures, temperance meetings, and even circuses were defended as being educational.” N In the same way that dramatic producers had gotten around the strong Puritan opposition in the early days of America's history the promoters of musical shows, religious plays, pantomimes, and pageants appealed to the emulation of ”education" and thus won the approval and support from 2 Ibid. B‘Uillis F. Dunbar, "The Opera House as a Social Institution in Michigan” Michigan History XXVII, 1903, p. 662. 4 Ibid, the churches. Likewise, the increasing prosperity of the time led come nunities to be more interested in cultural affairs. And finally, and most importantly, it soon came to be realized that the building of and operating an opera house could be a very profitable business Venture. Thus, during and immediately following the Civil War, buildings especially "designed for concerts and plays and generally called opera houses were erected in the larger cities." 5 The trend soon spread throughout the state and between 1870-1900 opera houses were built in almost every village and town. These last thirty years of the nineteenth century became the "golden age" of opera house construction. "All over the Southern part Of Michigan during these years the vogue of the opera house was spreading and communities vied with one another for the honor of having the largest, most ornate, and most elaborate structure." 6 These buildings were utilized for lectures, political rallies, high school graduations, musical concerts, amateur plays, minstrel shows, as well as theatrical performances. Despite their title, opera was never -performed enough to merit calling these buildings opera houses. Willis F. Dunbar feels that "possibly the term 'opera house' reflects the gran- diose ambitions of the promoters; more likely it was used instead of 'theatre' as being less offensive to church people," 7 However, the title of "opera house" was not always a misnomer. Light operas, including £9955, H,M,S, Pinafore, The Mikado,The Bohemian ‘Qigl, and Riggletto were occasionally presented even in smaller towns. In addition to operetta, Shakespeare was equally popular. But the most 5 Dunbar, Michiggg Through the Centuries, p. #23. 6 Dunbar, Michi Histo , p. 663. 7 Ibid. favorite and biggest box office successes were the sentimental comedies and melodranas. These included such dramas as East L e, Count of Monte gggggg, The TonOrphggg, Ten Nights in a Barroom, and the perennial fav- orite Uncle Tom's Cabin. ‘ Thus, by the end of the nineteenth century many cities, towns, and villages possessed"some type of multipurpose hall for public attendance." These buildings "became the social centers of their communities, the scene not only of theatricals, both amateur and professional, and of touring musical productions, but also of social gatherings, civic functions, and --cften-dances." 8 Exactly how many opera houses were built and flourished during this period ' is unknown. This is the milieu from which the Croswell Opera House emerged to attain the distinction today of being the oldest operating opera house in the state of Michigan. 9 B. A BRIEF HISTORY OF ADRIAN AND PRE-CROSUELL ENTERTAINMENTS Certainly one of the most colorful and romantic periods in the history of the United States is the period of westward expansion. Like- wise, the exploration and settlement of Michigan contains a rich legacy of brave young pioneers enduring hardships and deprivation in order'to carve a place out of the wilderness for themselves and their families. The founding of Adrian in Lenawee County is no less abundant in excite- ment and romantic charm. In the spring of 1825 Darius Comstock and his son Addison J. Comstock had finished work on the recently completed Erie Canal. Having ample means for investment and seeing a future in land spec- ulation, they travelled the Erie Canal to Buffalo, took passage there on a boat for Detroit, and from that point travelled with their team 8 Dunbar, Michigan Through the Centuries, p. #24. of oxen into Lenawee County. Father and son spent the summer exploring the southern part of the county as well as northern Ohio for suitable agricultural lands and a.favorab1e location for the development of water power. The main access into Southern Michigan was the Old Sank Trail which had for centuries been used by the Indians as a route from.Detroit to Chicago. In 1825, the government began surveys of the Trail in order to build a road. The Chicago Road as it became known, was instrumental in establishing the towns of Ypsilanti, Saline, Clinton, Jonesville, Cold- water, Sturgis, Niles, and New Buffalo. {Although they were south of the Chicago Road, Tecumseh and Adrian, two towns located in Lenawee County, no doubt influenced by the road, grew rapidly and prospered. On'September 7. 1825, Addison J. Comstock purchased from the gov- ernment 600 acres of land in Logan township. In August of the following year Comstock and his newly married wife moved into the first house, a log cabin situated in an oak grove on the banks of the Raisin River where the city of Adrian now stands. The settlement was called Logan and many Quakers moved into the area. Logan was settled rapidly and in March 1828, Mrs Comstock renamed the village after the Roman Emperor Hadrian. 1 This plot contained 49 lots, beginning at the river on.Uest Maumee Street. 2 In 1829 Comstock and Isaac been built the first grist mill and established a post office. Comstock and other residents of Adrian were anxious to establish a railroad for the town. Through their efforts and "subscriptions to stock in the enterprise, the Erie and Kalamzoo Railroad reached Adrian from Toledo in 1836." 3 1. Centennial Program p. 3 2 Ibhi. 3 Clever'F. Bald, Mibhiggg in Four Centuries (New York: Harper and Brothers, 1999) p. 169 On.November 2 amidst general rejoicing and celebration the first rail- road car arrived in Adrian. Cannon boomed, the militia paraded, the band played, the people went wild with excitement, and the festivities lasted far into the night. Adrian was justly proud. The Erie-Kalamazoo Railroad stretched 33 miles from Toledo to Adrian. The first coaches, which resembled old stage coaches with seats on the roof as well, were horse drain, but in 1837, the year that Michigan entered the Union, a steam locomotive was put to work and the first railroad west of Schenectady, New York was in operation. The next event which shaped Adrian's future was the acquisition of the county seat. The city of Tecumseh by virtue of her two years sen- iority cver.Adrian and her larger population had possession of the county seat. However, because Adrian was geographically located nearer the center of the county and with advantage of the railroad the change of the county seat was made in 1838. This change caused some friendly rivalry between the two cities that has lasted to the present day. In 1853 Adrian was chartered as a city and Addison J. Comstock became its first mayor. "The central position of the village, its ac- quisition of the county seat, its relation to the new railroad, and the enterprise of its citizens," 5 were the main ingredients in Adrian becoming a fast growing and modern city. Adrian was settled by people of culture and education with their roots in New England and New York. 6 They were keenly aware of educational needs and schools were among their first enterprises. Donald Shanower reports that, "The ninth census of the nineteenth century revealed that Adrian had a population of 7,849. 4 Ibid. 5 George Newman.Fuller, Economic and Social Be in of Michi (Lansing, Michigan: Hynkoop BMW 6 Centennial Program p. 6 It was only natural therefore thatuAdrian,by 1880, had a well established school system, more than a half-dozen Protestant and Catholic churches, a telephone exchange, a gas light company, some cobble-stone paved streets, the services of the Lake Shore and Michigan Southern Railroad, a.daily newspaper, and the usual protection agencies -- city police and volunteer fire departments." 7 Early in its development, Adrian was established as a town for enter- tainments. The Adrian Brass Band was organized in 1838 by an Englishman from Utica, New York. 8When Ole Bull appeared February 26, 1868 the newspapers compared his concert to the one he had given eleven years earlier. One of the earliest recorded entertainments in the city of Adrian was a performance of Don Caesar de Bazan by a MacFarland troupe on April 16. 1858 in Bidwell's Hall. 9 Bidwell's Hall was located at the northwest corner of Main and Maumee Streets. ”It was remodeled late in 1867 at which time the Adrian Times 10 At the same time Adrian elaborated upon its unfitness as a theatre." ,possessed two other public halls - Odd Fellows and the City Hall. None of these buildings were equipped as theatres but they continued to be used for conventions, dances, and amateur musical performances and the- atricals. In 1875, the old Court House, in the 100 block of Toledo'Street was made into the Dean's Opera House but it was too small for anything but minstrels and dancing. Entertainments in these early days consisted chiefly of minstrel 7 Donald Thomas Shanower, A Comparative and Descriptive Study_g§ Three 0 Houses in Southern Michigan 1880-1900. PhD Thesis, U of M Ann Arbor, Michigan, 19605 p. 15h 8 Centennial Prom p. 5 9 Hashington Cooke, A Histo of the Croswell O era House, (un- published typewritten account, 1932; p. 10 10 Ibid. shows, lectures, and unusual exihibitions. Wood's Minstrels and the Peak Family of Swiss Bell Ringers were very popular in Adrian and always drew a large audience. Famous lecturers were always welcome in Adrian. A Mrs. Stowe, probably the author of Ungl§4Tom's Cabin, reportedly appeared in Odd Fellows Hall April 26, 1859. 11 No mention of her lecture was made in the newspaper, however. John B. Cough lectured for temperance at several Adrian churches and on one occasion dared to charge 50 f a ticket. The standard price for everything was 25 ¢.}2 Other lecturers to appear in Adrian were Ralph Waldo Emerson, Susan B. Anthony,Thomas Nast, General Lew Hallace (author of Ben Hur), James Whitcomb Riley and Henry'WaId Beecher. Adrian experienced no end to the number of dwarfs, giants, mal- formed creatures, hypnotists, and magicials that passed through its portals. Among these Tom Thumb is probably the most famous. He appeared twice in Adrian as did Dolly Dutton, an even smaller dwarf who sang. Another extremely popular exihibit in Adrian was the viewing of pan- oramas. These were great paintings, varying in size from 6,000 to 30,000 square feet. One of the most popular panoramists in Adrian was J. Insco Williams, with his Bible pictures. "beginning with chaos and ending with the Babylonian captivity." 13 In spite of the dearth of dramatic productions Shakespeare's Hemlgt_was not wholly neglected. "A certain E.H. Kean (probably unrelated to Edmund) rendered scenes therefrom in Bidwell's Hall on one occasion at 25 I a ticket. .No mention was made as to the size of his audience.1u It is interesting to note and a credit to its citizens that Adrian finally 11 Cooke p. 12 12 Ibid. 13 Cooke, p. 14 1“ Ibid. had its opera house only 35 years or so after Addison J. Comstock be- came the first resident in 1826. C. THE CROSUELL OPERA HOUSE 1880-1900 Tradition has it that the first performance in the Croswell Opera House was a production of Ham;gt_with none other than the inimitable Edwin Booth as the "prince of Denmark" in 1856. Although this claim has never been documented it may not be entirely'false: the exact date of con- struction of the building is unknown and at present is unable to be determined. ,In spite of the romantic legend the building is not de- picted on any map of the city of Adrian prior to 1866 and newspaper re- cords from 1863-1867 are unfortunately missing. It is known however, that in 1863 there was an effort on the part of the citizens of Adrian 1 to improve their entertainment facilities. The culmination of this effort is recorded in the private papers of Michigan's former Governor Charles M. Croswell which announce the "formation of an association for 2 In the purpose of constructing a public hall in the city of Adrian." the same year, C.M. Croswell and P.J. Spalding "entered into an agree- ment... for the purchase of land upon which to build the hall." 3 However, in a letter dated April 11, 1864 the members of the building committee resigned "because of disagreement among the stockholders." 4 Apparently all was not going well with the progress of the proposed building which was to be owned and erected by the Adrian Union Hall Company. 1 Donald Thomas Shanower, "AComparative and Descriptive Study of Three Opera.Houses in Southern Michigan 1880-1900" Diss. Univ. of Michigan, 1960! po 155. 2 Ibid. 3 Ibid. I. 91 s 3 10 The first actual proof of the completion of the building and its operation is found in the annual report of the Adrian Union Hall Co- mpany dated October 2, 1869. This report covered a period from March 2 to»October 2, 1869 and listed the chief officers of the association as C.M. Croswell, secretary and treasurer; A. Whitney, president; and Charles Humphrey, manager. 5 It is generally reported that regular use of the building com- menced August 2, 1867 when Lotti's Italian Opera opened the season with Martha; and 133.35%. However, Washington Cooke reports that two weeks prior to this latter engagement Lloyd's Minstrels actually gave the first performance amidst a scandal. "Lloyd himself walked off with the box office receipts." 6 Before 1869 the new building was referred to as Union Hall but shortly after 1869 the title opera house or Adrian Opera House was used. "Bills and Statements were addressed primarily to the Adrian Opera House (or Association)" 7 The building was erected forty feet from the sidewalk on Maumee Street. The red brick, two story edifice with windows facing both east and west was approximately 70 feet wide, 140 feet long, and 30 feet high.8 The front of the building contained no windows or decoration and several steps led up to two five foot wide doors that led into the lobby 'of the theatre. The cement alley which led from the sidewalk to the entrance of the building was not covered until 1919 when the new managers turned it into an arcade. At the street end of the alley were twa wrought iron gates. They stood approximately eight feet high and 5 Ibid. p. 156 6 Washington Cooke, "A History of the Croswell Opera House" Diss. Ohio State University, 1932, p. 37. 7 Shanower, p. 157 8 Ibid. 11 swung into the alley. The interior was divided into a lower floor and a horseshoe balcony that ran to either side of the proscenium arch. The lower floor, which raked slightly from the stage to the rear of the auditorium, contained 700 wooden chairs that could be moved at will. However, even the tallest men reportedly could not see from the back rows of the theatre. 9 While the lower floor was not aptly suited for viewing the stage, the vision from the balcony was perfect. However, to prevent everyone from crowd- ing the gallery, "the builders had made the great horseshoe balcony worth the twenty-five or fifty cents less it cost. The seats were solid wooden benches, absolutely unpadded and with backs exactly perpendicular." 10 The Adrian Daily Times and Expositor of July 25, 1869 reported that the stage had a proscenium height of 22 feet, a proscenium width of 28 feet, and a depth of 22 feet to the curtain line, and a height of 24 feet to the gridiron. The stage floor was raked 10 inches from the curtain line to the back wall and was equipped with grooves to slide scenery on and off the stage. During the fall of 1880 new scenery was added as well as a new drop curtain. With the entertainment season over in June of 1882 the interior of the building was repainted and an extension of 14 feet was added to the front of the building in order to enlarge the entranceway and box office. Moreover, spitoons were added in the house as a hygenic im- provement for the "inveterate tobacco chewers." 11 On May 18, 1883 the Timg§_reported that C.M. Croswell Jr. had as- sumed the responsibility of managing the opera house at the age of twenty-one. The advertisements now displayed: "Adrian Opera House, C.M. Croswell Jr., Manager." Soon the building was referred to as 9 Cooke, p. 14. 10 Ibid. 12 ' "Croswell's Opera House". Finally, in the fall, 1886, the newspaper caption was "changed to 'Croswell's Opera House' omitting the name of any manager. "A 12 During his first summer as manager, Croswell Jr. authorized construction of an orchestra pit which was to be "28-;- feet in length. 5 feet 9 inches in width, and 4 inches below the level of the parquette." 13 Moreover, the dressing rooms beneath the stage were painted and the gas fixtures throughout the building were cleaned. A new piano was purchased as well as a new chandelier for the auditorium. Further an electrician from New York installed a "twelve inch functional machine, with a patent electric switch" whereby the gas jets throughout the house could be lit by electricity. This meant that now the auditorium could be entirely blacked out. 14 During the summer of 1884 an inclined floor was constructed for the auditorium and opera chairs with padded seats and backs replaced the wooden folding chairs. The lower floor was in turn divided into a par- quette, a dress circle, and six loges. Finally, in the fall of 1885, the electric light was placed in the opera house: one in the auditorium and one in the entranceway. 15 On July 1, 1887 Charles Humphrey resumed his former position as manager of the theatre. In September the opera house was connected with the telephone exchange. And during the summer of 1889 again new scenery was purchased: a parlour scene and foilage borders. On May 30, 1894 Humphrey closed his managerial career after twenty years of service. He was succeded by Harry Cook and Charles E. King. When King defected to 12 Cooke, p. 7. 13 Shanower, P. 159. 14’Ibid. 15"]bid. p. 161. 13 Toledo with opera house funds in 1895, Mr. Cook was left as sole man- 16 ager of the opera house. During the summer of 1895 electric lighting was installed throughout the auditorium and stage. The whole number of lamps installed is 151... There are four circles of lamps on the ceiling, containing in all 48 lights... In the lobby is a three light electrolier, and hanging lamps at the ticket office, the ticket taker's station .and the ladies toilet room. There are 22 lamps in the passage ways underneath the stage. The lamps are all 16 candle-power and are attached to flexible cords which allow them to be moved about and attached to the music stands. These 151 lights are all controlled from the switch- board located on the west side of the stage. There are 14 lamp circuits in the building all converging to this point, and are manipulated therefrom. The switchboard to the uninitiated is an incomprehensible combination of ”push buttons", wires rods and magnets...Perhaps the most notable feature of the board is that part containing the "dimmer". The name suggests the work of this arrangement. It is to turn down the lights, and it does its work perfectly, reducing the bright, white light to a mere thread of dull, red 17 light, outlining the shape of the lamp filiament. On June 30, 1896 Mr. Cook's lease expired and Mr. C.D. Hardy, one of the stockholders of the Union Hall Company, became manager for the 1896-1897 season and continued for the next 25 years. "Under his direction the house reached its highest level." 18 His first concern as manager was immediately continuing Mr. Cook's remodeling program for the opera house. In July of 1896 a force of workmen and carpen- ters began tearing out the old stage and constructing a new one. The Adrian Daily Times reported on July 25, 1896 that 16 Ibid., p. 164. 17 Adrian Daily Times, August 20, 1895 p. 3. 18 Cooke, p. 8. 14 It will be changed from 22 to 36 feet deep to the curtain line, its height to the grid- iron from 24 to 54 feet, necessitating raising the roof, and the proscenium opening enlarged from 28 to 32 feet in width. The stage floor will be lowered ten inches and be perfectly level. The proscenium opening will have a square instead of round effect. There will be new scenery throughout, painted by Sosman and Landis, of Chicago, including a handsome drop curtain which will slide instead of roll up or down. There will be ten sets of scenery. The interior sets will each -be subject to nine changes, and will be of the "string" variety, being lashed together instead of operating on grooves. The exterior scenes will be arranged on "drops" that can be pulled out of sight. 19 The work was completed in September and the Times reported that the finished stage was "the largest in the state, excepting that of the Lyceum Theatre, in Detroit..." 20 The final dimensions were: stage, wall to wall, 61 feet: depth to curtain line, 37 feet: proscenium height, 27 feet: width, 32 feet: height to rigging loft, 56 feet. The final scenery owned by the opera house consisted of five painted drops that extended the entire width of the stage. They included a Garden, Deep‘Hoods, Rocky Pass, Street Scene, and a "Fancy" or House Interior. The Street Scene was hung downstage and was very seldom moved. The other drops had to be placed the afternoon of the performance in which they were needed. In addition, each drop contained four wooden wings which were placed on the sides of the stage to mask entrances and exits. Directly behind the proscenium arch stood two tormentors which were painted to resemble Grecian columns. 21 19 Shanower, p. 166. 20 Ibid. 21 Interview with Ormand Eldredge. 15 The backdrops were operated from the pinrail which was located on the right side of the stage. It took from two to four flymen to raise and lower the drops during performance. Hhen the drop was lowered it was tied to the lower pinrail and after being raised it had to be tied to the upper pinrail. When lowered they hung about one and one half inches from the stage floor. If the batten that formed the base of the drop touched the floor it would cause the drop to wrinkle. A catwalk thirty to thirtyefive feet above the stage led from the fly space to stage left where the cyclorama was located. From there it could be let out and adjusted. However, it was seldom used. The Croswell also owned a tan ground cloth and a green baise. These were also made of canvas and used to cover the stage floor. . Hanging on the wall in the fly gallery, was a tin thunder sheet six feet long and three feet wide. This was used innumerable times in dramas and melodramaS. The Croswell was also well equipped to light any production that played there. On the stage were border lights that illuminated the drops as well as the actors. Inside the proscenium arch and out of view of the audience were located strip lights which aided the foot- lights in illuminating the acting area. And finally floodlights and spotlights were often attached to the balcony to increase the intensity of light upon the stage. Smaller lights could be employed upon the stage proper to light scenery or create special effects. There were special plugbin boxes on the stage under small trapdoors for this purpose. Often colored lights were used and for many musicals whirling colored lights added to the spectacle. The building was heated by steam radiators located throughout 16 the house. But a coal or wood furnace was located under the stage for the purpose of heating the stage and dressing rooms. This furnace room was also a popular place for the stage hands to retire after the stage was set and before the performance began. Ormand Eldredge reports that everytime Tom Marks played the Croswell, before the performance he would go down to the furnace room, sit on a pile of grass mats, and spin yarns for the attendant stage hands. With these stage alterations and scenic improvements the Croswell Opera House was made ready to meet the requirements of even the largest touring companies.. Further, many people now referred to the Opera House as the New Croswell. 22 D. DRAMATIC ACTIVITY The last three decades of the nineteenth century witnessed an ex- pansion of American theatre to include a wide variety of specialized forms of entertainment. In addition to the standard legitimate drama, there were "Tom.Shows" or touring productions of Ungle_Tom's Cabin, va- riety-vaudeville, burlesque, minstrel shows, and the circus. By 1870 these forms were organized and operated on a nation-wide scale. But by far the most popular and widely attended entertainments produced at the Croswell Opera House were the sentimental comedies and melodramas. In 1880 John Drew and Miss Ada Rehan appeared in Augustin Daly's An Arabian Night. The hit,Davy Crockett was presented in November starring the originator of the role, Frank Mayo. The year 1882 brought Miss Ada Gray starring in the melodrama of melodramas. East Lygn . On March 8, 1882 the Madison Square Theatre Company performed Hazel Kirke to a full house. These plays along with Shore.Acre§_and Rip Van Winkle would be 99 thsenss-r- n 1511/)- 17 presented many times throughout the next forty years always filling the opera house with eager Adrian theatre patrons. For the majority of opera house events, the admission price was 35¢ to 50¢ for the gallery and 75¢ for the main floor. However, Frank Mayo's Dag1;Crockett charged $1.00 giving it the "distinction of being the highestdpricest performance in 1880." 1 However, a popular play or performing artist could not always guar- antee a full house regardless of the admission price, for the weather played a large part in the success of a performance in these early days. Because there were few sidewalks and fewer paved streets in Adrian, walk- ing to the theatre was often unpleasant. At this time the horse was still the primary means of transportation, but in the winter months it would not be proper to leave the beast stand out in the cold for two to three hours while its owner enjoyed the warmth of the theatre. Moreover, the opera house stood forty feet from the street, and the first to come was the first to be assured a good seat. Spectators crowded the twelve foot wide unroofed alley which led to the opera house on performance nights. In inclement weather this fact alone could be quite discouraging to the prospective theatre patron. ‘Washington Cooke aptly reports, "it is small wonder that the house was seldom crowded on bad nights. It was probably unpleasant to stand in a phalanx of two or three hundred with one umbrella threatening'one's eyes and another pouring a steady stream down one's back.” 2 Under such adverse conditions it is a credit to certain performers who managed to draw huge crowds in spite of the weather. One such per- former was Madame Janauschek who made her Adrian debut on October 16, 1882 in Mother and Son. Reserved seats sold for $1.00 and the main floor 1 Shanower, P. 173. 9 Cooke. n- 16- 18 unreserved were 75¢ while the gallery was 50¢. The great tragic actress immediately won accolades from the press and love and respect from the citizens of Adrian. She returned in March of 1890 to play in Guy Man- ‘ngrigg. A large audience was in attendance and again the press gave her .favorable compliments. In this play she was ably assisted by Tyrone Power, Graham Crawford, Sarah Lascelles, and Ida Burrows. 3 On October 11, 1890 One of the Finest was billed as the first of the so-called' "tank dramas" to visit Adrian. The scenic effects were the main feature of this production. They included among others, an au- thentic reproduction of the Fall River Line dock, which required an immense water tank, row boats, and splashing boys. Unfortunately, the Croswell stage was too small to accommodate the gigantic scenic effects. The huge tank of water could not be placed on the stage to the em- barassment of the company as well as the disappointment of the audience. The Time-g reported that, "The great illuminated cathedral scene could not be spread at all, and the great insane asylum drop met the same fate." 1+ The failure of this production did not,however deter other less grandiose scenic melodramas from playing at the Croswell. Probably the most famous during this twenty year period was The Great Northwest ad- vertised as a "romance of the Red River Valley of the North" with special admonitions to "See the Swing for Life on the Whirling Windmill" and "Don't miss the famous Blizzard Scene". Prices for this production were 25¢ for the gallery and the entire lower floor was 35¢. 5 The play was a popular success and the $3.33. reported that'One of the most realistic 3 Shanower, p. 205. 4 Shanower, p. 208. 5 Adrian Daily Times January 9, 1900, p. 3. 19 pieces of scenery ever put on the stage in this city is the windmill which forms the center of attraction in the fourth act...when the hero- ine mounts the ladder and attempts to signal the train the audience holds its breath while the villain rushes inside the mill and starts -its arms revolving. Taking a firm grasp of one of the arms, the hero- ine is whirled around and around, until one expects to see her dashed to pieces. But she isn't, for the hero regains consciousness in time to stop the mill and spoil a sensation."6 Even though spectacular adventures like The Great Northwest were numerous, Adrian audiences proved they could enjoy a sophisticated actor like Otis Skinner in a sophisticated comedy. Patrons of the Croswell were regaled Thursday evening with the best production of legitimate comedy seen here this season. Otis Skinner, in Henry Arthur Jones charming play The Liars,scored a success to none on the local stage in recent years. In fact he was given a perfect ovation... Mr. Skinner's interpretation of his role was a masterpiece of acting, vigorous, active, complete, compelling admiration, yet never overdrawn: in short a finished thoroughly conscientious piece of work. His efforts were well received by the audience...the audience was one of the best of the season. The lower floor was entirely sold, while there was fair attendanCe in the gallery. The patronage bestowed. . . demonstrated. . .that plays of this class are appreciated in Adrian, and it is to be hoped we may be favored with more such treats in the future. 7 In addition to those entertainments already mentioned vaudeville, burlesque, and minstrelsy were extremely popular and lucrative amuse- ments. During this period the most famous burlesque troupe that appeared in Adrian was Al Reeve's Famous Big Double Burlesque Company which played the Croswell on January 24, 1900. The company consisted of 20 white performers and 20 black performers who combined minstrelsy, vaudeville, and opera buffa in a show that was advertised as "absolutely 6 Ibid.. January 13, 1800 p. 2. '7 Ibid-. March ’30. 1900 'D. 3. 20 clean from start to finish." 8 As expected the opera house was filled with a large audience. Theqlimgg reported that "those who went there expecting to witness something sensational were dissappointed, all ob- jectional features being eliminated. The only 'broad' points in the -performance were contributed by a few of the female members, and this was due to an over abundance of adipose." 9 Since its first production in June of 1852 at Troy, New York, Uncle Tom's Cabin quickly captured the imagination and adoration of the American people. The citizens of Adrian and Lenawee County were no ex- ception. This famous play, with its emotional abolitionist appeal and its exciting and death defying climaxes, first appeared in Adrian on January 8, 1881 in a production by the Anthony and Ellis ComPEHY. In October of the same year Jay Rial's Company played before an overflow crowd of 1,200 patrons. As the popularity of-Uncle Tom's Cabin spread and the number of companies producing the show grew, the competition became more fierce. In order'to counteract this competition and sell more tickets the double company was formed. As the name implied many of the characters, especially Topsy and Marks, as well as the scenery and animals were doubled. The first appearance of a double company in Adrian occurred on.December 21, 1882 when C.H. Smith's Mammoth.g§glg_ Tom's Cabin Company played the Croswell. Soon other double companies followed. In 1883 and in 1885 Draper's Double Uncle Tom Show played matinees and evenings at 10¢ per seat. The Times reported that "so great was the rush for seats that as early as 7:30 the sale of gallery tickets was stopped, and at 7:“5 the doors were closed, the house being too small 8 Ibid. January 24, 1900 p. 3. 9 Ibid. January 25, 1900 p. 3. 21 to accomodate the people who desired admission. Over 300 persons were turned away." 10 When doubling became a regular practice a metamorphosis occurred which once again enlarged the show; Sutton's Monster Double Uncle Tom Company appeared in Adrian on.December 26, 1890. Of all the Uncle Tom companies that played Adrian the one that continually made appearances and would for the next forty years, was Stetson's Double Uncle Tom's 939 3 Company. This company was seen four times in Adrian between 1880-1900 with the popular price of admission at 10¢, 20¢ and 30¢. The people of Adrian acclaimed their gigantic noon parade as being the "best of its kind and was led by two drum majors, one black and one white, with two brass bands following." 11 All in all, Uncle Tom's Cabin was performed twentyhfive times in twenty years and the play was always accepted at the Croswell Opera House regardless of which company presented it. Along with sentimental comedies and melodramas, Uncgg: Tom's Ca‘pjig and vaudeville, the Croswell Opera.House offered Shakespeare to the people of Adrian. It was in these productions that some of the great actors and actresses appeared on the Croswell stage. The king of American actors, Edwin Booth, played Hamlet on May 12. 1873. He returned in 1876 to play Shylock in The Merchant of Venice. Thomas W. Keene made his Adrian debut on May 10, 1885 in Richard_III. He visited the Croswell twice more; first in Macbeth and finally in Othello on September 25, 1893. However, on his last visit he was not well received. "The youth- ful fire had burned out, and he raved about the stage, reducing the great Moor to a brute, and the large audience went home in disgust." 12 Other great actors to perform at the Croswell included Madame Janauschek, 10 Adrian Daily Times, January 1“, 1885, p. 3; 11 Shanower, P. Z#6. 12 Cooke, p. 21. who played Lady Macbeth in 1890 and 1893; Edwin Forest (1870); Laura Keene (1868): Joseph Jefferson in Rip Van Winkle (1873, 1883); and Maggie Mitchell, who first appeared in 1868 and finally in a play written just for her -- Rob Roy (1888) "in which she played sixteen and nobody noticed that she was fifty-seven." 13 The final Shakespearean production of the nineteenth century was King Lear starring Frederick Harde. The last form of entertainment so popular in Adrian were the fre- quent productions of operettas and musical comedies. Among the operettas or light operas to appear at the Croswell were Martha, Cavalleria Rust- icana, The Pirates of Pengance and John Phillip Sousa's El Capitan. Generally the price of admission was 50¢ to 75¢ higher for musical pro- ductions than for any other form of entertainment. A typical musical comedy of this period is revealed in the following review: The weird and wonderfUl adventures and strange mishaps of Humpty Dumpty served to delight a large audience at the Croswell Monday evening... Without question it was one of the best pantomime productions seen here in several seasons... The action served to introduce some exceptionally skillful variety artists including... acrobatic dancers, a grotesque contortionist, whistler, 14 ladder balancing, and an acrobatic stilt act. The final opera company to appear during this period was the M.S. Robinson Opera Company which played a six night engagement at 10¢, ' 20¢, and 30¢. They presented well known and popular operettas that had entertained Adrian audiences for years: Said Pasha, Chimes of Norm- andy, Mascot, Girofle-Girofla, Olivetti, H,M,S, Pinafore, and‘Ihg Bohemian Girl. 15 This company as well as other musical producing com- panies were assisted by the Croswell's own orchestra which consisted of ten local musicians. The Times review of the company stated that, "In many respects the engagement of the M.S.;Robinson Opera Oompanyb has been 13 Ibid., p. 17 14 Adrian Daily Times, February 6, 1900, p. 3. 23 one of the most successful of the season. The work of the company has been entirely satisfactory..;From a financial point of view the en- gagement has been - well, the less said the better. The attendance throughout has been light, and is a reflection upon the taste of the theatre going public." 16 Regardless of the accuracy of this assessment, it was not the only observation made of Adrian's theatre patrons. In a letter to the editor en.February 12, 1900 a disgruntled theatre-gear grumbled: It is interesting to note the difference between an audience in Adrian and the same number of people in a large city. I have attended plays in various places, and I must confess I never saw a town where there was such disorder at the close of a performance as here. Almost before half of the last act is over ladies don their hats, men stand up and put on their overcoats, occupants of the gallery begin to move toward the door, and the noise and confusion attendant ruins the finale of the production, spoiling the entire evening for those who desire to witness the whole play. Then when the curtain falls there is a mad rush for the door, as though the theatre was on fire, and people jostle and push each other as if their lives depended on getting out in a certain length of time... There is a great chance for improvement in the conduct of the average patron of the drama in this city. 17 The most unusual theatrical event of the first two decades of the Croswell Opera.House's existence was a performance by the Im- perial Japanese Dramatic Company on November 18, 1899. An Earnest Statue Maker was choosen as the curtain raiser for The Knight and the geisha. Program synopses were made available and because much of the 16 Adrian Daily Times, March 28, 1900, p. 3. 17 Adrian Daily Times, February 12, 1900 2# play was done in pantomime the language barrier was relatively un- important. The small audience that was in attendance were genuinely impressed and delighted with this unique artistic presentation. 18 In summary, the most popular form of entertainment between 1880-1900 was legitimate drama. Shanower reports that, "over the twenty year period, 839 dramatic performances, 13 Shakespearean productions, and 25 Uncle Tom's Cabin performances were recorded. Related activity con- tributed 53 minstrel performances and 35 variety-vaudeville presentations, while the Star Course (lecture series) averaged six programs per year. Amateur activity at Croswell Opera House ammounted to a total of 52 performances in twenty years." 19 18 Shanower, p. 22“. 19 Ibid.. P. 311. 25 CHAPTER II THE CROSWELL ENTERS THE TWENTIETH CENTURY 26 As the nineteenth century drew to a close all forms of theatrical entertainments were flourishing. The specialization of stagecraft per- fected in the previous century was carried over into 1900 and reached a magnificent commercial success. What the American theatre lacked in artistic ideals it more than made up for in the spectacular scenic effects of the twentieth century. And although a few years earlier the motion picture was introduced to Americans, in 1900 no one took this latest invention seriously. The turn of the century found Adrian to be a very progressive and fast growing city. By 1903 the population reached 13,000. The pros- perity of the times as well as the need and concern for cultural ac- tivities in Adrian furthered the continued use of the Croswell Opera House. During the next two decades, under the continued management of Mr. Hardy, the opera house reached its zenith in presenting legitimate drama to the citizens of Adrian. During the summer of 1900 the theatre, with a seating capacity of 1,200, was completely overhauled. The Croswell staff consisted of C.D. Hardy, manager; Earl Allan, treasurer; and Thomas F. Daily, stage man- ager. The Croswell Orchestra was under the direction of Professor*N.H. Moray, who also played the violin. The other members of the orchestra included Earl Rogers, viola; T;F. Rinehart, piano; Alfons Devry, cla- rinet; Otis Peavey, comet; Hugo Matthes, trombone; Robert Cornell and Fred Matthes, french horn; Will Thieme, bass; and finally M.W. Red- field on percussion. The remainder of the staff included seven ushers and eleven stage hands. Mr. Hardy's first innovation for the 1900-01 season was to place on the program the following announcement: "Any man, woman or child who comes to the theatre and finds the newspaper advertisements have mis- 27 represented the performance will receive two of the best reserved seats 1 It is not known exactly how many men, women and children he may select." took advantage of this offer. The first performance of the 1900-01 season was A ggee Lance star-» ring Robert B. Mantell. The production was well received. The first stock company to appear during the season was the Harry Shannon Company featuring the child wonders Little Hazel and Harry. During the per- formance of In The Rogue's Gallery, Harry Shannon announced, "while he believed in everyone enjoying themselves to the greatest possible degree, no whistling or cat calls, such as had disturbed the performance that evening, would be tolerated the remainder of the week and anyone attempting such a demonstration would be obliged to leave the theatre." 2 The first production in.0ctober was A_TripgTo Coontown which was a vaudeville show consisting entirely of black comedians and singers. The Tiggg reported that it was the only "colored aggregation" to appear on the local stage during this season. George P. Stetson brought his Uncle Tom's Cabin show to Adrian in November, but the most popular pre- sentation of the first half of the season was'War on Women, a melodrama which starred Hope Booth. Lovers of melodrama found much to their*de- light in this play as killings and annihilations were so frequent the audience was led to wonder if there would be enough members of the company to last throughout the production. 3 Probably the artistic highlight of 1900 was the appearance of Thomas Jefferson in the play his father had made famous -- Rip Van giggle, The Tings remarked that "young Mr. Jefferson's impersonation of the indolent, kind-hearted 'Rip' . while not a slavish imitation of 1 Adrian Daily Times and Expositor, September 24, 1900, p. 3. 2 Ibid. September 25, 1900 p. 3. 3 Ibii_ November 1#, 1900, p.2. 28 his father's has won general favor on its merit, and has placed him in the first rank of the profession. His interpretation proved him an actor of marked ability, and demonstrated clearly that the mantle of the im- mortal Joe has fallen on worthy shoulders." u The first production of 1901 was ill-fated. Merritt and Dixey's Comedians, scheduled to present their repertory for one week, were can- celled January 8 during their second performance. After a career of only a little over two weeks... Merritt and Dixey's Comedians gave up the struggle for existence... The combination opened here Monday to a good house, and gave a fair performance. The management was unable to give the plays contracted for, however, and the demise was hastened by the refusal of Manager Hardy to allow it to appear this evening... The bill presented Tuesday evening included an 0110 of specialties ...which grew worse the further it proceeded... The company contained some good material, but was handicapped by lack of rehearsals and having no plays. Part of the members went to Chicago, part to Detroit...and Merrittsand Dixey's Comedians are only a memory. After this unfortunate incident the Croswell remained dark until January 18 when The I Leaf, a romantic drama of Ireland was presented to a favorable audience in spite of unfavorable weather. February brought the huge historical and religious drama Quo Vadis. The production boasted a company of 32 speaking parts and carloads of rich and costly scenery. It was advertised as being the greatest spec- tacle ever to be presented on the local stage. Tickets went on sale at Sheldon's Jewelers the day before at seven o'clock in the morning. So great was the rush for tickets that by nine thirty the entire lower floor had been disposed of. During the day Manager Hardy made arrangements to place an additional 100 chairs on the lower floor, which went on sale at 75¢ each. ‘Uhen it was all over the Times reported: # Ibid. December 11, 1900, p. 2. 5 Ibid. January 9, 1901, P. 3. 29 After witnessing the production, one is led to wonder whether its success is due to the work of the dramatist, or if the costumer and scenic artist are in not large measure entitled to the credit. . . From a literary standpoint the first two acts are a trifle dull.. . From that time on, however, there is a marked improvement, and the production is replete with thrilling scenes and startling climaxes. . . the production appeared to give general satisfaction to one of the largest and most critical audiences the Croswell has ever held. 6 February also brought Adrian the distinction of being the only city in the state besides Detroit to be visited by Otis Skinner in the romantic drama Prince Otto which was highly lauded by the local” press. The rest of the season was filled with several minstrel shows, a performance of Victor Herbert's The Ameer which boasted an opera company of 60 persons, melodrams, and an appearance of Phinney's United States Band. The 1901-02 Season opened September 3, 1901 with -'..On The Suwanee River,a romance of the old South, which was greeted by a large aud- ience. The remainder of the season was much like the previous one. Several plays returned with different companies and new stars. How- ever, if the play was popular the box office never suffered. During the week of the Lenawee County Fair, held the last full . week in September, the Croswell made a practice of offering a pro- minent stock company in a repretory of popular plays. On September 23, 1901 the Streeter Stock Company opened with git, The Newsboy to one of the largest houses ever accorded a repertory company on its opening night in Adrian. 7 Again vaudeville and minstrel shows were 6 Ibid. February 6, 1901, p. 3. 7 Ibid. September 24, 1901 30 numerous, and Uncle Tom's Cabin was presented twice during the season. In spite of comments made thus far, the‘Timgs was not always favorably impressed with the plays at the Croswell. In April the re- viewer of The Cowboy and the Lady wrote, "The people who attended the performance at the Croswell last evening were a little disappointed. The company headed by S. Miller Kent did some good work... and they did all in their power to make a creditable presentation out of a play that is utterly bad." 8 The close of the regular theatrical season occurred May 8, 1902 when a large audience greeted Katherine Willard in The Power Behind the Throne. The Timgg reviewer, who always remained anonymous, observed Miss Willard as a "hardwworking little woman, not handsome, but grace- ful and young, and giving promise of a successful future. Her acting won from one to two curtain calls at the end of each act, including one at the close of the play -- something rare in Adrian." 9 During the summer of 1902 the interior of the opera house was re- painted and newly decorated. In August Mrs. J.H. Wood of Adrian, pre- sented the Croswell Opera House with an original program of Ford's Theatre in.Washington D.C. dated the night of Abraham.Lincoln's assassination. It was subsequently'framed and hung in the lobby of the theatre. 10 The 1902-03 season officially began September 10, 1902 when Effie Ellsler appeared in When Knighthood Was In Flower before a record opening crowd of 1,100 eager theatre patrons.11 8 Ibid. April 10, 1902, p. 3. 9 Ibid. May 9, 1902, 10 Ibid.August 21, 1902, p. 1. 11 Ibid. September 11, 1902. P. 1. 31 Adrian audiences witnessed another innovation in stagecraft at the Croswell while viewing William Gillette's famous play, Sherlock Holmes. "The darkening of the stage before and after nearly all of the heavy romantic portions, and preceeding each act proved to be a popular feature in its introduction to an Adrian audience. " 12 Washington Cooke reports that after forty years of complaints the passageway from the sidewalk to the doors of the theatre were finally roofed in 1903. 13 However, Ormond Eldredge; reports that the alley which led from the sidewalk to the entrance of the building was not covered until 1919 when the new managers turned it into an arcade. At the street end of the alley were two wrought iron gates that stood approximately eight feet high. Over the gate a curved sign was inscribed with large letters that read "Croswell". The 1903-04 season opened with Al W. Martin's Uncle Tom's Cabin Company and later in September John Phillip Sousa offered his tend in concert to a large afternoon audience. November brought The Gregtest Thinggin the World, starring Rose Coghlan, advertised as the play that every mother and every mother's son should see. It was the second performance of this play in Michigan, the first being in Lansing the night before. The Iimgg reported that Miss Coghlan "... gave a re- markable performance when it is considered that she closed a six week's engagement...of Ulysses in New York Saturday night and rode all day Sunday and also Sunday night arriving at Lansing early Monday morning." 1“ Unfortunately only a few people attended the production but they re- portedly'were delightly with it. 12 Ibid. October 31, 1902 13 Cooke, p. 16. ihiAdrian.Daily Times and Expositor, November h, 1903. P. 1. 3+5 ‘ CehctP'hoh A's. s. \ \ 32 Later in the month Adrian was honored with the huge musical extravaganza The Wizard-of Oz. The gallery sold for 50¢ while the lower floor was divided into $1.00 and $1.50 seats. The box seats were $2.00. In spite of the high prices a large audience enjoyed the three hour pro- duction. The startling stage effects won much praise from the press. The Times even went as far to declare the change from poppy field to middwinter as "the most beautiful transformation scene that has ever been seen in Adrian." 15 Adrian was further honored in November by the appearance of the Great Creators and his Italian Band. Unfortunately the 60 musicians played to huge spaces of empty seats. However, the Times declared the concert as the "finest event that has appeared here in years, and this writer is safe in stating that it excelled Sousa's band in every re- spect." 16 Without a doubt the artistic success of the 1903-Oh season was a performance of Ibsen's Ghosts which starred Mary Shaw. Although the aud- ience was small they sat "spellbound" and "at the end of each act said spectators proved that on occasion Adrian audiences are not 'cold:"' 17 The Times reviewer was greatly impressed. It is a play that in the hands of an inferior company would be uninteresting. It is a play that in the hands of Miss Shaw and her associatescis of absorbing interest...There is not a comedy line in the whole three acts. There is no love romance in it. There is much domestic tragedy, and the auditor finds him- self bending forward to catch everyone of the bright meaty lines. . . It certainly was a rare domestic treat. 18 15 Ibid. November 12, 1903, p. 1+. -16 Ibid. November 20, 1903, p. 1. 17 Ibid. December 4, 1903, p. 2. 18 Ibid . 33 The first production in 1901+, What's The Matter WithSusan ? starring Alice Fischer, received an extremely small audience. The "glaring rows of empty chairs gave the manager cold shivers. Saturday night, the extreme cold, money all spent on holiday presents, and the horror of the Iroquois holocaust-- all militated against the play." 19 (The holocaust referred to the Iroquois Theatre in Chicago which was destroyed by fire on December 30, 1903 killing 300 people. 20 ) Dramatic activity was light throughout January and February but on March 1 the Korak Wonder Company premiered at the Croswell Opera House and began a four week engagement. The repertory of the company consisted of all the popular comedies and melodramas of the day including Uncle Tom's Cabin, East Lme and Rip Van_Winkle. All seats were 10¢. The goal of the Korak Wonder Company was twofold: with a repertoire of 23 plays it certainly entertained. More importantly, however, the Korak Wonder Co. was the largest traveling medicine show in the world. 21 Before each performance Dr. Rucker stood before the curtain and attempted to sell his medicine. In addition to the plays, a Baby Show in which 32 local babies graced the Croswell stage and a Pie Eating contest were sponsored by the Company. Unfortunately, the press did not review the plays and no mention was made as to how many people attended the theatre each night or the amount of medicine that was sold. The 19014-05 season consisted of 34 legitimate dramas and co- medies, two productions of Uncle Tom's Cabin, four minstrel shows, and six amateur presentations. Adrian was visited by eight different stock 19 Ibid. January 1!, 19M, 1). ’4. 20 Ibid. December 31, 1903. P. 1. 21 Ibid. March 12, 1901+. companies during this period. All the productions were well attended and received good press notices. Theatre arts were definitely flourishing at the Croswell. The only play of the season to receive bad notices was The Hol Cit , a religious spectacle relating the story of Mary Magdalene. The Times reviewer found great fault in the play and critized it severely because it was neither uplifting nor inspiring. The scenes presented were taken almost 'literally from the Bible and the stage does not seem to be a proper place in which to present such scenes which are held sacred...when the head of John the Baptist is held up to view, the spectacle caused a shudder to pass through the audience, and this should be cut out as the effect is demoralizing. 22 At this time of increased popularity in attending plays at the Cros- well Opera House, the Times reported on the difficulties of selecting the 1905-06 season. The article reported that because there were many sensationalist companies playing poor and vicious melodramas the dif- ficulty in arranging a well balanced and fine selection of drama was compounded; However, the author assured the public that Adrian was "not tied up to any theatrical trust or alliance, and plays the attract- ions it wishes to without fear or favor and without dictation from the so-called theatrical trust." 23 Probably the most controversial production of this season was Maeterlinck's Monna Vanna which played the Croswell on February 3, 1906. Although the Times reviewer'detested the play he found much to praise in its star Bertha Kalich. Handicapped by an impossible plot, with an incredible and most unsatisfying last act and limited by incomprehensible author to mock heroic atmosphere of the 14th century, 22 Ibid. October 6. 1904. P. 2. 23 Ibid. August 26, 1905, p. 7. 35 with a narrow environment, and a thankless mob, whose lives were not worth saving, Madame Bertha Kalich, by sheer force of histrionic talent and artistic pose prevents the wordy tragedy Monna Vanna, from becoming ludicrous, and holds it steadily to the mag- netic pole, at which Maeterlinck attempts to aim. 2 5 The Telem reviewer, on the other hand, was ecstatic. He felt that ”in this age of dramatic debauchery" Monna Vanna "was the most artistic success in the history of the local stage... it may be the one play that is needed to bring back the latent fires of true art in the hearts and minds of theatre goers." 26 The rest of the season consisted of the popular comedies, musicals, and operettas of the day. The only play to receive a poor audience was Shakespeare's Othello starring William Owen. However, Adrian was hit by a blizzard on the day of the performance. Nevertheless, a production one month later of Richard III was likewise greeted with a small audience which moved the 113395 re- viewer to remark, "If Adrian amusement lovers cared for Shakespearean tragedy a large audience would have enjoyed the strong presentation given by John Griffith and his excellent company." 27 The 1906-07 season was marked with another first for the Croswell Opera House. On October 22 the American's Repertory Company opened a one week engagement offering the typical melodramas and comedies at the popular price of 10¢, 20¢, and 30¢. This Company used all of their own scenery, a practice which no other repertory had ever done before in Adrian. 28 ‘ 25 Adrian Daily'Times, February 5. 1906. p. a. 26 Adrian Daily Telegram, February 5, 1906, p. 2. 27 Adrian Daily Times and Expositor, April 21, 1906, p. 8. 28 Ibid. October 23, 1906, P. 5. From its inception the Croswell Opera House had a monopoly on professional theatrical engagements in the city of Adrian by virtue of it being the only suitable theatre in the city. However, with the ever increasing popularity of vaudeville it was inevitable that.Adrian would establish its own vaudeville theatre. On December 17, 1906 the Bijou Theatre opened its doors to an eager crowd of vaudeville en- thusiasts. The theatre, located at 5h West Maumee, was able to com- fortably seat 400 people and offered first class vaudeville attractions and moving pictures at the low price of 15¢. Although the two theatres were not in direct competition, the Bijou would have an effect on the Croswell's programming and success in the not so distant future. Meanwhile, the Croswell continued to offer first rate dramatic offerings which starred popular touring thespians of the day; On Feb- ruary 7, 1907 Madame Helene Modjeska appeared in a production of Macbeth that satisfied not only the press but also the large audience in attendance. The Timeszreviewer, obviously moved beradame Modjeska's performance, offered his praise. Her superb art represses rather than exihibits the emotion she suffers... The contrast from the fiery valor of that midnight interview-with Macbeth in the castle where she upbraids him for cowardice in hestitating to murder Duncan, to her final collapse in the sleepdwalking scene, sweeps the entire gamut of emotion. It was a magnificent impersonation, rarely excelled on any stage. 29 The early months of 1907 brought many other artistic achievements to the Croswell. Among them, David Belasco's The Girl of the Golden West was hailed as a "play of genuine worth, of primitive force and realism, 29 Ibid. February 8, 1907, P. ’4'. 37 without...glaring melodrama." 30 The production was well staged and the large audience prompted the Times reviewer to observe that "Adrian theatre patrons are discriminating and will recompense a meritorious performance." 31 In April a curious and ironic juxtaposition occured at the opera house: Al W. Martin's Uncle Tongs Capin Co. played the twanty-fifth and two days later the controversial drama of Reconstruction, The Clgusman was offered to a magnificent audience. The Timgg found no fault in the company and highly praised the contents of the play. In many cities, the play prompted complaints from Blacks who claimed that burlesques of their race were offensive and uncalled for in the drama. Even though no overt ho- stility occurred in Adrian the Timgg reviewer naively felt called upon to respond. No sufficient reason is observable in the dialogue or action of The Clgnsman to warrant the ebulitions of wrath and hostility against it that have been manifested by intelligent colored men in many cities. True, it contains numerous harsh burlesques of their race as well as scenes that are humorous and truthful, but the same is true of count- less other plays. Caricature is expected from the play writers. They burlesque the Irish, the Germans, the Italians, the Chinese, the Jews, the divorcees, the society women - in fact every race, trade, profession, and creed is subject to their reckless rhdicule. Some people do not like it, but it is rare that anyone gets angry enough to fight over the stage pictures which touch their pride or sensitive nerves. No sensible person holds the stage responsible for its burlesques or failure to present facts of history or sociologyl.. The safe plan is to keep cool and let the players have their fun. 32 30 Ibid. March 11' 1907' P0 50 31 Ibid. 32 Ibid. April 29. 1907: P. 3. The fall of 1907 witnessed the opening of the Crescent Theatre which showed motion pictures and cartoons from 5¢ to 15¢ Per person. 33 As motion pictures became more popular soon other movie houses were. opened in Adrian. By December, two other little theatres -- the Queen Theatre and the Maple City Theatre-— were also showing movies at the regular price of 15¢. However, these latter movie houses were only open periodically. Thus by 1908 Adrian amusement seekers were offered a fine choice of entertainments. The Bijou, the Crescent, and the Cros- well Opera.House were all operating simultaneously. In an effort to compete with the lower prices of the movie theatres and the Bijou, the Croswell offered more productions of a musical or artistic nature. Thus, due to the success of Ghosts a few year earlier, Ibesen's A Doll's House was offered on.February 24, 1907 with Jane Cor- coran as Nora. 'Unfortunately, attendance was light and the press did not like the play. The Times reviewer found little to praise in Miss Cor- coran's performance. Miss Jane Corooran gives delicate shading to the volatile Nora Helmer ...but she fails to carry the dialogue with force and volume sufficient to reach distant parts of the theatre. In aiming to act naturally she is vague at times incomprehensive, a trick of subdued elocution no doubt caught from Minnie Madderaniske, and exasperating to an audience which is striving to follow the dialogue. 34 He further criticised Ibsen as causing "too much to happen in too short a time." 35 33 Ibid. September 15, 1907, p. 1. 34 Ibid. February 25, 1908, p. 7. 35 Ibid. 39 Undaunted by this failure, the Croswell continued to present musical plays and proven successes of earlier years - The Lion and the 159353, Chimes of Normand , OurfiN§w_Migister, and the ever popular Eggt 21222, On January 9, 1909 the opera house presented the Original New York Co. in The Devil which played no other'Michigan city or town except Ann Arbor the previous evening. This production starred Edwin Stevens and the lower floor sold for $1.00 and $1.50 while the box seats were $2.00. However, owing to the high prices many people stayed away and the‘Iimgg, after praising the scenery and costumes found great fault with the play itself. Although The Devil was well written the‘Iimgg objected to the unwholesome moral that the play proposed. "There is enough social wicked- ness in the world without having these scenes presented on the stage. At the end of the play a dark brown taste was left in the mouth..." 36 Lest one get the impression that the Croswell Opera House was fal- tering in its position of offering:first class entertainment to the people of Adrian it must be stated that stock companies and musical productions like Honeymoon 1:211 and Busy Izzy's Boodlg were extremely popular and almost always drew large crowds. However, the effect of the Bijou was beginning to be felt at the Croswell. The same week that the Croswell offered The Devil the Bijou presented the motion picture version of the same play at considerably lower prices, suggesting that the two theatres were engaged in commercial competition. 37 Finally in February 1909 the Lyrianmusement Co. took possession of the Croswell with hopes of presenting the best of vaudeville in Adrian coming directly from Toledo. Adults would be admitted for 10¢ and children at 5¢ per seat. Moreover, this change in policy did not mean 36 Ibid. January'ii, 1909 p. 2. 37 Ibid. cancelling the larger>dramatic attractions already scheduled for the coming year. In this way: it was believed that the Croswell would best serve the entertainment interests of all theatre patrons in the community. On February 13, the Croswell opened its doors at 2:30 in the afternoon to begin its run as a vaudeville house. The show featured Smith and Kline, wooden shoe dancers. Generally, the Lyric Amusement Co. presented seven acts of popular vaudeville and often motion pictures and illustrated songs were included. The advertisements in the Times boasted "Real Vaudeville in a Real Theatre" and the programs were changed every Monday and Thursday. On March 1, 1909 P.H. Dickinson, who operated the vaudeville programs at the Croswell announced that he had completed arrangements with the Ringling Bros. Circus to bring their feature aerial and acro- batic acts to perform on the local stage. Mr. Dickinson optimistically remarked that, "I have looked carefully over the field in Adrian and I am convinced that the people here are ready and anxious to support this quality of amusement. The extra expense is enormous, but I firmly believe that this will be covered by the appreciation of the amusement public here... 38 Nevertheless, three weeks later vaudeville witnessed its demise at the Croswell Opera House. It has again been demonstrated that Adrian will not support two vaudeville houses. This time the Croswell suffered at the hands of the public. The manage- ment have at all times put up a good bill, but they cost too much to be shown for ten cents and that is all Adrian people will pay, so the house went up. It is claimed, but with how much truth is not known, that the management had a hard time to pay their acts a week age... At that time it is said one of the managers had to get‘some money on a diamond ring he possessed. Last night the same trouble an dress I. ..-L A JAM A 41 occurred and the Edwards sketch team, in order to get their money, seized the motion picture machine, which belongs to the Crown Theatre at Toledo. Just how much truth there is in the stories about not 39 being able to pay the acts is not known... However, this shortlived experiment did not affect the Croswell's patronage. Two stock companies filled out the rest of the theatrical season. The 1909-10 season was bigger and better than ever. Seven stock companies performed on the local stage and musicals and comedies were extremely numerous. Uncle Tom'siCabin returned twice and the building was used several times for amateur theatricals including an operetta and a minstrel show. On.April 13, 1910 Adrian College made use of the opera house to display that institution's first dramatic effort - The Rivals. The play was well received as were all local theatricals. In spite of the failure of full time vaudeville at the theatre, the Croswell Opera House was at its zenith in presenting first class legitimate drama to the citizens of Adrian and Lenawee County. 42 CHAPTER III: DRAMATIC ACTIVITY 1910 - 1920 'IHEENDOFANERA 43 The final ten years of this present study of dramatic activity at the Croswell Opera House is really the history of the Croswell's growing competition with the movie industry in Adrian. Dramatic offerings declined as the number of first class motion pictures pre- sented at the opera house increased. The citizens of Adrian had be- come particularly conscious of the motion picture and much more space was devoted in the newspapers to advertising and reviewing films being shown at the various theatres than in discussing the latest dramatic production at the Croswell. Only outstanding:dramatic achievements received any press coverage at all and it was generally favorable. So great was Adrian's interest in the movies that beginning June 21, 1910 the Croswell began to exihibit motion pictures on Tuesdays, Thursdays, and Saturdays for the low admission price of 5¢. 1 In July of 1910, another movie house, the Family Theatre on South Main Street, was opened in Adrian. The Croswell continued to show movies regularly through August. However, this practice of presenting motion pictures three days a week at popular prices was not repeated until the theatre was given over to the movies in 1919. Although no reason was given in the newspapers for its discontinuance it can be assumed that with four movie theatres operating simultaneously in the city of Adrian the Croswell's offerings were financially unrewarding. However, this did not prevent the Croswell from presenting special engagements of new and first run films distributed by major movie companies over the intervening years. The 1910-11 season opened with the mystery romance Rosalind at Red Gate and the rest of the season was filled with the ever popular comedies and musicals. The last production at the opera house in 1910 1 Adrian Daily Telegram, June 21, 1910. was a production of Stetson's Ung;e_Tom's Cabrr. With the appearance of Ellen Terry on January 31, 1911 patrons of the Croswell Opera House wit- nessed the artistic event of the season. A large and enthusiastic audience greeted Miss Terry's lecture-recital on Shakespeare's heroines. The gallery sold for 50¢ while the main floor went for 75¢, $1.00, $1.50, and the box seats were $2.00. The audience as well as the press found much to praise in Ellen Terry's performance. She spoke at length of Juliet, ending the first part of her lecture with a strong portrayal of Juliet's anguish when she takes the potion. Desdemona, Ophelia, Cleopatra, Viola, Emelia, Beatrice, Rosalind, and Olivia were among the characters she portrayed. Portia she dwelt on at some length giving a portion of the court room scene including Portia's famous plea for mercy, while Desdemona, whome she represented as one of the strongest of Shakespeare's pure women...The best bit of acting however, was the mad scene from Hamlet, her portrayal of the poor crazed Ophelia finishing the lecture and holding the audience to such an extent that they refused to go until she appeared before the curtain to bow her whmkwmmtz The only criticism that the Irrgg reviewer offered was that Miss Terry "was too closely confined to her manuscript..." 3 January also witnessed a change of policy at the Bijou Theatre. New management ended the vaudeville shows and offered motion pictures in the rechristened Princess Theatre. The films shown from a distance of 40 feet on a 11 x 20 foot screen by’a newly patented flickerless machine. The theatre held 510 seats with the price of admission being 5¢. The 1910-11 season at the Croswell officially closed with a lavish musical production of Madame Sherry. Prices were 50¢ in the gallery 2 Adrian Daily Times, February 1, 1911, p. 1. 3 Ibfli. 45 and the lower floor was again divided into 75¢, $1.00, and $1.50 seats while the loge seats were $2.00. The opera house was filled, which moved the Times reporter to optimistically assess the previous and forthcoming theatre seasons. ...Adrian has had an excellent list of attractions during the past season.... the first class attractions have been well attended and appreciated by the .theatre going public of this city. This shows that Adrian people appreciated good entertainments and will patronize them liberally. The management is encouraged by this kind of support to book only the best and announce that next year will see still more of these. 4 Ironically, when Madame Sherry returned on October 6, 1911 at reduced prices the musical production was ill attended. Later in 1911 Adrian audiences favorably viewed the Michigan actor, Norman Hackett, in Satan Sanderson. In November, the audience in attendance at Quincey Adams Sawyer was informed of the death of one of the principle actors in the company. The next day the Times reported that William M. Carey of Massachussetts, a second lead with the company died at the Central Hotel of a heart attack. No age was given.5 In December the Collier's Company performed Uncle Tom's Cabin at the Croswell Opera House. It was the second unfamiliar company to offer the play at the local theatre. Previously, George P. Stetson's and Al W. Martin's Uncle Tom's Cabin Companies were the only ones to visit Adrian during this period until the Korak Wonder Company presented the play in 1904. Regarding the Collier's Company production, the Times 4 Ibid. May 17, 1911, p. 1. 5 Ibid. November 2, 1911, p. 1. reviewer reported that a fair crowd ...saw a mighty poor production of the patriarch of American dramas. Scenes calculated to draw tears of pity were only the signal for amusement, and the would be comedy only elicited a look of wonder as to where the humor, if any, had been hidden....the only thing about the whole show that appeared at all natural was the bark of the bloodhounds, which was real....If impossible beards and moustaches and plenty of gunpowder -could make a play successful, Collier's Uncle Tom's Cabin show would have a long run in the metropolis...Some of the audience.... left the theatre during the performance....and those who remained, gave a sigh of relief when it was all over. 6 Whether this assessment reflects the quality of the company or a change in attitude of the theatre going public toward the classic melodrama is uncertain. Stetson's Unele Tom's Cgbrg appeared at the Croswell in March of 1912 but no mention was made as to the size of the audience. During the summer of 1912 the Croswell Opera House was thoroughly "renovated, redecorated, and painted" and reportedly presented a "most pleasing appearance." 7 Moreover, several safety changes were submitted by the board of building inspectors on the condition of the newly re- modelled Croswell. Their recommendations were: 1) the side exit doors be cut down to be level with the floor and extra automatic locks be installed on them, 2) the proscenium opening be fitted with an as- bestos drop curtain, 3) all openings in the proscenium wall be closed with masonry or fire doors, except the doors from the auditorium, 4) two inch water mains be installed on both sides of the stage, and that fifty feet of hose be placed on each main, for use in case of 6 Ibid. December 19, 1911. P. 3. 7 Ibid August 30, 1912, P. 5. 1+7 fire. 8 When these alterations were completed was not reported in the local press. The 1912-13 season opened with The Third Dggrgg which played before a smll audience. Norman Hackett returned in Satan Sanderson and al- though the audience was small the press again praised Hacket highly. But the Edward Doyle Stock Company, musicals, and local operettas were all attended well. In November, Goethe's Farr; returned to the local theatre and played before a fair sized house. On previous visits the drama was generally well received, however, on this visit the '_1‘_i_m_e_§ reporter complained that, "The company was one of mediocre ability. . . they failed absolutely in interpreting the great drama. . . The drama was altogether too heavy for the company. . . Had the drama been a lighter one, the audience would, no doubt, have enjoyed the evening's per- formance much better." 9 The play starred George G. Wakefield as Mephisto, who, at six feet seven inches, was advertised as being the tallest actor on the American stage. Of his performance the Tim re- viewer wrote, "George Wakefield as Mephisto was a little above the rest of his colleagues in last night's performance, but that is not saying much. . .” 10 On January 28, 1913 a musical The Pink Lady had the distinction of being the highest priced performance at the Croswell during this period. The gallery seats were sold at 50¢ and $1.00 while the lower floor was divided into $1.00, $1.50, and $2.00 sections. The loge seats were $2.50. In spite of the high prices the S.R.O. sign was hung over the box office very early. 8 Ibid. September 6, 1912,13. 3. 9 Ibid. November 15, 1912, p. 3. 10 Ibid. In March The Sprrng Maid, another expensive operetta, gave a benefit performance for victims of the Ohio River flood that had occurred that spring. The Mag announced that the company "would not be able to meet their engagement this evening on account of the big:Ohio flood (and) would repeat their performance at the Croswell this evening and give 25 per cent of the proceeds to the relief fund for the Ohio and Indiana 11 Due to their efforts $72.75 was given to Adrian's flood victims." local charity to benefit the relief efforts in the flooded areas. In April Adrian theatre goers witnessed a musical event which gave the Croswell Opera House the distinction of living up to its title., On April 18, 1913 Giuseppe Verdi's Il Trovatore was presented by the Sheehan English Opera Company with a chorus of sixty voices, a large symphony orchestra, and fifteen principles representing majoy American and European opera companies. Remarkably, the price of admission was 50¢ for the gallery and the lower floor seats were $1.00 and $1.50. A large audience "enjoyed the treat of their lives" and the Times re- porter was ecstatic. From the opening number, which elicited hearty applause from the audience to the final drop of the curtain, there was never a dull moment in the whole evening. Repeatedly the audience burst out in applause to manifest its appreciation of the splendid work of the artists... Manager Hardy of the Croswell is to be congratulated upon bringing to Adrian a production of such merit... and thus develop among Adrian people a taste for that which is really worth while in theatricals. 12 The 1913-14 season opened with Peter Pan starring Maude Adams. Reserved gallery seats sold for $1.00 and the lower floor ranged from 11 Ibid. March 28, 1913, p. 1. 12 Ibid. ?.'Apri]:cr9,‘ , 1913; :P’.‘ . 4. $1.50 to $2.00. A large audience assembled and the press raved over the production. In November, The Dream Maiden an operetta with 70 performers and a 15 piece orchestra was produced at the Croswell. The price of admission ranged from 50¢ to $2.00. A large audience was in attendance and the Mpg reviewer reported that ". .. one of the actresses stumbled over her lines and another showed such unfamiliarity with what she had to say that a prompter had to stand so near her that the manuscript could be seen from all parts of the house. But in spite of these objectional features, the performance was very delightful." 13 Musicals were seldom discouraging no matter how bad the production turned out to be. Even with higher prices, musical comedies and operettas were always well attended and extremely popular. As this decade drew closer to 1920, the production of musicals and comedies at the Croswell Opera House increased and very few important dramas were presented except in motion picture form. In September of 1913 Adrian audiences witnessed their first talking pictures when Thomas Edison's latest invention, the kinetophone, was exihibited at the Croswell. Edison's talking pictures returned in Jan- uary of 1914 and the $3193 reviewer was moved to exclaim, "To see pic- tures in motion and listen to the voice of the actors is one of the most interesting performances that one would care to attend." 14 On April 11, 1914 Tch’e Adripp Daily_Times and Expositor merged with the Adrian Dailx Telem. Now there appeared even fewer critical reviews of dramatic activity at the Croswell. Instead, the space was allocated for lirge advertisements of amusements at the Crescent, Garden, and New Family movie theatres as well as activities at the Croswell Opera 13 Ibid. November 8, 1913. P. 3. 14 Ibid. January 2, 1914, p. 3. 50 House. Moreover, the first.World War began in Europe in August of 1914 and news of wartime happenings filled the newspaper. The 1913-14 and 1914-15 seasons were filled with many musical comedies and local productions of operettas. The Sheehan Opera Company returned March 17, 1914 to present scenes from Martha, The Bohemian Glrl, and Il Trovatore. Beginning in June of 1914 wrestling matches were held periodically on the Croswell stage. Ruth St. Denis and her dance company entertained Adrian audiences in September of 1914 and in January of 1915 Adrian witnessed its first motion pictures of the European War at 10¢ a seat. _On December 20, 1915 the Croswell Opera House had the distinction of presenting the Michigan premier of D.W. Griffith's epic motion pic- ture The Birth of a Nation complete with a twenty piece symphony orchestra. The gallery seats sold for 25¢ and 50¢ while the lower floor seats sold for $1.00, $1.50 and $2.00. Although the film was well received, un- fortunately "the attendance was not up to the quality of the play, as the downstairs. . .was only partly filled. . . though the balcony was crowded." 15 In addition, technical difficulties marred the premier. The film was planned to run about three hours without a break, except between the first and second acts, with two machines and expert operators: but because no direct current could be secured here, it was necessary to change motors between films, as only one alternating current motor was available. This caused brief waits between screens, but the motion picture "fans" used to waits between each reel, did not consider this a drawback. 16 January of 1916 brought Mrs. Patrick Campbell to Adrian where she appeared in George Bernard Shaw's Pyrpplion. "For fear the audience would not understand, an explanation with a.Shaw glossary, accompanied 15 Adrian Daily Telegram December 21, 1915, P. 5. 16 Ibid. 51 the program, and this was much help to the uninitiated." 17 Un- fortunately only a handful of theatre goers attended the play but those present seemed to like the play and offered liberal applause at the end of each act. The Telegram reporter wrote that, "Mrs. Patrick Campbell...is said to be one of the most eminent of the English actresses... in Pygmalion she has opportunity to show the versatility of which her admirers boast. " 18 Interestly, The Telegram gave more space to Mrs. Campbell's husband, Lord Cornwallis West, who also appeared in the play. He had been wounded while fighting on the French front, was honorably discharged on his recovery, and was touring with the company to get views on.Americans and their way of life. He refused to be interviewed and kept to his hotel room but The Telegram reporter described him.as being of the true Briton type. He is tall, well over six feet, and gives the impression of silmness, though he is really well set up. Extremely bdonde as to complexion, with a blonde moustache clipped close, and with regular features, Lord Nest would be called a handsome man in al- most any assemblage of male pulchritude. 19 Lord West portrayed Alfred Doolittle in the play and although he had never done any previous professional acting before this trip to America he reportedly "displayed a rare gift of character acting." 20 Adrian had a further*distinction in February when Mischa Elman, the world's foremost violinist, gave a recital at the opera house under the auspices of Adrian College. The Russian violinist was on a tour 17"Ibid. January 28, 1916, p. 12 18 Ibid. 19 Ibid. January 28, 191 6, p. 5. 20'Ibdd. of 200 American cities of which Adrian was the smallest and his appearance was heralded as the biggest single musical event ever brought to Lenawee County. 21 In spite of the high price of admission (75¢ - $2.00) and the fact that his recital came so close to other popular entertainments, a large audience was in attendance to hear the Russian virtuoso perform. The Telegram reviewer wrote that "Mr. Elman's playing proves that his reputation is well earned. . .Passages of the most formidable difficulty are taken not only with faultless accuracy but apparently without great effort. " 22 He responded to two encores, the last one being Dvorak's Humoreske which "brought a ripple of applause as soon as the opening notes were recognized." 23 After the recital, when he was asked by a Telem reporter to give his impressions of the Adrian audience, Mischa Elman replied, "on, all right - little place you know. " 2" As the war in Europe escalated, Americans became more concerned about defense measures and patriotic rallies and displays were numerous. On February 18, 1916 The Battle Cry of Peace,a motion picture account of America's unpreparedness for war, was presented amidst a great pa- triotic celebration. The opera house was decorated inside and out with red, white, and blue bunting and the huge audience included local military and patriotic organizations. The Imperial Band performed in a medley :of patriotic tunes before the movie and when they began playing My Coungy Tis of Thee "the curtain went up on a flag draped stage, in one corner of which was a member of the Light Guard in uniform, standing at attention, with an American flag floating from a flagstaff. The audience stood up and cheered as the flag was raised to the top of the staff amid the applause of the crowded house, and then the Star Sp_a_ng;ed Banner was 21 Ibid. January 29, 1916, p. 2. 22 Ibid. February 2, 1916, p. 5. 23 Ibid. 53 played by the band," 25 and the audience was ready for the picture to begin. The press liked the film and praised its spectacular effects. The frightful effect of bombs dropped from aeroplanes, scattering death and destruction in the streets is also strikingly displayed...Another scene shows a head-on collision between two railroad trains and the effect of exploding shells on buildings and the firing of the huge disappearing guns in the coastal defenses, are wonderfully interesting. 26 The summer and fall of 1916 was a period of exciting entertainments for the citizens of Adrian. In addition to the Crescent, Garden, and New Family movie theatres which showed first run films starring Mary Pickford, Charlie Chaplin, Lillian Gish, Douglas Fairbanks, and Theda Bara to name a few; amusement seekers were also regaled with Buffalo Bill and his'Wild West Show and the filming of The Romanceggfrgrss Adrrgg. This latter opus was advertised in August of 1916 as being.Adrian's first photo-play production to be staged and produced entirely in Adrian with an all local cast and filmed by the Cincinnati Motion Picture Co- mpany. It was announced that there would be fourteen principle chara- cters and the general scenes would require at least a hundred people. 27 On September 12, 1916 The Romance or Miss Adrrag had its premier at the New Family and Garden Theatres. The film ran for three days and Adrian citizens flooded the movie houses in order to see the daring ab- duction, thrilling automobile chase, and exciting fight all with local citizens. It was probably wise that the Croswell remained dark during that week. March of 1917 brought news of World War I, the Russian Revolution, 25 Ibid. February 19, 1916, p. 1. 26 Ibid. 27 Ibid. August 24, 1916. P. 2. and the threat of United States involvement in the War in Europe. Finally, on April 6, 1917, the United States declared war on Germany. The Croswell continued to present lavish musicals and farce comedies but even these became scarce as the war raged on. As it became more diff- icult to secure touring theatrical companies the Croswell presented more first run films with popular stars. In January of 1918 factories through- out the Nation were closed to save coal and the street lights in.Adrian were turned off except "those necessary to public safety." 28 Moreover, Lenawee County was hit with a particularly cold winter and several heavy snows. All of these events militated against operating the local theatre. ‘However, the great Horld'War also artistically influenced enter- tainment during this period. The Volunteer, a war drama starring Cana- dian veterans, and My;Soldier Girl, a military musical, were extremely popular in Adrianm Further, the citizens of Adrian produced their own military musical entitled Somewhere In Argrrgg as a benefit for the Lena- wee Red Cross. Due to its popularity the play was presented nine times in Adrian between April and September of 1918. Even though professional activity was scarce, the Croswell Opera House kept its doors opened throughout the summer of 1918 with local productions and films and lectures about the war. In July, the Croswell remained open one solid week presenting D.H. Griffith's romantic war epic H_earts of the World twice daily. The last part of October 1918 brought an epidemic of influenza to the state of Michigan. By the twentysfifth‘ of October there were an estimated 527 cases of flu in the city of Adrian and one death had already occurred in Techumseh. The State Board of Health ordered the closing of theatres and other public places. By November 7 the epidemic began 28 Ibid. January 23, 1918, p. 1. 55 to subside and at midnight the closing ban on theatres, churches, club rooms and billiard halls was lifted. On November 11. 1918 Adrian rejoiced over the subsiding flu epidemic as well as the end of the war in Europe. By'November 18 influenza was almost completely gone in the county. 29 The Croswell opened its doors on November 16, 1918 to display a local wrestling match. The first professional production of the 1918-19 season* was the musical comedy Mutt and Jeff in the Wooly;west. However, following the flu epidemic an outbreak of small pox once again threatened the clo- sing of theatres. However, by December 7, 1918 it was deemed unnecessary. A general vaccination held in Adrian checked the spread of the disease and by Christmas everything was under control. All in all, the flu took 'an estimated 250 lives in Lenawee County - #1 of which occurred in the city of Adrian. 30 By 1919 the Croswell Opera House had returned to normal operating procedures although dramatic activity still remained light. And the majority of productions on the local boards were musicals. Even with the high prices and the additional war tax these productions were always well attended. In.February a particularly large audience attended the extravagant musical The Kiss Burglar and their manners prompted the Telegrar reporter to remarks The Croswell crowd has had, from time immemorial, an amazing habit of picking up its wraps and marching out when it has seen the heroine safely in the hero's arms and all the stage signs point to an early rendition of Mendelssohn's battle humn. Last night this premature exodus was general throughout the entire house, the simple folk trampling over one another and making a great dis- turbance to seek the night air... The only 29 Ibid. November 18, 1919, p. 1. 30 Ibid, February 26, 1919, P. 1. 56 solution to be sure of an Adrian audience until the last curtain is to write a play and end it in the middle of an act. 31 In April at the performance of Parlor Bedroom and Bath "Adrian theatre goers laughed until they were ashamed of themselves." 32 Finally on September 20, 1919 it was announced that the Croswell Opera House would soon be under the management of H.c' Angell and Robert Codd and the theatre would be used exclusively for the presentation of 33 moving pictures. Early in ootober the building was closed for extensive remodelling in order to accommodate motion pictures. On December 20, 1919 the Croswell announced that it would reopen Christmas Eve with the following advertisement. After months of work by bricklayers, carpenters, and decorators, we are going to be showing daily high class pictures with famous stars at prices... in reach of everyone... The scarcity of labor and difficulty in securing materials has prevented us from making as extensive improvements as we had desired, but enough has been done to assure our patrons of a comfortable and pleasing environment. We believe you will be happy when you are here because you will be in touch with the pulsing beat of all humanity. 3# The Telegrrr further'explained what changes had taken place. At the Maumee Street entrance a sheltering marquee completely covering the sidewalk and a new and attractive passageway leads to the body of the theatre. The passageway is nearly 50 feet long with a tastefully finished lobby at the street end on one 31 Ibid. February 27, 1919. p. u. 32 Ibid. April 12. 1919 33 Ibid. September 20. 1919. p. 3. 3h'Roger E.‘Uyatt Jr., "Croswell Became Movie Theatre; Opened Christmas Eve, 1919" Adrian Daily‘Telegrgr May‘#, 1968. P. 2. 57 side of which the ticket window has been placed. Large swinging doors open from the new entrance way to Maumee Street. A railing extends through the center of the arcade making separate entrance and exit ways for the accommodation of large crowds. The hallway at the north end of the arcade... has also been redecorated and new lighting fixtures have been installed. The interior of the theatre has been renovated and partially redecorated and two motion picture machines of the latest model have been in- stalled. 35 Prices for the movies, which were changed daily except for large fea- ture films which were booked for three days, were 15¢ for the entire mainfi floor, 10¢ for the balcony, and children were admitted for 5¢. All prices included a war tax. The Croswell reopened its doors as a movie theatre on December 24, 1919 with The Herrt of Jaunita which starred Beatrice Michelena who played a dance hall girl fighting for love. On Christmas day Mrs. Charlie Chaplin starred in Home in which she was taken in by a "social lion who turned out to be a coyote." 36 On December 27, 1919 the new managers offered their appreciation to the citizens of Adrian. It would seem ungrateful were we not to express our thanks and appreciation for the many nice things said and for the testimonial of confidence as evidenced by the tremendous erowdsethat attended the Croswell on Christmas Eve and Christmas day, and we assure the people of Adrian that we will exert every effort to the end that this popular playhouse shall continue to enjoy the enviable reputation established under the ownership and management of our predecessors. 37 35 Adrian Daily Telem December 20, 1919. P. 1. 36 Vyatt. 37 Adrian Daily Telem December 27, 1919, p. 2. The advent of motion pictures at the Croswell Opera House marked the end of a theatrical era and the beginning of another. 59 CHAPTER IV: DRAMATIC TRENDS AND STAGE PRACTICE AT THE CROSWELL 60 As was demonstrated in the previous chapters the most popular theatrical forms presented at the Croswell Opera House during this period were the melodrama and the musical comedy. This chapter seeks to shed more light on these phenomena and examine the trends and attitudes prevalent in Adrian during the period of this study. Further, with the invaluable aid of Ormond Eldredge, who served as a brace boy at the Croswell from 1908 through 1916, it was possible to examine stage practices typical of this period. ~When viewing the dramatic trends of this period it must be re- membered that the purpose of theatre was seen not so much to instruct or enlighten as it was to entertain. Therefore, melodramas were to pro- vide thrills and comedies should inspire laughter. In the advertisements of the times, a play - be it comedy, musical, or melodrama -- was repeatedly assured to "drive dull care away." Indeed, George Broadhurst, the author of many comedies and farces, once quipped, "A farce has two purposes, please the people and get their money." 1 Secondly, it must be remembered that in general, drama of this period was not literary drama as we know it today. Thus, the same play often underwent several transformations to accommodate a particular audience or to meet the special talents of the starring actor or actress. Harlowe R. Hoyt reports that.grg;e_Tom's Cabin had several popular versions. "The Uncle Tommers could be depended upon to give a totally different version of the play upon each occasion. No two productions were ever 2 This identical, nor were the lines of the actors ever the same." practice of continually altering plays probably accounts for the continued 1 Cooke, p. 38. 2 Harlowe R. .Hoyt. Town Hall Tonight (New York: Bramhall House. 1955), P0 610 61 appearance of many dramas year after year which always drew a large crowd. One of the most interesting things about the drama at the turn of the century was in its stagecraft. Critical reviews in the Trrgg always referred to the scenery and mechanical effects. For example, The Great Northwest included a prarie fire, a ride on a whirling windmill, a fireman's race, and a blizzard. It didn't matter if these effects were realistic. Realism at the turn of the century had come to mean sen- sationalism. One of the most sensational effects occured in the opening scene of The Wizard of Oz which played on the local boards November 11, 1903. The Wizard of Oz opens on a Kansas farm (with) a charming early autumn landscape so perfect that it is a pleasure merely to gaze upon the stage picture...The haymakers are discovered at work in the fields... A magnificent stallion prances upon the stage drawing a hayrack, and the pretty Kansas girls pelt the driver with wisps of hay. He retaliates by throwing apples at them... Then the ominous rumble of thunder is heard...The stallion is quickly stabled against the approaching cyclone. The rain falls in deluges. The old farmhouse quivers in the gale to its foundation and suddenly is uprooted in full view of the audience and car- ried away in the very heart of the storm. Then by means of a novel panoramic and electrical effect...the audience gets the most convincing illusion of the whirlwind Journey... The unique cyclone scene is a veritable novelty in stage art. 3 On December 3, 1902 Neil Burgess' play The Countyrfigrr appeared at the Croswell which included a three quarter mile horse race on the stage. Five horses ran on a treadmill which turned a scenic panorama and fulfilled the illusion of an actual racé. ‘Hashington Cooke reports that "some wag with a stop watch timed the race at one minute flat and, 3 Adri Dail Times, November 11, 1903. P. 3. 62 as the winner led by a nose, concluded that Burgess was wasting good horse talent on a cheap drama." h Even as late as 1905 sensational scenic spectacles did not tax the verisimilitude of Adrian audiences. Regarding the production of The Eye Witness, the Times reviewer wrote: The scenery is both attractive and wonderful. In the third act a most realistic river scene was presented where the heroine is thrown into the river and is rescued by Biff Bass the eye witness. It was given in the most approved style and it hardly seemed possible that it was just play. The leap the gap by the automobile was another thriller, as was the cyclone in the last act. This was certainly one of the novelties in twentieth century stagecraft. 5 As the automobile surpassed the locomotive in popularity as a means of transportation it was only natural that it was soon exploited in the melodrama for sensational effects. The advertisement for Ihg Governor's Pardon which played the Croswell on April 2, 1907 boasted "The most remarkable scenic and mechanical effects ever presented on any stage, including an Actual Automobile Race, between two Racing.Automobiles overstwo miles of country roads through a blinding blizzard." 6 Even the musical did not escape the encroaching popularity of automobiles. {Th2 Vanderbilt Cup was advertised as "The Two-Mile-a-Minute Automobile Musical Comedy;" 7 During the early part of this period many shows practically ceased to advertise as plays, or even use the actor's name as a drawing card, h Cooke, p. 40. 5 Adrian Dfly Times, October 27, 1905 6 Ibid. April 2, 1907 7 Ibid. January 31, 1908 63 instead they advertised by their earloads of scenery; Five carloads was surer of a good crowd than one. Uncle Tom's Cabin required from one to five freight care when it moved. 8 But not all traveling companies car- ried their own scenery, and those that did often had to supplement their scenery with that provided by the theatre in which it found itself. The musical comedy of this period was a potpourri of comedy, music, and specialty acts and was extremely popular. .Around 1903 there was a tendency to include a chorus of beautiful young women, often scantily clad. This practice was not entirely confined to the musical. The addition of a female chorus was also seen in comedies and popular melodramas. The following review of King Dodo expresses the basic expectations of musical efficionados: It was truly comic opera with no plot at all...Richly costumed and musical, filled with pretty girls, handsome blondes and equally striking brunettes, the ballet dancers were at all times gladly welcome. .. The three acts were 9 exquisitely staged and highly pleasing. As late as 1919 the Telegrgr reviewer likened the musical comedy to a cream puf - "most delectable while you are partaking of it but not substantial enough to leave much of a filled up feeling." 10 But so great was the popularity of musical productions that musical farces superceded the old time farce and many conventional dramas began to introduce songs and dances at every opportunity. In addition to enjoying musicals, Adrian audiences were particularly moralistic. 'Hhen a dancer in High Jinks did a jig in the 8 Cooke, p. #0. 9 Adrian Dail Times. January 8. 1902 p. 3. 10 Adrian.Dail Tele , February 12, 1919, p. 4. last act the Telegr__al_n reviewer felt "that minute of the vulgar might well be excised." 11 Further, when Julia Marlowe refused to utter the speech, "Carry this to the king: That I will see him and the kingdom sunk in hell before I will marry Louis of France." In When Knighthood Was In Flower the Times reporter applauded her action. "Miss Marlowe's stand should. meet the approval of everyone desirous of seeing the modern drama elevated. The tendency toward such passages is entirely too great among playwrights at present." 12 But if Adrian audiences deplored vulgarity they admired humorous incidents in the drama no matter how vulgar they may seem today. In 1907 during a performance of David Belasco's Girl of the Golden West the Times reviewer was quite taken with the Academy scene. Not the least memorable is the stolid mirthless performance of Billy Jack- rabbit, the Indian and his squaw as for instance in the Academy scene where the Girl asks the boisterous class of miners to sing "America" and not one of them could remember a line, but the twa sombre Indians started the air and with grotesque solemnity sang "My Country Tis of Thee" and the audience broke out into loud applause over the line "Land where our fathers died". It was a fetch- ing comedy. 13 Though it is easy to understand the genesis of humor in this scene it would be interesting to see if the same scene would produce gales of laughter in a modern audience familiar with American injustices toward the Indians. In addition to the musicals, comedies, and melodramas that re- peatedly played at the Croswell another recurring fixture was also 11 Ibid. February 1, 1916. P. 10. 12 Adrian Day Times,November 17, 1900, p. 3. 13 Ibid. December 26, 1907, p. 3. 65 popular. Every year beginning in 1903 Lyman H. Howe took the peeple of Adrian on motion picture tours of Europe, Hawaii, and Antartica. Often his presentations would center around current events like the Coronation of Edward VII or the Russo-Japanese War. The projectors were set up in the balcony and the Trrgg hailed these motion pictures as being".... remarkably life-like, making them worthy of being classed with the wonderful inventions of this wonderful age." 14 To augment the pictures and make them more realistic sound effects were created back- stage to coincide with the actions being shown on the screen. Ormand Eldredge reports that on one occasion Howe was presenting a film on the United States Navy and the pictures centered around the ships firing off their cannons. When the camera was aimed down the barrel of one of the huge cannons it suddenly went off. Simultaneously, a stagehand fired a ten gauge cartridge from a Shotgun into a steel drum. So great was the effect that several women in the audience fainted. All groups performing at the Croswell would arrive in Adrian either by the Wabash or'New York Central Railroad. They werexnet at the station by several large horse drawn drays to haul the scenery and trunks of cos- tumes and properties back to the theatre. On the west side of the theatre off an alley from.North Main Street the large stage doors were located. On arrival at.the theatre they would be opened to allow the huge drops and flats to be placed on the stage. The trunks were put through a small trap door and they slid down a chute that deposited them in the dressing room area beneath the stage. When the cast arrived, often by special trains, the first thing they wanted to see was the theatre. They would enter the Croswell through the front doors and stand in the back of the house so as not to soil the clean 11+ Ibid. November 3. 1905, p. Lt. 66 seats. The size of the stage and the great horseshoe balcony caused many visiting players to speculate whether or not the theatre had at one time been a church. It happened so many times that the stagehands finally worked up a little act of their own with which they greeted the arriving players. Ormond Eldredge who participated in it many times explained that the crew, all in their white overalls, would line up across the stage under the direction of the house carpenter Myron McRoberts. We had it made up with the travelling carpenter. And Mac would say, "All right line up." We'd just stand there with our arms folded, just looking, just looking. Suddenly we'd chant, "Gee, what a small stage" and never crack a smile. And Mac would give us a signal, "No, this never was a church" We never cracked a smile, just as though we were statues. You know, we were better actors than they were. And we pulled that I don't know how many times...They would ask, "How did you ever know what we were thinking?" And we said, "Well, you've been here before or people just like you. We want to welcome you and want you to have a good show and a good time while you're here." And do you know that people came back time and time again, I mean the leading ladies and everything, they‘d -come down by the furnace and say, "This is just like coming home!" Tears in their eyes. Big people like that. 15 When the actors asked about the size of the stage it was not in distaste but rather in awe at the spaciousness and expanse of the pro- cenium arch. During this period the Croswell Opera House possessed the second largest stage in the state of Michigan, after that of the Luceum Theatre in Detroit. 16 In addition to professional activity, local productions of operettas 15 Interview with Ormond Eldredge. 16 Shanower, p. 166. 67 and minstrel shows were frequent. Before 1905 the Adrian.Dramatic Company and the Croswell Stock.Company performed such dramas as flaggl_ Eggkg and Don Caesar de Bazan. Beginning in 1903 the Senior Class of Adrian High School presented a play every spring at the opera house. Further, any group desiring the facilities of a large hall invariably chose the Croswell. Thus, the two major political parties made use of the opera house to hold rallies at election time and the High School and Adrian College used the building to celebrate their graduation exercises for many years. The theatrical season at the Croswell Opera House officially opened in September and closed in April or May. There were few productions offered during the summer months. Amusement seekers found ample opportunity to enjoy themselves on picnics, attending the frequent parades, or listening to band concerts in South Park. Baseball games started to be played in May and in.August horse races were regularly held at the fairgrounds. More- over, circuses, tent shows, and Chautauqua lectures were prevalent and always popular. Besides, there was no efficient way to cool the interior of the opera house during these hot summer months. Prior to 1910 tickets could be purchased in advance at.She1don's Jewelers' after 1910 Swift's Book Store became the place for advanced sales. In 1917 Shepard's Drugstore provided this service to the citizens of Adrian. All Theatre contracts provided that the scale of seat prices would be set by the management of the travelling attraction. The local management of the Croswell often had great difficulty in getting these managers, particularly of the larger companies, to stay below $1.00 for the lower floor. The reason being that most of theatres played by the touring attractions had two or three balconies or galleries. The Croswell Opera House in its entire history to 1920 never asked the citizens of Adrian to purchase subscription sale of tickets. Each company that appeared on the Croswell stage drew its patronage entirely on its own merits . 69 CHAPTER V: CONCLUSION 70 The purpose of this study was to provide an accurate history of the Croswell Opera House in Adrian, Michigan from 1900 through 1919 when the theatre was given over to the movies. Although the exact date of construction of the building has yet to be determined, by 1900 the Opera House had become a popular stop for touring thespians as well as an im- portant social .center for the community. Until 1907 the Croswell was the only entertainment facility in Adrian suitable for theatricals and the building was used for professional as well as amateur productions. After 1907, with the increasing popularity of motion pictures, the his- tory of the Croswell becomes the history of the Croswell's growing com- petition with the other movie theatres which quickly appeared in Adrian. In the early days of its history many great stars of the American stage performed at the Croswell Opera House. They included Edwin Booth, Joseph Jefferson, Mr. and Mrs. Tom Thumb, Minnie Maddern Fiske, Madame Janauschek, Madame Modjeska, Maggie Mitchell, the Vokes Family, Sol Smith Russell, and Oliver David Byron. During the period of this present study, although the star system was in decline, the Croswell stage was not devoid of highly respected and popular dramatic artists. They included Ellen Terry, Thomas Jef- ferson, Richard Carle, Maude Adams, Guy Bates Post, Eva Tanguay, Frank Keenan, Ruth St. Denis, Robert B. Mantell, BennGreet, George Sidney, Tom Marks, Al H. Wilson, Mrs. Patrick Campbell, James K. Hackett, Norman Hackett, Rose Melville, Bertha Kalich, Cyril Scott, Ezra Kendall, Ward and Vokes, Alice Lloyd, May Robson, Otis Skinner, Neil Burgess, and Rose Coghlan. . During this period Maude Adams held the record for drawing the largest house for her single performance in Peter Pan which yielded $1,400 71 at the box office. The record crowd for a musical production was awarded The Pink.Lady which earned $1,100 from the citizens of Adrian. From 1900 through 1919. 1,008 dramatic performances (includes musicals, comedies, and melodramas), 8 Shakespearean productions, and 22 Uncle Tom's gapin_performances were recorded. Related activity contributed 39 minstrel performances and 32 varietyevaudeville presentations, while the Star Course (lecture series) averaged eight programs per year. Amateur activity at the Croswell amounted to a total of 54 performances in nineteen years. Non-dramatic entertainments consisting of lectures, concerts, magician, etc. totalled 52 presentations in nineteen years. The early twentieth cen- tury was truly a period of the travelling repertory company; During this period the Croswell was visited by 48 different stock companies. Because the official season ran from September through May, this yielded approximately 234 days per year in which the Croswell could be used for any of its various activities. Sundays were exempt. Thus, over nineteen years there were approximately 4,446 days in which the Croswell Opera House could be utilized. During the period of this present study the official season produced approximately 1,462 days of actual use. (This number can only be an approximation because the amount of Star Course events is based on estimation.) The off-season, June through August, yielded 97 days of actual use in nineteen years. It must be re- membered however, that hard winters, the influenza epidemic of 1918, and World War I all made it difficult to operate the local theatre du- ring this period. All in all, Adrian was one of many towns in Michigan which had an opera house in these early years. Nevertheless, the Croswell Opera.House became a popular stop for touring thespians and the theatre provided a wide variety of entertainments which Adrian and Lenawee County audiences patronized well. 72 Finally, this present study raised many questions that remain to be answered. The exact date of construction of the Opera House remains a mystery. No clear description of the color or decoration of the interior of the building during this period exists. Moreover, there was great discrepancy among patrons and employees as to the number of loges in the auditorium after 1900. And any photographs or’drawings of the building have as yet to be discovered. Research is needed in these areas to produce a more complete architectural history of the building. Although the Croswell Opera House is allegedly the oldest operating theatre in the state of Michigan, it may also have the distinction of being the oldest existing theatre in the state. However, this cannot be determined until histories of other opera houses in Michigan are re- corded. The present dearth of information regarding Michigan's the- atrical history is unfortunate. A grea&.deal of research is needed in order to illuminate this aspect of Michigan's cultural heritage. APPENDIX 73 A. MATRICAL SEASON at CROSWELL OPERA HOUSE 1900-1901 September 22 , September 24 , n 25 ' " 26‘, N 27 ’ " 28, Y 29, 1900 1900 1900 1900 1900 1900 1900 October 2 , 1900 October 10 , 1900 October 15, 1900 October 22, 1900 October 23, 1900 November 5, 1900 November -8 , 1900 November 10, November 13, November 19, n 20' n 21 ' ” 22, N 23' " 24, " 24, November 29, 1900 1900 1900 1900 1900 1900 1900 1900 1900 1900 December 3, 1900 December 6, 1900 Decembernio , Decemmr 1 1 . December 21 , December 29, 1900 1900 1900 1900 A FREE LANCE Robert B. Mantell ”The Harry Shannon Co." IN THE ROGUE'S GALLERY AIONE IN THE WORLD THE SQUIRE'S DAUGHTER THE PRINCE OF LIARS FRAU FRAU 'IHE KIDNAPPERS OF NEW YORK A TRIP TO COONTOWN Hon. T.E. Buckworth, lecture SHORE ACRES Republican Rally MISS HOBBS Republican Rally THE LITTLE MINISTER UNCLE ‘IOM'S CABIN (George P. Stetson Co.) WAR ON WOMEN Hope Booth John A. Himmelein's Imperial Stock Co. THE IOST PARADISE NORTHERN LIGHTS IN THE HEART OF THE STORM THE VICTORIAN CROSS DR. JECKYLL AND MR. HYDE EAST LYNNE (matinee) LOST IN NEW YORK THE GIRL FROM CALCUT'I'A Miss Margaret Wilkes A POOR RELATION Frank Keenan ON THE SUWANEE RIVER Stella Mayhew RIP VAN WINKLE Thomas Jefferson Innes and his Band THE EVIL EYE THE WATCH ON THE RHINE January 7, 1901 " 8, 1901 January 18, 1901 January 22, 1901 " 23, 1901 " 24, 1901 " 25, 1901 " 26, 1901 February 5, 1901 February 14, 71901 February 16, 1901 February 19, 1901 February 28 , 1901 March 5, 1901 March 7, 1901 March 16, 1901 March 21, 1901 March 27, 1901 March 28, 1901 April 1, 1901 April 10, 1901 April 17, 1901 April 19. 1901 April 30. 1901 May 9. 1901 May 13, 1901 May 20, 1901 74 Merritt and Dixey's Comedians MULDOON'S PICNIC 'IWO MARRIED MEN THE IVY LEAF The Standard Stock Go. THE BLACK FLAG AFTER TWENTY YEARS MOTHER AND SON MC NULTY'S VISIT A YOUNG HERO QUO VADIS HUMPTY-DUMPTY George H. Adams PRINCE OTTO Otis Skinner Haverly's Mastedon Minstrels George Wilson "New York Star's Big Extravaganza" "Tammany Tigers" THE DAIRY FARM THE BELLE OF‘ NEW YORK Frank Daniel's Comic Opera Co. THE AMEER THE CHRISTIAN A WISE WOMAN Marie Lamour and Frederick Murphy THE ROUNDERS T'HE GAY GIRLS OF GOTHAM THE SPAN OF LIFE A MERRY CHASE NELL GWYNNE Moving Pictures of Oberammergau Passion Play Gideon's Big Minstrel Carnival ami Original Nashville Students MIDNIGHT IN CHINA'IOWN Phinney's United States Band May 29, 1901 " 30, 1901 " 31 , 1901 June 3, 1901 " 4, 1901 " 5. 1901 n 6. 1901 " 7, 1901 " 8, 1901 " 8, 1901 August 17, 1901 " 18, 1901 August 28, 1901 75 Second Annual May'Festival '0 " Gaskell SLOCR CO. A JEMIOUS WIFE ROANOKE KNOBBS OF TENNESSEE MONTE CRISTO THE TWO ORPHANS ROANOKE (matinee) A FOREIGN LEGACY W.S. Cleveland's Greater Massive Minstrels THE NEW RAILROAD JACK B. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1901-1902 September 3, 1901 September 5, 1901 ” 6, 1901 n 7’ 1901 September 9, 1901 September 18, 1901 September 23, 1901 " 24, 1901 " 25, 1901 " 26, 1901 " 27, 1901 Y 28, 1901 " 28, 1901 October 9, 1901 OCLOber 11. 1901 I October 18, 1901 October 22, 1901 October 24, 1901 October 26, 1901 ON THE SUWANEE RIVER Fred Felton's Vaudevilles N THE NIGHT BEFORE CHRISTMAS OLD ARKANSAW Streeter Stock Co. GRIT, THE NEWSBOY THE MYSTERY OF CRAIGNORE MICHAEL. S'I'ROGOFF WICKED LONDON T'HE BLACK FLAG A MIDNIGHT CALL (matinee) A WILL OF IRON A1 w. Martin's Mammoth $30,000 UNCLE TOM'S CABIN WAY DOWN EAST THE SERENADE ARE YOU A MASON? mmmemmn THE EVIL EYE October 29, November 8, November 9, November 12, November 16," November 21, " 22, November 27, November 28, December 2, December 3, December 7, December 10, December 24, December 25, December 27, 1901 1901 1901 1901 1901 1901 1901 1901 ”1901 1901 1901 1901 1901 1901 1901 1901 January 1, 1902 January 7. 1902 January 18, January 22, January 24, January 27, Ol 29 ’ 1902 1902 1902 1902 1902 1902 1902 1902 1902 1902 1902 76 The Big Elk's Minstrels FAUST James J. Corbett "in monologue" with The Empire Vaudevillians PRINCE OTTO Harry Glazier THE GIRL IN THE BARRACKS A PRINCE OF EGYPT local operetta THE WATCH ON THE RHINE A1 H. Wilson UP YORK STATE OLD DAN TUCKER William.H. West's Big Minstrel Jubilee EAST LYNNE THE LITTLE RED SCHOOLHOUSE QUO VADIS PECK'S BAD BOY THE HEAD WAITERS HON. JOHN GRIGSBY Frank Keenan KING DODO Al Reeve's Famous Big Swell Burlesque Show SUPERBA WHEN WE WERE TWENTY ONE Tom Marks C0. HIS ATONEMENT UNDER TWO FLAGS THE ROSE‘OF KERRY THE WIFE THE VILLAGE BLACKSMITH UNDER TWO FLAGS (matinee) THE MAJOR'S BRIDE THE BELLE OF NEW YORK February 14, 1902 February 19, 1902 February 28, 1902 March 7, 1902 March 10, 1902. " 11, 1902 " 12, 1902 " 13, 1902 " 14, 1902 " 15. 1902 " 15. 1902 March 17. 1902 March 19, 1902 March 2a. 1902 March 27, 1902 March 31. 1902 April 1, 1902 April 2, 1902 April 4, 1902 April 9. 1902 April 12. 1902 April 22. 1902 April 25, 1902 April 30, 1902 May 5, 1902 May 8, 1902 May 22, 1902 " 23, 1902 May 30, 1902 77 THE VOLUNTEER ORGANIST Wm. Jennings Bryan, lecture Hi Henry's Minstrels THE GAY MR. GOLDSTEIN Kennedy’Players CREEK THE MIDNIGHT EXPRESS THE TWO THIEVES THE IRISH DETECTIVE FAUST TOM SAWYER (matinee) SAPHO DAVID HARUM Ernest Seton- Thompson, lecture "Personality of Wild Animals" "Wild Animals I Have Known" PEACEFUL‘VALLEY A RUN ON THE BANK Myrkle and Harder Big Stock Go. A MAN OF MYSTERY KNOBBS OF TENNESSEE THE UPS AND DOWNS OF LIFE THE TELEPHONE GIRL THE COWBOY AND THE LADY SI PERKINS George P. Stetson's Big Double Spectacular uNCLE TOM'S CABIN Co. Francis Russel Concert Co. (benefit) John W. Vogel's Big Minstrels THE COUNTRY GIRL Kathryn Kidder THE POWER BEHIND THE THRONE Katherine Willard Third Annual May Festival A BREEZY TIME (special holiday attraction) 78 C. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1902-1903 September 1, 1902 September 10, 1902 September 15, 1902 September 20, 1902 September 24, 1902 September 25, 1902 " 26, 1902 October 2, 1902 October 3, 1902 October 7, 1902 October 8, 1902 October 13, 1902 " 14, 1902 " 15, 1902 " 15, 1902 " 16, 1902 " 16, 1902 " 17. 1902 " 17, 1902 " 18, 1902 " 18, 1902 October 20, 1902 October 24, 1902 October 30, 1902 October 31, 1902 November 1, 1902 November 4, 1902 November 8, 1902 Nevember 18 , 1902 SI PLUNKARD WHEN KNIGHTHOOD WAS IN FLOWER Effie Ellsler SPORTING LIFE THE MISSOURI GIRL OLD ARKANSAW SHORE ACRES Directed by Mrs. James A, Home A PRINCE OF TATTERS Al H. Wilson SIS HOPKINS Rose Melville RIP VAN WINICLE Thomas Jefferson Hon. Wm. Alden Smith lecture First Regiment Band Wilbur Opera Company THE TWO VAGABONDS SAID PASHA GIROFLE GIROFLA (matinee) FRA DIAVOLO THE MIKADO (matinee) CRIMES OF NORMANDY H.M.S. PINAFORE (matinee) THE BOHEMIAN GIRL THE TWO VAGABONDS (matinee) MASCOT'I‘E Democratic Rally Republican Rally SHERIOCK HOLMES Herbert Kelcey and Effie Shannon Democratic Rally DAVID HARUM ON THE QUIET GYPSY JACK Willis Granger THE STORKS November 21, November 26, November 27, 1902 1902 1902 December 3, 1902 December 10, December 15, n 16' 0' 17’ n 18'. 'l 19. n 20’ O. 20’ DBCBMber 23, December 27, December 31, January 1, I! 2’ fl 3’ 1902 1902 1902 1902 1902 1902 1902 1902 1902 1902 1902 1903 1903 1903 January 7, 1903 January 10, January 1h, January 17, January 22, January 28, January 30. February 5. February 9, u 10' n 11' n 12' n 13' n in. February 17, 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 SPOTLESS TOWN THE FATAL'HEDDING J.H. Whitney's San.Francisco Minstrels THE COUNTY FAIR Neil Burgess ON THE LINE or THE FEMALE SPY OF SANTIAGO (benefit - Adrian Light Guard, amateur) Himmelein's Imperial Stock Go. CAPTAIN IMPUDENCE THE LOST PARADISE A DAUGHTER OF THE SOUTH THE GREAT DEVEREAUX CASE THE VETERAN CANNY'S CROSSROADS (matinee) DANCERS OF A GREAT CITY THE NIGHT BEFORE CHRISTMAS M'LISS The Knowles Hypnotists SOUTHERN ENCHANTNENT JANICE MEREDITH THE STROLLERS Marguerita Sylva THE SCHOOL FOR SCANDAL William Owen CASTE A JOLLY AMERICAN TRAMP THE WILD ROSE THE BURGOMASTER Marks Bros. Go. THE NIGHT BEFORE NEW YEARS AMONG THE BRIGANDS THE SLAVES OF RUSSIA A SOLDIER OF FRANCE UNDER THO FLAGS THE IRISH EMMIGRANT FOXY QUILLER Richard Golden February 18, 1903 February 25, 1903 February 27, 1903 March 2, 1903 March 5, 1903 March 9. 1903' HATCH 12, 1903 MarCh 20, 1903 March 28, 1903 March 25, 1903 April 9, 1903 April 15, 1903 April 16, 1903 April 21, 1903 May A, 1903 May 9. 1903 May 1%, 1903 May 30. 1903 June 1, 1903 June 2' 1903 80 Columbian Male Quartet THE GAY LORD QUEX FLORADORA HEARTS OF OAK FOR HER CHILDREN'S SAKE THE SPAN OF LIFE Donazettas Lyman H. Howe Moving Pictures of Coronation of King Edward VII THE GARROTERS A PROPOSAL UNDER DIFFIGULTIES (Senior Class of AHS) JOSHUA SIMPKINS JERRY, THE TRAMP (amateur production) DEVIL'S AUCTION TWO MERRY TRAMPS THE HOTTEST COON IN DIXIE UNCLE TOM'S CABIN Al N. Martin Co. MISS NEW YORK JR. EXTRAVAGANZA CO. THE STAR BOARDER Charles H. Boyle John W. Vogel's Big Minstrels DON CAESAR DE BAZAN Adrian Dramatic Club Morden's Orchestra Concert amateur musicians Woman's Guild Variety Show D. THEATRICAL SEASON at CROSHELL OPERA HOUSE 1903-190G August 31, 1903 September 7, 1903 September 10, 1903 September 19, 1903 UNCLE TOM'S CABIN Al N. Martin Co. THE PRIDE OF NEWSPAPER ROW THE IRISH PAWNBROKERS THE VILLAGE POSTMASTERS September 21, 1903 September 21, 1903 " 22, 1903 " 23. 1903 " 24. 1903 " 25. 1903 " 26. 1903 September 28, 1903 October 1, 1903 October 10, October 12, October 15, October 17, October 20, October 22, October 28, October 30, November 3, November 6, November 9, " 10, n 12' n 13' n 1’4, November 11, '1903 1903 i903 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 1903 November 19, 1903 November 23, 1903 November 25, 1903 November 27, 1903 December 3, December 11, 1903 1903 81 John Phillip Sousa Band (matinee) Marks Brothers Go. THE RED CROSS NURSE RESURRECTION THE DETECTIVE A HIFE'S DEVOTTON THE LITTLE MINISTER JUST BEFORE DAWN RICHARD CARVEL Andrew Robinson THE TWO JOHNS ZAZA Eugenie Blair THE KATZENJAMMER KIDS A MANDATE OF THE GREEN GOD (Adrian Dramatic Co.) SI PLUNKARD J.C. Lewis QUINCEY ADAMS SAWYER ARIZONA THE POWER BEHIND THE THRONE Katherine Willard THE PRINCESS CHIC Vera Michelena THE GREATEST THING IN THE WORLD KING OF THE DESERT Hunt Stock Go. RANCH KING ONLY A COUNTRY GIRL MYRTLE FERNS MONTE CRISTO MY MOTHER IN LAW THE WIZARD OF OZ The Great Creatore and his Italian Band THE MIDDLEMAN MISS BOB WHITE WHEN KNIGHTHOOD WAS IN FLOWER Roselle Knott GHOSTS Mary Shaw OVER THE HILLS '10 THE POOR HOUSE December 15, 1903 December 18, 1903 December 22, 1903 December 25, 1903 " 26: 1903 December 30, 1903 January 2, 1904 January 5, 1904 January 11, 1904 January 1”, 1904 January 18, 190k " 19, 1904 " 20. 190u " 21 g 1904 " 22, 1904 " 23, 190# January 28, 190A February 20, 190# February 22 , 19014 February 25, 1904 February 29, 190A " . i904 " 3. 1904 " a, 1904 " 5. 1904 " s. 1904 " 7;,19onv " 8, 1904 " 9. 1901* ' 10, 1904 " 11, 190# " 12, 1904 " 12, 1904 n 114’. 19014' -" 15. 1904 " 17, 1904 u 18' 1901+ WHEN JOHNNY COMES MARCHING HOME MORE THAN QUEEN UNCLE EPH IN CONVICT STRIPES THE OHIO KID 8 BELLS WHAT'S THE MATTER WITH SUSAN? Alice Fischer DARE DEVIL DOROTHY SAG HARBOR SWEET CLOVER Hunt Stock Go. A LITTLE SINNER CAST ADRIFT KING'S EVIDENCE EAST LYNNE MONTE CRISTO A FARMER'S DAUGHTER SIDE-TRACKED HOITYéDOITY W.B. Watson's Oriental New Vaudeville Acts A1 G. Field's Greater Minstrels Korak Wonder Go. TEN NIGHTS IN A BARROOM THE DESERTER A WOMAN'S PONER DAD'S GIRL SAPPHO THE LITTLE LORD FAUNTERLOY OLIVER TWIST UNDER TWO FLAGS THE TWO ORPHANS THE CREOLE A CELEBRATED CASE SPARKS AND CINDERS UNCLE TOM'S CABIN THE MORMON DANITES THE PRINCE OF LIARS FAUST EAST LYNNE Amateur'Show featuring local talent (matinee) (matinee) March 19, 1904 ” 19, 1904 " 21, 1904 " 22, 1904 " 23. 1904 " 24, 1904 March 16, 1904 April 5 , 1904 " 6, 1904 April 8, 1904 April 14, 1904 April 30, 1904 May 2, 1904 May 6, 1904 May 7, 1904 May 10, 1904 May 20, 1904 May 30, 1904 June 2, 1904 " 3, 1904 June 6, 1904 u 7' 190a " 8, 1904 June 13, 1904 n in, 190“ " 15. 1904 " 16, 1904 n 17’ 190“ " 18, 1904 August 12, 1904 83 RIP VAN WINKLE (matinee) FARMER ALLEN ESCAPED FROM SING SING KING'S EVIDENCE A DARK SECRET A WICKED WOMAN The Great Lafayette Big'Vaudeville Co. DAME FIRM! (local taient) CLASS DAYS THE BICYCLERS (presented by Senior class of Adrian High School) THE CARDINAL Edwin Holt A ROMANCE 0F COON HOLIOW THE LITTLE HOMESTEAD 'WAY DOWN EAST John W. Vogel's Big Minstrels HAPPY HOOLIGAN Dr; P.S. Henson, lecture Morden's Orchestra THE MI NIGHT FLYER Rentfrew National Stock Go. THE GATES OF JUSTICE THE MOONSHINER'S SECRET RETRIBUT‘ION The Flin Hypnotists ON THE SUWANEE RIVER E. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1904-1905 August 27, 1904 August 29, 1904 September 5, 1904 " 6, 1904 " 7, 1904 Y 8, 1904 u 9’ 1904 " 10, 1904 September 15, 1904 September 22, 1904 September 24, 1904 September 26, 1904 " 27, 1904 " 28, 1904 October 3, 1904 October 7, 1904 October 10, 1904 October 19, 1904 October 20, 1904 October 24, 1904 ” 25. 1904 " 26, 1904 " 27, 1904 " 28, 1904 " 29, 1904 " 29, 1904 November 5, 1904 November 7, 1904 " 8, 1904 u 9’ 1901+ " 10, 1904 n 11’ 1901+ " 12, 1904 " 12, 1904 November 15, 1904 ARIZONA UNCLE TOM'S CABIN (George P. Stetson Co.) Frederick Wilson Co. A TRUE BORN AMERICAN WORK AND WAGES WHEN LONDON SLEEPS CAMILLE MANSION OF ACHING HEARTS THE BOY SCOUT OUT OF THE FOLD DUSTER BROWN (musical comedy) UNDER SOUTHERN SKIES John A. Himmelein's Big Eastern No. 1 Comedy Co. IN THE HEART OF THE STORM ROANOKE FOGG'S FERRY Republican Meeting THE HOLY CITY A PAIR OF PINKS RUDOLPH AND ADOLPH (musical satire) Dan Quinlan and Wall Imperial Minstrels Davidson Stock Go. WIFE FOR WIFE UNDER TWO FLAGS DR. JEKYLL AND MR. HYDE TWO ORPHANS WORMWOOD GOODY TWO SHOES THE TRAIN ROBBERS (matinee) Republican Rally Ferris Comedians Stock Go. SHERLOCK HOLMES MAN'S ENEMY THE SCOUT'S REVENGE THE MIDNIGHT DISPATCH AS YOU LIKE IT CINDERELLA (matinee) YOUNG MRS. WINTHROP HAZEL KIRKE November 17, 1904 November 22, 1904 November 25, 1904 December 2, 1904 December 6, 1904 u 7’ 1904 December 15, 1904 December 19, 1904 December 26, 1904 December 28, 1904 January 2, 1905 It 3' 1905 n a, 1905 " 5. 1905 n 6’ 1905 " 7. 1905 n 7’ 1905 January 13, 1905 January 28, 1905 January 30, 1905 " 31. 1905 February 1, 1905 n 2’ 1905 u 3’ 1905 u n, 1905 u a, 1905 February 119 1905 February 14’ 1905 February 16, 1905 " 17, 1905 " 18. 1905 February 21, 1905 February 23, 1905 March 8, 1905 85 EBEN HOLDEN Lyman H. Howe Moving Pictures QUINCEY ADAMS SAWYER COUSIN KATE Roselle Knott LALLA ROOKH (comic opera, local production) THE HEART OF MARYLAND KING DODO (comic opera) Hi Henry's Minstrels THE ROYAL CHEF (comic opera) Kennedy'Players OCTAROON TWO JOLLY TRAMPS THE BOY FROM BOWERY A DASH FOR LIBERTY SAPPHO ' TOM SAWYER (matinee) THE JAMES BOYS IN MISSOURI BUSY IZZY (musical farce) George Sidney AT THE OLD CROSS ROADS Chas. Lamb's Murray Comedy Co. JUST PLAIN FOLKS THE STOWAWAY THE WESTERNER DOWN ON THE FARM UNDER TWO FLAGS A SOUTHERN ROMANCE (matinee) THE ENGINEER PRETTY PEGGY Jane Corooran PEGGY FROM PARIS (comic opera) North Brothers Comedians LITTLE PRINCESS UTAH THE MAN FROM THE WEST THE SIGN OF THE CROSS Al G. Field Greater Minstrels THE WAY OF THE TRANSGRESSOR March March March April April April April April April April April May 1. 10. 1905 18, 1905 28, 1905 29. 1905 30. 1905 31. 1905 1 , 1905 1, 1905 3. 1905 59 1905 8, 1905 11. 1905 18, 1905 24, 1905 26, 1905 28, 1905 1905 May 39 1905 May 10, 1905 May 12, 1905 May 30, 1905 August 17, 1905 August 22, 1905 August 30, 1905 86 ISLE OF SPICE (comic opera) THE PEARL OF BHUTAN (vaudeville show) Hunt Stock Go. FOR HER HONOR THE JUDGES WIFE BROWN'S MISHAPS A SOUTHERN ROSE THE COUNT'OF MONTE CRISTO CAST ADRIFT (matinee) A WIFE'S DEVOTION HAZEL KIRKE (Croswell Stock Go.) AN ARISTOCRATIC TRAMP SHORE ACRES THE HEART OF MARYLAND Adrian Ladies Choir and Adrian Imperial Band FANTASIA (local vaudeville presentation) THE TRIUMPH OF AN EMPRESS Mildred Holland Lyman H. Howe Moving Pictures BUSTER BROWN (musical comedy) THE TAMING OF THE SHREW Margaret Ralph MISS HOBBS (Senior Class of AHS) CONFUSION (Croswell Stock Go.) A COUNTRY KID (vaudeville Show) JohnW. Vogel's Big City Minstrels UNCLE TOM'S CABIN (George P. Stetson Co.) F. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1905-1906 September 4, 1905 September 9, 1905 ISLE OF SPICE (musical comedy) FLORADORA (musical) September 11, 1905 September 14, 1905 September 19, 1905 September 22, 1905 September 25, 1905 " 26,.1905 " 27. 1905 " 28, 1905 " 29, 1905 " 30, 1905 " 30, 1905 October 4, 1905 October 12, 1905 October 17, 1905 October 26, 1905 November 2, 1905 November 6, 1905 N 7, 1905 u 8’ 1905 " 9, 1905 " 10, 1905 " 11, 1905 November 13, 1905 November 20, 1905 November 22, 1905 November 23, 1905 December 2, 1905 December 6. 1905 December 21, 1905 January 8, 1906 January 11' 1906 " 12, 1906 u 13. 1906 87 FAUST SHADOWS ON THE HEARTH SIS HOPKINS Rose Melville TRILBY (comedy) Cook Majestic Stock Go. CAPITAL AND LABOR NOT GUILTY MINE 49 WAS SHE TO BLAME DAUGHTER OF THE SOUTH HOOSIER STATE FOLKS (matinee) A CONVICT'S SWEET‘HEART A LITTLE OUTCAST (comic drama) BUSY IZZY'S VACATION (musical) George Sidney OLE OLSEN (Swedish dialect comedy) THE EYE WITNESS Lyman H. Howe Lifeorama Moving Pictures Berry Stock Co. FOR LOVE AND HONOR NATURE'S NOBLEMAN TURN OF THE DICE THE PRINCE OF LIARS THE MINER'S DAUGHTER TRUE IRISH HEARTS MY WIFE'S FAMILY (musical comedy) THE OLD CLOTHES MAN THE DUKE OF KILLICRANKIE Rose Coghlan Prof. Edson G. Walker, lecture on Russia THE SEMINARY GIRL (musical farce) Knute Erickson AT PINEY RIDGE THE SLEEPING BEAUTY AND THE BEAST (musical) 8 BELLS E.K. Crocker's Famous Educated Horses '0 N N I. n January 18, 1906 January 26, 1906 January 30, 1906 January 31, 1906 February 3, 1906 February 9, i906 February 12 , 1906 February 16, 1906 February 22 , 1906 February 23, 1906 February 24, 1906 February 27, 1906 March 1. 1906 March 3, 1906 I‘Iarch 7 , 1906 March 10, March 19. March 26, March 28, April 18, April 20, April 28, 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 May 1 , 1906 88 THE FATAL WEDDING THE MAID AND THE MUMMY (musical) DORA THORNE (drama) Hi Henry's Greatest Minstrels MONNA VANNA (Maeterlinck) Bertha Kalich HIS HICHNESS THE BEY (musical comedy) Fitz-O'Brien Fight Moving Pictures MRS. TEMPLE'S TELEGRAM PAUL JONES (comic opera) SHE STOOPS TO CONQUER (Senior Class Play) PECK'S BAD BOY (farce) A BUNCH OF KEYS (farce) Al G. Field Greater Minstrels PRETTY PEGGY Jane Corooran HER ONLY SIN Julia Gray BABES IN TOYLAND (operetta) Bennett-Moulton Co. DAUGHTER OF THE PEOPLE ' OUTCASTS OF SOCIETY THE FATAL COIN EZRA DEXTER HIS JEALOUS WIFE THO MISCHEVIOUS KIDS (matinee) THE LYNDEN BANK ROBBERY OTHEIIO William Owen. Lyman H. Howe Moving Pictures HOT TIME IN COONTOHN (musical comedy) HOOLIGAN IN NEW YORK (farce) KING RICHARD THE THIRD John Griffith Billy Kersands' Big Minstrels JERRY FROM KERRY (musical farce/ vaudeville) May 3 g 1906 " a, 1906 u 5’ 1906 n 7’ 1906 May 10, 1906 June 2, 1906~ August 27, 1906 August 30’ 1906 September 3, 1906 89 Estella Ferry and Co. FOGG'S FERRY NEVADA, A ROMANCE OF THE GOLDEN WEST COON HOLLOW A GAMBLER'S SNEETHEART UNCLE TOM'S CABIN (Al N. Martin Co.) Moving Pictures of San Francisco Earthquake JUST STRUCK TOWN (scenic play) SI PLUNKARD JOHNNY WISE (musical farce) G. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1906-1907 September 5, 1906 September 12, 1906 September 14, 1906 September 17, 1906 September 18, 1906 September 20, 1906 September 2#, 1906 September 25, 1906 September 26, 1906 " 27. 1906 September 28, 1906 " 29, 1906 October'iO, October 12, October 18, OCtOber 19, u 20’ 1906 1906 1906 1906 1906 SIS HOPKINS (comedy) Rose Melville THE GREATER LOVE (drama) Aubrey Boucicault YORK.STATE FOLKS THE FIGHT FOR LOVE (melodrama) EVERYBODY HORKS BUT FATHER (musical comedy) PIFF PAFF POUF (musical comedy) DOROTHY VERNON OF HADDON HALL Alberta Gallatin LENA RIVERS (drama) ISLE OF SPICE (musical comedy) THE SHOW GIRL (musical comedy) THE CONROY GIRL (musical melodrama) THE BEAUTY DOCTOR (musical comedy) Judge C.A. Buskirk, lecture on Christian Science Jack Allen's Home Talent Minstrels '0 (local) October'22, I! 23 ' .. 21». l! 25 , n 26’ N 27 ’ October 31 . November 1, November 5, fl , 0| 7 ’ n 8 , 9 9. n 10’ November 12, November 15, November 20, November 23, November 24, November 27, November 29, December 1, December 3, December 6, CI 7' 9 8, December 24, December 25, 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 1906 i906 1906 1906 1906 January 50 1907 January 8, 1907 January 1“, 1907' 90 The Americans Repertory Co. THE MAN 0' WARSMAN A GAME OF HEARTS THE VOICE OF NATURE ROMANCE OF OKLAHOMA DR. JEKYLL AND MR. HYDE SATAN'S IMP FANTANA (musical comedy) HIS LAST DOLLAR (romance) David Higgins Ginnivan - Mills Co. AN AMERICAN HEIRESS GEORGIA FOLKS EAST LYNNE HER'NEDDING-DAY CAMILLE BLACK FLAG A MESSAGE FROM MARS (comedy) DORA THORNE (romance) RIP VAN WINKLE Thomas Jefferson Lyman H. Howe Moving pictures OUR NEH MINISTER (comedy) Durno, the mysterious (magician) THE FAST MAIL (melodrama) THE GIRL THAT LOOKS LIKE ME (comedy) PAINTING THE TOWN (musical comedy) Myrkle Harder Stock Go. THE SLAVE GIRL A FISHERMAN'S DAUGHTER A DESPERATE CHANCE The GanséNelson.Fight original films HUMPTY-DUMPTY George H. Adams THE PRINCE CHAP (comedy drama) Cyril Scott ISLEUOF SPICE Morgan's Comedians PRINCESS LORA " 16. 1907 " 17. 1907 " 18, 1907 " 19. 1907 January 21. 1907: January 26, 1907. January 29, 1907. February 20, 1907 February 21. 1907 February 22, 1907 February 26. 1907 March 6, 1907 March 7. 1907 March 11, 1907 " 12, 1907 " 13. 1907 " 1h, 1907 " 15. 1907 " 16, 1907 " 16, 1907 March 23, 1907 April 2, 1907 April 5. 1907 April 6, 1907 April 13, 1907 April 15. 1907 April 25, 1907 91 MY LITTLE PARTNER A FIGHT FOR HONOR MIDNIGHT IN CHINATOWN RIO GRANDE WAIFS ON THE STREET THE MAN OF HER CHOICE (melodrama) THE ISLE OF BONG BONG (musical comedy) THE BLACK CROOK (musical comedy) MACBETH Madame Helene Modjeska A GOOD FELLOW (comedy) Eva Tanguay UNCLE TOM'S CABIN (George P. Stetson Go.) THE GIRL WHO LOOKS LIKE ME (comedy) Kathryn Osterman SUNNY SOUTH COMPANY (all black minstrel show) THE FLAMING ARROW (Western melodrama) DEVIL'S AUCTION (musical comedy) THE GIRL OF THE GOLDEN WEST Murray'Comedy'Co. NATURE'S NOBLEMAN THE WHITE CAPP-ERS A CONVICT WIFE THE WESTERNER DORA THORNE FOXY GRANDPA (matinee) THE TEXAN WHEN THE HARVEST DAYS ARE OVER (comedy) THE GOVERNOR‘S PARDON (automobile play) MASK OF PANDORA A SCRAP OF PAPER Senior Class Plays THE DISTRICT LEADER PAINTING THE TOWN (comedy) Lyman H. Howe Moving Pictures UNCLE TOM'S CABIN ( A1 W. Martin Co.) April 27. 1907 April 29. 1907 May 7. 1907 May 8, 1907 May 13, 1907 May 18,;1907 May 30. 1907 June 15. 1907 August 2, 1907 August 16, 1907 August 22, 1907 August 27, 1907 August 31, 1907 92 THE CLANSMAN (drama of Reconstruction) THE ORIGINAL THOROUGHBRED CHAMP METZ IN THE ALPS (Swiss dialect play) Al H. Wilson John W. Vogel's Big City Minstrels Richard's and Pringle's Famous Georgia Minstrels THE LION AND THE MOUSE (comedy) MONTE CRISTO Eugene Moore ALICE SIT BY THE FIRE Roselle Knott Donnelly and Hatfield Magnificent Minstrels ALPHONSE AND GASTON (musical comedy) AS TOLD IN THE HILLS (romance) OUR OLD KNETUCKY HOME (romance) HUMPTY-DUMPTY Eddie McDonald M. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1907-1908 September 2, 1907 September 3, 1907 September 10, 1907 September 11. 1907 September 17. 1907 September 2#, 1907 September 25, 1907 September 26, 1907 September 27, 1907 September 28,.1907 October 3, 1907 October #, 1907 October 10, 1907 October 12, 1907 THE TRUST BUSTERS (musical farce) JERRY FROM KERRY (comedy) RIP VAN WINKLE Thomas Jefferson THE FLOWER OF THE RANCH (musical) UNDER SOUTHERN SKIES AN OLD SWEETHEART OF MIN (romance) THE DISTRICT LEADER (musical) CUPID AT VASSAR (musical) A PARADISE OF LIES (romance) Mildred Holland Lyman H. Howe Moving Pictures Gorton's Famous Minstrels THE OYSTER MAN (musical) Ernest Hogan October 19. October 29, October 31. November A, n 5 ’ 6 fl ' fl 7. u 8 , I! 9 ’ November 13. November 16, November 18, November 25, n 26’ N 27' December 2, December 5, December 7, December 1h, December 25, December 27, December 30, " 31. January 1, II 1 . n 2 ’ n 3’ n a, January 1#, January 15, January 22, January 25, January 27, 1907 1907 1907 1907 1907 1907 1907 1907 1907 1907 1907 190? 1907 1907 1907 1907 1907 1907 1907 1907 1907 1907 1907 1908 1908 1908 1908 1908 1908 1908 1908 1908 1908 93 DUSTER BROWN (musical comedy) Will Carlton, reading from his own works PAINTING THE TOWN (musical) Carl W. Cook Stock Go. JIM, THE WESTERNER THE HEART OF TENNESSEE A SOUTHERN SPY LOST PARADISE MYSTERIES OF NEW YORK mBILE EXPRESS H1 Henry's Greatest Minstrels UNCLE’TOM'S CABIN (A1 W. Martin Go.) THE MAN OF THE HOUR The Great Spellman Show OUR NEW MINISTER (comedy) HIS LAST DOLLAR (racing play) David Higgins THE LORD OF DOLLARS Ezra Kendall THE GIRL OF THE GOLDEN WEST THE MISSOURI GIRL (romantic comedy) OUR NEW MINISTER Tom Marks and Co. THAT IRISH BOARDER THE DETECTIVE THE WIFE (matinee) SHAMUS 0' BRINE .A SOLDIER OF FRANCE AN IRISH IMMIGRANT JERRY THE TRAMP THE RIVALS Joseph and William Jefferson BILLY THE KID THE YANKEE REGENT (musical) THE TIME THE PLACE AND THE GIRL (musical) The Great Svingali, hypnotistételepathist January 28, 1908 " 29, 1908 January 31, 1908 February A, 1908 February 8, 1908 February 12, 1908 February 21, 1908 February 22, 1908 February 2#, 1908 February 26, 1908 February 27, 1908 March 21, 1908 March 30, 1908 April 10, 1908 April 13. 1908 April 2h, 1908 April 29, 1908 May 2, 1908 May 5, 1908 August 31, 1908 94 The Great Svingali, hypnotist-telepathist THE VANDERBILT CUP (musical comedy) THE HEART OF MARYLAND THE BLACK POLITICIAN (all black show) THE COUNTY SHERIFF (drama) Lyman H. Howe Moving Pictures of Holland TEXAS A DOLL'S HOUSE Jane Corooran Adrian Symphony Orchestra and Imperial Band THE SHOOéFLY REGIMENT (musical comedy) METZ IN THE ALPS (musical) STRONGHEART (drama of college life) Ralph Stuart QUINCEY ADAMS SAWYER (romance) YANKEE DOODLE BOY (musical) THE MANEURVERS OF JANE (Senior Class Play) A KNIGHT FOR A DAY (musical) THE LION AND THE MOUSE SI PLUNKARD JANEY JUNKINS (comedy) I. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1908-1909 September 3, 1908 September 7, 1908 September 9, 1908 September 12, 1908 September 19, 1908 _ Hi Henry's Greatest Minstrels THE TWO JOHNS (farce) THE NIGHT OF THE PLAY (comedy) Kathryn Osterman THE COW PUNCHER MEADOW BROOK FARM (romance) Aubrey Stock Go. September 21, 1908 " 22, 1908 " 23, 1908 " 2#, 1908 " 25, 1908 " 26, 1908 n 26. 1908 September 28,.1908 " 29, 1908 n 30' 1908 October 2, 1908 October 15, 1908 October 27, 1908 October 28, 1908 October 29' 1908 November 10, 1908 November 13, 1908 November 1“, 1908 November 26, 1908 November 30, 1908 December 1, 1908 " 2, 1908 n 3’ 1908 " h, 1908 n 5’ 1908 " 5, 1908 December 9, 1908 December 26, 1908 December 27, 1908 January 2, 1909 January 9, 1909 January 11. 1909 " 12, 1909 95 A GREAT TEMPTATION MIDNIGHT MARRIAGE THE PRODIGAL SON Sheriff of SILVER CREEK THE OUTLAW'S DAUGHTER FOR HIS MOTHER'S SAKE WHEN THE WORLD SLEEPS (matinee) The Herald Square Opera Go. THE MASCOTTE CHIMES OF NORMANDY A TRIP TO INDIA Lyman H. Howe Moving Pictures THE DISTRICT LEADER (musical comedy) Orpheus Club Concert Republican Rally THE COWBOY GIRL (musical) OUR NEW MINISTER THE AWAKENING OF MR. PIPP (musical comedy) EAST LYNNE Detroit Elk's Minstrels Nancy Boyer and Co. THE GIRL OF EAGLE RANCH BELLE OF RICHMOND WIFE IN NAME ONLY PITFALL OF A GREAT CITY TEMPTATION OF A BRIDE WYOMING (matinee) KENTUCKY SUE THE WITCHING HOUR A MESSAGE FROM MARS (comedy) Francis J. Flunar, lecture on Christian Science A WOMAN OF THE WEST (moral play) . GIRLS (comedy) THE DEVIL Edwin Stevens Rosar-Mason.Stock Co. AMY, THE CIRCUS GIRL AT A RISK OF HIS LIFE January 13. 1909 " 14. 1909 " 16, 1909 " 15. 1909 January 15, 1909 January 19. 1909 January 25, 1909 January 28, 1909 February 2, 1909 February 13, 1909 February 15, 1909 February 18, 1909 February 22. 1909 March 1, 1909 March #, 1909 March 5, 1909 March 8, 1909i March 11, 1909 March 16, 1909 March 17, 1909 March 19, 1909 March 27, 1909 March‘31;,1909 96 A SOUTHERN SPY FLOWER OF THE RANCH PECK'S BAD BOY (matinee) RUINED LIVES THE.LION AND THE HOUSE HONEYMOON TRAIL (musical comedy) BROWN OF HARVARD (college comedy) James Young BUSY IZZY'S BOODLE (musical) George Sidney Lyman H. Howe Moving Pictures Croswell becomes Vaudeville House featuring Smith and Kline, wooden shoe dancers Vaudeville- 7 features The Dorothea Trio Harry Mack, black face comedian Vaudeville- Flexible Ranke, contortionist Jeb Clous, German comedian moving pictures and illustrated songs Vaudeville- Strickland Dog and Monkey Circus Gladys George, singer Vaudevilleu Smith and Kline Vaudeville- The Upside Down Zeraldas, acrobats Kisselmere and Chain, comedians Vaudeville- Tora Japanese Family, jugglers, etc. Robert Eldredge, sand painter Floyd Williams, 310 lb comedian THE SERVANT IN THE HOUSE Mr. and Mrs. Erritte Lee Cole married on stage in the afternoon, reception at night. Vaudeville- The Up-Side Down Millettes, trapeze The Jenners, acrobats WHEN KNIGHTS WERE BOLD (comedy) Francis Wilson Local couple married on the stage PAID IN FULL THE THIEF (romance) HUMAN HEARTS April 30, 1909 May 39 1909 n a, 1909 " 5. 1909 n 6’ 1909 " 7. 1909 " 8, 1909 May 11. 1909 May 319 1909 June 1. 1909 " 2, 1909 " 3. 1909 " 4. 1909 " 5 ' 1909 n 5' 1909 August 16, 1909 J. THEATRICAL SEASON at CROSHELL OPERA HOUSE September 9, 1909 September 10, September 17, September 20, n 21 ’ " 22, N 23’ " 2n, n 25, " 25. September 27, " 28, 3' 29' " 30. October 1, It 2 ' 1909 1909 1909 1909 1909 1909 1909 1909 1909 1909 1909 1909 1909 1909 1909 October h, 1909 97 'YHE EEP‘IOMANIAC Senior Class Play A.H.S. Latimore and Leigh Stock Go. THE AMERICAN GENTLEMAN AN ORPHAN'S PRAYER A QUAKER TRAGEDY HEARTS OF THE BLUE RIDGE ALL THE COMFORTS OF HOME THE FEMALE DETECTIVE POLLY OF THE CIRCUS (close of regular season) Maude Henderson Go. THE POWER OF TRUTH (drama) THE PRICE HE PAID drama) THE SHADOWS OF SIN (melodrama) THE YOUNG WIFE THE DEVIL DORA THORNE (matinee) THE HALF BREED REVENGE UNCLE ’IOM'S CABIN (Al W. Martin Co.) 1909+1910 THE GREAT DIVIDE PAID IN FULL JUST OUT OF COLLEGE (musical comedy) North Brothers Stock Go. A MILLIONARE'S WIFE ACROSS THE GREAT DIVIDE DIVORCONE TURNING A WOMAN PRINCE OF GAMBLERS SECRET SERVICE (matinee) OLIVER TWIST Hyde's Theatre Party A GILDED FOOL CHIMMIE FADDEN STILL WATERS RUN DEEP THE TEXAN THE MEDDLER THE SUBURBAN WINNER RED RIDING HOOD'S RESCUE (local operetta) October 6, 1909 October 13. October 15, October 18, October 25. October 26, November 3, November 6, . November 13, 1909 November 15. 1909 November 17, 1909 November 20, 1909 November 24, 1909 December 3, December 9, December 14, 1909 December 16, 1909 December 30, 1909 January 12. January in, January 2h, 90 25 ' n 26' n 27 ’ n 29’ I. 29 ' January 31, February 10, 1910 February 11. 1910 1909 1909 1909 1909 1909 1909 1909 1909 1909 1910 1910 1910 1910 1910 1910 1910 1910 1910 98 FAUST (Goethe) BUSTER BROWN (musical comedy) Lyman H. Howe Moving Pictures THE THIEF Herbert Kelcey/Effie Shannon Merry Musical Ha-Ha Idealized Minstrels (local) THEY LOVED A LASSIE (musical comedy) THE PRINCE OF TO-NIGHT (musical) SWEET INNISFALLEN (Irish play) Bernard Daly GRAUSTARK (romance) THE TRAVELING SALESMAN (comedy) ON THE SUWANNE RIVER THE WORLD AND A WOMAN THE MERRY WIDOW (operetta) UNCLE TOM'S CABIN (Stetson's Big Spectacular) CLASSMATES (romance) ST. ELMO MARY'S LAMB (musical) Richard Carle A STUBBORN CINDERELLA (musical) ABOVE THE LIMIT (comedy) Charles Grapewin BEVERLY (drama) Hyde's Theatre Party THE MEDDLER STILL WATERS RUN DEEP ST. ELMO RIP VAN WINKLE A SCRAP OF PAPER (matinee) A GILDED FOOL . HOUSE OF A THOUSAND CANDLES (mystery) Lyman H. Howe Moving Pictures THE GIRL FROM REG'IOR'S (comedy) Manhattan Stock Go. Helen Forest Russell February 21. n 23' .. 24, N 25' " 26, " 26, March 4, 1910 March 8, 1910 March 14, 191 March 16, 191 March 18, 191 March 30. 191 March 31, 191 April 4, 1910 April 13, 191 April 15, 191 April 18, 191 " 19. 191 " 20, 191 April 22, 191 April 27. 191 May 5. 1910 May 9. 1910 May 11. 1910 May 24, 1910 June 2. 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 O O 0 O O O O O O O 0 0 99 LITTLE MISS ROBINSON CRUSOE HEARTS OF THE BLUE RIDGE PRISONER OF ANDERSONVILLE MAN FROM;SACRAMENTO HER FIRST FALSE STEP THE GIRL AND THE GAMBLER (matinee) MAN FROM SACRAMENTO Tom Marksttock Go. THE IRSH BOARDER UNDER SOUTHERN SKIES SERGEANT RAFFERTY THE DUKES DAUGHTER ROSE OF KILLARNEY BUSTER BROWN - JERRY THE TRAMP (matinee) GARRY OWENS A KNIGHT FOR A DAY (musical comedy) Father’F. Sperline, lecture on Local Option DANIEL BOONE ON THE TRAIL THE GIRL QUESTION (musical comedy) THE ROSE O' PLYMOUTH TOWN (Senior Class Play) THE TIME THE PLACE AND THE GIRL (musical) Lyman H. Howe Moving Pictures TWO MERRY TRAMPS (musical comedy) THE RIVALS (Adrian College Performance) THE SOUL KISS (musical comedy) Powell and Cohan's Musical Comedy Co. MY QUEEN IN CALICO THE BEAUTY AND THE BANKER CUPID AND THE PRIZE FIGHTER THE TRAVELING SALFSMAN HERE IN IRELAND Al H. Wilson THE TEXAS CATTLE KING THE GODDESS OF LIBERTY (musical comedy) The Jolly Girls Burlesque Go. THE THIRD DEGREE (mystery romance) DAMON AND PYTHIAS (operetta. College Glee Club) June 10, 1910 " 11. 1910 July 18. 1910 " 19. 1910 " 20, 1910 " 21. 1910 " 22. 1910 " 23, 1910. August 11. 1910 August 17. 1910 ” 30. 1910 " 31. 1910 September 1, 1910 " 2, 1910 II 3' 1910 September 10, 1910 100 A TRIP THROUGH DEATH VALLEY (motion picture) John A. Himmelein's Stock Go. HELLO BILL FOR HIS SISTERIS HONOR CHARLOTTE TEMPLE QUEEN OF THE WHITE SLAVES A-RUNAWAY-MATCH TRACKED AROUND THE WORLD UNCLE TOM'S CABIN (Al W. Martin Co.) THREE TWINS (musical) Victor Moreley TreadmilléWhitney'Stock Co. BEYOND PARDON THE GAMBLER LENA RIVERS COLLEGE CHUMS THORNS AND ORANGE BLOSSOMB THE GATES OF JUSTICE THE GIRL FROM U.S.A. (musical) K. THEATRICAL SEASON at CROSHELL OPERA HOUSE 1910-1911 September 14, 1910 September 26, 1910 September 27, 1910 September 28, 1910 September 29, 1910 September 30, 1910 October 1, 1910 October 13, 1910 October 14, 1910 October 17. 1910 October 22, 1910 November 1. 1910 November 2, 1910 ROSALIND AT RED GATE (mystery/romance) CANDY GIRL (musical) SIS HOPKINS Rose Melville THE CLIMAz (drama) PALS Nancy Boyer Vaudeville and Motion Picture Program Republican.Rally THE TRAVELING SALFSMAN (comedy) Lyman H. Howe MovifigPictures ST. ELMO (drama) IN ARIZONA Republican Rally November 3, 1910 November 7, 1910 November 9, 1910 November 1h, H N 15. 16. 17. 18. 19. November 22. November 28, November 30, December 2, December 6, December 19, December 20, December 21, December 26, December 28, December 31, 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 1910 January 4. 1911 January 6, 1911 January 9, 1911 January 12, 1911 January January 9’ " N N January January 17, 23. 21+. 25. 26. 27. 28. 28. 30. 31. 1911 1911 1911 1911 1911 1911 1911 1911 1911 1911 101 Manhattan Gaiety Girls Big Burlesque Co. THE LAST TRAIL THE RED MILL (operetta) Culhane's All New Comedians REAPING THE HARVEST THE HAND OF JUSTICE LENA RIVERS MY DIXIE GIRL MAN IN THE OVERALLS THE MAN OUTSIDE THE GIRL IN THE TAXI (comedy) Merry Musical Ha Ha (local minstrel) THE CAPTAIN (comedy) IN THE BISHOP CARRIAGE (drama) 7 Days (comedy) Ita, mentalist Ita, mentalist Ita, mentalist PAID IN FULL MY CINDERELLA GIRL (musical baseball farce) UNCLE TOM'S CABIN (Stetson) THE THIRD DEGREE The Cuban Musical Comedy Co. Lyman H. Howe Moving Pictures MISS NOBODY FRON STARLAND (musical) THE MAN IN THE BOX Hyde's Theatre Party Alice Bolton THE MAN OP HER CHOICE THE RED CIRCLE THE TEXAN STILL WATERS RUN DEEP THE GIRL FROM MY HOME TOWN THE TIE THAT BINDS (matinee) THE QUEEN OF THE ROCKIES DERBY DAY IN COON TOWN (musical) Ellen Terry, lecture recital Shakespeare's Heroines February 3, 1911 February 10. 1911 February 14, 1911 February 18, 1911 February 20, 1911 " 21, 1911 " 22, 1911 " 23. 1911 " 24, 1911 February 28, 1911 March 8, 1911 March 13, 1911 March 16, 1911 March 21. 1911 March 24, 1911 March 25, 1911 April 7. 1911 April 11, 1911 April 13, 1911 April 28, 1911 May 9. 1911 May 16, 1911 August 30, 1911 102 THE CAT AND THE FIDDLE (musical) THE JOY RIDER (musical) George Sidney GRAUSTARK THE WHITE SQUAH (romance)‘ Della Clarke Cutter’Stock Co. THORNS AND ORANGE BLOSSOMS MY WIFE'S DIVORCE ~ BEYOND THE BORDER WIFE IN NAME ONLY A COWBOY SHERIFF A GERMAN PRINCE (musical) A1 H. Hilson THE WOLF (drama) THE SPENDTHRIFT (drama) THE GOLDEN GIRL (musical) THE THIEF The Russian Symphony Orchestra A BROKEN IDOL (musical) CHRISTOPHER JUNIOR (Senior Class Play) THE HONEYMOON TRAIL (musical) THE NEHLYHEDS AND THEIR BABY (musical) Gymnastic Exhibition by Y.M.C.A. and Public Schools A1 G. Field Greater Minstrels MADAME SHERRY (musical) THE ROSARY (drama) L. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1911-1912 September 6, i911 ’ September 9. 1911 UNCLE TOM'S CABIN (Al W. Martin Go.) THE CAT AND THE FIDDLE (musical) September 25, 1911 69 1911 " 27, 1911 " 28, 1911 " 29, 1911 " 30, 1911 October 5, 1911 October 6. 1911 October 7, 1911 October in, October 16, N 17’ n 18' n 19’ n 20 ’ October 21, October 24. October 28, OCtOber 31' November 1, November 4, November 10, '1911 1911 1911 1911 1911 1911 1911 1911 1911 1911 1911 1911 1911 November 24, 1911 November 30, 1911 December 1, December 2. December 8, 1911 1911 1911 December 11, 1911 December 12, 1911 " 13, 1911 9 1h. " 15’ n 16’ 1911 1911 1911 103 Nancy Boyer Stock Co. WHEN KNIGHTHOOD WAS IN FLOWER LOVE WATCHES LEAH KLESHNA MY WIFE MISS HOBBS THE YOUNG MRS. WINTHROP Lyman H. Howe Moving Pictures MADAME SHERRY (musical) THE MAGIC MELODY (drama) THE SHOW GIRL (musical) Edward Doyle Co. WE ARE KING UP YORK STATE FOR HIS DAUGHTER'S SAKE THE LIGHT THAT FAILED DR. JECKYLL AND MR. HYDE BABY MINE (comedy) Grand Concert (local musicians in recital) SATAN SANDERSON (drama) Norman Hackett THE LITTLE HOMESTEAD Alice Boulton QUINCEY ADAMS SAWYER THE CHORUS LADY (comedy) POLLY OF THE CIRCUS Prof. H.S. Hering, lecturecon Christian Science THE LITTLE GIRL THAT HE FORGOT THE GIRL IN THE TAXI (comedy) THE COW AND THE MOON (musical) ALMA WHERE DO YOU LIVE? (musical) THE MAN FROM HOME (William Hodge) Winifred St. Claire and Go. THE YANKEE GIRL THE GIRL FROM OUT YONDER THE GIRL AND THE DETECTIVE ROSALIND AT RED GATE THE CALL OF HER MATE December 18. 1911 December 25. 1911 December 28, 1911 January 3. 1912 January 4. 1912 February 7. 1912 February 17. 1912 February 21. 1912 March 1. 1912 March 12. 1912 March 16. 1912 March 19. 1912 March 21. 1912 MaICh 27. 1912 March 30. 1912 April 10. 1912 April 16. 1912 April 17. 1912 April 19. 1912 April 23. 1912 April 2%. 1912 April 26. 1912 April 30. 1912 May 16. 1912 May 17. 1912 May 2h, 1912 June 17. 1912 10h UNCLE TOM'S CABIN (Collier's Company) NEH ENGLAND FOLKS Harry La Marr mnnw Lyman H. Howe Moving Pictures AT THE OLD CROSS ROADS (romance) OVER NIGHT (comedy) IT HAPPENED IN POTSDAM (comedy) Al H. Wilson MACBETH (Coburn Players) (may'have been cancelled due to weather) THE NEWLYWEDS AND THEIR BABY (musical) LOUISIANA IOU (musical) Sunny South Go. (all black minstrel show) EXCUSE ME (comedy) Gymnastic Exhibition of Adrian.Public Schools Theodore Thomas Orchestra UNCLE TOM'S CABIN (Stetson) THE ROSARY (drama) THE TOP 0' TH' WORLD (musical) THE STAMPEDE (western melodrama) QUALITY STREET (Senior Class Play) THE LIGHT ETERNAL (religious drama) Gymnastic Exhibition of Y.M.C.A. and Imperial band Vocal Quartet of U. of M. Glee Club A GYPSY ENCAMPMENT (musical comedy) local Russian Symphony Orchestra Ellery Italian Band M. THEATRICAL SEASON at GROSWELL OPERA HOUSE 1912-i913 August 29. 1912 September 11. 1912 September 23. 1912 " 24. 1912 " 25. 1912 " 26. 1912 " 27. 1912 " 28. 1912 " 28. 1912 October 1. 1912 October h. 1912 October 9. 1912 October 12. October 14. n 15’ n 16. " 17. n 18. " 19. n 19, October 22. November 2. November 7, n 8' 1912 1912 1912 1912 1912 1912 1912 1912 1912 1912 1912 1912 November 1#. 1912 November 20. 1912 November 25. 1912 November 28. 1912 December 5. 1912 " 6. 1912 " 7. 1912 December 1#. 1912 December 25. 1912 January 1. 1913 105 THE SERVANT IN THE HOUSE THE THIRD DEGREE (drama) Chicago Stock Go. SHAM THE STAMPEDE GOING SOME THE 4TH ESTATE STRONG HEARTS YORK STATE FOLKS (matinee) THE GOVERNOR AND THE BOSS Lyman H. Howe Moving Pictures SATAN SANDERSON Norman Hackett THE SHEPHERD OF THE HILLS THE LITTLEST REBEL Edward Doyle Co. Louise Brown ALICE OF OLD VINCENNES THE PARISH PRIEST EVERYBODY'S DOING IT THO MEN AND A GIRL MY WIFE'S GONE TO THE COUNTRY THE FINAL TEST (matinee) LILLIAN'S SACRIFICE OTHELLO (Coburn Players) Democratic Rally FI-FI OF THE TOY SHOP (local operetta) FAUST George G. Wakefield BUSY IZZY (musical) THE COMMON LAW (drama) THE GREAT DIVIDE (drama) Paul J. Rainey's African Hunt-Moving Pictures THE LIGHT ETERNAL THE CAT AND THE FIDDLE MUTT AND JEFF (musical comedy) January 2. 1913 January 23. 1913 January 25. 1913 January 28. 1913 February 3. 1913 February 11.11913 February 20. 1913 February 2’4.- 1913 March 15. 1913 March 22. 1913 March 26. 1913 March 279 1913 " 28. 1913 March 31. 1913 April 5. 1913 April 18. 1913 April 21. 1913 April 22 . 191 3 April 30. 1913 May 9. 1913 June 18. 1913 August 9. 1913 106 A MODERN EVE (musical comedy) BABY MINE (comedy) THE SWEETEST GIRL IN PARIS (musical comedy) THE PINK LADY (musical) THE FORTUNE HUNTER (comedy) THE HEARTBREAKERS (musical comedy) George Damerel THE WINNING WIDOW (musical comedy) IT HAPPENED IN POTSDAM (Al H. Wilson) THE BOHEMIAN GIRL (operetta) SEVEN HOURS IN NEH YORK (musical comedy) Political Rally THE SPRINGMAID (operetta) FRECKLES (musical comedy) Lyman H. Howe Moving Pictures IL TROVATORE (opera) Sheehan English Opera Go. THE TRAIL OF THE IONFSOME PINE (romance) A1 G. Field Greater Minstrels OUR WIVES (comedy) MILESTONES (Senior Class Play) THE MERCHANT OF VENICE Ben Greet Players John W. Vogel's Big City Minstrels N. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1913-1911b AuguSt 309 1913 September 9 . 1913 September 16. 1913 PETER PAN Maude Adams THE PRINCE (Drama) Edna Marshall Primrose and Dockstader Minstrels September 19. 1913 " 20. 1913 September 22. 1913 " 23. 1913 " 24. 1913 September 27. 1913 September 29. 1913 October 3. 1913 October 11. 1913 October 13. 1913 October 16, 1913 October 17. 1913 " 18. 1913 October 20. 1913 October 21. 1913 October 29. 1913 November 7. 1913 November 10, 1913 November 15. 1913 November 19. 1913 November 20. 1913 November 22. 1913 November 25. 1913 December 8. 1913 December 25. 1913 January 1. 1914 January 2. 191# " 3. 19in January 6, 191“ January 10. 19in 107 Local Vaudeville Show Thomas Edison's Talking Pictures GIRL AND THE BARON (musical comedy) A DOUBLE RECEIVER (drama) Norman Hackett John Phillip Sousa's Band (matinee) THE RUNAWAYS (musical comedy) LITTLE WOMEN WITHIN THE LAW (drama) "Quo Vadis" motion picture A MODERN EVE (musical comedy) Lyman H. Howe Moving Pictures THE DIVORCE QUESTION (drama) THE DREAM MAIDEN (operetta) BUSY IZZY George Sidney/Carrie Webber BREWSTER'S MILLIONS (comedy adventure) THE MAN FROM HOME (comedy) THE RED ROSE (musical comedy) "Hiawatha" Motion Picture THE SINS OF THE FATHER (drama) WITHIN THE LAW THE ROSARY A BUTTERFLY ON THE WHEEL (comedy) Edison's Talking Pictures '0 " MUTT AND JEFF IN PANAMA (musical comedy) LAVANDER AND OLD LACE (romance) January 20. 21. January 23. January 26, February 4. February 6, February 16. 1914 February'23. February 24. 259 26, 27. 28, 28. 191# 19in 1914 191%? 191C 1914 1914 1914 191% 1914 191a 1914 191A March 17. 1914 March 31. 1914 April 3. 1914 April 15’ 1914 April 16. 1914 17. 1914 18. 1914 April 299 191“ May 159 191“ May 18. 1914 May 22' 191“ June H. 191# June 21. 19in 108 IN STORY BOOK LAND (local operetta) OSCAR AND ADOLPH (musical comedy) PEG 0' MY HEART (comedy) THE GRAIN OF DUST (drama) Hames K. Hackett DANCE MAD (english vaudeville) Alice Lloyd BABY MINE Lyman.H. Howe Moving Pictures Alvaredo Players WHEN HEARTS ARE TRUE THE PRICE OF SILENCE OUR NEW MINISTER IN THE BISHOP'S CARRIAGE THE CALL OF THE WOODS (matinee) CAPTURED BY WIRELESS Sheehan Opera Company in Great Scenes from Great.0pera UNCLE TOM'S CABIN (Stetson) THE RED WIDOW (musical comedy) THE FIREFLY (musical comedy) (vaudeville) Bert Marshall's Road Show Wrestling Match-Ora Shay vs. Henry Wirth PRIDE AND PREJUDICE (Senior Class Play) Wrestling Match-Ora Shay vs. John Billister THE SPRING SONG (local vaudeville show) Lyric Stock Company DANGEROUS FRIENDS (probably played the entire week. however. the press made no further mention of this particular company) Wrestling MatchFOra Shay vs. Matsuda Wrestling Match-Ora Shay vs. Matsuda O. THEATRICAL SEASON at CROSWELL OPERA HOUSE September 3. 1914 September 59 191“ September 18, September 21 , n 22 . M 23 , .. 21+. H 25. n 26’ September 29. 191h 19in 191h 1914 1914 191# 191# 1914 . October 6, 191# October 9. 1914 October 15. October 19. n 20. u 21 ’ October 23. October 27. October 29. October 30. October 31. November 2. " 3. u )4. fl 5’ n 6’ fl 7’ " 7. November 25. 191“ December 3. December 12. 1914 December 16. 191“ 191% 1914 1914 191# 1914 191# 1914 191# 19in 191# 191# 191% 1914 1914’ 1914 191# 191# 109 191u-1915 THE CALLING OF DAN MATTHEWS (drama) Ruth St. Denis and Dance co. SEPTEMBER MORN (musical comedy) Mae Laporte and Company THE PINK CORSET THE WHITE SISTER JUST PLAIN MARY HE FELL IN LOVE WITH HIS WIFE DEEP PURPLE THE THREE TWINS Lyman H. Howe Moving Pictures DEATH OF A IONE CHIEF (operetta) BRINGING UP FATHER (comedy) Royal Welsh Choir motion picture "Neptune's Daughter" THE TYPHOON Norman.Hackett Russian Symphony Orchestra "Threads of Destiny" Motion Picture THE WINNING OF BARBARA WORTH Republican Rally Edward Doyle Company THE GARRISON GIRL MILDRED THE BROKEN BUTTERFLY THE FOREST HEARTH THE CAT AND THE BIRD A PAIR OF BROWN EYES (matinee) IN THE LION'S DEN JACK'S ROMANCE (comedy) Fiske O'Hara Wrestling Match-Ora Shay vs. Matsuda THE GIRL OF MY DREAMS (musical comedy) IN THE HILIS OF TENNESSEE (local production) December 18. 1914 " 19. 191a December 25. 191“ December 26. 1914 January 1. 1915 January 4. 1915 " 5. 1915 " 6. 1915 " 7. 1915 " 8, 1915 " 9. 1915 " 9. 1915 January 12. 1915 " 13. 1915 January 14. 1915 January 18. 1915 " 19. 1915 January 21. 1915 January 23. 1915 January 27. 1915 February 1. 1915 February a. 1915 February 6. 1915 February 9. 1915 February 13. 1915 February 20, 1915 February'23. 1915 March 1. 1915 March 5. 1915 March 12. 1915 March 15. 1915 110 "Cabiria" motion picture Hackett's Vaudeville Headliners EXCUSE ME (farce) THE PARISIAN WIDOW (farce) Alvaredo Players MAN AND HIS MATE A FIGHT FOR MILLIONS OUR NEW MINISTER RIP VAN WINKLE THE CALL OF THE WOODS WHEN HEARTS ARE TRUE (matinee) TOO MUCH MUSTARD Motion Pictures of the European War Chicago Music Club. concert Heber Bros. Winter Circus THE CAT AND THE FIDDLE (musical) THE MISLEADING LADY ON HER HONEYMOON (comedy) Lyman H. Howe Moving Pictures MUTT AND JEFF IN MEXICO (musical comedy) A PAIR OF SIXES (farce) John W. Vogel's Big City Minstrels THE PRINCE OF PILSEN (operetta) UNCLE JOSH JENKINS (comedy) POTASH AND PERLMUTLER (comedy) SEPTEMBER MORN (musical) OMAR THE TENT MAKER Guy'Bates Post BUL BUL (Adrian High School Musical Production) THE MAN TREE (musical comedy) Whitney Stock Co. A COUNTRY BOY March March March April April April April April 16. 17. 18. 19. 20. 20. 22. 23. 27. 7. 8. 13. 27. 29. 1915 1915 1915 1915 1915 1915 1915 1915 1915 1915 1915 1915 1915 1915 May 8 o 1915 May 179 n 18' n 19. n 21. n 22' 1915 1915 1915 1915 1915 1915 August 26. 1915 111 WHY LINDA RAN AWAY A NIGHT IN CHINATOWN JUST PLAIN MOLLY ISHMAEL CINDERELLA (matinee) THE OUTLAW THE TIGER AND THE LAMB PEG 0' MY HEART Dr. T. Alex Cairn. lecture Wrestling Match-Ora Shay vs. Farmer Moore A FOOL THERE WAS (drama) Eugenie Blair Free lecture on Christian Science DAMON AND PYTHIAS (local production) HELP WANTED (drama) POMANDER WALK (Senior Class Play) Patti McKinley and Players THE GAMBLERS BOUGHT AND PAID FOR DON'T TELL MY WIFE THE SQUAW MAN ALMA. WHERE DO YOU LIVE? ITS A LONG WAY TO TIPPERARY UNCLE TOM'S CABIN (Kibble's Original Co.) P. THEATRICAL SEASON at CROSHELL OPERA HOUSE 1915-1916 September 4. 1915 September 6. 1915 September 1#. 1915 September 22. 1915 23. 1915 7. i915 8. 1915 9. 1915 10. 1915 11. 1915 PECK'S BAD BOY Alvaredo Players THE PRICE THE ROSARY THE WOLF THE COMMON LAW KINDLING PAID IN FULL TWIN BEDS (comedy) SEVEN KEYS TO BALDPATE September 2#. 1915 " 25. 1915 September 28. 1915 October 14. 1915 October 27. 1915 October 28. 1915 November 2. 1915 November322. 1915 November 27. 1915 December 7. 1915 December 13. 1915 December 20. 1915 " 21. 1915 December 25. 1915 January 1. 1916 January h. 1916 January 10. 1916 January 20. 1916 " 21. 1916 January 27. 1916 January 31. 1916 February 1 . 1916 February 9. 1916 February 12. 1916 February 18, 1916 " 19. 1916 February 22. 1916 " 23. 1916 February 26. 1916 March 6. 1916 HIGH JINKS 112 DON'T LIE TO YOUR WIFE (musical comedy) THE RAGGED MESSENGER (drama) UNCLE TOM'S CABIN (Harmount Co.) Lyman H. Howe Moving Pictures Ben Holmes HAPPY HEINIE (comedy) A PAIR OF SIXES (comedy) KILKENNY (musical) Fiske O'Hara Dixie Cotton Pickers (all black vaudeville) SCHOOL DAYS (Musical comedy) Herman Timberg MUTT AND JEFF IN COLLEGE (musical comedy) D.W. Griff ith's "The Birth of a. Nation" THE ROSARY THE NEWLYWEDS AND THEIR BABY THE REJUVENATION OF AUNT MARY May-Robson BRINGING UP FATHER (musical comedy) THE PRINCESS BONNIE? (musical comedy) local PYGMALION Mrs. Patrick Campbell (musical-Rudolf Friml) Mischa Elman. violinist DADDY IONG LEGS (comedy) AS YEARS ROLL ON Al H. Wilson "The Battle Cry of Peace" motion picture H H I. N N N I. Lyman H. Howe Moving Pictures HANPECKED HARRY (musical comedy) THE TRAIL OF THE IDNESOME PINE March 10. 1916 March 15. 1916 March 20. 1916 April 14. 1916 April 18. 1916 April 19. 1916 May 2. 1916 May 5. 1916 May 13. 1916 May 17. 1916 " 18. 1916 May 20. 1916 May 229 1916 August 24. 191 6 113 THE PRINCE OF PILSEN John W. Ransone THE SPRING MAID Citiiens Mass Meeting-sponsored by Chamber of Commerce Al G. Field Greater Minstrels IT PAYS TO ADVERTISE (comedy) ' Marie Sidenius Zendt. soprano (sponsored by Adrian College) DeRue Bros. Ideal Minstrels THE MELTING POT (senior class play) OMAR THE TENT MAKER Guy Bates Post Masonic Minstrels and Henry Ford's Hawaiians (local and professional production) PEG 0' MY HEART Minneapolis Symphony Orchestra THE MILLION DOLLAR DOLL (musical novelty show) Q. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1916-1917 September 1. 1916 September a, 1916 " 5. 1916 n 6’ 1916 n 7, 1916 u 8 1916 " 9: 1916 September 18, September 19. n 20, September 21. n 22, September 30. 1916 1916 1916 1916 1916 1916 October 2. 1916 " 3. 191 6 John W. Vogel's Big City Minstrels Charles J. Nevison and his Players THE SPIDER'S WEB THE WORLD AND WOMAN THE SCARLET LADY ON THE MEXICAN BORDER MISS NOBODY FROM NOWHERE JESSEE JAMES FAIR AND WARNER (farce) MY HONOLULU GIRL (musical comedy) 0 Lyman H. Howe Moving Pictures Democratic Rally "Ramona" motion picture October 15. October 16, October 21. October 28, October*29. November 6, i916 1916 1916 1916 1916 1916 November 10. 1916 November 13. 1916 November 20, 1916 December 5. 1916 December 9. 1916 December 11. N N I" I. 12. 13. 14, 15. 16' December 27. 1916 1916 1916 1916 1916 i916 1916 January 59 1917 January 12. 13. January 17. January 25. February 19 2. February 9. N 10. 1917 1917 1917 1917 1917 1917 1917 1917 February 14. 1917 February 159 1917 February 17’ 1917 February 239 1917 114 EXPERIENCE (allegorical drama) Hello Paris Company (vaudeville) A PAIR OF QUEENS (farce) Dan E. Richter. lecture on Home Rule and Prohibition Sam Small. lecture on Michigan's Water Wagon OF MUTT AND JEFF'S WEDDING SOME BABY (farce) "The Birth of a Nation" motion picture KATTNKA (operettaJVictor’Herbert) THE ONLY GIRL (operetta-Victor Herbert) THE END OF A PERFECT DAY (Irish romance) Kirk Stock Go. BEYOND THE LAW MARRIED IN HASTE THE NET THE LITTLE GIRL COD NEVER FORGOT TWO ORPHANS DARE DEVIL DAN Sunny South Go. (all Black minstrel/vaudeville) THE PRINCESS PAT (operetta4Victor Herbert) "The Crisis" motion picture MY HOME TOWN GIRL (musical comedy) THE GIRL WHO SMILES' (musical comedy) THE RUNAWAYS (local production) "A Daughter of the Gods" motion picture Lyman H. Howe Moving Pictures BUSY IZZY George Sidney THE MISSOURI GIRL COME BACK TO ERIN Walter Laurence March 14. 1917 March 16. 1917 " 17. 1917 March 23. 1917 " 24. 1917 March 31. 1917 April 9. 1917 April 13. 1917 April 26. 1917 " 27. 1917 May 5. 1917 May 11 i 1917 115 THE GIRL WITHOUT A CHANCE (drama) "The Girl Philippa" motion picture "20,000 Leagues Under the Sea" motion picture Overland Revue (vaudeville) PRETTY BABY (musical comedy) BRINGING UP FATHER IN POLITICS (musical comedy) Masonic Minstrel.Show (local and professional) MY KILLARNEY ROSE Al H. Wilson THE COLLEGE WIDOW (senior class play) R. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1917-1918 September 4. 1917 September 20. 1917 " 21. 1917 September 22. 1917 " 23. 1917 September 26. 1917 October 2. 1917 October 3. 1917 " 4. 1917 October 5. 1917 " 6. 1917 October 18. 1917 October 19. 1917 October 23. 1917 November 2. 1917 WATCH YOUR STEP (musical-Irving Berlin) HIS BRIDAL NIGHT (musical comedy) The Kilties Canadian Concert Band THE BIRD OF PARADISE (musical) WHEN DREAMS COME TRUE (musical comedy) A WHIRL OF PLEASURE (musicallcomedy) Advanced Vaudeville featuring Felix Herman Lyman H. Howe Moving Pictures VERY GOOD EDDIE (musical comedy) W.D. Kilpatrick. lecture on Christian Science PEG 0' MY HEART“ November 5. 1917 November 15. 1917 November 29. 1917 November 30. 1917 December 1. 1917 December 2. 1917 N 3' 1917 December 7. 1917 December 26. 1917 December 31. 1917 January 4. 1918 January 9. 1918 January 30. 1918 February 4. 1918 February 14. 1918 February 19. 1918 February 23. 1918 March 5. 1918 n 6' 1918 March 18. 1918 April 3. 1918 April 20. 1918 " 21. 1918 April 25. 1918 " 26. 1918 April 27. 1918 n 28' 1918 April 30. 1918 May 4, 1918 " 5. 1918 May 79 1918 .HELLO GIRLS 116 STEP LIVELY (burlesque) Guy Brother's Big Minstrels MUTT AND JEFF DIVORCED ONE GIRL'S EXPERIENCE (drama of white slavery) HENPECKED HARRY (musical comedy) D.W. Griffith's "Intolerance" motion pc. THE MAN FROM HOME THE ONLY GIRL (operetta-Victor Herbert) Big Vaudeville (Show at midnight) KATINKA THE NATURAL LAW (romance) UNDER PRESSURE (comedy) John Westley/Pauline Lord .KATZENJAMMER KIDS (musical comedy) Lyman H. Howe Moving Pictures OH BOY (musical comedy-Jerome Kern) A DAUGHTER OF THE SUN (scenic spectacle of Hawaii) KATCHA-KOO (local musical comedy) MARY'S ANKLE (farce) Winifred St. Claire Patriotic League of Lenawee County Rally "The Unbeliever" motion picture (with patriotic prologue by students from the high school) SOMEWHERE IN AMERICA (local military musical) "Cleopatra" motion picture with Theda Bara SOMEWHERE IN AMERICA "Lest We Forget" motion picture on sinking of the Lusitania (burlesque) May 8. 1918 May 11. 1918 May 12. 1918 May 1“: 1918 May 16, 1918 May 18. 1918 May 21. 1918 May 24. 1918 May 29. 1918 June 2. 1918 n 3' 1918 00 1+, 1918 " 5. 1918 June 9. 1918 June 20. 1918 June 23. 1918 July 14. 1918 July 15. 1918 July 21. 1918 " 22. 1918 " 23. 1918 " 24. 1918 " 25. 1918 " 26. 1918 " 27. 1918 August 1. 1918 " 2. 1918 " 3. 1918 August 10. 1918 " 11. 1918 AUSUSt 17’ 1918 August 29. 1918 August 31. 1918 117 SOMEWHERE IN AMERICA THE VOLUNTEER (drama of the war) Mrs. Basil Clark of Belgium. lecture on the war U.S. Navy explained and discussed THE MAN OF THE HOUR (senior class play) THE VOLUNTEER SOMEWHERE IN AMERICA SOMEWHERE IN AMERICA MY SOLDIER GIRL (military musical) "My Four Years in Germany" motion picture by Ambassador James W. Gerard "My Four Years in Germany" repeat showing Dr. Walton Hubbard. lecture on Christian Science U.S. Official War'Films Col. Omar L. Macklem. lecture on the war John W. Vogel's Big City Minstrels D.W. Griffith's "Hearts of the World" (with Dorothy and Lillian Gish) "To Hell With the Kaiser" motion picture "Carmen of the Klondike" motion picture AMERICA HERE'S MY BOY (drama) IN OLD KENTUCKY OH! JOHNNY OH! (musical comedy) 118 S. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1918-1919 September 18. 1918 " 19. 1918 " 20. 1918 October 19. 1918 November 16. 1918 November 21. 1918 November 22. 1918 November 29. 1918 December 26. 1918 January 29. 1919 February 6. 1919 February 11. 1919 February 26, 1919 March 7. 1919 March 19. 1919 March 20. 1919 " 21. 1919 March 24, 1919 April 5. 1919 April 11. 1919 May 6. 1919 May 8. 1919 May 16. 1919 May 21. 1919 May 29. 1919 SOMEWHERE IN AMERICA Wrestling MatchrOra Shay vs. Clarence Burgess Wrestling Match-Shay vs. Burgess Wrestling Match-Shay vs. Burgess MUT'I' AND JEFF IN THE WOOLLY WEST FLO-FLO (musical comedy) Lyman H. Howe Moving Pictures I'M SO HAPPY (musical comedy) Frederick V. Bowers Lyman H. Howe Moving Pictures ODDS AND ENDS (musical revue) Max Bloom THE KISS BURGLAR (musical comedy) SOMEWHERE IN ALABAMA (Sunny South Co.) FRIENDLY ENEMIES (drama) Yankee Doodle Minstrels in ARCADIA Col. Dan Morgan Smith. lecture on the World's War and Fields of France MISS BLUE EYES (musical comedy) PARIOR BEDROOM AND BATH (farce) BRINGING UP FATHER AT HOME (musical comedy) THE MILLION DOLLAR DOLL (musical comedy) LADY WINDERMERE'S FAN (senior class play) FANNY AND THE SERVANT PROBLEM College) (senior class of Adrian Frank.Bell. lecture on Christian Science Public Mass Meeting, lecture on Industrial Problems . (to promote Adriane Homes co.) August 16, 1919 August 30. 1919 119 PECK'S BAD BOY THE MILLION DOLLAR DOLL IN PARIS T. THEATRICAL SEASON at CROSWELL OPERA HOUSE 1919-1920 September 17, 1919 " 18, 1919 October 7, i919 October 9, 1919 December 24, 1919 KISS ME AGAIN (musical comedy) Frederick v. Bowers THE CAPTAIN AND THE KIDS (musical comedy) A RUSTIC ROMEO (musical presented by Adrian Boy Scouts) "The Heart of Jaunita" motion picture (marks the Croswell's opening as a theatre devoted exclusively to the movies.) 120 BIBLIOGRAPHY Bald, Clever F. Michigan in fiuggenjurjigs. New York: Harper and Brothers, 1951*. Brockett, Oscar C. and Findlay, Robert R. Centggy;9f Innovation; §=History of European and American_Theatre and Drama Since igzg. New Jersey: Prentice-Hall, Inc.. 1973. Cooke,‘Hashington. "A History of the Croswell Opera House" Diss. Ohio State University. 1932. Dunbar, Willis Frederick. Michigan Through_the Centuries Vol. II New York: Lewis Historical Publishing Co. Inc.. 1955. ------- . "The Opera House as a Social Institution in Michigan" Michigan History XXVII, 1943. Fuller,George Newman. Economic_and Social Beginnings of Michigan Lansing, Michigan: Hynkoop Hallenbeck Crawford Co.. 1916. Hughes, Glenn. A History Of the American Theatre 1700-1950. New York: Samuel French, 1951. Hoyt, Harlowe R. Town Hall Tonight. New York: Bramhall House. 1955. Shanower, Donald Thomas. "A Comparative and Descriptive Study of Three Opera Houses in Southern Michigan 1880-1900" Diss. University of Michigan, 1960. MICHIGAN STQTE UNIV. LIBRRRIES 31293101229197