‘ . . . , . . . I; } . . _ _ A . , , n . i . . o.v ;. .‘ ._ ._ . _ , . ..‘o.o‘v_;"q 3' .‘j.‘. ”1." "A; Iv~i\Oo ‘, y“- ‘1 ,w .‘.-_.-l .'., ._ ‘... \ f .- ’ o «2’ m‘iwgéi4 A RESTORY OF LEGITIMATE‘ DRAMA-IN THE- COPPER comm-01:. MICHIGAN FROM 1~9oq TO 1910 wxm spscmswov or THE -- mums? mama ' 11:03in the Dog-co of MA. .. MQCHEGAN STATEUNWERSETY Mabei WinnefiaigOas ., €955 ' ' INIIIIIIIHHHIUI 1W! llflllfllfllflllllfl WWW/Ill : 3 1293 10 1834 This is to certifg that the thesis entitled A History of Legitimate Drama in the Copper Country of Michigan From 1900-1910 With Special Study of the Calumet Theater presented by Mabel W. Oas has been accepted towards fulfillment of the requirements for LA; degree in __S_pe_°ch__ XWM Major professor Date 0-169 .I._ 3 ~ Is a: t ’7' £133, -’L '2“ $3 $ 1 Kim 14 I994 A HISTORY or momma mm m m oorm comma! or 1110mm mom 1900 10 1910 um snow. 32mm or m mum mun By Hebe]. Iinnette One A THESIS Su‘lldtted to the Schoel of mu Btudiee ef Elohim State Univereity e! Agriculture end Appned Science in pea-tie). man-eat .: the require-nu fer the deaee er mm or A!!! Depart-eat ef Ipeeoh 1955 ACK NOLLED GIEKT S The author wishes to express her deep and sincere gratitude to hr. Donald 0. Busll upon whose suggestion this study was undertaken and under whose helpful guidance the thesis was written. Appreciation is extended also to Dr. Hugo David and Dr. Roger Busfield Who served on the thesis committee and aided with construc- tive criticism of the manuscript. To Miss Madeleine Gibson, head librarian at MiChigan College of Mining and Technology at Houghton Where much of this research was done, go the author's thanks for her seemingly unlimited courtesies and kindnesses. The author expresses her appreciation to Dr. Wilson B.Paul and members of the speech department who have made her graduate study at hichigan State University a stimulating and enriching experience. To her family the author extends unbounded gratitude for only through their faith and encouragement has this goal been.attained. li£‘()(\ ‘Ifi -.. r. . ‘ '— .‘ ‘5 '~ ‘J \Jl'qu 1‘.) l([[|[[[.{[.[u[[[[ll"lll A HISTORY OF LEG-12m mm IN m COPPER comma! 01' MICHIGLI IRON 1900 1'0 1910 I123 SPECIAL STUDY 01’ TH! GARNET THEATER By label Iinnette Oee Ll 1332310! Inf-“ted to the Beheel e1 Graduate Itudiee of Hichipn State University of Agriculture and Applied. Science in partial fulfillment er the requirements for the decree et “ETIENNE Department e1 lpeeeh You 1955 Amom jW ABSTRACT the purpose of this study is to show that in the Copper Country of the Upper Peninsula of Michigan there existed at the beginning of the twentieth century a decade of extensive and varied theater ac- tivity. To the modern opera houses at Calumet and Hancock cane pro- fessienal touring companies of high nerit. Outstanding stars such as Richard Mansfield, Otis Skinner and ladano KodJesha perfornod there. An investigation of the historical background of the region as set forth in Chapter I reveals the industrial and sociological factors which contributed to an interest in the theater. The develop- aeat of copper lining throughout this leveeaaw peninsula during the nineteenth century brought people of wealth and culture froa lastora metropolitan areas as well as i-igrants froa Europe. he gradual blending of diverse nationality groups into a unified Anericaa con- unity prenpted a coma desire for entertain-eat. The fulfillment, of this need as portrayed in Captor II. no not by the building of a nunicipol opera house at Calumet in 1900 and the Korrodgo Theatre at Hancock in 1902. Chapter III establishes the fact that receptive audiences and excellent playhouses attracted professional touring companies of bid: quality to the Copper Country. An intensive study of the Calunet i'hoater reveals a total of over eight hundred perfer-nces during the“ 1900 - 1910 period. An analytical survey of the plays, the stars, and the cellpaniee which appeared there reflects the picture of the horicaa theater at large. Shakespearean productions were presented as were the plays of Ibsen. Barrie and Pinero. A growing interest in native American dream my be detected in the numerous performances of plays by Clyde I. l'itch, George Ade and James A. Horne. Outstanding personalities of the American stage played there as did popular actors of lesser enduring fame. the theater fare was varied. Legitimate dram was supplmnented with musical shows. vaudeville. and minstrels. Threw an analysis of the plays, the actors, and the touring companies the general transitional trend of the American theater under the encroach- ing influence of commercialism and moving picture industry is detected. In the final chapter an approaching decline in legitimte dram is forecast. Although it was to be supplanted by moving pictures and other forms of entertainment it had made a lasting contribution to the life of the Copper Country. THE COPPER COUNTRY - By William J. Messingham Sequestered here in hidden vale These towns reveal a charming tale; They do not lie, they do not stand, They cling for there is naught of level land. Here cross one promontory free Extending far into the sea.... 'Tis Keweenaw, soft Indian name, That gave this copper world wide fame. Frontispiece THE CALUMET THEATER Calumet, Michigan Opened.March 20, 1900 ll‘[[..(ll|lll‘[[ {{([{[.l‘ l llll‘l‘tll‘l‘ll llll' Ill l1.ll| A t cum I II III IV APPENDIIA....... namm.... an MS . . run was GDNCIMSIOI . . . APPIIDII)...... BIBLIOQAHY..... rumor COW” LIST 01' IIGURES TIMI PAH lrontispioco - The Calumet Theater. Calumet Michigan, oponodllarcheo, 1900. . . . . . . . . . . l. The lorrodge Theatre. Hancock Michigan, opened Beptensber5,l902................. 22 2. Progrn Shahspeare's. 1h; 122...!» opening performance at the Iorredgo Theatre, Hancock, Michigan . . . . . 38 3. maybill for grand opening of the Kerrodge Theatre, Hancock, lichigan, September 5, l902 . . . . . . . . M} h. A llodorn Audience enjoys the golden anniversary of the opening of the lerredge Theatre, Septuber 5, 1952 5% MI BACIQOUID A HISTORY OI LEGITIMATE DRAMA IN THE COPPER COUNTRY 01' MICHIGAN FROM 1900 TO 1910 11TH SPECIAL STUDY 0! THE CALUMET THEATER CHAPTER I BAMGROUNID The annals of itichigan theater history record man interesting events but none more exciting than the story of legitimate dram in the Copper Country. To this remote northern section of the Upper Pen- insula came the elite of the American stage. Richard lansfiold and Otis Skinner, lladane HodJeehn and Lillian Russell played before the foetlights of its modern opera houses. More than eight hundred per- for-aces were given in one theater alone during the first decade of the twentieth century} To preserve a picture of theatrical activities which flourished from ISOO to 1910 and to recapture a s-blance of the spirit nhich prompted a love of dra- in that frontier region of lichigan, is the dual purpose of this study. A survey of the history and social background of the Copper Country is necessary to a clear understanding of its theatrical hey- day. No institution arises full blown at any given time or place without having been shaped by underlying forces to its final fruition. In order that the segment of theater history under consideration may 1"Lager, Financial Record of Calmot Opera House. 1900-191?. lichael Btucel. City Clerk, Caluet, lichigaa. 2 be clearly understood, the first chapter will recount briefly the de- velopment of this copper mining region along economic and cultural lines. Subsequent chapters will describe the physical facilities which attracted high quality talent, the plays and actors who perfonnp ed in these theaters, and the influence which a decade of legitimate theater left. Paradoxical as it may seem, the Upper Peninsula, Michigan's last frontier, was the scene of her earliest explorations. When Jean Nicolet in 163“ sought a shorter route to China.he traversed the northern shore of Lake Iidhigan to find not the barbarous hordes of Tartary but the naked savages of the Chippewa Indian tribe.2 Then followed to this region the missionary, the explorer and the fur trader, each lured by'a goal which in its attainment left a lasting impression on the vast wilderness. A.political incident in 1836 known as the Toledo war made the Upper Peninsula a part of Michigan in exchange for a lake port fer Ohio. The vast unknown wilderness to the north was as a thing apart to the young commonwealth. The politicians of that day could little envision.a time when this sterile region on the shores of Lake Superior would become the world's richest source of lumber, iron, and copper. Yet soon after the territorial transfer Michigan had gained in natural wealth.many tries what it had lost, for the despised wilderness was destined.within fifty years to prove itself a repository of 2 Halter Havighurst, Thg_Logg Ships Passing. (New York: Mac- millan Co., l9h2), p. 5. O 3 the richest and most extensive copper deposits of the century, as well as of iron ore.3 'Upper Peninsula taxes have poured into Michigan's state treasury two hundred times the amount the Toledo strip has paid to Ohio. In this vast area which became a part of Michigan through political accident is found.the Copper Country. A.pointed finger of land, known as the Keweenaw Peninsula Jute almost a hundred miles into Lake Superior about midway between its eastern and western extremities. This rugged, elongated terrain is in places only twelve miles in width and is characterized by'a spine of copper-bearing rock. Here was en- acted in the 18M0's the first mining boom on the Nerth American con- tinent.” From this point emigrated the h9'ers to a stronger glitter of gold.at Sutter's Mill than existed in the copper veins of Kewesnaw. Here in the century that followed grew up an isolated, highly industri- alized group of communities, heterogeneous in their social background yet closely linked together in their mutual interests and aspirations. At the close of the nineteenth century the Copper Country was not a traditional western.mining camp but rather a permanent, iolidly established community of good homes, excellent schools and churches and a well developed economic life. Families of second and third gen- eration formed the bedrock of the social strata. Many people from Boston, Pittsburgh, and other cities in the East had.arrived during 3C. Harry Benedict, gggLMetal. (Ann Arbor: University of Michp igan Press, 1952), p. 2. . “F. Clever Bald, Michigan ig.Four Centuries. (New York: Her. pers, 195%), p. 23“. the first copper boom in the l«I-O's inspired by geological findings of the young scientiest, Douglass Houghton. They brought the capital with which to develop the resources of this region, and the culture which was to maintain an ordered way of life. Those days of the 90's were times of opulent living in the Copper Country. Houghton was the social seat of the mining com- munities and here an upper strata of society held sway in much the same but gbbreviated way as did New York's “+00" under the Astor regime. The earliest mining developments took place in the extremities of the range, near Copper Harbor on the north and at Ontonagon and Rockland on the southwest, where'solid msses of red metal were un- covered in their natural state. The vast middle section around Portage Lake, completely by-passed in the early days, was to await a different technological approach in the 70's and 80's. It remained for men of energy and wisdom such as Ransom Sheldon, Quincy Shaw, and C. C. Douglass to set in motion the currents which led to the discovery and development of the deep—lying conglomerate ore bodies around Houghton, Hancock and Calumet. Once activated, these mines became the center of the industry while the earlier developnents dwindled and their workers turned to other pursuits. The barriers of isolation and distance challenged these pioneers. Yet nature, as if in compensation for the hardships presented, lent an assisting hand in making the region accessible. Cradled between SHothon Daily Mining Gazette (Houghton, Michigan, April 9, 1952. 5 the steep, copper-bearing cliffs lay elongated Portage Lake, tapering to narrow channels which entered Lake Superior on either side of the Keweenaw Peninsula. Here the lake steamers from Buffalo entered, bringing settlers from.the East as well as immigrants from across the seas. Here, too, the ore could be loaded onto freighters which bore it directly to eastern markets. When railroads penetrated.the north- ern wilderness in the latter part of the century they were attracted to the region by the well-established "copper cities” of Houghton, Hancock and Calumet. In these communities a definite stratification of society ex- isted. The mining companies, which were organized and operated by Eastern capitalists, had brought in an educated class of people nho were cosmopolitan in their tastes. in influx of professional people-- doctors, lawyers, engineers and architects-followed. Merchants, brokers and business men of all types arrived. well—trained school executives and teachers came. Michigan College of Mining was estab- lished at Houghton in 1886, and Suomi College at Hancock in 1898. it Calwmet a business college was founded. It was from.this group of people who had a background of Eastern or European culture that the desire for theater was to arise. These were the people who built the mansions still standing in Houghton and Calumet today and staffed them with servants newly arrived.in.America. The mining industry attracted.also large numbers of immigrants. These people came from widely differing European backgrounds and set- tled in little nationality groups in the copper region. The tin miners b from Cornwall and Wales brought the know-how which made them captains and bosses in the copper mines. Their Cousin Jack and Cousin Jenm' traditions still linger throughout the Upper Peninsula. The Germans, the Irish, the Italians, and the Finns arrived by shipload in response to unrestricted imigration laws and mining agent promoters. In 1881 Governor David H. Jerome asked the Legislature to establish a commis- sion of immigration. 1. pamphlet, "Michigan and Its Resources" was translated into various European languages and widely distributed abroad. It attracted thousands of immigrants and many of these north- ern Europeans chose to settle in the Upper Peninsula where wages were slightly higher and where climate and industry were akin to those of their homeland.6 Many people from Finland found their way to the Copper Country. A steady stream of Finns arrived each year throughout the 90's but in 1900 the number rose sharply. The United States Immigration Bureau announced that about 55,000 people were preparing to leave Finland in the spring and that most of these people would settle in Northern Mich- igan, Minnesota and Wisconsin. These people are leaving their country because of persecution by the Russian government. They expect to become citizens of the United States.7 The copper country welcomed many of these Finnish migrants who set- tled in or near Hancock where their own Suomi College was located. 63am. 22- air.» p- 295. 7Hogéton Daily Mining gazette, Jan. 9, 1900, p. 3. 7 These people who came to the Copper Country were not the roving prospector transient miners, later popularized in Western movies. They came to establish themselves in a new order of life and their roots 'were permanently planted. They found employment with companies such as the famous Calumet and.Hecla; they learned the language and took out citizenship papers; they sent their children to public schools which broke dOWn nationality cleavages; they enjoyed.a standard of living in company-owned.houses superior to anything they had dreamed of; they enjoyed.hospital and health protection. In short, they worked and prospered under a system characterized as "benevolent paternalism”. At one time Calumet and Hecla Mining Company owned over a thousand houses which were rented to employees at approximately one dollar per room.per month, including water supply.8 Many miners owned stock in the company. They paid regularly into an aid fund which then liquida— ted in 1928 had paid out $2,500,000 in death and sickness benefits. Only the great strike in 1913 saw any serious labor difficulty, and it is generally agreed that that trouble was fomented by outside union leaders. That these people should seek an entertainment outlet to counter- balance the monotony of their daily activities is a natural assumption. This was before the age of moving pictures and radio. Their working day was long and tiresome and the winters were cold and bleak. The nationality groups held together due to their common culture and 8Benedict, 2p, 9_i_t_., p. 21%. I | I 1" ‘I l- ‘I I] I l ‘v III I l I III 8 language backgrounds and sought within these boundaries to perpetuate their own special interests. The Welsh had their singing societies, the Cornish their famous wrestling matches, the French a dramatic society which produced plays in their native language, the Germans and Finns their Saengerfests and Choral Festivals. Yet on the Fourth of July all Joined tagether in a glorius callithumpian parade and cele— bration. Forces were at work which gradually but surely replaced the old world interests and welded these diverse groups into an American community. The new century brought many signs of prosperity and future de- velopment to the Copper Country. Houghton and Hancock were extending their city limits. Two daily newspapers were published in the area. New hotels, homes and business blocks were built. An electric railway which would bring these towns together through interurban service received its charter. Newspapers began advertising typewriters, tele- phones, and electrical service. For the first time the human voice was carried by long distance telephone from the Copper Country to Detroit and Lansing. The outside world was beginning to realize that in the Northern wilderness was a little copper kingdom replete with the essentials and many of the luxuries of modern civilization. Im- proved transportation facilities brought further proof of this impres- sion. Prior to this time the area had been served by the Copper Range Railroad, a local line which ran connecting spurs to the Duluth, South Shore and Atlantic Railway, the main road between Duluth and Marquette. 9 Roundabout connections to Green Bay and Milwaukee also were possible. In December, 1899, however, daily overnight service from the Copper Country to Milwaukee and Chicago was established. The captions "first class service", ”latest pattern sleeping cars" dispelled the feeling as well as the fact of isolation. Improved railroad service was the needed link to unite this area with traveling theatrical talent. The turn of the century saw here an unprecedented era of growth and prosperity. Calumet was a community of over 50,000 population. Houghton and Hancock, fifteen miles to the south of it, were twin cities separated only by the half-mile long bridge across Portage Lake. Each had a distinct personality and strong was the healthy rivalry existing between them. Yet this very rivalry was an impetus to each one's maximum development. At a meeting in late December, 1898, the Calumet village council was faced with a problem So much money had accumulated in the city treasury that they must decide how and where to spend it. None of the traditional needs confronted them. Streets were paved and lighted, the fire and police departments were fully adequate and handsomely equipped. No need for a park or city library existed, for the Calumet and Hecla had provided these. How then should they spend the surplus of $50,000? One councilmn who had been reared in Boston ventured an opinion, ”What Calumet really needs is an opera house. This isn't a Klondike town."9 The other councilmen were enthusiastic over the idea. 9Angus Murdoch, Boom CopEr. (New York: The MacMillan Co., 1918), p. 151. 10 Their city had.passed through its dance-hall, boom-town days and.had now come of age. It was ready for culture. A Detroit architect was engaged.immediately; plans and actual work took over a year, but on March 20, 1900, a handsome three-story structure adjoining the city hall was completed and opened as one of the first municipal theaters in the United States. The building of opera.houses was not as much of an innovation in American cities and villages as the above might indicate. Beginning in the seventies, nearly every town sooner or later had.a building or hall in which plays or other entertainments were held. The name opera house was not exactly descriptive, for operas were seldom heard even in.the cities. It was adopted because it sounded cult and because the term theater was dis- tasteful to many persons. Often the opera house was the second story of a business building. ‘It had a stage and usually the barest of equipment. Yet besides its use for local entertainment, concerts, and lectures, traveling professional companies could and did play in it, much to the delight of capacity audiences. Nor was the Copper Country without its earlier opera houses as will be shown later in this discussion. Almost every village had its public hall where local and imported talent performed. Traveling stock companies had played in these occasionally despite the isolation and inaccessibility of the region. John E. Earner, manager of the company which presented Clyde Fitch's Nathan Hale starring Howard.Kyle, at the new Calumet theater on June 7, 1901, told of having played in lewd. 220 at... P. 311. ll Calumet and Houghton in 1868, as a member of a troupe which featured John Dillon. Three years later, in 1871, he toured the same region in a minstrel show. He was amazed at the contrast of that early day and 1901, surprised at the size of Calumet, and spoke in glowing terms of both the present theater and the audience.11 Otis Bowers, a mem— ber of Bowers and Bushby Minstrel Company which appeared in Calumet March 29, 1900, recalled having played in the old Red Jacket Opera House at its opening performance given by Bosch and Bowers Minstrels in April of 1887. Yet these early cpera houses were used primarily for local purposes and relatively few theatrical troupes found their way to them. . With the opening of the new opera house at Calumet and the demonstration that high quality talent could be attracted to the Copper Country, neighboring comunities became aware of their inade— quate facilities. Even in Laurium, a village of 10,000 people, with an assessed valuation of $3,000,000 located only a mile from Calumet, this feeling sprang up. The local press of June 1, 1901, carried the headline MODERN THEATER MAY BE ERECTED. The article reported that a group of business men were forming a company for financing the erec- tion of a modern playhouse. Our present hall is inadequate. It is nothing but an old barn ...with no stage facilities. Few shows play here each year and companies never return. Laurium is badly in need of a modern and up-to-date playhouse and the sooner one is built the better for the town and comunity.12 1:l-Houghton Daily Mining Gazette, June 8, 1901, p. 6. 121mm, June 1, 1901, p. 8. 12 Houghton and.Hancock likewise were acutely aware of the need. Groups of citizens in both towns began promotions for a first class opera house. In.Houghton, repeated attempts were made to form a com— pany of business men to erect a theater. Apparently the conservative element dominated for sufficient capital was never available. In February of 1900 there was agitation for remodeling the Armory so that a larger, better-equipped stage would permit traveling companies to use their own scenery which was impossible in the then cramped playing space. With a good-sized stage here, as well as at Marquette and Calumet, they (companies) could afford to make this territory while enroute to the Pacific Coast. Boughton has the reputap tion in New York and Chicago of being one of the best show towns in the state and with a first-class opera house there is every reason to believe that some of the best companies on the road would come.13 Four days later the city council met in special session to consider plans for a proposed addition to the city hall for an up—to-date opera.house as presented.by the architects Charlton, Gilbert and DaMar. The need was stressed but no action was taken. The town needs it badly. Every other town of this size has one or is getting it. Why not HoughtonT1n Less than a half mile across Portage Lake similar currents were at work in.Hancock. It was rumored.that a Bay City firm was attempting to secure a 99—year lease on the Germania Hall property with a view to erecting an operahouse.15 Both Hancock and Houghton 13Ibid., Feb., 9, 1901, p. 8. lunide. Feb. 13, 11.3. 151b1d., Feb. 13, p. 3. 13 were impressed with the success of the Calumet theater as they saw the superior type of entertainment being booked there weekly and the enthusiastic reception being accorded these quality companies. Spec- ial trains were run from nearby towns to accommodate the crowds which wished to attend. The interurban, nearing completion in 1901, would further increase the patronage. There was a golden opportunity for fine theater in Houghton and Hancock if only facilities were available. William Kerredge, a progressive hardware merchant and civic- minded member 'of the city council, personally found the answer. On January 7, 1901, he purchased from St. Patrick's Society the then only existing public entertainment house in Hancock known as St. Patrick's Hall, which was located on one of the town's most favorable business sites. The purchase price was $18,500. He announced immediately his intention to replace this building with an elegant, modern, up-to- date opera house. The press notice of March 11+, 1901, reflects the welcome with which the public greeted this information. Hancock is to have an opera house, one of which the people of the twin cities may well be proud. It is to be erected and owned solely by William Kerredge, the Quincy Street merchant. Mr. Ker- redge informs the Mining Gazette that he has already ordered architect B. H. Pierce to make plans for the new playho se and that work will be commenced on it as soon as possible.116 Then followed a description of the proposed theater ending with the assurance that the opera house will be fitted in such a manner as to make it one of the best playhouses in the Upper Peninsula. Mr. Kerredge expects to spend between $00,000 and $75,000 on the p1ace.17 16Ibid., March in, 1901, p. 3. 17Ibid. 1% Mr. Kerredge, his son Ray, who became the manager of the new opera house, and.B. H. Pierce, the architect, went first to Calumet to inspect the new theater there and to confer with Manager John D. Cuddihy. These two theaters from.the very first tended not to operate in competition to one another but rather to work on a cooperative basis. Both managers saw the benefits of mutual effort in striving for high class bookings. They realized that there was room for both and enough people to support two first class show'houses. Careful planning and caution.marked the steps with which Mr. Kerredge proceeded. A.tour of inspection to Chicago, Detroit and other Midwest cities made him familiar with latest designs in theater con- struction. He announced that he would continue to operate St. Patrick's Hall until the following autumn, thus giving his son.Ray an opportunity to work in theater business before assuming management of the flaw Ker- redge. On February 18, 1902, the contract was awarded to Gauthier Bros. of Hancock.and work.began immediately. The contract stipulated that the theater was to be completed by August 25 of that year which would permit an early fall opening. Ray Kerredge began almost simultaneously with the breaking of ground to make bookings for the fall and winter season. The early commencement of work upon the site first announced by the Mining Gazette will satisfy the people of Hancock for the longblookedpfor opera house. Thanks to Mr. Kerredge it at last it to become a reality.18 181bid., Nov. 30, 1901. 15 Plans and work proceeded on schedule. The new opera house was completed in August. When the fall season opened the people of the Copper Country had available for their theatrical entertainment two fine modern opera houses, the Calumet and the Kerredge, in which dur- ing the next decade were to appear many of the finest attractions on the American stage. mu mm CHAPTER II THE THEATERS As indicated in the first chapter of this study, opera houses did exist in the Copper Country of Michigan prior to 1900. The physical facilities they provided, however, were inadequate to attract first class traveling companies. This chapter will survey briefly these older theaters and describe in detail the two new ones, namely the Calumet Opera House and.the Kerredge Theater at Hancock, whose excellent equipment made possible the performance of the plays to be discussed in Chapter III. The older so-called opera houses which developed in.most Copper Country towns during the last quarter of the nineteenth cenp tury were in reality town or community halls. Used primarily for political rallies, concerts, lectures, and home talent plays, their temporary seating arrangement permitted conversion into dance halls and reception rooms for the huge wedding festivities common in those frontier towns. Although each had a small curtained stage, it was thoroughly inadequate and ill-equipped for the production of plays. The old.Red.Jacket Opera House in Calumet, which opened in 1887, was located in the second story of the city building. Laurium had a meeting place called the Italian Hall. Five miles from Calumet the thriving mining town of Lake Linden had an opera house in which small traveling troupes frequently played weekhlong engagements. St. Patrick's Hall in Hancock served that community until 1901 when William Kerredge began the erection of his new playhouse on its former site. 17 In Heughton the public entertainment place was the Armory Opera House, owned by the local militia and equipped with a stage where home talent and stock company plays were performed. Yet these opera houses all were poorly suited to the needs of professional companies. Complaints to this effect were frequent. There has been considerable talk in Houghton during the past year about a new and.upsto-date opera house for the city....The trouble with the Armory is that most of the larger companies can- not use their scenery in it. This has a bad effect on the show.19 Audiences of 1900 were fascinated with the technical phases of play production such as lighting, scenery, costumes, and off-stage ef— fects. Often these were featured in newspaper advertisements and bill- boards above the merits of the play and the actors. In a review of Devil's Auction, which played in the Calumet Theater shortly after its opening, the audience interest in scenery was shown. For the first time Calumet has seen a genuine spectacular show, and for the first time in the history of the Copper Country have traveling theatricals been offered the opportunity of displaying a carload of scenery upon a stage. Devil's Auction has appeared here before but was always obliged to leave its scenery in the railroad yards. Tuesday night every piece carried by the cogsany was displayed and the result was a grand spectacular effect. Advance publicity for Faust, which appeared in Calumet on Octo- .ber 6 of that same year, noted that Porter J White, manager, carried 16,000 feet of electric wire, eight calciums, and almost 20,000 square feet of scenery, all of which would be seen in his production of Faust?1 lgflbughton Daily Mining Gazette, Feb. 9, 1900, p. s. 201bid., May 3, 1900, p. 5. 211bid., Oct. 6, 1900, p. 5. 18 Copper Country audiences of that period were as intrigued with these trappings of the play as were the old Greeks with their deus 2;,machina. With older opera houses lacking stage facilities for the use of spec- ial scenery, as well as switchboards for effective lighting, audiences felt a need which only better equipped opera houses could supply. The opening of the Calumet opera.house in March, 1900, ushered in a new era of legitimate drama in.the Copper Country. Built as a municipal theater at a cost of almost $70,000, it belonged to the people as truly as did the public schools, the water and light systems, and the streets upon which they walked. A deep civic pride reflected itself in the press notice announcing its completion: The opening will be the greatest social event ever known in cop- perdom's metropolis. There will be no complimentary tickets is- sued for the first performance of the new Calumet Theater. The council, the press, and everyone else will have to put up the coin if they desire to see this theater in all its glory on the night of March 20. An auction sale of seats will take place at the council chamber in the fire station at 2 o'clock tomorrow afternoon. About every leading business man in the city has placed a commis- sion with someone or other to bid on from two to a dozen seats at whatever the cost. The opening performance will be a big affair socially. The wealth, culture, beauty and refinement of copperdom.will be there to do honor to the occasion and the performance. The Highwaymen is an attraction worthy of their patronage. Never in the history of the Copper Country has there been such a gathering of fashion- able folk as will be seen at the theater on this occasion. The people's pride in this new theater was well-founded. De- signed by the local architect, D. K. Shand, the theater occupied a large separate unit of the municipal building on Sixth Street. Its pleasing exterior featured a columned marquee which was brilliantly 22mm, March 12, 1900, p. 5. 19 illuminated by electricity. The interior, with its overall plan based on the best 1900 knowledge of theater design, was comparable to showb houses in.metropolitan.areas. The theater had a seating capacity of about 1200 - M19 in the parquet, “00 in the first balcony, and 380 in the gallery. The grace- ful curving lines of the horseshoe shaped balcony and gallery were pleasing not only from an aesthetic standpoint. Architecturally, they indicated a type of support which eliminated view-obstructing columns on the main floor. Four boxes, two on either side of the stage, were of pleasing design.and elaborate appointments. Smooth lines of horseshoe curved contour characterized the proscenium.arch which was 32 feet wide and 28 feet high at its mid- point. Noticeably different was its simplicity of line and decoration from the ornate picture-frame style of stage opening in vogue during the Victorian era. Above the graceful curve of this arch on the grad- ual slope of the ceiling were murals representing the five arts—- painting, music, drama, poetry, and sculpture. A copper, spheroidp shaped chandelier brilliantly illuminated with over a hundred electric lights was suspended from the vaulted ceiling. This copper chandelier was the pride of early theater audiences. In 1918 when heat from a backstage fire poured forward into the ceiling area and damaged the chandelier, people were bitterly disillusioned to find its interior a dark base metal rather than the pure solid copper they had believed it to be.23 23Personal interview with Mr. St. Germain, present Manager of the Calumet Theater, June 1%, 1955. 20 A gradual five foot fall in floor elevation from.the rear to the orchestra pit was achieved by a tier arrangement of seats. The aisles, however, were on a gradual continuous slope. Opera chairs of the latest design, upholstered in green Weldorf tapestry, were fur- nished by the Heywood.Manufacturing Company of Chicago. William Eckert, also of Chicago, was awarded a contract for the interior decoration of the theater, exclusive of the scenery, for a sum of $2,680. The general color scheme he used was a pleasing comp bination of crimson, gold, and ivory. Plastic relief work in Ben. aissance style ornamented the proscenium, the grills of the boxes, and the curving contour of the balcony and gallery. Pbrtieres, valances, and draperies were in empire green. The whole when completed presented one of the finest interior decorations to be found in theaters anywhere on the American continent.2h The stage was the strongest focal point of local pride. It measured 66 feet in width, 28 feet in depth, and 60 feet in.height. Fly galleries were separated by a distance of “8 feet, while the galleries themselves were thirty feet above the floor of the stage. Eight dressing rooms were located under the stage and four star dress- ing chambers, two on either side, were placed in the area over the boxes. A trap door arrangement on the stage floor served both utili- tarian and dramatic ends. It provided elevator service for lowering wardrobe trunk: and heavy equipment to the dressing and property rooms 21“Hought_gn_DailzygMiningGazette, Dec. N, 1899, p. 5. 21 below the stage and also was the device for executing disappearing acts found in.many of the plays performed at that period. Howard Tuttle, scenic artist of Milwaukee, built and painted the elaborate stage scenery for which he received $3,000. Several of these ornate sets and drops may still be seen today. They exist in a remarkable state of preservation after fifty-five years, gathering dust and.memories in the darkened backstage area of a present-day movie theater. Their ghostly presence bespeaks a glory of legitimate drama long since departed. On the opening night of the Calumet Theater, March 20, 1900, all twelve hundred seats were occupied. Before the curtain was raised for the first time Captain W; E. Parnell of the Calumet and.Becla Mining Company stepped from.his box and.congratulated the people on the magnificence of the new playhouse and their good fortune in secur- ing it at such a comparatively small cost. The audience testified to their appreciation by long applause. Press comments the following day aptly expressed the prevailing public sentiment: At last the amusement-loving people of Calumet and the entire Copper Country have experienced the realization of a hope long entertained-the opening of a modern theater. This city has dede icated a theater which is the peer of any like building in the northwest..... ' Calumet boasts of N5,000 people and among them are two or three thousand who love the drama and opera, but they have been denied the pleasure of seeing either dramas or operas of note because there was no playhouse wherein a company of standard reputation could be induced to appear. Now there is every probability that the higher class performances will visit our city, and be liberally patronized too. 5 251mm. March 21, 1900, p. 5. Figure l. The Kerredge Theatre Hancock, Michigan Opened Spptember 5, 1902. 22 23 2M As shown in the first chapter of this study, the establishment of the new opera house at Calumet demonstrated to other Copper Country towns the benefits of an adequate theater. Efforts to obtain addition- al first class playhouses culminated in the building of the Kerredge at Hancock during the following year. Here individual enterprise re- sponded to a community need in contrast to the group effort at Calup met working through municipal channels. ‘ The Kerredge was erected on Quincy Street, on one of Hancock's most favorable business sites. It replaced the old St. Patrick's Hall which had long stood there. Its comparative nearness to the Portage Lake bridge connecting the twin cities made it easily acces- sible to Houghton and in the succeeding years its patronage drew heavily and equally from both towns. The original plans for the Kerredge as drawn up by the archi- test, B. K. Pierce, in 1901 underwent modification in the interim of several month's delay. Originally Mr. Kerredge planned a $00,000 or $70,000 theater, but the final cost was slightly over $10000. The additional services of Oscar Cobb and Sons of Chicago, who specialized in theater design, were engaged. They patterned the Kerredge Opera House very closely after the Illinois Theater in Chicago which they had designed Just previous to this time. The building was 50 feet by 120 feet in size and constructed of wood with brick veneer. It was planned solely for the theatrical purposes. Much attention was given to ventilation, illumination, and acoustical qualities. The main entrance on Quincy Street featured a 25 broad circular portico. Inside the entrance was a spacious lobby con- taining the ticket office and checking stand with waiting and smoking rooms adjoining it. Two broad carpeted staircases led to the balcony and gallery. In the center of the ceiling fifty feet above the floor was a beautiful dome. Four boxes were located at the ends of the dress circle with arches leading into them from the auditorium and steps from the boxes leading to the stage. Slightly larger than the Calumet Theater, the Kerredge had a seating capacity of 1565. The parquet could seat 500 people, the balcony 305, and the gallery 700. Apparently fire regulations were meager, for the management announced that by placing additional chairs in the aisles a crowd of two thousand people could be accommodated. Two safety features, however, were most commendable, An asbes- tos curtain, something entirely new in stage equipment, was installed to prevent the spread of fire should it occur backstage. Fire escapes were erected on the west side of the theater with balconies extending five feet from the building. These were patterned after the Milwaukee city ordinances and indicate the public's increasing consciousness of fire hazards in public buildings. The Calumet Theater had been erected withoutthem. The management felt secure in the fact that the theater with its two wide marble staircases leading to balcony and gallery could be emptied in seven.minutes ehould fire occur! The pressure of public sentiment forced the Calumet City council to install fire es- capes in 1901, but they were placed on one side only. The Kerredge profited by their neighbor's experience and was provided with fire escapes in its initial construction. 300' II 26 The interior decoration work was done under the direction of Otto W. Mitchell, a member of the Chicago 111'- of Mitchell and Hall- bach. Here again the Kerredge was almost identical in appearance to the Illinois Theater. Done in Renaissance style, the general color scheme was a soft blending of green, ivory, and buff. Hand painted figures decorated the walls. These represented the labor of ten men working under Mr. Mitchell's supervision for three weeks. The figures are very ornamental, neither gaudy nor too promin- SfiiéhbgngEeii :38: symmetry :ndtgelicatg6taste in the decoration p eas ng o e eye. Framing the stage was the proscenium arch, 29 feet high and 35 feet wide. Electric lights were set at intervals in the bold or- nate decoration. The stage was the largest in the Copper Country measuring NO feet in depth, 60 feet in height, and 70 feet in width. Its floor was solidly'constructed of one and one—fourth inch planks, Four large star dressing rooms were located on the stage and six more, three on either side, were in the tiers above, easily ac- cessible to the stage. Additional dressing rooms were beneath the stage. Here also were work rooms for the electrician, the property manager, the stage carpenter, and the bill posting department. In- cluded on this floor was the musician's room. In this room.today are located the orchestrated scores of all music used in the Kerredge dur- ing its early history. These scores may be seen through a locked glass-paneled door neatly pigeon-holed as they have remained for forty or fifty years. 26Ibid., Sept. 5, 1902, p. 5. 27 The stage scenery was painted by Sosman and Landis of Chicago. Depicted on the front drop was a beautiful water scene with rich coloring. Sixteen sets of scenery with the necessary extra set pieces such as fireplaces and tree stumps were provided. Net to be over- looked was the installation of fifty sets of extra lines to take care of the needs of traveling companies. Lighting equipment was of the latest and best design.known at that time. The switchboard, made of Tennessee marble, was equipped with thirty-five switches and five dimmers. There were border lights of red, white, green, and blue making possible any stage effect de- sired. No mention was found of spots or flood lights. In all, more than one thousand incandescent lamps were installed in.the new opera house, a fact which dazzled the imagination of local theater goers. All wiring and lighting installation was doen under the supervision of George Carah, an expert local electrician. The Kerredge opened September 5, 1902, with the Joint appearance of Louis James, and.Brederick wards in Shakespeare's, Thg_Tempget. More than a thousand seats were sold in an advance ticket sale conducted by a group of enthusiastic, loyal citizens headed by A. J. Scott, C. A. Wright, Dr. W. H. Dodge, George Nichols, and Henry Baer, who used this tangible means of expressing to William.Kerredge the ap— preciation of the community for providing this new opera house. They attempted to raise a substantial sum to be turned over to Mr. Kerredge in recognition of his public spirit and enterprise. There was a general admission price of one dollar. Boxes sold for $90, parquet seats were PM); )‘I 28 $10 and $5, balcony prices $2.50 and $1.50 and the gallery seats were fifty cents.27 Four days following the opening Mr. Kerredge through the newspaper thanked Hancock:and.Houghton people for their generous support ihich netted a profit of $1900.28 The mutual feeling of good will which existed was clearly mani- fest in the announcement on the opening playbill: TO OUR PhTRONS In presenting the new Kerredge Theater to its patrons tonight the management trusts that its promises to the people of Hancock and Houghton have been fulfilled and too much credit cannot be given to those whose art, skill, and labor have made possible this beautiful new playhouse in the heart of the Copper Country. The management will pursue a broad and liberal policy, presenting the best attractions at popular prices, and desire that at all times theapeople may feel at home within the walls of this home of drama. Thus a new chapter in Copper Country history was completed and the next act was ready to begin. An audience was there and eager for entertainment. Opera houses had been built and stood awaiting the performances. In the following chapter the culmination of this inp terest during the first decade of the new century will be recorded with a revelation that "the play's the thing". 271bid., Sept. 5, 1902, p. 5. 28Ibid., Sept. 9, 1902, p. 5. 29Pflaybill for opening performance at Kerredge Theater, Hancock, September 5, 1902, from the files of Mr. Rance Mason, present Manager. mm 111 TH] PERFORMAIGII CHAPTER III THE PERFORMANCES In carrying out the purpose of this study, which is to reveal a picture of the legitimate theater in the Copper Country from 1900 to 1910, the author has found it advisable to accede to the principles of limitation and selectivity. Investigation yields a complete and detailed chronicle of all performances given in the municipal opera house at Calumet during the ten year period under consideration. Official records of the names and dates of these productions exist in.the office of the City Clerk. These lend themselves to corroboration and amplification through local press notices of the day. Investigation of the theater itself and personal interviews with individuals who have had first-hand acquaint- ance with the era further substantiate the findings. Since many of these plays were performed at the Kerredge Theater in Hancock immedi- ately preceding or following their Calumet appearance, this study in focusing upon the Calumet Theater will give an inclusive account of plays which appeared in the Copper Country. This chapter, therefore, will depict the performances given in the Calumet Theater. An analytical survey will be made of the plays which were presented, of the actors who performed in them, and of the touring companies which played in that area. These factors will be correlated throughout with an over all view of the American theater of that time whose activities they reflected, as well as a comparison 30 where possible of theater activity in the other Copper Country theaters. Once the opera.house at Calumet was built in early 1900 it immediately served as the focal point of civic gatherings. Although designed primarily for theatrical performances, it was used also for lectures, lyceum numbers, commencement exercises, and similar community enterprises. In.l90u lecturers who spoke there included such widely differing personalities as the noted sculptor, Lorado Taft; America99 foremost welfare worker, Jane Addams; and the socialist, Eugene Debs. John Philip Sousa and.his famous band gave three concerts there, in 1902, 1906, and in 1912. Since the theater was a municipal institution it was available for all types of entertainment approved by the City Council for a fee of $u0 per night.30 Judicious management characterized the early history of this playhouse. Mr. Jehn D. Cuddihy continued in the position as manager throughout the ten year period.under study. His shrewd sense of bus- iness acumen, together with a discriminating taste for good entertain. ment, shaped the policy of the theater into channels which placed.his patronit welfare first. Before the opening date in March, 1900, he secured.Mr. R. C. Hacill, stage manager of the waers Theater in Grand Rapids, to serve in a similar capacity at Calumet. Mr. Jacob Kaiser, who has been in continuous employment at the city hall for over fifty-five years served as one of the first stage hands. His memory is filled with anecdotes of early days in the theater's history. 30Ledger, Village of Calumet, Financial account for 1904, per- sonal interview with Michael Stucel, City Clerk, June 11;, 1955. 31 While local groups did use the new opera house for some events, its intended purpose was for entertainment by imported dramatic talent and this policy was consistently followed. The Calumet Theater came into existence at a fortunate time in American stage history. The previous decade had been one of pros- perity, and the theater was riding high on the crest of what might be called a star wave. Less than two weeks after the opening of their own opera house Copper Country people read in the Houghton newspaper a feature article entitled ghg_P1ay's the Thing For Money stating that the year 1899-1900 had been the most successful financial season in theatrical history. Box office returns in America had netted over $25,000,000. Of this amount New York receipts totaled $6,000,000 while the remaining $19,000,000 came from cities and.areas beyond Broadway.31 This was the era prior to the existence of Actors Equity Associ- ation which was organized in 1913 for the improvement of working con- ditions for actors.32 The demands of union stage labor had not yet become a force to reckon with in the theater management. Numerous and flourishing road companies toured extensively, booked either in- dependently or through syndicated companies such as those headed by Charles Frohman.33 The main requisite for success was a play which 31Houghton Daily Mining Gazette. April 10, 1900, p. 7. 32Lloyd Morris, Curtain Time. (New York: Random.House Inc., 1953). P. 306’ ”Arthur Hornblow, A History 9; the Theatre 13; America, Vol. II. (Philadelphia: J. 13. Lippincott Co., 1919), p. 319. 32 had enjoyed.a run in New York with a famous star in the leading role. ‘Using a popular play as a vehicle and featuring the fact that a popup 1ar actor or actress had starred in it, traveling companies enjoyed extensive patronage in both large and small cities. Because of 61h panded railroad service at the turn of the century these tours reached hitherto remote areas. Calumet, like many other small American cities, sought to attract the best possible quality of these traveling road shows. Another factor which drew better talent to the Copper Country was the formation of the Lake Superior Theatrical Circuit in April of 1900. Designed to give cities north of Green Bay an improved class of dramatic talent it included Marinette, Menominee, Escanaba, Marquette, Ishpeming, Iron Mountain, Calumet, West Superior, and Duluth. That people in these towns felt the need for a combined effort in attract- ing better talent is indicated in the following local press items These places all bear the reputation of being liberal patrons of the theater and it is but due these lovers of drama that they be supplieguwith.meritorious attractions in compensation for their patronage. An investigation of the performances which were given in the Calumet Theater reflect a transitional trend. Although there had been plays written in this country even before the Civil War, there was no such category as native American drama.35 The closing decades of the u 3 Houghton Daily Mining'Gazette. April 7, 1900, p. 8. 35Glenn Hughes, TQQDStogz gf_the Theater. (NGW'YOPK: Samuel French, 1928), Po 3514'. 33 nineteenth century saw producers drawing heavily upon British and Con- tinental writers such as Pinero, Jones, Wilde, Ibsen, and moliere. Yet despite the strong hold of foreign plays in New York, producers were beginning to select plays which revealed American interests and problems. They took notice of the works of Bronson Howard, James a. Herne, Augustus Thomas and Clyde M. Fitdh. These dramatists were creating a body of actable literature out of native American themes set in regional backgrounds which was to make its impact on the early twentieth century. Many of these typically American.melodramas were given at Cal- umet. A survey reveals that during the 1900 to 1910 period ten of the thirty-three plays written by Clyde M. Fitch, who was recognized as America's most prolific and most gifted playwright,3b were presented. Outstanding among them was Nathan.Hale which appeared on June 7, 1901, and again on May 19, 1902, starring Howard Kyle. Barbara Frietdhie also had two performances, first on December 12, 1901, and a year later on December 2, 1902. Fitdh wrote many of his plays for specific women stars. This was true of Thg,Straight_32§d.whiCh brought Blanche weieh to Calumet on March 1, 1907, and r__1_1_e_ gig; Who Had Everything with its original New York cast featuring Isabel Irving, on September 27, 1907. Arizona by Augustus Thomas in three appearances presented a regional type play whidh was very popular at that period. Similar to this were James A. Herne's plays with their Maine locale, Shore Acres 360ral Summer Coad and Edwin Mime, Jr., The American Stage. (New Haven: Yale University Press, 1929), p. 288. 311 and Sgfi Harbor, starring the playwright's daughter, Chrystal Herne, who later became a famous stage personality. Lincoln J. Carter's Flamipg Arrow (May 11, 1901), The Eleventh Hour (September 13 and 11+, 1901), and Heat. at Chicago: (March 30, 1903) were thoroughly American in theme. George Ade, an Indiana humorist and dramatist, who poked good-natured fun at American politics, Was represented by The Sultan of; _S_u_l__u_ (February 23, 1907), The County Chairman (March 3, 1905 and January 15, 1907), and The College Eidow (April 19, 1907). Typical of the broad farce which delighted a certain element in Copper Country audiences were the popular plays of Charles H. Hoyt. His play A 1933.3 §__t_e_e_r_ played in Calumet three times (August 21, 1900, January 15, 1902, and October 15, 1907). A Contented 17993.3, ._A_ B1395 @932, and A. Trip to Chinatown appeared in 1900 and played to capacity audiences. Hoyt's plays provided clean laughter for countless playgoers. To his gift of pure farce was added a keen if superfichh perception of varied American types which he converted into vivid acting parts. Other popular dramas which revealed this growing interest in the American type were 913 195; m (November 12, 1901) and m 2'19. East which appeared twice in 1902 and returned under William A Brady's management on April 20, 1906. Under Southern Skies played four engage- ments during this period. lttesting to the worth of these plays, the Yale University Press series points out: 37Ib1de , p. 2850 35 Most of these plays were not great in a literary sense. They were for the most part sentimental melodrama and were with few exceptions innocent of subtlety or depth. 0n the other hand they pictured with a fair degree of faithfulness the characteristics of the American heart and mind..... They pleased the audiences for whom.they were intended, and paved the way for native play- wrights of a later and.m0re sophistocated era. Booth Tarkington's debut as a playwright occurred during this ens. His Monsieur Beaucaire was the production which brought Richard Mansfield to the Copper Country on June 2M, 1902. His The Man.From liege played there on January 14», 1909. William vaughan Moody's The Great Divide which played in Calu- met on September 3, 1909, was a drama which represented a new trend in both author and play. It reflected a growing awareness of public responsibility for social problems in America. "Certainly it was the most literary and literate of the dramas of its period."39 Hall Cain's The Christian_depicting in somewhat spectacular fash— ion the persecutions in Rome during Nero's time was a favorite produc- tion and appeared there three successive seasons following the opening of the new'theater. Cain's play, The Bondman, with Wilton Lockaye, a famous actor, played at Calumet on June 20, 1908. Pbphlar novels were an important source of dramatic material. Many of the outstanding dramas of that period were adaptations made by playwrights for immediate demands of the stage. During the ten year period under investigation twenty-six dramatizations of novels ‘38Hughes, 915 923,, p. 355. 39Burns Mantle, The Best Plays 9;; 1899-599. (New York: Dodd, Mead and Company, 19km), p. VIII. 36 were presented in the Calumet Theater for a total of forty productions. Heading the list in popularity was Harriett Beacher Stowe's Uncle Tom's Cabin which Calumet audiences saw seven times in eight years. The spectacular version of guo Vadis based on the novel by Henry Sienkiewicz, was given three times in 1900 and 1901. David Harum, East Liane, Hichard Carvel, When Knighthood Was _I_n_ Flower, and The Marriage of gilt-y, a dramatized version of a French novel, each played twice. Other successful plays from novels to appear there in- cluded J_anice Meredith, starring Blanche Walsh, 13.15 Woffington, Monte CristoJ Mrs. W_i_gg_s_ 9}; the Cabbage Patch, Peck's Bad B_o_z, The Virginian, Lena Rivers, Brewster's Millions, and the Robert Louis Stevenson novel, Prince Otto. On May 20, 1901+, Otis Skinner performed in The Harvester an adaptation'of the French novel, I_._e_ Chemineau. Since the audiences of the Copper Country theaters were people who owned and read books, the box office success of these well-known dramatized novels was assured. In addition to native American type plays and stage adaptations of famous novels, many English and Continental plays were produced in the United States. This was a fluctuating period in which American drama was groping for stabilization. The influence of a rising group of able regional playwrights was to come a generation later. This early period was marked by an international give-and-take, yet many more foreign plays came to New York than did American plays go abroad. Ibsen, Barrie, Pinero, and Shaw were popular with metropolitan play- goers and their plays were frequently taken on tour. 37 The first Ibsen play to be presented in the Copper Country was a production of Ghosts on lovember 3, 1903. Appearing in the part of Mrs. Alving was an American actress, Mary Shaw, who had for many years 1&0 The following year toured with Madame Modjeska in supporting roles. Clara Thropp starred in Ibsen' s A Doll's House. Plays by James M. Barrie included The gittle Minister; on December 12, 1900, and Alice: flg-Bz-Thg-w starring Roselle Knott, June 3, 1907. Pinero's The Second Mrs. Tangueray brought one of Broadway's stars, Rose Coghlan, to Calumet on May 15, 1905. The Hungarian playwright, Ferenc Molnar, was represented in a play entitled T_h_9_ 221.1}. on October 3, 1908, which George Arliss had made popular in a most successful Broadway run the preceding season. Throughout the decade playgoers of Calumet saw Slhiller's Mary Stuart, Richelieu by Bulwer-Lytton, Francesca d3 M by Charles H. Boker, Lazarre, The Two Orphans, Dumas' Camille, Virginius, David Garrick's Loveg, and I_)_u_ B3331, all plays of recognized worth. Also they saw classics of the Colonial period when Joseph Jefferson Jr. and his brother William played T_h_e_ Rizal; in 1903 and again in 1908. Stuart Robson had appeared earlier in Golduith's Sh; S_tg_gp_s_ .t_9_ Conguer May 13, 1901. Throughout this period the unfailing recipe for a successful tour was either a popular star or a famous play either by current or classical standards. Shakespearean productions held a unique place among attractions in Calumet as elsewhere. The pomlar appeal was always in evidence, quohn Farmer, Who's Eh_o_ In The Theater. (Boston: Small, Maynard & Co., 1922), p. 725. Figure 2. Progam Shakespeare' s The Tempest Opening Performance at the Kerredge Theatre Hanco ck, Michigan 33 KERREDGE THEATRE. VII-LIAN KEIIEDGE. Prev" MY sum ”C T Inaugural Performance ' - - Sept. 5. I902 ~< PROGRAM. V Overture - - Calumet and llecla Orchestra Addreee -- - - OSCAR C0... Archheet. cw EPMY Wage-"hale and Kemper directing the tour 0! Mien Blanche \\' eish here preacnt Louis James and Frederick Warde ~01 In Willie». Wre’em ‘1‘ THE TEM PEST Arranged III 4 AI u with orIginal scenery Irom the brush of H Logan Reid and 5p.- It] music I uIIIposed by Maxims Dc Crone. nu; cast, PWIMI 0th «I III-n . , ... . ..... . . HI. ‘ AIIIII Alto-lo—I'lie brother, usury-h. IDnIu . . III. Alexander I. ern-Io. Alanna-Kin. at New“ ‘ .. .. ..... hlr Item sir-Iron Minn—[lie Muthcr \Ir Thor-he “cedar! Manna—sun to I‘ll. M \epIe-e a - a Mr. horn-n Mach!" accede—Au uI-I Coo-ern. . . a .- an. 1. H. [summoned m.“ (I. ‘ rde - .hlr. W. Hull-[Ion . m" ' . . Hr. no... Heca- cue-p- .\ garage end cm Irma: Slave .. . NI. J urns Web-A jeetrl’ . , ‘. . . hlr. Thar-Into“. Coohe Wit-«A IWOIECII “UNIT ,, , . . ”L fiadewonh a“ luv-aster. ‘ . . . . .. - . Ur. I. I-Lje-hoe loam-in . . . . . . ....Mr. Jemee In“ Add ........... . ......... -. ... ill-e Emu?” llree‘e—Deeghter In rum-cm . . .1“... Tween “an“ ‘ Mine Clef. Moon “in Edith Freed Kynwr..-” .. .. - - ' ' " 'Qum lilunn Leeann ‘ "lee III-echo Iodhb Mine Ruth fraud. ‘ .\IIIIII IidIIh I'Ilt‘h III-even. -- -~-. - M... Maybelle Harbor... Mun- Munnue I "...rdo. LII-e \Iilmr Lari... Lorie. Attend-nu. m. "human. «Ir evenne- . ecmm. ACT I-M. l. the Ten". “tech-h (ewe eeer I’reepero’e Cell. sun: 8. The Yellow lend. sub—ena-I “owe-en. Ieeeel‘l‘hleehyfleve. ACT 8—“ I. Th "0' h.“ In. 8. Th In“: Iovhe. lane 3. Prue'em'e (cu. heft—Genes I. W3“. ”I. "ween Irene 8. Bread TremurmnII-III. Home- . m Ice-d. . . 39 no particularly if the company was headed by a well-known star. During these ten years a total of sixteen Shakespearean plays were presented in the Calumet Theater. M121; was given twice during the first year with Walker Whiteside in the leading role. On December 6, Macbeth brought the famous star Madame Helena Modjeska. Seven Shakespearean plays appeared in the Copper Country in 1902. Walker Whiteside returned in The Merchant o_f; 1211.99. and Richard El, Madame Modjeska and Louis James in {Iggy mg, Frederick Wards in Julius Caesar and Charles B. Hanford in The Taming of the Shrew. On September 6, 1902, Louis James and Frederick Wards presented _Th_e_ Tempest at the Calumet Theater. This they had given the previous even- ing as the opening performance at the new Kerredge Theater in Hancock. In the latter part of the ten year period lesser stars presented Othello, Richard III, A; 133.. I_.i_]_c_e_ _I_t_, Romeo and Juliet and Twelfth Might to appreciative and capacity audiences. As has been pointed out earlier in this study, the period 1900 to 1910 was the era of the stars in American theater history. Many of the great and the near great appeared in the Copper Country theaters at Calumet and Hancock. The first famous stage personality to play there after the open- ing of the new opera house at Calumet was Madame Helena ModJeska. A Polish refugee actress, she had achieved success on the American stage as leading lady for Edwin Booth and Maurice Barrymore. Later she or- ganized her own company, working and studying tirelessly until she had built up a repertoire of over one hundred roles.“ On December 6, 1900, “Goad and fiims, 92. 911., p. 250. Ml Hagenhals and Kemper Company presented her at Calumet in Macbeth with a matinee performance of SChiller's Mary Stuart. There was an un- precedented demand for seats, and a special train was run from.Hancock and Houghton to accommodate the crowds which wished to attend. Press reviews termed her delineation of Lady Macbeth the finest dramatic exhibition ever seen in the Copper Country and summed up their commen- dation as follows: "In all her career ModJeska has been singularly studious, brilliantly intelligent, and instinctively artistic.'u2 Again in 1902, she came to Calumet. Henry VIII was the play and in it Louis James played Cardinal Wbolsey to Modjeska's Katherine of Ar agon. The newspaper commented: Calumet Theater patrons were highly pleased. The house was filled to overflowing last evening. The play alone would.have served to fill the house, but the fact that Madame ModJeska.and Louis James were to play the leading roles took many out to see aissargczgtrfizztsi‘: 3:323? W“ 3? am“ years gone y. Her final appearance in the Copper Country was on Nevember 21- 22, 1905, when she played Mary Stuart at both the Kerredge and the Calumet theaters. Sh. Performed to crowded.houses and reviews elabor- ated on the "affectionate place which Madame ModJeska retains in the hearts of local theater goers.'uu Early in the spring of 1902 Manager Cuddihy announced that he had booked an appearance of Richard.Mansfie1d in Monsieur Beaucaire 1+2Hang-Mon gang: Mining Gazette, December 7. 1900. “31mm, March 7, 1902. m"Ibid" November 22, 1905. 1+2 . for June 2n. Generally recognized as America's leading actor, Mans- field was seldom seen outside New York, Boston, and Chicago. Only the fact that he had.three open dates to fill between his Chicago engage- ment at the Grand Opera House and a Western tour made possible his playing in Marquette, Calumet, and Duluth enroute to the Coast. Copper Country people were elated over his coming. The house was a sell-out with top prices at $2.50 and box seats at $3.00. The fact that he traveled in a special seven-coadh train added glamor to his appearance. The great actor and.his company thoroughly pleased the packed house from opening curtain.until the closing curtain call, and as the newspaper stated, "The hand of the master was visible at all points."""5 Otis Skinner was another star whose three appearances in the Copper Country met with acclaim. He had.played with Booth and Barrett; yet he successfully blended the style of these older actors with the realism of the new which was becoming apparent in the early part of 1900.1+6 On September 26, 1901, he performed at Calumet in a revival of George Boker's poetic tragedy Francesca gg_Rymini_in which he had co-starred with Ada Rehan twenty years earlier. The following year, on December 15 and 16, he presented Lazarre at both the Kerredge and Calumet theaters. On May 19 and 20 of the next spring, 190Mbhe re— turned to both Copper Country opera houses in The Harvester, an I“511mm, June 25, 1902. u6Lloyd Morris, 92, cit., p. 288. “3 Figure 3. Playbill for Grand Opening of the Kerredge Theatre Hancock, Michigan September 5, 1902. us adaptation of the French novel by Richepin. On each of the three oc casions his performances were lauded by the press. Of the last the newspaper review stated: From the opening scene in which the harvester is heard singing in the distance until the close, Otis Skinner weaves a story whose every word and action breathes poetry and passion. It is to his charming personality and simple yet effective acting that he owes the whole of his success. 7 The play Rip Van Winkle is inseparably linked with the name Jefferson in the history of the American.theater. Five generations carried forward.the tradition begun by Joseph I in the 1830's. In 1901 Thomas Jefferson, the son of Joseph III, came to Calumet in the role his father had made famous. The play was well-received and the public seemed to feel that the younger Jefferson fully demonstrated his ability to succeed.his father in the role of Rip.“8 On January 17, 1903, Joseph Jefferson, Jr. and William.W. Jefferson, brothers of Thomas, presented The Rivals. The audience was small for which fact the newspaper reporter was apologetic. He termed the play a delightful one and said that those present had enjoyed it.“9 A popular actress with Copper Country theater goers was Blanche Walsh. She made five tours to the region, extending over a span of ten years. Her first appearance there was on October 30, 1901, when she starred in.Janice Meredith, a dramatization of Paul Leister Ford's novel of Revolutionary days. The following spring (April 28, 1902) 'u7Copper Country Evening News. (Calumet, Michigan), May 21, 1904, usHoughton Daily Mining Gazette, October 19, 1901. ngcopper Country Evening qurnal, January 19, 1903. #6 she presented L§_Madeleine. On March 1, 1907, she headed the original New York cast of The Straight Road, sent on tour by wagenhals and.Kem_ per Company. The Kreutzer Sonata was her offering on May 1, 1908, and Thg_Tg§t.on May 12, 1910. She was billed as America's Most Emotional Agtrggsand characterized as a brilliant star who always delights Copper Country audiences.50 Rose Coghlan, an Englishpborn actress who achieved stardom in the wallack Theatre, New York, pleased Calumet audiences with her dif- ficult role of Stephanie in Eggggtrggrggt.on May 5, 1902.51 A year later on May 15, 1903, her interpretation of Paula in Pinero's 2E2.§22r and Mrs. Tangueray was greatly acclaimed. The newspaper advertisement carried the caption for the latter play, "Reputation of Author and Star International."52 Another favorite touring star of that era was Roselle Knott who introduced many fine plays to American audiences. To Copper Country people she brought When Knighthood Was I§_Flower, November 7, 1903, and.March 30, 1906; Cousin Kate, December 7, 190%; and.the James M. Barrie play éilfifir§l£r§lrghfirgi£fla June 3, 1907. Iary Shaw introduced Ibsen in the Copper Country through her production of §h2§12_in 1903, and Marie Wainwright, a well-known star in London as well as in New York,5u played Twelfth Night on November 19, 19oh. 50Houghton Daily Mining_Gazette, April 27, 1902. 511b1d., May 6, 1902. 52Copper Countgy Evening News, May 16, 1903. 53J0hn Parker, 229 2%.. p. 8360 1+7 Eva Tanguay, who had been a child star in Little Lord Fauntleroy and a favorite in both musical comedy and vaudeville, appeared in A Good @2113! on January 6, 1907. Three well known actresses who appeared in Calumet during the latter part of this era were Mrs. Leslie Carter, Lillian Russell and Grace George. David Belasco launched Mrs. Leslie Carter on the career which brought her wide popularity both in New York and on tour.5u Her tours brought 123; Barry to Calumet (July 3, 1907) and ; Prince Chap, April 7, 1910. That she was well received is the Judgment reflected in the local press review: Mrs. Leslie Carter appeared in Calumet for the first time last night. Those who saw her were unanimous in their approval. The play is powerfully dramatic and gives Mrs. Carter oppor- tunity to display her art. To see her act was a treat not often accorded Calumet theatre-goers. lhe is surrounded by a splendid supporting company. Lillian Russell, the famed stage beauty, played in Wildfire at the Kerredge on June 3, 1909, and in Calumet the following night. That audiences liked her is shown in the review which followed her appear- ance: The huge audience last night demonstrated her right to rank as an actress. She is, first of all, a beautiful woman, queenly in figure and carriage, has a most expressive face and a magnetic personality. Her gowns made women in the audience gasp. The play was full of little touches of comedy and pathos discreetly blenggd with a somewhat melodramatic story. It was good entertainment. 51‘Morris, 92. g_i__t_., p. 296-98. 55Houghton Daily Mining Gazette, July 5, 1907. 56222.21... June 5. 1909. “8 Grace George, the wife of William A. Brady, presented é_Woman's Egy.in both Hancock and Calumet, June 22 and 23, 1910. She was billed as America's foremost comedienne and it was announced that for the first time a big producing manager, William A. Brady, would visit the Copper Country. Brady was greatly impressed with the mining town and surprised to find such well equipped theaters as the Kerredge and the Calumet.57 Of all the stars who came, none came more frequently than did the veteran trouper walker Whiteside. Shortly after the Calumet Theater was opened, he played a two-night stand of Hamlgt_and The Red Cockade. In November of that same year he returned with a double bill of Hamlet and Heart and Sword. Later productions included Richard III, David Garrick's Loves and The Merchant g£_Venice. His wife, Lelia Wolstan, played the feminine leads. Usually every seat in the house was filled. His popularity is shown in the following newspaper account: Mr. Whiteside is ever a favorite of the Copper Country and has been accorded good houses on his every visit. Indeed, theater goers have anxiously looked forward to his return, his Hamlet be. ing ever gratefully remembered.58 On one occasion Wilton Lackaye,_an eminent actor of that period, performed in the Copper Country. He played The Bondman by Hall Cain on June 20, 1908, at Calumet. Frederick wards and Louis James were two actors who frequently played there. On February 28 and March 1, 1901, Wards Appeared in the vhw— 57Ibid., June 2t, 1910. 581bid., Jan. 30, 1902. “9 Duke's Jester and Richelieu. A young actor by the name of Douglas Fairbanks was listed among the cast. On this trip Mr. Warde addressed the students and teachers of Calumet High School on the subject, Shakespeare §_.§_ eacher. Later performances find these two players teamed in Shakespearean plays. On September 5, 1902, they presented Shakespeare's The Tempest at the opening at the new Kerredge Theater in Hancock. During this investigation many additional names were found in the records of Copper Country theater from 1900 to 1910. While not bright in the annals of the American stage these players were popular at the time and with the audiences whom they entertained. They ap- peared, played their parts, and went their various ways. No attempt is made to evaluate their worth but their contribution is recognized as a part of the total picture. Included are Eugenia Stewart, Howard Kyle, Richard Golden, Alice Archer, Charles B. Hanford, Charles Astor, Mary Elizabeth Forbes, James O'Neill, Florence Stone, Clara Thropp, Dan Sully, Eulalia Bennett, Mildred.Holland, William Owen, Adelaide Thurston, Florence Roberts and Andrew Robson. Paralleling the record of touring companies which featured a famous star or a great play in one or two night stands is the story of the stock companies which played longer runs. An.analysis of the ten years reveals that seventy such engagements varying in length from three nights to two weeks each were booked for the Calumet Theater alone. Many of these minor stock companies played in the smaller entertainment halls such as existed at Lake Linden, Laurium, and 50 Houghton as well as in the Kerredge and Calumet opera houses where they preferred to play when bookings were possible. Usually a stock company came to the Copper Country and stayed several weeks playing several towns in succession. Troupes such as the Frank.E. Long Company, which performed in fourteen separate week-long engagements at Calumet between 1900 and 1910, were great favorites. Their lower price bracket attracted a different class of entertainment seekers than did the first class plays, yet they fulfilled a need and played to large and appreciative crowds. The repertory of these traveling companies followed a definite pattern which assured wide appeal. Usually they carried one well-known play, either by a standard author or of recent Broadway fame. The re- mining plays would be balanced to include drawing—room.comedy, mystery, melodrama, and western or regional type drama. Typical of the week’s plays offered is the repertory of the Cortenay Stock Company which played at Calumet August 17-22, 1905: §lgg_g£_thg_flb Missouri Folks, . gig; QQElk, The Definite, 193;. fig 111;. mg, and Octoroon. A noticeable increase in.the number of traveling stock companies is revealed in this study. In 1905 five companies played for a week each in the Calumet Theater while in 1909 there were thirteen such bookings. This reflects the trend of the lessening importance of the star system in this country at the conclusion of the first decade. Many musical companies toured during these ten years. Opera, light opera and.musica1 comedy of greatly varying quality played in the Copper Country. The Calumet Theater opened on March 20, 1900, 51 with a production of Reginald de Koven's The Highan by the Broadway Opera Company. Later that year the Grau Comic Opera Company appeared in E__l_ Capitan (October 12, 1900) and the following season in Egg (October 22, 1901). The Gordon Shay Opera Company presented 92mg and M in a two-night engagement, March 22-23, 1903. In a week's stand (December L9, 1905) the Pollard Opera Company presented th Belle at; New York, The Runaway Girl, Geisha, and The American Mil:- lionaire. In 1906 the first Victor Herbert production appeared. M if; Toyland played in both the Kerredge and the Calumet Theater (January 23-21;). The 1908 season brought three of this popular composer's works, The Red Mill, The Tattooed Man, and a repeat per- formance of I_3_a_b_e_§ _i_n_ 'l‘ovI land. The opera Parsifal was performed twice (March 30, 1908 and April 2, 1909). Gilbert and Sullivan's Patience appeared at the end of this era on April 1%, 1910. Musical comedies and lighter musicals were performed frequently in the Copper Country; yet a detailed analysis of them is outside the scope of this study. They contributed their bit to the total enter- tainment picture, and left their impact. The famous Floradora show was enjoyed in 1903 (January 12) after a sensational run of 505 perform. ances in New York,59 and returned in 1905. The Wizard 2?. (lg was en- Joyed, as was George M. Cohan's £11213 m {9335 (Jamlary 30, 1909). The influence of George M. Cohan upon the musical show was to be tre- mendous in the next few years as is revealed in Lloyd Morris' comment: ggMantle, 92. all" p. 379. 52 Cohan knew nothing about the conventions of European comic opera, or the stale formulas used by English musical comedy..... Having worked only in vaudeville he had mastered the technique of a direct attack, a swift pace, and a hard punch. He broke all rules. He was a new, vigorous independent force working with the materials of American life and giving them an unmistakably native expression.bo Interspersed throughout this first decade were the more or less regular appearances of traveling minstrel companies. An analysis of the bookings for Calumet reveal thirteen such showings. Beginning with the Georgia Minstrels by Richards and Pringle Company (August 16, 1900), they include the Groton's Minstrels (September 13, l900),2§i Henry Hinetrel§_(September 6-7, 1901), Al, g5 Fields Minstrels (March 4, 1903), Mack:Minstre1 Company for a week in 1907 (November 25-30) with repeat engagements by several of these companies. Significant of a trend in entertainment is the fact that only one minstrel company played in Calumet during the last two years of this period under inn vestigation. This is the story of performances which made Copper Country theater history during the first decade of the twentieth century. It is the story of the play, the star, and the traveling company which combined forces to bring entertainment to communities beyond the reach of the metropolitan centers. Glenn Hughes attests to the influence of the traveling actor when.he reveals the impact he has made upon the history of American drama, when.he says: The trouper, somehow, does not die. He has always been a part of the theatre - sometimes he has been all of the theatre. He is seldom remembered; he does not even care to be. It is he who knows boldorris, 92. cit., p. 310. 53 the theatre best, for he creates it wherever he goes. When our great playhouses crumble, and our theories fade, the trouper will still be with us--a living theatre.61 blH‘J-gheso 92' 2.1.2" P' 3930 WIY WNCLUS IOU CHAPTER IV CONCLUSION The unfolding panarama of legitimate drama in the Copper Country from 1900 to 1910, as presented in this study, has been shown to re— flect a view of the American theater at large. The author in her in- vestigation has uncovered the social and economic background of a particular Michigan community, centering around Calumet, Hancock and Boughton and.has traced the development of its desire for entertain- ment. The fulfillment of that need constitutes the findings of this study. It was discovered that the blending of various nationality and cultural traits of heterogeneous groups from.lurope and aristocratic families from the East became solidified through a common interest in the theater as well as through public schools and civic enterprises. United effort for better entertainment facilities brought about the erection of both the Calumet and Kerredge theaters. An analysis of the performances given in these opera houses, together with the recep- tion accorded the stars who appeared in them, has revealed a decade of extensive and varied theater activity. The end of this period, however, was a transitional era. Forces were at work in the Copper Country, as well as in the nation at large, which were to effect a gradual decline in.the status of theatrical entertainment. Being a very human institution, the theater is always sensitive to social and economic movements. As Robert Edmond Jones, Figure H. A.Modern Audience EnJoys The Golden Anniversary of the opening of The Kerredge Theatre September 5, 1952. 55 57 the eminent scenic artist, points out, "Life moves and changes and the theater moves and changes with it."b2 The nation-wide expansion of big business interests around 1910 and the growth of trusts and syndicates were felt in the entertainment world. The gradual trend to commercialize the theater led to exploita- tion of the stars. Stock companies disappeared. In order to make as much money as possible producers engaged actors not for their ability to act but rather for their box office appeal. Glamor became the dictating force, and with it came a lowering of acting standards. In- ferior plays featuring ”slapstick" comedy, crime and violence, coarse- ness and vulgarity, were the fare of the theater-going public. Except for the Shakespearean productions of Marlowe and Sothern and Walter Hampden, the classics were seldom.seen. Arthur Hornblow, an authority on the American theater, sums up this decadent trend in the following appraisal: Art found itself compelled to give way to Big Business. A new era had set in, an era grossly commercial and conscienceless, with not an idea above piling up the dollars..... Play production de- generated into play speculation.b3 The impact of a new type of entertainment likewise struck a crippling blow to legitimate drama. Motion pictures which had been invented near the close of the nineteenth century now became a tremen- dous commercial enterprise. Again big business took over and provided b2Robert Edmond Jones, The anmatic Imagination. (New York: Duell, Sloan, and Pearce, 19415, p. 45. b3lrthur Hornblow, g Histogy 31; the Theater is America, Vol. .3. (Philadelphia: J. 3. Lippincott Co., 19197, p. 3117. “II Ill-III" .. 58 the millions which.made this the most popular theatrical fare ever consumed by the public. Movies completely eclipsed the road show.bu Net only did legitimate drama lose its audiences to motion pictures but its actors and writers were lured to Hollywood by more lucrative returns. Only the physical theaters remained, and they in turn lowered their grand drapes, installed silver screens, and be- came the movie houses of America. vaudeville and variety shows cons tinned throughout the world War I period, but often these were billed in conjunction with motion pictures. The Copper Country felt this change as did all American com— munities. Its approach is sensed in an investigation of the bookings of its theaters during the latter part of this decade. A.few outstand- ing stars including Lillian Russell and Mrs. Leslie Carter played in Hancock and Calumet during 1910, and the great Sarah Bernhardt was to 65 appear in both theaters the following year, but these were rare ex- ceptions. No longer was there a consistent scheduling of several good companies each month. Rather motion pictures were booked for at least two nights each week, and the public chose to attend this less ex- pensive and more novel type of entertainment. Bookings at the Calumet Theater from.l908 on reveal frequent though incomplete tabulation of motion picture showings: H212_Mgzigg_ Pictures (March 1-2, and 11, 1908) (February lN—15, 1909), and.§, §, Sullivan's Moving Pictures (July 17-31, 1909) (August l-lb, 1909).66 éfiGlenn Hughes, Thg'Storz g£_the Theatre. (New York: Samuel French, 1928), p. 386 ”The Calumet News, May 11, 1911. bbLedger, City of Calumet, Office of the City Clerk 59 The Calumet and.Kerredge Joined the increasing number of opera houses and theaters which were to offer a combined program of film and legiti- mate theater throughout the next decade. Local economic conditions contributed their part to a lessened interest in legitimate drama. Extensive developments in the West had decreased the demand for Keweenaw copper. Montana and Arizona mines could be operated more profitably than the deep-lying ore bodies at Calumet and Portage Lake. Is a result the price of copper dropped, and a gradual curtailment of mining activity in Michigan followed. Copper Country residents began to readjust themselves to a tightened economic regime. .A shift in population took many miners to the West; others moved to the nearhy'Gogebic iron mines and the Mesaba Range in Minnesota. Those who remained in the Keweenaw area faced a new standard of living. High-priced entertainment became less essential in people's scale of values which meant that theater going could be, and was, eliminated. Attendance at lowhpriced movies in. creases while seats at legitimate shows were vacant. Seldom in 1910 did the glamor and excitement of seeing Shake- speare or a leading Broadway success draw people to the Kerredge or Calumet Theater. Special theatrical trains, as they were termed in the early years of the century, no longer carried crowds from nearby towns to these larger opera houses. Nor did the liveried doorman at the Calumet summon carriages, calling out '86', '97', and other high 6 numbers that ran over the hundred mark, as he had in 1901. 7 The b7Houghton Daily liinigg Gazette, September 24, 1901. ' 60 old order was yielding to the new regime of vaudeville, motion pic- tures, and automobiles. While legitimate drama was on the wane in the Copper Country, as it was throughout America at the end of this first decade, it was in no sense effaced. No institution which exists as a part of people's lives, or of the life of a community, disappears abruptly. Its change is gradual and transitional. V Today, fortyafive years after the close of this period of ex- tensive theatrical activity in the Copper Country, the Calumet and Kerredge theaters still stand. They are given over almost entirely to moving pictures under Fox Company management with an occasional civic gathering included. Their need for school and community drama- tic performances no longer exists. These productions are presented in excellent auditoriums of modern school buildings. Yet these old opera houses testify to a glory of by-gone days. The theater of the Copper Country had sprung up in response to people's interests and needs. It had flourished as an adjunct to their individual and group life. It had brought pleasure and romance, culture and sophistication to an isolated frontier region in northern Michigan. While it might diminish in physical importance, its influ— ence was permanently fixed. The contributions of that live chapter in theater history still exist in.the Keweenaw peninsula. They are not to be found primarily in the old opera houses which remain, nor in yellowed newspaper columns and ledgers. Their intangible record has been translated into the 61 social structure of the community. The men and women who experienced this theater era have passed on to their children and grandchildren a heightened sense of culture and a deeper appreciation of the "climaxes and crises of life"()8 as they saw them enacted before the footlights of their theaters. b8A. E. Morgan, Tendencies q£_Modern English Drama. (New York: Scribner, 192”), p. 2. APPENDIX.A List of Performances given in Calumet Theater 1900 - 1910. PERFORMANCES -— CALUMET THEATER (1900 - 1910 ~- As recorded in the Official Ledger in the City Clerk's Office, Calumet, Michigan.) lam March 20 - "The Highwayman", De Koven and Smith Opera Company. 21 - "Faust", Lew Morrison 00. 23 - "Under the Dome”, by Lincoln J. Carter 24 - "Under the Dome", by Lincoln J. Carter 28 - "Hamlet", with Walker Whiteside, Lelia Wolstan 29 - "The Red Cockade", walker Whiteside, Lelia Wolstan April 16 - "Toll Gate Inn", with Sylvia Bidwell l7 - "Toll Gate Inn", with Sylvia Bidwell l9 - "McCarthy's Mishaps", (Musical) 20 - "McCarthy's Mishaps”, (Musical) 23 - "Darkest Russia" 1 - "Devils Auction", by Chas. H. Yale (vaudeville) 5 - "Whoa is Who", Chas. A. Pusey Co. (Vaudeville) 7 - "Spring Chicken" 3 - "A Contented WOman', with Belle Archer 1 - "Que vadis", Carpenter Dramatic Co. 18 - "Pudd'nhead Wilson", with Burr McIntosh 21 - "Finnegan's Ball". June 6 - "The Floor Walkers", were & kaes Co. (Musical) 21 - Irving French Co. 22 - Irving French Co. 23 - Irving French Co. 28 - Altman Dramatic Co. -— "my Friend Tom" 29 - Altman Dramatic Co. -- “my Friend Tom" 30 - Altman Dramatic Co. July 2 - "The Evil Eye", (Musical play) Aug. 8 - "The Convict's Daughter“ 9 - "The Convict's Daughter” 13 - "A.Wise WOman' lb - "Georgia Minstrels", Richards & Pringle Co. 21 - "A Texas Steer", Chas. H. Hoyt Co. 2“ - “A Breezy Time", Fitz & Webster's Co. 25 - "A Breezy Time", Fitz & Webster's Co. 27 - "Two Merry Tramps", Fitz & Webster's Co. 28 - "Que vadis", Prod. by Aiden Benedict Sept. 1 - "The Night Before Christmas" 3 - "Whose Baby Are You" 5 - "A Black Sheep", Chas. H. Hoyt Co. 13 - "Gortone Minstrels” 19 - "Ole Olson” with Ben Hendricks Hay Oct. NOV. 1 " Dec. 6 - Jan. 7-12 - 16 - 21-26 - 31 - Feb.1l-16- 22 - 28 - March 1 - h - 5.. 11 ~ 15 - 1 - 23- 27 - April 17 - 19 - 2O - 2b - 29 - "El Capitan", Grau Comic Opera Co. "Faust“ "My Friend From India", Myron B. Rice Comedy 00. ”Hogan's Alley" "A Trip to Chinatown", Chas. H. Hoyt Co. ”Whitehorse Tavern", King & Nbrcross "A Mysterious Model", with Lillian Durham "A Mysterious Model", with Lillian Durham "Tennessee's Pardner" ' "McCarthy's Mishaps", Fitz & Webster Co. "McCarthy's Mishaps", Fitz & Webster Co. "Two Married Men", By George R. Edeson "Hamlet" with walker Whiteside "Heart and Sword", with Walker Whiteside "Mrs. Hobbs" "Cowslip Farm" c. "Mary Stuart”, (Matinee) (Shiller) with Madame Modjeska "Macbeth", (Evening) with Madame Modjeska "Little Minister", by J. M. Barrie "What Happened to Jones" "Poor Relation" "What Happened to Jones” 1901 Fransz. Long Dramatic Co., Plays included: "Peaceful Valley” "His Excellency the Governor" "The New Private Secretary" "The Fatal Card" "A Hole in the Ground", Chas. H. Hoyt Co. Frank E. Long Co. "A Lady of Quality", Eugenie Blair Clara Mathes Co. "What Did Thompkins Do", with Harry Corsan Clark "The Duke's Jester” with Frederick Warde TRichelieu" with Frederick Wards "Theodora" with C. H. Bruno "Cleopatra" with C. H. Brune Murray and Mack, Irish Comedians "Heart of Chicago” "Hottest Coon In Dixie" Maud Gonne ”The Span of Life" “The Christian" with Julia Stewart "The Milk.White Flag", Dunne & Ryley Co. "Uncle Josh Spruceby" "Who Is Who?" "Quo Vadis", Carpenter's May June July Aug. Sept. OCto Nov. Dec. H moxkn .prumH I 19- 12- 16- 17- 65 "watch On The Rhine”, with Al H. Wilson "The Flaming Arrow", by Lincoln J. Carter "She Stoops to Conquer", with Stuart Robson "Evil Eye", with Chas. H. Yale "Railroad Jack" "Nathan Hale", with Howard Kyle "Sag Harbor", by James A. Herne, with Julie and Chrystal Hefirne "The Princess of Patches", Myrkle & Harder Stock Co. "Knobs of Tennessee", Myrkle & Harder Stock Co. ”A.Man of mystery", Myrkle & Harder Stock Co. "For Congress", Myrkle & Harder Stock Co. "A Runaway Wife", Myrkle & Harder Stock Go. "Looking For Trouble", Myrkle & Harder Stock Co. "My Friend From India", with Helen, Mabel and Ethel Strickland "Two Merry Tramps“ "The Night of the Fourth", Mathews & Bulger Co. "Uncle Tom's Cabin" "A Female Drummer" "The Convict's Daughter" "Lover's Lane", by Clyde M. Fitch .Hi Henry Minstrels Hi Henry Minstrels "Common Sinner" "The Eleventh.Hour", with Chas. A. Gardner "The Eleventh Hour", with Chas. A. Gardner "Si Punchard" "The Belle of New York" (Musical) "The Belle of New York" (Musical) "Fast Mail” "Francesca De Bimini", with Otis Skinner "Ole Olson" . ”Jess of Z-Bar Ranch", with Alice Archer "Minister's Son", with William B. Patton "The Cowboy and the Lady", by Clyde M. Fitch "The Irish Pawnbroker” "Rip Van Winkle", with Thomas Jefferson "Wang", Grau Opera Co. "For Love's Sake", with Mabel and Ethel Strickland "Janice Meredith", with Blanche Whlsh "Faust”, with Porter J. White "Faust", with Pbrter J. White "Are You.A Mason" "A Capitol Comedy", with Tim Murphy "01d Jed Prouty", with Richard Golden "Old Jed Prouty", with Richard Golden "The Span of Life" "Barbara Frietchie", by Clyde M. Fitch "The Village Parson" "M'Liss" "Casino Girl“ "Casino Girl" 66 Dec. 19 - "Peg Woffington", with Eugenie Blair 21 23-27 Jan. 1 13 22 31 Feb. 3 7 13 20 28 March 6 11 17 18 "Human Hearts” New York Theatre Co. 1902 "Toll Gate Inn", with William Beach "Tennessee's Pardner" -"Richard Carvel", with Andrew Robson "The Christian", Leibler & Co. "Heart and Sword", with Walker Uhiteside "The Merchant of Venice, with Walker Whiteside "At the 01d Cross Roads", with Jane Corcoran "Hello Bill” , ”Telephone Girl” "Monte Cristo" "Henry VIII“, with Mme. ModJeska and Louis James "A King's Rival", with John Griffith "The Montebank", with Frederick Wards "Julius Caesar", With Frederick wards 2H - "King Dodo” April 3 7-11 17 28 May 5 7 l2 17 1 23 27 29 30 June 5 7 "The Man From.Mexico" Santry-Long Stock Go. "The Watch On the Rhine" “La Madeleine", with Blanche Walsh "Forget—Me-Not", with Rose Coghlan "Arizona", by Augustus Thomas "way Down East" "Thonoughbred.Tramp" "Nathan Hale", with.Howard Kyle Richard and Pringle's Minstrels "The Taming of the Shrew", with Charles B. Hanford "When Reuben Comes To Town" "When Reuben Comes To Town" "Power Behind the Throne", with Katherine Willard “Temple of Honor" 2h - "Monsieur Beaucaire", with Richard Mansfield 37 28 July 1-5 11 "Witch of the Woods" "Witch of the weeds" Kennedy Players "Breezy Time" 1h - Gideon Minstrels Aug. 11 21 23 28 Sept. 1 3 6 11 "The Burglar and.the Waif" "Nevada“ "The Convict's Daughter" ”East Lynne” "The Deemster" "Brown's In Town" "The Tempett“, wdth Frederick Warde and Louis James ”On the Stroke of Twelve" Sept. Oct. Nov. Dec. Jan. Feb. 15 - 5.. 12- 15- 17.. 23.. 31- 11- 20- 23.28 .. MfiI‘Ch ’4 - April May an - 25.. 27- 30- 3- b— 9- 17- 18- 25 28 67 "A Royal Slave", with Clarence Bennett "The Tide of Life" . “Hunting M~Hawkins" "The Eleventh Hour", by Lincoln J. Carter "A Poor Relation", with.Horace Lewis “A Little Outcast", Carpenter Co. "Sporting Life" "Richard III", with Walker Whiteside ”The Burgomaster”, with Fred Lennox and Ruth White "Lover's Lane", by Clyde M. Fitch "way Down East", produced by Wm. A. Brady "The Power Behind the Throne", with Katherine Willard "Romeo and Juliet", produced by Simvelle "Sandy Bottom", Hampton & Hopkin's Co. "Jesse James", produced by Jack Hoeffler "The County Fair", with Neil Burgess "Barbara Frietchie! with Charles Astor and Mary Elizabeth Forbes "Lazarre", with Otis Skinner 12.0.1 "Lost River", Produced by Jules Murry “F10radora”, Fisher & Ryley Co. "A Texas Steer" "The Rivals", Joseph Jr. and William W. Jefferson "The Liberty Belles", (Musical) "The Moonshiner's Daughter", Buhler & Mann Co. "King Dodo", Dixley & Luders Co. "The Wrong Mr. Wright", with Harry Beresford Frank E. Long Co. - Al G. Fields Minstrels "Carmen", Gordon Shay Opera 00. "Faust", Gordon Shay Opera Co. "The Snow Mask", with Earl Doty "Heart of Chicago", by Lincoln J. Carter "Man.From Sweden", with Knut Erickson "The Christian”, by Hall Cain "The Cowboy and The Lady", by Clyde M. Fitch "The Strollers", with Margaret Sylva "A Trip to Chinatown" "For Her Sake" "The Telephone Girl” "The Manxman", with James O'Neill "Uncle Tom's Cabin", Stetson Co. "Prince of Tattlers", Al H. Wilson "The Second.Mrs. Tanqueray", with Rose Coghlan "Resurrection", with Florence Stone "The Gambler's Daughter" "Alexander the Great", with Frederick Warde and Louis James "The Little Outcast“ Sept. Oct. Nov. Dec. Jan. Feb. March April May June July Aug 0 8 - 16 - 18 - 'When.Johnny Comes Marching Home" "The Convict's Daughter" ”The Chinese Honeymoon“ "Uncle Tom's Cabin” "Man to Man" "New Dominion", with Clay Clement "Yon Yonson" "Richard Carvel", with Andrew Robson "A.Royal Slave" "The Two Sisters" "When.Louis XI Was King", with William.0wen "The Toreodor", with Jefferson De Angelus "When Knighthood wee In.Flower" "A Friend of the Family" "Shore Acres", by James As Herne "Arizona", by Augustus Thomas "Ghosts”, with Mary Shaw "Mrs. Wiggs of the Cabbage Patch" "Reuben in New York" “Slaves of the Mine" 190“ "The Devil‘s Auction" "Little Christian" "The Chaperon" "Silver Slipper" "Old Mill Stream” - "Pblly Primrose”, with Adelaide Thurston ”Eric of Sweden", with Ben.Hendrick Willis Stock.CO. "David.Harwm" "Down Mobile Way" "Heart of Gold" "Happy Hooligan" ”Midnight Express" "The Two Orphans "Prince of Tattlers", with Al G. Wilson "The Harvester", with Otis Skinner "As You.Like It", with Florence Gale ”Camille", with Florence Stone "Silent Partner", Gaskell Stock Go. "Man.From.Mexico", Gaskell Stock Go. "Inside Track", Gaskell Stock.Co. "Other People's Money“, Gaskell Stock.Co. "Among the Rockies", Gaskell Stock Co. "Dangerous Game", Gaskell Stock Go. "Uncle Josh Spruceby" "Texas Steer" "Sweet Clover” "Tennessee's Pardner", Clara Mathes Co. "Nell Gynn", Clara Mathes Co. "Daughter of Erin", Clara Mathes Co. Aug. Sept. Oct. Nov. Dec. 26- Jan. March April 25- 2e- 10- 12- 17— in- 15- 17- 28 - 15- 19- 21- 2. - 2 - 26 - 21 - 31- 21 - 2M - 7 1h - l6 - 2O - 21.. 25- 15 - l7 - 18 - 19 - 20 - 21 - 22 - b9 "Tennessee"s Pardner", Clara Mathes Co. "Soldier Boy", Clara Mathes Co. "Salambo", Warde & Kidden Co. "Under Southern Skies" “The Holy City", with Gordon Bennett "Her Only Sin", with Julia Gray "Romeo and Juliet", with Inez Forman "Over Niagara Falls" "Yon Yonson“ "The Royal Chef" "Why Women Sin“ "The Irish Pawnbroker" "Ole Olson", with Ben Hendricks "Quincy Adams Lawyer" "A Doll's House“, with Clara Thropp ”Real Widow Brown“ ”Twelfth Night", with Marie wainwright "Royal Friend", Mack & Armor Co. "Far Across the Sea", Mack.& Armor Co. “Western Girl", Mack & Armor Co. "Sons of Fathers", Mack:& Armor Co. "Colorado Naif", Mack and Armor Co. "Ten Nights In a Bar Room", Mack and Armor Co. "The Mummy and the Humming Bird" "Cousin Kate", with Roselle Knott "Faust", Lew Morrison Co. Frank.E. Long Co. 19.92 ”Human Hearts", Nankeville Co. "Devil's Auction" "Message From.Mars" Hi Henry's minstrels “Our Pastor", with Dan Sully "Heart of Maryland", by David Belasco "The Show Girl" "Our Pastor", with Dan Sully "County Chairman", by George Ade "Millionaire Tramp" "DaVid Harum” "Isle of Spice" "The Triumph of an Empress", with Mildred.Holland "Buster Brown” "My Friend From Arkansas" "Sign of the Four", Cortenay Stock Co. "Missouri Folks! Cortenay Stock Go. "Are You an Elki, Cortenay Stock Co. "The Damites", Cortenay Stock Go. "Dr. Jekyl - Mr. Hyde", Cortenay Stock Co. "Octoroon", Cortenay Stock Co. 70 April 2M - Al G. Fields Minstrels 29 May 10 2O 23 June6—lO July 3-8 Aug. 18 19 Sept. Oct. 5 Nov. 10 Dec. OU1\D OQNka'I .F'H \NN Jan. mndtd ~qcn4=cnuao\ Feb. "Happy'Hoeligan" "The Burgomaster" "A Little Outcast" "A Trip To Egypt" Frank E. Long Company Marks Brothers Company "The Chaperon", by Marion Fairfax “Dora Thorne” "In Old Kentucky" "The Paraders" "Under Southern Skies" "Our New Minister” "Her Only Sin", with Julia Gray "The Marriage of Kitty" "Hans and Nix" "The Mummy and the Humming Bird" "Heart of Chicago" San Foy Comic Opera Co. "Othello", with William Owen "Damon and Pythias", with Sanford Dodge and Rose Curry "Florodora" "The Show Girl" "Your Neighbor's Wife” "The Triumph of Betty", with Adelaide Thurston "The School Girl" "His Highness the Bey" "Down.By the Sea” "The woman in the Case", with Eulalia Bennett "Mary Stuart”, with Madame Méggska "The Triumph of a Princess," th Adelaide Thurston "The Tenderfoot" "Magic", with Adelaide Herman "The Belle of New York", Pollard Opera Co. "The Belle of New York", Pollard Opera Co. "Runaway Girl", Pollard Opera Co. "Runaway Girl", Pollard Opera Co. "Geisha", Pollard Opera Co. "American Millionaire", Pollard Opera Co. "Why women Sin" "Arizona", by Augustus Thomas 1906 ”Human Hearts", N. n. Nankeville Co. “Wizard of Oz", "Datid Garrickis Loves”, with walker Whiteside "Babes in Toyland' "Prince Otto", with Harold Nelson "Richelieu", by Bulwer-Lytton 71 "Virginius", with Louis James "Buster Brown" "When.Knighthood was In Flower", with Roselle Knott April 9-114 .. Frank E. Long Co. Feb. 26 - Nara 23 - 30 - 18 - 20 - May )4 - 19— "German Gypsy", with Al G. Wilson "way Down East", by Lottie Blair Parker "Isle of Spice" "What Hemen Will Do'I 21-26 - National Stock Go. July M - 9-11 - 15.21 - Aug. Sept. Oct. Nov. Dec. Jan. 13- 23- 25-. 1- 3.. 8.. "My Wife's Husbands" Chicago StOCk Go. Green Stock Go. West Minstrels "In Old.Kentucky" "Faust", with Porter J. White "The Maid and the Mummy"I "Too Proud to Beg" "The Convict's Daughter" "The Umpire" "The Clay Baker" "The New Minister” "The Village Vegabond" "The Mummy and the Humming Bird" "Devil's Auction" "Craxy CornersI "Marriage of Kitty" "The Two Johns" "Denver Express" "Dorothy Vernon of Haddan.Hall", Dramatized by Paul Hester "Illusion of Beatrice” "Strong-heart" by Wm. c. De Mille "Strength of the Weak", with Florence Roberts "King Richard III" "Everybody Works But Father" "The Wizard of Oz" "Sweet Clover” "Magic Melody" "Dolly Verden" "County'Fair" "Millionaire Tramp" 25 - Hi Henry Minstrels 2 - 15 - 16 ~ 19 - 2b - 1291 ”A Poor Relation“ "County Chairman", by George Ade "Peggy From Paris" "The Bonnie Briar Bush” WA Good Fellow", (Musical) with Eva Tanguay 72 Feb. 9 - "we Are King" 12 - "Heir to the Hoorah" 23 - "The Sultan of Sula" March 1 - "The Straight Road", with Blanche welsh 2 - "Little Duchess" 9 - "The Old Clothes Man" 12 - "Royal Chef” 27 - "The Lion and the Mouse", by Charles Klein 29 - "On the Bridge at Midnight" April 1-6 - Frank Tucker Co. 11-13 - Boston Juveniles Co. 15 - "#5 Minutes From Broadway", by George M. Cohan l9 - "College Widow", by George Ade 2O - "Metz in the Alps", with Al G. Wilson 22-27 - Frank E. Long Co. 23 - "Uncle Tom’s Cabin" May - "A.Wbman of Mystery" 6—8 - Frank E. Long Co. 9 - "Susan In Search of a Husband” 11 - "Neman of the Streets" 10 - Frank.E. Long Co. 13 - "The Tenderfoot" 18 - Dixie Minstrels June 1 - "A.Yankee Tourist" 3 - "Alice-Sit-By-The-Fire", J. M. Barrie, with Roselle Knott 5 - Richards & Pringles Co. (28th annual tour) 13-15 - Boston Juvenile Co. 17-18 - Fraser Stock Co. July 3 - "DuBarry", with Mrs. Leslie Carter 10 - "The Wizard of Hall Street" Aug.l2-20 - Morgan's Comedians 21 - "Calamity Jane" 22 - "The Mayor of Tbkio' 23-2u.- Morgan's Comedians Sept. 2 - "The Wife's Secret", by G. W. Lovell M - "The Flaming.Arrow" 10 - "A.Message From Mars" 1H - "Peck's Bad Boy" 19 - "Raffles” 21 - "Humaanearts" 27 - "The Girl Who Has Everything," with Isabel Irving 28 - QPanama" Oct. u - "Under Southern Skies", by Lottie Blair Parker 5 - "The Irish Pawnbrokers" 15 - “A Texas Steer" 2M - "Sis Hopkins” 26 - "Vendetta" 28 - "An Old Sweetheart of Mine" Nov. 2 - "East Lynne" 8 9 11 25-30 Dec. 2.? 13 17 25-30 Nov. Jan. M 9 ll 13 20-25 Feb. 10 11 18 21 29 28 12 1M 17 19 21 25 26 3O 1 13 16 20—25 March April 73 "Paradise of Lies", with Mildred Holland "Divorcons", with Mildred.Holland "The Land of Nod" Mack Minstrel Co. McClean Bryant Co. "The Gingerbread Man" "Sis in New York" "Billy the Kid“ Flora de Voss Co. 1.29s "The Squaw Man", by Edwin Milton Royle "The Yankee Regent" "At Yale" "The Royal Chef” Flora de Vess Co. "The Girl From Up There" "The Hustler" "Isle of Spice" "Little Prospector“ "The Red.Mill', by Victor Herbert l'Deviil's Auction" "The Lion and the Mensa", by Charles Klein “The Irish Senator" -"A Ragged Hero " "The Tattooed.Man' "The Man of the Hour", by George Broadhurst "Red.Feather' "Shamrocks and Sunshine" "Parsifal", Opera "The Time, the Place and the Girl" “Sunny South“ "Little Alabama" Frank E. Long 00. Burgess Stock Co. "The Kruetzer Sonata", with Blanche welsh Burgess Stock.Co. "Buster Brown" A1 Gt Fields Minstrels Frank E. Long Co. "Old Dominion”, with Clay Clement "Little Dollie Dimples" "Merry'Minstrel Maids", Boston Juvenile Co. "Uncle Tom’s Cabin“ Burgess Stock Co. "The Bondman", with Wilton Lackaye Partell's Stock Co. West Henry Co. "Comin' Through the Rye" "The Rivals", by Robert Brimsley Sheriden 7n Sept.7—ll - Mackt- Leone Co. 12 - 14 - l9 - 21 - 2&2? .- OCte 3 '0 6 - 2h - 27 - 29 - Nov. 3- - 9-1 - 23 - 214-25 - 26-28 - Dec. 1"" - l9 - 25-31 - Jan. h - 12 - 13-23 - 3O - Feb. 3.“ - 8-13 - 17 - 20 - "Too Pround to Beg" "In Wyoming" "Lena Rivers" "Paid In Full", by Eugene Walter Mack.- Leone Co. "The Devil" by Ferenc Molnar "Under Southern Skies ”The Mum and the Humming Bird" "Miss Petticoats“ ”We Are King” Madison Square Theatre Co. Harper Stock Go. "Babes In Toyland", by Victor Herbert Harvey Stock Go. "The Pollards' "In Panama", Roger Bros. Co. "Human.Hearts” Flor de Voss Co. use "The Man From;Hbme", by Booth Tarkington "A Knight For a Day" Kennedy Stock Go. ”Little Johnny Jones" "Message From Mars", by Richard G. Anthony Lattimore & Leigh Stock Go. "Honeymoon Trail" "Paid In Full", by Eugene Walter 22-27 - Lattimore and Leigh Stock 00. March 1 - "Devil's Auction” 2-6 - Lattimore & Leigh Stock Go. 8.. 9 - 12 - l6 - 3O - April 2 - 5-10 - 12-17 - 22 - 23-2h - 26 - 30 - May 1 - 3: 5-8 . 10 - "Yon.Yonson" "The Alaskan" "Isle of Spice“ ”The Virginian", Owen Wister Nevel "Brewster's Millions”, Dramatized by Winchell Smith "Parsifal', Opera Frank.E. Long Stock Co. Co We 000k 00. "The Red Mill”, by Victor Herbert G. We 000]! CO. A1 G. Wilson Co. Co We GOO]: 000 "When We Were Friends" Franklin Stock 00. "House of Bondage", with Florence Roberts Franklin Stock Go. "Belle of Japan” ll: 11 - 17- - June - 7.. July 5-10 - 16- kg. 21- Sept. 5 - OOte 16 O lov. 3 - 75 'Girls' Calumet Steck Co. 'Iildfire', with Lillian Russell Gnlumet Stock Go. Yankee Doodle Stock Go. “The Burgomster' 'i'hree twins“ u. You was It', with winn- m 'i‘he Merchat of Venice“, with Iilliaa Owen “Ole Olson“ IIn Wyoming“ '13:. Blocldiead' |'I’arisian lodel' 'Ihe Minister's mughter' ”he Royal Ghef' "his" "the Great Divide“, by Iillials new Hood: “Girl Iron 0.8.1.“ ”rho Girl Question“ 'i'ekla rar- lloIee' Primrose linstrels "Gentleman Iron liars” 22-29 .- Frenk 3. Long 0e. Dec. 13 «- 15 ~ 20 .. ”Graustark' “A Stubborn Cinderella“ 'St. 1130' 25-31 - Flora do You Go. 1210 Jan. 1 - Flora de Voss 0o. 17.22 - 211.29 .. r.be 5 - 26 - larch h - lO - "me Glim' u man For l W O. 1. Cook Stock Ge. 6. I. Goo]: Stock Go. “Pain In Full“, by hgsae 'alter 'i'he Ian of the Hour“, by Geerge Breadhnrst 'Paid In Full“, by lugsne 'elter 'i'he rims, the Place and the Girl“ 1L19 - Yankee Doodle Stock as. 21-31 - April hi I- 5 - 6 - 7 .- 12 - 16 - 18 - co 'e COOK “O um. Wolf", with Andrew hbeea "Patience', (opera) Gilbert and Sullivan 'Yasta Home". with Ire. Leslie Garter 'fhe Vassar Girls“ 'fhe Golden But 1mm“ . with Grace Van Stulditerd 'l'olly er the Circus“, by Isrpret bye ”lists in Ireland“, Al G. Iilsea 25-27 - lock Bod All Stock Go. 28.. ”The ma Depee". by mas-lee neia 29.39 - lock Bed m Steak Go. lay 2 C 9 - 12- 28- 'Fantane' ”Uncle i'oa' s Gabia' “rho Holy City“ 'i'he rest", with Blanche Ialsh 'Iidow llcCarty' 30.31 - Korean Stock Go. Junel-ll - Ioran Stock Go. 16- 23- 'A Prince of i'eaiat' 'A Ionan's lay', with Grace George July 18-23 - Pierce Stock 00. ing. 22 - . 2} - 27 - Sept. 5 - 12 - ”floodlit! at 30d Gate“ ”Flower of the Ranoh' 'i'ho Blue House” 'Uncle M' s Gabia' 'i'ho our. by clyde I. run: l9-2h .. Pierce Stock Go. ”. OCte 1 G 5- 6- 17- 2h- 'fho Lottery llaa' 'nie Volunteer Orpnist' 'Paid In Full”. by hgeae Falter 'llrs. 'iggs of the coup Patch“ “the Kissing Girl“ Who Broken Idol' low. 19 -'Uaole Eol's hbia' 21.26 - Frank I. Long 0e. 29.30 - Frank 3. Long Ge. DCCe 1 - 'My cinderella Oirl'I 5.10 C 12331:}. Long 0°. 17- ‘8ewen hys" 26-31 - Flora do Vess mun l’leys Adapted iron levels Porter-ed at Galuet heater 1900 - 1910 32 .3 6.3. 33 ... 33 no? .fi .33 S .n ..on o2 .w ...n moms 4. .5. 92 a ...o mom” .5 .3.» «can .3 .34 32 .3 .....— mom.” .8 is. «can .2 .5». 33 .9 .89 SS .3 £3 33 .mm 3.34 82 .R. ...... .....u .93 held]! adao Hose-A :38 oleeo 32313.3 .h .a was .u hog: chem-sac e53. «as 3.3 gem sou: neaseu «Rem seen .n case: .93 S32 eels: sag—sue: seen .n when: eeefl .n unseen one dash sen-«ea 3 ocean .k song one-aloe seamen. one acesaan soon—com noes-a.— aonsa seams—B 189.»... 3.3 :38 3.3.8 ... ... en. .....a ....— ..8... .3.- ...-3 e03. semen e934 none: seas 33226 sou-nab one: ueAeeen zeta coon Dash .95 age sage: 339—28 usual: evusn pean eased sedan sue.— aeae «on deem season-e: hash 332 neevuom noose...— nose: In :- deafiuafl fleas seas eoflukha .333 u. 83.5... 39.. as data- uneven 52.8 3. .3. 63a .3... 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BOOKS 1.10.. I. Clever, lichi an In four Centuriee. In York: Harper Brethern “We 195 0 Benedict, 0. Entry. mung. Ann Arbor: University ef Elohim Prue, 1952. Coed. Ornl Dunner and ldvin line Jr., 92.9. 1.211% Stee: _n_1_e_ agent 9; herien Series. Her Haven: Inle University Preu. 1929. Ireedley, George and John A. Reeves, ; Hietog 9_f_ 11}; metre. let Text: or... Publiehere. 19h1. Gates, unn- 3., Jun, Inning; Gem: _n_n_9._ leeton rogue. Genbrid‘e: Enrvnrd university Preee, 1951. Hatcher,9Hu:r1nn, 2.2 Great Lakes. London: Oxford Univereity Preee, 1 . leflchuezé 'elter. 39.9.5. m m. '0' York: line linen cenpnny. 19 . . Hern'bler, Arthur. ; Hinton 9_f_ 33;; theatre E 22:15, 2;. g. Philadelphia: J. B. Lippineett 5m, 1919. Men. Glenn, 1h: Stan 9; 9;; mentre. lee York: Senna trench coupe”, 1928. Jenee, Robert lei-end. g; Drastic Manon. lee York: Duell, Sloan end Peace, 1951. lnntle. hrne m Gnrfleon 1’. Sherwood, m legt m g gag-m. llev York: he“, Heed nnd company. 19 . lnreeuon, lane 1‘. end Dnniel from. my. be“: m a Leg. lee Yuk: Mere, 1916. lutin, John Barlow, a .1; north m. In York: Albert A. Inert. 19kt. Noreen, A. 1., lendeneiee ef Regen ML!!! 2;. New York: M1” Scribner'e Son. 195‘. 82 Kerrie, Lloyd. Eton i'ino. New York: Random House, 1953. hrdooh, Angus. Boon comer. New York: the loo lillnn Coupon}, 19%} Pox-hr, John, Iho'o & LI; 9;; theatre. Boston: 8-11. laymrd & com. 1922. Bower, Huh I... A Hinton o__f_ th__e_ L_____orthern $_ ofli chifl. Ghiongo: Lorie Publishing —Gompnw, 1911. 3. mm Ionaton Boil: lining Gazette (Honduton, liohignn) (.111 ioenee, Deco- her It. 1899 - Deoolber 21. 1910) 91.. copper Gonntry Ironing love (Gnlnnet, lliohigon) (Selected ieenee) n. mum love (want. Hiohignn) (selected 1......) G. P13101316“ Iertin, J. 1... “freon" Pite of Upper liohigon', um Ironing Post 229: 36, February 16.1952. 1). 0- Logger, Il'inonoiol Record of Gelnnet mentor. 1900 - 1917. Git: of cannot. I. mason; Imam Ilr. Victor Lou-er, Ironwood. lichignn, weir-on of tunnel looting of lichigon thte Hietoriool Aeoeoiotion nt Iromod. Angnet 30.1951}. Kr. moo looon, Hancock liehignn, longer of the Kerredge meetre, June 13. 1955e llr. 8t. Ger-An, col-let Elohim, longer of the Gnlnnet hootre, Gnlmt, lliohigon, June 13,1955. 83 Ir. Joooh moor. cannot Iiohignn, hployee, City of can... who hen served no otego hnnd in Gnlunet rhontor throughout 1900-1910. J“. 1"". 1955e Hr. liiobel ”no.1, City Clerk, Gnluet, Michigan. Juno 1‘}, and 16. 1955. VITA fine anther, no.1 Iinnetta (1.14) o... ... born at 3.11;... mean, April 26. 1903, the dandlter of Robert Ga: 3.1. cm. nu. MoGreary Reid. Rollowing her graduation tron Denieon High School ehe attended laehhnrn college at lepoh. Koneae, and Sterling College at Sterling, 1...... In 1921+ ehe ... mm... tron the 1...» institution with a Bachelor of Arte degree and Diplena of line Arte in Dre-a. |rho anther taught Inglieh and epeeoh in the high eohoole at llametta and Cherokee. Renee... and later epeeoh and drontice at 0.1.. holn High School on the Heeaha Range in Itinneeota. During thin period ehe did graduate work: in epeeoh and theater for four more at lorthweetern University and one en-er at the Univereity .r Itinneeota. following her nrriage to Ilner J‘nline One in 1933, ehe home a reeident of the Upper Peninenln of liohigen where her hnehnd hen eorred ae enperintendent of schools at Deere-er. he: have two dnnghtero. Ruth Carolyn and lleonor Juliet, who are now in college. !.'he\ anther returned to teaching in 1953 at Ironwood High School and in new a teacher in the Renee-er eohool eyetn. n. 5.... her Mt. etudiee at 111.211... State Univereity in the enmer of 1952 and oeupleted then in 1955. 7 ROOM 055; ow A, or . 9‘3 .7317, Mass-L43. . lunS’So W‘ \ M 24 '56 W" ( ‘ w m 3‘ Feb 8 ’57 . Apr 29 '57 , I & ”“1“": ’1 h ‘ JUL16'57 ’ :. Aug 7 '57 Dec 1 53 or, N‘ '31} fl ,5 . ' - . Mg. 9; -.,;~. 7...... . . ., - L .I‘, J o J a \ i ‘\ 0 |.__:' Aw 3; RQQM at)“: lIlnl‘ . .’ J u. I J .1 . . ’ i . . w r _. ”a: tr Q ‘ I .4 ll . 6'- *1 I. , .e C 1 9..., I" \ \ ... O a .. . . .P ... , . u a . . u. . , .. . . R m' e v . J a .0. F. MICHIGAN STQTE UNIV LIBRRRIES 31293103591834