marl ee pam “ Sis tien At oe ed ipa rs ities rer ie et se is 3 £4 ¢ pe Pee inet Pye —cata? 5 epensheey 2a22ts253% ; 28 ft ais - a tt ’ 9 ee Ye aes tet 5 Cyrerend its Mi G Se Seen rrr rears Ae Rhea rae Ce eer res A Se ba “i 2 eee see ase rt oe res pn ies ng oo yd eT Te root ees mets Seer nates we Best ae ee, oe rane ne yore Ss os ri *) z b. pete saat “I ri ieee I eatirs hee Foe - : us Sy ene rae a Ha Smee c SS 3 +2 { >) iM ne ihe el ite bbe: ; a oi aS By sia nto fel aes a, fy MOTTE TM 3 1293 01415 3 This is to certify that the thesis entitled RAMONA THEATRE A DESCRIPTIVE ACCOUNT OF A SUCCESSFUL. RESORT/AMUSEMENT PARK THEATER AT REEDS LAKE, EAST GRAND RAPIDS, MICHIGAN, 1897-1949 presented by Deborah Lynn Kerr has been accepted towards fulfillment of the requirements for M.A. degree in_Theatre ra. Ets / Major professor_7 ©-7639 MSU is an Affirmative Action/Equal Opportunity Institution LIF RARY Michigan State University PLACE IN RETURN BOX to remove this checkout from your record. TO AVOID FINES returm on or before date due. MSU Ie An Affirmative Action/E qual Opportunity Institution Clclrcdetedue.pm-p.1 RAMONA THEATRE A DESCRIPTIVE ACCOUNT OF A SUCCESSFUL RESORT/AMUSEMENT PARK THEATER AT REEDS LAKE, EAST GRAND RAPIDS, MICHIGAN, 1897-1949 By Deborah Lynn Kerr A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Theatre 1994 ABSTRACT RAMONA THEATRE A DESCRIPTIVE ACCOUNT OF A SUCCESSFUL RESORT/AMUSEMENT PARK THEATER AT REEDS LAKE, EAST GRAND RAPIDS, MICHIGAN, 1897-1949 By Deborah Lynn Kerr This study documents aspects of the Ramona Theatre including the building, the management, and the entertainments. The study analyzes the success of the theatre, as well as its eventual demise. The primary sources for this study included local newspapers, memorabilia contained in collections, and personal statements from former patrons. The theatre’s success can be attributed to the resort atmosphere surrounding the theater, the suitability of the building, the excellent management and marketing of the theatre, the nature of the offerings, and the loyalty of both patrons and performers to the theatre. The chief entertainments were vaudeville, light opera, and muSical revue. Well-known vaudeville performers included Will Rogers, Fanny Brice, Buster Keaton, Chic Sale, the Avon Comedy Four, Edgar Bergen, and Jack Benny. All entertainments from 1897 to 1925 are listed in an appendix. Also documented is Point Paulo, a vacation resort for vaudevillians located across Reeds Lake from the theatre. Copyright by DEBORAH LYNN KERR 1994 Dedicated to Bill for his help, love and support and to Derek whose fetal presence kept me company during months of research lv ACKNOWLEDGMENTS I would like to thank Jean Mitchell who first told me about the Ramona Theatre. I also appreciate the resources and encouragement of Gordon Harrington, whose love for Ramona was infectious. The following people are gratefully acknowledged for sharing their memories: Bernice Anderson Gerald R. Ford Muriel Peterman Patrick Barr Gordon Harrington Bernice Plaska Ernest Bates Mary Jane McDermott John "Bub" Rose William Bennett Marion McElwee Howard J. Silbar Gerald Elliott Lois McIntyre Robert Swain Kenneth Ellis Jean Mitchell Betty Ford Mary Roma Nowak I appreciate the help of Richard Harms, Gordon Olson Betty Gibout, Martha Bloom, and Sally Akehi, of the Local Historical Collections of the Grand Rapids Public Library, and members of the East Grand Rapids Branch of the Kent County Library for their help in identifying potential resources, for assisting in the distribution of surveys, and for letting me "live" in their history rooms. Thank you to Bill, Renee, Lisa, Eric, Robin, Lynda, Brooke, Terri, Mike, Reed, John, my family, my church, and my students for listening to my endless Ramona tales, for praying, and for the encouragement to continue. Lastly, I appreciate the challenge from Professor Frank Rutledge to document local theatre history before it is lost forever. TABLE OF CONTENTS List of Figures I. Introduction II. The Establishment of the Ramona Theatre A. Amusement Park and Resort Trends B. East Grand Rapids as a Resort Area C. Grand Rapids Street Railway Company III. The Operations of the Ramona Theatre A. Ramona’s position in Grand Rapids entertainment B. Building suited for summer theatre on Strategic Management D. Performers & Productions E. Unique Appeal IV. The Demise of the Ramona Theatre A. Photoplays B. Transportation Issues on Changing Atmosphere of East Grand Rapids V. Summary and Conclusion Appendix A - Productions and Performers who appeared at Ramona Theatre (1897-1925) Appendix B - Some of the Notable Performers who Played Ramona Appendix C - Ramona Theatre Survey List of References Vi vil 10 117 118 118 122 127 293 302 306 Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure 10. 11. 12. LIST OF FIGURES East Grand Rapids in 1895 The Famous Triangle of three Grand Rapids parks Postcard with southeastern view of Ramona Theatre Postcard with eastern view of Ramona Theatre Advertisement in the Grand Rapids Furniture Record, July 5, 1900. Interior of Ramona Theatre "Ramona" silhouette from Ramona Theatre valance Map of Ramona Park with a ground plan of the Ramona Theatre Marie Nash of the St. Louis Opera Company in a dressing room at Ramona Theatre in 1944 (Mitchell collection) Members of St. Lous Opera Company outside the Ramona Theatre in 1944 (Mitchell collection) A.B. Marcus, Leon Miller, Marcus Show Grand Finale Fred Paulo, Maurice Bellclaire, and Point Paulo On the Midway behind the Ramona Theatre. The Grand Rapids Spectator, June 30, 1928 Vil 12 14 19 19 22 24 33 78 719 84 93 97 I. INTRODUCTION On August 16, 1929, more than 70,000 people attended Ramona Park, a summer amusement park on the shores of Reeds Lake in East Grand Rapids, Michigan.’ The park included a state-of-the-art roller coaster, water rides, a high-quality carousel, a popular dance hall, and a vaudeville theatre. The biggest draw and one of the largest symbols of the park was the Ramona Theatre, with matinee and evening shows running seven days a week. By 1955, all physical evidence of the theatre and the park had disappeared. When examining this phenomenon in terms of theatre history, three questions emerged: Why was the Ramona Theatre there? Why was it so successful? Why is it gone? Previous Studies Despite the large role the Ramona Theatre played in West Michigan entertainment in its time, a large number of current Grand Rapids residents are not aware that the theatre even existed. Only brief mention of the Ramona Theatre has been made in published sources. Residents of the smaller city of East Grand Rapids are quick to refer to Bill Bennett’s Memories of East Grand Rapids as "the" source for information about local history. Although an unprecedented look at East Grand Rapids, this document is an unpublished paperback manuscript. The history of the entire park is covered ina few pages. The few details regarding the theatre are based almost entirely on the scrapbook in the East Grand Rapids Library, the file at the Grand Rapids Public Library, anda few newspaper articles. Librarians also point to an article published in a local history magazine. This article was written by a teenager and is mostly based on a few selected newspaper articles. A 1985 doctoral dissertation by local professor Gary George Konow of Aquinas College documents "the establishment of theatrical activity" in Grand Rapids between 1827 and 1862. Konow’s period of study ends 35 years before the theatre of the present study was built. Konow does mention the existence of the Ramona Pavilion "at which a theatre flourished in the first five decades of the twentieth century. "? Except for passing references to the Ramona Theatre, data pertaining to the theatre’s history was uncompiled prior to this study. Purpose The purpose of this study is to document aspects of the Ramona Theatre’s 52-year existence from 1897 to 1949. Areas of study will include the building, the people involved in the management of the theatre, and the actual entertainments. The study will also document Point Paulo, a resort established because of the Ramona Theatre. 3 The Ramona Theatre will be placed in the context of East Grand Rapids as a popular resort community, catering to all classes of people. This thesis will show how the Ramona Theatre brought theatre to the masses and filled a need for entertainment during a period of history prior to the existence of television for home entertainment or highways for accessing entertainments in distant locales. The theatre will also be put into the larger historical perspective of amusement parks and summer theatres in America. A second goal of this study is to analyze the success of the theatre which played a significant role in the entertainment field of Michigan’s second largest city in the first half of the twentieth century. Significance The entertainment at Ramona was popular entertainment. One definition of popular entertainment is "that type of diversion which suits the interests, tastes, pleasures, and pocketbooks of the general population rather than an elite few." Popular Culture Association founder Ray B. Browne states that popular entertainment has permeated and profoundly affected society throughout history. He also suggests that nearly all Americans have been active participants or "closet" appreciators of popular entertainments. He cites the following statement by T.S. Eliot: 4 I incline to come to the alarming conclusion that it is just the literature that we read for ‘amusement’ or ‘purely for pleasure’ that may have the greatest .. . least suspected .. . earliest and most invidious influence upon us. Hence it is that the influence of popular novelists, and of popular plays of contemporary life, require to be scrutinized.? Browne believes that the entertainment frequented by the general population merits study. He also states that "you cannot chart the blood flow of a nation without studying the popular entertainment. "* In 1977, the first Conference on the History of American Popular Entertainment was held. At the Conference, theatre historian Brooks McNamara declared that the focus would be on "long-neglected aspects of theatrical performance." He referred to the interest popular entertainment was generating among theatre students and scholars. One of the conclusions drawn from the Conference was that "popular entertainment must not be approached with condescension and as though the scholar were slumming."® In his 1982 reference guide to popular entertainments, Don Wilmeth concludes, "A new field of research has finally begun to come of age and the field of American popular culture will be enriched as a result of more serious investigation into popular entertainment forms."® This study will contribute to the archive of resources available concerning American popular entertainment. This thesis will also be valuable in providing the first documentation of this summer theatre. The information will be of local interest to the thousands still living that fondly 5 remember the theatre. This study will be an intense scrutiny of a theatre that is unique, and yet in some respects representative of other theatres during this period in America. The study will be of interest to students of theatre history, vaudeville, amusement parks, and entertainment in popular culture. Any reference to the existence of Pt. Paulo is especially obscure, and an investigation into this lodging/vacation spot for vaudeville performers in the 1920s will contribute new information to the history of vaudeville. Lastly, the significance of the Ramona Theatre is demonstrated by the quality of some of its entertainment and its immense popularity. During part of its history, the theatre hosted the big-time vaudeville circuits and saw nationally known performers. The theatre also enjoyed a great popularity in the 1930s and 1940s with the run of the Marcus Shows. The Ramona Theatre was the one summer entertainment consistently available to the Grand Rapids community for the period 1897 through 1949. Methodology and Limitations This is a descriptive historical study which draws from the following resources. The major primary sources for this study are local newspapers and magazines. The research methods included an exhaustive, methodical examination of the Evening Press (renamed the Grand Rapids Press in 1913) for the first 29 6 years of the theatre’s existence. During this period, the Ramona Theatre was the city’s major source of big-time vaudeville during the summer theater season. Information regarding the theatre was printed nearly every day between early May and mid-September. The second category of primary sources for this study are personal statements from contemporaries and former patrons of the theatre, gathered by personal interview and by written survey. The initial interviewee provided names of other potential interviewees, and this referral process continued. Surveys were placed in the East Grand Rapids branch of the Kent County Library and in the Michigan History Room of the Grand Rapids Public Library. Surveys were also mailed to selected contemporaries of the theatre. The researcher recognizes that personal statements and newspaper accounts do contain bias. No attempt was made to explore the bias of the original reporter. The third category of primary sources are the holdings and artifacts contained in collections, including the holdings of the Grand Rapids Public Library, the East Grand Rapids Branch of the Kent County Library, and other private collections of memorabilia. These collections contain a scrapbook, physical remnants of the theatre, programs, postcards, lithographs and photographs, silent film footage of Ramona Park, as well as other artifacts. 7 The first category of secondary sources for this study includes histories of East Grand Rapids, Grand Rapids and Kent County. The other category of secondary sources consists of scholarly publications on the histories oof popular entertainment, amusement parks, transportation, vaudeville, revue shows, and theatre management. Study’s Aim The goal of this study is to search for the answers to the following questions. (1) Why was the Ramona Theatre there? (2) Why was it so successful? (3) Why is it gone? This will be achieved through an investigation into the establishment, operations, and demise of the Ramona Theatre. 8 Footnotes to Chapter I 1. Grand Rapids Herald, October 24, 1954. 2. Gary George Konow, "The Establishment of Theatrical Activity in a Remote Settlement: Grand Rapids, Michigan 1827 to 1862," doctoral dissertation, University of Michigan, 1985, p. 14. 3. Ray B. Browne, "Popular Entertainments: Summing Up," American Popular Entertainment, ed. Myron Matlaw, (Westport, CT: Greenwood Press, 1979), p. 293. 4. Browne, p. 294. 5S. Browne, p. 295. 6. Don B. Wilmeth, Variety Entertainment and Outdoor Amusements: A Reference Guide, (Westport, CT: Greenwood Press, 1982), p 6. II. THE ESTABLISHMENT OF THE RAMONA THEATRE A. Amusement Park & Resort Trends The World’s Fair was held in Chicago in 1893. In The Lively Audience, Russell Lynes describes the combination of the "bedazzlement" of that World’s Fair with the "flamboyance" of the theater in the 1890s which produced a "healthy absurdity" that continued on the stage into the twentieth century. "The theater like the fair combined fantasy and art and ostentation together with evidence of material progress. It set out to make Americans feel good about themselves and about the future."* Meanwhile, by the 1890s, New York’s Coney Island had become a "mecca for the millions of New Yorkers."? City residents sought escape from the "oppressive heat, concrete, and clay of the city, the time-clock living, and the choking white or blue collar."? Coney Island offered myriads of entertainment possibilities, a few of which included amusement park rides, bathing beaches, games, food, dancing, and vaudeville performances. "Coney Island was a place where the world could be bought for a nickel, where life was nothing but loud, splashy laughter, and where each spectator could take center stage and be the star of the show. "‘ 10 Coney Island’s popularity led to "an astonishing growth" of amusement parks in the United States. "The American public was caught up in the outdoor amusement craze, and on almost every warm summer afternoon and evening you could find the typical American family at the local amusement park."" By 1919, there were over 1,500 amusements parks nationwide. "BVvery city of decent size had a park."® Another cultural trend that provides necessary background for this study is that of resorts. The June 19, 1897, issue of the Evening Press in Grand Rapids, Michigan, ran the following "Gossip" column on its society page. Just at this time the main question to be considered appears to be that of resorts. Society is talking about resorts. Society is thinking about resorts. Society is removing to resorts and society people are becoming resorters. Some go merely for awhile, and some go to stay as long as the warm summer stays. All go with the same objective in view--a little rest and a respite from the city life that warm weather renders’ so tiresome.’ Later that summer, the "Social Events in Grand Rapids" portion of the newspaper was unusually sparse. "Really little can be expected in the way of functions at this period of the year, because society people are at the resorts .. ."® B. East Grand Rapids as a Resort Area East Grand Rapids, situated on Reeds Lake, is a city separate from Grand Rapids. The History of Grand Rapids and Kent County, published in 1918, describes the early settlement at Reeds Lake. "Roadhouses, low grade amusements, such as 11 chicken and dog fights, fake boxing matches and occasionally a real battle for blood and thunder were staged and the promoters flourished amazingly."’ John "Bub" Rose’s father, who came to the area in 1900 to open a Bathing Beach/Swimming School, spoke of the taverns that had been located along the lake.?*° The 1915 Resort Issue of the Grand Rapids Press commented on the history of Reeds Lake. Reeds Lake, right at the city’s very doors, has been the favorite outing place of Grand Rapids ever since village days. Away back in the 40’s & 50’s the grandaddies & grandmammies of the present generation found keen delight in its natural beauties and in its opportunities for recreation.” East Grand Rapids’ biggest claim to fame is as "the old stomping grounds" of President Gerald R. Ford. It is nowa beautiful residential area with a Gaslight Village of stores. C. Grand Rapids Street Railway Company Ramona Park and Ramona Theatre were located on the shores of Reeds Lake, which was located a few miles from downtown Grand Rapids. This park had been built, owned and operated by the Grand Rapids Street Railway Company. The lake was at the end of the Cherry Street trolley line. Most of the amusement parks at this time were known as "trolley parks." These were built by transit companies who wanted an incentive for people to ride their lines. Trolley parks were constructed at the end of the trolley line, almost always on some large body of water, and several miles outside of the city.” ee eee 12 _ EAST GRAND RAPIDS i : te cf BROCE Sr _ | = « ad i | “12 ee — ‘ ' vote | | | pe : ; 1 ; 4 Hey to | | tio ( woe poertsty wr a rs | —_— ‘| ‘eet : ! » ~ 7, “wae! ' °° mc weir SE ie | ned : * | ry wet 17 om, are wsO8 _-. — ~o gost a , Yt i ete ' ie vac 3 [ ie ns vs ’ | i £2 SSE ES weatray _ ACL cle Tue PREPARED FOR THE LA‘ CRAND RAP. 35 CHty COMMISSTGN AY CITY PLANNING COMMISSION & City PLANNER SCOTS BAR Y Figure l. 18 East Grand Rapids in 1895. End of the trolley line at Wealthy Street and Lake Avenue shown. 13 The circle of tracks at which the trolley cars turned around were located approximately 100 yards south of the theatre. In 1899, the Evening Press reported that steps had been taken to insure against derailments of the "heavily loaded cars" which swung around the "big loop at the lake."* In the late 1800s, pavilions were popular structures for summer picnics and various entertainments. Many pavilions existed in Grand Rapids, and these were used primarily as picnic shelters and band shells. In 1875, a pavilion was built along Reeds Lake, but eventually burned. In 1897, The Grand Rapids Street Railway Company built a new.pavilion north of the previous one, on a rise overlooking the lake.** The site on which the street railway company chose to build its pavilion had started out as a picnic grove. Apparently, "virtually all" of the early American amusement parks grew out of picnic groves.’ The street railway company which owned the pavilion held a contest to name it, offering a $5 prize. The proposed titles ran from "absurdly funny to the ultra-romantic". "Trolley Hall" and "Alhambra" were close seconds, but the winning name was "Ramona", the name of the Indian heroine in Helen Hunt Jackson’s popular novel. Attempts had been made to change Reeds Lake to "Ramona Lake" several years before, but to no avail.*® In 1899, the street railway company advertised "The Famous Triangle" that could be traveled by trolley to the three major parks.’’ The Grand Rapids Street Railway owned 14 the North Park Pavilion and the Ramona Pavilion at Reeds Lake. 18 NORTH PARK (8 miles) REEDS LAKE (7.5 ow Zo miles) JOHN BALL PARK Figure 2. The Famous Triangle of three Grand Rapids parks. Trolley Car Treasury called these parks "traffic generators."”” "In the cool of a summer Saturday evening, the ride out was the keynote, as these verses from the Street Railway Journal suggest: Oh, what a delight On a soft June night To ride in an open car! You can stand the expense-- It's only five cents-- No matter how poor you are." 20 The public transportation of the trolley car was a significant factor in the establishment of the Ramona Pavilion. The success of the Chicago World's Fair, the growth of Coney Island, and the popularity of amusement parks and resorts indicated the strong societal need for popular entertainment. The timing of Ramona Pavilion's opening could not have been more strategic. Ironically, the article covering the dedication ceremony of the Ramona Pavilion was printed on the front page of the newspaper containing the above-mentioned column which named resorts as the popular obsession. 15 Footnotes to Chapter II 1. Russell Lynes, The Lively Audience, (New York: Harper & Row Publishers, 1985), p. 132. 2. Gary Kyriazi, The Great American Amusement Parks: A Pictorial History, (Secaucus, NJ: Citadel Press, 1976), p. 17. 3. Kyriazi, p. 17. 4. Kyriazi, p. 17. 5. Kyriazi, p. 98. 6. Kyriazi, p. 98. 7. "Gossip", Evening Press, June 19, 1897. 8. "Social Events in Grand Rapids", Evening Press, July 10, 1897. 9. Ernest B. Fischer, History of Grand Rapids and Kent County, (Chicago: Robert O. Law Co., 1918). 10. John "Bub" Rose, personal interview, September, 1991. 11. "Reeds Lake, most sought and most useful among the resorts of Western Michigan," Grand Rapids Press, June 28, 1915, p. 22. 12. Kyriazi, p. 99. 13. "With the Theaters," Evening Press, May 29, 1899, p. 2., c. 3. 14. "To Be Known as Ramona," Evening Press, June 19, 1897, p. 1, 15. Kyriazi, p. 16. 16. "To Be Known as Ramona," Evening Press, June 19, 1897, p. 1, 17. Evening Press, July 6, 1899, p. 2, c. 5. 18. Evening Press, May 26, 1900. 19. Frank Rowsome, Jr., Trolley Car Treasury, (New York: McGraw- Hill, 1956), p. 97. 20. Rowsome, p. 97. IIIT. THE OPERATIONS OF THE RAMONA THEATRE ' j ids entertainment The theater entertainment in Grand Rapids today is loosely divided into winter and summer seasons. The two main winter theaters are the Grand Rapids Civic Theatre on Division Avenue and the Broadway Theater Guild on Monroe Avenue which brings touring groups to DeVos Hall. In the summer nmonths, Circle Theatre is the main theater spot, operating in an enclosed pavilion-like structure at John Ball Park. Local colleges, a local university, and other theatre groups also provide excellent sources of theatre entertainment, often rivaling the groups listed above.” At the turn of the century, the winter and summer seasons were more sharply divided out of necessity, with theater managers at the mercy of the thermometer. In the winter, the elaborate downtown theaters competed for patronage. Many theaters existed downtown at different times during Ramona's 52-year existence. One of the predominant theaters was the beautiful Majestic Theatre which was the same building now occupied by the Grand Rapids Civic Theatre. The mighty Powers Theatre, known for its rich elegance, stood on Lyon Street only yards away from where DeVos Hall now stands. A parallel also exists between Circle Theatre and the Ramona Theatre. 16 17 Both theatres were built in pavilion-like structures. Circle Theatre is located in a popular summer park/zoo area, while the Ramona Theatre was part of a summer resort/amusement park environment. In an era before air conditioning, the downtown theaters remained open as long into spring as possible until they were forced to close due to the heat in the buildings. Each spring, Ramona Theatre was ready and waiting for the masses who turned to the cool lake breezes to escape the heat. Like Christmas, the seasonal nature of Ramona added to its charm. The nostalgia that is connected to the Ramona Theatre is often coupled with fond memories of summer evenings, boat rides on the lake, swimming, food, rides, romantic outings, and childhood. Several former patrons of the theatre tell stories of meeting their spouses at Ramona. Although rival entertainment came and went, Ramona remained the one constant in summer amusement in Grand Rapids for the first half of the 20th century. B. Building Suited for Summer Theatre. Exterior & Interior Description. The Ramona Pavilion was located on Lakeside Drive, across the street and up the hill from the west shore of Reeds Lake. The pavilion was a wooden structure, rectangular in shape, with a semi-circular dais protruding on its east side towards the lake. The roof consisted of four pyramid-shaped sections which met in the middle. The "pyramids" had small dormer windows peeking out, 18 and sloped down to form eaves which extended out over a large porch completely surrounding the inner structure. Large posts lined up along the porch supporting the overhang. A low railing ran around the porch in a criss-cross design which is one of the identifying features of the theater. Although the pavilion was unique in its own right, it was also a part of something larger. As Ramona Park grew, the pavilion was remodeled to maintain a uniform look to the buildings. In 1913, the west end of the theater was renovated into a "regular mission effect" with concrete walls. When the theater was built the rear was upon the 'backyard' of the resort. Now conditions have changed and the stage door fronts upon what is really a rear-front yard. Therefore the architects have been busy altering the stage entrance, making it more sightly and of an imposing appearance in keeping wjth the Ramona Dancing Academy, upon which it faces. In the early years, the pavilion was surrounded by trees, dirt paths, advertising signs, and unsightly buildings. Photographs show the gradual removal of some of the larger trees from around the outside of the theater. In what was dubbed the "beautiful Ramona cause" of 1910, the advertising billboards were removed’ and tar was poured for the paths which ran through gardens.” By the 1912 season, the paper rejoices in the entirely clear lakefront resulting from the removal of several buildings and a high fence.’ The merry-go-round and a popcorn stand were moved to other places in the park so that the theater could be surrounded by grassy 7 lawns. 19 Ramona Park Pavilion. Grand Repids, Mich. eat ii >. aie Figure 3. Postcard with Southeastern view of Ramona Theatre. Figure 4. Postcard with Eastern view of Ramona Theatre from Reeds Lake. 20 The main entrance was located on the eastern rounded end at which stood a grand flight of stairs which led up from the street and lakeshore below. The stage entrance was located on the west side of the building. In 1910, a roofed pergola was built which ran from the newly roofed landing station of the streetcar to the pavilion. This insured patrons that they would be protected from the elements when attending the theater during bad weather.’ Patrons lined up on the great porch for admission into the theater. The box office and headquarters for the resort manager were located on the porch of the pavilion. From the main entrance on the east side of the theater, the patron entered the back of a large auditorium. During the pavilion’s first three years, the interior seems to have been one large room with a stage and orchestra pit at one end and a cigar Stand at the back of the auditorium. Immediately after the pavilion’s third season, contractors were hired,’*? and on January 29, 1900, work began on a major remodeling project. The changes to "the new theater at Ramona Pavilion" were to be so extensive that the patrons would "scarcely know the place."?° The pavilion theater now had a seating capacity of 1,200.** More aisles were added and the old seats moved to the back of the theater with 700 new seats installed in the front. Eight boxes were added to each side of the theater, some seating six and some seating four.?* With the auditorium extended "all the way to last year’s cigar stand," 21 there was now a special standing space which could hold a large number of spectators. The floor of the auditorium was dipped to provide better site lines for patrons. The theater continued to receive improvements each season. After the 1903 season, the seating capacity was increased by an additional 500, and a large balcony was added, leading to a second-story outdoor promenade overlooking the lake, complete with flowers, palms and box trees.** In 1911, the roof garden was proclaimed "one of the finest points of observation in the city with refreshments and club facilities nis The roof garden was a temporary feature of the close. building. For the 1910 season, the second major renovation of the theater was unveiled. Windows were installed in the open portions of the theater which could be closed as needed. This modification marked the "enclosing" of the theater. The boxes were remodeled to include brass railings, velour draperies and "“Crex prairie grass" furniture. "Cork carpets" were laid throughout the theater, and curtains were hung from the new windows. Other features were the refreshment’ rooms, "dulceana" nooks [sic] and window boxes. Later that summer in August, Grand Rapids hosted a city-wide "Homecoming" and the Press described the Ramona Theatre for visitors returning home. The paper lauded the change from "the great open auditorium" to a "dainty and artistic theater." "In every detail it is a "theater of class" and there is not another like it on the American continent."*® 22 "THE GRAND RAPIDS FURNITURE RECORD 47 The Street Railway Review of Chicago | SAYS: “At Grand Rapids, Michigan, one can get a trolley car ride of 21 miles, visit three parks, and see a vaudeville show for 20 cents.” || THIS IS HOW IT IS DONE | «| : AKE a Cherry Street and Shawmut Avenue car going west; this will take you to John Ball Park. When you have seen the park, go back (same line) to Canal Street; get a transfer for Wealthy Avenue and Taylor Street car going north. This car will carry you through the Soldiers’ Home Grounds to North Park. After staying there as long as you wish, take a car for Reed’s Lake. Free shows are given there every afternoon and evening during the season, commencing at 3:00 and 8:15 p.m. } In addition there are many other amusements. Any of the cars will return you to the city from Reed’s | Lake, any time you desire, or return via Cherry Street. p@PRAASP AAP AAS MA APA APA APR RR RR AAR BR BR Ae Ret Ps Figure 5. Advertisement in The Grand Rapids Furniture Record, July 5, 1900. Interior of Ramona Theatre. 23 The Stage, Curtains & Scenery. After the 1900 renovation, the new theater housed the largest stage in 17 The proscenium was widened from 34 feet to 42 feet town. and dressed in white and blue. Branching out from the stage was a peristyle with Ionic columns and an entablature above. Dressing rooms were located on the north and south sides of the stage.’ In 1907, a hardwood floor was laid on the apron of the Stage to assist the dancers and "to prevent dust during dancing acts."? Whenever an unusually heavy act came to Ramona, such as elephants, it was reported that the stage managers had placed extra braces under the stage.*° The shape of the stage was altered in 1913. The apron of the stage, that part projecting out above the orchestra, is being cut down. This will better the vision of the audience and at the same time not take valuable space from the stage. The front line of the stage will be made to conform to the present day idea in theaters of rounding out toward the audience. The change will give room for two more rows of front seats and will have the effect of bringing the audience closer to the performers.”* A new drop curtain was purchased for the theater in 1900.* The phrase "the curtain will roll up on the summer of 1903" seems to point to a curtain which rolled up from the bottom. For the 1904 season, a new curtain was painted.” In 1907, an asbestos curtain was purchased, on which was painted a Venetian scene.” 24 In 1910, the manager made a decision regarding the curtains of the Ramona Theatre that brought attention and acclaim from the Press. Mgr. DeLamarter has inaugurated a reform at Ramona that might be followed by every Grand Rapids theater manager to advantage. It consists in the banishment of all so-called advertising drops and curtains. The effect is decidedly pleasing. The elimination of the signs removes an affront to the eyes of playgoers and adds to the "class" of the theater. In vaudeville it is a regular thing to drop before the eyes of the audience at times a straight or olio drop that is plastered over with ugly, inartistic signs. Mgr. DeLamarter came to the conclusion that these advertising plastered curtains were an imposition upon his audiences and detracted from their enjoyment of the performance. Therefore he resolved to eliminate them, even buying up existing contracts in order to carry through the reform. 7° Beginning in 1910, the Indian girl "Ramona" for which the theater was named became a symbol for the theater. A painted Silhouette of her head adorned the "scene borders" on the stage. The portion of the valance with the 2 x 3 foot Indian girl head hangs framed in a private collection. ”® Figure 6. "Ramona" silhouette from Ramona Theatre valance. 25 After the opening of the new theater in 1900, the scenery was said to be of a "very high order," with "interiors, street scenes, gardens, fancy wings and borders, and everything desirable."*’ In 1906, Chicago scenic artist H.C. Chavalier was hired to paint new scenery for Ramona.”® Still more scenery was acquired for the 1907 season "to assure a proper setting for the big acts Manager DeLamarter proposes to secure."*? The 1910 batch of scenery contained a garden scene, olio and borders.*° Apparently the scenery was usually changed with the curtain down, for in August of 1910, the changing of the scenery in view of the audience was dubbed "an odd feature of the bill."* At the 1900 opening of the new theater, the Evening Press declared the stage accessories, the curtains and the scenery to be "equal to those of many high class theatres."* Decor. A special feature of the Ramona Theatre was the great care taken to adorn the theatre with lovely decorations. The original colors of the interior were primarily white and gold with some blue, until 1910 when white, gold and green became the trademark colors of the theater, inside and out. In 1925, a full page spread about the park in the Press reports "a cluster of white buildings, touched with emerald, grouped on the margin of Reeds Lake."*? For the 1906 season, the manager began a tradition of setting aside a week in August as "Japanese Fete Days." A 26 1908 article entitled "Like Nippon Land" described the transformation of the pavilion. The theater itself was handsomely decorated with lattice work borders & streamers high in the air. Pendant balls of Cherry blossoms formed a canopy over the open portion of the theater. Japanese lanterns glowed everywhere. ** In 1912, bamboo was displayed throughout the pavilion, and Japanese umbrellas were placed above the boxes in the theater.*° Some of the surviving postcards of the theater show it decorated for Japanese Fete Week with Japanese lanterns hanging around the porch. This "garden-like" transformation of the theater was so popular, it was incorporated into the permanent decor. In 1910 when the auditorium was enclosed, the box velour draperies and the orchestra pit furniture were done over in green, and the windows were curtained with green sundour [sic] .*° One of the new "striking features" was the addition of green vines, creating a "pergola" effect.*”’ A pergola, according to Webster’s, is "an arbor, especially one with an open roof or cross rafters or latticework supported on posts or columns, usually with climbing vines." The title of an article in the 1910 Homecoming Issue of the Press proclaimed "Ramona is Like a Pretty Garden."*® In 1916, latticework pergolas were constructed over the boxes. *? The interior of the theater has been freshly done over in white, while rose vines all abloom with pink blossoms clamber over the lattice and pergola effects of the boxes. Hanging baskets of pink roses add to the pretty summerlike effect."*° 27 Former patrons of the theatre are quick to mention the latticework in recollections of the theatre. Mary Jane McDermott remembers in the 1930s the theater was "open, with lots of latticework and artificial flowers--like a gazebo."* Temperature. Part of the magic of the theater was its summertime quality, complete with cooling lake breezes. Before the advent of air conditioning, the climate directly influenced the enjoyment level for patrons of any theater. "The stifling hot weather yesterday afternoon and evening drove thousands of pleasure seekers to Reeds Lake and Ramona Theatre. Hundreds could not procure seats in the auditorium. "* On occasion, the erratic nature of the weather worked against the open pavilion, especially in May or September when summer was late in coming or early in leaving. "A cold northeast wind freighted with dampness swept across the lake and into the pavilion until it brought into service every wrap obtainable. "* Even after the theater was enclosed, the building had no heat. Despite a few exceptions however, the theater was fervently praised for the comfort it provided against scorching summer heat. In 1916 when the thermometer hit 100 degrees, thousands were said to be "cool and comfortable" at Ramona. ** Safety. No record was found of the pavilion burning during its 52-year history. This was unusual for theaters of the day, especially an all-wooden structure like Ramona. This 28 was due largely to the diligence of the management and staff in upkeep, necessary renovations, and strict safety precautions. In 1904 the scenery and stage woodwork were covered with a fireproof preparation.*® A 1905 article in the Evening Press describes the thorough measures taken to protect the pavilion from fire. The preparations included fire drills every Tuesday and Friday at 7:00 p.m., a stage sprinkler and a system for pumping water to the pavilion veranda from Reeds Lake. *® By 1907 the theater had an asbestos curtain.*”’ A sign from the dressing room of the theater which currently hangs in a private collection, reads: POSITIVELY NO SMOKING IN THIS DRESSING ROOM OR ON STAGE. The stage manager has instructions to rigidly enforce the above rule and "close" any act, a member of which violates the same, and positively no excuse will be accepted. So please note, it’s CUT IT OUT OR "CLOSE." L.J. DeLamarter, Resort Manager. *°® Lights & Equipment. The original lighting of the theater is unclear. In 1900, a description of the lighting is given in the Evening Press following the renovation of the auditorium into a formal theater. The large apron of the Stage had a stretch of incandescent footlights reaching all the way across, with lines of incandescent lights arranged around the arch and along the borders. The observer reported that while hundreds of incandescent lights were used about the stage, the body of the theater was illuminated by improved enclosed arc lamps.*’ 29 By 1900, it was possible to darken the auditorium. This was often used for special effects, moving pictures and "song illustrations. ">*° For this act, songs were sung as images were flashed onto the stage from the rear of the theater through the use of a "stereopticon"--similar to a slide projector. In 1900, a permanent moving picture apparatus was installed in a "little house on stilts" at the rear of the theater, resembling a railroad signal tower.** For most if not all of its existence, the theater had a screen on the stage that could be lowered when needed. Acts that required lighting effects were not always as effective during the matinees as Ramona could not be darkened in the afternoon.’ Until 1907, the are lights were supplied by the "flickering railway current." Beginning with the 1907 season, all the lights in the theater were incandescents, supplied by the Edison current.* A set of 10 dimmers was installed in 1908 to provide better lighting variation capabilities for the acts. In 1909, a ballet act incorporated "varicolored lights" into its act. The lighting continued to improve throughout Ramona’s history. In 1910 a renovation list included "hanging inverted lights in verde antique fixtures."°> An account in 1911 describes the theater as sparkling with hundreds of tungsten lights.°° Additional lamps were added in 1913, despite the claim that the theater was already "one of the best lighted in "57 the country. A green-beaded gas wall lamp which hung in 30 the auditorium near the stage is currently in a private collection. Acoustics. The same open-air quality that brought the pavilion its summer charm was also the cause of its largest problem: the acoustics. As early as July, 1898, the newspaper began addressing the problem. It 1s a misfortune that the acoustic properties of Ramona pavilion are so bad. Difficulty in hearing was noticeable enough in vaudeville, but it was emphasized yesterday when the Mackay Opera Company opened its present engagement with a production of "The Mascot".°° This was the beginning of a problem that would recur through the theater’s first 13 years. Understandably, the newspapers contain repeated reports of this frustrating condition. On June 21, 1899, it was reported that a large canvas canopy was placed over the theater section of the pavilion with the goal of curing "the case of bad acoustics." It was hoped that the canopy would prevent the voices of the singers from being "lost in the recesses of the roof."°? The canopy apparently proved unsuccessful, for five days later the following review appeared: Miss Gladstone was on the program for a monologue turn, but the acoustic properties of the pavilion made it out of the question for her to appear in this and the act in so-called mind reading was substituted. Mlle. Bonita is shown in a very fair singing and dancing turn which falls flat because the young woman’s songs might as well be whispered to a tornado as in that barn-like room.” Performers who did manage to work around the acoustical dilemma were appreciated. 31 Patrons are also reveling in the fact that the very diminutive Nellie V. Nichols is at least one sobretto who can make her voice heard over the footlights. But when she does it one cannot but wonder what that voice would be if heard within an enclosed building where there are no angles to combat every second.°® Improved acoustics was a major goal of the 1900 renovation project, with the hope of enhancing the enjoyment of sketches and monologues. The Evening Press rejoiced that the days of not hearing "past the footlights" would be gone.°* The acoustical problem was improved, but not solved. It was noted that a "voice of unusual strength and power" was necessary to carry properly through the "immense" outdoor theater.°® Before the beginning of the 1901 season, an optimistic tone was set. "The [Furniture City] band should be heard to splendid advantage as the acoustics of the Ramona Theatre are as nearly perfect as can be made in an open-air theatre. "°* The pavilion was only partially responsible for the problem. The locale of the pavilion at the center of an amusement park and crowded resort area brought its own unique sounds. A few weeks into the 1901 season, an acrobatic comedy pantomime act was praised for being especially adapted to an open air pavilion "from which outside sounds can never be entirely shut away."® In 1902, a miniature railway was added to the attractions at the park. The tracks ran along the back of the pavilion, just behind the stage. "Luna Cooper bravely sang against the noise of the moving crowd, the bustle of the refreshment room, and the shrill tooting of the 32 locomotive on the miniature railroad."® Apparently Sundays posed the biggest problem. With the Saturday work day still in effect, Sunday was the largest attendance day at the resort. The words of many acts were lost in the "Sunday roar"®’ which was always observed on "crowd" days at Ramona. °° The waves of sound rolling toward the stage from auditorium, pavilion, refreshment rooms, and the grounds outside beat against the performers and seems [sic] to form a pulsating wall against which the voice, unless raised to a=— shriek, is practically powerless. °’ On one such Sunday in August, 1902, Actress Lillian Burkhart was "ready to cry" because of having to scream her lines. She declared that she could be heard in every corner of The Met in New York and the Auditorium in Chicago, but at Ramona on Sunday she was helpless.” In 1906, rubber matting was laid to help deaden the sounds from outside the auditorium.” A review in 1907 blames the performers themselves, stating that they are simply not suited to an open air auditorium.’? In 1908, a performer was praised for being "more than able to cope with difficulties presented by the large open-air auditorium at Ramona."’? In 1910, windows were added to the theater which could be opened or closed, and complaints in the newspaper finally ceased.” Resort Atmosphere. Just before the opening of the theater, an article ran in the Evening Press about Ramona Park 75 entitled "Real Coney Island". This comparison would remain 33 with the resort area at Reeds Lake throughout its history. Although the resort noise sometimes interfered with the entertainment in the theater, the park environment gave the theater a unique ambience. FE Ramona Park ———— erkS ack wrime fveres <2 7 Neacrnyr sr WEALTHY Pld Figure 7. Map of Ramona Park with a ground plan of the Ramona Theatre. 34 During the beginning years of the pavilion, refreshments were sold during the performances, producing an atmosphere which resembled a baseball game. Manager Stair is considering the advisability of discontinuing the constant peddling of peanuts and soda water among the seats during the acts. He plans, instead, to have an occasional intermission with orchestral music, which will be made a feature this year. During these intermissions patrons will be served at their seats or can stroll about the pavilion as best suits them.” In 1902, refreshments were still being served during the productions. The lemonade and popcorn boys at Ramona need to be put through a course in voice modulation. They have a decidedly annoying habit of yelling out their wares in jarring tones no matter what act may be going on. They or their employers apparently imagine that people go to Ramona to hear popcorn yells instead of to enjoy the performance. As far as noise goes, the boys always win in the competition. ”’ The announcement came in 1908 that the Chinese restaurant had been moved from the pavilion to the fish exhibit building, and the pavilion restaurant would now serve only lunches. This relocation would remove "the chop suey odors that used to be wafted through the theater."” Food wasn’t the only smell in the theater. In 1911, a seal act was moved to a tank outdoors due to the smell. Previously they had been kept in the building, "as is usually done."7° The festive park clamor included crowd roar, the Derby Racer roller coaster, the miniature railroad, and even the steamboats on the lake. In August of 1900, whistling mimic Al 35 Holt was describing the way girls in different cities whistle for a street car. He described Chicago girls as being shrill, and Detroit girls as chirping like street urchins. The wise ones in the audience saw the imitator’s opportunity to flatter his audience, but his description of how a Grand Rapids girl calls fora car was accidentally turned into the biggest kind of a burlesque . . the Major Watson’s powerful whistle was turned on to the limit and the noise was deafening, as it usually is. The audience went into convulsions over the Grand Rapids girl’s manner of whistling down a car and Holt had to wait until the .. . applause died away before he could resume. °° summary The Ramona Theatre was well suited to the needs of a summer theatre. A 1902 caption under interior and exterior pictures of the pavilion described its use: This pavilion was erected by the Grand Rapids Railway Company at a cost of $25,000. Its use is free to everyone. It contains 35,000 ft. of floor space, all on one floor, available for guests. In the center of the building is an auditorium where music and other attractions (suitable for all classes of people) are given twice each day during the season.** In the Ramona Theatre’s very first year it was described as "the pretty summer theatre. "® This phrase seemed to sum up public opinion and was frequently used to describe the theater throughout its history. 36 C. Strategic Management. General Job Description of the Manaaqger. From its inception, the Ramona Pavilion was owned and operated by the Grand Rapids Street Railway Company. The Company appointed a manager who was in charge of all aspects of the theater. The first duty of the manager was the acquiring of entertainment, which sometimes required him to travel to other parts of the country. He was also responsible for the operations of the theater and the staff of treasurers, ushers, maintenance people, and stage personnel. The manager also acted as a promoter, leaking information to the press about what he was planning next. The newspapers were quick to lavish praise or heap coals upon the manager, depending on the success of the current entertainment. The manager had to be both a mediator and a peacemaker. He was responsible for overseeing and organizing the many acts that arrived each week. The backstage group of performers, stagehands, and animals could easily range from twenty to over a hundred. He was also expected to draw large crowds, and to insure their complete comfort and enjoyment. At the same time, he answered to the Railway Company and was under pressure to turn a profit. An excellent (and inadvertently humorous) firsthand look at this position is found in The Vaudeville Theatre by Edward Renton, published in 1918. "The manager will have many problems to meet and solve, and the ideal includes some of the characteristics of the lawyer, diplomat, shrewd merchant, aggressive advertiser, wise 37 executive, ‘good mixer’ and gentleman." Acknowledging the long hours that are the "nature of the business," Renton asserts that managers must either "cheerfully take cognizance or get out of the game."* The Notable Managers. Darnbrough. There is no known manager for the 1897 inaugural season of the Ramona Pavilion. For the second season in 1898, Manager Darnbrough was appointed by the head of the railway company." After his first week of managing the theatre, the popularity of Ramona was high, and credit was given to Darnbrough’s "skillful direction."* Later that summer, Frank Burt of Burt’s Theatre and summer booking agency from Toledo, Ohio, visited Ramona. Burt informed the Street Railway Company that the bills to date were not "of the class" demanded by the resort. The Railway Company challenged Burt to bring in some acts of his choosing, and some of these were w 86 seen in August, billed as "Burt’s Choice. Stair. The 1899 season began the seven-year reign of Manager Orin Stair. Orin Stair was in partnership with his brother E.D. Stair, a Detroit theater manager who leased the Grand Rapids theaters. E.D. Stair was also an owner of the Detroit Free Press®’ and manager of a vaudeville circuit.® During the winter theater season, Orin managed the Powers Theater and the Grand Theater. Prior to the opening of the newly renovated theater in 1900, Manager Stair assured the public that the acts would be strictly clean and first class.* This statement was 38 necessitated by some of the "raw" entertainments in certain downtown theaters and local taverns. Stair also predicted that Ramona would be one of the finest resorts of the kind in this country.?° During his first five years at Ramona, Stair managed the entire park, but in his last two seasons he attended only to the operation of the theater.** Towards the end of the 1905 season, Orin Stair sent his letter of resignation to Ben Hanchett, President of the Street Railway Company, listing the reason as the demand of other interests. The Evening Press reflected that under Orin Stair, the resort had grown amazingly and the character of the performers had been bettered.” His obituary in 1943 stated that he "had a hand in Ramona Park Theater,"’? when actually he had blazed the trail for what would become a significant stop on the big- time vaudeville circuit. DeLamarter. For the pavilion’s first season as a theater in 1900, Manager Stair placed a young man named Louie DeLamarter in the box office.** Two years later, Louis was also serving as the treasurer of the Grand during the winter season.” In 1904, Manager Orin Stair hired Louis J. DeLamarter as his assistant at Ramona.” Prior to the opening of the 1906 season, it was announced that Louis J. DeLamarter would be the General Manager for Ramona Theatre and Ramona Park. Edward Renton, a contemporary and fellow vaudeville theatre manager, stated: 39 . it may be said that there are not now and never have been enough real managers to go around. It is the experience of the writer that those who have proved exceptionally competent are quickly recognized and rapidly offered promotion to larger theatres and greater responsibilities. ”*’ By the time the theatre was torn down in 1949, Louis DeLamarter, Sr., was the President of the Grand Rapids Motor Coach Company which owned the park. Before his debut, the Press reported that Manager DeLamarter had a high standard for bills.*® The report was an understatement, for during the 17 years that followed, the Ramona Theater flourished under the excellent management standards and creativity of Manager DeLamarter. In his Memories of East Grand Rapids, William Bennett accurately credits DeLamarter as being the one "who really developed the park." For the 1923 and 1924 seasons, Manager DeLamarter took a respite from his management duties for the theater. For the first time in many years, Louis J. DeLamarter, Vice President and General Manager of the Grand Rapids Railway Co. will be out of the Ramona management. After having built a substantial reputation for Ramona, as one of the highest grade summer theaters in the country, he has turned the active management over to W.S. Butterfield for a term of years.’ The two-year hiatus proved disastrous for the theater. When Manager DeLamarter resumed his management of the theater in 1925, the Grand Rapids Press literally rejoiced. A few weeks into the season, Mary E. Remington, theater critic for the Grand Rapids Press, described Ramona’s line-up as ". . the sort of bill which assures audiences that the good old days of 40 high-class vaudeville bills, for which Ramona used to be famous, have returned."*** The next day, Remington reported with satisfaction that "General Manager DeLamarter’s promise to restore the old time name of Ramona has_ been fulfilled."* Louis DeLamarter was a shrewd businessman and a respected leader. At the same time, he had a sense of humor and related well to both patrons and performers. Legends have been passed down about his suggestions helping acts improve during their stop at Ramona.’” Butterfield. W.S. Butterfield assumed the management of the Ramona Theatre in 1923. His assistant was house manager Jim Rutherford.’” Butterfield’s employment was described as being for "a term of years," indicating that the position was temporary. Butterfield claimed to have had years of successful experience as a producer, manager, vaudeville magnate and theater owner.’ Mr. Butterfield stated that his policy was "to give the "106 «6HWis idea of public the sort of entertainment it wants. what the public wanted were acts comprised mostly of girls in skimpy costumes. The acts themselves seemed to grow progressively more "vulgar" and "plotless." He tried to use special events to bring in the patrons as DeLamarter had, only his "events" were of a different nature. His attractions included beauty contests, the giving away of a Mormon wife, and "Garter Night," where a patron could get a beautiful pair 41 of garters free .. . by coming up on the stage and picking them out.?°’ By the end of Butterfield’s term of management, only tiny ads were being run in the Press. Inthe "Amusements" section, critic Mary E. Remington barely mentioned the Ramona Theatre. Barr. In 1939, it was announced that Mgr. Delamarter had signed Fred J. Barr as the assistant manager of the theater. Barr was already serving as an advertising agent for the Grand Rapids Motor Coach Co. which owned the park. He had served as manager of the Keith’s Theatre and the Majestic in Grand Rapids. An October 24, 1954 article in the Herald refers to Barr as a "protege of Delamarter".*” Ernie Bates who owned some of the rides at Ramona Park remembers Fred Barr sitting in the theater office pasting articles about the Ramona Theatre into his scrapbook. Bates also remembers Barr as a "fun-loving individual with a wonderful sense of humor, and eight or nine kids."?” Managerial Duties. Acquisition of Acts. When the construction was started on the new theater at the pavilion, publicity began for the upcoming season. It was announced in January, 1900, that Manager Stair intended to sign acts costing $250 a week, and that Manager Johnson of the Railway Company had given him carte blanche.**® By May, some acts were boasted to be at $300-$400 a week, quite an improvement when the entire bill had averaged only $200-$250 in the past.*’ 42 For the 1902 season, the cost for lesser acts were as low as $40, while the "headliners" had risen to $500-S$600. Manager Stair explained the rising cost. "No, the vaudeville people have not raised prices to any great degree. We are simply giving the patrons of the theater better attractions than formerly . . good summer amusement."??? Two of the top acts in 1902 were comic opera star Pauline Hall at $500 a week,?*? and the Ten-ichi Japanese magicians at $600.'** The Press marveled at the amounts, due to the artists "working mi15 only half an hour a day. After the 1903 season, Manager Johnson and Manager Stair announced that they would be traveling east to "see what other cities were doing."?’® Many of the acts at Ramona came 7 directly from bookings in Chicago.**’ In the beginning years at the theater, acts were signed from both circuits and independent agencies.*** In 1907, Manager DeLamarter traveled to the Majestic in Chicago where he saw the Grigolatis, an aerial ballet act. He booked them for Ramona for $750.*? It was announced in 1908 that appropriations for weekly billings had been increased. In addition, acts in general were said to be somewhat lower in price because of the ending of the "vaudeville war."’*° English singer Rosie Lloyd was booked as a headliner for the third week at a salary of $1,500.'*4. Following the second week of the season, receipts were already higher than the record-breaking 1907 season. The Press declared that Ramona Theatre was "more popular than 43 ever, due to Manager DeLamarter’s policy that "big acts draw big business worth money. "?? For the 1909 season, Manager DeLamarter made the exciting announcement that Ramona was now booking with the Orpheum circuit, through the United Booking Offices in New York.” He claimed this would now connect Ramona with the biggest parks and vaudeville houses in the country. DeLamarter promised Grand Rapids "a season filled to overflowing with the very best that vaudeville affords."**‘ On July 22, 1909, the Ramona Theatre was paid a visit. Two of the biggest men in the vaudeville world, Martin Beck, head of Orpheum Circuit, and Pat Casey, the booking agent, were visitors in Grand Rapids last evening. They spent several hours at Ramona . . . it is understood that bookings were discussed.’**° Ramona was now a solid member of the big-time vaudeville realm. A large disparity existed between big time and small time vaudeville. Big time meant two shows a day, reserved seats, good theatres, good dressing rooms, large orchestras, and higher salaries for performers. Small time was four to five shows a day, smaller salaries, poor dressing facilities, and less competent musical accompaniment .?*® Ramona continued to book with the Orpheum Circuit through the 1912 season.’**’ In 1913, the theater began booking with the United Booking Offices of America, comprised of Keith, Proctor, Williams & Poli theaters of the East, the Majestic and the Palace of Chicago, the Temple of Detroit, and 125 other theaters. In 1915, the Press claimed this illustrious 44 connection made Ramona "the rendezvous for all discriminating theatergoers."*?® This alliance of theaters came to be known simply as "Keith’s Vaudeville."’*? The Ramona Theatre booked through Keith’s from 1913 through the 1920s, except for the 1923-1924 gap when W.S. Butterfield managed the theater. When Keith’s Vaudeville returned in 1925, many rejoiced. For the first time in two years, Ramona topped the theater section. Ramona again can hang out its "Sign of the Good Shows." The return to big time Keith’s vaudeville this season promises to bring the lakeside theater back to its former popularity.**°® The patrons were not disappointed for near the end of the summer Ramona was said to have established "all its old time popularity as the local summer home of ‘big’ time’ wi3l vaudeville. The Staff. Ushers. For the first ten years, the ushers at the Ramona Theatre were comprised of "gentlemanly young boys".?°? The 1907 season brought a surprise. Mgr. DeLamarter has introduced a curious innovation at the Ramona matinees. He has employed girl ushers for the afternoon. The boys employed at night are in school during the afternoon and so until vacation time at least girls will serve in the afternoon. The innovation is proving unique and satisfactory.’ This innovation became one of Ramona’s trademarks. A 1950 article in the Press stated that Ramona claimed the credit for first introducing uniformed girl usherettes, who became 45 popular in theaters throughout the country.’** The accuracy of this claim is not verifiable. In 1904, the ushers, along with the musicians and stage mechanics, were attired in red trimmed with gold.?* Beginning with the 1910 season, they wore white with green and gold trimmings, matching the new decor of the theater itself.**® The ushers were sometimes costumed to contribute to the overall theme of the presentation. When the Japanese Fete week started in 1906, the ushers or "attaches" were costumed in kimonos.?*?’ Upon attending the "Fete" week in 1909, the patron was greeted by "a pretty, smiling ’Geisha’, offering a souvenir from out of her store."*73 The women were given dainty glass Japanese windbells, while the men received cigars 139 and fans. When the management wanted to emphasize the derivation of the name "Ramona", a girl dressed in Indian costume gave out programs at the door.?** Jean Mitchell ushered for the 1944 season, which featured eight light operas. The ushers were allowed to watch the shows for free, and Mitchell remembers rushing down to the front row just before the show began. The performers called them the "left front row patrons." She still has all of the programs, as well as autographed pictures and photographs she took of the actors. Jean Mitchell now works with the Grand Rapids Civic Theatre and says the times she spent at Ramona prompted her interest in the theatre.** 46 Backstage. Working backstage at a theater with the conglomeration of acts seen at Ramona caused some unusual Situations. A story is told of the prop man working on the stage at 9:00 a.m. and hearing voices. After trying repeatedly to locate the source of the voices, he finally discovered the bird act up near the ceiling. Apparently the birds would talk only when they were offstage.** Occasionally the stage crew was called on to assist in one of the acts. Strongwoman Annie Abbott could reportedly lift 10 men, but 10 men were unable to lift her. Stage Manager Young and "several of his husky assistants" assisted in the experiment, but were unable to move her. (It was suspected that an electric charge was involved.) **? In August, 1903, the Press reported that one of the hits at Ramona had been scored by "local talent." Following a dance act, a stage mechanic was sweeping sand off the stage. one night the stage mechanic was very much surprised to find himself keeping time to the music. He swept faster and the music kept the pace; he swept slowly and the music dragged along; he swept in ragtime and the orchestra jumped into "coon" [sic] music. Try as he would he could not get out of time with the rhythm of the selection. Moreover, the swish of his broom seemed unusually loud. There came a ripple of laughter from the audience and then a yell of amusement. The stage man looked down into the orchestra and then he understood. The drummer was keeping time to the swish of the broom with sandpaper sheets, and the orchestra was following the drummer’s lead. Every night the performance has been repeated and always successfully. *** Along with the fun, the backstage personnel worked long hours. The duties varied, according to the needs of each act. One 4‘] act required piano wire to be connected to the steel corset of an aerialist. All is action & tension back on the Ramona stage. The services of nearly 20 men are required to carry out the mechanical point of the act. Up on the ‘gridiron’ 50 feet above the stage, 4 men are stationed amid a network of wires and slats.?* Other. One other notable position was a park fire warden, added in 1905. This post was reportedly unique in the city and indicated the concern management had for safety at the theater as well. Each day the warden visited sites around the park and checked for rubbish or oily waste.**® Other regular employees of the theater included a treasurer in the box office, an advertising manager, a press representative, a doorman, stage mechanics, an electrician, a person to run the projector, and an orchestra leader. Periodically, the names of some of the staff members were listed in the Press. The winter and summer theaters often employed the same people, thus enabling theater people to work throughout the year. A 1907 announcement stated that John Powell, the former assistant treasurer at the Majestic and the current ticket seller at Ramona, would be in the box office at the Powers in the fall.**’ Ramona’s stage managers, advertising agents and others could often be found working at the downtown theaters during the winter months. Public Relations. From its very first season, the Ramona Theater was a theater for the people. The management placed a high priority on pleasing its patrons. An example of 48 this was in 1900 when Manager Stair shifted the moving picture "Cinderella" to the middle of the bill at the request of parents who wished to attend with their children and return home early.’ One element of keeping the theater audience happy was the swift handling of disturbances. In 1908, the conventioning Knights Band began an impromptu concert outside the theater. The noise distracted the performers inside the theater, and the management quickly put a stop to the disruption.” In 1913, Press theater critic Arthur Stace wrote an article discussing the irritating practice of people talking in the theater. He had received a letter complaining about three couples at Ramona. Stace replied that the problem had improved in the last decade, and blamed non-theater patrons brought in by novelty as the culprits. "It is hoped that in a few years the loud-voiced spoilers of plays will become as rare as that other annoyance, once so distressing, but now obsolete, the theatrical hat." Ramona had dealt with that problem when it existed. The program handed to each Ramona patron in 1900 had included a request from the management that women remove their hats.” Another article by Arthur Stace discussed vulgarity on the vaudeville stage. He commended Grand Rapids managers for attempting to eliminate all offensive matter from their bills, but accused performers of having "slipped over" gags. Stace praised the United Bookings office which sent acts to Ramona for sending out rules to be posted in the theaters. 49 Everything of a vulgar, suggestive, profane or sacrilegious nature is forbidden in this theater. The use of the words "hell," "damn" and "God," except in seriouS or reverent sense, must be eliminated.’ In 1915, Manager DeLamarter carefully censored moving pictures of the boat disaster in Chicago which contained graphic pictures of the Chicago River being dragged for bodies.?? Promotions. Advertising. In order for the Ramona Theater and Ramona Park to make a profit, it was necessary for the advertising agent to lure potential patrons onto the streetcar. Various promotional methods were used to promote the theater. As early as 1899, downtown billboards "bloomed with lithographs" of the upcoming entertainment at the Ramona Theater.’ In 1901 the Press remarked that a performer looked exactly like the 3 sheet poster lithographs of him that 99° Advertisement signs were also had been hanging for weeks. placed in the street cars and in merchant windows. When two performers saw these ads all over town reading "Fanny Rice [sic] and Six Other Acts", they threatened management that they would strike because they were not "also rans". According to the account, they performed anyway.’”® During Ramona’S opening week in May, 1903, an advertisement was run in a program at the Powers Theatre for the "Reed’s Lake Resort." Along with descriptions of new rides and attractions, it was promised that Manager Stair 50 would have "many agreeable surprises for the patrons of the theatre in Ramona pavilion."’®’ Postcards began their climb into popularity in 1903.1 A few postcards of the Ramona Theater can still be found at select Grand Rapids antique shops, in the local library collection, and in private collections. The most common form of advertising for the theater was in the newspaper. The two major newspapers during Ramona’s existence were the Grand Rapids Herald and the Evening Press, renamed the Grand Rapids Press in 1913. The Herald stopped printing in 1959, while the Grand Rapids Press has survived as the daily newspaper of Michigan’s second largest city. Even though the Herald was the larger paper during the theater’s beginning years, the Press was chosen for this study because it gave more detailed focus to theater and resort entertainment. For the pavilion’s first season, all events at Reeds Lake and the Ramona Pavilion were listed with the railway route schedules. At the start of the 1898 season, the Ramona Pavilion was included in the "Amusements" section, along with the downtown theaters.’*? Separate ads were also run solely for the entertainment at the pavilion.’® At the commencement of the 1899 season, nearly an entire page was devoted to the attractions at Reeds Lake, including an actual picture of the pavilion.*® More coverage was given to the pavilion throughout the season in the daily "Amusements" column and in the weekly "With the Theaters" 51 column. For the first time, critical reviews of Ramona’s entertainment were given.*** When the pavilion was renovated into a theater for the 1900 season, theater status was 163 It was even nicknamed "The officially bestowed on Ramona. Ramona" to match "The Powers" and "The Grand. "?* As the theater grew in popularity, small advertisements were run on the front page of the Press, with larger advertisements on the theater page. Advertisements were increased in size on occasions when visitors were in town, including fair week, conventions, Homecoming week, Labor Day and the Fourth of July. When the Powers Theater experimented with a summer stock company in 1904, Ramona bought advertising space in the Press that measured 11 inches wide and 2 feet high.?® Familiar advertising logos became connected with the theater over the years, including "Queen Ramona" holding the theater anda trolley car, bubble letters of the word "Ramona" on a sign hanging from a post, sketches of vaudeville acts, a 3-year series of ladies in fancy dresses sketched by "E.L.D.," and, of course, the silhouette of an Indian girl head. Several publicity angles were used to entice the crowds to come to the lakeside theater. First, the crowds were promised escape from the summer heat. One advertisement suggested, "Take a car ride to Ramona and play a joke on the thermometer. "*®® Other slogans included "Vivacious Ventilated Vaudeville"’®’ and "a good place to go, where cool breezes always blow."?® 52 The second promise was of clean, quality entertainment. One advertisement assured, "No place so desirable for ladies 4.169 without escort. The advertisement would be headed by a statement such as "High-class Vaudeville, Popular Show of the n170 Advertising agents tended to exaggerate, claiming Times. week after week that this was the "biggest bill of the season." The advertisements always included a listing of the individual acts. Articles about the private lives of the performers were popular, and for many seasons a picture was run each week showing one of the featured acts. Ramona’s biggest draw was the entire resort package. Each spring, when Memorial Day was approaching, the familiar announcement would be made, "Cheer Up, Ramona Will Open Soon." The Grand Rapids Labor News encouraged readers, "Chin-up, Chest-out, Cheer-up . . . Ramona Park Opens Saturday."’" A Grand Rapids Herald article illustrated the excitement. "Along comes this glorious announcement: ‘Ramona is going to open today.’ Doesn’t that make you happy?"*” The Ramona Theater had always been a part of something larger--as The Grand Rapids Spectator referred to it in 1928, the "Playground of Grand Rapids and Western Michigan." Reeds Lake guaranteed boat rides, swimming, amusement park rides, balloon ascensions, a dancing pavilion, an athletic park, picnic grounds, fireworks, and sometimes romance. A former patron described the theater as the "focal point of Ramona Park."'7> Ramona Park was called "the most popular amusement place in Western Michigan,"’”%* while the theater was referred 53 to as "The Theater that made Grand Rapids Famous.""’> A 1911 advertisement proclaimed Ramona to be the "Mecca of Summer Theatergoers.""’° Ramona Park was included in "Grand Rapids: Gateway to Playground of a Nation", a promotional moving picture designed to bring conventioneees to Grand Rapids during the Depression. Tickets. Tickets to the Ramona Theatre could be purchased at several downtown drugstores and from other merchants. The merchants ranged from Wurzburg's Department 7 Store to the Pantlind Style Shop.” Tickets were also available at the pavilion, and as early as 1906 tickets orders could be placed by telephone to the park theater office.’”” Ticket prices for the theater were typically lower than the downtown theaters. However, most of the thousands of visitors to the park and theater came by streetcar--a 5-10 cent ride. Few of the summer parks could give the elaborate bills that are now offered if it were not that they were controlled by street car companies. The latter are able to give strong attractions at prices that would bankrupt a regular theater. They make their money, of course, in carrying the people back and forth. No mention is made of a ticket charge for the first year of the pavilion's existence. In 1898, seats were sold for 10 cents. Admission to the pavilion itself remained free, and anyone standing in the building could see the entertain- 80 ments. When the boxes were added in 1900, the seating prices ranged from 10-25 cents. 54 Beginning with the 1904 season, admission was charged to all patrons of the pavilion. Prices remained at 10-25 cents, with slightly cheaper prices at the matinees.”” In 1907, the prices were raised to a range of 10-30 cents. With the enclosing of the theater in 1910, the prices rose to 10-35 cents. In 1911, it was possible to secure the same reservations for every week of the entire season.” In 1913, prices jumped to 10-50 cents, and in 1921 prices moved to 10-75 cents. In 1925, the bottom ticket price finally increased to 15 cents, making it an amazing 28 years that admission could be gained to the theater for only 10 cents. Ticket prices were raised occasionally if an especially popular act was featured, or if a fundraiser or local production was held.” Ticket prices were also influenced by outside economic factors, including the frequently mentioned "H.C.L." (high cost of living) brought on by the first World War, and the ensuing war tax which began in 1919 when the war ended.” Show Times. For most of its existence, the theater was open seven days a week, with a matinee at 3:00 p.m. and an evening performance at 8:30 p.m. The length of the performance usually ran between 1-1/2 and 2 hours, depending upon the number of encores. One advertisement suggested the possibility of catching a few dances after the show at the 86 adjacent dancing academy which closed at 11:00 p.m. The last streetcar left the park around 11:30 p.m. 55 Programs. The first mention of the use of programs was for the 1900 season, listing Ramona as "Grand Rapids’ 87 Society Vaudeville Theater."* The programs for the 1902 season were in "pamphlet souvenir" form and decidedly "metropolitan." For the 1906 Japanese Fete week, the programs displayed 89 the Japanese flag on the cover. The 1907 program was printed "in colors" and described as a "handsome booklet with a cover gotten up in imitation of a leather bound book. """° Beginning in 1910, the programs had an Indian girl head on the cover and “impressed on each page." Management used the "Ramona" symbol frequently throughout the theater's history. A private collection contains three programs from the 1930s and 1940s. One cover displays a sketch of an Indian girl across the lake from the theater, one shows a colorful drawing of the theater at night, and the third contains a 2 photograph of a popular sister act.” Ramona's programs for the 1944 season contain many advertisements encouraging the purchase of war bonds.” Special Events. The Ramona management wisely offered special events to encourage patronage of the theater. In 1899, Manager Stair set aside a Saturday matinee at the pavilion as "Children's Day," featuring a baby of one of the performers. Children under 5 years of age accompanied by parents were admitted free. Children between 5 and 12 could 94 have their choice of seats for 5 cents.” In 1901, coupons were included in a Press advertisement, allowing ladies and 56 children to obtain the best seats for the Saturday matinee.*” Manager DeLamarter took the appeal to children one step further. In September 1907, each child attending the Saturday matinee was given a toy. These toys included dolls, doll beds, teddy bears, wheelbarrows, carpenter chests, engines, tea sets, garden sets, stoves, checkerboards, balls, Jack-in- the-boxes, games, whistles, and horns.” For many years, the Evening Press held their annual "Newsboys Picnic" at Ramona Park. Hundreds of paperboys (and later girls) boarded the streetcars for a free day at the lake and resort, which always included a special early show at the theater. One year some of the boys liked the swimming so well that they had to be encouraged to go to the Ramona show. Apparently this was unusual for the writer of the article could only say, "Think of icy’? As a performer sang at the 1909 newsboy matinee, the word "Lunch" spread quickly through the house and the audience surged outward. "Ramona never emptied quicker or filled with as much facility as when the boys learned their mistake. Morrell welcomed them back and everyone was better acquainted."’” Weekday matinees sometimes focused on the ladies. When the "Knights and Merchants" conventioned in Grand Rapids in 1908, the Tuesday matinee at Ramona was set aside for “women 99 relatives of the Knights." A special ladies only matinee was held in 1918 when Leona LaMar the mind reader played to 57 00 large audiences.” At other times souvenirs were offered to ladies attending the theater.” The management also assigned themes to the theater that signified special occasions to the public. The most popular of these was the decorative "Japanese Fete" days, which began in 1906. A special programmer was assigned to the carrying out of the theme. As mentioned earlier, the building and park were decorated, and the staff was costumed accordingly. The orchestra and the visiting performers also incorporated Japanese elements into their programs.” Beginning in 1916, Manager DeLamarter designated a week each August as “Appreciation Week". Several headline-quality acts were booked, but prices were kept the same to show appreciation to the patrons of the theater.*” Current events also contributed to special themes at the theatre. In 1918 the first World War was at its climax and many Grand Rapids boys were fighting overseas. On May 20, Washington released an opinion on the appropriateness of entertainment at this serious time. The Council of National Defense has gone on record officially as favoring the continuation of theaters, motion picture shows and other forms of pr Opes, amusements as one of the essentials of war One month later, the Press commended the Ramona Theater for doing “its patriotic bit." 58 With brisk and breezy speeches on the war saving stamps, a song on the Liberty Loan, a playlet based on the subject of the draft, and the flags of the allies, brought out one by one and left waving at the side of the stage, the popular summer theater has an inspiring Star Spangled Banner atmosphere. The jaghted, flag-decorated globes also _ are new." Summary Much of the success of the Ramona Theatre can be attributed to the professional manner in which it was run. At the same time, the management remained personal and sensitive to both patrons and performers. These two factors worked together to create an environment of trust. 59 D. Performers & Productions. Vaudeville was the predominant genre of entertainment at the Ramona Theatre during its first 33 years. During the last 19 years, light opera and musical comedy revues were the chief entertainments. This division is not rigid, however, because light opera and musical comedy revues appeared occasionally during the vaudeville years, and vaudeville-style acts were interspersed within the musical comedy revues. Vaudeville. The first season at the theater began with several weeks of band concerts. Beginning June 23, 1897, additional acts were regularly added to the entertainment. The inaugural acts at Ramona were Burnette the baritone soloist and La-Petit Inez, “the smallest dancer in the world." The 1898 season at Ramona Pavilion began regular "bills," with an average of seven acts. Although listed first in the advertising, headlining acts performed last. The management attempted to arrange the bill or "olio" in the most strategic order. Although vaudeville appeared to its audiences as an unstructured collection of dissimilar acts, it was actually a meticulously planned and executed balance of "turns" designed to control the audiences' responses and interest, while enhancing the appeal of each act and providing a smorgasbord of the best available entertainment. The vaudeville acts that appeared at Ramona fell into Many categories. (A complete list and brief description of all acts appearing at Ramona from 1897 to 1925 is included in 60 Appendix A.) The categories will be discussed in random order. Sketches and Monologues. Short dramatic sketches and one-person monologues were common on Ramona's bill. According to audience reactions, a necessary ingredient was comedy. A June 24, 1901, review reported that laughs were numerous, "as they should be in a summer theater program" .°” Vaudeville required a special brand of humor. Humor was especially popular in vaudeville, in part because of the need of the audience to laugh during a time of tension and great change .. . vaudeville patrons were especially amused by word play and simple, obvious humor, thus a successful ag omedy team would shoot for the short, pithy joke. Some of the topics were: an absent-minded beggar, mishaps involving theatrical managers and actors, the Civil War, and honeymoon and marriage. One successful sketch was "Sweethearts," written by Sir W.S. Gilbert.””” Usually, ludicrous elements added to the popularity. In one sketch, the use of tiny coffins as traveling bags produced "howls of } At least in the minds of the critics, it was laughter.” possible for an act to become too absurd and ridiculous. Mitchell & Love were cited as "alleged comedians who call each other fool, idiot & blockhead and then laugh heartily at their own cleverness. "”” A particularly popular sketch in 1912 was described as a "1999 travesty." It centered around the "ludicrous" idea that in the future, domestic and economic positions of men and women would be entirely reversed. Joe Jefferson, son of 61 Joseph Jefferson of Rip Van Winkle fame, played an over- feminized husband who keeps house and takes care of the children. Felice Morris played a business woman who was the head of the house.”” A few sketches were of a more stirring nature. One such sketch was "Hit the Trail" by John B. Hymer. This dramatic sketch was an episode in the career of an evangelist "of the Billy Sunday type." The review assured readers that this was a dignified treatment of a daring theme, and not a "Billy 14 Sunday travesty. nu? One sentiment-provoking sketch was a bride-to-be saying goodby to pictures and letters of all her old sweethearts.”” Monologues usually contained jokes. The most frequent criticism of a joke was that it was "culled from ancient history"””® or “of the vintage of 4000 B.c.""'’ tImitations of famous actors were also popular, including impersonations of Fanny Brice and of Laurette Taylor doing "Peg O'My Heart." Monologues sometimes contained humorous reflections of the day, such as that of Ezra Kendall. Kendall's jokes are stories, always witty, often wise, telling of things with which mankind is generally familiar and dropping, here and there a smattering of worldly knowledge. Singers and Dancers. A 1901 Ramona review mentioned that a vaudeville program would be incomplete without a song and dance feature.” Dancers that met with audience approval were described as having "ginger." Performers with inferior 62 voices were usually forgiven if they could dance well.??° It was often the dance acts that scored the biggest hits. Dance styles varied from numerous ethnic varieties to the popular dance steps of the day. The 1913 season showed indications of the coming dance craze. One couple danced the tango and the Texas Tommy with such "vigor and abandon" that the reviewer said he understood why these steps were barred from public dances in Grand Rapids.?** A "spectacular and daring" dancing act in 1914 was described as a "vampirish sort of thing." It was viewed with "breathless attention" by the audience. 2? When burlesque began creeping into vaudeville, a 1922 dancer’s "shimmy style" was said to border on the objectionable.**? In 1923, the Press listed the Shimmy Dance as one of the "9 Great Shocks of our History," along with Prohibition, the Chicago Fire, and the World War. ?** During one week in August, 1915, Press dramatic critic Mary Remington marveled that not a single dancing act "cavorts before the footlights." She found the absence of a dancing act to be almost a relief "after the dance deluge, which has almost submerged the stage during the last few years."** Dancing remained one of the common threads in Ramona’s entertainment throughout its history. The Ramona audience seemed to be critical of the skill of Singers more than that of other performers. Singers chose songs from light opera, minstrel companies, ragtime, and popular music in general. Frequently the songs were "illustrated" by pictures projected onto the stage by a 63 stereopticon, Similar to a modern slide projector. In 1915, a new twist on the "song illustration" was presented with the illustrations projected in motion pictures. The illustrations showed the singers posing, and the audience was appreciative of the fact that the female singer wore the same costume in which she appeared live.?*® Acrobats. Acrobatic acts were a common item on the bill, and praised if they were better than the "average affair of W227 Head balancers, silken tights and spangled settings. hand balancers, strong men (or women), and aerial ballets were all branches of this category of entertainment. Part of the appeal was the element of danger. One balancing act was voted "remarkable" because it nearly reached the proscenium arch.**® A particularly popular act was an aerial ballet which struck mid-air poses suspended from tiny wire strands far above the footlights. The act culminated in the release of 50 doves from the rear of auditorium. The birds flew over the heads of the audience and landed on the heads and arms of the dancers. ?**? Instrumentalists. The Ramona Theater employed an orchestra leader each season who was responsible for hiring the musicians to play in the pit in front of the stage. The orchestra played between the acts and also accompanied them as necessary. In 1925, Ramona’s regular orchestra was listed as a weekly feature on the bill, reflecting the growing popularity of bands nationwide. 64 Instruments of all varieties were heard on the Ramona stage, including mandolins, bagpipes, and sailors hornpipes. In the vaudeville tradition of variety, instrumental acts attempted to be creative. In 1922 Josselyn & Turner received an unfavorable review because, as the critic pointed out, "cello playing and dancing have nothing to do with a race track."*” The popularity of certain instruments rose and fell, depending on the current trend. In 1909 violins were the rage. Piano music was always popular, but many of these acts were actually "trick pianos" which played themselves. The celebrated "Pianophiends" appeared at Ramona twice. The act was composed of young men and women in fashionable clothing playing concert pianos. The act featured attractive scenery and the novelty of more than one person to a piano. Ragtime music was the overwhelming favorite style of the vaudeville musicians in the early years of the theater. Some acts, including "The Venetian Serenade," played selections 231 from famous operas. Like the singers, the musicians also played popular hits. i eat S. Ethnic stereotypes were always appreciated in vaudeville entertainment. The papers cheerfully and unashamedly gushed with remarks that reflected the racial and ethnic division of the times. In the theater's early years, popular obsession with white minstrels in blackface was evident at the theater, but the actual black 65 performer was rare. Black children were seen more often than adults, and these were treated as curious spectacles. She is a clever singer and would be a good feature in herself, but when she trundles out those tiny mites of Black humanity who illustrate her song’s idea, the effect is all that she looks for.??? One act composed of actual black entertainers was the Blackstone Quartette who appeared in 1900. Their voices were praised for being "unusually free from that peculiar harshness so common to singers of their race".?*? In 1906 when Japanese performers came to Ramona, a reception was held after the matinee for ladies and children to meet the "cute yellow youngsters." Some patrons even brought them gifts.?* Julian Rose, "our Hebrew friend", appeared on the bill in August. His Hebrew impersonation, songs and monologues were so popular that four of his jokes were published in the newspaper in Yiddish dialect.?* Other cultures were represented as well. Maud Allison’s portrayal of a Swedish servant girl was praised for having "all the naturally combined shrewdness and simplicity of the race."*°° A 1911 theater article marveled that of the ten Arabs in one of Ramona’s acts, only three smoked and nine of them drank alcohol.*?’ The French girls in a 1915 act were reported to have "the temperamental French snap & zest."**® Animal Acts. Animal acts were a popular ingredient in vaudeville’s potpourri of turns. Their popularity was especially high at the turn of the century. In 1899, Ramona patrons saw a boxing kangaroo, educated pigs, a dog circus, 66 comedy ponies, monkeys, cats, rats, and an orangoutang in a sailor suit, to name a few.” One of the most promoted and most popular acts during 1898 was Mme. Gertrude Pianka and her "den of full grown African lions." Several weeks before their arrival, the Evening Press began running articles about the 40 dangerous animals,’ and the fearless Mme. Pianka, said to be a "handsome blonde" and "one of the prettiest women before 1 the public."” After their arrival, the publicity continued, reporting the “marks of contact" on the arms and 42 shoulders of Mme. Pianka.’ Receptions were held after performances and many visited the "tawny monsters," including the Mayor.” Mme. Pianka made return appearances in 1899 and 1900, and the stories she told backstage about her Close calls with the lions became legendary.*”” Animals performed everything from tricks to actual plays. Pictures appeared in the newspaper of the animals acting--in costume. In a dog and cat comedy act titled "Oh You Did It," the reviewer noted that it was really the dog that was the 46 comedian.” One review felt an act had gone too far, stating that the pose entitled "At the Cross" was "decidedly inappropriate in an act of this kind."7"’ As performers, the animals actually did quite well. A 1909 article entitled "Dog Actors at Work" described the dogs as businesslike and similar to humans. Their major weakness was said to be their inability to stall when accidents 248 occurred onstage. 67 The animals were particularly popular with the younger patrons. One reviewer reported that "little children sit and scream with delight."?* The attention given these performers sometimes seemed to supersede the human performers. At the end of a long article describing the animal acts, the writer added "In the list of human performers appear the following names , 1250 Local Acts. In 1899, a newspaper article stated that "although American managers generally view the introduction of local talent into professional programs with some Gubiousness," at Ramona the local acts often scored hits.’ The Press referred to a "numerous colony of local professional stage people" in the Grand Rapids area.’ Local acts appeared periodically in the early years of the theater, before the theater joined the Orpheum Circuit. In Ramona’s first season, the local St. Cecilia Society 253 One popular presented a choral program at the theater. act in 1897 was "Rexo the Equilibrist". "Rexo" was actually a local performer named Eddie Smith, who later performed ina skating act with his "winsome little wife."** Another highly popular local performer was vocalist Fred A. Aikens.*°> These performers became recurring favorites at Ramona. Even civilians couldn’t resist the temptation of the stage. William Smith, the No. 4 engine house fireman who left the department service only today, will make his professional debut as a bag puncher.’*® 68 In 1908, Manager DeLamarter received a letter from a 77 year- old man from Jackson, Michigan. Although the gentleman listed no vaudeville experience, he requested a chance to perform at Ramona. ?°’ Other Acts. Many other types of acts appeared in Ramona’s vaudeville line-up, including minstrel companies, Magicians, jugglers, mechanical doll or ventriloquist acts, aquatic divers, drill teams, and living art poses of famous paintings. It is important to mention a crucial component of the nature of vaudeville. In the entrepreneurial spirit, vaudeville performers took regular acts and made them peculiar. When Travato was asked why he played the violin like an embryo cello he replied, "One must do a stunt in vaudeville. Besides it develops the arms." Sometimes the success of an act could be credited to its sheer originality. Surprise hits at Ramona included a high- speed clay modeler, a pastel artist, and performers rolling colored hoops. Another popular act was a rolling globe artist who incorporated stereopticon images of local city hall celebrities into the act. These were "generally greeted with vociferous applause." Ventriloquist Ed F. Reynard’s act was praised for not being "the stereotyped Punch & Judy affairs, but life-sized mechanical men & women who do rather remarkable turns. "7°9 Patrons of Ramona came looking for comedy, and it was the unusual that often sparked the laughter. Unthan the "armless 69 wonder" broke the tension of his handicap by taking a handkerchief from his suit with his foot and mopping his forehead. This was met with gasps and laughter.*®° Even when the publicity gave the impression that an act was of a highbrow nature, it often turned out to be ridiculous buffoonery full of horseplay. Ferguson & Mack, sons of famous old-time vaudevillians, came to Ramona with an act that featured them striking each other with canes.*** Over the years, Ramona patrons saw performers knock over furniture, hit each other with clubs, throw big chunks of steel at each other, somersault over the orchestra into the audience, and throw sofa pillows. Moving Pictures. Moving pictures played an important role in Ramona’s history. The subjects of the pictures were current news events, local footage, and photoplays. A moving picture machine called "Edison’s Pantograph" was featured for one week of the pavilion’s first season. The "Kinodrome" became a popular feature in 1899, showing moving pictures including a Spanish bullfight and "Cinderella." In 1903, the "Ramonagraph" showed the play "Uncle Tom’s Cabin" in "quick moving pantomime." The presenting of an actual story on moving pictures was still a new concept to the viewer. The newspaper reviewer described the actors as "ghostly players" whose words could not be heard.?® In 1911 motion pictures from real life astounded the audience. The motion picture manufacturers were cited for the remarkable feat of hastening a machine to the scene of a fire 70 in Maine while it was still burning.?® Another moving picture showed a mechanic being killed at the Indianapolis Automobile race. Beginning in 1912, weekly news and current events pictures became a regular part of the bill. The major news service for Ramona was Pathe’s Weekly. During that same year, the theater showed motion pictures taken of the Ramona grounds and the triple balloon race. The public was invited to "see yourself and friends on the screen."?® An inspiring piece of local footage shown at Ramona during the 1910s showed the members of the Grand Rapids Battalion in Grayling before they left for the war in Europe. Pictures were also shown of the local Furniture Factory picnic and of a ride on Ramona Park’s Jack Rabbit roller coaster. The latter was said to be a "realistic bit of movie photography. "7° Film stories and "photoplays" (the original name for movies) were introduced at different times during Ramona’s history. In the summer of 1917, each bill ended with a different O.Henry film story.’ In 1922, the theater conducted a five-week experiment of showing a photoplay after ® For a portion of the 1936 season, the vaudeville program. ?*° the acts were replaced by motion pictures. The first picture shown in 1936 was the motion picture, "The Petrified Forest", starring Leslie Howard and Bette Davis. A newspaper advertisement warned, "REMEMBER - None but the best, high class pictures will be shown at this Theatre."*®°’ 71 Attitude of the Management Famous for its strong family appeal, the Ramona Theater frowned upon attempts at off-color humor and “unnecessary vulgarities." One critic noted that it would be wise for comedian James H. Cullen to expurgate his list of encore jokes for the sake of the women and children who represented a large part of the Ramona's patrons.” A sketch by Hines & Remington contained "suggestive bits that should be eliminated, especially for audiences of the kind that patronize Ramona. "””" Ferrar & Cole's sketch produced a similar reaction. It is funny. It would be still more pleasing if some of the rougher comedy were cut out. The latter draws laughs from part of the audience, but at the expense of the kind of appreciation that counts. The manager either gave the performers the opportunity to change their act or he cancelled the act.’’° One act in 1920 was reported to contain "risque disrobing." Due to the failure of the act to keep within the "limitations of family theater proprieties set by Manager DeLamarter," it disappeared from the bill after the Monday matinee.””” espo fe) e Public. New York Times Theater Critic Brooks Atkinson stated that vaudeville performers needed to be "so exuberant or skillful that they can capture an audience's attention instantly and hold it until the act is over."”” Much of the success of an act was dependent on the performer's personal rapport with the 72 audience, regardless of position on the bill or even skill. Audiences would simply "take" to a certain performer, and recall them with encore after encore. The favorite act each week was often a surprise to the management. Daisy Peterkin, "a little bundle of silks, flounces and ruffles" captured the audience during an 1898 bill. Not bigger than a Brownie, but with a smile and pair of dainty feet twice as bewitching as Brownies are supposed to possess, she dances and skips herself into popularity in two performances every day. Her act teems with patriotism and pretty little patriotic gowns and dresses. She does not necessarily dance well, but that makes-~ no difference. She would be fascinating if she did not make a move.’”® In 1906, Dollie Proveanie made "the hits of hits" with her "venturesome spirit which runs wild."?” An article entitled "The Human Cyclone" proclaimed, "there is only one Dollie Proveanie!"*’® The presence of a live audience who tried and judged an act on the spot put the performer under tremendous pressure. Calling for encores was the common response to a pleasing act. The performer would then extend his performance or give a "curtain speech" in which he or she thanked the audience. Harry Stanley was commended for responding to encores "in character," appearing as the professor he had just portrayed.?’”’ Pete Barker was criticized for allowing himself to be encored a little too easily.?**° Encores were not the only means an audience had of responding to an act. S. Homer Eaton’s impersonation of 73 Josiah Allen’s wife was said to be clever, but inappropriate in its length. The audience last night listened in patience for 10-15 minutes and then when the end still seemed far distant began to applaud. [Eaton] bowed and started to go on but applause came again and still again when he tried to speak. For five minutes the attempts to speak and the interrupting applause kept up and the applause finally won out, Mr. Eaton leaving the stage.?*? The vaudeville performer’s livelihood was bound up in audience approval. Even after Vernon Stiles tripped over some gymnastic apparatus and dislocated his ankle, he still took five encores. ?* Critical Reaction. The two major dramatic critics for the Press during this study were Arthur W. Stace (1910-1913) and Mary E. Remington (1913-1925). Both were credible critics. Stace wrote a play that was performed at Ramona, and also published an article in Theater World. Stace was also knowledgeable on the history of theatre in Grand Rapids. Remington wrote many articles on the theater and brought an artistic writing style to the theater page. The dramatic critic usually attended the opening performance of each bill. Portions of the reviews commented on the acts themselves. A strong man act was listed as mediocre because it consisted principally of "the speech of his announcer telling what a wonderful performer he was."*® One act was marred by "the introduction of a very inartistic advertising dodge".*** By the following summer this had been corrected.78° Comments also focused on personal aspects of 74 the individuals. Sample remarks are "[the performer] looks more like an office clerk than a musician"*®* and "[he] runs a private gymnasium on his face that does not make for "1287 popularity. The Press coverage seemed to be objective and honest, reporting both the positive and the negative aspects. The coverage by the critics also gave a flavor for the general mood and popularity surrounding individual theaters and their offerings. The excitement cannot be ignored in one report of Ramona’s "Smashing hits." "The whole show is one of the jolliest and snappiest vaudville performances Grand Rapids has seen in many a day ...a W288 superexcellent bill. In addition to the reviews, the Press often ran articles highlighting the lives of the performers who were appearing at Ramona. One article interviewed a male acrobat who dressed as a woman because women acrobats were more popular.?”*? Another story discussed the schooling that child performers received while on the road.?”° Performers worked hard to rehearse and strengthen their acts in the off hours. Another way to "strengthen" one’s act was by name -dropping and bragging about former accomplishments. In the "entertainment news" tradition, the newspapers were eager to print the astonishing claims of the performers. One performer’s father was reported to be Harry Brown, one of the last official court jesters of the Shaksperian [sic] school, who had served during the reign of Queen Victoria.’*’* The Four Antwerp Girls were heralded as 75 “real refugees from the war," while another performer claimed to be the cousin of Sarah Bernhardt. Fire dancer Ida Fuller claimed that her fire effect made with orange silk and confetti was patented, and that Henry Irving had paid a royalty to use the effect.’ Fuller also claimed to be one of two women who saw the famous Corbett-Fitzsimmons fight.*” A common boast was to have recently toured Europe, or to soon be headed to New York or London. For the animals, a former connection with Barnum's circus was desirable. In 1916, Ed Morton reported that he had produced phonographs for many years.” When photoplays burst onto the entertainment scene in the late teens and twenties, it seemed almost every performer claimed to be a film star. The accuracy of these statements would have been difficult for reporters to verify. The newspapers were not completely taken in by the puffery, however. When one performer claimed to have appeared before royalty, the writer reporting the statement issued a Gisclaimer, saying “he is the one who will have to defend its 96 verity." Whether true or exaggerated, these claims did seem to succeed in impressing the patrons. Light Opera. Periodically throughout its history, the Ramona Theatre engaged light opera companies as a change of pace from vaudeville and the revue shows. For three weeks of the 1898 season, the Mackay Opera Company played at Ramona to great success.” The popularity of comic opera companies in Grand Rapids was evident, given 76 the success of the Wilbur Opera Company at the Powers theater during the summers of 1898 and 1899. "The engagement of the Mackay Opera Company at Ramona pavilion was a radical departure in the line of free resort entertainment.” Despite a successful run, patrons appreciated the return to straight vaudeville.” In late July 1904, the Robson Opera Company was engaged to perform at Ramona for a week. The opera company was to be the first to have been perfected for pavilion engagements.” When they opened with "The Mikado," the review recounted that the leads contained only three good voices, the chorus was fair, and the comedy was largely missing. It was speculated that the performance might have done better on quieter 01 nights.” Apparently the company was not pavilion-ready after all. Ramona Theater swings back to vaudeville next week. Comic opera, as given the present week, did not meet with popular favor. The Robson Opera Company disbanded after their Ramona appearance, with two of the chorus girls appearing the following week in a successful singing turn.” In 1921 it was announced that Ramona would "make amusement history in Grand Rapids" during the coming week by becoming the "home of summer light opera."”" Ralph Dunbar's comic opera company performed a new opera each week of the summer. New members were added to the company each week. The operas performed in the evenings, with vaudeville acts performing between the acts and at the matinees. The 77 "delightful organization" played to enthusiastic audiences.°*° After the end of the regular 1943 summer season, two light operas were scheduled in September to test out the audiences for the possibility of more opera the following year. The operas were sponsored by the Grand Rapids Municipal Opera. The St. Louis Opera Company were brought in to play the leading roles, while the chorus was a mixture of company members and local talent. "The Chocolate Soldier" and "The Desert Song" each played for a week.*°° The operas were a popular success. One patron, who had seen Similar shows by the USO, described them as "comparable with the best light opera in the country."°°’ As promised, the St. Louis Opera Company returned the following summer and, in conjunction with the Grand Rapids Municipal Opera, presented eight light operas in nine weeks. The operas ran from July 3 through September 4. These operas were "Naughty Marietta," "Roberta," "Robin Hood," "Rosalie," "New Moon," "Hit the Deck," "Babes in Toyland," and "Vagabond King." Harold Patrick and Marie Nash were two of the popular 308 stars. The operas were a successful combination of opera stars and locally recruited performers. 78 Figure 8. Marie Nash of the St. Louis Opera Co. in a dressing room at Ramona Theatre in 1944. Mitchell Collection. 79 outside the Mitchell collection. Louis Opera Co. Ramona Theatre in 1944. Members of the St. Figure 9. 80 Musical Revue. The most common element of the musical revue was a sizable chorus of young women dressed in costumes based on the show's theme. Often one or more male performers sang with the female lead and also provided comedy between the chorus numbers. One creative revue produced by Joseph Hart appeared on Ramona's vaudeville bill in 1907. The girls appeared as Geishas in a Wisteria grove and as sailors on the deck of the U.S. Battleship Maine. The most pleasing portion of the act featured the girls dressed as crickets, with tiny electric lights on the tips of their feelers. The lights were dimmed, the "crickets" chirped, and a large moon came out. The male lead sang a duet with the lead chorus member.” In a 1924 article in the Saturday Evening Post, Marian Spitzer listed Jesse Lasky and Gus Edwards as famous people in the theater whose first opportunities had been in vaudeville. Jesse Lasky productions appeared often on Ramona bills between 1908 and 1915, and Gus Edwards' productions featuring child performers were featured often between 1909 and 1919. At the end of the 1922 season, a revue show appeared at Ramona which bordered on burlesque. After viewing the bare legs of the performers, the audience "gathered the impression they brought their costumes in their vanity cases, with still plenty of room left for the makeup kit." "The underlying idea seems to be wearing as little as possible while still keeping out of jail." 81 Under different management for 1923 and 1924, Ramona left the vaudeville field to present musical comedy revues. The A.B. Marcus Show was engaged for the first six weeks of each season. The Honey Bunch Revue filled the bills for the remainder of 1923, and Bert Smith’s Company completed the 1924 season. Press Dramatic Critic Mary E. Remington who had lavished praise on Ramona’s high quality vaudeville, couldn’t mask her distaste for the new entertainments, especially the Bert Smith Company. Remington attempted to review the shows, but often found nothing to note beyond the increasingly bare anatomies of the performers. Hot weather was often used as an excuse 311 for baring skin on the stage. One review read, "The plot appears only at intervals to interrupt the various specialties and effective chorus numbers. "?*? During the 1924 season, Remington briefly described the revue shows "whom the audience seems to like."??? Her interest in Ramona waned until she coldly commented, "at Ramona the Marcus show will hold forth with its customary musical comedy summer offering. "*" By the end of the season, the entertainments at Ramona were not reviewed or mentioned in the amusement section. After a successful return to Keith’s vaudeville for five years, the A.B. Marcus Show again returned to Ramona. Mr. and Mrs. Marcus decided to lease the Ramona Theater for the summer of 1930, after playing at several Grand Rapids theaters in the 1920s and finding Grand Rapids to their liking.?** Local 82 reaction to the show differed greatly from that of 1923. Just before the opening of the 1930 summer season, the Grand Rapids Herald announced that the advance sales for the upcoming Marcus Show were reputed to be the largest in the history of the house. "Seldom, if ever, has so much interest been manifested in a theatrical engagement as that which surrounds the opening of this famous extravaganza.""” In July of that first season in 1930, the "Theater" section of the Grand Rapids Herald proclaimed, "Revues are what the Marcus Company does best." A.B. Marcus, who was referred to as the "Ziegfeld of the west," had a show that traveled across the United States, Australia, Japan and China with a great deal of equipment and a company which usually numbered between 60 and 100 people. Headquarters for the show was in Chicago and it was here that the costumes were made, acts chosen and itinerary mapped. While girls were the main attraction, the show carried an able group of, male comedians, vocalists and dancers. One advertisement for the show listed "75 People--Mostly Girls", while another quips, "Yoo Hoo! Grand Rapids! The Woo Woo Girls Are In Town!""™ The shows were a form of burlesque, but contemporaries insist that the shows were nothing like the more obscene varieties of burlesque. In fact, former patrons insist they were "0O.K. for kids to 320 see." The Marcus Shows played at Ramona for several summers during the 1930s. 83 For the balance of the 1930s, Ramona offered other revue companies, which were sometimes mixed with vaudeville acts, photoplays, or local talent. Tom Jones and his Musical Jesters produced "The Treasure Hunter," a comedy drama; "Empty Graves," a mystery play; "You're Telling Me," a musical farce; 21 e 3 @ e and "Nursie Be Good." "Revues Parisienne" were presented 2 one summer, with one opening at midnight.” The Melody Lane Players produced shows described as "rollicking" with lots of singing and dancing. Some of the productions included, "Ace in the Hole," "Family Affairs," "Upstairs and Down," “What Next?", "For Heaven's Sake," "Mr. and Mrs. is the Name," and 323 "What Ho! Quintuplets!" The Variety Players presented musical reviews including "Girls Will Be Girls" and "Smiling Eyes." Tommy Hanlon, Nellie Clark & Co. boasted a "big chorus 24 of sun-kissed beauties."” The Happy Valley Frolics performed, as well as other types of "follies."°”” At the end of the 1941 summer season, the Marcus Show 26 e 3 returned to Ramona to much acclaim. The Marcus’ shows remained at the theater through the 1940s, drawing excellent attendance.” In 1942, double feature sound movies and vaudeville were featured along with the revues.” The 1943 season was a huge success for the Marcus Show. The girls that danced in the shows were called the “Marcus Peaches."°” In July, "The Girl in the Moon" show made the audience gasp when "Bette Shepard, seated in a _ lighted quarter-moon swings out into the auditorium in ever widening 30 circles."” Another Ramona favorite was Mary Agnes Mayer 84 #32 The 1943 season was so and her solo butterfly dance. successful, at the end of the season, Mr. and Mrs. Marcus published a message in the newspaper to theatergoers, apologizing to them for the long lines and thanking them for t ps ~ 332 their patronage. 3 Leon Miller A.B. Marcus re * a Yom. Betas | ee a" ' A The Grand Finale Figure 10. A.B. Marcus, Leon Miller, Marcus Show Grand Finale. 85 If you mention the Ramona Theater to an East Grand Rapids resident, you will inevitably hear "vaudeville" and "the Marcus Shows." Many former Ramona patrons can remember the Marcus” shows. Gordon Harrington remembers A.B. Marcus standing at the door taking tickets. (The ticket window from Ramona Theater is now in Harrington’s private collection.) Harrington also corresponded with Marcus choreographer Leon Miller until Miller’s recent death.**? Patrick Barr, son of Fred Barr, worked at the games and concessions of the park, beginning when he was 10 years old. He remembers enjoying seeing the Marcus show girls. He recalls waiting in line for shows on the huge promenade/porch.?* Gerald Elliott commented that the shows didn’t vary much year to year.**? Ernest Bates remembers the guest stars and "just a plethera of well-known people."**® Kenneth Ellis, who worked as a boy in the concession stand outside the theater, remembers Guy Kempe, the Harmonicats, and the Four Stepbrothers who were tapdancers.?*?’ Several local residents enjoyed "rubbing elbows" with the celebrities during their summer-long stays in East Grand Rapids. Mary Jane McDermott especially remembers Cliff Cowden. Some of the actors roomed at her aunt’s house by the park, and she remembers "my cousin and I ate up watching the show people."**® Bub Rose remembers some of the actors staying at the rooming house next door to Rose’s Bathing Beach. He said his father went to Marcus shows and sat in the "bhald-headed row." The Marcus girls would often come down to 86 swim at Rose’s Bathing Beach which was across the street from the theater. Bub was then a lifeguard and instructor for his father’s swimming school, and he remembers Ginny Hart in particular, a blond Marcus girl who followed him around. His father suggested that he ask her out, but he decided against it .37? Bob Swain remembers the musicals as having "good, live music in the orchestra pit, costumes, and attractive people." As for the dancing girls, he was "very impressed at his age." He remembers the shows being very well attended, and having a pleasant environment with no rowdiness or crime. "It was just a delight. It’s too bad more people couldn’t have seen it."°*° Beyond Entertainment. In this documentation of the Ramona Theatre, it is important to note events that went beyond the usual entertainments. Towards the end of the 1898 season, Rev. Leslie W. Sprague of All Souls’ Church used the stage for Sunday night sermons. His sermons will not interfere with the regular performance, as he will take the platform at 7:00 and will close at 7:30. His subjects will be along popular lines and are calculated to do good to the masses they may reach. Tomorrow night’s topic will be "The Life Worth Living" and a week later it will be followed by "Rational Amusement". **?} The following morning, the paper proclaimed it "the first sermon .. . ever listened to at a Grand Rapids amusement resort. "*4? In 1902, Carrie Nation caused a stir when she gave talks at Ramona. Nation was famous for her outspoken views on 87 temperance and her penchant for smashing saloons with a hatchet. **? A Fashion Show was presented at Ramona in 1915. The models and the scenery, which were enlarged reproductions of the covers of Vogue, were making their fifth stop, having just modeled at the Majestic in Chicago.*** The featured fashions were from local merchants, including hats from Herpolsheimers, gowns from Wurzburgs and Steketees, and jewelry from Herkners.**° Local dance recitals were often held in the Ramona Theatre. At least one high school also made use of the Ramona Stage. An East Grand Rapids Commissioner remembers being an extra in his high school’s production of H.M.S. Pinafore which played at Ramona in the early 1940s.°**° Ernie Bates and Louis DeLamarter, Jr. owned some of the rides at Ramona Park. For five summers Bates worked at the park every day from 10:00 a.m. to 11:30 p.m. He remembers spending a great deal of time on the Ramona stage. He was not a performer, but he used the stage to assemble the park rides during the winter months.**’ Another way the Ramona stage went beyond entertainment was in the area of current events. It is important to note the elements of Ramona’s offerings which reflected the culture and the times. Although the main goal of the Ramona theatre was to provide entertainment, the theatre also provided patrons a forum for learning of and interpreting local, 88 national and world events. This was achieved through the newsreels, as well as through the acts themselves. Ramona’s acts were constantly being updated and could consequently incorporate current events. When the U.S. was involved in the Spanish-American War in 1898, the Barlow Brothers Minstrels played at Ramona. The newspaper reviewer noted an "odd feature" of their act being "the entire absence of war jokes."**® On Sunday, August 3, 1902, the Lakeside Clubhouse located between the theater and the Reeds Lake shore burned to the ground. The fire produced quite a spectacle, and the newspaper contained pictures of crowds watching the fire from 749 ~An act performing at Ramona the shore and from boats. that evening was the "Great Eldridge" who made pictures by pouring colored sands over a slanting canvas. One of his most notable pictures was a representation of the Lakeside Club fire, "which was then still burning."*° One of the hot issues of 1912 was woman’s suffrage. When Manager DeLamarter watched the opening of a week’s bill, it struck him that the bill was "anti-suffraget" [sic], containing only one female and she played only a minor role. By the evening performance, DeLamarter had added the female Lockhart Singers to the bill.** One evening in 1918, members of a French Army Band that were performing at the Ramona Athletic Park attended the theatre wearing their French uniforms. The patrons rose when 89 the band marched into the theatre, and the presence of foreign guests created intense enthusiasm in the audience. ?*? During the first World War, a nation mourning for its sons questioned the appropriateness of even continuing local entertainments. When President Wilson was questioned concerning the Fourth of July, he replied, "I would say that I should be sorry to see 4th of July celebrations omitted this W353 The entertainments continued, but year of all years. with a decidedly patriotic flavor. In June, 1918, a reviewer stated that two hilarious performers "make the audience forget for a moment the war and the H.C.L." (High Cost of Living) .*°* Some topics were off limits, however. When a disillusioned clergyman performed in a vaudeville act in which he poked fun at the church, the review noted that "the present is too heavily weighted down with tragedy for the treatment of serious things lightly."°*>° In early July, the reshowing of the pictures of the old 32nd Michigan was considered "particularly timely now that the boys are in action in France." The pictures were reported to add a "close-to-home touching bit of patriotism" to the bill. Press Dramatic Critic Mary Remington recounted a particular moment from her visit to the theatre. Ramona audience Monday night paid an impressive tribute to the memory of Lieutenant Carl A. Johnson, Grand Rapids’ young hero who was killed in action on the battlefield of France, making the supreme sacrifice for world freedom. About midway down the program the house was darkened, the picture screen lowered and there flashed into view a motion picture of the young hero taken in camp at Waco and showing him just in front of his tent from 90 which the stars and stripes are flying. As if moved by one impulse, the entire audience arose and stood in silent tribute until the picture faded from the screen.°**® It is crucial to note that this moving moment took place ina show which also contained a mind reader, a dancer, a clown, acrobats, jugglers, firecrackers, and jokes which generated laughter! On this occasion, the Ramona Theatre provided patrons a place to express a shared feeling of community sadness and a place to be momentarily relieved of that sadness through the vehicles of laughter and entertainment. On July 15, 1907, Frederick Paulo, a comedy song and dance man, and Maurice Bellclaire, a member of the Bellclaire Brothers athletic team, were playing at Ramona.” While waiting for rehearsals to begin, they sat in front of the theater and looked out at the lake. “Ramona Theater was known as one of the best resort theaters in the country and the two declared the lake presented one of the prettiest scenic views they had seen since leaving the West Coast, following a tour of the Orpheum Circuit."°” They observed the boats on the lake and the amusement park which was "going strong." The two were so impressed, they asked Mr. Delamarter whether there was any lake frontage available. They decided to retire from the theater and decided this would be an ideal spot "in which to settle down and operate a colony for touring and vacationing 59 performers."" Paulo and Bellclaire purchased "the old Miller farm" on the south shore of the lake and named it "Point Paulo." Paulo and Bellclaire built cottages along the lake and a chalet for overflow. Each of the cottages was named for a vaudeville theater at which Paulo had performed, including Casino, Hippodrome, Palace, Alhambra, Alcazar, Majestic and 61 Olympic.” The farm had a bathing beach and quickly became a popular hot-spot for the theater crowd. In 1912 “Chateau 92 Paulo" opened, serving French dinners to the performers and the public.” The theater column in a 1911 issue of the Press commented on the resort. Paulo Point has become decidedly popular with the players who come to Ramona and many of them make it a point of combining business with pleasure by making the Ramona week a regular resort outing. °*® When the manager of an act staying at the resort received a telegram regarding an engagement, the newspaper reported that he "looked at it, looked at the lake, sighed, and sent back a telegram of three words: "Can’t play it." He explained to a reporter, "this is one of the most delightful spots in the world . . . my people are having such a good time here I couldn’t bear to take them away."*** Performers and their families could be seen swimming, boating and fishing.*®® Violinist Travato called Reeds Lake "one of the most idyllic spots I’ve ever visited," and stated that his intention was to fish the lake every day.*® In 1912 it was reported that there was a waiting list at the "bustling colony."*°’ During that summer, Chic Sale spent a week of his honeymoon in a cottage at Point Paulo.*® Carl Emmy, famous for his dog act, purchased a summer home on Reeds lLake.’*® A.B. Marcus and his family stayed in a cottage during the summer of 1923.” To play Ramona was considered a privilege. It was a break from the more or less sordid routine of actors’ hotels, sleeping cars, restaurants, alley stage doors, and bad dressing rooms.?” 93 fh ima *, .. And Then the Old Soft Shoe” Fred Paulo quit the song and dance business in 1907 to found Point Paulo actors’ colony at Reeds Lake. His partner in this picture simply was called “Dika.” Milked Cows at Noon and Midnight Paulo’s partner. Maurice Bellclaire. They Called ‘Em eahinte: Bijou,” ie Ete. Not too much to look at, but these little cottages were summer homes of many famous vaudeville stars. Figure 11. Fred Paulo, Maurice Bellclaire, and Point Paulo 94 An editorial in the Grand Rapids Press on April 11, 1935, recalled, "Mr. Paulo built cottages and guest houses which became known to theater troupes throughout the country." A 1914 article expanded this fame to "across the oceans and wherever vaudeville people live and work." And that a class so widely traveled and universally hard to please should enthusiastically sing the praises of beautiful little Reeds Lake - and frequently journey back hundreds of miles for the privilege of spending a week or two weeks lay-off upon its banks is evidence enough that not alone upon its furniture and other industries is Grand Rapids dependent for world-wide fame.?” Ramona was already known as one of the best resort theaters in the country even before Point Paulo. The resort surroundings offered performers an even bigger incentive to play at Ramona. An article in Pen Club Magazine stated that this incentive caused performers to "work for Lou DeLamarter "373° Perhaps this is at a ‘cut’ below their regular price. why the August 1915 issue of the Journal of the Michigan State Medical Society could claim, "Vaudeville of exceptional merit is booked throughout the summer at Ramona and some of the best acts on the American stage may be seen here at probably the most moderate prices that prevail anywhere." Loved by Patrons Throughout the entire summer of 1899, the pavilion was filled to capacity, often leaving several hundred patrons in 374 the standing room. "The clever vaudeville folks at Ramona pavilion are drawing large audiences despite strong 95 attractions down town."?75 The competition included the popular Wilbur Opera Company at the Powers Theater, the circus, various concerts, and Richard Mansfield appearing as "Cyrano. "?7° By the end of the summer, the "crushing audience" was being blamed on the "inability of the theater to provide W377 The street car company wisely took unlimited seats. steps to remedy this "problem" and the pavilion was completely renovated before the 1900 season. Orin Stair of the Grand Rapids Street Railway Company observed this enormous popularity and envisioned a "real Coney Island" on Reeds Lake and predicted that Ramona would become one of the finest resorts in the country.?” Each year, the newspapers printed "Resort Issues" highlighting resorts around the state. A two-page spread was always proudly dedicated to "Our Resort--Reeds Lake." Tens and tens of thousands visit Reeds Lake every week of the summer season. A big pavilion containing 35,000 feet of floor space for guests, two good picnic groves, a beautiful lake, 2 large steamers, first class orchestra, any quantity of row and sail boats, free shows twice each day, Swings, teeters, refreshments .. fully warrant the steady stream of happy humanity pouring out here daily.’” By 1901, the area was taking pride in its summer theater. Grand Rapids may congratulate itself because of Ramona. Few cities in America have open air theaters as spacious, as well located and as easily reached. 3*° That same year Ramona’s management arranged with the City of Grand Rapids river steamer to bring excursion parties to 96 Ramona from Grand Haven, Eastmanville, Lamont and other nearby towns.°8* Following the 1901 season, the Press reported that Ramona had won "an established place in the affections of theater-goers of every class."** Summer and Ramona were synonymous. In 1903 large crowds of out-of-town visitors came to see the city’s "principal summer amusement place."** Ramona seemed to bring an exhilaration to city residents ready for summer. In 1909, the theater column in the Press noted that the inclusion of Ramona among the week’s announcements gave one "that delicious ‘summery’ feeling. "3% Summertime is here. The rising of Ramona’s curtain marks the beginning of the actual season in Grand Rapids . . . Ramona’s opening is always a happy event both for those who like summer amusements in general and for those who fancy high grade vaudeville in particular.*®*® And in 1913: Summer is at hand--Ramona opens next Saturday. Just that thought conjures up visions of sparkling lakes, boats dancing in summer breezes, swimmers frolicking in the water, children playing along the shore, happy crowds filling the theater, jolly resorters thronging among the amusements. ?* In 1918, the Grand Rapids Press described the popularity of Ramona on the Fourth of July. Scarcely had the parade passed before the crowds started boarding the Reeds Lake cars and there was a steady stream of humanity pouring out to the lake resort all day. It was a record breaking crowd and Ramona park fairly swarmed with visitors .. . Ramona theater was filled to capacity both afternoon and evening. WHAT TO SEE AND WHAT TO DO , Ou 6'282§ Re et see eee ee Jie CS aad si ES a 7h ieee zi Malia Sa Sas ‘ Ramona Park, PLAYGROUND OF GRAND RAPIDS AND WESTERN MICHIGAN PUBLISHED BI-WEEKLY BY THE Grand Rapids Association of Commerce JUNE 30, 1928 | | | a= Figure 12. On the Midway behind the Ramona Theatre. The Grand Rapids Spectator, June 30, 1928. 98 The same public that supported and loved the Ramona Theatre deeply lamented its passing. "Ramona Theater is Gone!" cried the headline of an article in the February 4, 1950 edition of the Grand Rapids Press. "Passing of no other landmark in Grand Rapids in 1949 brought more sightseers or prompted as much nostalgia as the demolition of Ramona park’s combination theater and pavilion. "?%®’ Fifty-two years earlier on the dedication day of the Ramona pavilion, The Evening Press had predicted that "this one will be loved."*8* Many West Michigan residents continue to hold warm memories of times spent at the Ramona Theater. 99 Footnotes to Chapter III 1. Notable educational theatre groups include Grand Rapids Community College, Grand Valley State University, Calvin College, and Cornerstone College. Two newly formed amateur groups include Centre Stage and The Heritage Players. 2. "Ramona is Ready to Open Next Week," Grand Rapids Press, May 10, 1913, p. 7, c. 4. 3. Evening Press, June 9, 1908, p. 7, c. 1 4. Evening Press, June 4, 1910, p. 5, c. 1 5. Evening Press, May 14, 1910, p. 4, c. 4 6. Evening Press, May 11, 1912, p. 7, c. 4. 7. Evening Press, May 19, 1906, p. 3, c. l. 8. "New Ramona will surprise with striking features," Evening Press, May 14, 1910, p. 4, c. 4. 9. "Amusements", Evening Press, August 31, 1899, p. 2, c.2. 10. "Work is Started on the NEW THEATER at Ramona Pavilion", Evening Press, January 30, 1900, p. 3, c. 1. 11. "Ramona is Opened", Evening Press, May 19, 1900, p. 3, c. 4. 12. "Ramona is Opened", Evening Press, May 19, 1900, p. 3, c. 4. 13. "Work is Started on the New Theater at Ramona Pavilion," Evening Press, January 30, 1900, p. 3, c. 1. 14. "A Larger Ramona," Evening Press, September 19, 1903, p. 5, c. 3. 15. Evening Press, May 13, 1911, p. 20, c. 1. 16. "Ramona is Like a Pretty Garden," Evening Press, August 18, 1910, p. 31, c. 3. 17. "Work is Started on the New Theater at Ramona Pavilion," Evening Press, January 30, 1900, p. 3, c. 1. 18. "Ramona is Opened," Evening Press, May 19, 1900, p. 3, c. 4. 19. "What’s Coming to Ramona," Evening Press, May 4, 1907, p. 5, c. 2. 20. 21. 10, 22. 100 Grand Rapids Press, August 15, 1914, p. 5, c. 3. "Ramona is Ready to Open Next Week," Grand Rapids Press, May 1913, p. 7, c. 4. "Work is Started on the New Theater at Ramona Pavilion," Evening Press, January 30, 1900, p. 3, c. 1. 23. 36. 37. "At the Theaters," Evening Press, May 21, 1904, p. 5, c. 3. "What’s Coming to Ramona," Evening Press, May 4, 1907, p. 5, "Banished Ad Curtains," Evening Press, June 4, 1910, p. 5, c. Harrington collection. "Ramona is Opened," Evening Press, May 19, 1900, p. 3, c. 4. "At the Theaters," Evening Press, May 10, 1906, p. 4, c. 4. "What’s Coming to Ramona," Evening Press, May 4, 1907, p. 5, "At the Theaters," Evening Press, May 24, 1910, p. 4, c. 3. "At the Theaters," Evening Press, August 23, 1910, p. 4, c. 5. "Real Coney Island," Evening Press, May 12, 1900, p. 3, c. 1. Grand Rapids Press, June 27, 1925. "hike Nippon Land," Evening Press, August 20, 1908, p. 3, c. Evening Press, August 22, 1912, p. 2, c. 4. "At the Theaters," Evening Press, May 24, 1910, p. 4, c. 3. "New Ramona will surprise with striking features," Evening Press, May 14, 1910, p. 4, c. 4. 38. "Ramona is Like a Pretty Garden," Evening Press, August 18, 1910, p. 31, c. 3. 39. "Ramona opening will be better than ever," Grand Rapids Press, May 19, 1916, p. 2, c. 5. 40. 41. "The Theaters," Grand Rapids Press, May 22, 1916, p. 6, c. 4. Mary Jane McDermott, telephone interview, September, 1991. 42. 43. 61. 62. 101 "Amusements," Evening Press, June 25, 1900, p. 2, c. 2. "Amusements," Evening Press, May 20, 1901, p. 2, c. 3. Grand Rapids Press, July 29, 1916, p. 5, c. 6. "At the Theaters," Evening Press, May 21, 1904, p. 5, c. 3. "Fire Drill that Protects the City’s Resort," Evening Press, 17, 1905, p. 4, c. 4. "What’s Coming to Ramona," Evening Press, May 4, 1907, p. 5, Harrington Collection. "Ramona is Opened," Evening Press, May 19, 1900, p. 3, c. 4. "Amusements," Evening Press, August 6, 1900, p. 2, c. 2. "Ramona is Opened," Evening Press, May 19, 1900, p. 3, c. 4. Evening Press, June 14, 1902, p. 5, c. 3. "What’s Coming to Ramona," Evening Press, May 4, 1907, p. 5, "At the Theater," Evening Press, August 3, 1909, p. 4, c. 4. "At the Theater," Evening Press, May 24, 1910, p. 4, c. 3. "At the Theater," Evening Press, May 22, 1911, p. 6, c. 3. Evening Press, May 17, 1913, p. 7, c. 4. "Amusements," Evening Press, July 18, 1898, p. 2, c. 2. "Amusements," Evening Press, June 21, 1899, p. 2, c.3. "Amusements," Evening Press, June 26, 1899, p. 2, c. 2. "Amusements," Evening Press, July 10, 1899, p. 2, c. 2. "Work is Started on the New Theater at Ramona Pavilion," Evening Press, January 30, 1900, p. 3, c. l. 63. 64. 65. 66. "Amusements," Evening Press, August 20, 1900, p. 2, c. 2. "Amusements," Evening Press, May 16, 1901, p. 2, c. 3. "Amusements," Evening Press, June 8, 1901, p. 2, c. 5. "At the Theaters," Evening Press, May 26, 1902, p. 2, c. 4. 102 67. Evening Press, July 17, 1905, p. 4, c. 3. 68. Evening Press, May 25, 1903, p. 2, c. 3. 69. "At the Theaters," Evening Press, August 26, 1902, p. 2, c. 5. 70. Ibid. 71. Evening Press, May 19, 1906, p. 3, c. l. 72. “At the Theater," Evening Press, May 20, 1907, p. 4, c. 4. 73. "At the Theater," Evening Press, July 28, 1908, p. 4, c. 6. 74. "New Ramona will surprise with striking features," Evening Press, May 14, 1910, p. 4, c. 4. 75. "Real Coney Island," Evening Press, May 12, 1900, p. 3, c. 1. 76. "Work is Started on the New Theater at Ramona Pavilion," Evening Press, January 30, 1900, p. 3, c. l. 77. “At the Theaters," Evening Press, July 7, 1902, p. 2, c. 4. 78. "Ramona is Ready," Evening Press, May 15, 1908, p. 14, c. 4. 79. Evening Press, July 7, 1911, p. 6, c. 3. 80. "Amusements," Evening Press, August 29, 1900, p. 2, c. 3. 81. Evening Press, May 24, 1902, p. 10. 82. "Amusements," Evening Press, June 6, 1900, p. 2, c. 2. 83. Edward Renton, The Vaudeville Theatre, (New York: Gotham Press, 1918), p. 124. 84. Evening Press, May 20, 1898, p. 3, c. 3. 85. Evening Press, June 4, 1898, p. 2, c. 2. 86. Evening Press, July 5, 1898, p. 2, c. 3. 87. "Orin Stair, Old Theater Man," Grand Rapids Herald, May 21, 1943, p. 6, c. 2. 88. "With the Theaters," Evening Press, June 17, 1899, p. 2, c. 3. 89. "Real Coney Island," Evening Press, May 12, 1900, p. 3, c. 1. 90. "Real Coney Island," Evening Press, May 12, 1900, p. 3, c. 1. 103 91. "He Leaves Ramona," Evening Press, August 26, 1905, p. 5, c. 1. 92. "He Leaves Ramona," Evening Press, August 26, 1905, p. 5, c. 1. 93. "Orin Stair, Old Theater Man," Grand Rapids Herald, May 21, 1943, p. 6, Cc. 2. 94. "Amusements," Evening Press, May 12, 1900, p. 4. 95. "At the Theaters," Evening Press, August 6, 1902, p. 2, c. 4. 96. "Theaters," Evening Press, May 7, 1904, p. 5, c. 2. 97. Renton, p. 128. 98. "At the Theaters," Evening Press, May 10, 1906, p. 4, c. 4. 99. William L. Bennett, Memories of East Grand Rapids 1834-1982, Unpublished manuscript, 1982, p. 21. 100. Grand Rapids Press, May 26, 1923, p. 8, c. l. 101. Grand Rapids Press, June 22, 1925, p. 10, c. 3. 102. Grand Rapids Press, June 23, 1925, p. 16, c. 7. 103. "Ramona Theater is Gone!" Grand Rapids Press, February 4, 1950. Two different accounts were discovered crediting DeLamarter for giving Will Rogers the idea of speaking while doing his lasso act. However, many similar claims have been discovered throughout the country. 104. Grand Rapids Press, May 19, 1923, p. 8, c. 1. 105. Grand Rapids Press, May 26, 1923, p. 8, c. 1. 106. Grand Rapids Press, May 26, 1923, p. 8, c. 1. 107. Evening Press, July 10, 1924, p. 8, c. 7. 108. Grand Rapids Herald, October 24, 1954. 109. Ernie Bates, second telephone interview, March, 1993. Terry Barr, one of Frank Barr’s sons, played for the Detroit Lions. 110. "Work is Started on the New Theater at Ramona Pavilion," Evening Press, January 30, 1900, p. 3, c. 1. 111. "Real Coney Island," Evening Press, May 12, 1900, p. 3, c. 1. 104 112. "The Stage & Its People," Evening Press, May 24, 1902, p. [9?]. 113. Evening Press, June 19, 1902, p. 2, c. 4. 114. Evening Press, July 5, 1902, p. 5, c. 4. 115. Evening Press, June 19, 1902, p. 2, c. 4. 116. Evening Press, September 19, 1903, p. 5, c. 3. 117. "At the Theaters," Evening Press, July 14, 1902, p. 2, c. 5. 118. "Long Jumps to Ramona Theater," Evening Press, July 26, 1902, p. 5, c. 2. 119. Evening Press, June 25, 1907, p. 4, c. 4. 120. Evening Press, May 9, 1908, p. 5, c. 4. 121. Evening Press, May 27, 1908, p. 4, c. 3. 122. Evening Press, May 30, 1908, p. 5, c. 1. 123. Evening Press, July 23, 1909, p. 4, c. 3. 124. Evening Press, "Ramona’s Opening Bill," May 8, 1909, p. 5, c. 125. Evening Press, July 23, 1909, p. 4, c. 3. 126. Bill Smith, "Vaudeville: Entertainment of the Masses," American Popular Entertainment, ed. Myron Matlaw, (Westport, CT: Greenwood Press, 1979), p. 13. 127. Evening Press, May 11, 1912, p. 2, c. 1. 128. Grand Rapids Press, May 22, 1915, p. 5, c. 5. 129. Grand Rapids Press, May 20, 1916, p. 4, c. 1. 130. Grand Rapids Press, June 1, 1925, p. 8, c. 3. 131. Grand Rapids Press, August 1, 1925, p. 16, c. 3. 132. "Amusements," Evening Press, May 12, 1900, p. 4. 133. "At the Theaters," Evening Press, May 22, 1907, p. 4, c. 4. 134. "Ramona Theater is Gone!" Grand Rapids Press, February 4, 1950. 135. "At the Theaters," Evening Press, May 23, 1904, p. 4, c. 3. 105 136. "At the Theaters," Evening Press, May 24, 1910, p. 4, c. 3. 137. "At the Theaters," Evening Press, July 18, 1906, p. 4. c. 3. 138. Evening Press, August 14, 1909, p. 7, c. 3. 139. Evening Press, August 19, 1909, p. 3, c. 3. 140. "At the Theaters," Evening Press, May 24, 1910. 141. Jean Mitchell, personal interview, September, 1991. 142. "Glimpses of Theater Life," Evening Press, July 18, 1903, p. 5, c. 4. 143. "At the Theaters," Evening Press, August 19, 1903, p. 2, c. 144. Evening Press, August 29, 1903, p. 5, c. 1. 145. "Secret of Flying," Evening Press, August 5, 1909, p. 4, c. 146. Evening Press, June 17, 1905, p. 4, c. 4. 147. "At the Theaters," Evening Press, August 22, 1907, p. 4, c. 4. 148. "With the Theaters," Evening Press, June 30, 1900, p. 4, c. 4. 149. "At the Theaters," Evening Press, June 9, 1908, p. 4., c. 5. 150. "Amusements," Grand Rapids Press, August 23, 1913, p. 5, c. 151. "Ramona is Opened," Evening Press, May 19, 1900, p. 3, c. 4. 152. "For Clean Vaudeville," Grand Rapids Press, August 23, 1913, p. 5, c. 1. 153. Grand Rapids Press, August 3, 1915, p. 6, c. 5. 154. Evening Press, May 6, 1899, p. 2, c. 2. 155. "Amusements," Evening Press, August 5, 1901, p. 2, c. 3. 156. Evening Press, July 30, 1904, p. 4, c. 3. 157. Powers Theatre Souvenir Program, Grand Rapids, Michigan, May 30, 1903. Grand Rapids Public Library Collection. 158. Evening Press, August 10, 1903, p. 2, c. 3. 159. 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. 171. July 22, 1934 - February 15, 1946. 106 Evening Press, May 28, 1898, p. 2, c. 2. Evening Press, June 4, 1898, p. 7, c. 4. Evening Press, May 6, 1899, pp. 5 & 13. "Amusements," Evening Press, June 26, 1899, p. 2, c. 2. Evening Press, May 18, 1900, p. 3, c. 4. "Amusements," Evening Press, June 18, 1900, p. 2, c. 2. Evening Press, June 4, 1904, p. 5, c. 5. Grand Rapids Press, July 17, 1915, p. 5, c. 5. Evening Press, June 18, 1908, p. 1, c. 6. Grand Rapids Press, August 4, 1923, p. 9, c. 1. Evening Press, August 19, 1899, p. 2, c. 6. Evening Press, June 9, 1900, p. 4, c. 5. Grand Rapids Labor News. Fred J. Barr Ramona Park Scrapbook, History Room, East Grand Rapids Branch of the Kent County Library. 172. July 22, 1934 - February 15, 1946. Fred J. Barr Ramona Park Scrapbook, History Room, East Grand Rapids Grand Rapids Herald. Branch of the Kent County Library. 173. 174. 175. 176. 177. Grand Robert Swain, telephone interview, September 1991. Evening Press, August 11, 1906, p. 5, c. 6. Evening Press, May 27, 1908, p. 1, c. 6. Evening Press, July 15, 1911, p. 7, c. 5. The Pantlind Hotel is now the older section of the Amway Plaza Hotel. Evening Press, July 21, 1906, p. 7, c. 5. "Long Jumps to Ramona Theater," Evening Press, July 26, 1902, c. 2. Evening Press, May 24, 1902, p. 10. Evening Press, May 14, 1904, p. 5, c. 4. "At the Theaters," Evening Press, May 10, 1911, p. 6, c. 6. 107 183. Evening Press, May 23, 1925. 184. Grand Rapids Press, May 21, 1921, p. 6, c. 1. 185. "At the Theaters," Evening Press, July 29, 1913, p. 6, c. 5. 186. Evening Press, July 27, 1912, p. 5, c. 5. 187. “Ramona is Opened," Evening Press, May 19, 1900, p. 3, c. 4. 188. "The Stage & Its People," Evening Press, May 17, 1902, p. 5S, 189. "At the Theaters," Evening Press, July 23, 1906, p. 4, c. 5. 190. "At the Theaters," Evening Press, May 27, 1907, p. 4, c. 3. Q) W 191. "At the Theaters," Evening Press, May 24, 1910, p. 4, 192. Harrington collection. 193. Mitchell collection. 194. "Amusements," Evening Press, May 25, 1899, p. 2, c. 2. 195. Evening Press, June 20, 1901, p. 5, c. 6. 196. Evening Press, September 5, 1907, p. 1, c. 6. 197. Evening Press, July 15, 1905, p. 9, c. 1. 198. Evening Press, July 20, 1909, p. 4. c. 4. 199. "At the Theaters," Evening Press, June 8, 1908, p. 4, c. 3. 200. Grand Rapids Press, June 18, 1918, p. 6, c. 4. 201. Grand Rapids Press, August 22, 1912, p. 2, c. 4. 202. Evening Press, July 23, 1906, p. 4, c. 5. 203. Grand Rapids Press, August 5, 1916, p. 5, c. 5. 204. "Amusements--War Time Necessity," Associated Press, Grand Rapids Press, June 22, 1918, p. 6, c. 1. 205. "The Theaters," Grand Rapids Press, June 25, 1918, p. 6, c. 4. 206. Evening Press, June 22, 1897, p. 3, c. 7. 207. Wilmeth, p. 133. 2, C. c. 4. 108 "The Theaters," Evening Press, June 24, 1901, p. 2, c. 3. Wilmeth, p. 133. Evening Press, August 31, 1912, p. 7, c. 3. "Glimpses of Theater Life," Evening Press, July 17, 1903, p. 3. Evening Press, September 5, 1904, p. 4, c. 4. Evening Press, August 13, 1912, p. 8, c. 4. Grand Rapids Press, June 19, 1917, p. 6, c. 5. "The Theaters," Grand Rapids Press, July 31, 1917, p. 6, c. "At the Theaters," Evening Press, June 9, 1902, p. 2, c. 4. "At the Theaters," Evening Press, August 4, 1902, p. 2, c. 3. "Amusements," Evening Press, August 5, 1901, p. 2, c. 3. "Amusements," Evening Press, June 17, 1901, p. 2, c. 4. "At the Theaters," Evening Press, July 16, 1906, p. 4, c. 3. Grand Rapids Press, June 24, 1913. "At the Theaters," Grand Rapids Press, June 16, 1914, p. 6, Grand Rapids Press, June 6, 1922, p. 6, c. 6. Grand Rapids Press, July 7, 1923. "The Theaters," Grand Rapids Press, August 17, 1915, p. 6, c. "The Theaters," Grand Rapids Press, June 8, 1915, p. 6, c. 4. "Amusements," Evening Press, July 15, 1901, p. 2, c. 4. Grand Rapids Press, July 19, 1913, p. 5, c. 3. "At the Theaters," Evening Press, July 2, 1907, p. 4, c. 3. Grand Rapids Press, September 5, 1922, p. 6, c. 4. "At the Theaters," Evening Press, June 16, 1902, p. 2, c. 5. "Amusements," Evening Press, July 31, 1899, p. 2, c. 2. 109 233. "Amusements," Evening Press, September 3, 1900, p. 2, c. 2. 234. Evening Press, August 18, 1906, p. 5, c. 5. 235. "Jokes from J. Rose," Evening Press, August 16, 1902, p. 5, c. 2. 236. "Amusements," Evening Press, July 16, 1900, p. 2, c. 2. 237. "At the Theaters," Evening Press, August 24, 1911, p. 6, c. 6. 238. "The Theaters," Grand Rapids Press, June 29, 1915, p. 6, c. 5. 239. This spelling of orangoutang is listed as an alternate spelling in the dictionary. This version was selected because it is closer to the spelling used in the 1899 newspaper accounts. 240. "With the Theaters," Evening Press, August 6, 1898, p. 2, c. 241. "With the Theaters," Evening Press, August 20, 1898, p. 2. 242. "Amusements," Evening Press, August 22, 1898, p. 2, c. 3. 243. "Amusements," Evening Press, August 22, 1898, p. 2, c. 3. 244. "Amusements," Evening Press, August 25, 1898, p. 2. 245. "The Theaters," Evening Press, August 26, 1899, p. 2, c. 3. 246. Evening Press, August 16, 1903. 247. "At the Theaters," Evening Press, May 20, 1912, p. 6, c. 6. 248. "Dog Actors at Work," Evening Press, May 20, 1909, p. 4, c. 249. "Amusements," Evening Press, June 23, 1899, p. 2, c. 2. 250. "With the Theaters," Evening Press, June 24, 1899. 251. "Amusements," Evening Press, August 21, 1899, p. 2, c. 2. 252. Evening Press, June 29, 1898, p. 2, c. 2. 253. "The Social Drift in the City and at the Resorts," Evening Press, July 17, 1897, p. 5, c. 1. 254. "Amusements," Evening Press, August 22, 1899, p. 2, c. 2. 110 255. Evening Press, June 1, 1898, p. 2, c. 3. 256. "With the Theaters," Evening Press, August 19, 1899, p. 2, c. 257. "Amusements," Evening Press, June 6, 1908, p. 5, c. 1. 258. "Not a Real Filipino," Evening Press, June 30, 1909, p. 4, c. 259. Evening Press, July 10, 1905, p. 4, c. 3. 260. "At the Theaters," Evening Press, August 3, 1903, p. 2, c. 3. 261. "Baby Ferg. & the Son of Dick Mack," Evening Press, July 25, 1902, p. 2, c. 4. 262. Evening Press, August 26, 1903. 263. "At the Theaters," Evening Press, May 16, 1911, p. 6, c. 3. 264. "Summer Amusements," Evening Press, June 16, 1911, p. 6, c. 3. 265. Evening Press, June 8, 1912, p. 2, c. 6. 266. Grand Rapids Press, August 13, 1918, p. 4, c. 4. 267. "The Theaters," Grand Rapids Press, June 26, 1917, p. 6, c. 268. Grand Rapids Press, June 6, 1922, p. 6, c. 6. 269. Barr, July 11, 1936. 270. Evening Press, July 30, 1900, p. 2, c. 2. 271. "At the Theaters," Evening Press, June 6, 1904, p. 4, c. 3. 272. Evening Press, July 4, 1904. 273. "At the Theaters," Evening Press, May 31, 1910, p. 4, c. 4. 274. "Going on at the Theaters," Grand Rapids Press, June 8, 1920, p. 6, c. 3. 275. Brooks Atkinsin, "Critics Analyze Vaudeville’s Chances," American Vaudeville As Seen By Its Contemporaries, ed. Charles W. Stein, (New York: Alfred A. Knopf, 1984), p. 367. 276. Evening Press, July 5, 1898, p. 2, c. 3. 277. “At the Theaters," Evening Press, July 23, 1906, p. 4, c. 5. 111 278. "The Human Cyclone," Evening Press, July 25, 1906, p. 4, c. 4. 279. "“Amusements," Evening Press, July 23, 1900, p. 2, c. 3 280. "Amusements," Evening Press, July 24, 1899, p. 2, c. 2. 281. "Amusements," Evening Press, July 30, 1900, p. 2, c. 2 282. Grand Rapids Press, June 29, 1920, p. 6, c. 3 283. "The Theaters," Evening Press, September 2, 1901, p. 2, c. 4. 284. "At the Theaters," Evening Press, August 15, 1904, p. 4, c. 285. Evening Press, August 14, 1905. 286. Evening Press, July 24, 1901, p. 2, c. 3. 287. Evening Press, July 29, 1901, p. 2, c. 3. 288. "The Theaters," Grand Rapids Press, July 30, 1918, p. 6, c. 289. "Glimpses of Theater Life," Evening Press, July 4, 1903, p. 5, c. 2. 290. Evening Press, July 4, 1903, p. 5, c. 1. 291. "At the Theaters," Evening Press, June 18, 1903, p. 2, c. 3. 292. "The Theaters," Grand Rapids Press, August 28, 1915, p. 6, c. 293. Evening Press, June 25, 1910, p. 4, c. 6. 294. "Summer Amusements," Evening Press, June 29, 1910, p. 4, c. 295. Grand Rapids Press, June 17, 1916, p. 5, c. 4. 296. "At the Theaters," Evening Press, August 27, 1909, p. 4, c. 4. 297. "Amusements," Evening Press, July 20, 1898, p. 2, c. 2. 298. "Amusements," Evening Press, July 20, 1898, p. 2, c. 2. 299. "Amusements," Evening Press, August 2, 1898, p. 2, c. 3. 300. Evening Press, July 30, 1904. 112 301. "At the Theaters", Evening Press, August 1, 1904, p. 4, c. 4. 302. Evening Press, August 6, 1904, p. 4, c. 3. 303. Evening Press, August 8, 1904, p. 4, c. 5. 304. Grand Rapids Press, May 28, 1921, p. 6, c. 1. 305. Grand Rapids Press, June 28, 1921, p. 6, c. 3. 306. Jean Mitchell, personal interview, September, 1991. 307. Periodical article of unknown origin, September 15, 1943. Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 308. Jean Mitchell, personal interview, September, 1991. Also various unidentified articles in Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 309. Evening Press, August 13, 1907, p. 4, c. 3. 310. Grand Rapids Press, September 12, 1922, p. 8, c. 2. 311. "On Stage & Screen," Grand Rapids Press, June 25, 1923, p. 8, 312. "On Stage & Screen," Grand Rapids Press, July 16, 1923, p. 8, 313. Grand Rapids Press, July 7, 1924, p. 14, c. 2. 314. Grand Rapids Press, June 14, 1924, p. 11, c. 1. 315. Gordon Harrington, "A.B. Marcus - He Brought a Bit of Broadway to Grand Rapids," Interpreter, [exact date unknown, author believes it to be around 1970]. 316. Grand Rapids Herald, May 30, 1930. 317. Grand Rapids Herald, July 5, 1930. 318. Harrington, "Marcus." 319. Unidentified advertisement, 1943, Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 320. Jean Mitchell, personal interview, September, 1991. 113 321. Undated identified advertisements, 1934, Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 322. Grand Rapids Press, May 25, 1935. 323. Unidentified advertisements, 1935, Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 324. Grand Rapids Press, July 1, 1937. 325. Unidentified advertisements, 1938-39, Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 326. Grand Rapids Herald, July 27, 1941. 327. Grand Rapids Herald, October 24, 1954. 328. Unidentified advertisements, 1942, Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 329. Unidentified advertisements, 1943, Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 330. West Side News, July 22, 1943. 331. Unidentified article, 1943, Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 332. Unidentified article, September 8, 1943, Fred J. Barr Ramona Park Scrapbook, July 22, 1934 - February 15, 1946, History Room, East Grand Rapids Branch of the Kent County Library. 333. Gordon Harrington, personal interview, September 1991. 334. Patrick Barr, telephone interview, September 1991. 335. Gerald Elliott, telephone interview, September, 1991. 336. Ernie Bates, telephone interview, September, 1991. 337. Kenneth Ellis, telephone interview, September, 1991. 338. Mary Jane McDermott, telephone interview, September, 1991. 339. John "Bub" Rose, personal interview, September, 1991. 357. 358. 359. 360. 361. 362. 363. 114 Robert Swain, telephone interview, September 1991. "With the Theaters," Evening Press, July 23, 1898, p. 2, "Amusements," Evening Press, July 25, 1898, p. 2, c. 2. "At the Theaters," Evening Press, August 16, 1902, p. 5, Grand Rapids Press, May 29, 1915, p. 5, c. 1. "The Theaters," Grand Rapids Press, May 28, 1915, p. 6, c. Robert Swain, telephone interview, September, 1991. Ernie Bates, telephone interview, September, 1991. "Amusements," Evening Press, September 1, 1898, p. 2, c. Evening Press, August 4, 1902, p. 1, c. l. "At the Theaters," Evening Press, August 4, 1902, p. 2, c. "At the Theaters," Evening Press, July 30, 1912, p. 5, c. "The Theaters," Grand Rapids Press, August 20, 1918, p. Grand Rapids Press, June 15, 1918, p. 6, c. 1. "The Theaters," Grand Rapids Press, June 14, 1918, p. 6, "The Theaters," Grand Rapids Press, July 2, 1918, p. 6, c. "The Theaters," Grand Rapids Press, July 2, 1918, p. 6, c. Evening Press, July 27, 1907. Cc. 6. Cc. 4. Gordon Harrington, "Ramona’s Vaudeville Performers Regarded Point Paulo a Paradise," Pen Club Magazine May 1959: 13. Harrington, Gordon. "Ramona’s Vaudeville Performers Regarded Point Paulo as Paradise." Pen Club Magazine May 1959: 14. "Nature for Mine," Evening Press, July 8, 1911, p. 7, c. "Nature for Mine," Evening Press, July 8, 1911, p. 7, c. Evening Press, July 1, 1912, p. 22, c. 4. "At the Theaters," Evening Press, June 5, 1911, p. 6, c. 1. 1. 4. 115 364. "At the Theaters," Evening Press, July 3, 1911, p. 4, c. 5. 365. Pen Club, 1959, 14 366. "Not a Real Filipino," Evening Press, June 30, 1909, p. 4, c. 367. Evening Press, July 1, 1912, p. 22, c. 4. 368. "Sales is a College Lad, Evening Press, June 27, 1912, p. 6, 369. Grand Rapids Press, July 31, 1920, p. 6, c. 1. 370. Grand Rapids Press, June 21, 1923, p. 8, c. 1. 371. Pen Club, 1959, 14 372. "Reeds Lake Our Own Resort," Grand Rapids Press, June 29, 1914, p. 20. 373. Pen Club Magazine, 1959, p. 32. 374. "Amusements," Evening Press, July 10, 1899, p. 2, c. 2. 375. "Amusements," Evening Press, June 2, 1899, p. 2, c. 2. 376. "Amusements," Evening Press, June 2, 1899, p. 2, c. 2. 377. "Amusements," Evening Press, July 10, 1899, p. 2, c. 2. 378. "Real Coney Island," Evening Press, May 12, 1900, p. 3, c. 1. 379. "Our Local Resorts," Evening Press, May 26, 1900, p. 4, c. 4. 380. "The Theaters," Evening Press, May 18, 1901, p. 4, c. 3. 381. "The Theaters," Evening Press, June 8, 1901, p. 2, c. 5. 382. "For the Playgoer," Evening Press, September 14, 1901, p. 13, 383. "At the Theaters," Evening Press, September 17, 1903, p. 4, c. 5. 384. "Theaters," Evening Press, May 8, 1909, p. 5, c. 1. 385. "Theaters," Evening Press, May 15, 1909, p. 6. c. 1. 386. "Ramona is Ready to Open Next Week," Grand Rapids Press, May 10, 1913, p. 7, c. 4. 116 387. "Ramona Theater is Gone!" Grand Rapids Press, February 4, 1950. 388. "To Be Known as Ramona," Evening Press, June 19, 1897, p. 1, c. 1. IV. THE DEMISE OF THE RAMONA THEATRE The Ramona Theatre attracted patrons for the first half of the twentieth century. Three major factors contributed to the demise of the theater. A. Photoplays The entrance of photoplays onto the entertainment scene was swift. In 1915, 22 picture houses were open every day in Grand Rapids. Photoplay reviews were mixed in with stage reviews in the theater section of the newspaper.’ In a Press column entitled "Happenings in Photo Play Land," the writer speculates about the effect of photoplays on the stage. Moving pictures have climbed right up to the top as the most popular form of amusement in Grand Rapids and, indeed in America . . . Some day the legitimate drama may climb back on top and reign supreme in the mimic art. But that day is not now. At present the movies are ‘it’ and this fact is recognized by producers, by authors and “by players.’ Later that year, Dramatic Critic Mary Remington was surprised at the low attendance at local theaters on Labor Day. "Apparently most of the population went to the movies."* The column, "At the Theaters," in the Press evolved into a column called "On Stage & Screen." For the first 33 years of its 52-year existence, Ramona was primarily a vaudeville theatre. In a preface to Harold 117 118 Edwards’ article entitled "The Menace of the Movies," Charles Stein calls the motion picture "probably the greatest single factor responsible for vaudeville’s demise."‘ B. Transportation Issues. Other reasons for the decline in the park’s popularity can be connected to transportation issues, namely, the death of the trolley car and the growing use of the automobile. The last street car line to be discontinued by the Grand Rapids Street Railway Co. was the Cherry/Ramona line in 1934.° Ernie Bates was heavily involved in Ramona Park during several years of its last decade. He states that one reason the theatre thrived was due to the gasoline rationing during World War II. People simply could not leave town. He claimed that the lifting of the rations after World War II brought imminent doom for the park.°® Another contemporary and former patron of the theatre, Jean Mitchell, believes that lower attendance could also be attributed to the development of highways during the Eisenhower administration. She described the growing disinterest in local attractions. Instead, the public was eager to investigate distant sites, including the shores of the Great Lakes, the Upper Peninsula, and other states.’ C. Changing Atmosphere of East Grand Rapids A 1931 editorial in the Grand Rapids Herald described the East Grand Rapids area as being in the process of becoming a 119 "purely beautiful residential community." It was predicted that this goal would become a reality, especially after that "noise-making Derby Racer and the hot dog stands are gone."® One year before the last of the park was torn down, the Grand Rapids Herald referred to "continuing pressure from East Grand Rapids for removal of the park."’ In 1991, a Press article entitled, "Memories of City’s Resort Days" covered the Centennial Celebration of East Grand Rapids. "While a full-blown resort town in its heyday, the city began to quiet as residents pushed for more control and improved transportation took tourists elsewhere."*° On August 20, 1949, the Grand Rapids Press ran an article entitled, "Show House to be Razed as First Step." According to Louis J. Delamarter, Sr., the tearing down of the Ramona Theater would mark the first step in the abandonment of the entire park. Plans were made for a shopping center and an apartment complex. An article in the Press on February 4, 1950, lamented the passing of the Ramona Theater, although it had been "no beauty spot in recent years." Work was started on the demolition around the first of October. November 5, 1949 was the fateful day for the theater. Photographs taken by the Grand Rapids Herald show the stage standing alone, just before it was razed. Down Came Stage in Cloud of Dust. The last standing part of the historic pavilion in Ramona Park came down in a cloud of dust Monday as workmen used a derrick to pull over the stage. Workers had torn down all other parts of the building, leaving only the stage standing. Structurally weakened by the removal of most of its braces, it no longer was 120 safe for a working crew to work on.” Gordon Harrington was on hand during the theater’s last days. He salvaged the head of the Indian princess Ramona from the valance, a gas light with green beads which had been in the theater near the stage, a no smoking sign, and a lighted exit sign. He also picked up small pieces of the stage, the curtain, the painted walls, a sequin, and other tiny fragments of the theater. He took these mementos and glued them down, forming a flat, miniature reconstruction of the front of the theater. He placed a small photo of a Marcus girl on the stage. This intriguing collage hangs in his miniature old- time movie theater in his house, along with his salvaged treasures and some framed programs and tickets.” A Grand Rapids Herald article on October 24, 1954 summed up local reaction to the final closing of the park. Most of us feel a twinge of regret at the passing of Ramona. . . For grown-ups, it held memories of summer and youth, those gay, carefree days that go so quickly, and for youngsters it was the next thing to a day in Heaven. 3. 5. 4. 121 Footnotes to Chapter IV Grand Rapids Press, May 23, 1914, p. 5, c. 2. Grand Rapids Press, August 28, 1915, p. 7, c. 1. "The Theaters," Grand Rapids Press, September 7, 1915, p. 6, c. Charles Stein, American Vaudeville As Seen By Its Contemporaries, (New York: Alfred A. Knopf, 1984), p. 338. 5. 6. 7. 8. 9. 10. Reeds Lake File, Grand Rapids Public Library Collection. Bates interview. Mitchell interview. Grand Rapids Herald, July 9, 1931. Grand Rapids Herald, October 24, 1954. "Memories of City’s Resort Days, Roots Fill Centennial Celebration," Grand Rapids Press, March 14, 1991, p. Bl, c. 4. 11. "Down Came Stage in Cloud of Dust," Grand Rapids Herald, November 8, 1949. 12. Harrington interview. V. SUMMARY AND CONCLUSION Pavilions were commonly in use as_ entertainment structures at the close of the 19th century. The Grand Rapids Street Railway Company built the Ramona Pavilion to encourage customers to ride the trolley car out to the amusement park at Reeds Lake. The success of the Ramona Theatre can be attributed in part to its monopoly on the local summer amusement market during its vaudeville years. The summertime amusement park and resort surroundings were a perfect setting for the theater. The 1915 Resort Issue of the Press concluded, "All together Ramona park and Ramona theater have developed into an amusement institution of an importance and a quality that may well cause pride to the patriotic Grand Rapids citizen." The resort atmosphere surrounding the theater contributed to a cheerful camaraderie among the patrons. In The Theatre Experience, Edwin Wilson notes that "becoming part of an audience is a crucial element of the theater experience." He goes on to say that audience members "sense an intangible communion" with those around them.” The feeling inside the Ramona Theatre often generated a common bond. The management and marketing of the theatre were crucial to Ramona's success. Their importance was made glaringly 122 123 obvious when the management switched hands for a temporary two-year tern. Louis J. DeLamarter cannot receive enough credit for the success of the Ramona Theatre. He employed creativity and discernment when dealing with all areas affecting the theatre. The big-time vaudeville at Ramona was of the highest quality, and gave great satisfaction to the patrons. Light opera and musical revues, two other forms of popular entertainment, also drew large crowds. The “offerings" were also discovered to go beyond basic entertainment--into areas of local and world current events, entertainment news and trends, and satire on events of the day. At times the theatre took on the characteristics of a town meeting. Patrons and performers shared a love for the resort area. When the Reeds Lake area became a popular vacation spot for vaudeville performers, fans of the theatre enjoyed the opportunity to rub elbows with celebrities. Most of the contemporaries of the theatre who contributed to this study made mention of the "New York" feel that the Ramona Theatre brought to East Grand Rapids. "The vaudevillian brought happiness and excitement to the communities he visited." The demise of the theatre was caused by the explosion of photoplays and the new capability of the patrons through the automobile to find entertainment farther afield. Finally, a community that had served as a popular entertainment spot for an entire century expressed an interest in becoming a quieter, more residential district. 124 This study reveals an interesting correlation between transportation and entertainment. The reigning popular entertainment genre that was vaudeville soon became photoplays, movies, and then television. The major form of transportation which was the crowded streetcar, soon became the private automobile. Vaudeville was often linked to the streetcar as a necessary form of transportation. Streetcar stock was "blue chip," with brokers reasoning, "they'll always have to ride, won't they?"" The automobile was the necessary transportation to get patrons to the movies. Now television and videos may be viewed without requiring the spectator to use transportation of any kind. At present, it is still necessary to travel to Florida to experience the spectacles of Walt Disney World's Magic Kingdom, EPCOT Center, and MGM Studios. Considering such self-absorbing entertainments as video games and the developing phenomena of "virtual reality," one wonders if there will come a time when the entertainment seeker's needs will be completely met at hone. This correlation between transportation and entertainment merits further study. The Ramona Theatre often surpassed other local theaters in the attention it was given. Theaters like Ramona appealed to a large portion of the population. For the new city dweller, the more elite forms of entertainment failed to mirror successfully their needs, concerns, and anxieties in a sympathetic or integrating manner. So millions of Americans turned instead to amusement parks, variety shows, dime museums, and other unpretentious, easily accessible amusements. 125 At the dedication of the Ramona Theatre on June 19, 1897, keynote speaker, Thomas McGarry, spoke of the spot'’s great benefits to all classes of people in a crowded city; a resort where all are equal and where the unfortunate is always as welcome as the most wealthy patron, so long as he conducts himself in a way t warrant an extension of the hospitality. This description would prove to be an accurate prediction of the atmosphere of the theater. One East Grand Rapids resident remembers hanging around the theater as a child. "No one told us ‘Don't go there, don't do that! ."’ In his concluding remarks concerning the 1977 Popular Entertainment Conference, Browne quotes British critic Richard Hoggart as saying that the study of mass society "may produce an enhanced and tempered sense of humanity and humility, instead of the sense of superiority and separateness that our traditional training is likely to have encouraged."" This was a theatre of popular entertainment. The Ramona Theatre endeared the public by presenting what the public wanted to see in a summertime amusement setting. The public showed its approval and loyalty by giving the theatre its patronage year after year. 126 Footnotes to Chapter V 1. "Reeds Lake, most sought and most useful among the resorts of Western Michigan," Grand Rapids Press, June 28, 1915, p. 22. 2. Edwin Wilson, The Theatre Experience, (New York: McGraw Hill, 1991), p. 19. 3. Fred Allen, "Two Superstars Lament the Passing of Vaudeville," American Vaudeville as Seen by Its Contemporaries, (New York: Alfred A. Knopf, 1984), p. 376. 4. Trolley Car Treasury, p. 5. Wilmeth, p. 3. 6. Evening Press, June 19, 1897. 7. Swain interview. 8. Browne, p. 294. MICHIGAN ST ATE UNIV. LIBRARIES TTL 3567 3129301415 | =] . . .Xak). r Eliiiumu: cilh 4 L: .« hmnmnf . e. 1&3. A7, it‘ll. I n. IL 35‘ V V v V . , . V II 33 i . _ $3. ‘59....“ . . . -, -- JG a. awaiffin‘...’ lulu , ... r v :33... i. r 9 3’ .IZ)IJ 31.95:: . g; «a 1.1:. i I! I ,sau V . f» . . . aura, g: . a» , a , . A . ... V . . ,nruaT wzmmfiw: .. V 5;:3: ..4w . . . .c .1» .xn. . . , . . . .3;,.:nm: . Sung: . . . . .1. 5.3.. fimnzurauwmmav .. V . . . .u “.umw"nmmnwpunul . , . . . . . ~... s V1 w}. . . . . , . .iw. .. - E .. i ..._vu..t.“...;,._....:....m~v.x . . . , A . . 2. up . 5 .ui 2532.3 .53.: . 2.5 a . V . V V t in». 1.... {a}? V. 12:21: :51)! 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DATE DUE DATE DUE DATE DUE J MSU IIMWWNOMIW W1 APPENDIX A PRODUCTIONS AND PERFORMERS WHO APPEARED AT RAMONA THEATRE 1897 June 17, 1897 — June 22, 1897 June 23, 1897 - June 27, 1897 June 27, 1897 - July 3, 1897 July 4, 1897 - July 11, 1897 July 12, 1897 - July 17, 1897 July 18, 1897 July 26, 1897 - July 28, 1897 1897 - 1925 Wurzburg's Band afternoon and evening Wurzburg’s Band Burnette, baritone soloist La-Petit Inez, "the smallest dancer in the world" Livingstone, Brooks & Robinson, refined and up—to-date musical specialty, sixteen novel instruments; trick violinists and banjo jugglers The Lundgreens, revolving ladder and comedy act The Clara Barton Guard, 16 young ladies thoroughly drilled tar a competent instructor, sword drill Wurzburg’s Band, as usual The Arions, a double quartet St. Cecilia Society Program: I Softly Dream 0 Hail Us Ye Free Rock-A-Bye My Lost Lenore Good Night 127 July 29, July Aug. 1, Aug. Aug. 8, Aug. Opened Aug. Aug. 27, Aug. Opened Aug. Opened Sept. 31, 1897 - 1897 1897 - 7, 1897 1897 - 15, 16, 29, 30, 14, 1897 1897 1897 - 1897 1897 1897 128 St. Cecilia Society Program: Swanee River Mendelssohn’s Wedding March Solo - Miss Peck O Hush Thee, My Baby Bridal Chorus from Lohengrin Moving Picture Machine (Edison’ 8 Pantograph) REXO, "The Human Top" Wurzburg’s Band, selections from popular operas: Grand March, Tanhauser Wagner Overture Fest Leuther Gems of Scotland Baetens Hungarian Rhapsodie No. 2 Liszt Ballet Music from Faust Gounod A Trip to the country Luscombe Ballet of the Knights Templar Liteif Louisiana Back Dances Brooke Nearer My God to Thee 25 young ladies in costumes, musical drills and recitations Longfellow’s "Hiawatha", beautiful picture with calcium light effects The Young Ladies of the Grand Rapids Turn- Verein Society, exhibitions of club swinging and Spanish Dances in appropriate costumes Eveleen, "The Water Queen". A marvelous aquatic act, in her mammoth crystal tank REXO, Equilibrist. Skillful hand balancing Wurzburg’s Band favorites: Ma Caroline Manana Chillian Dance Ye Boston Tea Party Opened Sept. 19, 1897 189§ May 21, 1898 May 22, 1898 - May 28, 1898 May 29, 1898 - June 4, 1898 129 Wurzburg’s Band - season’s final concerts, the band will play your favorite piece if you ask for it Evening Press Newsboy Band — Reeds Lake opening concert The Harmons, revolving ladder act, concluding with revolutions at the rate of 45 a minute Annie Whitney, singing and talking comedienne Lavender & Thompson, musical comedy sketch Millie Bertina, "The Flexible Venus" The Leroys, German comedy Sevenagi, acrobatic wonder Wurzburg’s Orchestra, directed by Frank Wurzburg Ernie Veronee, cane dancer, singing & dancing soubrette De Veaux & De Veaux, comedy musical team Fred A. Aikens , tenor balladist . Grand Rapids product , (late of Primrose West ’ s minstrels) Sevenagi, acrobatit:marvel; lower limbs have been paralyzed all his life and his development of arm and chest is therefore correspondingly conspicuous; absolutely startling in its daring and ingenuity. Carter, assisted by Corinne, magician & illusionist Goodman & Spencer, "Coon" , black face comedy Ed Vinton, vocalist June 5, 1898 - June 11, June 12, June 18, June 19, June 25, June 26, July 2, 1898 1898 1898 1898 1898 1898 1898 130 Wurzburg’s Orchestra Bert Howard. & ILeona Bland, musical specialty, "Rube and the Kid" Ollie Young, champion Indian club swinger of the West DeHillis & Valora, comedy jugglers A. Fred Aikens, tenor balladist John. West, musical comedian; cornet, trombone & saxaphone Carter the mSgician, asst. Corinne Carter Davenport Brothers’ Cabinet Carr & Tourgee, American trumpeters, "military musicians in action" William O’Rourke and Alice Bennett, singing and eccentric dancing duo Joe Hardman, Eccentric White Face Komical Komedian Mr. & Mrs. Garrett D. Hopper, high class sketch Popita & Rosseta, transformation dancers The Whiting Sisters, cornet soloists & duetists Wurzburg’s Orchestra Barlow Brothers’ Minstrels, 18 performers, pretty costumes, jokes, the usual features in buck and wing dancing, a number of patriotic trimmings Lillian Vars, trained dogs Maude Beeal Price, descriptive vocalist Wolfe & Cummings, sketch artists July 3, 1898 - July 9, 1898 1898 - 1898 July 10, July 14, July 17, 1898 - July 23, 1898 July 24, 1898 July 24, 1898 - July 27, 1898 July 28, 1898 — July 30, 1898 July 31, Aug. 6, 1898 - 1898 131 George Austins, slack wire Bentham & Barnes, blackface G.R. men, John Harty, eccentric juggler Aikens & Knight, refined sketches and songs, character impersonations O’Brien & Collins, acrobatic comedy, "watch for the big leap" Daisy Peterkin, acrobatic and character dancer Mollie Little and Louis Pritzhow, operatic and popular travesty artist The Seven Reed Birds: Miss Minnie Reed, singing specialty Dave Reed Jr., songs and parodies Miss Gene Reed & Mr. Lew Reed, sketch The 7 Reed Birds, "A Day at the Seashore McFee 8: Hill , Human Bar" triple bar athletes, "The Mackay Opera Company, "Mascotte" Rev. Leslie W. Sprague will speak on the subject "The Life Worth Living" Mackay Opera Company, "Olivette", an old Wilbur bill Mackay Opera Company, "Said Pasha" The Four Columbians, Oriental music act, Chinese, Turkish, Irish & Bohemian airs and melodies, costume and realistic setting Rosaire, slack wire artist, balancing Aug. 7, Aug. Aug. 14, Aug. Aug. 18, Aug. 21, Aug. 21, Aug. 1898 - 13, 20, 27, 1898 1898 - 1898 1898 1898 1898 - 1898 132 H.Wp Burnett, baritone soloist, "an.old.G.R. favorite" Chappelle Sisters, vocalists & dancers Arno, champion trick cyclist Miss Katharine Braham, vocalist Ancolletta Brothers, acrobats, giant swing by their feet, trapeze act H.F. Judge, clever hand balancing, ladder act Appollo of the bounding wire Edna Marshall, phenomenal soprano Eugene Neidert, trick and fancy cyclist Armstrong Brothers, singing and dancing Harry Aldrich, the boy soprano Ed F. Reynard, walking and talking figures, ventriloquist The Trolley Car trio, acrobats The Five Waltons, comedy company Leroy & Morris, triple horizontal bar performers The Morella troupe with their funny dogs, Bob and Pete Rodell & Herbert, acrobatic wheel riders Mike J. Dwyer v. Sammy Taylor of Dayton, Cornish wrestling match Paul Rademacher, music Mme. Pianka and her trained lions Messrs. George Murphy & Ferd Warner, elocution and music Aug. 22, 1898 - Aug. 27, 1898 Aug. 28, 1898 - Sept. 3, 1898 Sept. 4, 1898 - Sept. 10, 1898 Sept. 11, 1898 - Sept. 17, 1898 1899 May 21, 1899 - May 27, 1899 133 Paul Davis, music Barlow Brothers Minstrels, return engagement, Ward, Russell, Cannon, Baldwin & Hale Lotta, "Queen of the Slack Wire", and her specialty company of acrobats, dancers & singers The Rumley Sisters G. Finlay The Granello Brothers, acrobatic and statuesque posing Goodman & Spencer O’Neal & Galvin Wurzburg's Band, 15 pieces, popular music Empire Specialty Company, singers, dancers & acrobats: The Rumley Sisters, a cakewalk specialty Bessie Deronca, buck & wing dancing The Landon Sisters, musical act Johnnie Williams, funny witticisms and ludicrous exposition of magic art Paul Rademacher, local vocalist Special band features "with Tableaux" Hanner Amusement Company of 25 people, (Wm. Hanner proprietor), including Kid Hanner, May 28, 1899 May 28, 1899 — June 3, 1899 134 well-known. aeronaut who Idoes balloon ascension hanging from.the bar by his teeth; if balloon goes out over lake he will dive into the‘water; also sets off fireworks from balloon Hanner acts include: Mlle. LeVoy, Great Slide for Life on a 400’ cable, "suspended solely by her hair" Major, the diving dog, 75' high dives Paturel Brothers, horizontal dexterous bar performers Shields & Mallin, acrobats & equilibrists Mons. Bushnell, "a wonder" Carroll & Gardner, comedy sketch, singing & dancing Wm. H. Mack - comedy tramp Gulas Frudan, trick cyclist Cornell, The Athlete, balancing trapazone Rosana & Rozair, rolling globe artists Chiefs White Cloud & One Sky, wire walkers, jugglers & knife throwers Wurzburg’s Band.concerts 1/2 hr; before each performance J. Clarence Harvey, leading comedian of the Wilbur Kerwin Opera Company currently appearing at the Powers (by courtesy of Miss Susie Kirwin) sing and tell several of his best jokes; "sing and dance and say funny things" Romalc» brothers, european. acrobats, head balances Mlle. Marie Sousa, claiming to be the only lady necromancer and prestidigitator now before the public; catches rifle bullet in her hands June 4, 1899 - June 10, 1899 135 Carroll & Gardner, comedietta entitled "Horace & Angeline" Tony West, German dialect monologist & comedian The Skat ing Rexos , stage name for local Eddie Smith and his wife; contortionists, gymnastic skatorial experts Al Valding, novelty aerial artist Five Famous Walton. Brothers, English acrobats, tumbling exhibition, shoulder to shoulder somersaults, "twisters" and "spotters" Three Famous Onris, (sisters), marvelous jugglers, equilibrists, wonders on revolving globes, skirt dancing The Two Gerties, (Le Clair & Hayes), fin-de- siecle duo, latest song hits and a cakewalk Miss Bertie Rollera, illustrated songs with stereopticon views Sisters Ameta, repertoire of illumination and spectacle dances with electrical and mechanical effects, including: "The Lillie", "The Butterfly", "The Fire", "Queen of Night", "La Fern", and German, English & American dances The Wargraph, showing a series of animated pictures of the most important battles on land and sea, Spanish-American War, including pictures of Michigan troupes and our home companies; shows the 32nd Michigan in camp at Tampa and scenes at the Island Lake encampment last spring Fred Aikens, balladist Miss Marie Teres Rolleri, illustrated songs Adelaide Herrmann, dancer June 11, 1899 - June 17, 1899 June 12, 1899 - June 17, (144) 1899 June 18, 1899 - June 24, 1899 June 20, 1899 - June 24, 1899 136 Gruet, Beers & Gruet, eccentric, grotesque, comedy, and burlesque acrobats, in an absurdity called "A Strange Sweetheart" Shadowgraphs, Pundhanello shadow pantomime with characters taken by the entire company Wm. Ross, eccentric soft shoe and flat foot dancer, comedian & vocalist Bicknell, lightning clay modeler LaDazie, acrobatic and rag-time toe dancing, (last year under the name of Daisy Peterkin) Ameta Sisters, re-engagement, doing Sol Bloom's latest success, "The Honolulu" A. Fred Aikens, tenor balladist Melrose & Laverne, trapeze artists Professor Tom.Collins & his boxing kangaroo, Lanky Bob, funny imitation of a rough house boxing match Coin’s Dog Circus, dogs that dance, waltz, clown, somersault, skip rope, bag punch, & do a genuine buck and wing dance J. Dan Rice and.his troupe of educated pigs, intelligent porkers that do everything but talk William & Kittie Harbeck, novelty contortionists and slack wire Wertz & Adair, acrobats, head-to-head and hand-to—hand balances Mat. Farnam, representative dancer Fielding, comedian juggler Robert Leland, operatic basso Banda Tipicana Mexicana, band in costumes June 25, 1899 - July 1, 1899 June 28, 1899 July 2, 1899 - July 8, 1899 July 9, 1899 - July 15, 1899 137 Mlle. Prospetto and.her educated horses; she rides Hepzibah in a riding habit and Don Quixote in tights Bonita, dances of all nations, singing Lotta Gladstone, in her unique creation, "The Country'Girl"; (acoustics forced her to substitute with mindreading) Arthur Wellesley, monologuist, facialist, juggler Harry Watson, tramp cyclist Minnie Church, danseuse & vocalist Dunham & Wilson, daring horizontal bar team Bioscope exhibition, moving pictures Adgie, The Dancing Girl, and her den of lions, does a skirt dance in the cage while singing bits of Wagner Girard & Monte Elmo, grotesque eccentrics, dancers, hat and flag spinners; Miss Elmo has "Zaza" hair and teeth that would stand photographing for a dentist's advertisement Frank LaMondue, eccentric‘gymnastic clown.in "Fun on a Clothes Line" Alice Raymond, lady cornetist on gold cornet, Army bugle calls Howard's Comedy Ponies, do everything but talk and they give an imitation of that fairly well Mons. Dubec’s dog, monkey, cat & rat circus, which conclude their act by performing a genuine dramatic sketch entitled "Saved from the Flames" Ollie Young, club experts, heavily featured in vaudeville houses, (after) "he does everything that anybody ever saw anybody do with a club and any number of things that no one ever saw" July 16, 1899 - July 22, 1899 July 23, 1899 - July 29, 1899 138 Tegge & Daniel, German comedians & wooden shoe dancers Whiting Sisters, cornetists Nellie V. Nichols, petite young dancer and vocalist Evaleen, The Water Queen The Great Barlow Minstrels in "Gathering of the Nations", scenic effects; jokes, ballads & coon songs, 30 people, all white Mons. Zella, serpentine contortion Harry' ‘Ward, "the next president of minstrelsy" Elliott Brothers, Tim Stuart, Hugh Cannon, Charles Cartmell, & John Queen (terpsichorean) in "The Dancing Golfers" Briggs, the trick. cyclist, revolving pedestal act J. Arthur Coburn, interlocutor Barlow Band playing pop operetta selections including, 'HEL Trovatore", "Cavalleria Rusticana", & "Girofle Girofle" Welby, Pearl, Keys, Nellis & Master T. Carroll, novelty dancers Peter Baker, German dialect comedian Nondescript Trio, black face comedians, comedy acrobats The Musical Ravens, with aluminum musical chandelier Comar, comedy club juggler and revolving ball act Prince Satsuma, Japanese: equilibrist and juggler Crane Brothers - Mudtown Rubes, sketch "The Heart of Mudtown", singing and dancing July 30, Aug. Aug. 6, Aug. Aug. 13, Aug. 5, 1899 - 1899 1899 - 12, 19, 1899 1899 — 1899 139 New moving pictures Josephine.Gassman.and her clever little baby pickaninnies, rendition of coon and rag-time melodies Adele Purvis Onri, rolling globe artist, slack wire posing, juggling, and a spherical serpentine skirt dance, illuminated with elaborate electrical effects, stereopticon pictures of city hall celebrities Leo and Chapman, comedy triple bar act Wm. DeBoe, the upside down man John R. Harty, eccentric juggler Cineograph. pictures, new Ilifelike 'moving pictures Murphy, 16 month old ourang-outang in a sailor suit looks like "Jack Tar"; in policeman satire he looks like a "Monroe St. copper" P.K. Okabe’s Japanese Troupe, 15 people, barrel kicking, ladder'Ibalancing, double bamboo shoulder perch, juggling, slide for life from ceiling to stage Ed F. Davis, reubenistic animal carnival with 2 black jersey steers, one Shetland pony, 1 donkey, 1 horse, 1 mule doing drills, marches & tricks Ramza & Arno, acrobatic comedians, burlesque, "The Blondin Donkey" Trolley Car Trio, acrobatic comedy Garrity Sisters, character change artistes The Parisian Trio, refined comedy of song and dance Myers & Rosa, plate twirling Aug. 20, 1899 - Aug. 26, Aug. 27, Sept. Sept. 3, Sept. 1899 1899 - 2, 1899 1899 - 10, 1899 140 Allen Schrock, young trick bicycle rider, crawls through the bicycle frame with the heel in motion, stands on his head Kinodrome moving pictures showing a Spanish bullfight The Cosmopolitan 3, comedy & music, imitations Juno Salmo, golden mephisto, gymnastic contortionist feats in the trap and loft perch, pantomime Marie DeWolf, baton manipulator, in "Vanity Fair at the Grand last season Wm. L. Smith, scientific bag punching, former G.R. No. 4 engine house fireman Eddie Smith and his wife, G.R. roller skaters Gertrude Pianka and her trained lions Zavo and Mlle. Hilda — contortionists and equilibrists Youngs & Brooks, musical comedy Modern Woodman, Sycamore Camp Degree Team, MWA, in fancy drill Kinodrome, "The Astronomer’s Dream" Kinodrome: "The Astronomer’s Dream", "Midocean" , "Defense of the Colors " , "Cinderella", WA Country Prize Fight", "A Bicycle Party", "A. Trip .Across Brooklyn Bridge", "The Adventures of Jones" (5 parts) The Quinn Trio - 3 tots under 10 in cake walking, club swinging, bag punching, wrestling & boxing Norando, the human spring, acrobat, somersaults from the elbows Wm. Rowe, pedestal clog dancer 1900 May 19, 1900 — May 26, 1900 May 27, 1900 - June 2, 1900 June 3, 1900 — June 4, 1900 141 3 MacKnette Brothers, acrobats Roberts & Smilax, grotesque comedian accompanied by 2 clever dogs Edith Lavelle, trick bicyclist Co. B Degree Team of Kent Camp 2314 MWA, in Black Foresters’ Drill The Sohlkes & 5 Archipelagoans Ameta, illuminated dances and illustrations Edward Marvelle, acrobatic comedy Marionette Minstrels & Pantomime Pusey & St. John, eccentric comedians The Kinodrome Mr. & Mrs. Robyns, dramatic playlet "The Counsel for the Defense" Joseph Adelmann, xylophone virtuoso Clarice Vance, the Souther singer Prof. J.M. Wright, trick bicyclist Wilson & Clayton, German comedy sketch The Homer Trio, (Hoyt, Homer & Holdea), vocalists, instrumentalists & comedians Kinodrome: "The Impersonator", "Landing of Marines Under Fire", "Fun.iJlaa Photograph Gallery", "Cherry Street View", "Grand Rapids INewsboys", "Boston. Horseless Fire Dept", "Haverstraw Tunnel" Oscar P. Sisson with Miss Esther Wallace in comedy, "Cousin.Ella’s‘Visit"; Wallace noted for her sweet voice h u k ‘.‘h (“We ‘h “a“: June 5, 1900 - June 7, 1900 June 8, 1900 — June 9, 1900 June 3, 1900 - June 9, 1900 June 10, 1900 - June 16, 1900 June 17, 1900 — June 23, 1900 142 Oscar P. Sisson with Miss Esther Wallace in society sketch, "Love Finds a Way" Oscar P. Sisson with Miss Esther Wallace in "A Fourth of July Romance" (see above) The Wonderful Werntz Family, lady and gentleman acrobats Craig & McDonald, musical comedians Hettie Tedro, baritone Elmore Sisters, rural comedy act, "The Two Kids" Kinodrome EBM & CO. Famous Street Urchin Quartette J.W. Dempsey & Edna Forsythe, Irish subjects, comedy singing dancing, trick tumbling Miss Gertie Lewis, singer L. DeForest Arli, magic Faust Family of Australian Acrobats Kinodrome: "Admiral Dewey & flagship Olympia", "Ching'Ling'F00>Oui", "A Railway", "Panoramic View of Modder River", "Cherry Street" Billy Sanford, clog dancer McPhee & Hill, triple bars & high bar Henry Frey & Nettie Fields, comedy sketch "A Tramp’s Reception" Lizzie N. Wilson, German dialect comedienne June 24, 1900 - June 30, 1900 July 1, 1900 - July 7, 1900 143 Coin’s Comedy Dogs John J. Welch, dancing comedian DeHollis & Valora, comedy juggler Grierson Sisters, the society girls Wilbur Force’s Orchestra Kinodrome — first colored picture shown this season Hilda Thomas & Co. , vocalist and comedienne, characters include The Dutch Servant Girl, French.concert.ball singer; American concert singer with her rag-time manner and enthusiasm, the England concert hall singer with her dialect, society belle Leo Carle, one-man drama "The Betrayed Professor", 8 different characters and 18 costume changes Three Sisters Leon, lady acrobats Kittie Wolfe, queen of the summer girls, singer & dancer Emma Butler, local singing comedienne Kittie: & Charles ‘Willards, $2,000 stage setting requires 12 trunks to carry instruments: Guatemala mammoth octaphone, Swiss ibells, Japanese> calliope, aluminum chimes, English musical whirls Kinodrome - Cinderella, a spectacular and fantastical pantomime in animated photography, all beautifully colored, illustrating every scene of the fairy tale, 35 persons take part 4 Nelson Sisters, acrobats, $400 act 2 Lamb Children, juvenile songs and negro melodies, clever little cake walkers Darmody, comedy indian club juggler Bell & Albion, comedy acrobats July 8, 1900 — July 14, 1900 July 15, 1900 - July 21, 1900 144 Morphet & Stevenson, musical novelties "in all the glory of black face" Kinodrome: "Such a Headache", "Company of U.S. Volunteers on Parade", "NeW' Pillow fight", "An Irish Breakdown", "Pygmalion & Gallatea", "Oxen.Hausling Surf Boats at Cape Town", "An Interrupted Wedding", "Pictures Off Coast of Scotland during Storm" Mr. & Mrs. Perkins Fisher, rural homespun comedy "The Half-Way'House" by Ezra Kendall,~ featuring characters Belle Younger, an actress, & Silas Older, a retired minstrel Mrs. Alice J Shaw & Twin Daughters, whistlers Negley, The Male Melba, female impersonator Lee Ingham, equilibrist, acrobat, hand balancer Violet McMillen, local singer & dancer Cook & Lester, panorama of song Kinodrome, views of England Harry C. Stanley & Doris Wilson, comedy "Before the Ball", Miss Wilson sings "Always" (fiflul & Maud Allison, musical comedy "How Foolish", seen at Grand last winter, Maud portrays a Swedish servant girl ' Skating Rexos, G.R. ’8 Mr. & Mrs. Eddie Smith Brothers Casad, (Billy & Frank), musical cafe Beatrice Gambles, balladist Kinodrome, return of "Cinderella" 3 LaRue Brothers Horseshoe Comedy Trio July 22, July 28, July 29, Aug. 4, Aug. 5, Aug. 1900 - 1900 1900 - 1900 1900 - 11, 1900 145 Mlle. Gertrude Pianka and her den of Monster Lions Harry C. Stanley ("the human piccolo") 8: Doris Wilson reengaged The Two Gerties and Pickaninny, LeClair & Hayes, comediennes, and little negro mascot Lozelle, gymnast on rings, ladder & trapeze 3 Blackberries, Kasten, Duey & Kasten, black face artists in duets, character changes & negro melodies Marvelous Martelles, wheel riding Professor Force’s Orchestra (feature of week - The Parkwood Waltz by Miss Lena Belle Bridgman) Isabelle McKinley, singer Romalo Bros., head and hand balancers Peter Baker, German dialect comedian & vocalist James H. Cullen, singing comedian who sings our songs Udell & Pearce, "Kelly’s Night Off" S. Homer Eaton, character impersonations of Josiah Allen’s wife Major R.H. Hendershot, drum Iboy' of the Rappahannock, and son J.C. Hendershot Howard & Bland, "The Rube & the Kid" Professor Force’s Orchestra Galetti’ 8 Monkey Comedians, realistic barber shop scene, lively boxing match, juggling, bicycle race Martinetti & Sutherland, singers, dancers, acrobats, comedy sketch Aug. 12, 1900 - Aug. 18, Aug. 19, 1900 1900 - Aug. 25, Aug. 26, Sept. 1900 1900 - l. 1900 146 Knight Bros., singers, dancers Pierce & Egbert, song illustrators (with aid of colored slides) Lorene Jansen, singing comedian Holmes & Walden, musical artists Richard & Colin, "The Cook Lady" Orchestra Okabe’s 10 Imperial Tokio Japs, $300 costumes, 1 hr. program Alle Schrock, bicyclist Gus Henderson & Eva Ross, rural skit, "Fun at Griggs’ Corners", somersaults & tight rope acrobats Petite Alice Lewis, singer, dancer Six Sennetts, scenes in a zoological garden Billy Clark, G.R. comedian, negro monologue, makeup as a "shirtwaist" negro Lucados, balancing act Bros. Laraby, triple comedy bar experts Blance Minderhout, singer W.T. Houston, "Little German Band", imitates phonograph playing "Stars 8: Stripes Forever" King & Craigh, Chinese acrobats Tobey Bros., horizontal bar Blake & Bishop’s Dog, Monkey & Baboon Circus, 60 trained animals Gillette Family, 7 acrobats Augustin Nueville & Co., comedy sketch, "An Interrupted Rehearsal" Sept. 2, 1900 - Sept. 8, 1900 1901 May 18, 1901 May 19, 1901 — May 25, 1901 147 Fred Renzo, contortionist Hague & Herbert, comedy sketch Al Holt, whistling mimic, mockingbird imitation William Clark, monologist William H. Windom and his Blackstone Quartette, author of popular songs "The Fatal Wedding" and "Teach.Our Baby That I am Dead" 4 Silvinis, acrobats, contortionists Valley City, Kent, Star, Loyal, Balavia & Sycamore Degree Teams of Modern Woodmen of America, fancy evolutions (different teams at different performances) Marshall & Ervin, singers Meldon, Indian club juggler Jaxon, acrobat Chester Demond, illustrated songs, coon songs & ballads Blake & Bishop’s Dog, Monkey & Baboon Circus, 60 trained animals (re—engaged) Furniture City Band, Ellis Brooks conductor Watson Sisters, triangle trapeze propelled by electric motors Juan. De Zamaro, acrobat with. electrical effects Baador & LaVelle, trick bicyclists Nina Ramonda, conjurer, grows roses on the stage Francis Gerard, operatic prima donna May 26, 1901 - June 1, 1901 June 2, 1901 - June 8, 1901 June 9, 1901 - June 15, 1901 148 McCord & Melville, singers, dancers Harry Watson Comedy Co., "The Two Flats", "the finest Dutchman in the world" Gipsey Ward & Baby Lester, The Von Leipunspigher Kids, coon songs and yodeling, waltz, clog, buck & wing dancing in wooden shoes Bradford, Carter & Pickaninny, The Coontown High Rollers, buck and wing dancing Wadell, Indian club juggling Katherine Braham, dancer Drew & Carew, Grand Rapids YMCA acrobats Barlow' Minstrels (Donnelly, Coburn & Baldwin), 35 white artists, black face singers Toledo Bros., contortionists, creepy crocodile & lizard act Fred P. Russell, monologist Chas. Cameron, descriptive singer Kreske & Lynch, rag-time dancers Boneill Bros. trick jumpers Douglas & Ford, dancers, singers Jules & Ella Garrison, burlesque tragedy stars, "A Bit of Nonsense", perform bits of drama from the masters of tragedy'and follow with burlesques of each Blanche Frayne & Marie Evans, dancers, singers Keys & McDonald, acrobatic comedy pantomime Mabel Goodwin, Bowery girl Kinodrome June 16, June 22, June 23, June 29, June 30, July 6, 1901 1901 1901 1901 1901 1901 149 Harry C. Stanley (the man with the clarinet throat) & Doris Wilson, "The German Professor", grand opera selections Boston.Comedy44-comed “vocalists, yodeling Zaro & Mlle. Hilda, "novelty specialty artists" Gorman & West, comedy singers and dancers, "In Song" Clayton, Jenkins & Jasper (donkey), comedy skit, "The Darktown Circus" Lizzie & Vinie Daly, terpsichorean artists Hall Merritt & Florence Murdock, "A Friend in Need" R.K. Moore, swinging wire Lew Sully, minstrel 3 Hills, hand balancing acrobats, father, mother, tiny boy Rouen Bros., aerialists, walk the ceiling Kinodrome, Pan—American Exposition scenes at Buffalo (this is the exposition where McKinley gets shot and eventually dies) Edward F. Reynolds, ventriloquist, moving figures Tommy Hayes, bone artist The Great Powell, illusionist, magician Mills Sisters, whistlers McMahon & King, blackface comedians, "Down by the Railroad Crossing" - "in which the farcical woes of a sleeping car porter and his coal black sweetheart are more or less vividly set forth" Redcay, Duffin & Redcay July 7, 1901 - July 13, 1901 July 8, 1901 — July 13, 1901 July 14, 1901 - July 20, 1901 July 21, 1901 — July 27, 1901 150 A. Fred Aikens, singer Charles & Kittie Willard stereopticon views and moving pictures Anna Kenwick, soprano, coon singing and dancing LaPage Sisters, dancers, quick costume changes Genero & Bailey, coon melodies Craig & Adrell, instrumentalists The:Great Powell, illusionist, magician (re- engaged) Redcay, Duffin & Redcay (re-engaged) Russian peasant quartet 4 Juggling JOhnsons, footstools, wash stands, forks, soup tureens Smith & Fuller, musical inventors and mechanics, music from row of old tomato cans Brandon & Regena, aerial athletes Trolley Car Comedians, acrobats Mlle. Garretta’s trained birds, 20 macaws, pigeons, cockatoos, doves, parrots Violet McMillan, GR singer and dancer Tom Hardie, acrobatic tramp Kinodrome, pictures of Pan-American showing buildings from the canal, more than 7,500 pictures on one film 625 feet long Georgia Gardner & Joseph Maddern, farcette, "Too Many Darlings" by Jos. D. Emerick Flo Irwin & Walter Hawley, "Gay Miss Conn" July 28, Aug. July 29, Aug. Aug. 4, Aug. 3. 3, 1901 - 1901 1901 - 1901 1901 - 10, 1901 151 Hilda Thomas with.Lou.Hall, comedietta, "The Lone Star" (Hilda plays an actress with a reputation, Lou. plays Ferdinand Swif, a hustler, and Luke Warm, the man with the hoe) D’Arville Sisters, singers, dancers McCarthy & Johnson, illustrated songs Bernice Mack, singing, dancing, impersonations Violet McMillan, singer, dancer Joseph Adelman, rag-time and opera on xylophone Rozinos, acrobats, contortionists, aerial tumbling over a billiard table Sadie Hart, character songs & dances Newell & Niblo, instrumentalists Harry E. Boyd, blackface comedians, "The Black Turkey" Larkins & Patterson, Filipino dances & ragtime opera Romalo Bros., head & hand balancers Rose & Lemon, GR boys, trick cyclists Mabel Grace Andrews, GR singer Vallecita, trained lions, leopards and Mexican panthers Ezra Kendall, original monologist Mamie Remington and her ragtime brunettes, cake walkers, buck dancers, boy dressed in skirts Romalo Bros. (re-engaged) Whiting & Whiting, singing & dancing girls Aug. 11, 1901 - Aug. 17, 1901 Aug. 11, 1901 Aug. 18, 1901 - Aug. 24, 1901 Aug. 25, 1901 - Aug. 31, 1901 152 Odell & Perry, character comedians Mr. S. Midgely & Miss G. Carlisle, rural comedy, "After School"; and adventures of Sammy & Sarah in "Taking a Tonic" by Midgley (including song "The Way to Ask a Girl to Marry" Manning & Ducrow, one-legged athletes La Moines, musicians Coin’s Comedy Dogs Maxwell & Dudley, singing sketch, "The Trial Lesson" Hermann Comedy Tramp Bicyclists Carl Schultz Perkins Fisher & Co. (husband/wife team), "Half Way House" Miss .Rita. Redmond, soloist, "Dion-cato", electrical novelty (given only at night on account of electrical effects) ; stereopticon views thrown upon her from the front of the stage Bright Bros., hand balancers Dick & Effie Guise, black face character sketch, "A Financial Embarrassment" Sassaria & Milro, burlesque skaters and pantomimists Rose & Jeannette Lenchner, children dancers Charles Rouse, GR boy soprano Rice’s Dogs & Ponies (25) T.W. Eckert & Emma Berg, tenor & soprano, operetta, "Masters & Pupil" Bessie Gilbert, lady cornet player Sept. 1, Sept. Sept. 2, Sept. Sept. 4, Sept. Sept. 8, Sept. 1901 - 7. 1901 1901 - 7. 1901 1901 - 7, 1901 1901 - 15, 1901 153 J. Knox Gavin & Emma Platt, musicians, "The Gypsy Census" Goolmans, musicians Dr. Hal Newton Carlyle, Dickens readings Zareli, The Silver Gymnast, ties himself in unique knots Burton & Brookes, humorous conversationalists, sketch, "More Work for the Undertaker" Gilbert Sisters, American Nightingales, singers and dancers Prof. Ralph Rich, strong man, pulls against 2 horses 5 Waltons, acrobats Ida Howell, comedienne and songstress Bissonette & INeuman, chair balancing illuminated by electricity Japanese Circus, sports, pastimes, and games of flower Japan; 6 month old Japanese baby exhibited to the ladies after each matinee J.C. Nugent.& Grace Fertig, character comedy act, "The Absent Minded Beggar" Lena Davenport, Ned Burke, & Joe E. Sawyer, cornet and black face comedy, "The Garden Wall", closes with "A Hot Chase" through a mechanical garden wall Kent Camp MWA.Degree Team.Drills, Capt. E.F. Smith Lawrence Crane, the Irish Magician, palming 1902 May 25, 1902 - May 31, 1902 June 1, 1902 - June 7, 1902 June 8, 1902 — June 14, 1902 154 Loris & Altina, shooting William Tell act Tanakas, Japanese jugglers DeMora & Gracetta, acrobats Miss Luna Cooper, descriptive dramatic vocalist More, "the man with the wonderful hands", catches goldfish from the air Marsh Craig, contortionist Wilbur Force Orchestra Helen Blaine, GR soprano Caron & Herbert, comedy acrobats Patterson Bros., triple horizontal bar act Howard Powers & Dolly Theobald, "A Pain of Runaways" Avery & Hart, negro comedians, "Just 2 Coons to make you laugh" Flying Beano, contortionist dressed as a monkey Annie Revere, fashion plate song & dance Jessie Couthoui, woman monologist Hayes & Healey, skit, "The Circus Rider & the Ringmaster", (Hayes is 2 ft. tall, "chubby and fat", Healey is "tall and thin" Dick & Alice McAvoy, sketch, "Casey’s Corners Duff, Sawtelle & Duffy, comedy trio, with child artist Master Duffy Ahrens, acrobat June 15, June 21, June 22, June 28, June 29, July 5, 1902 1902 1902 1902 1902 1902 155 May Mazelle, singer & dancer Senator Frank Bell, political cxomedian, country sheriff specialty 5 Nosses, "The Venetian Serenade", picturesque musical melance of operatic selections, mandolins Bruns & Nina, paper tearers O.G. Seymour and Maud C. Dupre, athlete and soubrette, "An Original Idea", wooden shoe dance Pankleb, comedy clay modeler, makes faces Lillian Shaw, Hebrew comedienne Millie Scott, aerialist, flying rings Mlle. Nina, picture dancer Pauline Hall, comic opera star turned vaudeville, lullaby from "Erminie" Terry & Elmer, comedy dance sketch Winona Winter & Banks Winter, "The Disappointed Romeo" Miller, Hunter & Lakie, unique dancing steps Mlle. Hilda, contortionist Kittie bingham, descriptive songs, ventriloquist Lottie Gilson, "The Little Magnet" Harding & Ah Sid, clown & chinaman Letto & Dello, comedy acrobats Powers Bros., bicyclists, appearing as "Alphonse & Gaston" Valpos, musicians Mlle. Olive, dainty juggler July 6, 1902 — July 12, 1902 July 13, 1902 - July 19, 1902 July 14, 1902 - July 19, 1902 July 20, 1902 - July 26, 1902 156 Andrews & Feld, singers & dancers Happy Jack Gardner Lew Hawkins, minstrel, parodies on the latest songs Tony Ryder’s Acrobatic Monkeys Musical Kleists, electrical comedy, exploding instruments and violin solo with accompaniment of electrical sparks Lavendar & Thomson, comedy acrobats Dave Newlin, mimic, vocalists Glady Van, comedienne Ten-ichi troupe of Japanese magicians, fountains of water spring forth from "all sorts of places" McKissick & Jones Madame Emmy & her dogs Lew Wells, musical tramp sketch Prevost & Prevost, sketch, "Fun in a'Turkish Bath" Lavinos, Mr. Lavino does rapid crayon drawing, drew picture of local Boyd Pantlind and Admiral Schley Reid & Gilbert, Irish comedy sketch, "The Actress & the Mick" Agnes R. Behler, "The American Chansonette" Eberly & Egbert, illustrated songs Mazuz & Mazette, comedy acrobats Shayne Vaudeville Co.: Leon Morris, educated comedy ponies, ponies wrestle John Hedge July 27, Aug Aug. 3, Aug. 2, 1902 1902 1902 - 9. 1902 157 Fern Melrose, lyric prima donna Esmathilda, 14 yr. old saxophone, violin, singer, does a jig Lester & Curtin, comedy acrobat Conley & Ford, comedy singers & dancers John Ford, dancer Furniture City Trombone Quartet, GR favorite, Frank. Millard, Bert True, Jay Barrett, Ellis Brooks Ferguson & Mack, strike each other with canes Fanny Rice, "America’s daintiest comedienne", miniature stage exhibition Charles Merritt & May Rozella, comedy sketch, "Her Fifth Husband" Oscar P. Sisson.& Esther Wallace Co., comedy satire, 'Whr Wife’s Presents", she stood behind him*with her arms where his should be Carroll, girl whistler, quick changes, dances and whistles simultaneously Henrietta Tedro, baritone Kitamura Royal Japanese Troupe Mitchell & Love, comedy team Hilda Thomas, assisted by Lou Hall, musical comedy, "Miss Ambition" The 3 Keatons, Joe, Myra & little Buster, grotesque comedy act, replete‘with.eccentric and acrobatic dancing and mirth provoking skits Wenona.& Frank, rifle shooting, William'Tell Act, kept time to Anvil Chorus by hitting clanging target Harmony 4, comedy singers Aug. 3, Aug. Aug. 10, Aug. Aug. 11, Aug. Aug. 17, Aug. 1902 - 10, 16, 16, 23, 1902 1902 — 1902 1902 - 1902 1902 - 1902 158 De Arville Sisters, singers, contortionists, acrobats, dancers Tom Ripley, monologist, singer Great Eldridge, makes pictures by pouring colored sands over a slanting canvas Hanlon & Singer, trapeze & flying ring act Torcat the French Comedian, dresses like a comical negress who dances with a singing girl on his back Julian Rose, "our Hebrew friend", Hebrew impersonation, songs and monologues Flood Bros., comedy acrobats Miles & Mignon, dancers, singers, dialogue team Six. Royal Ascot Girls, terpsichorean creations 12 Phasey Troupe, England girls, drum & bugle, brass band, ballet Miss Edith. Helena, "the Southern Mockingbird", appears t1) play "Cavalleria Rusticana" on violin, but is actually singing an imitation of the violin Hal Davis & Inez Macauley, one—act comedy, "The Unexpected" Nelson Comiques, comedy acrobats, "Frolics at the Zoo" Charles A. Loder, "our German friend", yodles (sic), German dialect Van & Egbert, illustrated songs Baker & Drew, comedy acrobats Kelley'& Kelley, GR.acrobatic team, tall man & 6 yr. old girl Aug. 18, 1902 - Aug. 19, 1902 Aug. 24, 1902 — Aug. 30, 1902 Aug. 31, 1902 - Sept. 7, 1902 Sept. 1, 1902 - Sept. 7, 1902 Sept. 7, 1902 159 Miss Carrie Nation, "famous joint smasher", temperance talks, exhibition of her hatchett Lillian Burkhart, assisted by Page Spencer, "A Deal on Change", playlet by Edmund Day about Wall Street and the ticker Trask & Rogers, black face singers, comedians, dancers 3 Romalo Bros., equilibrists Rexos, GR skaters and hoop rollers Kelly & Kelly, singers & dancers Joe & Wally Rozino Bros. Helen Blaine, GR vocalist Myers & Mack, illustrated songs Delaur-Debrimont Trio, opera selections, not in English Ronaldos, Charles, Edward & Eva, terpsichorean artists Brothers Rossi, acrobatic act, "A Mysterious Sweetheart" Buckeye Trio, acrobats and contortionists Degree Team of Kent Camp, Modern Woodmen of America, 16 members, white suits and burnt cork, spell out initials of order, "The Black Foresters" drill A. Fred Aikens, GR minstrel Meyers & Marsh, illustrated songs Rio Bros., flying rings Newsboy Quintet, vocal numbers from "The Little Outcast" 1903 May 24, 1903 - May 30, 1903 May 25, 1903 - May 30, 1903 May 31, 1903 - June 6, 1903 June 7, 1903 - June 13, 1903 160 Hayes & Healy, comedy sketch, "The Ringmaster & the Circus Queen" Leo & Chapman, sketch, "Wanted—-A Donkey" 4 Boises, local aerialists Kelly & Violette, the fashion plate duo, rapid costume changes & popular songs, "Under the Bamboo Tree" Nick Otte, local Spanish ring act Band directed by Fred Banks Ramonagraph’s moving pictures Ameta, parisian, colonial, fire & lily dances, electrician Sam DuVries (formerly a local real estate agent) 4 Piccolo Midgets, Lilliputian acrobats, dancers, wrestlers, comedians, Salvation Army skit Harris & Walters, Dutch comedy act Burt Jordan.& Rosa Crouch, singers & dancers Mr. & Mrs. Jack Burch, illustrators Reid & Gilbert, Irish comedy sketch 4 Rianos, Austrailian acrobatic comedy with characters of scientist, servant girl & 2 apes Zarrow Trio, bicyclists, "A Night on the Board Walk", knife grinder, stone into a unicycle Major Sisters, boxing, drum. dancing, singing, fencers June 8, 1903 — June 13, 1903 June 14, 1903 - June 20, 1903 June 21, 1903 - June 27, 1903 161 Claire 'Tuttle, lady' ‘monologist, "Her Photograph" Semon Children, Martin & Primrose, singers/dancers Evans Lloyd & Lillian Waltone, singers Marv Richards, hooper & foot juggler Ferguson & Mack Adele Purvis Onri, Geisha dancer on revolving ball, serpentine dance "Puck Encircling the Globe", assited by Little Tsudo "Japanese Wonder" Annie Whitney, character comedienne, "The Battale of Dargai Ridge" Martinetti & Grossi, comedians Ramza & Arno, grotesque acrobats, "dummy" & mechanical doll, Blondin donkey act Sid Grant, monologist, imitates well-known actors Trask & Rodgers, black face Bickel & Watson, German eccentric comedians, act included battered trombone and numerous lengths of garden hose Busch & Devere Trio, illustrated musical act Earl Lindsay, change artist John T. Tierney, "Yours in Irish" Robert Hayes & Roberts, sketch, "The Infants" The Asbeys, illustrators, pictures of ancient & modern statuary Lawrence & Harrington, Bowery Boy & Tough Girl Ramonagraph June 28, 1903 - July 4, 1903 July 5, 1903 - July 11, 1903 July 12, 1903 - July 18, 1903 162 Colby Family, musicians, imitates Sousa & Creatore Great Sidonia, comedy acrobat, wire walker, change artist 5 O’Brien Acrobats Meehan’s Comedy Dogs Prevost & Prevost, skit, "In the Turkish Bath" Black Brittons, singers & dancers Louise Erka & Paul Strauss, singers Lillian Neuvelle, ’"Italian Nightingale", electric soubrette Ramonagraph Corene Faire Hoffman, cycle race around wash tub track Adelaide Herrmann, magic/illusionist, widow of the Great Herrmann, "The Sleeping Beauty", assisted by Adele Dewey Columbian Trio, 6-yr. old Baby Claire, Ruth, Uncle Gig, musical fantasy, "The Wax Doll Geo. H. Adams & Co., "The Country Terror", with Tonina & Lily Adams and James Leslie Carson & Willard, German comedians Zara & Zara, 27 changes of costume including a soldier & a peasant Ramonagraph , condensed melodrama , l i f e / death of a gambler Rosa Maynon, trained tropical birds, asst. by Clyde Phillips, macaws, parquettes, ride cars, trapeze act July 19, July 25, July 26, Aug. 1. 1903 1903 1903 1903 163 Brown, Harrison. & Brown, skit, "Wait a Minute", use diminutive coffins as traveling bags Will H. Fox, pianist, Paderwiski (sic) satire, plays blindfolded with nose, hands & feet Rexos, hoop/skatorial experts Dancing DeMuths Ramonagraph Eva Mudge, military maiden, singer, quick changes including soldier, Red Cross nurse, sailor A.O. Duncan, ventriloquist William Castellat & Elizabeth Hall, comedy skit, "A Friend from Wall Street" 5 Waltons, acrobats Billy Miller & Ed Kresco, black face singers/dancers, rag time Carl Charles, equilibrist Ramonagraph Arthur McWalters, Grace Tyson & Co., comedy skit with. electrical effects, scenes in theater dressing room and in swamp Musical Kliests, song "Tell Me Pretty Maiden", duet from opera "Mascot" Snyder & Buckley, comedy duo, musical sketch, "Blatz Wants a Drink" Masons, colored vocalists & instrumentalists Millie Turnour, GR aerial trapeze act, clad in ballet costume Myoung Mya, Burmese foot juggler Eva Lloyd & Lillian Waltone, singers Aug. 2, Aug. Aug. 9, Aug. Aug. 16, Aug. 1903 - 8. 1903 1903 - 15, 22, 1903 1903 — 1903 164 Barry & Johnson Waterbury Bros. & Jenny, musical comedians Torcat, parisian eccentrique, chic French songs Kerns & Cole, German comedians Unthan, "The Armless Wonder", gets handkerchief from suit with foot, mops forehead, shuffled & dealt cards, played violin, shoots Leonzo, comedy juggler, "The Juggling Dutch Butcher" Bruns & Nina, paper tearers Mme. Nina, picture dancer, electric dances Mlle. Theo, circus ring, horse & dog Hermann Lahann, 13 yr. old German prodigy, plays Liszt, Beethoven & Mozart Kittie Stevens, singer, change artist Great Pascatel, "Man with a Hundred Forms", gymnast Allens, comedy act, "The Rent Collector" Young American Quintette, comedy singers & dancers Ramonagraph Annie Abbott, lifts 10 men and 10 men can’t lift her Mr. & Mrs. H.L. Waterous, society entertainment Hines & Remington, comedy sketch, "Miss Patter of Patterson" Sisters McConnell, singers & dancers Aug. 23, Aug. 29, Aug. 30, Sept. 1903 - 1903 1903 — 5. 1903 165 Jamaes W. Thompson, Ethiopian comedian, black face sketch, songs & stories Eckert & Berg, Japanese opera, "Little Pee Weet" by Arthur J. Lamb & H.W. Petrie, scenic & electrical effects 3 Walseys, posturing act Sig. Maceo, trained dog & cat, comedy act "Oh You Did It" Ramonagraph Great Marco Twins, European eccentric midgets Eddie Girard & Jessie Gardner, "The Soubrette & the Cop", Eddie sings song in praise of the Dutch and does a monkey imitation Faust Trio, "The Haunted Mill" Victor Jerome, "The Demon" Dick Garnella, comedian Lottie Fremont, The Mechanical Doll Doherty’s Poodels, trick dogs, acrobatics, waltz, clown Two Lovitts, comedy jugglers & table bounding Frank Jones & Lillian Walton, "Our Country Cousin" Ramonagraph, entire play' of Uncle Tom’s Cabin in quick moving pantomime Julia Sweeney, GR singer Mabel DeLeon, singer & dancer Captain Webb’s Acting Seals, fire guns and juggle, arctic backdrop Burke’s Musical Dogs Sept. 6, Sept. Sept. 13, Sept. Sept. 14, Sept. 1903 - 13, 20, 20, 1903 1903 - 1903 1903 - 1903 166 Inez Mecusker, prima donna soprano, "My Creole Sue", and "Hiawatha" in Italian Noss Family, musical act, "A Venetian Serenade", arrive on a gondola, sing "Gypsy Chorus" from "Bohemian Girl" Nancy Rice, harp, mandolin Grace Fulkerson, GR 12 yr. old Billy Clark’s Monarch Minstrels, 8 vocalists, 18 comedians (Walter Gobie, Arthur Banta, Harry Vondell, Ben Wiliams, John Gorman, Al Goewey, Allen Whited, W. D’Arcy Campbell, Guy Johnson, A.C. Knight, James Marnell, Charles Wood); Clark sings "Tildy Ann" and a parody on "Hiawatha"; comedy farce, "A Modern Svengali" DeMonieos, equilibrists, rings Gus Henderson & Eva Ross, skit, "Fun at Griggs Corners" 3 Campbells Zula & Callie Hawes, "Little Sunbeams", singers & dancers Shannon & Lucier, comedians Laredo & Black, acrobats Hazel Luxford, GR singer Leona Bonne, trapeze Ramonagraph, "Jack & the Beanstalk" pantomime Furniture City Band Concert, directed by Ellis Brooks May 22, 1904 - May 28, 1904 May 23, 1904 - May 28, 1904 May 29, 1904 - June 4, 1904 June 5, 1904 - June 11, 1904 167 Wesson, Walters & Wesson, comedy sketch "Hotel Repose" M’lle Aline, hoop roller, juggler Prof. Walberti and his trained horse Dahl Carrie Scott, comedienne, and. Master Clarence Jennings, sing "Tell Me Pretty Maiden Moving Pictures Billy Clark, local minstrel Gallagher & Hild Chris Lane, monologist, singer, comedian Holloway Trio, wire artists Herr Saona, European impersonator, "Great Men Past and Present, changes make-up right on the stage Three Ronaldos, terpsichorean artists Ballet Unique, 8 girls in dancing specialty, mirror dance 3 Gourley Brothers, acrobats, "A Bit of Nonsense in Chinatown", Chinese laundry sketch Violet. McMillan” Grand. Rapids soubrette, lightning changes Gallagher & Barrett, operatic comedy, "The Stock Brokers" Hines & Remington, comedy duo, "Miss Patter of Patterson" Jas. J. Morton, laughalogue Frank LaMondue, asst. by Major Billy Young, "Fun on a Clothes Line" June 12, 1904 - June 18, 1904 June 19, 1904 - June 22, 1904 June 23, 1904 - June 25, 1904 June 19, 1904 - June 25, 1904 168 Josephine Ainsley, vocalist Olson Bros. — "Kings of the Banjo" Kinodrome 3 Merrills, comedy bicycle act T.W. Eckert & Emma Berg, operatic comedy, "The Land of Two Moons" Galletti’s Trained Monkeys & Dogs, comical race horse scene Frances McNulty, songstress, clog dances The Abts, dancers and singers, "dissolving views" Mignonette Kokin, danseuse H.A. Edwards, black face, buck.& wing dancer Kinodrome Wilfred Clarke & Co. (Lucille Spinney, The Carew & Archie Gillis), "No More Trouble" Wilfred Clarke & Co., "In the Biograph" The Nichols Sisters, black faced character comediennes, "Kentucky Rose Buds" Jos. J. Sullivan & Co., assisted by Constance Sheldon, Irish comedy "farcette": "The Coal Man", also "a bunch of Joe Miller jokes" Lillian Walton, singer LaToy Bros., comedy acrobats John G. & Alice McDowell, comedy sketch, "Traversty Stars & Funny Burlesquers" The Great Bookout, banjoist Prof. Abt June 26, 1904 - July 2, 1904 July 3, 1904 - July 9, 1904 July 4, 1904 — July 9, 1904 July 10, 1904 - July 16, 1904 169 Moving pictures Inez Mecusker, Grand Rapids soloist, added "Hiawatha" to program on request Loro & Payne, comedy acrobat Frank: O’Brien, character' specialty, "The Dissipated Gentleman" Levine Bros. — "the automobile hobos", "The Tramp’s Dream" DeMora & Graceta, comedy acrobats 4 Rianos, comedy acrobats, "In Africa" Kinodrome Keno, Walsh & Melrose, comedy acrobats, ladder maneuvers Mr. Kelly & Violette, the fashion plate singing duo, costume changes Bush & Gordon, acrobats Ferrar, Cole & Co., sketch, "His College Chum" Kinodrome Clayton, Jenkins & Jasper the Donkey, "Darktown Circus" 4 Nelson Comiques 4 Original Madcaps, european novelty act Louise Sylvester, "The Maid. of Dundee", kilts, plaids, song of bonny Scotland Latimore & Leigh, box trick Gregsons, singers & dancers Kinodrome Happy Jack Gardner, black face comedian, jokes, plays baritone July 17, July 23, July 24, July 24, July 29, July 24, July 30, July 25, July 30, July 31, Aug. Aug. 7, Aug. 6. 1904 - 1904 1904 1904 - 1904 1904 — 1904 1904 - 1904 1904 - 1904 1904 — 13, 1904 170 Edwin Marsh & Rose Sartella Warren & Blanchard, comedian & singer Rawson & June, Australian boomerang throwers, bow & arrow, spears, throw boomerangs over heads of audience, wear war paint & nose rings Smedley Sketch Club, "The Little Mother", Effie Pearl, Ellis, Edwin & Malcolm Arthur, (Ellis & Edwin do balcony scene from Romeo & Juliet) Blockson & Burns, acrobats Annie Hart, character vocalist & dancer Maj. LeVoy, songs & stories Jundt & Ivora, comedy acrobats Fanny' Rice, electric jparasol, mannikens, spot light w/colored light changes Geo. C. Boniface Jr. & Bertha Waltzinga, comedy sketch, "The Woman Who Hesitates is Won" by Louis DeLange Rose & Lemon, local cycle globe act Jos. M. Golden, impersonator, "Troubles of a Bachelor" Frank Bush Robson Opera Co., "The Mikado", Philip Robson, mgr . , Eugene Kaueffer , mus . dir . (Co: Clara Lane, J.K. Murray, Frank Rushworth, Herbert Sears, Edyth de Valmaseda, Madeline Winthrop, J.O. Canton, Fred T. Welton, Bertha Blake; 35 people) Fox & Foxie, clown & dog Foster & Foster, comedy trick piano Aug. 14, Aug. Aug. 21, Aug. 20, 27, 1904 - 1904 1904 — 1904 171 Reno Richards & Co., acrobats, ludicrous base ball game Rapoli, juggling 7 billiard balls 5 Juggling Normans, club swinging Les Salvaggis, dancers Julia Sweeney & Syble Curtis, singers from disbanded. Robson co., spanish. & ragtime dance Howard’s Comedy Ponies Basque Quartette, 3 men. 1 ‘woman, opera selections, the prison scene from Faust, "The Palms" by Strauss Athos Family, head acrobats & ball jugglers Great Gay, asst. Elece Fedessas, handcuff expert J. Aldrich Libby & Katherine Thayer Musical Thor, banjo, giant xylophone, William Tell overture Hazel Luxford, GR singer Clyde & Slater, 2 child singers Leah Russell, Yiddish comedienne Burton & Brooks, comedians Carita Day, singer, dancer Van Fossen & M’Cauley, black face comedian St. Onge Bros., comedy cyclists Lamont Trio, society acrobats Adelina Roaltinc> & Clara Stevens, prima donna and danseuse, "Scenes in the Wisteria Bower" Stanley (the human piccolo) & Doris Wilson, comedy sketch, "The Professor" Aug. 28, 1904 - Aug. 31, Sept. 1, Sept. Aug. 28, Sept. Sept. 4, Sept. 1904 1904 3, 1904 1904 - 3, 1904 1904 - 10, 1904 172 Kinodrome - scenes from Battle of Yal(e/u?) between Russians & Japanese J.C. Nugent & Co., l-act comedy, "The Rounders" J.C. Nugent & Co., l—act comedy, "The Absent Minded Beggar" Great Zarrow Trio, comedy bicyclists, "A Night on the Boardwalk" Melrose Troupe, acrobats Lindsay’s Dogs & Monkeys, terrier rolls ball up incline Dorothy Kenton, banjo Johnson, Davenport & Lorella, acrobats Master Elliott, monologist, singer, jokes Heazlit Sisters, local singers & dancers Kinodrome — "The Great Train Robbery", depiction of a hold—up Nelson-Farnum Troupe, acrobats, stilts Mitchell & Love, comedy sketch, "Married Life from the Inside" Don Mathews & Emily Hoff, singing, piano, "Grand opera in ragtime" Bessie Bays, coon songs, buck & wing dance Juggling Mathieus Forrest & Forrest, banjo, xylophone Will H. Armstrong & Magdalene Holly, "The Express Man" Kinodrome — "The Great Train Robbery" Ferguson & Lula Beeson, tramp sketch 1905 May 21, 1905 - May 27, 1905 May 28, 1905 — June 3, 1905 June 4, 1905 - June 10, 1905 173 Nello & Snyder Henrietta De Serris, living art statuary, bas-reliefs, 15 Parisian. models hold Donatello, Rodin and other poses for several minutes, resemble marble and bronze Laveen & Cross, acrobats Dill & Ward, singers & dancers Will C. Young & L. May Brooks, country dance imitation, french horn, cornet, harp, violin, guitar Nat Clifford Van Camp Ramonagraph, "Hop O’My Thumb" Smith & Fuller, musicians Avon Comedy 4, skit, "The New Teacher" Okabe Japs Violet McMillan, child imitations Ramonagraph Celina. Bobe, violin” xylophone, Parisian gowns Mullen & Corelli, comedy acrobats, trick piano 3 Kellys, (child Florence), singers, buck & wing dancers Thearles’ Family - Nashville, double quartet of negro singers, jubillee & jplantation songs, camp meeting scene Al Treloar, premier athlete, muscular posing, asst. by wife Edna Tempest, lifts wife, dumbbell and 2 men June 11, June 17, June 18, June 24, June 25, July 1, 1905 1905 1905 1905 1905 1905 174 Ramonagraph La Carmontella, singer, dancer, contortionist, "Cinderella Up to Date", condensed play with electrical effects, asst. by St. Clair Sisters Pekin Zouares, arms evolutions, wall scaling drills, Capt. Chas. F. Craig Lindsay’s Dogs & Monkeys, terrier leaps into blankets Houle, animal imitations Marie Dockman, "The Girl & the Chair", swings chair with teeth, remarkably strong jaws & neck Ramonagraph Prof. William B. Patty, Liquid. Air Experiments, freezes roses, alcohol, & eggs, tea kettle boils on ice312 deg. below 0 Happy'Jack.Gardner, monologist, song sung to tune of "Coon, Coon, Coon" Jessika, singer, dancer, monologist Edgertons, trapeze Sisters DeVan, balance chairs & tables on heads, costume changes, juggling Ramonagraph Young American Quintette Ceballos Twins, Hilarion & Rosalia, wire act Doss & Madolny, comedy jugglers Greiner Walton, GR comedy acrobat Leonard Kane, dancer Campbell, Dill & Campbell, musicians Hemming, Lewis & Hemming, musical comedy July 2, 1905 - July 8, 1905 July 9, 1905 - July 15, 1905 July 16, 1905 - July 22, 1905 175 Ramonagraph 6 Valdares, bicyclist, dash down steps on a cartwheel LaBelle Estellita, Spanish dancer with castenets, dances from Carmen, asst. Signor Gabardou Frencelli & Lewis, "The Bally Hoo" C. Grant Gardner & Marie Stoddard, bell ringing, "Summertime Sue" country bumpkin imitation Ralpha Rockway & Ada Conway, singers Grotesque Randolphs, rings Will H. Fields, Hebrew comedian, "The Junk Merchant" about life in Baxter St. Ramonagraph Iki F2 Reynard, 'ventriloquist, life—sized mechanical figures, riddles by Will M. Cressy 4 Fords, sister & brother dancers Louise Brehany, singer Wahlund & Tekla, strength feats Zoa Matthews, comedienne, basket dance J.H. Murtha, musician Ramonagraph Lillian Apel, Michigan artist Bartelli Troupe, acrobats, tumbling on platform high above stage 4 Juggling Mortons, Indian clubs Freeze Brothers, juggling, tambourines Don & may Gorden, comedy bicycle act July 23, July 29, July 30, Aug. Aug. 6, Aug. 5, 1905 - 1905 1905 - 1905 1905 - 12, 1905 176 Mr. & Mrs. Neil Litchfield, rural sketch, "Down at Brook Farm" Flying Rathbuns, casting act Paul Conchas, military act, Krupp shells & weapons Dick Ferguson & Grace Passmore, singers, dancers Van Gofre & Cotrelly, balancers Loa & Fay Durbyelle, shadowgraphers Werden & Gladdish, illustrated ballads J.H. Myrtle, musical comedy Ramonagraph 7 Dollar Troupe, acrobats 3 Casinos, burlesque act Kelly'&'Violette, fashion plate duo, singers & dancers Redford & Winchester, comedy juggling Newell & Niblo, saxophone, violin, xylophone Glady Van, comedienne Ramonagraph Nellie L. Vaughan, vocalist Albert Davenport, somersaults Heely & Meely, skit, "Phun Phorall" Carlton 8: Terre, comedy sketch, "Willie Wise & the Gawk" Norma Davenport, flying rings Jansen & Herr, magicians Reouble Sims, cartoonist, tramp impersonator Aug. 13, 1905 - Aug. 19, Aug. 20, 1905 1905 - Aug. 26, Aug. 27, Sept. 1905 1905 - 2, 1905 177 Ramonagraph Dalto, Zella & Dottie (a terrier), barrel jumpers and tumblers J. Royer West & Ida Van Siclen, "The College Gymnasium", make music from boxing gloves, punching bags, lung testers, golf sticks and baseball bats Frank C. Young & Kathleen DeVoie, "Dancing by Book" Smirl & Kessner, "The Bellboy & the Waiting Maid" Elizabeth M. Murray, Irish songs & stories J. Aldrich Libby & Katherine Trayer, musicians W.J. McDermott, "The Happy Hooligan" Bessie Baus, soubrette Lucy & Lucier, comedy acrobats, "The Fool’s Errand" Ramonagraph Mr. & Mrs. Robyns, l—act comedy McCue & Cahill, singers Herbert & Willing, black face comedian Mardo Trio Ramonagraph Rexos, GR’s Mr. & Mrs. Eddie Smith, skaters & hoop rollers Byers & Herrmann, pantomime Japanese jugglers Dida, creation of woman from nothing Sept. 3, 1905 - Sept. 9, 1905 Sept. 1905 Sept. Sept. 1905 12 & 14, 13, 1905 15-16, 178 Ameta, mirror dancers, Spanish, sun, fire, water & lily dances Sam DuVries, illusionist, makes woman float Pierce & Maizee, singers & dancers Flood Brothers, acrobats Lavine & Lillian Waltone & Co., "The Explorer’s IDream", juggling' and. singing, asst. by Benjamine Tullis Kate Fitzgibbons, singer Ramonagraph 5 Famous Fausts, pantomime, WRingstringblow“ Miss Austin, singer Alto Yolo, contralto, patriotic, folk & ragtime songs Mme. Emmy’s trained fox terriers Americus Comedy 4, singers, comedians Royal Japanese Troupe, Jiu—Jitsu wrestling and fencing, animated illustrations of Japanese/Russian war Rhea Klapp, GR child Count De Butz & Brother, comedy bicyclists Ramonagraph - "The Impossible Voyage" Sandy, rings Amateur vaudeville contest, entries: Bielsca & LaToy, Steve Stoner, Fay Horton, George Potter, Rhea Klap, Florence & Frank Snowden, 3 Masons, Chas. Cline Wrestling Band Concert 1906 May 20, 1906 — May 26, 1906 May 21, 1906 — May 27, 1906 May 27, 1906 - June 2, 1906 May 28, 1906 - June 2, 1906 June 3, 1906 — June 9, 1906 179 Tom Hearn, juggler Emmonds & Emmerson, comedietta, "Only a Joke" Grijer & Walters, "In the Streets of Italy", piano, violin Cooke & Clinton, shooting Emily Nice, singer Ramonagraph Billy Clark, GR Minstrel Beeno Gray, lasso thrower & rope manipulator Ramonagraph Thompson’s Performing Elephants Exposition 4, xylophone, chimes, cornet Fred Wyckoff & Co., "Plain Folks", rural comedy, rube impersonation, asst. Helen Christy & Frank M. Gibbons Great LaPages, "In a College Boy’s Den", jumping specialty Jolly Georgia O’Raney, character comedienne Dan Sherman & Mable DeForest, "The Fall of Port Arthur", farce Beemer, Campbell & Juggling Girls Robert P. Shilling's Mexican Tourist Quintette, (J.J. Lane, Fred Erickson, Senor Briento, Elizabeth Wall) Marion Garson, 18—yr. old prima donna, drum accompaniment June 10, 1906 — June 16, 1906 June 17, 1906 - June 23, 1906 June 24, 1906 - June 30, 1906 180 Coin’s Dogs, "It Happened. in .Dogville", pantomime/drama Mullen & Corelli Flurette Sisters Naomi Ethardo, equilibrist Marshall & Loraine, "Ragtime Liz" 5 Musical Byrons, Mexican music Myles McCarthy, "The Race Tout’s Dream" John W. World & Mindel Kingston, singers & dancers Redford & Winchester, juggling Happy Jack Gardner, jokes & parodies Georgia Lewis, Southern vocalist & whistler, coon songs Ramonagraph B.C. Whitney’s Famous Chimey Sweeps Eckert & Berg, "Master & Pupil", burlesque on grand opera, finish with humorous cat fight Thos. J. Keogh & Co., asst. Ruth Francis, "The Way He Won Her" Hebert & Rogers, dancers Harry Edson & "Doc" the dog 4 Alvinos, gymnasts Estelle Wordette & Co., "Honeymoon in the Catskills" Melnotte La Nole Trio, acrobats, wire Chas. E. Inness & Maud 8. Ryan, conversationalists July 1, 1906 - July 7, 1906 July 8, 1906 July 8, 1906 - July 14, 1906 July 15, 1906 - July 21, 1906 181 DeLaceys, black face singers & dancers Musical Kleists, Paul Ramonagraph - motion pictures of Olympian games at Athens, great stadium, crowd, gymnastic exhibition Arthur J. McWatters, Grace Tyson & Co., , musical comedy, Herrmann illusion Burt C. Weston & Eunice Raymond, "Comedy of Errors", farce Earl & Wilson, musical comedy Ida O'Day, banjo, singer Lester & Moure, "A Day at the Beach" Avon Comedy 4, school room skit Ramonagraph - Pasadena floral parade, "Chariot Races", "Fun on a Streetcar" 4 Bragdens, "The Troubles of a vaudeville Agent" Vallecita’s Leopards Quinlan & Mack, "The Traveling Dentist" Bud Farnum Trio, play "The Blue Bells of Scotland" on cowbells Arthur Don & May Thompson, "Enlisting Recruits for Father", singing & dancing Wightman, clay' modeler, faces of distinguished men Lizzie Wilson, German comedienne Ramonagraph William Rock & Grace McArty in "Thebel", George Siler & Ben M. Jerome’s musical fantasy, book & lyrics by I.L. Blumenstock, staged. by Paul Callan, chorus: Bessie Levoy, Ruth Henderson, Bobie Clayton, Evadna July 22, July 28, July 29, July 29, Aug. 4, 1906 1906 1906 1906 1906 182 Cypress, Sylvia Evelyn, Stacie Mackay, Rose Pomering, Isabelle Gorden George Fredo & Harry Dare, musical comedy Count DeButz & Brother, cyclists George McKay & Rose Fredericks, burlesque on a baseball game Sears, illusionist DeHollis & Valora, comedy juggler Ramonagraph - "Living Flowers" & " Winter Straw Ride" 6 Proveanies, English bicycle girls Clayton, Jenkins & Jasper (donkey), "Darktown Circus" Tourist Trio Drucie: & Carolyn. Delmore, vocalists, intrumentalists Flood Brothers, acrobats Martini & Maximillian, comedy magic Ramonagraph 3 Troubadors 6 Proveanies (re-engaged) Raymond Teal, GR black face comedian 6 Saimois Arabian Acrobats Earl Gillihan & George Perry, "The Cowboy & the Coon" Rose & Ellis, barrel jumping Ramonagraph Aug. 5, Aug. Aug. 12, Aug. Aug. 19, Aug. 1906 - ll, 18, 25, 1906 1906 - 1906 1906 — 1906 183 Patty Brothers, head balancer, one brother goes down steps on his head; juggle/eat/drink/play violin while on head Ben Welch, Hebrew comedian Mayme Remington & Her Famous Picks, coons songs Irene Franklin, comedienne Otora Family, Japanese contortionists Conley & Klein, dancing & talking Ramonagraph - detective chase Watson’s Farm Yard Circus, dogs, pigeons, cats, geese, rooster Foster & Foster, "The Volunteer Pianist", skit, play piano while wearing mits (sic) Gardner & Revere, "The Bell Boy & the Soubrette" Louise Brehany, singer John A. West 3 Gordons, acrobats Ramonagraph Trovollo, ventriloquist, "The Hotel.Office", electric figures Otora Family West & Van Siclen, "The College Gymnasium" Arthur Kherns, German comedian Leo & Chapman, "Wanted—-A Donkey", rube stunts Madam Slapoffski, prima donna, serious operatic selections Ramonagraph Aug. 26, Sept. Sept. 2, Sept. Sept. 9, Sept. 1906 - l. 1906 1906 — 8, 1906 1906 - 16, 1906 184 Polk-Kollins & Carmen Sisters, banjoists Caron & Herbert, comedy acrobats Metropolitan Trio, Anna Plum, Sig. Busby, Sig. Tortonici, grand opera singers, bits from Carmen, Faust, Il Trovatore James It. Macdonald, singer, comedian, raconteur Hennings, Lewis & Hennings, "Mixed Drinks" Wells & Sells, acrobats Ramonagraph Robert Stickney’s Trained Horses & Dogs Dillon Brothers, singers Barry & Barry, musical comedy Cantino & Lawrence, upside-down dancers Ed LaVine, juggles cannon balls and war materials Nellie Flore, singing comedienne Ramonagraph Globe of Death, Dr. & Mrs. Clark, bicycle & motorcycle stunts Apollo Quartet, "The Man Outside", comedy sketch about college life Frank Cushman, monologues, negro songs Laurant, magician Mabel Cassidy Deacon & Deacon, acrobats Ramonagraph - "The Rarebit Fiend" 1907 May 19, 1907 — May 25, 1907 May 19, 1907 - May 26, 1907 May 26, 1907 - June 2, 1907 May 27, 1907 - June 2, 1907 June 3, 1907 - June 9, 1907 185 12 Navajo Girls, singers & dancers, appear as Indians, sailor lassies, girl’s brass band Carlton & Terne, "Willie Wise & the Gawk", singing & dancing comedy skit Eddie Girard & Jessie Gardner, "Office Dooley & the Diamond" Allen Shaw, coin & card manipulator Lucy Lucier & Co., "The Fool's Errand", comedy skit, asst. by A. Fortier Martin's Cats, Dogs &:roller skating monkeys Ramonagraph Paul Spadoni, juggles cannonball, torpedo, eggs & china Howard’s Comedy Ponies & Dogs Hughes Musical Trio Spencer Kelly & Frederic Rose, singers Besnah. & Miller, singing & dancing comedienne Bros. DeVan & Dog, comedy acrobats Ramonagraph - "Carnival at Nice" Joseph Hart’s Dancing Daisies, Lousie Mink, lyrics by Edward Madden, music by Dorothy Jarden, ("copyright 1906 and.fully'protected by international law") William Mazuz & Adaline Mazette Dixon & Fields, German comedienne Jimmie Lucas, dialects June 10, 1907 - June 16, 1907 June 17, 1907 - June 23, 1907 186 Rockway'& Conway, "The Country Kid’s Visit", comedy sketch Charlotte Ravenscroft, "I1 Trovatore" - sings part, plays part on violin Ramonagraph - film "Retribution" Vassar Girls, musicians, may pole dancing Nonette, lady violinist Jessie Cree, whistler Misses Hamlet, Story, Rogers, Dickinson & Cook and electric ballet Tudor Cameron & Edward Flanagan, black face comedians, dressing room sketch - quarrel while taking off make—up Wills & Hassan, "On & Off", equilibrists Mlle. Chester & $10,000 statue dog, poses in well—known hunting pictures C.W. Littlefield, comedian Charles Ward - original bowery boy Ramonagraph - "Cowboys & Indians", "The New Guard" Louise Agoust & Co., French jugglers, Mlle. Foullard, Mlle. Julia, Georgette Perle, Mons. Dupre, Mons. J.C. Chaultreau Warren & Blanchard, comedy talking & singing Olivotte Troubadours, opera on 'violin & guitar L. Raffayette’s acrobatic dogs Ferguson & Passmore, singing & dancing Ramonagraph Mankin, contortionist, appears as huge frog June 24, 1907 - June 30, 1907 July 1, 1907 - July 7, 1907 July 8, 1907 - July 14, 1907 187 Lasky-Rolfe Quintet, classical & popular music with cellos, players grouped.in.a huge inverted sea shell Lewis McCord & Co., "Her Last Rehearsal", playlet, Elvia Bates Rialto Comedy Quartette Jimmie Wall, black face comedian, "The Party in Black" Charles DeCamo and clever dog "Cora" Mlle. Esmerelda, xylophone expert Ramonagraph Grigolati's .Aerial Ballet, mid-air' poses suspended far above footlights from tiny wire strands, finale with 50 doves released in rear of auditorium which land on heads & arms of dancers Fred Ray & Co., Roman travesty Frey Trio, wrestling poses of various holds, match between twin brothers Seymour & Dupree, high jumping Willie Weston, impersonations Ramonagraph Orgerita Arnold, singer Delmore Sisters, singers & dancers Ye Colonial Septette, "An Olde Tyme Hallowe’en", party sketch, person breaking Hallowe’en silence must play witch’s horn Barrows Lancaster Co., "Thanksgiving Day, rural comedy by Edmund Day, with James O. Barrows, Harry S. Robinson, John & Emerine Campbell Mueller & Mueller, vocalist July 8, 1907 - July 13, 1907 July 15, 1907 - July 21, 1907 July 22, 1907 - July 28, 1907 188 George Van, black face comedian, sings "Sometimes" Arnold & Ethyl Greezer, male toe dancer, woman french horn player C. Nick Stark, "A Wild Night in Rome" Ramonagraph Grigolatis (re—engaged) Immensaphone, 8 large phonograph-like boxes with people inside, whistling solo, military band, "An American Battle Scene" Gilroy, Haynes & Montgomery, "The Good Ship Nancy Lee, comedy singing & dancing Phyllis Allen, contralto Jane Courthope & Co., "A Fisherman’s Luck", l-act comedy by George H. Emerick Taylor Holmes, mimic Zazelle-Vernon & Co., "The Elopement" Ramonagraph Horton & La Triska, "The Messenger & the Human Doll", pantomime skit 8 Bedouin Arabs, "Whirlwinds of the Sahara", hand balancing, human pyramid Ben Welch, "Hebrew & the Dago", Hebrew and Italian characters Estelle Wordette & Co., "A Honeymoon in the Catskills", sketch Irma. Orbasany’s Cockatoo jpantomime of a sinking ship Shields & Rogers, lariat experts & rope throwing Lillian Ashley, monologist July 29, Aug. 4, Aug. 5, Aug. 1907 — 1907 1907 - 11, 1907 Fairyland Days Aug. 12, Aug. 18, 1907 - 1907 189 Ramonagraph Billy Clark, song "Insanity" Countess Olga Rossi & Mons. Paulo, "During the Performance", original creation E. Frederick Hawley & Co., "The Bandit", melodrama, asst. Frances Haight & William Miles Chinko & Co., tosses girl asst. while keeping other objects in the air Kramer & Bellclaire, gymnasts, strong man stunts Dan Quinlan & Keller Mack, "The Traveling Dentist" Minnie Kaufman, bicyclist Leonard Kane, dancer Ramonagraph — French fire scene Sisters O’Meers, minuet on swaying wire Quinlan & Mack, "A Colored Copper", skit Baader-LaVelle, trio comedy bicyclists Ethel McDonough, "The Girl Behind the Drum", music from a sheep’s skin Paul Valadon, magician, throws sheet over young woman who vanishes and comes running down the aisle a moment later Knight Bros. & Miss Sawtelle, dancers & gymnasts Ramonagraph - "The Rarebit Fiend" Contest on Theater Stage after matinees for girls under 10 dressed as fairies Joseph. Hart’s Electrit: Crickets, musical fantasy with scenic & nechanical effects, girls as Geishas in Wisteria grove, then as Aug. 19, Aug. 25, Aug. 26, Sept. 1907 - 1907 1907 - l, 1907 190 sailors on deck of U.S. Battleship Maine, with Katherine Bunn & N.P. Cripps Onlaw Trio, 2 men stand on hands and hold wire in teeth while woman walks across Louise Brehany, singer William R. Abraham & Agnes Johns, "A Timely Awakening", dream sketch Counture & Gillette, acrobats Frank Marckley, banjo Ramonagraph 8 Leo Jackson Family, bicyclists T. Wilmor Eckert & Emma Berg, "Master & Pupil", "Meow" duet, trick piano Lew Hawkins, monlogist Macart’s Dogs 7 Monkeys Bowman Brothers, comedy singers & talkers Fortuna & Stokes, comedy gymnasts "The Fall of ’64", l-act Civil War drama by GR Arthur W. Stace, directed by Hal Davis, with Lew H. Newcomb, George A. Laing, Elsie Ridgley & Jessie Stevens, "historically correct" scenery of Virginia home by Sosman & Landis Arthur Deming, minstrel Wincherman’s Bears Frederick Bros. & Burns, "Fun & Music" George W. Barry & Maude Wolford, "The Time, the Place & the Set" Dawson & Whitfield, stunts Ramonagraph Sept. 2, Sept. Sept. 9, Sept. 190 8, 1 190 15, Sept. 16, 19 Sept. 19, Sept. 19, 19 Sept. 1908 May 16, 22, 1908 7 _ 907 7 _ 1907 07 - 1907 07 - 1907 191 Trio Delaur, French & Italian opera Musical Kleists, musicians Armstrong & Holly, "The Expressman", comedy sketch Lamont’s Cockatoos Webb, Romolo & Webb, equilibrists Ramonagraph Mabel Armond, singer, costume changes The Rosairs, wire Henry Leone & Anne Dale, "A Lesson in Opera", comediettes Lew Wells, monologist, saxophone Harding &.Ah Sid, "The Clown & the Chinamen" Al Carleton, "The Skinny Guy", comedian Leondors’ statue poses of old Greek masterpieces Mlle. Olive Ramonagraph Moving picture spectacle of The Passion Play of Oberrammergau, Rev. Bernard A. Van Sluyters delivers a lecture while Grace Choir Boys sing "The Holy City" Kilties Band, Scottish 25 nmsicians, male choir, bagpipes, sword dance, sailor’s hornpipe, Major Angus Fraser Ramona Band Concert May 17, 1908 - May 24, 1908 May 18, 1908 - May 24, 1908 May 25, 1908 — May 31, 1908 192 Ye Colonial Sextette, "An Olde Tyme Hallowe’en", Lillian Carvis, William Galpen, Charles IHarris, Charles IEdwards, Raymond Evans, Nettie Coburn, Viola McGibony Fantastic Phantoms, Hillarion & Rosalie, dancing skeletons Ceballos, acrobats 2 Pucks, Harry & Eva Salmon, juvenile singers & dancers, Scotch impersonation & Bowery Merry Widow waltz Muller, Chann & Muller, hoop manipulators Robert Dohn, lifts cannon with man on it with his teeth Ramona Theater Orchestra, directed by violinist Chris Smith, members Walter Wilkins, J. Barrett, Arthur Thomas, Harry Cadwell, William Rose, Harry Belknap, Elmer Fitzgerald, Paul Heinberg, Sherman Tuller (now the largest theater orchestra in town) Herbert Mitchell, monologist, baritone Kara, juggle knife, fork & grapefruit Sisters Hengler, comedy singers & dancers, American, German & Spanish numbers Mueller & Mueller Arthur Deming, black face minstrel Berry & Berry, musical comedy Mueller & Mueller, vocalists Anna Chandler, imitations of Fay Templeton, Anna Held & Ethel Levy Ramonagraph - moving pictures of "Fighting Bob Evans & His Fleet of Battleships in Frisco Bay" June 1, 1908 - June 7, 1908 June 8, 1908 - June 14, 1908 June 15, 1908 - June 21, 1908 193 Rosie Lloyd, English singer with splendid gowns, "How Would You Like to Try a Honeymoon With Me?", uses spotlight on the audience and tosses bouquets over footlights Jean Clermont’s Circus Parodie, roosters, dogs, ponies, monkeys Esmerelda, grand opera & ragtime on xylophone Bros. Gautsmidt & Wigon (dog), German tumblers Murray K. Hill, stories & minstrel jokes Charles Ledegar, tight rope Ramonagraph Count DeButz & Brother, bicyclist Ramonagraph — moving pictures of "Fighting Bob Evans & His Fleet of Battleships in Frisco Bay" 6 Musical Nosses, "A. Night in ‘Venice", gondola & mandolins Camille Comedy Trio, comedy bar act Hoey & Lee, Hebrew comedians Gertrude DesRoche, singing comedienne Charles Brown Ramonagraph-—2!pictures from.Pathe’s studio in Paris Mazuz & Mazette, comedy acrobats Mlle. Olympia DesVall, equestrian queen Quaker City Quartet, singing blacksmiths, song: "Love's Old Sweet Song" Bertha Pertina, GR dancer June 21, 1908 - June 28, 1908 June 22, 1908 - June 28, 1908 June 29, 1908 - July 5, 1908 July 6, 1908 - July 12, 1908 194 Estelle Wordette & Co., "When.a Cat’s Away", comedy skit Armstrong & Verne, comedy duo Baptiste & Franconi, head walkers Ramonagraph - presidential nominee William H. Taft in action reviewing U.S. troops as Secretary of War; moving pictures of trip from the Army/Navy Building to the White House "Our Boys in Blue", 17 soldiers, patriotic drills Jack Wilson & Co., "An Upheaval in Darktown", with Ada Lane & Frank Batie Wills & Hassan, GR hand balancer Cogan & Bancroft, roller skating comedians Maurice B. Cooke, comedian, plays an intoxicated lamp post Jeanie Fletcher, "The Scotch Lassie" 8 Berlin Madcaps, girls of "broiler size", Fraulein Ottie Barry & Halvers, dancers Happy Jack Gardner, GR monologist Linden Beckwith, sings songs in a golden frame as a soldier, cowboy girl & Scottish girl Mr. & Mrs. Harry Clarke, banjo, classical & popular music Dan McAvoy, singers Ramonagraph Pianophiends, 9 musicians, 5 pianos Bootblack Quartet July 13, July 19, July 20, July 26, July 27, Aug. 2, 1908 1908 1908 1908 1908 1908 195 Abel & Irwin, black face comedians Rice & Elmer, triple bar comedy Adelina Roattino & Claro Stevens, singers & dancers Douglas & Douglas with 2 dogs, comedy skit Ramonagraph. — "An Old Fashioned 4th of July", Jesse Lasky Military Octette, Mabel Proctor "girl with baton" Harry W. Fields, German comedian, "Fun in a School Room", asst. Redpath Napanees Mme. Emmy & 8 Acting Dogs Arlington 4, impersonations, black face Joe Flynn, monologist Ramonagraph Eccentric Gennaro & Venetian Gondolier Band Slivers, clown, "The Baseball Game", asst. Artie Nelson Belle Hathaway’s Simian Playmates, monkeys & baboons Hughes & Maizie, "2 City Flirts", singers & dancers Bessie Browning, imitations of Eddie Foy, Eva Tanguay & Alice Lloyd Ramonagraph 9 Novellos, acrobats, trained. elephants, ponies & dogs 8 Bedouin Arabs, "Whirlwinds of the Desert", human pyramids Aug. 3, Aug. Aug. 10, Aug. Aug. 17, Aug. 1908 - 9, 16, 23, 1908 1908 - 1908 1908 - 1908 196 Rice & Cadey, German comedians, argue questions of the day and sing parodies Roberts, Hayes & Roberts, "The Cowboy & the Swell LadY), sketch Emma Partridge, soloist Shields & Rogers, lariat throwing Charles Mack & Co., "Come Back to Erin", sketch about life in Ireland, with W.P. Kitts, Robert Kelly, Anna Fraser, Ella Bastedo, Mrs. Charles Peters Miaco & Doblado’s Trained Sheep Bert Earl, banjo Amy Stanley & "Picks", rag time, coon songs Elizabeth Banks & Bernice Breazeale Duo, musicians Wilson Brothers, yodeling Ramonagraph Gus Edwards’ Blond 'Pypewriters, with comedian Arthur Conrad, song "Yours Truly Kid Dooley" Rooney Sisters, singers & dancers Howard Brothers, banjo, juggling Arcadia, operatic prima donna, sings "My Rosary" while playing violin 4 Brown Brothers & Doc Kealey (black face), organ chimes, xylophone, bells, saxophone Conn Downey & Willard, "Doings of Dr. Louder", comedy playlet Jesse Lasky’s Seven Hoboies, "On the Road", tramp life satire, Irish, German, Hebrew, Italian, English & negro tramps played by Gus Pixley, Charles Nelson, Tommy Van, Aug. 24, Aug. 30, Aug. 31, Sept. 1908 - 1908 1908 - 6. 1908 197 William C. Gordon, Sam Dody, Brooke Van Valey, & Harry Rose Sanmquatson’s Farmyard.Circus, donkey, dog, cat, rooster, & pink pig 3 Yoscarrys, acrobats Bertie Fowler, dialect monolgist Lillian Ashley, songs & child stories Araki Japs, slide for life from doem of the theater to the stage Tulsa, Japanese costume Howard’s Musical Ponies & Comedy Dogs Foster & Foster, trick piano, comedy singing Billy Gaston & Ethel Green, "Spooneyville" Walter Schrode & Lizzie Mulvey, "A Theatrical Agency", rough & tumble comedy skit, knock over furniture Bowers, Walters & Crooker, 3 rubes, barn and rural dancing Sisters Braselli, gladiators in poses and tableaux, throw big chunks of steel at each other B.A. Rolfe’s "Ten Dark Knights", 10 colored comedians, with Jack Smith, band, plantation bits, singing, banjo Rose Royal & her statue horse Chesterfield Harry Richards & Co., musical comedy Jimmy Lucas, imitations Bob & Tip Co., clown, acrobats, 2 dogs Belleclaire & Herman, athletes, physical culture Ramonagraph - Henley Regatta Sept. 7, Sept. 190 13, Sept. 14, 19 Sept. 1909 May 15, 20, 1909 8 _ 1908 08 - 1908 198 Marcel’s Art Studies, 18 models in poses of famous statues St paintings including "Washington & Lafayette at Valley Forge" Armstrong & Clarke, comedy singers, piano Caron & Farnum, comedy acrobats Rose & Lemon, trick comedy bicyclists Laura Howe & her Dresden dolls Pete Baker, German dialect comedian Ramonagraph Carlotta, loop the loop on bicycle 4 Readings, acrobats Joe Willard & Harry Bond co., "Battle of Bunco Hill", comedy'war travestyx with.James J. Garvin Sully Family, comedians, singers & dancers Fernandez-May, musical duo Ramonagraph — Marathon Race & Olympic games in London Benefit for Grace Church Building Fund Local talents: Mr. & Mrs. W.J. Fenton, Mrs. Charles Heth & Francis Campbell, quartet from "Rigoletto" Myrtle Koon Cherryman, rdg. of George Ade's description of grand opera Pupils of Calla Travis, costume dance Harold McDonald, singer High School Orchestra May 16, 1909 — May 23, 1909 May 24, 1909 - May 30, 1909 May 31, 1909 — June 6, 1909 199 Merian’s Dogs, "The Elopement of Salome", 30 dogs in 7-act play, dogs wear appropriate costumes and little shoes Worthleys, Abbott & Minthorne, "On the Beach", musical skit 3 Renards, man hangs from trapeze & holds appartus in teeth for 2 other performers Pelots, comedy juggling Bob Adams & Bob Alden, "Before the Party", pianologue sketch Cooper & Robinson, dancing comedians, "A Friend of Mine", coon-town skit Ramonagraph — "With Roosevelt in Africa" Gus Edwards’ Mischevious Kountry Kids, "Miss Rose’s Birthday", schoolday pastoral, with Vera Stanley, Gertrude Morgan, Jeanette Childs, Willis Solar, Etta Wainman, Belle Lewis, William Tuite & Frank Chapella Misses Russell & Church, 2 girls and a poodle, "From Society to the Bowery", sketch Mack & Marcus, lightning cartoonists, former news artists from San Francisco & Philadelphia Jewell’s Manikins, "Toyland. Vaudeville", lifelike dolls in miniature theater with stage, performers & orchestra Will Rogers & his lasso wonders Piquo, comedy juggling 8 English Palace Girls, asst. James Clemons Frank Farrel Taylor & Co., black face musical comedy with Blanch Davenport & Tom Carter Mullen & Corelli June 7, 1909 — June 13, 1909 June 14, 1909 - June 20, 1909 June 15, 1909 - June 20, 1909 June 21, 1909 — June 27, 1909 200 Cathryn Rowe Palmer, comedienne, rube make- up, song "Stupid Mr. Cupid" Francis Dooley & Corrine Sayles, "Pavement Patter" Okura Japs Griff, juggling Johnnie & ventriloquist conversation with a skull Ralph Post & Eddie Russell, acrobatic dancers, "The Trip" Maizee King, singer & dancer, electrical spectacle of Niagra Falls, appears as "Maid of the Mist" Laura. Buckley; monologist, "Studies From Life", imitation of feeble old man Howard Brothers, banjo Fred Ray’s Players, "The Noblest Roman of Them All", Roman travesty La Petite Revue, old vaudevilLe & musical comedy scenes performed by nannikins with human heads when player whistles old tunes 4 Casting Dunbars, aerial Jeannette Adler' & Her Picks, singers & dancers, appear as Indians & Hollanders Arcadia, operatic prima donna & 'violin, "Carmen" & "Palms" James H. Cullen Eldora, juggles cannon balls Ramonagraph - moving pictures of 6/10/09 Floral Pagent (sic) Hassan Ben Ali's 10 Arabs, fireworks, pyramids, speak Arabic and American slang Bert & Lottie Walton, roller skate dancing June 28, 1909 — July 4, 1909 July 4, 1909 — July 11, 1909 July 5, 1909 — July 11, 1909 201 Frank Whitman, singing violinist Louise Schmidt, singer, Marguerite’s prison scene from Faust, German good night song Lancton Lucier & Co., "The Fool’s Errand", sketch Bootblack Quartet, black face Ramonagraph - views of the Wright brothers’ aeroplane in flight in its European trials Pat Rooney Co., "Hotel Laughland", farce with music, with Ben Grinnel, Marguerite Haney, Mark Hart & Ralph Durfae 2 Vivians, lady marksmen Signor Travato, Filipino violinist, classical music Eddie Mack & Dot Williams, singers, little girl costumes with curls & lisp Lew Hawkins, black face minstrel George Carson & Jake Willard, "The Dutch in Egypt", German skit Ramonagraph - winter scenes in Russia Ramonagraph - dramatization cflf Edward Everett Hale's great novel, "The:Man.Without a Country" Joseph Hart’s Bathing Girls with Glenwood White & Pearl Hunt, 6 kaleidoscopic scenes, including surf scene with moving picture effects as company appears to battle ocean breakers Ralph Johnstone & George Pantzer, bicyclists with springboard Loney Haskell, character monologues Vera Berliner, violinist, Schumann & Brahms Frank LeDent, juggler July 12, July 18, July 19, July 25, July 26, Aug. 1. 1909 1909 1909 1909 1909 1909 202 Wilbur Mack.& Nella Walker, "The Girl of the Pearl", musical flirtation Jesse Lasky’s "At the Country Club", musical sketch, score by George Spink, replica of New York tuxedo club, with Jarvis Joeclyn, Jane Jensen & Ben Mulvey Henry Cire, posing, slight of hand, asst. Mai Sturgis Walker Joe Keno & Agnes Lynn, soul kiss dance Countess Rossi & Paulo, "During the Performance" Gartelle Brothers, dancing on skates Ramonagraph, "Automobile Race at Crown Point " , large Chalmers-Detroit car behind the scenes supplies realistic noise and gasoline effects Mlle. Bianci, operatic singing & ballet, Egyptian, Tyrolean & Dresden China dances, asst. Marja del Caras & Alberti Perigini Dunedin Troupe, cyclists Frank Morrell, minstrel monologist George W. Cunningham & Herman Marion, acrobatic talkfest Galetti’s Monkeys Duffin-Redcay Troupe, loop-the-loop Ramonagraph, how Turkish cigarettes are made 5 Juggling Normans Fred Warren & Al Blanchard, comedy imitators Sol Goldsmith & Guy Hoppe, monster saxophone & miniature trombone Marlo Trio, gymnasts Aug. 2, Aug. Aug. 9, Aug. Aug. 16, Aug. 1909 - 8. 1909 1909 - 15, 22, 1909 1909 - 1909 203 Fred Stafford & Marice Stone, "A Hunter’s Game", dog in rigid hunting poses, whistling act Temple Quartette Ramonagraph - Monaco motor boat races Gardmere & Revere, comedy skit & dancing Grigolati's Aerial Ballet, pantomime groupings with varicolored lights, tame pigeons, with Mlle. Floretta Farrel Brothers, bicyclists Fiddler & Shelton, minstrels (black), "Suffocating with Delightfulness" Kramer & Sheck, physical culture Mary Ann Brown, singing comedienne Lulu McConnel & Grant Simpson, "A Stormy Hour", satire on wedded life Ramonagraph - trick bird act, ride of grand Canal of Venice Tom Waters, pianologue 4 Rio Brothers, gymnasts Grigolati’s Aerial Ballet (re—engaged) DeHollis & Velora, jugglers John Keller, "The Mississippi Mockingbird", whistler Peter Donald & Meta Carson, "Alex McLean’s Dream", Scottish comedy Ramonagraph - winter sports cfif different countries "Sunny South", playlet with Duke JOhnson, Mae Wells & 10 colored entertainers Aug. 23, 1909 - Aug. 29, Aug. 30, Sept. 1909 1909 - 5, 1909 204 National Quartette, barbershop harmony, Jack Stoddard, Irving' Bennett, George Bell & Harry Ford Gladys Lockwood & Paul McCarthy (from Lowell), singers Tetsuwani Japs Felix Adler, dialect comedian, Billy-goat song Sisters Gasch, gymnasts Ramonagraph - Alask: 'Yukon. Exposition pictures Willie Pantzer Troupe, acropantomimists Redpath’s Napanees, "Fun in a Schoolroom", Fritz Ryan Houston, Prof. Schultz & Charles Ledgar Doherty Sisters, Anna, singers & dancers Clifford & Burke, minstrels Jarrow, comedy magician Carletta, "The Human Dragon", contortionist Ramonagraph - Messina earthquake Klein Family, German comedy cyclist Arcadia, prima donna & violinist Bob Adams & Bob Alden, "Before the Party", musical skit George B. Reno & Co., "The Misfit Army", sketch Al Cameron & Co., "The Last Regiment" Mascagnis, dancers Ramonagraph — views of Sweden Sept. 6, 1909 - Sept. 12, 1909 Sept. 13, 1909 - Sept. 19, 1909 1910 May 22, 1910 - May 29, 1910 205 "Trimmed" Harrison Armstrong & May Spear CeDora, 60 mph loop-the—loop on motorcyle in a golden globe 5 Mowatts, club manipulators Harry Breem, comedy singer Newell & Niblo, instrumentalists Forbes & Bowman Ramonagraph - pueblo Indians at Albuquerque, New Mexico Boxing Exhibition, "At the Sound of the Gong", dramatic sketch, with Elsa Berrold, Tom Wilson & Bill Russell Arthur Borani & Annie Nevarra, "The Dandy Dude & the Tramp" 4 Readings, equilibrists Harry Fox & Miller Sisters Sam Surazall & Ada Razall, "The Music Publisher" Singing Coleens, Irish songs Ramonagraph 6 Abdallahs, acrobats Little Amy Butler & Quartette Violet King, violin, piano Thurber & Madison, "On a Shopping Tour", singers & dancers Al Wightman, clay modeler, pastel painter May 23, 1910 - May 29, 1910 May 30, 1910 — June 5, 1910 June 6, 1910 - June 12, 1910 June 13, 1910 - June 19, 1910 206 Jesse Lasky’s "At the Waldorf", cast of 25, with Knute Erickson Ramonagraph — "Ramona", picture drama, the story of Helen Hunt Jackson’s famous Indian story from which Ramona resort gets its name, first national release Gus Edwards’ Kountry Kids, "Miss Rose’s Birthday", see-saw scene, barn dance, "Rube Marathon", Jeanette Childs, Fred Hackett, Hi Higgins Basque Grand Operatic Quartet, french opera in Alpine costume Lavine-Cimaron Trio, "Imagination", skit by Frank Gardner Kaufman Brothers, minstrels Silvern & Emery, Roman rings Ramonagraph - Roosevelt in Africa Signor Travato, plays violin beneath his knees Gus Sohlke’s Bama-Bama Girls, "A Toy Shop Pastime", with Harry Watson Billy Gould, "Just a Jester" Bobby Pandor & Brother, modern Hercules Tempest & Sunshine Stan Stanley & Chambers, trampoline Ramonagraph - Shriners in New Orleans, stereopticon pictures also included B.A. Rolfe & his Rolfonians, musical lawn party Claude & Fannie'Usherin, "Fagan’s Decisionfi, waif and dog Al White’s Dancing Bugs June 20, 1910 - June 26, 1910 June 27, 1910 - July 3, 1910 July 4, 1910 July 4, 1910 — July 10, 1910 207 Hibbert & Warren, minstrel, piano, dancing, coon opera Reed Brothers, acrobats Ramonagraph - King Edward’s funeral Gus Edwards’ Night Birds with Nellie Brewster, singing human heads with painted bird bodies Billy' Walsh, Frank Lynch. & Leah Stair, "Huckins Run", playlet Belle Davis & her Cracker Jacks in Southern Pastimes Nonnette, musician Mareena, Nevara & Mareena, acrobats Picquays Ramonagraph Ida Fuller, fire dancer, "La Sorcerie", patented fire effect with orange silk & confetti Edna Phillips & Co., "Lost--A Kiss", sketch by Una Clayton, set in Central Park George A. Moore, character songs Marseilles, gymnast, "A Study In Black & White" 3 White Kuhns, mandolin Ray L. Royce, character monologue Ramonagraph - trip to Mediterranean lands Rev. A.W. Wishart, 4th of July speech Swat Milligan, baseball comedy' based. on magazine character "Bezeman Bulgar", begins with motion pictures of N.Y. Giants/Chicago Cubs game July 11, 1910 - July 17, 1910 July 18, 1910 - July 24, 1910 July 19, 1910 - July 24, 1910 208 Gene Greene & Co., singers Carroll-Gillette Co., comedy acrobats Jeter & Rogers, skaters & steppers Dale & Boyle, singers & dancers Ramonagraph - Italian industrial scenes Chevalier De Doris, shooting, partially disrobes women by shooting fastenings Onaip, Hindoo Mystery illusionist & hypnotist, piano player floats and plays upside down Great Howard, Scotch ventriloquist William Marrow & Co., "Happy’s Millions" Luce & Luce, "Love Story in Music", instrumentalists Morrissey Sisters & Brothers, singers & dancers Covington & Wilbur, miniature melodrama Ramonagraph - ocean views Allison—Sangor Co. Top 0’ the World Dancers, "Kris Kringle’s Dream", college ballet, with Vivian Ford, Harry Ali, Walter Burke & Harry Hewitt 5 Armanis, "A Night in Maples", musicians Welch, Nealy & Montrose, "Play Ball", somersaults over footlights & orchestra into audience Dolly Sisters, singers & dancers Sansone & Delila, gymnasts, cyclists Ramonagraph - scenes in Wales Brown & Cooper, pianologue July 25, July 31, Aug. 1, Aug. Aug. 8, Aug. 1910 - 1910 1910 - 7, 1910 1910 - 14, 1910 209 Winona Winter, "The Little Cheer-up Girl", Swedish servant girl, mammy lullaby Henry Horton & Co., "Uncle Lem’s Dilemma", rural sketch, with Louise Hardenburg & Jefferson Osbourne Fred Hamil & Bathing Beauties, "The Classy Act" Boudini Brothers, accordion, "Il Trovatore" , "William Tell", "Glow Worm" Palfrey & Burton, comedy acrobats, cyclists Takazawa Japs, acrobats Ramonagraph B.A. Rolfe’s "The Leading Lady" with Marguerite Haney, musical playlet, football number, with Ralph Lynn, Ed Coleman & company Flying Martins, trapeze Bootblack Quartet, minstrels Elliott, Adams, Weber & Hayes, urchin clothes 3 Westons, Catherine, Florence & Juliette, girl instrumentalists Hilda Hawthorne, ventriloquist Johnnie Small & Sister, singers & dancers Ramonagraph — Elks Detroit Parade Film 5 Musical Suffragettes, piano & traps, with Estelle Churchill John R. Gordon & Co., "What Would You Do?", sketch Carl McCollough, "Footlight Impressions" Louise Meyers, Mildred Warren & Bert Lyon, "A Little of Everything", singers & dancers Cecile Francois & Co., dancers Aug. 15, Aug. 21, Aug. 22, Aug. 28, Aug. 29, Sept. 1910 - 1910 1910 - 1910 1910 - 4. 1910 210 Alice Berry, "The Doll Comedienne", singing, imitations Ramonagraph - Russian winter views Mae Melville & Robert Higgins, "Just a Little Fun", singing & dancing, Mae whistles and dresses a la Sis Hopkins Webster Cullison & Lucy K. Villa, "Stung" Harold Forbes & Carrie Bowman, "A Boy & A GIrl", singers & dancers 4 Floods, acrobats Ramonagraph - Ocean voyage to Brazil Genarro the eccentric & Venetian Band with soprano Lillian Haeys, concert in Circle of Park after each performance Patriotic stereopticon pictures Lily Lena, English stage comedienne Valadon, magician, illusion "Venita Mystery of Gravity" Byers & Herman, "The Clown’s Dream", pantomime Arturo Bernardi, Italian protean artist, "Gerolamo’s Escape", plays all parts, reappears in front of orchestra as Wagner, Gounod, Liszt, Mascagni, Verdi & Sousa Exposition 4, quartet Ramonagraph - "Ramona" returns Ed F. Reynard, "A Night in Hicksville", ventriloquist, scenic effects of village with car and waterfall Robert DeMont Trio, "Hotel Turnover" 5 Brown Brothers, saxophone, organ chimes Ernest Pantzer & Co. with Midget Charlie Sept. 5, 1910 - Sept. 11, 1910 Sept. 12, 1910 — Sept. 18, 1910 1911 May 21, 1911 - May 28, 1911 211 Burnham & Greenwood, "2 Girls & a Piano" Alexander & Scott, black face, female impersonator Ramonagraph - Yale/Harvard boat race "A Night in a Monkey Music Hall", Maud Rochez’s monkey orchestra, Johan Drew Monk in "The Nightcap Alf Grant & Ethel Hoag Hugh Lloyd, hangs from cord elastique dressed as British middie, somersaults, violin playing Spencer Kelly & Marion Wilder, popular songs, "Pony Boy" Scheda, " Paganinni ’ s Ghost " , polish violinist Lightning Hopper, cartoonist with charcoal Ramonagraph HanlonuBrothers, "Just Phor Phun", gymnastic pantomime 4 Victoria, male quartet Parshley, drum calls La Petite Emelie Troupe, bicyclists John Neff & Carrie Star, "The Telegraph Girl", sketch Henrietta Byron, comedy sketch Ramonagraph - views of Washington Ramonagraph - "Fire at Bangor", casualties & $3,500,000 damage; also pictures of sea turtle fishing May 22, 1911 - May 28, 1911 May 29, 1911 - June 4, 1911 June 5, 1911 - June 11, 1911 212 Mae Melville & Robert Higgins, "Just a Little Fun" Madden & Fitzpatrick, "The Turn of the Tide", burglar skit Alpha'Troupe, hooprolling, colors make stage appear as kaleidoscope Knox Wilson, comedian, saxophone Arlington 4, singers Australian Woodchoppers , wood chopping contest Rosine Cassili’s Mexican Dog Wonders, automobile with dog chauffeur, acrobatics B.A. Rolfe’s Courtiers, colonial period costumes Nedeweld’s Riding Monkey Wellington Cross & Lois Josephine, "Dying to Act", travesty on old—fashioned melodrama Tom Moore & Stasia, comedy singers & dancers Kuma Family, eastern magic Ramonagraph Amelia Stone & Armand Kalicz, "Mon Amour", operetta, musical director Gustave Hempel James P. Conlin, Lillian Steele & Eddie Carr, "Just From College", musical comedy, upside down piano playing Mr. & Mrs. Jimmie Barry, "At Hensfoot Corners", rural skit Karl Emmy & His Pets, "Isn’t She Terrible", with terrier "Moody" Wood Brothers, Irish athletes, strong HEHI stunts John World & Mindell Kingston June 12, June 18, June 15, June 22, June 19, June 25, June 26, July 2, 1911 1911 1911 1911 1911 1911 1911 1911 213 P.T. Selbit’s Spirit Paintings, Dr. Wilmar’s Riddle of the Century, paintings placed in lobby after the performance Corinne Francis, singer 4 Huntings, "The Fool House" Fentelle & Vallorie Edward Davis & Co., "All Rivers Meet at the Sea", with Mary Hampton Harry Breen, "The Rapid Fire Song Write" Ramonagraph - Indianapolis Automobile race Empire Comedy 4, "What’s the Answer", with Leonard Cunningham Gladys Clark 7 Henry Bergman, "A Baseballe Flirtation" Zaretzky Russian Dancers, Slavic and folk dances Swor & Mack, "Reminiscences of the Southern Negro", pantomime of poker & crap game, female impersonator Albergs Comedy Acrobats, clowns Jesse Lasky’s Pianophiend Minstrels, "The Pensacola Mooch" dance, with Dixie Crane, Jack C. Clair, Ben Linn, Ila Gannon & Boyd Marshall Harry Fox & NHllership Sisters, "Artistic Nonsense" El Cota, "Paderewski of Xylophone" 3 Escardos, table bounding Crotten Brothers, Grecian gladiators, gymnastics with swords Elida Morris, toy comedienne July 3, 1911 - July 9, 1911 July 10, 1911 — July 16, 1911 July 17, 1911 - July 23, 1911 214 Ramonagraph - European views, ice crushing scenes Nana, French danseuse, asst. Mons. Alexis John Nutt & Carrie Starr, "The Brainstorm Comedian & the Telephone Girl" Cadets de Gascogne, operatic quartette Francois Alice Thornton & Butler Haviland, "A Question of Policy" DeHoven, magician Capt. Tiebor's Seals & Sea Lions, "The Seal Skin Band" Ramonagraph — "The Safe & Sane 4th" Gus Hornbrook’s Wild West Show, Lucille Mulhall, Art Bo’den & Otto Kline 5 Armanis, "A Night in Naples" Harry W. Fields & His School Kids, "Fun in a School Room" Leon.T. Rogee, imitations of cello, trombone & piccolo 5 Satsudas, Japanese foot jugglers Ramonagraph.- coronation.of George &.Mary of England, Pathe Frere French motion picture company, (pictures developed on the ship) Frederick Hallon & Mollie Fuller, "Lesson at 11 p.m." by Fred J. Beaman 3 Keatons, Joe, Myra & Buster, "One Long Laugh" Fred Hamill & Kids, "A Morning Rehearsal" Elsie Fay, Joe Miller & Sam Weston, "The Act Dainty", musical comedy Dave Freguson, storiette comedienne July 24, July 30, July 31, Aug. Aug. 7, Aug. 6, 1911 - 1911 1911 - 1911 1911 - 13, 1911 215 Milletfs; Models, living' reproductions of works of art including "The Gleaners", "Spirit of ’76", "La Tosca" Ramonagraph William H. Macart & Ethlynne Bradford, "A Legitimate Hold-up", comedy drama Temple Quartet, sing' popular' ditty "The Rolling Stone" Paul Nevins & Ruby Erwood, "Coal Man & the Maid", black face sketch, "fresh kid" takeoff Blank Family, jugglers Henders & Milliss, British dancing pianists Charles & Anna Grocher, baton juggling Hermine Stone & Co., "The Little Goddess", Miss Stone plays Venus and wears Eva Tanguay costume Arcadia, prima donna & violinist, "My Hero" from "The Choclate Soldier" Barry & Nelson, acrobats 6 American Dancers Primrose 4, "1,000 lbs. of Harmony" Marlo-Aldo Trio Ramonagraph M. Golden & his Russian Troubadors, singers & dancers, Balalika orchestra McKay & Cantwell, "Below the Dead Line", skit Musikal Girls, ragtime and grand opera Walter Schrode & Lizzie Mulvey, "A Theatrical Agency" Aug. 14, 1911 - Aug. 20, Aug. 21, 1911 1911 - Aug. 27, Aug. 28, Sept. 1911 1911 - 3, 1911 216 Maurice Burkhart Mlle. Martha & Co., trapeze Ramonagraph — "Bakc to Nature", story of woman & man on deserted island going against lions John & May Burke, singers, dancers, comedians 4 Fords, grecian classical dances & posing, use Strauss music because music of Greece is unknown Nonette, prima donna, violinist, gypsy costume Lynch & Zellar, juggler Big City 4 Quartet Conroy & LeMaire, black face comedian Mme. Jinny's 10 White Cats & 2 Smart Monkeys Ramonagraph - "Another of those 'different’ motion pictures" Hassan Ben Ali's Arabs Burton Raymond & Co., "The Commerical Man" Ramonagraph - story of Japanese life Robert DeMont Trio, "At the Hotel Turnover" Josie Heather, English comedienne James H. Cullen, monologist, amusing epitaphs 4 Fords (re—engaged) Ed F. Reynard, "A Morning in Hicksville", ventriloquist Conrad & Whidden, piano, violin Gil—Lil Brown & Mills, "Just to Amuse" Sept. 4, Sept. Sept. 11, Sept. 1911 - 10, 17, 1911 1911 - 1911 217 Gordon & Irma Eldred & Co., "Won by a Leg", farce by Lincoln J. Carter Fox & Foxie’s Circus, "like Barnum & Bailey’s, only different" Tuscano Brothers, battle ax juggling Ramonagraph — U.S. Calvary riding stunts Ray Cummings & Helen Gladying Dave Genaro & Ray Bailey, songs: "Flirtation Dance Song", "It's Great to Own an Automobolie" Al Rayno’s Bull Dogs Eldridge & BArlow, "The Law", comedy sketch William McDonald, "The Wandering Blacksmith", singer LeRoy & Paul, comic bar performers, rube Sketch, knock about artists "Top 0’ the World" Dancers, "Kris Kringle’s Dream", collie ballet, girl act, Vivian Ford, Harry Ali, Harry Hewitt & Paul Houlton Lucianno Lucca, "The Man with 2 Voices", baritone/soprano, "Il Trovatore" Aldro & Mitchell, comedy gymnast Elsie Faye, Miller & Weston, "The Act Dainty", effective eye play and captivating glances which she practiced in mirror Loraine Dudley' & Co., "At the Finish", playlet, with William Stewat, Violet Mam & Florence Lorriane Era Comedy 4 1912 May 19, 1912 - May 26, 1912 May 20, 1912 - May 26, 1912 May 27, 1912 - June 2, 1912 June 3, 1912 - June 9, 1912 218 Pouchot’s Flying Ballet, doves released from badk of auditorium land (n1 arms of performers Willa Holt Wakefield P. O’Malley Jennings & Katherine Nelson Harry H. Richards & Bessie Kyle Co., "A Regular Club Fellow", farce, asst. Milton Ivonson Richardson’s Posing Dogs, pose: "At the Cross" Pathe’s Weekly motion pictures, "important happenings and events from every corner of the earth" Claude Roode, comedy wire artist Jesse L. Lasky’s "California", American operetta, book by Cecil de Mille, music by Grant Stewart, with Leslie Leigh & Harvey Griffiths Mlle. Sealby & M. Duclos, dancers Wheeler Earl & Vera Curtis, "The Girl & the Drummer" Pathe’s Weekly Jacob’s Comedy Dog Novelty Adele Oswold, "The Pink Lady of Vaudeville" Jesse Lasky’s "A Night on a House Boat", by William LeBaron, with Berrick & Hart, Donald Archer, and the Shaw Twins Una Clayton 8: Co. , "A Child Shall Lead Thee" John & Mae Burke, "How Patsy Went to War" DeFaye Sisters, "Brinkly Banjo Girls" June 10, 1912 - June 16, 1912 June 17, 1912 - June 23, 1912 219 Teschout’s Cats Pathe Weekly and motion.pictures of Shriners in Los Angeles Ideal, swimming & diving girl, wears red bathing tights that fit like the proverbial "paper on the wall" Les Gougets, French instrumentalists, 27 foot trumpet Stepp: Mehlinger & King, musicians & comedians James F. Dolan & Ida Lenhaar, "Some Mind Reader" H.T. Mac Connell, comedy singing & talking Signor Mora, operatic singing Pathe’s Weekly, "your" weekly' current events", coal miners, boyscouts at International Red Cross conference, aviation at Monaco, Caleb Bragg winning 5 mile auto race at Motordome in Los Angeles Motion pictures taken of Ramona grounds and triple balloon race - "see yourself and friends on the screen" Little Lord. Robert, Ad. Newberger’s Tiny Wonderman, 22 years, 2 feet tall, 15 pounds, answers questions from audience Frank Spissell & Co., "The New Chef", pantomime George McKay'&.John Cantwell, "A.Breeze from Broadway", satire on pThe Great White Way The Gray Trio Charles D. Weber, juggler James Callahan & Jenny St. George, "The Old Neighborhood", Irish skech Pathe’s Weekly June 24, 1912 - June 30, 1912 July 1, 1912 - July 7, 1912 July 8, 1912 - July 14, 1912 220 Edward Abeles, "He Tried to be Nice", playlet, asst. Charlotte Landers Great Fillis Family, trick horse riding Chick Sales, comedy protean entertainer Winslow & Stryker, "A Skating Flirtation" John McCauley, English vocalist, vagabond and veteran.soldier characters, Father Macke recitation Fred Andrews & The Magic Kettle, liquid air stunts, ice burns Pathe’s Weekly - funeral of Wilbur Wright at Dayton, German warships, President Taft at Arlington, N.Y. Giants/St. Louis Cardinals baseball game, negro insurrection in Cuba Joseph E. Howard & Mable McKane, song: "I Wonder Who's Kissing Her Now" "Rube" Dickinson, ex-justice of the peace, political talk Tommy Kelly & Mamie Lafaerty, The Chambermaid & the Bellhop", dancers Zara Carmen Trio, hoop rollers Caesar Nesi, "Young Caruso" Arnaut Brothers, "The Nightingale Courtship", European clowns Ramonagraph Camille Ober, parisian vocalist Hess Sisters, singers & dancers, Russian dance 3 Nevarros, acrobats Master David Schooler & Louise Dickinson, "Boy Paderewski & Juvenile Mary Garden" Redford & Winchester, jugglers July 15, July 21, July 22, July 28, July 23, July 28, July 29, Aug. 4, 1912 1912 1912 1912 1912 1912 1912 1912 221 Gram & Elliott, "The Boys from the Sunny South", black face sketch Ramonagraph - surf boat exhibition Kauffman Troupe, bicyclists Mankichi Japs, equilibrists 5 Sullys, "The Information Bureau", farce Simondet, Italian tenor Maxine Brothers, acrobats, with Bobby the comedy dog Farber Sisters, singers & dancers Ramonagraph Master David Schooler & Louise Dickinson (re-engaged) Jack Wilson & Co., 1912 Review, with Franklin Batie & Ada Lane Will Rogers, Lassoing Cowboy Belle Story, singer 5 Melody Maids & a Man (Will J. Ward), ragtime music, gowns Maud Ronair & Joe Ward, "Ocean Breezes", skit by Keller Mack & Frank Orth Ramonagraph Marlo Aldo Trio, gymnasts Gordon Brothers Master Gabriel, original "Buster Brown", now "Little Nemo", "Little Kick" Paulhan Team, basket ball on bicycles, with referee Aug. 5, Aug. Aug. 12, Aug. 1912 - 11, 18, 1912 1912 - 1912 222 Hufford & Chain, "The Cullud Parson & the Minstrel Man", skit P.A.G. Trio 3 Shelvey Boys, athletes Ramonagraph Lockhart Singers Winona Winters, singing comedienne, ventriloquist , Swedish servant girl character George B. Reno & Co., "The Misfit Army" O’Brien & Havel Trio, "The Office Boy and the Typewriter" Roxy La Rocco, banjo music on a harp Arthur Stuart ("the George Cohan of vaudeville") & Hazel Kelly, dancers Prof. Apdale's Zoological Circus, dogs, monkeys, bears Ramonagraph - Pathe’s Weekly Joseph.Jefferson.& Felice Morris, "In 1999", problem play of the future, with Blanche Bender Texas Tommy Dancers, turkey trot, grizzly bear Idanias Troupe, female gymnasts Smythe & Hartman, "Before and After' Delmonre & O’Neida, La Perche Equipoise, pole balancing James J. Morton, comedy monolgues Howard, ventriloquist Aug. 19, 1912 - Aug. 25, Aug. 26, Sept. Sept. 2, Sept. Sept. 9, Sept. 1912 1912 - l, 1912 1912 - 8, 1912 1912 - 15, 1912 223 Mme. Sumiko, Japanese soprano and B.S. Takaori, musiclal director of Imperial Opera House in Tokio B.A. Rolfe’s Ye Colonial Septette, "An Olde Tyme Halloween", with John Leick & Mabel Keith The Grazers, musicians Carroll & Fields, comedians, saxophone, piano J.C. Nugent & Co., "The Squarer", with.Julie York Reed Brothers, gymnasts Ramonagraph - Italian troops Florentine Singers, opera.and popular music, dir. Alfredo Zambarano Will Dillon, song writer Bert Wheeler & Co., "Fun on the Boulevard", Nellie W. Bonehead, Joe Isaacs Hyman Meyer, piano Clara Ballerini, gymnasts English Pony Ballet and "Highland Lassies" (women) 6 Musical Cuttys Mr. & Mrs. Erwin Connelly, "Sweethearts", sketch by Sir W.S. Gilbert Paul Nevins & Ruby Erwood, black face comedians, singers & dancers Lillian Ashley, comedienne Mankin, The Frog Man, ties himself in knots Milton & Dolly Nobles, "The Auto Suggestion Club", l-act comedy 1913 May 18, 1913 — May 25, 1913 May 26, 1913 - June 1, 1913 224 Barry & Wolford, "At the Song Booth", megaphone gag Swor & Mack, Southern negro impressions Schaller & Jordan, trapeze, rings Ethel McDonough, musician Herbert’s Canine Novelty Ramonagraph Nat Nazarro & Co., athlete Alf Holt, "The Merry' Mimic", .Australian whistler Felix & Caine, "Then & Now", imitations of stage celebrities Dancing Bugs Lancton Lucier Troup, asst. Robert J. White Ramonagraph — latest & best in comedy, drama and feature films, and Pathe Weekly - "around the world in 15 minutes" Ameta, fire dancer electric effects Kenney, Nobody & Platt, "Nobody Paid You", comedy Billy Halligan & Dama Sykes, comedians Bush & Peyser, comedy athletes Jed & Ethel Dooley, singers, dancers, bicyclists & lariat manipulators Hickey’s Comedy Circus, "All in One Ring", 2 ponies, mule Ramonagraph June 2, 1913 - June 8, 1913 June 9, 1913 — June 15, 1913 June 16, 1913 — June 22, 1913 225 6 Abdallah Boys, acrobats Donovan & Arnold, "All Mixed Up", comedy Sketch Irwin & Herzog, singers Deaves’ Mannikins, burlesque of Uncle Tom’s Cabin Ed. Blondell & Co., "The Lost Boy", comedy sketch Ramonagraph - Rio de Janeiro tidal wave Schooler & Dickinson Primrose 4, "1,100 lbs. of Harmony" Mr. & Mrs. Jack McGreevy, "The Village Fiddler & the Country Maid" Adele Rowland, singer Mabel Harper, comedienne, funny mop of hair and mobile face Buckley’s Animals - rollerskating bears & monkeys Ramonagraph Grace Emmett & Co., "Mrs. Murphy’s Second Husband" Mlle. La Tosca (pianist) & Co., James Lissenden (cello), Francis Penrose (organ), songs: "Ave Maria" , "Ma Curly-Headed Babby" on banjo, song from "Faust" 4 Ishikawa Japs, acrobats Gordon & Murphy, comedians, acrobatic dancing Sidney & Townsley, singers & dancers O’Neal & Walmsley, "The Two Lightning Bugs" June 23, 1913 - June 29, 1913 June 30, 1913 — July 6, 1913 July 7, 1913 - July 13, 1913 226 Hugh J. & Mildred Emmett, ventriloquist, with wooden-headed sassy boy Norris Baboons, "A Monkey Romance" Ramonagraph Joseph F. Sheehan, tenor, and Meme. Antoinette LeBrun & Co., great scenes from familiar operas, "Il Trovatore", "Cavalleria Rusticana", tower scene and denunciation scene Longworths, singers Locke & Wolfe, dancers, waltz, turkey trot, tango & Texas Tommy Reed’s Acrobatic Bull Terriers Franker Woods & Bunee Wyde Hugo Lutgers, "A Scream", Swedish dialect preacher The Bimbos, comedy acrobats La Graciosa, "Visions of Fairyland", garbed entirely'in tights, Gracisosa.is only living person in series of colored stereopticon pictures shown on her Fire Juggling Mowatts 3 Hickey Brothers Acme 4 Teschow’s Cats 3 Lorettas Smith & Pullman Ramonagraph Leon & Co., "Hindu Miracles" July 14, 1913 - July 20, 1913 July 21, 1913 - July 27, 1913 227 Romano Brothers, physical culture, Grecian art clad only in clay substance and breech cloth Wilson Brothers, "Go Out", comedy sketch Trivoli Trio, musical comedians Luba Meroff, "The Russian Princess", singer & dancer Dyer & Dyer Motion.pictures of 50th reunion of Civil War veterans at Gettysburg Ramonagraph — Pathe Weekly Reynolds & Donegan, expert skaters, imitation of Pavlowa & Mordkin 6 Brown Brothers, saxophone Hal Beck & Frances Preston, "The Stock Farm" 6 Castrillians, Cuban wonders Mullen & Coogan, comedians Ethel McDonough, musician 3 Arthurs, bicyclists Willa Holt Wakefield Curzon Sisters, "Flying Butterflies", poses while suspended from teeth Avon Comedy 4, "The New School Teacher" Harry Langford, singing/talking comedian Harry DeCoe, piles chairs and tables to 25 feet and balances on them Ramonagraph Feature film - International Polo games Natalie & Ferrari, dancers, tango July 28, Aug. Aug. 4, Aug. Aug. 11, Aug. 3. 1913 - 1913 1913 - 10, 17, 1913 1913 - 1913 228 Grimm & Elliott, black face William J. Dooley & Co., "The Lawn Party", musical comedy revue, Raymond O’Malley plays George M. Cohan Lunatic Bakers, scene in a bake shop, traps and invisible doors Al Carlton, Skinny guy Jeanie Fletcher, Scottish entertainer Lucy Valmont & Jack Reymen, poses and songs 3 Bohemians, organ accordion, violin, mandolin Harry Bouton.& Co., straight & crooked magic Ramonagraph - Pathe Weekly James J. Morton Helen Ganham, whistling prima donna Charles Ledegar, high wire Dutchman Dave Genaro & Ray Bailey, "La Flirtation Danseuse", revival of the cakewalk 3 Creighton Sisters Mareno & Delton Brothers, comedy acrobats 8 Filipinos, "A Iidg>tx> the Philippines", guitars, mandolins Hardeen the Handcuff King, brother of Houdini Mozarts, "Snowed In", snowshoe dance with Alaska scenery Alexander Sisters, Singers, dancers, change artists Inza & Lovella, "Bump the Bumps", comedy gymnasts Aug. 18, 1913 - Aug. 24, Aug. 25, 1913 1913 - Aug. 31, Sept. 1, Sept. 1913 1913 - 7, 1913 229 Walter DeLeon & Muggins Davies, "Song Hits from the Campus" Johnny Johnson, burlesque on grand opera Clara Inge, petite comedienne, story: "Her Little Boy & the Great Big Bear" Florence Troupe, acrobats Sammy Burns & Alice Fulton, comedians Charles Olcott, "A Comic Opera in 10", comic opera travesty Tetsuwari Troupe, "Jap & Albino Woman", man balances woman.on feet, she juggles boy with her feet Makarenko Players, "Romance of the Harem" Frank Bkush, storyteller Link & Robinson Blank Family, European jugglers 3 O’Connor Sisters, singers & dancers Boudini Brothres, accordionists Howard & Lawrence, "The CIgar Girl", comedy sketch Hyman Meyer, piano DeDois Circus Hanlon, Dean & Hanlon, comedians 8 Filipinos, "A Trip to the Phillipines", (re-engaged) Adair & Hickey, "Revelations in Rag-time" Lewis & Paul McCarthy (from Lowell) , "Dainty Different Doings" Charles & Madeline Dunbar, "Animal Funology" 1914 May 24, 1914 - May 31, 1914 June 1, 1914 — June 7, 1914 June 2, 1914 — June 7, 1914 230 Bruce Richardson & Co. , "Moving Day" , comedy sketch Frivoli, comedy shadowgraphist Granto & Maude, "Ballet Master & Pupil", slack wire Oliver Armando Troupe, 6 tumbling demons Agnes Scott & Henry Keane, "Drifting" Deiro, opera and swinging rags on piano and accordion Alfred. Bergen, baritone, prologue to "Pagliacci" Bertee Beaumonte & jack Arnold, "The Doctorine", musical Comedy Pantzer Duo, comedy contortionist Motion pictures of Mr. & Mrs. Vernon Castle, new dances Hearst-Selig Weekly, world events R.W. Teevin’s Orchestra Carl Byal & Dora Early, comedy skit Great Howard, Scottish ventriloquist, "The Boy with the Toothache" 2 Carletons, gymnasts Frank Wilson, cyclist Hearst—Selig Weekly — funeral of soldiers who died at taking of Vera Cruz 3 Allisons, xylophone, Hungarian Rhapsody, Anvil Chorus Andy Rice, monologist June 8, 1914 - June 14, 1914 June 15, 1914 — June 21, 1914 June 22, 1914 June 22, 1914 - June 28, 1914 231 Kluting’s Entertainers, pigs, rabbits, felines Butler Haviland & Alice Thorton, "Get—Poor- Quick Wellington", painted ocean for bating beach scene Elphye Snowdon, society dances, asst. Walter Ross Lydell, Rogers & Lydell, "A Native of Arkansas" Hubert Dyer, "A Laugh A Second, with Pete Alvin Alice Eis & Bert French, "Le Rouge et Noir", "The Dance of Fortunes", Monte Carlo scene, Eis in center of revolving pedestal typifies roulette wheel, men cast gold, Eis representing Fortune, singles out 1 to give jewels and. gold, then reclaims her treasurer, he returns in tatters to woo her, She laughs, he falls dead, she dances Billy Halligan & Dama Sykes, singing, dialogue Vina_Bailey, prima donna fromiflolies Bergere in Paris, gowns Monroe Hopkins & Lola Axtell, "Traveling", sketch in a railway sleeping car Paul, Levan & Dobbs, comedy acrobats, 2 white, 1 blackface Charles Prelle’s Miniature Circus, "The Robbert of the Overland Mail", miniature horses & elephants Hearst—Selig Weekly Valente Brothers, accordion Fanny Brice, late star of "Follies of 1912" Erwin & Jane Connelly, "Sweethearts" , by the late Sir W.S. Gilbert of "Pirate" fame June 29, 1914 — July 5, 1914 July 6, 1914 - July 12, 1914 232 Stan-Stanley Trio, "Funsters", conversation from midst of audience, tumbling Billy McDermott, trampe monologue, 1 man opera, burlesque of Sousa & Creatore Miller & Lyles, colored comedians, arguing, boxing Chester Kingston, "The Chinese Puzzle", contortionist Hearst—Selig Weekly Chinamen, "The Marvelous Manchurians", athletes Florenze Tempest, male impersonation on "Our American. Boy", waltz, tango, with. Ralph O’Brien and Harry Wilson Bert Melrose & His Tables, daredevil clown Antoinette LeBrun Duo, opera, popular songs, asst. Harold J. Gels Rosa Crouch & Welch, singing, talking, dancing Libonita, xylophonist, ragtime Ramonagraph - Hearst-Selig Weekly Prelle's Dogs (re-engaged) Henriette De Serris, "Tableaux Vivants", living art productions against green velour curtain, "Angelesus" by Millet Delton, Mareena & Delton, athletes Wheeler' &: Wilson, "A. Stitch. of Musical Comedy", ride in on a sewing machine Charles Olcott, "Comic Opera in 10 minutes" Laughlin’s Dogs Farber Girls, singers & dancers July 13, July 19, July 20, July 26, July 27, Aug. 2, 1914 1914 1914 1914 1914 1914 233 Fred J. Ardath & Co., "Hiram", farm-yard comedy, chicken, geese and.pigs break.plates over each other’s heads Joe & Lou Cooper, popular songs, ragtime Dunbars, salon singers, Rigiletto, pianist Herbert Johnson Sam Barton, pantomimist, tramp bicyclist Lou Lockett & Jack Waldron, musical comedy Richard Imhoff, Hugh (knul & Marcelle Coreche, Surgeon Louder, USA", military comedy playlet Hearst-Selig Weekly - Harvard/Yale boat race Jesse L. Lasky’s "Beauties", girl act by William Le Barona, score by Robert Hood Bowers, with W.J. McCarathy, Armand Cortes & Mortimer Weldon 6 American Dancers Bryan Lee & Mary Cranston, "Bits of Old Ireland", song: "Killarney" Corbett, Shepherd & Donovan, cabaret boys Kuma Japs, magic Hearst-Selig Weekly - devastated Salem Hermine Shone & Co., "Last of the Quakers" by Edgar Allen.Woolf, with Fran.kaupperman, Irving White & Marie Day Chiettain Caupolican, Chile Indian, orator & singer Claude Golden, wizard of the cards Harry Tsuda, Japanese mysticists Emily Darrell & Charley Conway, "Behind the Scenes" Five Metzettis, acrobats Aug. 3, Aug. Aug. 10, Aug. Aug. 17, Aug. 1914 - 9. 16, 23, 1914 1914 - 1914 1914 — 1914 234 Charlie Ahearn’s Big Comedy Cycle Co. Roeder’s Invention, acrobatic athlete Little Lord Robert Hines & Fox, "The Devil Rag", sayings and song Paul Gordon, wire Cap. Adrian C. "Pop" Anson, "The Grand Old Man of Baseball" by George M. Cohen (sic), Anson. is former' baseball player (1888), turkey-in-the-straw dance Hearst—Selig Weekly Gus Edwards’ "The Matinee Girls", with Miss Gene Ford in imitation of Laurette Taylor as "Peg'o' My Heart"; Ina Claire as "The Quaker Girl"; Frank Tinney of Ziegfeld’s Follies; Charles Olcott, Irene Martin, Margaret Dana Flying Henrys Duttons, equestrians, white horses against black background Chick Sales, impersonator of humorous rural character studies taken from life McMahon, Diamond & Clemence, "The Scarecrow", Russian folk dancing, whistling Hearst—Selig Weekly Powers Hippodrome Elephants, with "Baby Mine" and "Roxy" Ishakama Bros., Japanese equilibrists Alex Brothers, champion ball bouncers Lorraine & Dudley, "The Way to a Man’s Heart" Herbert Williams & Hilda Wolfus, "Almost a Pianist" Aug. Aug. Aug. 24, 31, Sept. Sept. 7, 1914 — 30, 1914 1914 - 6, 1914 1914 235 Martin Vaberger, "The Boy from Kansas" Hearst—Selig Weekly Romeo the Great, Prof. Drowisky & chimanzees (sic) Stepp, Goodrich & King, musicians, comedians Marshall Montgomery, venriloquist Leo Zarrell & Co. Max Hart’s 6 Steppres Franker Wood & Bunee Wyde, "Good Night", musical skit Webb’s Equestrian Seals Stanley & Norton, cabaret Conlon & Steel Trio Belleclair Brothers, gymnasts Western Michigan in motion pictures Hearst-Selig Weekly, timely war pictures Chick & Chicklets Hilda Schree, singer 4 Gaynors, acrobats Deodato & Co., vaudville necromancy Elizabeth Cutty, musician Pearl Davenport, singer Eeno Fitzgerald & Bronson, G.R. boys, composition: "Ramona" May 23, 1915 - May 30, 1915 May 24, 1915 — May 30, 1915 May 31, 1915 - June 6, 1915 236 Alice Eis & Bert French, "The Dance of the Temptress", foam act Charles & Henry Rigoletto, twin brothers, strong men, juggling, banjo Lulu McConnell & Grant Simpson, "The Right Girl" by Herbert Hall Winslow Fay & Florence Courtney, sisters, coon songs and negro melodies Chung-Hwa Chinese 4 Mme. Teschow’s Feline Entertainers Motion pictures of Final Lusitania trip, steamship which sunk during submarine warfare Ramonagraph - Hearst-Selig Picture Weekly Farber Girls Spring Fashion Show, vaudville production featuring gkowns, coats, millinery & jewelry of local merchants, includes styles for men, stage setting design - enlarged reproductions of covers of Vogue, begins with tableaux of Eve Ralph. Riggs & ZKatharine Witchie, "Dance Divertissements" James Hussey & Jack Boyle, "The New Chauffeur", trials and tribulations of the automobile owner Maybelel Sherman & Arthur Uttry, musicians, comedians Oxford Trio, basketball on bicycles Ramonagraph June 7, 1915 - June 13, 1915 June 14, 1915 — June 20, 1915 June 21, 1915 — June 27, 1915 237 Joseph E. Howard & Mabel McCane, dancers, illustrate songs using motion pictures of them posing, Mabel appears live in same costume worn in motion pictures Bowers, Walters & Crocker, "3 Rubes" Mike Coakley, Lou Hanvey & Joe Dunlevy, "The Town Hall Minstrels", black face Selma Braatz, juggling Harry Breen, writes songs about people in audience Willa Holt Wakefield, poems with piano accompaniment Ramonagraph Doris Wilson & Co. & Co., "Through the Looking Glass", Doris sits before 2 "mirrors" which.are actually her sisters Dot & Alma Wille Brothers, equilibrists Langdons, "A Night on the Boulevard" Al Herman, "Assassin of Grief & Remorse", black face singing & dancing Al & Fannie Stedman, "Piano Capers" Bill Dooley & Evelyn Robson, "Vaudville of Today" tabloid, comedy sking, talking, bicycling Ramonagraph Ralph Dunbar’s Salon Singers, "Moments Musical", with Dena Caryll, Herbert Bailey, Blanche Baxter, Walter Heckman Harry' Cooper, "The Mail Carrier", asst. Charles Henderson Hayward Stafford Co. , "The Devil Outwitted" , playlet in verse June 28, 1915 - July 4, 1915 July 5, 1915 - July 11, 1915 238 Julia Curtis, singer, "My Hero" from Choclate Soldier, imitations of birds as stage favorites, George Cohan as a rooster, Eva Tanguay as a parrot Page, Hack & Mack, acrobats Ramonagraph Aurora Light, Jesse Lasky posings with stereopticon effects Toby Claude & Co., "La Petite Revuette", scenes from well known plays, imitations of actors & actresses Kathleen Clifford, "America’ 8 Favorite Boy/The Smartest Chap in Town", seen in shadowgraph changing costumes Ethel Kirk & Billy Fogarty, comedy singers & dancers Harris & Manion, comedians Bertish, athlete Ramonagraph Those French Girls, physical strength culture exhibition Bee-Ho-Gray & Co., roper, with Ada Summerville, horsewoman, and. "Onion" the horse Charles (Chic) Sale, country school entertainments, impersonations of rural characters Misses Campbell, Southern beauties, coon & plantation songs Marie Bishop, "My Old Kentucky Home", violinist Helen Leach Wallin Trio, iron jaw wire act, 2 members hold wire in teeth while 3rd member walks on it July 12, July 18, July 19, July 25, July 26, Aug. 1, 1915 1915 1915 1915 1915 1915 239 Kurtis Educated Roosters, ride on swings and see—saws Allen Dinehart & Co., "The Meanest Man in the World", playlet Ramonagraph — Hearst-Selig Picture Weekly Long Tack Sam Co., Chinese acrobats Freeman & Dunham, songs, setting outside race track at Brighton Beach Creighton Brothers & Belmont, "Mudtown Minstrels" Ethel Dawne June, swimmer, eats and drinks underwater Frank Crummit, singing comedian Ramonagraph Dancing Lavars, clog, soft shoe, cake walk, Highland fling, buck & wing dances Jesse L. Lasky’s "The Society Buds", musical director Ernest Grooney, with Gladys Clark, Henry Bergman, Vincent Erne, Jack Cflaire, and beauty chorus Empire Comedy 4, with Joe Jenny 4 Janleys, equilibrists Lou Lockett & Jack Waldron, musicians & comedians Nonette, singer, violinist Ramonagraph Havemann’s Animals, lions & tigers, no whip is used Jane Connelly & Players, "A Strong Cup of Tea", comedy by Erwin Connelly Joe Keno & Rosie Green Aug. 2, Aug. Aug. 9, Aug. 1915 - 8, 1915 1915 - 15, 1915 240 Kaufman Brothers, Phil & Jack, blackface singers & dancers Orville Stamm, "Hercules" , plays violin with dog strapped.to bowing arm, lifts 6 men.with 1 arm Ramonagraph — war pictures from Russian front Nonette (re-engaged), pianist Jerrwaarnagin Joseph Hart’s "A Telephone Tangle" by Charlot Bannel, with. Madge Caldwell who makes wrong operator connections to various booths Duttons, equestrians and poseuses, wear white against black background Hickey Brothers, acrobatic dancers 3 Rosaires Mabelle Lewis & Paul McCarthy (Lowell boy), "Dainty Different Doings" Jean Chalon, "That Girl 0’ Mine" Ramonagraph — "Eastland Disaster" by Chicago Tribune's motion pictures of heroic battle in river at Clark Street Bridge, money earned goes to relief fund for victims’ families, shows dragging of Chicago River Ballet Divertissement, with Miss Swan Wood, Florence Burns & Jessie Roggo, Gavotte, gypsy, tarantelle, Butterflies Pas de Deux, orientale, prelude & Baccharal dances, costume of 1830 design Arcadia, diaphamous gowns Mortimer MacRae & Gertrude Clegg, "The Intruder & the Queen of the Wheel", bicyclists Julia Ring & Co., "Tiwce a Walk" by John B. Hymer Aug. 16, Aug. Aug. 23, Aug. 22, 29, 1915 - 1915 1915 - 1915 241 Bowman Brothers, burnt cork singers & dancers Willard, "The Man Who Grows", adds 7 inches to height with muscular control Ramonagraph — Hearst-Selig Weekly Gruber’s Animals, Shetland pony, dog Eva Taylor & Co., "Suspicious of Hubby", playlet Misses Lightner & Alexander, "A Jolly'Trio", rag time H.K. Guerro & Mlle. Carmen, violinist & harpist, Dvorak "Humoresque" Carson Brothers, Swedish athletes Primrose 4, "1,000 lbs. of Harmony" Ramonagraph Ralph Dunbar’ s 9 White Hussars singing band, Clare Camburn -leader, Harold Cook - trap drummer 5 Berlo Diving Girls Leona Thurber & Harry Madison, "On a Shopping Tour", skit Sherman-Van-Hyman, sissy impersonation of butterfly man Rutland & Clinton (GR girl), singers Valentine & Bell, "Furniture Removers", ride furniture on wheels Ramonagraph - "The Pipe Dream", lively comedy film, scenes in Grand Rapids and at Reeds Lake showing Point Paulo, Ramona, etc. E. Mason Hopper producer, cast: Mr. & Mrs. Smiling Billy Mason, Will Ames and other Grand Rapids people Aug. 30, 1915 — Sept. 5, 1915 Sept. 6, 1915 1916 May 21, 1916 - May 28, 1916 May 29, 1916 — June 4, 1916 242 Robert Everest’s Novelty Circus, monkeys on trapeze Ralph Dunbar's Singing Bell Ringers, Lloyd Garrett, boy soprano Dawsey McNaughton, "Maggie Rolls the Mists Away", Scotch farce comedy Ethel McDonough, "that Boston girl", Indian song, gowns Skeet Gallagher & Irene Martin, "Up to the Minute Pair", travesty'on.Laurette Taylor in "Peg 0’ My Heart" Ramonagraph 4 Antwerp Girls, Misses St. Claire, Belgian refugees, harp, violin, cello, piano, mandolin Labor Day acts [no listing found, could be same as above] Mercedes, "The Psychic ‘Wonder", mind reading, asst. Mlle. Stantone Arthur Stone & Marion Hayes, "Green Goods" Wilfred Clark & Co., "Who Owns This Flat?" La Graciosa "Visions in Fairyland", statue posing, animals part of act Claire Rochester, soprano-baritone, freak singing Big City 4, Boyer, Bates, Emerson.& Kilcoyne Ramonagraph — Hearst-Selig Pictures Weekly, weekly world news in pictures Franklin Ardell, "The Wife Saver", playlet June 5, 1916 - June 11, 1916 June 12, 1916 - June 18, 1916 243 Avon Comedy 4, Goodwin, Kaufman, Smith & Dale, "The New Teacher", farce Elsie Pilcer‘ & IDudley' Douglas, singing, dancing, gowns, quick changing Lunette Sisters, aerial geishas, strong jaw act Shelton Brooks & Clarence Bowen, "2 Dark Spots of Joy", singing, dialects Frank Jerome & Emily Carson, tumbling Ramonagraph - Pathe Weekly; "The Loves of Mr. Monk", amusing cartoon comedy Frances Nordstrum-William Pinkham & Co., "All Wrong", comedy Henry Lewis, "Vaudville Cocktail", German monologist Gardiner Trio, ballroom dancers Six Kirksmith Sisters, instrumentalists Charles Bandsee & Florence Baird, Scoth & American songiflage Clown Seal, comedy seal Ramonagraph Toots Paka. & IHawaiian. natives, singers, instrumentalists, guitar, hula-hula dance Lillian Fitzgerald & Henry I. Marshall, composers Mr. & Mrs. Bert Fitzgibbon, "Daffy Dill", falls into scenery Paul Gordon & Ame Rica, cyclists Clyde Renaldo presents "La Graciosa", "Visions in Fairyland", poses painted in light, electro-scenic production Capt. Gruber & Mlle. Ameiana, elephant, dog, horse June 19, June 25, June 26, July 2, 1916 1916 1916 July 3, 1916 - July 9, 1916 1916 244 Ramonagraph - new war pictures Mme. Doree & Co., sscenes from grand opera, "Rigoletto", "I1 Trovatore", "Carmen" Billy Halligan & Dama Sykes, "Somewhere in Jersey", real estate office skit Fritz & Lucie Bruch, cello, violinist Ed Morton, songs, has produced phonograph records for many years Beman & Anderson, comedy roller skating Ramonagraph Consul & Adopted Daughter "Betty", monkeys, simian pantomime Marie Nordstrom (Mrs. Henry E. Dixey), "20 Years From Now", satire comedy by Frances Nordstrom, cigar-smoking, heavy-voiced woman lawyer who unblushingly makes a date with the meek little male stenographer Australian Woodchoppers, Jackson & M’Laren James Conklin, Lilian Steele & Eddie Parks, "3 Little Pals", singing, dancing, trick piano Paul McCarthy (Lowell boy) & Elsie Fay, "Suicide Garden", singers, dancers, comedians Leipsig, card expert Hubert Dyer, acrobatic clown, asst. Peter Alvin Ramonagraph - Mexican war pictures Anna Wheaton & Harry Carroll, composer & singer, song: "When I Get Married To You" Erwin & Jane Connelly, "Sweethearts" , playlet Moon & Morris, dance creators July 10, 1916 - July 16, 1916 July 17, 1916 - July 23, 1916 July 24, 1916 - July 30, 1916 245 3 Steindel Brothres, cello, violin, piano Miss Ray Dooley with Elmer Graham & Gordon Dooley "5 of Clubs", "Pierrot Dream", club juggling Ramonagraph — news Will M. Cressey & Blanche Dayne, "The Village Lawyer", sketch Sonia Baraban & Charles C. Grohs, dancers Moore & Hagaar, Hawaiian songs on eukalele Crisco, xylophone 3 Reynards, aerial teeth act 7 Original Honey Boys, blackface minstrels Ramonagraph - Verdun battle front Will M. Cressy'& Blanche Dayne (re—engaged), "Town Hall Tonight", l—act play' by' Mr. Cressy Oklahoma Bob Albright, singing cowboy, imitations Mirano Brothers, "Flying Torpedoes", gymnastics on apparatus representing Eiffel Tower Roser’s Comedy Pets, cats & dogs Lew Holz, "Father Joy’s Boy", Cohanesque dancing Thomas F. Swift & Co., "Me & Mary" Ramonagraph Will M. Cressy & Blanche Dayne, "Grasping an Opportunity", (re—engaged) Spencer Kelley & Marion Wilder, "Melodies of Past & Present", asst. Karla (violin) and Rubadi (piano) July 31, Aug. Aug. 7, Aug. 6, 1916 - 1916 1916 - 13, 1916 246 Chung Hwa 4, Chinese Quartet James T. Duffy & Mercedes Lorenz, "Antiseptic Love" DeBourg Sisters, magic Ramonagraph Famous Berlo Diving Girls, with aged comedienne who falls in pool Ballet Classique, 80 dancers from New York Metropolitan Opera House, with Dottie King, "Bacchante" by Glazounow" Arthur Deagon, musical comedy, operatic poker game ~ ItmlEdwards, "Huntsman Ventriloquist", asst. Alice Melville Harry Langdon & Co., "Johnny’s New Car" Gaudsmidts, eccentric clowns with Spanish poodles Fleta Brown & Herbert Spencer, "prima donna from birdland", bird calls Ramonagraph — views of the Deutschland Vanda Hoft & Betalo Rubino & Co., "The Dancing Girl of Delhi", dancing girls, rug merchants Joe Boganny’s Lunatic Bakers, "Fun in a Bakehouse" Herbert Williams & Hilda Wolfus, comedy classic Imperial Troupe Aerial Football Victoria 4 Francis Yates & Bernard Wheeler, "Who’s Who & Which" Zeda & Hoot, "The Dragon & the Owl" Aug. 14, Aug. 21, 1916 - Aug. 20, 1916 1916 - Aug. 27, Aug. 28, Sept. 1916 1916 - 3, 1916 247 Charles (Chic) Sale, "The Rural Sunday School Benefit", characters from real life, parson, janitor, spinster, country youth, tobacco chewing tuba player George Kelley, "Finders Keeprs", 1-act.play, asst. Anna Clevelaqnd & Annette Tyler Maud Rochez’ Monkeys, "A Night in a Monkey Music Hall" Ward Brothres, Robert.& Lawrence, as "Bertie & Archie" "The Girl from Milwaukee", vocalists, "My Hero" from "Choclate Soldier" Gomez Trio, Spanish peasant dancers Ramonagraph — news Joe Boganny’s Lunatic Bakers, "Fun in a Bakehouse" Valerie Bergere & Co., "Little Cherry Blossoms" by Stephen G. Champlin Al Lydell & Bob Higgins, rube octogenarians, "A Friend of Father’s", rural comedy Dunbar’s Old Time Darkies, 4 colored men, plantation melodies 7 Braces, athletes MacRae & Clegg, bicycle act Mlle. natalie & Ferrari, classique and modern dancing Ramonagraph Ralph Dunbar’s Maryland Singers, Southern songs of the 60’s, with.Trix:Oliver, Charles Frink, Hortense Morehart, Marjorie Nethercut, Lorna D. Jackson Joe Fanton & Co., "A Garden of Surprises", acrobats Sept. 4, 1916 - Sept. 10, 1916 1917 May 20, 1917 - May 27, 1917 248 Bert Melrose, clown, pyramid of tables Nonette, singing violinist, pianist Jarnagin John & Winnie Hennings Lamb’s Manikins Ramonagraph Jack Wyatt & Scotch lads & lassies, "Roamin in. the Gloamin", "Annie Laurie", pipes, drums, dancing, singing Marie & Billy Hart, "The Circus Girl" Stuart Barnes, singing comedian Claude & Fannie Usher, "Fagan’s Decision", skit about prize fighter adopting'aldaughter Mildred Richardson, l9-year old prima donna Guzmani Trio, equilibrist Ramonagraph — motion pictures of Grand Rapids soldiers CHI Mexican. border, 32nd regiment at Camp Cotton, El Paso Dunbar’s Salon Singers Joseph E. Bernard & Hazel Harrington, "Who is She?" by Willard Mack Harold DuKane, dancer, with June Edwards & Gladys Taylor Oklahoma Bob Albright, pianist Mary Cole Foster Ball, character singing, asst. Vernon Cripps Marie Fitzgibbon, story teller Peggy'Breman.& Frank, "The Imps Playground", stunts on unsupported ladders May 28, 1917 — June 3, 1917 June 4, 1917 — June 10, 1917 June 11, 1917 - June 17, 1917 249 Ramona Orchestra, directed In! Roy S. Prescott Ramonagraph-—CL Henry film story "The Third Ingredient"; news Haruko Onuki, Japanese prima donna Tempest 8: Sunshine, "A Broadway Bouqet", imitation of Gaby Deslys, song: "The Girl on the Magazine Cover" Cherster Spencer & Lola Williams, "Putting it Over" Caites Brothers, "Tailormade Boys", dancers Valentine & Bell, "Furniture Removers" Ramonagraph-CL Henry story "Friends in San Rosario"; news Juvenile Musical Revue, "At the Party", Little Davey, Little Billy, Babe Hedrman, Nellie Erskine, Eunice Brooks, Tom Donnelly & Louise Philson 4 Sensational Boises, human aeroplanes Medlin, Watts & Townes, "The Wife Question", 2 broadway Johnnies and a fat man Nonette, violinist, singer Miss Ray Dooley, "A Conglomeration of Variety", asst. Elmer Graham & Gorden Dooley, mad—cap shrieking noise and action Debars, mystery of the water fountain Ramonagraph - Pathe News Weekly, naval training camp at Newport, Rhode Island Film of O. Henry's "The Marionettes" Carmela & Rosa Ponzillo, Italian girls Constance & Irene Farbers June 18, June 24, June 25, July 1, 1917 1917 1917 1917 250 Jonia "Pearl of Hawaii" and her Hawaiians, Hula dance clad in "Shredded Wheat" "Bill" Dooley and Eddie Nelson, comedians Mortimer, Tyrrell & ‘Holt, basketball on bicycles Ramonagraph - news Jansen, transformist, magician Joseph. Bennett & Edward. Richards, "Dark Clouds", 2 black face comedians Film of O. Henry’s "Past One at Rooney’s" Orville Harrold, operatic tenor, (presented by Gus Edwards), selections from Verdi, "I’m Falling in Love with Someone" from Victor Herbert’s "Naughty Marietta", pianist Hector McCarthy Jay Gould & Flo Lewis, "Holding the Fort", comediette George Jones & Mary Sylvester, "The Huckster & the Ham" Selma Braatz, jugglers Meredith & Snoozer, "The Wise Bull Boy" Austin Webb & Co. , "Hit the Trail", dramatic sketch by John B. Hymer, an episode in the career of an evangelist of the Billy Sunday type (not a travesty), the consciences of 4 trail hitters are awakened Bert Leslie & Co., "Hogan in Mexico", asst. Helen Cantlon Page, Hack & Mack, "Wait for the Finish", acrobats James Kelso & Blanche Leighton, "Here and There in Vaudville" Libonaty, ragtime xylophonist July 2, 1917 - July 8, 1917 July 9, 1917 - July 15, 1917 251 Leah Nora, songs from "Pagliacci", "Mme. Butterfly" and "One Fine Day", asst. A. Frank Lynn Wilson & Aubrey Trio, wrestling and gymnastics Ramonagraph - Pathe Weekly Film of O. Henry’s "The Guilty Party" Boyarr Co., "A Scene at the Kremlin of Moscow", Russian singers and dancers Janet Adair, song recitations, asst. Miss Adelphi Phina & Co., Singing, Russian dancing Bee-Ho-Gray, cowboy, with Ada Summerville and "Onion" the horse Pipifax & Panlo, comedy pantomime Hugh Herbert, "The Prediction", comedy Ramonagraph Film of O. Henry’s "The Copy and the Anthem" Hugo Jansen, "Fashion a la Carte", models, one dressed in red, white & blue Mabelle Sherman & Arthur Uttry, musical comedians 3 Chums, "A.Few'Minutes at the Club", banjo, saxophone, violin & ukulele A1 Shane, character comedian, singer Nip & Tuck, "Talk & Action", contortionists "A Night in the Trenches", black face singing and fun with Billy Morse & Eddie Bigelow, includes actual warfare, approach of the Zeppelins, flash of searchlights, destruction of barricades, soldier boys Film of O. Henry’s "A Service of Love" July 16, July 22, July 23, July 29, July 30, Aug. 5, 1917 1917 1917 1917 1917 1917 252 Will Oakland & Co., "Danny O’Gill, U.S.A.", Irish comedy Nat. Nazarro & Co., athletes Dorothy Earle, soprano, child impersonations Blackface Eddie Ross, African harp (banjo) Lohz & Sterling, flying trapeze, Roman rings "The Dream Garden", musical novelty with 6 girls, instrumentalists Ramonagraph Film of an O. Henry story Nan Halperin, singing comedienne, "The 5 Stages of Girlhood", song: "Please Play My Wedding March in Ragtime" Bert Fitzgibbons Spencer Charters, "The Hermit", with Irene Meyers and Craig Nelson Hedges & Hedges, singers Marlc>&.Duffy, gymnasts, horizontal bar, top spinning Color Gems, posing with color and light Film of O. Henry's "Gold that Glitters" Ramonagraph — Pershing’s reception in France Nan Halperin, (re-engaged), plays a bride— to-be saying goodby to pictures and letters of all her old sweethearts Nina Payne, character dancer, Justine Millikan musical director, W.M. Lavac trombone William Crew & Gwendoline Pates, "Solitaire" Aug. 6, Aug. Aug. 13, Aug. 1917 - 12, 19, 1917 1917 - 1917 253 3 O’Gorman <3irls, Kathryn, Billie & Margaret, "up-to—the-minute" military melange, female cornetists Mang & Snyder, athletes Ramonagraph Film of 0. Henry story Byal and Early, "Scotch Highball" Gus Edwards’ Band Box Revue, songs: "When I Grow Up" and "I Want to be a Soldier Boy", with Georgie, Cuddles, Vincent O’Donnell, Goldie Kids, & Marie Hall Santly & Norton, singers & dancers, piano Rita Boland, chorus girl indtation, gum— chewing slang expert of a burlesque show Leach Wallin Trio, iron jaw Eddie Ernie & May Ernie, "Three Feet of Comedy", acrobats Dunbar’s Old Time Darkies Mystic Bird, Master Paul, boy violinist Ramonagraph Film.of O. Henry’s "The Love Philtre of Ikey Schoenstein" Jean Adair 8: Co. , "Maggie Taylor--Waitress", l-act comedy by John B. Hymer, touching reunion. of mother and son, with. Robert Barratt Herbert Clifton, female impersonations George & Dick Rath Eddie & Birdie Conrad, singers & dancers Cycling Brunettes, "Defying Gravity" Ramonagraph Aug. 20, 1917 - Aug. 26, Aug. 27, Sept. Sept. 3, Sept. 1917 1917 - 2, 1917 1917 - 9, 1917 254 Film of O. Henry’s "The Gift of the Magi" Gene Green, black face stories, songs & chatter, pianist Walter Ford Red Loraine & Francis Pritchard, musical comedians Howard’s Animal Spectacle, dog pantomime Felix Bernard & Eddie Janis, "A Musical Highball" Imperial Troupe, cyclists Will Stanton, comedy' acrobat and contortionist, with.Master Albert violinist Ramonagraph Film of O. Henry’s "A Departmental Case" G.R. Herald News Pictorial Film - Farewell of Grand Rapids Battalion to Grayling Harry Holman & Co., "Adam Killjoy", new comedy sketch b Stephen G. Champlin, former GR boy Joe Towle, comedian, piano Musical. Hunters, "The IHuntsman’s Dream", xylophone, bells Richard Wheeler & Gertrude Dolan, "A 1917 Offering of Character Dances and Gowns" Valand Gamble, human compotometer, rapid calculations Six Serenaders, singers Ramonagraph Film of O. Henry’s "Strictly Business" Franker Wood & Bunnee Wyde, musical comedy & talking George Morton, black face comedy 1918 May 26, 1918 - June 2, 1918 June 3, 1918 — June 9, 1918 255 "Jackie", impersonations, appears as a boy soprano and a girl 6 McNutts Norman Brothers, comedy acrobats Ramonagraph - Pathe Weekly, war news Filfil of O. Henry’s "Specks of Garnered Fruit" "A Regular Business Man", comedy sketch by John Stokes, old Doug Fairbanks role - hopping tables and jumping chairs Ralph Dunbar’s Maryland Singers, songs of the 60’s Scarpioff & Varvara, Russian.boys, tenor and pianist Roy Harran & Jacqueline, roller skaters Strassel’s Animals Real World War Pictures, "Britain’s Bulwarks", graphic:episodes taken under fire on land and sea by British government Pathe Weekly Beatrice Mokrell’s Grand Opera Sextette, "A Study in Royal Purple", violin, harp Winona Winter, ventriloquist with dummy, impersonations, funny dialects Phil Kelly & Joe Galvin, "The Actor & the Italian" Mystic Hanson Trio, "Magic Man & Magical Maid", musical comedy’ including "kewpie" number Van & Belle, "Noah’s Ark", boomerang throwers June 10, 1918 - June 16, 1918 June 17, 1918 — June 23, 1918 June 24, 1918 - June 30, 1918 256 Dezo Retter' Brothers, gymnasts, man. who wrestles with himself War Pictures; Grand. Rapids Memorial Day parade films Pathe Weekly Raul Pereira, violinist and.string sextette, classical and popular grand opera Thomas Swift & May Kelly, song farce, "$3,000", "Soldier Boy" Francis Yates & Gus Reed, "Double Crossing" 4 Hartfords, "Fun in a Kitchen" Phil Eddy Duo, Karoline, wire act Walters & Walters, ventriloquists Pathe Weekly Leona LaMar, "Girl with a Thousand Eyes", mind reader Capt. M. Gruber & Mlle. Amelina, with elephant, horse, pony & dog Val & Ernie Stanton, ukulele & harmonica Leo Beers, singer, whistler Claude M. Roode & Estelle France, slack.wire War Pictures, "The Zeebrugge Raid" on decks of warship "Exemption", playlet on the subject of the draft by Samuel Chipman & Clara Lipman Dahl & Gillen, singers, pianist Harry & Anna Seymour, Singers, gowns Charles Henry’s Statue Dogs, "A Canine’s Dream" July 1, 1918 - July 7, 1918 July 8, 1918 — July 14, 1918 257 Sassy Lillian Gonne & Bert Albert, "On Their Way to School", sketch Worden Brothers, foot jugglers "Britain’s Bulwarks" Pathe Weekly Kenneth Hughes, 5 yr. old boy gives speech on the Thrift Stamp campaign and sings song about the Liberty Loan; has performed for President Wilson Leona LaMar (re-engaged) Olga & Mishka Co., classic and modern dances, asst. Walter Slater, violinist Billy Halligan & Dana Sykes, "Somewhere in Jersey" Thomas Patricola & Ruby Meyers, "The Girl and the Dancing Fool" Australian Creighton Frank Gorman, singing pastor, comedy skit Pathe Weekly Florenze Tempest, "The Lily & the Rose" by Marion Sunshine, M. George Hariss pianist Helen Gleason & Co., "The Submarine Attack" by Allan Leibner, comedy about a couple crossing the Atlantic afraid of a submarine attack George Moran & Charles Mack, 2 Black Crows, black face comedy Felix Bernard & Jose Termini, pianist & violinist, 'QX Musical Highball", ragtime, jazz, bounding dance The Bairds, "Sunshine Capers" 4 Casting Campbells "Britain’s Bulwarks" July 15, July 21, July 22, July 28, July 29, Aug. 4, 1918 1918 1918 1918 1918 1918 258 Pathe Weekly "The Viol-Inn" by Herman Timberg, dancing violin girls, includes soldiers goodby in Revolutionary War, Civil War, Spanish- American War, and present wars Martelle, female impersonations James Eadie & Ann Ramsden, "Charlie’s Visit" Edwin George, "A Comedy of Errors" Nat Burns & Sylvia Jose, "A Modern Dansant" "Britain’s Bulwarks" Pathe Weekly Florenze Tempest, re—engaged Santi, "The Girl with the Wonderful Arms", Egyptian and Persian dances, asst. Altra Krom, soprano & song interpreter Bert Fitzgibbon, the original "Daffy Dill" Kharnum, Persian pianist Duttons, equestrians, white horses Moran & Wiser, boomerang hat throwers Will & Enid Blond & Co., Australian illustionists "Britain’s Bulwarks" Pathe Weekly Mme. Doree’s Celebrity Impressionists, Sau Roselli, Malvina Joy, Eva Tugby, Giulio Adami, Grace Parker & Olive Cooeny perform impressions of Caruso, Tetrazzini, Destinn, Melba, etc. in "Faust", "Il Trovatore", and "Aida". Act ends with with "Carry Me Back to Old Virginny". 4 Portia Sisters Aug. 5, Aug. Aug. 12, Aug. 1918 — 11, 18, 1918 1918 — 1918 259 Phil Kelly & Joe Galvin, "The Actor & the Italian" 3 Hickey Brothers, acrobats Eddie Emerson & Jerry Baldwin, comedy juggling Libonati, ragtime on xylophone DeBourg Sisters, French magicians & illustionists, sword and cabinet trick Pathe Weekly Ralph Dunbar’s Tennessee Ten, Ethiopian singers & dancers, jazz band, drumming, 3 scene changes, U.S. Thompson dancing director 3 O’Gorman Girls, Kathryn, Billie & Margaret, military' melange, cornet, trombone, carry their own drop Al Shayne, singer Prosper & Maret, college athletes, blindfolded diving Fred Allen, "Tryling to Get Along", burlesque on ventriloquiests and other vaudville bromides Mlle. Theresse Circus "Britain’s Bulwarks" Pathe Weekly Charlotte Quintet, dancers, beads and tulle worn during Egyptian dance Joseph. Bennett & Edward. Richards, "Dark Clouds" Milt Collins, monologist, "The Patriot", topics of timely interest with humorous embellishments Aug. 19, Aug. 25, Aug. 26, Sept. 1918 - 1918 1918 — l. 1918 260 Madam Cronin’s Spectacular Elecric Novelty, varicolored lights, with Mlle. Juliette, dancer Officer Vokes & Don, imitation of intoxicated dancing clubman Love & Wilbur, rings Pathe Weekly Motion pictures of Furniture Factory picnic at Ramona Park Ford Sisters, Mable & Dora, dancers, waltz, dixie, military march " Somewhere in France " , war skit , jocular scene in the trenches between Canadian, Highlands, Irishman & Cockney Landers Brothers, Harry & Willie, tramp act Frank Willing & Doly'Jordan, "A.Few Pleasant Moments", singer, pianist June Salmo, contortionist The Lg. Sisters, children in exquisite costumes Grayling & Waco pictures of "our boys " taken prior to their departure for "over there" - shown by popular request Robert T. & Mrs. Haines & Co., "The Way Out", dramatic sketch by Rob ert Garland Edith Clifford & Co. Lyons & Yosco, instrumentalists DeNoyle & Donie, comedy singing, talking & dancing Donald Roberts, strolling tenor Jewell’s Circus, "Day in Toyland" Sept. 2, 1919 1918 May 25, 1919 — June 1, 1919 June 2, 1919 - June 8, 1919 261 "Britain’s Bulwarks" Pathe Weekly Gardner & Revere, comedy singing, talking & dancing Rex Adams & Olive Thomas LaMonts, cockatoos George Schindler, harmonica Grand Rapids News Jackies, "A Day on a Warship", motion picture Edith Clifford & Co., re—engaged Francis Nordstrom & William Pinkham, "The Memory Book--A.Bit of Lavendar and.Old.Lace" Alexander MacFadyn, pianist, composer Jimmy Lucas, "Wild Ravings of 1919", asst. Joe Hall Leon Sisters & Co., wire act Wanzee & Palmer, comedy skit Madden, jazz juggling McDevitt, Kelly & Lucey, "The Piano Movers & the Actress", comedy sketch William Seabury & Bille Shaw, interpretive dancing, Argentine Dance, Richard Conn pianist Al Lydell & Carleson Macy, "Old Cronies", characters representing the Army and the Navy Olsen & Johnson, violin, piano, comedy ventriloquists June 9, 1919 - June 15, 1919 June 16, 1919 - June 22, 1919 262 Hugh McCormick & Grace Wallace, "The Theatrical Agent", ventriloquist Lohse & Sterling, flying rings, trapeze Selma Braatz, female juggler Ramonagraph - return to Grand Rapids of Companies M and K Gus Edwards’ "A Welcome Home Revue", with Vincent O’Donnell, Alice Furness & Beatrix Curtis Ryan & Ryan, Scotch dancers Walter Brower, monologue and jokes William & Bessie Ramsdell & Muriel Deyo, dancers, polka Earl Hampton.& Dorothy Blake, "Just a Little Different", sketch with song: "Two Bottles of Milk and a Pint of Cream" Frank Parish & Steven Peru, barrel juggling, acrobatics Ramonagraph Harry Langdon, "Johnny’s New Car", with Rose & Cecil Eddie Nelson & Dell Crain, "Use Your Own Judgment" 3 Johns, ladder act Jack Osterman Florence Hobson & Betty Eileen, singers, piano Samaroff & Sonia, Russian peasants, "A Sunny Afternoon in.Their Native Land", dogs in act Ramonagraph June 23, 1919 — June 29, 1919 June 30, 1919 - July 6, 1919 July 7, 1919 — July 13, 1919 263 "Oh Auntie", musical comedy revue, singing & dancing girls in fashion gowns Davis & Darnell, "Birdseed" Edith Clifford, comedienne, character songs, Roy Ingraham pianist Bert Howard, imition of old-fashioned music box Wilson .Aubrey' Trio, comedy' gymnasts, wrestlers Capt. Gruber & Mlle. Adelina, elephant, horse, pony, dog Ramonagraph Harry Casteel & Co., "Race of Death", automobile and. motorcycle race in steel cage, 60 mph Mosconi Brothers & Co., "Dancing Odds & Ends" Eddie Janis & Reno Chaplow, "Music Hath Charms", classics and jazz, violin, singing, impersonations Elsie Williams & Co., "Why Was To Blame?", newlywed sketch Shelton Brooks & Horace George, revue, singing, jazz clarionetist Ramonagraph Katherine Murray, singing comedienne Harry & Anna Seymour, "Bright Bits of Mirth and Melody", impersonations Libonati, ragtime, xylophone Margaret Young, comedienne Dare Brothers, "Athletic Accuracy", posing act July 14, July 20, July 21, July 27, July 28, Aug. 3, 1919 1919 1919 1919 1919 1919 264 Ramonagraph Gene Greene, black face, "K-K—K-Katy" Jane Courthope & Co., "Our Family", playlet about emancipated womanhood Leona LaMar, mind reader, reads minds of audience Hickey Brothers, acrobatic dancers Lachman Sisters James Eadie &.Ann Ramsden, "Charley’s Visit" Jos. McCormack & Harry Mellon, singers and dancers Ramonagraph - current events Gellis Family Little Hip & Napolean, elephant and monkey, "Please Go Way and Let Me Sleep" Larry Corner, song revue 3 Webber Girls, Carrie, Grace & Laura Sherman Van & Hyman Leona Stephens & Len D. Hollister, "Out in California", musical playlet Ramonagraph Royal Gascoignes & Bertha the somersaulting dog, juggling of knives, chairs and Bertha C.B. Maddock's "Not Yet Marie", musical comedy, with William Edmonds & Mary Donoghoe, staged by Frank Stammers, music by MacDonald & Osborne Donald E. Roberts, strolling tenor Thomas F. Swift & Mary H. Kelley, "$3,000" Aug. 4, Aug. Aug. 11, Aug. Aug. 18, Aug. 1919 - 10, 17, 24, 1919 1919 - 1919 1919 - 1919 265 Karl Emmy & Pets Bobby Folsom & Al. W. Brown, "Town Topics" and "Passing Show of 1918" "Sweeties" by William B. Friedlander & Will M. Hough, with Martha Lawrence John Regay & Lorraine Sisters, dancers Ted Doner, dancer Old Time Darkies, southern plantation melodies Ramonagraph Herbert Trio, toss each other about Erwin & Jane Connelly, "The Tale of a Shirt", comedy of laundry life with typical O. Henry results Olga Miska Trio, classical and modern dancers Bryan Lee & Mary Cranston, "A Brittany Romance" Henry & Moore, "At the Newstand" by Pat Rooney George Fox & Stella Ingraham, singers 4 Roeders, Herculean stunts Ramonagraph Betty'Bond, kid impersonation, quick changes Ivan Bankoff & Co., "The Dancing Master", with Miss Phoebe and Leon Demquepian Joseph E. Bernard & Co., domestic skit Georgie Price (formerly with Gus Edwards), "A Little of Everything", imitation of Fanny Brice Aug. 25, 1919 - Aug. 31, 1919 Sept. 1, 1920 1919 May 23, 1920 - May 30, 1920 266 Francis Renault, Paris Fashion Plate, $50,000 wardrobe Gerald's Gypsy Serenaders, mandolins 7 Bracks, athletic machine gun Claudia Coleman, several women characters with hats and facial expressions Ramonagraph Imhof, Conn & Coreene, "In a Pest House" Haruki Onuki, Japanese prima donna Flo & Ollie Walters, Singers, stunning wardrobe Pickfords, comedy manipulators, jugglers Chris Richards, English comedian, contortionist, acrobatic dancing Young & Wheeler, "bachelors of music", classical and ragtime Caesar-Rivoli, impersonations of conductors performed in the orchestra pit Ramonagraph Onuki, held over Flo & Ollie Walters, held over Rosaires, wire walkers Charles Diamond, "Vagabond Harpist", ragtime and grand opera Caesar—Rivoli, held over Ramonagraph Frescott, mind reader, asst. Hope Eden May 31, 1920 - June 6, 1920 June 7, 1920 June 7, 1920 — June 13, 1920 June 14, 1920 — June 20, 1920 267 Edith. Clifford, character songs, Roy Ingraham pianist Ramsdells & Deyo, dancers Lucile & Cockie, parrot and cockatoo Will Perry, "The Frog" Bill McDermott of Coxey’s Army, monologist Ramonagraph Henry Santrey'&.Syncopated.Society'Jazz Band Harry & Anna Seymore Pat & Julia Levolo, wire act Jack Hughes Duo, banjo, piano, violin, saxophone, trumpet Nate Liepsig, card expert Tozart, "The Vagabond Artist", paints pictures with large canvas and oil Florenz Ames & Adelaide Winthrop, "Caught in a Jamb" "Toto in Kewpie Land", manikin kewpies that dance with Toto the clown Watson’s Dogs Elsa.Newell and WillianlMost, musical comedy 4 Harmony Kings, negro and plantation songs Color Gems, living figures posed against painted backgrounds, study in color, light and form "The Whirl of Variety" Sextette, imitation of Eddie Leonard’s dancing, with, Joseph Dorney, Harry Kran & Bob Lasalle Tabor & Green, "A Lesson in Grammer" [sic], black face act June 21, June 27, June 28, July 4, 1920 1920 1920 1920 268 Jed Dooley, "Once Seen N’er Forgot", rope spinning Mirand Brothers, "Their Flying Torpedos" Klanz & LaSalle, jazz tunes and steps Emily Darrell, "Late for Rehearsal", woman clown with dog Ramonagraph Leona Stephens & Len D. Hollister, "Back in Beverly Hills", black face banter Samsted & Marion, "The Bachelor’s Vision", physical culture Fred. Berren, "Words and. Music", violin, piano Felix & Fischer, gymnasts, comedy bar Conley & Webb, "Bits of Melody", singers and dancers Ramonagraph - news Marmein.Sisters &2Eollies, dance wearing toy costumes David Schaler, classical and popular piano Homer B. Mason & Marguerite Keeler, "Married", 1-act play' by Porter' Emerson Browne Vernon Stiles, tenor, song: "I Never Knew" written for Stiles by Elsie Janis & Irving Berlin Sully, Rogers & Sully, trampoline, bar, juggling Herbert Ashley, "An Unusual Conversation", asst. Roy Deitrich Raymond Wilbert, "On the Golf Links", hoop rolling Bob & Peggy Valentine, "Vital Statistics" July 5, 1920 - July 11, 1920 July 12, 1920 — July 18, 1920 July 19, 1920 - July 25, 1920 269 "Ye Song Shop" by Pat Rooney, with Warren Jackson, Robert Adams, Betty Winslow, Betty Stuart, Vivian Birmingham, Speedy Ryan & Catherine Ryan Billy Green & Homer Dean, burlesque on the "Miserere" Henry & Moore, "At the News Stand" Max G. Cooper & Irene Ricardo, "Ah, Gimme the Ring" La Petite Jennie & Co., midget "dolly dancer" "Bee-Ho-Gray", loops Ed Janis Revue, singers & dancers, with Carmen Rooker, Bob Macumber & Irvin Buckley Stan Stanley Trio, "A Dollar A Kiss", with Betty Marion and tenor Harry Ellis Bert & Betty Wheeler, "Bits of Everything", singers and. dancers, Charlie Chaplin imitation Page & Green MacRae & Klegg, comedy bicyclists Ramonagraph Johnny Muldoon & Pearl Franklyn, with Lew Rose Ja-Da Trio, Chester, O’Brian & Allen, 3 "gobs" (good old boys) Choy-Ling-Hee Troupe, fire eating Arthur Stone & Marion Hayes, "Green Goods" Rena Arnold & Harry Lambert, "Pills" Frank & Ethel Carmen, hoop rolling, baton Ramonagraph - pictures of Presidential Candidate Cox July 26, Aug. Aug. 2, Aug. Aug. 9, Aug. 1, 1920 - 1920 1920 — 8, 1920 1920 - 15, 1920 270 Nat Nazarro, Jr., with Atlantic Fleet Jazz Band, former blue jackets (Navy) Ethel Clifton & Co., "Diamond-cut—Diamond" Bartram & Saxton James Mullen & Anna Francis, "I Get What’s Left" Pontzer Duo, contortionists Rinaldo IBrotherS, Roman art, posing and athletics Ramonagraph Gene Greene, characters, asst. Beth Mayo Carl Emmy & Pets Lee R. Rose & Katherine Moon, storpy in song and dance, Harry Stover pianist Anthony, accordeonist Lucas & Lucille Inez, "An Art Classic", aerial act Ramonagraph Yip, Yip Yaphankers, "A Day at the Camp", tumbling, singing, comedy Doc Baker, "Flashes", fashions, fads, lightning changes, with Polly Walker, Bud & Jack Pearson Frank.Kellun1&,Patricia O’Dare, "Chasing the Blues" 3 McDonalds, cyclists Libonati, xylophone syncopation George Bobbe & Eddie Nelson, "His Girl" Miss Bobbie Gordame, artist model, poses old masters Ramonagraph Aug. 16, 1920 — Aug. 22, Aug. 23, 1920 1920 - Aug. 29, Aug. 30, Sept. 1920 1920 - 5, 1920 271 Fisk & Lloyd, "A 20th Century Honeymoon" Vernon Stiles, tenor of Metropolitan and Chicago Opera (here by request) Charles Hendrix Belle Isle Co., "The Schoolmaster" 5 Partrowars, singing and dancing quintette, poses Pistel & Johnson, "stranded minstrels", black face Josephine Leonard, singing comedienne, Harry Lauder impersonation James & Etta Mitchell, "Fun in the Air" Ramonagraph Mlle. Princeval, French dramatic soprano Nikko Trio Japanese Bert Repardy & Gwendolyn O’Goody, "When the Clouds Roll By", black face singing & dancing, Virginia patter Garcinetti Brothers, hat throwers with dogs Ramonagraph Bert Hanlon, nonsense songs, "I Hate an Olive" McLoud & Norman, violin, banjo "Hands Up", sketch with 5 children La Bernicia, prima ballerina, "Land ’O the Jack’O Lantern" , with Minne STanley & Wilbur Ferris, Ethel Bixby harp, Benjamin Klevan violin Marion Weeks & Henri Barron, singers, "Doll Song" from "Tales of Hoffman" Ed Hastings, juggler Sept. 6, 1921 1920 May 22, 1921 — May 29, 1921 May 30, 1921 — June 5, 1921 272 Dare Brothers, athletes, physical culture Marks & Pardo, nonsense act Frances Doherty, singer "Keep it Dark", comedy skit, with. Mary Minter, Julius Verne & Viola Esch Jack LaVier, monologist Ed Hastings, juggler, re—engaged Francis Doherty, Irish wit, re-engaged Marks & Pardo, re-engaged Ramonagraph Jack Levy & 4 Symphone Sisters, violin, cellou, flute, piano, song: "Home Sweet Home" Mr. & Mrs. Perkins Fisher, "The Halfway House", written for them by the late Ezra Kendall Reinhart, Murphy & Gibner (formerly Primrose 4), Singers, "kismet" number Neal Abel, coon stories, dancing Ruth Howell Duo, aerial act Ramonagraph — Universal Weekly, Mack Sennett comedy EVENINGS: Ralph Dunbar’s "The Firefly", comic opera company, prima donna Dorothy Shirley, 35 singers, libretto by Otto Hauerbach, music by Rudolf Frimi, orchestra directed by Charles Berton; with W.J. McCarthy, Billy Lynn, Sylvia Thorne, William H. White, Ione Wilbur, Marion Ringsdorf, Ann McCashin, Walter Peterson & Marion Fonville June 6, 1921 — June 12, 1921 June 13, 1921 - June 19, 1921 273 AFTERNOONS & BETWEEN ACTS IN EVENINGS: DeHaven & Nice Mulligan & Mulligan, "Follies of 1776" Walter Ward & Ethel Dooley, "What We Can Do" Haynes, Montgomery'& Hannah, "The Deputy" by Harry L. Newton, music by Jack Baxley Charles Wilson, "the loose nut" Dezzo Retter, "The Man Who Wrestles Himself" Ramonagraph - Mack Sennett comedy, news EVENINGS: "The Red Mill" by Victor Herbert, comic opera company, book and lyrics by Henry Blossom; additional singers: Lloyd Hamilton, Fred Friar, Glenn Shaver & Jessie Schwenk AFTERNOONS: Willie Hale & Brother Claude Golden, card expert Vera Sabina, "A. Symphony' in. Danceland", asst. Maurice Spitzer Dennis Chabot, boy from Belgium Nonnette Tortini, "When the Clock Rings", satire Herbert’s Loop the Loop, canaries, cats, pigeons, dogs Ramonagraph - Mack Sennett’s "The Unhappy Finish" "M’lle Modiste", Dunbar Opera Co., libretto by Henry Blossom, music by Victor Herbert, additional singers: Dorothy Lange, June Reed June 20, 1921 - June 26, 1921 June 27, 1921 - July 3, 1921 July 4, 1921 — July 10, 1921 July 11, 1921 - July 17, 1921 July 12, 1921 274 Afternoons: vaudville by Dunbar company, pictures "The Girl of My Dreams", book by Wilbur D. Nesbit &. Otto Hauerbach, music by Karl Hoschna, additional singers: Chester Merton, Mabelle Lacouver, Elizabeth Kellar (G.R.) Afternoons: vaudville by Dunbar company, pictures "Sweethearts", book by Harry B. Smith, lyrics by Robert B. Smith, music by Victor Herbert, staged by Frank M. Rainger, costumes by Mme. LeRoy, manager W.S. Reynolds , scenic artist L . E . Donigan, additional singers: Jackson Murray, Betty Murray, Mary Beason (G.R.) Afternoons: vaudville by Dunbar company, pictures, "Dunbar Salon Singers" at matinee and evenings between acts "Naughty Marietta", originally produced by the late Oscar Hammerstein, book by Rida Johnson Young, score by Herbert, additional singers: Doris Doe, Donald L. Holt (G.R.), Arthur Winchester (G.R.) Dunbar Negro Quartette, plantation songs between acts "The Candy Shop", music by John.Golden, book by George V. Hobart, directed by Fred M. Rainger, additional singer: Berniece Phillips, James LeRoy Dunbar Negro Quartette, plantation songs between acts NEWSBOY PICNIC MATINEE: Old Time Darkies minstrel troupe motion pictures July 18, 1921 - July 24, 1921 July 25, 1921 - July 31, 1921 Aug. 1, 1921 - Aug. 7, 1921 Aug. 8, 1921 - Aug. 14, 1921 Aug. 15, 1921 — Aug. 21, 1921 Aug. 22, 1921 — Aug. 28, 1921 Aug. 30, 1921 - Sept. 5, 1921 1922 May 21, 1922 — May 28, 1922 275 "The Rose Maid", book by Harry B. Smith & Raymond Peck, lyrics by Robert B. Smith, mush: by Bruno Granichstadten, additional singers: Fred Frear, Eugene McDonald "The Tenderfoot", lyrics by Richard Carle, music by H.L. Heartz, additional Singers: Paul Kleeman book by Charles Dickson, Hauerbach, music by Earl "Three Twins", lyrics by O.A. Hoschna "The Royal Chef", book and lyrics by George E. Stoddard & Charles S. Taylor, music by Ben M. Jerome, additional singers: Harry Hermsen Little Miss Dorothea. Gillett (G.R.), vaudville between acts "The Prince of Pilsen", by Pixley & Luders (the American Gilbert & Sullivan), additional singers: Joe Cleta Howe, Dolly Day, Earl Wagner Libonatti between acts "The Only Girl", music by Henry Blossom & Victor Herbert, additional singer: William Degon "Robin Hood", by DeKoven, 2 companies combined, 100 singers, all-star cast, directed by Carl Rhodes, additional singers: Henry Pfeil, Elsie Thiede, Vernelle Rohrer, Glen Scherer, Ms. Clarence Bennett, Fred Palmer, Fred.Harting, Paula Ayers, Miss Theo Pennington (G.R.) Kelcy 1J1 "Brazilian Heiress", dancer Frankie musical comedy, May 29, 1922 — June 4, 1922 June 5, 1922 - June 11, 1922 276 Eddy Foyer, "the man with a thousand poems " , melodramatic reading of "Shooting of Dan McGrue" and Kipling’s "Boots" Radero & Marconi, comedy musicians, violin, accordion Mme. Jean Beerzach’s Circus, dogs, Shetland pony, mule, 2 negros Sully, Rogers & Sully, "Bounding Sailors", acrobats Photoplay: wanda Hawley in "The Truthful Liar" Copper City 4, "Cotton Pickers", the South "befoh de war", with Gene Colling and Ada Webber Ben Bernie, comedian, violin Robbie Gordone, artist model, tableaux poses of "Cleopatra" and "Jeanne D’Arc" Byal & Early Bostock’s Riding School with Lillian St. Clair, equestrian Photoplay: May McAvoy in "Everthing for Sale" Rita Gould, "A Song Cycle" by Frances Nordstrom, Jene Cass pianist "A Virginia Romance", with Robert Buchanan, set in 1860 3 White Kuhns, juggling, bass viol Jack Waldron & Betty Winslow, "step styles" , dancers Jack & Jessie Gibson, bicycles, unicycles Photoplayn Constance Binney in "First Love" June 12, June 18, June 19, June 25, June 26, July 2, 1922 1922 1922 1922 1922 1922 277 Hamlin & Mack, "2 Records", performers come out of a talking machine/phonograph singing and dancing Austin & Delaney, black face comedians and dancers Sherman, Van & Van Edna Pierce & Hazel Goff, xylophone Bobbiy McLean & Co., "Tons of Ice", skate on surface resembling ice Photoplay: Mary Miles Minter in "Heart Specialist" Tom Patricola, comedian, asst. Irene Delroy Carl Emmy & Mad Wags, dogs Tom Brown’s Princeton 5, black face instrumentalists, xylophone, brass quartet, drums Helen Staples, prima donna George Brown, walking machine, asst. Marion Ardell Photoplay: Constance Binney in "Midnight" "Flirtation", Jean Waters & Jack Diebel, dancers Jack Osterman, musical comedian Embs (Lowell man) & Alton, singers, piano, violin Billy Dougla & Teddy Leary, musicians Simpson & Dean, "Honkey Tonkey Town" Timmy Gordon & Herbert Germaine, Fashion Plates DeBourg Sisters, "Girl in the Box", magic Ramonagraph — "Topics of the Day" July 3, 1922 - July 9, 1922 July 10, 1922 - July 16, 1922 July 17, 1922 — July 23, 1922 278 Joseph Regan & Co., "Irish Moments", with Alberta W. Carlies Frank Van Haven, magician Love & Wilbur, rings Hart, Helen Wagner, & Etis, "Going to the Opera" Jenny Middleton, violin Johnson & Baker, comedians Person, Newport & Person Ramonagraph - Pathe news reel Sternad’ s Midgets, 22 people, baby elephant, dogs, ponies Bryan Lee & Mary Cranston, "Snappy Coons" 3 Hamill Sisters, Gaby, Clarice & Cymon, trombone, cornet, piano Moran. &. Mack, "A. Modern Romance", from Ziegfeld’s Follies Lloyd Nevada & Co., magician, "Disappearing Automobile" Ramonagraph — Pathe news reel David Schooler, "Music Hath Charms", music of wagner, Pucini, verdi, Chopin, Idszt, with Pauline Chambers, Ellen. Boyle, Ina Alcova & Peggy Vane George Demerel & Myrtle Vail, "A Musical Satire" by Jack Lait, asst. Marion Carl Mack Hanley & Fritzie Howard Charles Wilson, "A Loose Nut" Herbert Dyer, "A Laugh a Second", asst. Ben Coyne Jordon Girls, wire walkers July 24, July 30, July 31, Aug. Aug. 7, Aug. 6. 1922 - 1922 1922 - 1922 1922 - 13, 1922 279 Ramonagraph - Pathe News Weekly Roscoe Ails with Kate Pullman, jazz band and dancing, asst. Maudie Clark Will Armstrong, "$10,000 Ankle", comedy sketch, asst. Maudie Clark Grace Fallon (G.R. girl), "Words & Music", singing, piano, guitar, asst. Willard Fiske 3 Weber Grils, dancing, acrobatics Claymo, comedy clay modeler Ramonagraph - Pathe News Weekly Barber & Jackson, singers "Juvenility", jamboree with singing, dancing, saxophone Hickey Brothers, dancers Billy "Single" Clifford Joseph E. Bernard & Co., "Who is She" by Willard Mack Rayfern & Maree, satire Boyce Combe, asst. Harry Grey Harriety & Harry Seeback, "Fun in a Gymnasium" Ramonagraph - Pathe News Weekly Johnny Coulon, former boxer, "The Man You Cannot Lift" Jimmy & Blanche Creighton, "Town Hall Cut— ups", comedy of an old town where annual visitis of dramatic standbys such as Uncle Tom’s Cabin are the chief events of the year Bobby Henshaw & Co., ukulele, with Alice McLean Swift & Kelley, "Gum Drops", skit Aug. 14, Aug. 20, Aug. 21, 1922 - 1922 1922 - Aug. 27, Aug. 28, Sept. 1922 1922 - 3. 1922 280 Ja-Da Trio, comic sailors 3 Whirlwinds, roller skating, acrobatics Dancing Humphreys, Apache, Bowery & Chinese dances Pathe News Weekly Miss ‘Venita Gould, stage impressions of Lenore Ulrich and Gallagher & Shean Charles Oscott & Mary Ann, "One Man Opera" Foster Ball & Fred Moore, "Since the Days of ’61", sketch 4 Pearls, clog dancing Gilbert Wells, dancer Ed M. Gordon & Ida M. Day, "Mirthful Nonsense", tramp bicyclist 2 Sternads, xylophone Pathe News Weekly Bravo Michelino & Jose Trujillo, "Spanish Gypsy Revue" Jarrow, "Sawing 61 Lemon 1J1 Half", comedy card tricks 4 Popularity Girls, singers Wilberg & Adams, "The Fall Guy", acrobats Werner' & .Amoros Trio, "Love’s follies", violin, cello, piano, female impersonations Carlton & Ballew, singing, piano McCarthy, Sternad & Co., "Divorce Court", noisy family row with a happy ending Anna Chandler, singing comedienne Frank Walmsley & Mae Keating, "Comicalities of Life", race track sketch Sept. 4, Sept. Sept. 11, Sept. 1922 - 10, 17, 1922 1922 - 1922 281 3 Lees, "Watch the Pipe", club jugglers, hat throwing Bell & Caron, dancing Harry Van Fossen, black face monologist Sidney Landfield, "Boy & Piano" Anna Chandler and Sidney Landfield finish with a combined number Pathe News Weekly Ethel Gilmore, ballet dancer Jean Southern & Co., "Girls Will Be Boys", boy characters Broadway Johnnie and Bowery Boy Jimmy Casson & Fred Klem, singing, piano Zeck & Randolph, "Grooming the Groom", skit Doyle & Elaine, "A Study in Tan", black face clogging Josselyn & Turner, "At the Races", race track skit LaRays, "At the Golf Club", aerialists Anna Vivian & Co., "Hunting", rifle expert Pathe News Weekly Local Elks Mardi Gras: Ernie Young’s "Marigold. Garden. Revue", prima donna Patricia Baker, musical director William Chadsorth Cameron Sisters, singers Connelly & Connelly, melodeon, ukulele & mouthorgan, singing & dancing Iken, dancer Eleanor Williams, Japanese dancer Ethel Tearle, pony ballet 1923 1923 - 1923 May 27, June 2, 1923 - 1923 June 3, June 9, 1923 - 1923 June 10, June 16, June 17, June 23, 1923 - 1923 1923 - 1923 June 24, June 30, July 1, July 7, 1923 - 1923 1923 - 1923 July 8, July 14, 1923 - 1923 July 15, July 21, 282 Shannon Brothers Gene Collins, negro dancer A.B. Marcus Show, "Hello Prosperity", musical comedy including a skit, quartet, dancing, violin, bird imitations, prima donna Bee Winsome, with Charlie Abot, Elmer Cloudy, 'Allen Mack, Frank DuTeil, Richey Corey, Audrey' Rand, Tex .Arlington, Cleo Lewis, Mary Moretti, Katherine DeVaux A.B. Marcus Show, "The Sultan’s Daughter", additional performers: Louise LaVelle, Maybelle LaCouver, James Cunningham, Flo Yohe, Audray Rend A.B. Marcus Show, "Impressions of 1923"; Seymour Simons with jazz orchestra; Golden Gate 4: Jim Henerson, Billy MOran, Henry Weber, Jim Cunningham A.B. Marcus Show, "The Place and the Girl"; Semour Simons with jazz orchestra A.B. Marcus Show, "Oh Baby" A.B. Marcus Show, "Cluck! Cluckll", chorus dressed as beauties of the North and Egyptian princesses, including an aviation scene with.a blimp; Bowery number; "Watch.My Bag", comedy skit Honey Bunch Co., "Madcap Mary", Graves Brothers production, "Busy'Bee" Chorus, with Curley Burns (black face), Marian Stewart, Ray Hanley, Eddie Page, Lynn Griffin "Vamping Along" , Graves Brothers production, farce comedy with chorus numbers; male quartet sings " Sweet Ad-e-li—i-ine"; Vera July 22, 1923 - July 28, 1923 July 29, 1923 - Aug. 4, 1923 Aug. 5, 1923 — Aug. 11, 1923 Aug. 12, 1923 - Aug. 18, 1923 Aug. 19, 1923 — Aug. 25, 1923 Aug. 26, 1923 — Aug. 29, 1923 Aug. 30, 1923 - Sept. 3, 1923 283 Wilson in toe dance; additional performers: Delores Leon, Jimmie Hollis "Home Made Sweetness", plot about candymaking; additional performers: Peggy Mayo, Vera Wilson and Wilson Sisters "Oh! Oh! Obediah", rural chorus number in blue silk overalls; Margie Page, additional performers: Roy Kinslow "The Blue Darling"; also "The Vampire", 15" grave playlet by Palmer Hines, based on a Kipling' jpoem, starring' Curley' Burns; additional performer: Miss Fraley; barbershop quartet between acts Cohan’s "45 Minutes from the complete Cohan version George M. Broadway", "Linger Longer Letty" by Oliver Morosco, about a household drudge going on strike; additional.performers: Ifianriffin, Lillian Edbrooks, Pearl Burns "Honey Bunch Revue", starring Curley Burns and the Honey Bunch Peaches Keith Vaudville: El Rey Sisters, dance revue Hall & O’Brien, "The Aerial Man" Howard Pader O’Halligan & Levi, singing & dancing Kingston & Ebner, human brass band Farrell & Carley, stunts, singing Steele & Wilson, "Bumping the Bumps", rollerskating Fabb & White, black & tan act 1924 1924 - 1924 May 29, May 31, 1924 - 1924 June 1, June 18, 1924 - 1924 June 19, June 21, 1924 — 1924 June 22, June 24, 1924 - 1924 June 25, June 28, 1924 — 1924 June 29, July 5, July 6, 1924 - July 12, 1924 1924 - 1924 July 13, July 19, July 20, 1924 - July 26, 1924 1924 - 1924 July 27, Aug. 2, 284 Marcus Show of 1924 with Guy Rarick, Al Ferris, Flo Yohe, Wells & Winthrop, Jane Stone, Richey’ Corey, Bee Winsome, Frank DuTeil, Jane Frayne, James Cunningham, Dick Tandler, Billy Horan, Marcus Peaches A.B. Marcus Shows A.B. Marcus Show, "Follies of Pleasure", Meehan & White, Reno & Margaret Willoughby, Marcus Peaches A.B. Marcus Show, "Even So" A.B. Marcus Show, "Look Up" A.B. Marcus Show, "Strut Yo’ Stuff", Marcus Peaches, Gillette Sisters; Wednesday night beauty contest Bert Smith’s Revue, "The Naughty Princess" by Vi Shaffer & Joe Marion, the Oh Daddy Company, with Delmar 4, Bert Evans, Billy Malone, Helen Burke, Jane Kermit, Dick Butler, Bobby Whalen and Chorus; "Garter Night" on Friday Bert Smith Co., "The Racing Girl", musical comedy Bert Smith Co., "Hello Broadway"; amateur contest Monday night with singing, dancing, elocution Bert Smith Co., "The Belle of New York", 35 people-~mostly girls; amateur contest Monday night Aug. 3, 1924 — Aug. 9, 1924 Aug. 10, 1924 — Aug. 16, 1924 Aug. 17, 1924 - Aug. 23, 1924 Aug. 24, 1924 - Aug. 30, 1924 Aug. 31, 1924 - Sept. 6, 1924 1925 May 22, 1925 - May 23, 1925 May 30, 1925 May 31, 1925 - June 6, 1925 285 Bert Smith Co., contest on Friday "Lovey Mine"; chorus girl Bert Smith’s Oh! Daddy Oh! Co., "Two Fools"; a Mormon wife given away on Friday Bert Smith Co., "Little Miss Mix—up" Bert Smith Co., "Mama Loves Papa"; Make-up Night on Friday (performers apply'make-up in full view of audience) Bert Smith Co., "Down On the Farm" Merry Masqueraders, local dance production directed by Miss Travis Southern Nightingales and Irving Schiff, boy soprano Sully & Mack, "The Great Lovers" Fehnova Dancers, "A Whirl of Dance" Sinde Dale & Dixie DeLane, singers & dancers Fries & Cody, "Eat and Grow Thin" Fred Swift & Kitty Daley, "One for Nothing" Teevin’s Ramona Orchestra, directed by John Evans Ramonagraph news reel Frances Kennedy, commedienne, stories Grace Edler & Co., "Dancers Unique", cloggers June 7, 1925 - June 13, 1925 June 14, 1925 - June 20, 1925 286 Walter Newman & Co., "Battling Terry", comedy sketch Perry Wagner & Co., comedy, singing, cross talking Paul, LeVan & Miller, comedy acrobatics Ct. Perrone & Trix Oliver, baritone and soprano Teevin’s Orchestra Ramonagraph Charles King, singer, monologist, asst. Willie White 5 Petleys, aerialists Clifford Wayne Trio, Indians from Carlisle College, violins, native costumes Frank Brown & Kay Lavelle, singing, xylophone Henry & Moore, "His Brother" Bud.Coulter & Billy Rose, "Darktown Frolics" Hazel Moran, lariat Teevin’s Orchestra Ramonagraph - Grand Rapids Knights Templar parade pictures Lew Hearn & Co. Harry Breen, song writer Miss Happy Harrison’s Comedy Animal Circus, with Dynamite the mule, dog, pony, baboon Stansel & Leonhart, sketch, characters of a woman hater and a motion picture "vamp" Joe Regan & Alberta Curtiss, Irish tenor Seymour & Miss Jeanette, "Midnight Strollers", dancers June 21, 1925 - June 27, 1925 June 28, 1925 — July 4, 1925 July 5, 1925 — July 11, 1925 287 Les Gladdinds, living statues and poses Teevin’s Orchestra Sascha Piatov & Lois Natalie, ballet dancer Walter Brower, monologist Edith Clifford, singing comedienne, pianist Mabel Leonard Minerva Courtney, "Build Your Onw Home", satire, asst. Hale Norcross Jean Granese, Charles Granese & Tito de Flore, musicians Yong Wong Co., chinese acrobats Samaroff & Sonia, "A Bit of Old Russia", folk dancing Teevin’s Orchestra Ramonagraph Stella Mayhew, singing comedienne, pink bungalow apron, smart evening gown Rob Robinson & Renee Pierce, "Crossed Wives", satife on married life Alexis ruloff, Russian ballet Melville & Rule, comedy charactaer sketch Ray Wynne’s Cycle of Color, living pictures, posing, lighting Charles Fargo & Leah Richards, "The Local Girl", laugh lines and saxophone foolery 3 Rubes, Bowers, Waters & Crocker, rural comedy and tumbling Teevin’s Orchestra Herbert Clifton, "Travesties of the Weaker Sex", freak voice July 12, 1925 — July 18, 1925 July 19, 1925 — July 25, 1925 288 Al Lydell & Carleton Macy, "Old Cronies" Henry Margo & Co., "Tints & Tones", ballet, violin Sam Liebert & Co., "The End of the World", playlet, with Howard & Betty Lane Mitchel Brothers, Southern banjos Frances Ross & DuRoss, musicians, comedians Ethel Marine & Co., athletes Teevin’s Orchestra Ramonagraph Bobby Barker & Co., "Husbands 3", musical farce at a golf course, with Harry Kelly, Walter Marion & Laida Palmer Fred Fenton & Sammy Fields, "Appearing in Person", black face skit in Scotch kilts Earl Reynolds & Donegan Co., "Real Champions", musical comedy revue with rollerskating William A. Jones & A.W. Rea, "The End of the Line", trolley car travesty Bryan Lee & Mary Cranston, "The Honeymoon House" Helen & Ralph Sternard, "Syncopating the Classics", jazz and xylophone added to the classics Walter Baker & Co., comedy magic Teevin’s Orchestra Ramonagraph Marimbaland - Spanish musicians and dancers, marimba players, Apach & Argentine tango Lillian Gresham, "Harmony Deluxe", soprano, classics and grand opera; asst. H. Whitefield Laite & Ferdinand Zegal July 26, Aug. Aug. 2, Aug. 1. 1925 1925 1925 - 8. 1925 289 Si Jenks & Nell Fulton, "The Summer Town Wise Crackers", singing & dancing Hazel Mann & Eugene Strong, "Garage Love", romantic comedy sketch by William H. Hough Mabel Harper' & Co., singing & dancing, popular songs, asst. Ethel Fitzpatrick Togo - slide on rope from balcony, top spinning Brosius & Brown, bicyclists Teevin’s Orchestra Ramonagraph Frank Van Hoven, magician Franklyn Ardell, "The Wife Saver", comedy about seaside lots Chieftain Caupolican, Chilicun Indian baritone, pianist Jeanna Renaud, "Toreador Song", "Pale Moon" Keo Taki & Yoki, juggling, balancing Mr. & Mrs. Newman’s cats and mice Lloyd Neva & Co., "Mirth & Mystery", spooky Teevin’s Orchestra Ramonagraph Rita Gould, singer, shows girls how to wind a turban, pianist Leah Keith Richardson & Adair, "The Flower Vendor" Johannes Josefsson, jiu jtsu exhibition Hamlin & Mack, "The 2 Records", imitate phonograph records Guy Rarick, Dick Tandler & Jane Stone, "Who Did It?", Guy does hula hula dance Aug. 9, Aug. Aug. 16, Aug. 1925 - 15, 22, 1925 1925 - 1925 290 Dorothea Neison & (Otis Francis, violin, piano "3 Golfers" Teevin’s Orchestra Ramona Edward Alexandria & Ollie Olsen, "What’s It All About?", asst. Charles Johnson Fleurette & Jeoffrie, soprano Joe Shriner & Billy Fitzsimmons, "The Newsdealer" , uses empty beer case as his "hope chest" Meehan’s Canines, leaping hounds Ollie Bingham & Marjorie Myers, "Right off the Reel" Emery Girls, "Their Own Idea", dancers Gen. Pisano, "At the Gun Club", lights matches, hits pendulum with rifle bullets, asst. Charlotte Cochrane Ramonagraph Kelson Brothers & Co., "Crazy Quilt Revue" by Florence Barnley, with Florence Darley and Marie Kelly Ray Dean & Elsie, "Alpheus", comedy skit "Life and the Big Top", skit takes place oustide a circus Delmar’s Fighting Lions Billy DeLisle & Co., "A Variety of Surprises", club throwers, asst. Flo»Carroll Miss Zeigier, equilibrist Clark Morrell & Co., singers, pianist Royal Bernard Teevin’s Orchestra Aug. 23, Aug. 29, Aug. 30, Sept. Sept. 6, Sept. 1925 1925 5, 1925 1925 1925 291 Ramonagraph "Clown’s Frolic" - afterpiece including everyone on the bill Miss June Quontai, chinese contralto, sings American jazz in Chinese, costumes Florence Brady & Gilbert Wells, Southern singing Sherman & Rose, Russian dance revue Alan Coogan & Mary Casey, "The Shrinking Violets", sketch about nurse & patient Nella Arnaut & Brothers, musical dansology, violin Betty Moore & Co., "Laughs & Drills", pianist Ray Zellar Jack Strouse, black face skit Teevin’s Orchestra Ramonagraph Albertina Rasch, "Rhythmic Toes", with Day & Eileen, violinist Fallentus Ben Rodero & Dan Maley, "Ask Me Something", dancing, poses, puns & play on words Earl Pearson, Cleo Newport & Carl Pearson, "Rhythm", clogging, acrobatic dancing Frank Meehan & Eileen Shannon, "Tea Thing" Tyler Mason, "The Southern Breeze", black face Billy Lamont Trio, Live Wire Steppers Teevin's Orchestra Ramonagraph 12, 1925 Immd.Hokum, contortionist 292 Cameron & Collins, "Apostles of Humor" Agreedoff’s 'Variety’ Revue, toe and jazz dancing, Miss Perkins, Jeanne Orr, Riva DeNegra Reginald Knorr, Eleanor Rella & Co., "The Battle Cry for Freedom", sketch about divorce court in Reno Dillon & Lawrence, "2 Bricklayers", talking and jokes Jack Hallam & Frances Day, "Oh! Jackl", sketch Jules Larne, & Jeane Dupre, acrobats Teevin’s Orchestra Ramonagraph APPENDIX B SOME OF THE NOTABLE PERFORMERS WHO PLAYED RAMONA FANNY BRICE. In 1902, Fanny Rice [sic] headlined.at Ramona, making her first vaudeville appearance in Grand Rapids. She had been seen previously at the Powers Theater in "At the French Ball,"1 and it was reported that her vaudeville appearance represented desertion of the "so-called legitimate theaters."2 Rice’s act was called a miniature stage exhibition. She appeared through a velvet curtain and gave a dramatic reading of "Salvador, " a "stirring race poem, " by Ella Wheeler Wilcox. Rice then retired into her miniature theater which contained little automated people. One character was "Wosie" who was afraid of "Wobbers."3 Although somewhat handicapped by the open air theater,4 Rice was described as "laughing, bubbling, sparkling, scintillating."5 Last week was the most prosperous ever enjoyed by Ramona Theater. The receipts were several hundred dollars in excess of the previous 7-day record of the Reeds Lake summer play house. Fanny Rice was the drawing card and she was favored by especially fine weather.6 In 1914, Fanny Brigg again caused a sensation. She was dubbed the "highest salaried comedienne ever presented at 7 Ramona." Brice had just finished playing in Chicago. The 293 ;_4 Press described her career, noting her "rapid rise from obscurity to headliner." The report went on to say that Brice was a "suffraget [sic] newsy when Florenz Ziegfield assigned her a part in one of his ’Follies’."8 It was reported that Brice had changed so drastically since her last Grand Rapids performance that few recognized her. She was described as being "so much lighter, both as to pounds and hair."9 Press Dramatic Critic summarized the sensation with, "There is no denying that Fanny’s coarse, but Fanny’s funny."lo Sparkling, vivacious, magnetic Fanny Brice has caught local audiences strongly with her odd, whimsical humor. No one like her has ever been seen here and her line of work is so unusual as to cause a gasp of delighted surprise. She works with an abandon that is refreshing .” THE KEATONS. In an August 1902 program, one of the less heralded acts on the bill was a "grotesque comedy' act, replete with eccentric and acrobatic dancing and mirth provoking skits."12 Joe, Myra & Buster Keaton presented a funny turn last evening, but it would have been funnier if it had been more concentrated".13 This was the first performance of the "3 Keatons" on the Ramona stage. Nine years later in 1911, the Keatons returned to "renew their acquaintance with Ramona audiences."14 The family was fresh from a long vacation at their summer home in Muskegon on Lake Michigan.15 29 Laughs are frequent on this week’s bill at Ramona, the jolliest outbursts being furnished by the Keatons . The family has grown from 3 - 5 members since Grand Rapids last saw it and its enterprising powers have developed as well . Joe and Buster tickled the audience’s funny rib immensely last night with. their slapstick. antics, while Myra, Jingles and the baby did their share to create amusement.l6 An article entitled "Happy Stage Wedlock" on July 19, 1911, reported that the Keaton family had grown from three to five in the nine years that had passed since the "Three Keatons" had entertained at Ramona. "’Buster’ has become a comedian of fourteen years; ’Jingles,’ who wasn’t then is now nearly eight, and Louise, the baby soubrette, is four." The article reported that Joe, married to Myra for 26 years, prided himself on his ability to handle children, The article also reported that Jingles and Louise had been trying to "turn Ramona Park upside down."17 CARRIE NATION. Towards the end of the 1902 season, Manager Stair brought a unique attraction to the Ramona stage that appeared after the regular vaudeville program. Mrs. Carrie Nation, "the Kansas joint smasher", gave talks on Monday and Tuesday afternoon and evening. Some phase of the temperance question will be her topic. Just what she will talk about will and what she will say remains to be seen, for Mrs. Nation has a way of discussing whatever is topmost in her mind, regardless of what subject may be assigned to her or what views she is expected to express.18 2_§ Carrie Nation’s audiences consisted of mostly women at the matinee, and.a full house, including the standing room, in the evening. In her talk, she addressed the voters, calling Theodore Roosevelt a "German, beer-guzzling Dutchman". Following the talks she gave a reception at which she gave autographs and sold little hatchet stidk pins for ten and twenty-five cents. The money raised.would.go to pay her fines in Kansas for smashing a saloon patron and telling him he was going to Hades. One of the acrobats performing at Ramona asked her if she remembered taking a cigarette out of his mouth at a summer park and throwing it away. She asked him if he had smoked since, and he had not. She gave him a little souvenir hatchet and told him to smash all his bad habits.19 WILL ROGERS. Will Rogers’ lariat throwing is one of the novelties in Ramona’s second week’s bill which starts Monday afternoon. Mr. Rogers has been seen here before and his skill with a rope is known. He ropes a man while seated on a horse 20 feet away and then binds him to the saddle with a succession of loops until he cannot move. It is Ramona’s boast that he was first to teach President Roosevelt to use a lasso.20 Before Rogers’ appearance in 1909, the Press reported that he "comes from Oklahoma, where he is a cowboy."21 The review of the show mentioned him second to the last and simply said, "Will Rogers, the Oklahoma cowboy, does marvelous work with n 22 the lasso. By 1912, Rogers’ act had changed significantly. 297 Will Rogers, the lassoing cowboy, seen here before, does some clever stunts with the lasso, besides furnishing an interesting portrayal of the western character. The manner in which he handles the paraphernalia of the cowboy of the western plains is remarkable.23 And three days later, Will Rogers, the lassoing cowboy, with an act that is far ahead of anything he has hitherto offered in Grand Rapids, keeps the audience alternately applauding and laughing. His comedy is just as naively clever as ever while his roping stunts have taken on a real musical comedy entertaining flavor. His imitations of Fred Stone and George M. Cohan are particularly pleasing.24 Three different stories were discovered which claimed that Rogers had decided to add.a monologue to his act while he was performing and rehearsing at Ramona. Two of the stories give Louis J. Delamarter some of the credit. This link has not been verified, however. In fact, many stories of this nature were discovered, with people from different parts of the country claiming credit for giving him the idea for his act . CHIC SALE. An ad in 1912 announced that Chick Sales, comedy protean entertainer, would.give his "Country School Entertainment" in which he impersonates various rural types. "He is declared to be very funny."25 As reported in one of the best reviews given a Ramona act in its first 16 years, Sale's very first performance at Ramona was groundbreaking. 22. Chic Sale, a modest appearing young man, came upon the stage at Ramona last evening and gave the audience the biggest surprise thus far this season. Incidentally he made such a hit that hereafter the name "Chic Sale" will mean considerabLe to Grand Rapids playgoers and they will watch its upward course with more than passing interest. Chick Sale literally gives a "whole Show" himself. In his "Country School Entertainment" he impersonates all the characters who appear, and before he progresses very far he has the entire audience in gales of laughter. His impersonations are not the ordinary caricature stunts. They are all marked by that one little artistic touch that distinguishes the true comedian from the buffoon. Chick Sales is decidedly a "comer " in the quality fun making line.26 In an article entitled, "Sales is a College Lad," it was reported that Sale had recently played the Majestic in Chicago. His wife had traveled to Ramona with him, and they were spending a honeymoon week in a cottage at Point Paulo.27 Local opinion surmised, "And that is what Chick is--a natural- born actor. Some day we will hear more of him."28 Sale returned in 1914 and was praised for his characterizations. The Brggg marvelled that although he used no make-up”, Sale puts his entire physical being into each characterization through the alteration of his back, hands, etc. "For this reason Mr. Sale is always new, no matter how many times one has seen him, for his eye or his little finger or some part of him is continually discovering new tricks."30 In 1915, Sale’s reappearance at Ramona was heralded as the "return of the biggest laugh producer ever played at Ramona".31 He was said to be using the same seven characters, but new songs, recitations and lightning costumes changes were features of the act.32 2_9 In 1916, Chic Sale brought a new 8—character protean skit, the premier of a Sunday School skit that was not familiar to the audience. Sale was "dragged back from dressing room for a happy ’thank you’ speech."33 One report asserted that as a mimic of quaint ruralities, Sale was in a class by himself.34 QUEB- A few of the other famous performers to play on the Ramona stage prior to 1926 included the Avon Comedy Four, the Pianophiends, Ed Reynard’s ventriloquist act and Carl Emmy’s dog act. Between 1926 and 1928, Ramona’s list of stars included Edgar Bergen and Jack Benny. 30 Footnotes to Appendix B 1. Evening Press, July 26, 1902, p. 5, c. 2. 2. "At the Theaters", Evening Press, July 28, 1902. 3. "At the Theaters", Evening Press, July 28, 1902. 4. "At the Theaters", Evening Press, July 28, 1902. 5. Evening Press, July 26, 1902, p. 5, c. 3. 6. "At the Theaters", Evening Press, August 5, 1902, p. 2, c. 7. Grand Rapids Press, June 20, 1914, p. 5, c. 6. 8. Grand Rapids Press, June 20, 1914, p. 5, c. 4. 9. "At the Theaters," Grand Rapids Press, June 23, 1914, p. 6, 10. "At the Theaters," Grand Rapids Press, June 23, 1914, p. 6, 6. 11. "At the Theaters," Grand Rapids Press, June 24, 1914, p. 6, 4. 12. 'Khl the Vaudeville Program #11", Evening Press, August 1902, p. 5, c. 2. 13. "At the Theaters", Evening Press, August 4, 1902, p. 2, c. 14. Evening Press, July 15, 1911, p. 7, c. 3. 15. Evening Press, July 15, 1911, p. 7, c. 3. 16. "At the Theaters," Evening Press, July 18, 1911, p. 6, c. 17. "Happy Stage Wedlock," Evening Press, July 19, 1911, p. 6. 3. 18. "At the Theaters", Evening Press, August 16, 1902, p. 5, c. 19. "It Was All Smash", Evening Press, August 19, 1902, p. m 20. "About the Theaters," Evening Press, May 21, 1909, p. 4, c. 21. "Theaters," Evening Press, May 22, 1909, p. 1. [\J 22. 23. 24. 25. 301 "At the Theaters," Evening Press, May 25, 1909, p. 4, c. "Summer Amusements," Evening Press, July 20, 1912, p. 5, "At the Theaters," Evening Press, July 23, 1912, p. 10, "Summer Amusements," Evening Press, June 22, 1912, p. 3, "At the Theaters," Grand Rapids Press, June 25, 1912, p. "Sales is a College Lad," Evening Press, June 27, 1912, "Sales is a College Lad," Evening Press, June 27, 1912, Grand Rapids Press, August 8, 1914, p. 5, c. 4. "At the Theaters," Grand Rapids Press, August 11, 1914, Grand Rapids Press, July 3, 1915, p. 5, c. 6. Grand Rapids Press, July 6, 1915, p. 6, c. 5. "The Theaters," Grand Rapids Press, August 15, 1916, p. Grand Rapids Press, August 12, 1916, p. 5, c. 1. C. C. APPENDIX C DO YOU REMEMBER THE RAMONA THEATRE? Ramona Park Pavmm Land Rams; Mich. IF SO, I NEED YOUR MEMO IES! I AM A LOCAL RESIDENT WRITING A GRADUATE THESIS ON THE HISTORY OF THE RAMONA THEATRE. YOUR ANSWERS TO THE QUESTIONS ON THE ATTACHED QUESTIONNAIRE WILL BE 0F VALUABLE USE IN THIS STUDY OF THE THEATRE. I WOULD BE GRATEFUL IF YOU COULD TAKE A FEW MINUTES TO COMPLETE THE FORM AND THEN MAIL IT TO ME IN THE SELF-ADDRESSED ENVELOPE ATTACHED. ANY INFORMATION YOU COULD) OFFER, EVEN JUST A MEMORY OF ATTENDING THE THEATRE, WILL HELP ME AS I ATTEMPT THIS HISTORICAL DOCUMENTATION. THANK YOU FOR YOUR TIME, Deborah Kerr 302 303 IEEORMATIONAL QUESTIONNAIBE'O! THE 35503; IEEAIRE NAME AGE (optional) ADDRESS PHONE NUMBER (If you need more room for an answer, please continue on the back.) 1. Approximately how old were you when you attended the Ramona Theatre and how often did you attend? 2. What do you remember about the outside of the nil in ? 3. What do you remember about the inside of the building? (The stage, the seats, the decor, etc.) 4. Do you remember seeing the Marcus Shows? If so, what do you remember about the shows? 304 Do you remember any othe o uct'on l o cts (OTHER THAN the Marcus Shows) that you saw at the theatre? (Please describe if you. do not remember specific names.) Do you remember the psmes of any specific perfprmprs you saw at the theatre? Do you remember the names of any lpcsl residents who performed at the theatre? Do you remember the names of any Loss; rssidsnts who worked at the theatre? (Backstage, concessions, etc.) What did you like (or dislike) about the Ramona Theatre? 305 10. Do you have any other special memories relating to the theatre or the PARK in general? 11. Do you possess or know the location of any programs, photos or other mementos of the theatre? 12. Do you know of anyone else that might be able to provide some information about the theatre? "With this signature, I give my permission for Deborah.Kerr to quote me and to use the information provided by me in this questionnaire in her graduate thesis on the Ramona Theatre, which may or may not be published." Name Date This document will be of value both to our local community, and also to the history of vaudeville and summer theatres. 1 thank you fpr ypur help sng fpr your time! You indicate your voluntary agreement to participate by completing and returning the questionnaire. However, I will use your name in.my thesis only with your signature above. * t it 'k * Again, thspk you for ypur helpd You have contributed to local history!! Deborah Kerr, 1001 E. Beltline, NE, Grand Rapids, MI 49505 LIST OF REFERENCES Newspapers Evening Press, 1897—1912. Grand Rapids Herald, 1897-1954. Grand Rapids Labor News, 1934-1956. Grand Rapids Press, 1913-1991. West Side News, 1943. Magazines Harrington, Gordon. "A.B. Marcus - He Brought a Bit of Broadway to Grand Rapids." Interpreter @ 1970. Harrington, Gordon. "Ramona’s Vaudeville Performers Regarded Point Paulo as Paradise." Pen Club Magazine May 1959. "Ramona Park." Journal of the Michigan State Medical Society v. 14, no. 8 (August 1915): 424-25. "The Street Railway Review of Chicago says . ." Grand Rapids Furniture Record July 5, 1900: 47. Local Histories Bennett, William L. Memories of East Grand Rapids 1834-19Q. Unpublished manuscript, 1982. Fischer, Ernest B. History of Grand Rapids and Kent County. Chicago: Robert O. Law Co., 1918. Konow, Gary G. "Grand Rapids Theatre: The Early Years." Grand River Valley Review Vol. VIII, No. II (1989): 2. 306 307 Related Works on‘Vaudeville, Theatre and Popular Entertainment Allen, Fred. "Two Superstars Lament the Passing of Vaudeville." American Vaudeville as Seen by its Contemporaries. New York: Alfred A. Knopf, 1984. Atkinson, Brooks. "Critics Analyze Vaudeville’s Chances." American Vaudeville As Seen By Its Contemporaries. Ed. Charles W. Stein. New York: Alfred A. Knopf, 1984. Browne, Ray B. "Popular Entertainments: Summing Up." American Popular Entertainment. Ed. Myron Matlaw. Westport, CT: Greenwood Press, 1979. Kyriazi, Gary. The Great American Amusement Parks: A Pictorial History. Secaucus, NJ: Citadel Press, 1976. Lynes, Russell. The Livelv'Audience. New'York; Harper & Row Publishers, 1985. Renton, Edward. The Vaudeville Theatre. New York: Gotham Press, 1918. Rowsome, Frank, Jr; Trolley Car Treasury; New York: McGraw- Hill, 1956. Wilmeth, Don B. Variety Entertainment and Outdoor Amusements: A Reference Guide. Westport, CT: Greenwood Press, 1982. Wilson, Edwin. The Theatre Experience. New York: McGraw Hill, 1991. Interviews. Barr, Patrick. Telephone interview. September, 1991. Bates, Ernest. Second telephone interview. March, 1993. Elliott, Gerald. Telephone interview. September, 1991. Ellis, Kenneth. Telephone interview. September, 1991. Harrington, Gordon. Personal interview. September, 1991. McDermott, Mary Jane. Telephone interview. September, 1991. Mitchell, Jean. Personal interview. September 3, 1991. Rose, John "Bub". Personal interview. September 11, 1991. Swain, Robert. Telephone interview. September 1991. Collections Barr, Fred J. Ramona Park Scrapbook July 22, 1934 - February 15, 1946. History Room, East Grand Rapids Library. Harrington Collection. Mitchell Collection. Powers Theatre Souvenir Program. Grand Rapids, MI: May 30, 1903. Grand Rapids Public Library. Ramona Theater Program. Undated. History Room, East Grand Rapids Library. Reeds Lake Vertical File. Grand Rapids Public Library. Robinson Collection. Grand Rapids Public Library. Herald Negative HOl3565. Other Works Consulted Gork Scrapbook Notes. Notes taken 1974. History Room, East Grand Rapids Library. Ramona Scrapbook Notes. INotes taken.l974. History Room, East Grand Rapids Library. Sobel, Bernard J. A Pictorial History of Vaudeville. Citadel, 1961. HIGRN STRTEU )1|)||)||| will)! [HI]