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MAY BE RECALLED with earlier due date if requested.

 

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ABSTRACT

A HISTORY OF THE STRAND THEATRE
LANSING, MICHIGAN
MARCH 1920-éMARCH 1922
By
Betty Kopit

This thesis is a history of the Strand Theatre, in the
Strand-Arcade Building, in Lansing, Michigan, during the
period of its construction, which began in 1920, through the
first year of its operation, in 1922. The theatre was a
vaudeville house. Two, and sometimes three shows a day
were presented, in the typical vaudeville manner, with
singers, comedians, dancers, jugglers, and animal acts
performing to an audience that at one time came back night
after night to see the shows.

The Strand Theatre was built for mass entertainment,
and it was built on a grand scale. Everything about the
theatre invited the patron to a splendid, exciting evening,
even before the curtain went up. The theatre's lavish
ornamentation and design provided the vaudeville patrons
with greater comforts than they might have expected,so that
the physical structure became a part of the entertainment.

By the end of the Strand Theatre's first year of

vaudeville, this type of entertainment had been superseded

 

 

 

natty nupiu

by the public's interest in the newly emerging film

industry, and the theatre started showing films.

***

Research on this theatre involved investigating the
previous theatrical activity in Lansing, and then compiling
information on the early days at the Strand. The commercial
aspects of the building were studied, as well as the
physical structure itself.

The first appendix to this thesis includes the
Articles of Incorporation and the Annual Reports of 1921
of the two corporations involved in the operation of the
theatre and the arcade. The second is a group of photos
that delineate the weekly progress of the construction of
the building. A compilation of the vaudeville acts that
appeared at the Strand in its first year is the third
appendix, followed by an interview with a former stagehand
at the Strand, James Maher.

A HISTORY OF THE STRAND THEATRE
LANSING, MICHIGAN
MARCH 1920-MARCH 1922

Mt

e X”
\\ K.

By_
99‘ .
Betty Kopit

A THESIS
Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of
MASTER OF ARTS

Department of Theatre

1976

ii

Copyright by
Betty Newberger Kopit
1976

ACKNOWLEDGMENTS

I would like to thank the following people for their
invaluable assistance in my research:

Mrs. Geneva Wiskemann

Mrs. Jean McClary

Mr. Gvozden Kopani

Mr. Frank C. Rutledge
as well as the owners of the Michigan Theatre and the

staff at the State of Michigan Archives.

iii

TABLE OF CONTENTS

Preface O O O O O O O O O O O O O O O O O O O 0

Table Of Plates 0 O O O O O 0 O O O O O O O O 0

Chapter

I. A Brief Survey of Theatre in Lansing
before 1920 . . . . . . . . . . . . . .

II. Physical Aspects of the Strand-Arcade
Building. . . . . . . . . . . . . . . .
III. Commercial Aspects of the Strand-Arcade

Buildingoooooooooooooooo

Conclusion. . . . . . . . . . . . . . . . . . .
Appendices
A. Corporate Information on the Strand-
Arcade Building . . . . . . . . . . . .
B. Weekly Construction Photos. . . . . . .
C. List of Vaudeville Acts and Photoplays,
Strand Theatre, April 21, 1921-
March 19, 1922. . . . . . . . . . . . .
D. Interview with James Maher. . . . . . .

Bibliography 0 O O O O O O O O O O O O O O O O 0

iv

18

78

87

91
99

161
17a
zoo

Plate

II

III

IV

VII

VIII
IX

XII

XIII

XIV
XV

TABLE OF PLATES

Opening Night at the Strand Theatre. . . . . . . .
April 21, 1921, 7:15 p.m.

Plaque in the outer lobby of the Theatre . . . . .
Notice that the date at the bottom is incorrect.
The actual date of the opening was April 21, 1921.

The Strand-Arcade Building from South
Washington Avenue.

Original Box Office Outside the Arcade . . . . . .

First Floor View of the Arcade of Stores . . . . .
The Theatre is at the rear of the Arcade.

Second Floor View of the Arcade Looking
Toward the Street Entrance . .

Interior Foyer and Box Office of the Theatre
Inside the Arcade. . .

Foyer and Grand Staircase. . . . . . . . . . . . .

Grand Staircase Leading From the Foyer of the
Theatre to the Mezzanine . .

FoyerDomedceilingoooooocococoo...
Upper Foyer and Dome Ceiling Detail. . . . . . . .

Retiring

Mezzanine Looking Toward the Ladies'
Rooms. .

Mezzanine Looking Toward the Gents' Smoking
Room . . . . .

Ornamental Plaster Cornice in the Mezzanine. . . .

Detail of Mezzanine Cornice. . . . . . . . . . . .

20
27
3O

32

35
37

39
41
43

46

48
50
52

Plate
XVI

XVII

XVIII

XXI
XXII

XXIII
XXIV
XXV
XXVI
XXVII

Detail of Ornamental Plaster on Balcony
Ceiling...o............o.

Floorplan of the Stage . . . . . . . . . .
Scale: 3/32" = 1'0".

The Proscenium Arch. . . . . . . . . . . .
Proscenium Arch Stage Right Base Detail. .
The Pinrail. . . . . . . . . . . . . . . .
The Grid From Stage Right. . . . . . . . .

View of the Orchestra and Balcony From
theStageo0000000000000...

View of Orchestra and House Right Box. . .
View of the House and Balcony. . . . . . .
Lobby Interior After 1941 Remodeling . . .
Lobby of the Theatre After 1941 Remodeling
Department of Labor Notification Found

Outside the Basement Dressing Rooms of
theTheatre......o.........

vi

Page

54
57

59
61
63
65

67
69
71
74
76

81

PLATE I

Opening Night at the Strand Theatre
April 21, 1921, 7:15 p.m.

 

—-—- _.—

 

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PLATE II

Plaque in the outer lobby of the Theatre.
Notice that the date at the bottom is incorrect.

The actual date of the opening was April 21, 1921.

 

  
    
   
   
  

  
 

A fit,
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‘ALL THE WORLD’S ,I «.2, I”.

AND ALL THE MEN AND wawx
"MEREIY PLAYERS"

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RAIN GRA’IEI‘UL RECOGNITION oI
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,SME BY TflB'PEDPLE 0F LANSING-

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' THII LANSING ARCADE AND
‘ ' THEATRE (HOD/HAN}

JOHN EBBRSON~ARCHITFIJ
.7 ._ AND CONSTRUIL'IUII‘.
MARCH 27?" IQZI.

 

 

 

 

PREFACE

6

In the early twentieth century, theatres in the
Midwest were usually constructed near or above, civic/
commercial spaces. Therefore, the theatre was not seen
by the owner/entrepreneur as a separate space, but as a
contributing part of a rental structure. Theatres in the
Michigan cities of Vassar, Belding, Portland, and Grand
Rapids were combined with commercial spaces, while the
theatres of Calumet and Cheboygan shared space with civic
offices (the City Hall and Fire Department).

The Strand Theatre, at 215 South Washington Avenue,
in the Strand-Arcade Building, in Lansing, is an example
of the former arrangement. Walter S. Butterfield, a
Michigan theatre entrepreneur, built the elaborate
structure in 1920 as a commercial space. The arcade
included fourteen stores, an enormous multi-use space
above the arcade, and a 1600-seat theatre.

This thesis traces the origins of the Strand Theatre
from March, 1920 to March, 1922, after the theatre's first
year of operation. Soon after it opened, movies superseded
vaudeville as an entertainment priority for the public, and
the theatre responded by showing photoplays exclusively.1

This study has been undertaken with several limitations.

The present owners of the theatre were unable to persuade

___.__

1. The basic form of the photoplay was a one-reel,
fourteenéminute melodrama. This form was expanded, and
eventually evolved into the silent movie, encompassing
melodrama, comedy, westerns, and dramatized "real-life
situations."

7

Mr. Wardwell, the current manager, to share all his
information with me, including a "daybook,"2 that would
have become a primary source. But Mr. Wardwell did permit
me to photograph some of the weekly, dated construction
photos that he had found in the theatre. They are
included in an appendix. Furthermore, the §t§§g_Journal,
Lansing's local newspaper, is frequently inaccurate, in
terms of its own research and dating procedures. My
search for memorabilia from the theatre yielded nothing.
An ad placed in the Stag; gournal seeking such artifacts
as tickets, posters and programs received no response.
Finally, the research was limited by the fact that most
of the business information had been destroyed. For

example, specific tax information was unavailable.3

ae-x-ae
Despite these limitations, my research on the Strand

Theatre has been extremely interesting. This thesis will

hopefully document the local history of this period.

 

2. A “daybook” is a book that lists the vaudeville
acts that appeared at the theatre on a show-by-show basis.
3. Tax records were researched in an effort to detect
the motivations for building the Strand Theatre in its
elaborate style at that time. The information revealed an
interesting interlock of corporations and directors typical
of American business practice, but was otherwise fruitless.

CHAPTER ONE

A BRIEF SURVEY
OF
THEATRE IN LANSING
BEFORE 1920

9

In order to put the Strand Theatre in perspective, it
is necessary to look back at Lansing's theatrical history,
specifically the theatre structures that existed before
the Strand was built. Lansing became the state capitol in
1847. A year later a hotel called Benton House was opened.
It stood at the northwest corner of South Washington Avenue
and Main Street. The proprietors presented "dramatic
entertainments" in the ballroom of the hotel for twenty-
five cents, and a "wandering" group of actors called the
Olympic Players appeared there year after year.1

In 1862 a very modest entertainment hall was opened
over two stores at 109-111 South Washington Avenue. It was
called Capitol Hall and was built by Judge William H. Chapman.
This hall accommodated traveling shows during the Civil
War,2 but went out of business when it was superseded by
Mead's Hall.3

The Head Block, as it was known, was built during the
"boom days" that followed the Civil War, and it was
Lansing's first legitimate theatre. It opened in 1866, and

was located at the southeast corner of Washington and

 

1. 6Centennial Issue, Th3 State Journal, April 28, 1955,
P0 14-1 0

2. George N. Fuller, ed. Michigan: A Centennial
Histor of Egg State gag,ip§ eo ls, l;, (Chicago: The
Howie Publishin-_g Company, 19397:;E—p. 558.

3. “Renewal to Wipe Out Last of 'Old Rialto,'" Egg
State Journal, June 10, 1967, p. B-7.

10

Ottawa Avenues. The Mead Block, a three story structure
with an arched roof, was built by James I. Mead in the
manner that was fairly typical for that time. Like
Capitol Hall, the first floor of the building contained
retail businesses while the theatre occupied the upper
space. This theatre was also used as a meeting hall, and
in fact, its name was eventually changed to "Mead's
Temperance Hall," reflecting both the temperance fervor at
the time and Mr. head's interest in the movement. Later,
in an effort to revive its theatrical use, the name was
changed again to the Star Theatre, and many improvements
were made on the building. As the Star Theatre, it showed
silent and sound movies for several decades.4

In 1873, Buck's Opera House Opened at 233 North
Washington Avenue. It was built by one of Lansing's
pioneers, Daniel W. Buck, and was promoted by Daniel I.
and Benjamin F. Buck, F. M. Cowles, and I. S. Elliott.
Everything at this theatre was on a grand scale. It had
1100 seats, gilded pillars on either side of the stage, and
a mansard roof. On opening night, May 3, 1873, Edwin Booth,
the brother of John Wilkes Booth, appeared in the leading
role in Macbeth, and in 1889, the "Battle of Gettysburg"

was presented, ". . . from first shot to last."5

11

In 1890, Daniel Buck sold the theatre to James J. Baird,
who promptly renamed it Baird's Opera House. In 1910, this
site became the Gladmer Theatre.6

In 1900, the Colonial Theatre opened. It was located
at 122 East Michigan Avenue. Stock companies appeared
there as well as photoplays. Five years later,

Dwight Robson opened the Bijou Theatre on East Ottawa
Street. Al Jolson appeared in 1905 at the Bijou, and was
paid $35 a week. Ben Turpin also appeared on that stage,
in a surprise appearance as an acrobat. The Bijou was
later renamed the Regent Theatre, after it moved to the
lot where the Olds Plaza Hotel now stands.7

Another vaudeville house opened in 1907, but for a
very short time. This was the Idlehour Theatre. It was
located at 119 South Washington Avenue.8

Three years later, in 1910, the Gladmer Theatre
opened its doors. Its opening night program featured
Pavlova with the Russian Imperial Ballet.9

In 1911 Charles H. Davis changed the name of the

Colonial Theatre to the Lansing Theatre. Mr. Davis set a

record during the time that he operated the theatre by the

 

6. "Renewal. . .," Thg_§tate Journal, June 10, 1967,
p. B-7.

7. Ibido

8. "Flickering Flame Ended Theater's Illusion," Th;
State Journal, April 28, 1955, p. M—17.

9. "Renewal. . .," Thg_State Journal, June 10, 1967,
P0 B-7o

12
fact that in three years, the house was "dark" only

seventeen nights! The name of the theatre changed again

later to become The Esquire.1O

* * *

In the late nineteenth century, theatres enjoyed
enormous popularity among people whose lives now included
ever-increasing amounts of leisure time. The burlesques
and melodramas of the 1880's and 1890's were a great
attraction despite the prevalence of strong religious
forces that frowned, to sa" the least, on commercial
theatrical activity. Traveling companies of widely
disparate acts toured the country, and as vaudeville
spread beyond the big cities, the theatres became organized
into chains, where booking organizations sent the acts
out "on the circuit," that is, to a prescribed group of
theatres in a particular geographical area.11

These acts included acrobats, trained animals, dancers,
musicians, fancy roller—skaters, singers of comic songs
and sentimental ballads, jugglers, magicians, minstrels

. . , 2
as well as others far too various to mention here.1

 

10. "Flickering Blame. . .," Thg_5tate Journal,
April 28, 1955, p0 H-170

11. Foster Rhea Dulles. America Learns to Play
(New York: D. Appleton-Century Company, 19407, p. 219.

12. For further details on the types of acts that
appeared on the vaudeville circuit in Lansing, refer to
Appendix C, which lists the acts and.photoplays that
appeared bi—weekly at the Strand Theatre.

13

One—act comedies, farces, minstrel shows, and melodramas
comprised the other elements of the entertainment of the
late nineteenth and early twentieth century that vied for
the attentions of the American populace. The theatre
patrons of the working class responded enthusiastically,
filling the theatres for every show, thereby sparking the
innovation of the theatre that ran continuous performances,
which was introduced by B. F. Keith at a theatre in Boston
in 1883. Mr. {eith and F. F. Proctor combined forces to
further the expansion of vaudeville by grouping together
even greater numbers of theatres into circuits. ”heir
business established a circuit that eventually controlled
400 theatres.13

The vaudeville acts were booked individually through
a nation-wide system that was run in different geographical
areas. The practice was for each act to play at one
theatre at the beginning of a week, and to move on to
another theatre in another town for the rest of the week,
with the possibility of staying longer at a particular
theatre if they became popular. Those acts that became
overwhelmingly popular played only the larger cities, and
commanded large sums of money for their appearances.

The men who ran the booking organizations and owned

the theatres (B. F. Keith, F. F. Proctor, Claude Cady,

 

130 Ibido, Dulles, p0 2190

14
W. S. Butterfield, among others), made vaudeville big
business. But this business changed with the whimsical
nature of the American people's interests. At the turn of
the century, vaudeville ". . . had become the principal
commercial amusement of this country's urban populace,"14
but for a variety of reasons, to be discussed later,
vaudeville eventually was superseded by the nickleodeon,
the photoplay and finally, the movie.

Silent moving pictures fascinated the American public,
and when it became clear that this interest was equalling
and overtaking the vaudeville audience, theatre owners
quickly and decisively remodeled their theatres to
accommodate this less costly, more lucrative entertainment.

However, theatre patrons were beginning to grow
scarce anyway, for the vaudeville show at the local Opera
House no longer played a predominant role in the American
people's leisure priorities. High school curricula were
being expanded during the first two decades of the
twentieth century, as were extra-curricular sports, which
caused people to spend their evenings at the high school
gym watching a home basketball game rather than a

vaudeville show.

 

14. Ibid., p. 219.

15

Other factors that decreased the vaudeville audience
were the interest in the Chatauqua movement; the ubiquitous
automobile, which gave people greater mobility; and the
radio.15

Aside from vaudeville, other forms of theatrical
activity were flourishing at this time. Serious drama and
musical comedies enjoyed lengthened runs that grew into
full seasons at big-city houses. When the play drew lesser
attention in the city, it was put "on the road" to tour
the provinces,16 and while these shows did well monetarily,
they were a less attractive business proposition than the
movies because the road companies had high transportation

17 The vaudeville

costs and high salaries for the actors.
theatres, or Opera Houses, were therefore transformed
rather simply into movie houses.

In Lansing, the trend toward more movie houses was
equally apparent. In 1914, Claude E. Ca y, who owned
other theatres, opened the Vaudette hovie Theatre. He

later bought the Colonial Theatre and remodeled it into a

movie house. In 1918 and 1919, Cady brought musical

 

15. Willis Frederick Dunbar, "The Opera House as a

gocial Institution in Michigan," Michigan Histor , XXVI,
61-6730

16. Willis Frederick Dunbar, Michigan: g History 9;
thg_Wolverine State (Grand Rapids: Berdmans Publishing
Comp55§:“I§B§). P. 729.

17. "Lansing and its Yesterdays," State Journal,
January 1, 1950. By 1930, Lansing saw less road shows in
a season than it had seen in a fortnight a decade earlier.

16

comedies into his theatres, because they were very popular
at that time. In 1921, Cady bought the Empress Theatre,
that had been operated by Joseph M. Neal, and changed the
name to the Capitol Theatre.18
Walter S. Butterfield was another theatre entrepreneur
in Michigan. He owned many theatres and decided to build
a new theatre structure in Lansing in 1921, which was to be
the Strand-Arcade Building. During the 1920's, Butterfield,
along with Herbert Fowser, Benjamin Vollmer, Claude Cady
and Joseph Neal,19 established himself in Michigan with a
chain of theatres that grew to be one of the largest
organizations in the country.20
Butterfield had earlier been the manager of the Blaney
Attractions, Rose Stahl's "Chorus Lady" company, and the
original "Buster Brown“ musical comedy organization. But in
1904, he leased the second floor of the Hamlin Opera House
in Battle Creek, Michigan, and hired three acts to perform,
thereby establishing a vaudeville policy at that theatre.
The venture was only moderately successful, but Butterfield
went on to add the Bijou theatres in Kalamazoo and Jackson
to his enterprise. The latter theatres were small store

rooms that were converted into variety houses.21

 

18. Ibid., §tate Journal, April 28, 1955. P. M-17.

19. bide, Fuller, P0 5590
20. b'd., Statg Jogrnal, April 28, 1955, p. M-17.
21. b'd., P. M-17.

17

By the time Butterfield built the Strand Theatre in
1921, he owned twenty theatres in nine Michigan cities.22
In 1923 he bought all of Claude Cady's theatres including
the Gladmer, Capitol and Colonial theatres in Lansing, as
well as the Cady houses in Jackson and Battle Creek. In
1927 he opened the State Theatre in East Lansing, and in
1939 he remodeled the Gladmer Theatre, razing the entire
structure except the stage, and rebuilding it. Butterfield
died in 1939, but in 1941, the Strand Theatre was remodeled,
and the Butterfield chain of theatres continued to expand.
By 1955, the chain owned more than one hundred theatres in
Michigan.23

Butterfield wanted to build a jewel of a vaudeville
theatre in the 1920's. He contracted a world-renowned
theatre architect, John Eberson, to design the space.
That theatre became part of the Strand-Arcade structure
in Lansing.

The following chapter discusses the details of the

construction of the building.

 

‘22. Arthur Frudenfeld, gp,Achie ement (Battle Creek:
Ellis Publishing Company, 1921 , p. 17. The theatres that
Butterfield owned by 1921 were: gpp_Arbor; Majestic,
Arcade, Bay Cit ; Orpheum, Battle Creek; Bijou, Flint;
Palace, Regent, Garden, Majestic, Royal, Jackson; Orpheum,
Kalamazoo; Regent, Majestic, Lansing; Strand-Arcade, Bijou
{Regent}, Port Hur n; Majestic, Family, Saginaw; Jeffers-
Strand, Franklin, Regent, Auditorium.

23. Ibid., §tate Jgugnal, April 28, 1955, p. M-18.

(HAP’I‘LB. TWO

PHISICAL ASPECTS
OF THE
seams-ARCADE
BUILDIHG

18

19

PLATE III

The Strand-Arcade Building

from South Washington Avenue

 

20

.. £11111 1

. 14.. .

t

A)
..Qtw...

 

 

 

21

The site Butterfield chose for the Strand—Arcade
Building was at 215 South Washington Avenue. Between 1847
and 1852, one of Lansing's earliest pioneers, ChristoPher
Columbus Darling, built a three-story frame hotel on the
site called The Columbus House.1 It later became known
as the American House, then the Eagle Hotel, in 1863.2
It was later either rebuilt or renamed Hudson House by
Martin Hudson between 1861 and 1865, and rebuilt in 1870.3
The Hudson House burned to the ground on December 18, 1919,
after its purchase by Butterfield for the Strand-Arcade
Building.4

Butterfield's plan was to build a commercial building
with spaces for retail establishments in the Arcade, bowling
alleys, and a billiard room in the basement, an elaborately
decorated vaudeville theatre, and a combination banquet-
ballroom-convention hall on the second floor. He hired

John Eberson to design the building.

 

1. "Early Days at Strand Recollected," lhg‘Statg
Journal, March 21, 1971.

2. "Fire Helped to Clear Site," State Journal,

March 21, 1971.

3. Ibid. W. H. Porter, a pioneer Lansing businessman,
conjectured that Hudson House was built by Martin Hudson
between 1861 and 1865 and rebuilt in 1870, but the State
Journal, in an article in the paper on June 10, 1967,
reported that the Columbia House, built in 1852, was

later ename the Hudson House.
4. d., State Journal, March 21, 1971.

22

Eberson was well-known as a theatre architect. For
the Strand Theatre, he designed a space that included a
huge lobby, a large orchestra pit, and lavish smoking and
retiring rooms in the mezzanine. He used ornate sculptures,
imported chandeliers, and intricately molded plaster work
to achieve a consistently plush interior.

The space was designed, however, as a unique real
estate combination that would provide Butterfield with a
full-time rental-real-estate investment in the Arcade, as
well as the theatre.

When the ground was broken for the StrandeArcade on
March 16, 1920, Eberson estimated that the cost of the
building would be $500,000. The grand opening was scheduled
for March 27, 1921,5 and Eberson spoke of the
architecture as being "predominantly Gallic."6

The Strand Theatre and the Arcade were built with
material furnished as much as possible by local Lansing
firms, and by the labor of local men. The construction
". . . provided work for a small army of men for more

than one year.”7

 

5. Though the grand opening of the Strand-Arcade was
scheduled for March 27, 1921, there were construction
delays which forced the opening beyond the projected date.
It opened on April 21, 1921, but the lobby plaque had
already been cast with the incorrect projected date. It
was never changed.

6. lbid., State Journal, March 21, 1971.
7. Ibid., lp_Achievement, p. 41.

23

The following firms provided the construction
materials: The R. C. Smith Company of Battle Creek
provided 194 tons of structural steel. They erected steel
roof trusses tested to many times the actual strength
needed. The steel truss that supported the balcony in the
theatre had a span of sixty-four feet and weighed more than
fifteen tons. The proscenium arch girder was forty-six feet
long, four feet wide, five feet high, and weighed in excess
of twelve tons. Nine steel girders supported the roof of
the enormous convention hall-ballroom-banquet space.8 The
Goldsmith Metal Lath Company of Cincinnati, Ohio provided
slab construction for all the fireproof, reinforced floors,
and the roof. They used the Shurebond Unit System of
Metal Tile for this works 9 The MacDougal Brothers
Company of Lansing furnished the "built up compound asphalt
fireproof Ru-Ber-Oid“ roofing material for the theatre.
Another Lansing firm, Heller Brothers, provided the sand
and gravel for the building.10

The firm of Young Brothers and Daley, from Lansing,
provided three thousand barrels of cement, three cars of
plaster, three cars of hydrated lime, thirty thousand feet

of gypsum block and twenty tons of art stucco.11

 

8 0 Ibid. , Po 42-48 0
90 Ibid. P0 45.
1o. 'fb'fdJ p. 36.
11c lbido, P. 40.

24

The Architectural Decorating Company from Chicago
provided the ornamental and plain plasterers for the
building, and another Chicago firm, the Major Equipment
Company, Incorporated, supplied the "major pre-selective
lighting systems and apparatus" for the theatre.12

The Briggs Company supplied the brick and terra cotta
for the exterior of the building, the steel, reinforced
concrete for the floors, tile walls for the interior, and
a large variety of other permanent materials. The
Clippert-Spaulding Company also provided common bricks
that were used in the construction.13

The heating and ventilation systems for the building
were supplied by several firms. The ILG Electric
Ventilating Company provided the fans and blowers for the
ventilation system. The firm of R. R. Brenner and Son,
provided heating, ventilation and plumbing equipment, and
the B. F. Reynolds Company of Chicago supplied Reynolds
Unit Heat Generating Equipment, eliminating the need for
boilers, steam coils, or radiators in the structure.14

The brass railings for the theatre and the arcade were
supplied by the Newman Manufacturing Company of Cincinnati,

Ohio. The American Rug and Carpet Company of Chicago
furnished all the rugs and carpets used in the theatre.15

 

12. Ibid., p. 42, 5o.
15. '""'Ibid., p. 51, 55.
14. fig... p. 52, 50, 56.
15. Ibid., p. 46, 44.

25

The glass and lighting fixtures were supplied by two
firms. The T. U. Wilmarth Company of Chicago designed and
manufactured the lighting fixtures for the theatre and the
arcade, and the Eastwood Glass Company from Saginaw,
Michigan provided the plate and window glass, mirrors, wire
and ornamental glass, and the store-front construction for
the building.16

Safety was a paramount concern when the building was
constructed. Numerous exits on both the sides and the
front of the auditorium of the theatre were designed to
allow a capacity house to empty in less than three minutes.
The theatre was designed with thirteen double exits on the
main floor and six exits leading from the balcony.
Ventilation was also a major concern. "Washed air” was
pumped into the auditorium for a complete change of air
every six minutes.17

Both Butterfield and Eberson were committed to the
grand scale of this structure. The preceding list of the
construction materials indicates that they were also
interested in the more modern techniques of ventilation,

heating and safety, in order to make the Strand-Arcade

Building as modern as possible.

1696*

 

16. Ibid., p. 54, 55.
17. Ibid., p. 49, 52.

 

26

PLATE IV

Original Box Office Outside the Arcade.

 

27

 

r'v '

.J’

...
l.
-i
a
a
E

 

 

28

The Strand-Arcade Building was designed as a combination
retail business-theatre-public space, but the outer facade
of the building invited one into a theatre.' From the side-
walk on South Vashington Avenue, a twenty foot wide arcade
led into the building for a distance of sixty-five feet.
Fourteen shops were located on either side of the arcade.
The theatre was located at the rear right of the arcade.
Designed for convenience, there was a marble paved, roofed-
but-open passageway that paralleled the theatre and led to
Grand Avenue behind the structure in an unobstructed manner.

The Washington Avenue frontage was occupied by three
shops and a marble stairway that was the entrance to the
basement of the structure. The basement contained bowling
alleys, a billiard room, a barber shop, a restaurant,
storage space for the shops on the main floor, and a room
called the Community Center Amusement and Service Place.
The basement ceiling was exceptionally high, adding to the
appearance of the businesses located there. A large
staircase near the theatre led to the second floor of the
arcade, where the combination convention-ballroom—banquet
hall was located.18

The arcade's multi-colored Spanish ceiling was thirty
feet high, and was executed in ornamental plaster that was
interspersed with amber sky lights, giving the arcade a
lively feeling. The vestibule of the arcade was entirely

 

18. Ibid., Ap,Achlezement, p. 19.

29

PLATE V

First Floor View of the Arcade of Stores.

The Theatre is at the Rear of the Arcade.

 

30

.6. 1'

..w

 

 

51

PLATE VI

Second Floor View of the Arcade

Looking Toward the Street Entrance

 

 

32

 

33

constructed of polychrome Eggpg'ggttg, and contained a box
office, check room, and the grand staircase. The
conveniently located box office was able to accommodate
large crowds. A marble grand staircase led to the second
floor of the building. The shops on the main floor of the
arcade had electrically lighted display frames near the
entrance of each shop, and copper bay windows with marble
bases that faced the center of the arcade.19

The second floor of the arcade contained the space that
was available for use as either a banquet or convention
hall, or a ballroom. It was an enormous space that could
easily have accommodated one thousand people. It had a
parquet dance floor, lavish appointments, as well as all
the necessary checking room, storage and kitchen facilities
that might be needed.20

The Arcade was certainly a beautiful structure, but
the jewel of the building was the theatre. One entered the
theatre at the end and to the right of the arcade, through
four sets of beveled plate glass doors. These doors led
into a two-story stone foyer of the theatre. All the
floors were marble and the cornices were beautifully
decorated with an egg-and-dart motif. A curved stairway

led to an open balcony under an intricately designed dome

that formed a rotunda. Classic fluted columns around the

19. bid. p. 19.
20. ____1'b'i'd'.: p. 19.

 

34

PLATE VII

Interior Foyer and Box Office of the Theatre

Inside the Arcade

35

civ-
1%..

cg i
O“ 1 'I
4 ....H ......

 

 

36

PLATE VIII

Foyer and Grand Staircase

37

 

 

 

38

PLATE IX

Grand Staircase Leading From the

Foyer of the Theatre to the Mezzanine

39

 

 

 

4o

PLATE X

Foyer Domed Ceiling

41

.. . .. wk .. ..x“ .. M\.\

. . r4 1......1. . “Vs .
... L,

.&< 011m13.’.tmf

.1.

a...
....
a
.1
a
.1
.

-.-

 

42

Upper Foyer and Dome Ceiling Detail

43

 

44

balcony and iron railings finished the decor of this area.
A bronze and cut glass lamp that Mr. Butterfield imported
from Italy was near the center of the rotunda.21
The main floor of the theatre was equally impressive.
Designed to reflect the style of Louis XV, this area was
richly carpeted, and tapestries covered the walls. Three
sets of doors led from the foyer to the auditorium, and
this area was separated from the auditorium by a fireproof
wall. Patrons entered through the aisle doors, thereby
preventing drafts and noises from interfering with the
comfort of the audience.22
The interior of the auditorium was decorated in "Roman
gold,‘ rose and ivory colors. The cornice was supported by
classical columns that were near the proscenium boxes on
either side of the stage. The proscenium arch was
decorated in a laurel leaf motif that represented music and
dance. The main floor and the balcony of the theatre had
seating for 1786 patrons.23
The mezzanine was perhaps the most lavish area of the
theatre, and it reflected the designer's interest in the
comfort of the theatre's patrons. The space was divided
into a series of salons that were furnished and decorated

in an elaborate manner. A smoking room for men was on one

side of the mezzanine, and the other side was designed to

 

21. Ibid., p. 20.
22. Tbid.’ P. 20.
23. Ibld., p. 21.

45

PLATE XII

Mezzanine Looking Toward the

Ladies' Retiring Rooms

 

46

      
      
   

mn-ummn ARC!" I VNUT&K 0°.

‘ .
l...

1 . a - -
rad.) -
a‘vo

‘ O

"a

._ OWflF‘.
. 9—.

v » . I .
a”! ‘-‘- «g: P
.- ' J o
-

,‘ D

I -

47

PLATE XIII

Mezzanine Looking Toward
the

Gents' Smoking Room

4s

 

1‘"
ale" . {ts .

:er;

. . Inga
marks...» 4.5422 11.35;!»

49

PLATE XIV

Ornamental Plaster Cornice
in the

Mezzanine

 

 

 

51

PLATE XV

Detail of Mezzanine Cornice

 

 

 

 

 

 

 

53

PLATE XVI

Detail of Ornamental Plaster
on

Balcony Ceiling

———-— — ‘———._ i i .-

 

 

 

 

 

1. II 1' 1 I! In. III. 11! 1 II. LIII'.

II I ll .lli [It’d-lr ‘11
\

l1.1|11|l!...‘1||i..II

55
include not only a "retiring and parlor room for the

"24but a nursery for children. In between, there

ladies,
was ample space for the audience to promenade before,
during, and after the show.

The stage of the theatre, which was not remodeled
during the 1941 renovation of the theatre, is approximately
seventy-six feet wide and forty feet deep. There is a
wooden grid and a hemp system. A baggage trap is located
near the loading dock. It was used to lower trunks to the
basement, where there are five dressing rooms. There is
also a small dressing room on the right side of the stage.
The stage house is sixty feet high. The Strand made use of
an "advertising curtain" in its vaudeville days.

An elaborate "tempered air" heating and ventilation
system pumped fresh ”modulated and washed air" into the
theatre. This system allowed "for a complete change of
air in less than seven minutes.“25

Music was an important element at the Strand Theatre
in its vaudeville days, as well as when the theatre started
showing photoplays. There was a large orchestra pit, and the
orchestra accompanied the vaudeville acts and provided
overture and intermission music during the show. Then the

theatre started showing photoplays almost exclusively in
1922, the orchestra punctuated and illustrated the drama on

24. bid. p. 21.
25. 1516.: p. 21.

 

56

PLATE XVII
Floorplan of the Stage
Scale: 3/32“: 1'0"

58

PLATE XVIII

The P roscenium Arch

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

6O

PLATE XIX

Proscenium Arch Stage Right Base Detail

 

 

 

.5‘1zhtfiflu'fi I61 1 . -

 

62

PLATE XX

The Pinrail

63

   

." {511‘

. ~. a» "\A\§\\“.§\

   

 

.. ..‘a-~..
“»\.e‘ ‘
‘ ..
1. _‘\\._
~\\‘ “ “
\'~-».
4“
:\\\\\e..‘
‘ .
~\., ‘. .
0“ ‘. .

K “ ~ . “...uss‘~~‘~"
a\’ ‘
uwnsN‘ :“ ‘\ \“
‘ .
‘ c..\sno-...“--.-‘

‘\.
‘Iiiys‘h

 

- ..x--Wu~~
aunuum ,, Wh‘fim‘. ‘.“\"‘$“. “ 17”" ‘ I '
s, M W .~- .\ -~ - - ~~ ‘

64

PLATE XXI

The Grid From Stage Right

(I. .

H ,
,-w_..._. . ..

‘

u.\xxwar

r
u

.1- \ \&
awmaa. _
5...... a .\

any
\\\
...... ... '

.\
.
P
\. ...:
a

s
a
‘

 

 

66

PLATE XXII

View of the Orchestra and Balcony
From the Stage

67

 

 

68

PLATE XXIII

View of Orchestra and House Right Box

69

 

 

... ”pron“..qu

111. 1'1 '11.! I‘ l l. I- ‘II' II ll 11

Ila-Ill '1! 1' if III II'

11"!1

70

PLATE XXIV

View of the House and Balcony

71

 

72
the screen. In 1928 an organ was installed in the
orchestra pit, and it was raised on an elevator out of the
pit whenever it was used. A local chapter of the American
Theatre Organ Society has restored and maintained the
instrument, and it is still used, although much too
infrequently.

In 1941, the structure received a massive renovation.
The name of the theatre changed, and became the Michigan
Theatre, showing films exclusively. The building's outer
facade was changed, but the commercial business space
inside the arcade remained. The multi-use upper arcade
space was remodeled for offices, but the ballroom area was
so vast that much of it was not used at all.

The Strand Theatre changed drastically when it was
remodeled in the manner of "Art Deco." The lobby was
redone, the Classic, fluted columns were covered with wood
and accented with red paint, and many of the intricate
details in the plasterwork, cornices, and elaborate ironwork
were masked. The seats were altered, so that there were
800 seats on the main floor and 700 in the balcony. The
boxes on either side of the stage were eliminated. The
balcony however, remained practically untouched during
the renovation. The stage was not remodeled in any way,
but new apparatus was installed. A counter-weight system

was added to the hemp system.

73

PLATE XXV

Lobby Interior After 1941 Remodeling

74

ll

11..roliila.v
. o1 IJ‘I. ”fill 1: 43.3
. Mt ‘ai .1.‘ , . -

a

‘

-‘-.

uuoa.IOOIOIODQOI.

 

75

PLATE XXVI

Lobby of the Theatre After 1941 Remodeling

O
00......
--fi ‘ .

 

 

 

.-
O

O

i
a?

 

?”
C

 

 

77

The stage of the Strand has actually been used very
little for live entertainment, for a theatre that was
built in 1921. First it was used for vaudeville, then
photoplays,and through the years, the Strand Theatre has
featured the big bands, Oldsmobile shows, productions of
Upglgilgg1§,g§plp, various comic and dramatic productions,
and of course, movies. Built as a lavish tribute to
vaudeville, it remains an enormous, elaborately detailed

movie house.

CMTER THREE

comment ASPECTS
or T
STRAND THEATRE

78

79

This is reprinted in its entirety from Ag Achievement,

the opening night souvenir book of the Strand Theatre.

"The Strand; Its Policy"

The Lansing Strand was not built for today only,
but constructed in the hopes that it might be a
monument for years to come and a credit to the community
even when the city is many times its present size. To
that end the attractions which the theatre will present
promise to be in keeping with the magnificence of the
playhouse. Keith vaudeville will be offered the
preponderant share of the time but the policy will be
more or less elastic so as to permit the presentation
of musical comedy or a picture of unusual worth. No
theatre in the state has a stage more completely
equipped or of larger dimensions and it would be
possible to successfully stage here a road production
of the magnitude of “Ben Hur" or "Mecca."

with vaudeville but two performances daily will be
offered from Monday to Friday inclusive. On Saturday,
Sunday or holidays three shows will be the rule.
Matinees start daily at 2:30. Monday to Friday the one
evening performance begins at 8:15 with 7:30 and 9:15
the starting hours for the evening performances on
Saturday and Sunday.

PLATE XXVII

Department of Labor Notification Found
Outside the Basement Dressing

Rooms of the Theatre

 

81

 

 

57A?! OF MICHIGAN

DEPARTMENT OF LABOR

MNSINO. MICHIGAN

5??

"Jul“.

LEGAL REQUIREMENTS GOVERNING
EMPLOYMENT OE ADULT FEMALES

Section 9, Act No. 285 of the Public Acts of 1909, as amended

Section 9. No femcle shall be employed, permitted or suffered to work in any
foctog, mill, warehouse, workshop, quarry, clothing, dress-making or millinery estab-
lishment or any place where the manufacture of any kinds of goods is carried on, or
where any goods are prepared for manufacturing, or in any laundry, store, shop, or any
other mercantile establishment or in any office or restaurant, theater, concert hall,
music hall, hotel, hospital, or operating an elevator, or on street or electric railways,
for a period longer than an average of ni_ne hours a day or fifry.four hours in any week
nor more than ten hours in gny one day; and all such establishments shall keep
posted a copy of this section printed in large type, in a conspicuous place. In
establishments having a time clock such copy shall be posted near the time clock. Copies
of this section suitable for posting shall be furnished upon the application of any em-
ployer by the commission: Provided, however, That the provision of this section in
relation to the hours of employment shall not apply to nor affect any person, corpora-
tion or association engaged in preserving and shipping perishable goods in fruit and
vegetable conning or fruit packing establishments, or student and graduate nurses in
hospitals or nurses in fraternal or charitable homcs. Such employment shall be approved
by the commission, or any duly authorized representative, us not being injurious to the
health of the person or persons so engaged.

 

 

 

 

 

 

 

82

The major business aspects of the Strand Theatre
involve the operating policies of the theatre and the
organization of the corporations that ran the theatre.

When the Strand was operating as a vaudeville house
in 1921, the theatre was affiliated with the Western
Vaudeville Managers' Association, and the individual acts
on the circuit were booked by the B. F. Keith Vaudeville

Exchange.1

This meant that there was a particular manner
in which the theatre could operate, because the individual
acts being booked into the Strand Theatre were following
the “two-a-week" schedule set up for them by the latter
two organizations. If the Strand did not follow the
prescribed schedule of bookings, then no acts on the
circuit could appear there.2 There were, of course,
certain variables in this arrangement. For instance, if a
particular act was known to be extremely popular, or if a
musical—comedy revue came to town, these acts would
sometimes get booked for a solid week at the Strand, while

the other acts on the bill played only the regulation
split-week. The week was divided into the first half

 

1. Arthur Frudenfeld, fig Achievemen (Battle Creek:
Ellis Publishing Company, 1921 , p. 60.

2. Appendix C, the list of vaudeville acts and
photoplays that appeared at the Strand from 1921-1922,
shows that whenever the Keith circuit changed their
policy, the Strand followed. However, the Strand adapted
the Keith policy when there was patron resistance to
particular changes in the programming format.

83
(Sunday through Wednesday, or Monday through Thursday) and
the last half (Thursday through Saturday, or Friday through
Sunday). Each act got paid at the end of every day.3

The management of the Strand tried several methods of
planning its show times. Sometimes there were matinees and
evening performances ("two-a-day"); other times there were
continuous performances, with the theatre opening up at
11 a.m. and not closing until after ll p.m.; and still
other times there were three performances a day. It
probably fluctuated with how well the theatre was doing
monetarily, and the apparent belief by the management that
the public would respond to constant changes in its
policies!

The management must have wanted to encourage family
patrons to come to the shows, because their children's
policy sounds quite generous. "Saturday matinees at the
Strand will be largely devoted to children. Parents may
send the kiddies in perfect assurance that the management
will pay especial attention to the welfare and comfort of
the little ones."4 They did, in fact, have children's
shows at the Strand, with bleachers on stage for the
children to sit on, and Uncle Howdy and animal acts to

5

entertain them.

 

3. Interview with James Maher, Appendix.D, p. 181.
4. Ibid., 5p,Achievement, p. 42.
5. Ibid., Interview with James Maher, p. 179.

84

Mr. Butterfield,as owner of a chain of vaudeville/
movie theatres, could easily manipulate the schedule of
one theatre in order to accommodate the opening, closing
or renovation of another one of his theatres. When the
Strand opened on April 21, 1921, as a vaudeville house,
plans had already been made for vaudeville to end there on
June 19, 1921,and to resume at the end of the summer. The
State Journal reported this fact as the management's
"reversion" to a summer policy of featuring photoplays,6
but the opening night souvenir booklet of the Strand
explains it more clearly.

w. S. Butterfield's Bijou Theatre will close

for a 10 week period Sunday, June 11, 1921.

During this time the house will be remodeled

and refurnished and when it opens in the fall

under the name of the 'Regent', it will be one

of the coziest photoplay houses in the state.7

When the Bijou Theatre closes June 11, for

extensive remodeling, the Strand will

institute a policy of presenting master

picture productions. Vaudeville will be

resumed about August 15.8
One can see, therefore, that Mr. Butterfield's committment
to vaudeville was more incomplete than his committment to
a successful business venture. By priming his vaudeville
audience for the success of a remodeled movie house, he
was obviously anticipating the changeover of the Strand

from vaudeville to photoplays. That change came within the

first year of the Strand's existence.

 

6. State Journal, June 17, 1921.
7. Tbid., An Achievement, p. 55.
8. Ibid., An Achievement, p. 40.

85

The theatre did go back to a vaudeville schedule on
September 1, 1921, but on October 3, 1921, the management
added a five-reel feature photoplay, thus providing
". . . a double attraction at no advance in price. . . ."9
At the end of March, 1922, the management again "reverted"
to its summer policy of showing movies exclusively, but
this time it did not "revert" back to vaudeville at the end
of the summer. From then on, except for infrequent one-act
additions to the photOplay bill, the Strand Theatre was
basically a photoplay/movie house.

* * *

At this same time, the Butterfield management of the
Strand—Arcade Building was attempting to attract business
to the convention—bangust—ballroom space on the second
floor of the structure. Evidently, they did not get the
private parties, conventions, etc. that they had planned
the space for, and the space became a public ballroom that
charged fifteen cents admission to the dances held there on
Thursday, Friday and Saturday evenings.

One can compare the Arcade's inability to attract
convention business with the Lansing Civic Center's current
inability to attract conventions to the Lansing area.

* * *
The organizations that ran the Strand Theatre were

corporate structures. The Arcade Building Company of

 

9. State Journal, September 29, 1921.

S6
Lansing became a corporation in 1919, and Walter S.
Butterfield was one of the three primary stockholders.
This corporation eventually became the Lansing Arcade
and Theatre Company, and Butterfield and E. C. Shields,
another of the original stockholders, were two of the
directors of this corporation. The latter corporation
dealt solely with the Strand-Arcade Building.

Another corporation that Butterfield was a director
of, was the Bijou Theatrical Enterprise Company. This
corporation evidently involved the operation of all the
Butterfield theatres in Michigan. This is the corporation

that currently pays the taxes on the hichigan Theatre.1O

 

10. The Articles of Incorporation for the Arcade
Building Company of Lansing and the Lansing Arcade and
Theatre Company are in Appendix A. Also included are the
Corporation Annual Reports for the Lansing Arcade and
Theatre Company and the Bijou Theatrical Enterprises for
the year 1921 e

CONCLUSION

87

88

Like many American vaudeville houses,the Strand
Theatre succumbed to the rising popularity of cinema and
became a movie house. The theatre changed its policy from
vaudeville to photoplays in 1922, and thereafter vaudeville
acts appeared only sporadically, Other live entertainments
appeared at the theatre in later years, but Mr. Butterfield
made the Strand, as well as his other theatres, part of a
movie-house circuit, whose operation in some ways paralleled
the vaudeville circuit. In 1941, the house of the theatre
was completely remodeled, and no longer appears in any way
like it did when it opened on April 21, 1921.

Today the house is known as the Michigan Theatre.
There are fewer seats (1533, as opposed to 1786 in the
Strand), and the balcony is infrequently used. Therefore,
the rotunda, promenade space, the smoking room, ladies'
retiring room and nursery are in disuse. There are 800
seats on the main floor. An electrical fire in 1975
totally destroyed the light board, so that one sees only
the blank gray surface covering the wires, rather than the
complex of switches on the original light board.

The mammoth multi—use space on the second floor of the
arcade is partially filled with offices, but much of the
Space is vacant. The basement of the arcade has been
closed for years. The sheps still exist in the arcade, but
there are very few people shopping there. The movie theatre

has the greatest audience on Monday evenings, when the

89
admission price of $2.50 admits two for the price of one,
and other nights the partially filled seats on the main
floor make the theatre seem even more vast than it is.
Just as the vaudeville theatre was superseded by the
cultural and life-style changes of the 1920's, the downtown
movie theatre today has been superseded by the intimate
shopping mall movie theatre that has free parking and is
more conveniently located than a downtown theatre.

It is important to put the Strand Theatre in the
perspective of other theatres of its time. The Strand is
typical of the grandiose, elaborately-detailed theatre
houses that were built in the early decades of the twentieth
century in many cities in the United States.

These theatres manifested a singular interest in fire
safety, as is shown by the enactment of fire, building, and
operating codes that were written to protect the public from
any such disaster. The builders of the Strand Theatre had
the same concerns, and were quite proud of the structure's
safety features.

Theatre, at the time that the Strand was built, was a
major social event. The majesty of the theatre itself, as
well as its immediate environs, such as grand entrances,
foyers and staircases, provided its patrons with an
opportunity to share in the fantasy and glamour of the
entire occasion. However, the theatres of this type were

forced to succumb to the whimsical nature of the American

9O

public's interests. As the interest in live entertainment
dwindled, the theatres either closed their doors or adapted
to the public's new interest in films that precluded the
formality of live theatre.

Typical of these massive, ornate structures, the
Strand/Michigan Theatre today is still struggling to comply
to the changing tastes of the public. Quite recently, rock
concerts have been scheduled in the theatre, attracting
large audiences that fill the theatre gpg_the balcony. At
the same time, there has been a revival of interest in the
theatre as a structure, as the public's aesthetic priorities
return to the appreciation of these "temples of mass
entertainment."

***

My basic recommendation for further research on the
Strand Theatre would be to seek out further ways to collect
ephemera, i.e. the tickets, posters, give-aways, and other
theatrical memorabilia that this thesis lacks. The probate
files of Mr. Butterfield and local theatre historians and
collectors could be further investigated, to see if anything
is held by their heirs. More ads could be put in local
newspapers to see if anyone with a trunk in their attic
responds to a researcher's plea for memorabilia. My final
recommendation for further research would be to try to locate
Mr. Eberson's construction sketches, for I believe that they

would be highly informative and interesting to peruse.

APPEI‘GDI CES

APP ENDIX A

CORPOPJLTE IM‘OPJ~LATIOII
ON TILE

STRAND-ARCADE BUILDIH G

91

APPENDIX A

CORPORATE INFORHATION ON THE STRAND-ARCADE BUILDING

Articles of Incorporation

Arcade Building Company of Lansing1

Capitol Stock = $20,000

humber of Shares into which capitol stock is divided is
200 of the par value of $100 each.

The amount of capitol stock subscribed is $10,000.

The amount of said stock actually paid in at the date
hereof equals $2,000 of which $2,000 has been paid in
cash.

The term of existence of this corporation is fixed at 30
years.

hames of stockholders and amounts they own:

ggmg humber of Shares
Walter S. Butterfield 33
Harris E. Thomas 33
Edmund C. Shields 34

November 4, 1919.

1. Michigan Department of Commerce, Corporation and
Securities Division, Liber 210, p. 349.

92

firticles of Incorporation

Lansing Arcade a Theatre Company
Incorporated Larch 9, 1920
Dissolved January 13, 1958
Total authorized capitol stock - s20,000
(Paid in 32,000 of the $20,000)
ncreased to $300,000:
$150,000 - common stock
$150,000 - preferred stock
On day of incorporation (March 9, 1920) authorized capitol

increased from $20,000 to $300,000.

 

2. Michigan Department of Commerce, Corporation and
Securities Division, Liber 210, p. 469.

93
hichigan Annual Report of the Lansing

Arcade and Theatre Company, 1921j

The place or places at which the corporation's business
has been engaged during the year is: Strand Theatre and
Arcade, South Washington Avenue and South Grand Avenue,
Lansing, hichigan.

James of Officers

Pres. W. S. Butterfield

V. P. E. C. Shields

Sec. H. A. Rowles

Tres. H. A. Rowles

Directors
W. S. Butterfield
B. C. Shields
E. C. Beatty
B. J. Onen

H. A. Rowles

The amount of authorized capitol stock - $300,000
The number of shares of each class:

15,000 common

15,000 preferred

none non-par value

 

3. Michigan Department of State, History Division,
Archives Section: Record Group 61-11, Records of the
Corporation and Securities Commission.

94
The number of capitol stock subscribed - $500,000
The amount of capitol stock paid in cash - $150,000
The amount of capitol stock paid in property - $150,000
The par value of each of the different classes of
authorized capitol stock:
common - $10.00
preferred - $10.00
No non par value stock
No other classes of stock
The nature and kind of the business in which the
corporation has been engaged during the year:
Real estate rentals and theatrical Operations
The nature, location, and value of all property owned by
the corporation:
Real estate - $601,902.15
Goods, chattels, merchandise, 2 .
$59,506.20
material & other tangible property
Cash on hand - $3,893.33
Patent rights, copyrights,§ .
NONE
trademarks, formulas
Goodwill - $139,600.00
Value of credits owing to the corporation - $2,558.65

Deferred expense - $8,199.84

Totals: $795,445.15

95

t“

Lansing_Arcade a

 

Report of Condition

Assets

Real Estate & Buildings
Theatre Equipment
Furniture & Fixtures
Accounts Receivable
Franchises

Leases

Goodwill

Prepaid Expenses

Cash

Totals

Liabilities
Capitol Stock - common
Capitol Stock - preferred
Notes Payable

Bonds

Totals

Theatre Company

as of June 30, 1921

$601,902.15
12,182.58
27,123.62
2,538.63
50,000.00
39,600.00
50,000.00
8,199.84
3,898.3:
$795,445.15

$150,000.00
150,000.00
195,445.15
300,000.00

 

$795,445.15

96
hichigan Annual Report of the
4

Bijou Theatrical Enterprise Company, 1921

The place or places at which the corporation's business has

been engaged during the year is:
Kalamazoo, Battle Creek, Ann Arbor, Lansing, Flint,
Port Huron, Saginaw, Bay City, hichigan

Rames of Officers

w. S. Butterfield

E. C. Beatty

H. A. Rowles

H. A. Rowles

Lanes of Directors
W. S. Butterfield
E. C. Beatty
H. A. Rowles

The amount of authorized capitol stock is $75,000.00
The number of shares of each class

common - 7,500

preferred - 0

non-par value - 0
The amount of capitol stock subscribed $53,500.00
The amount of capitol stock paid in cash s5,590.00

The amount of capitol stock paid in property $49,910.00

 

4. Ibid.

 

97

The par value of each of the different classes of authorized
capitol stock:
Common $10.00
Preferred 0
The nature and kind of the business in which the corporation
has been engaged during the year:
Operating Vaudeville, hotion Picture and other
theatres
The nature and location and value of all property owned by
the corporation:
Real Estate 3 80,247.50
Goods, chattels, merchandise,
material and other tangible
property 54,658.99
Cash on hand 6,157.70
Patent rights, copyrights,
trademarks & formulas 0
Goodwill 0
Value of credits owing to the
corporation 114,541.35
All other property
(securities) 417,061.75

 

Totals $672,667.29

98

Assets

Real Estate

Goods, chattels, merchandise,
material & other tangible
property

Cash on hand (including
deposits in banks)

Value of credits owing to the
corporation

Securities

Totals

Liabilities

Liability on Real Estate hortgage

Liability on all other secured
indebtedness

Liability on all unsecured
indebtedness

Surplus

Capitol stock subscribed

Totals

54,658.99

6,157.70

114,541.35

417,061.75
$672,667.29

$102,500.00

184,523.92

75,496.45
256,646.92
453.500.00
$672,667.29

APPENDIX B

COIISTRUCTION PHOTOGRAPHS

99

PLATE A

Washington Avenue View of Theatre Site

Before Start of Construction, Karch 17, 1920.

 

100

 

 

 

101

PLATE B

Grand Avenue View of Theatre Site Before Start

of Construction, March 17, 1920.

102

. .. e» I Q
...” 9'.’

‘1

.th; Ark-.9.)
.... «9&1... .

 

103

PLATE C

Washington Avenue View of Theatre Site

March 24, 1920.

104

at
o.

.--c.nesui-.=a.
. .0159
. I
. 0,

’

 

105

PLATE D

Grand Avenue View of Theatre Site

Earch 24, 1920.

106

e 1093‘1 . I

:U (3A1.
' .
. Li 3" .

. ,..._...,.._.- 3.2.3441...

h'.’ 1’

.0’7... first

Ring

.‘ .

’

 

107

PLATE E

Washington Avenue View of Construction Site

March 51, 1920.

108

s . . D
0.11 .u‘.’ ‘I.\ 51' .

......
. eon

 

109

PIALTE E

Grand Avenue View of Construction Site

March 51, 1920.

4— ;——q u _r'-— _ —H ——-L__ --_ 5-..- _——\_‘_

110

 

 

 

111

PLATE G

Washington Avenue View of Construction Site

April 7, 1920.

—
A

112

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. . n:
. a 345

J
3.4.1., _ A. .
... 33.2.)

 

113

PLATE H

Washington Avenue View of Construction Site

April 14-, 1920e

114

)b».1..ov ...t‘.
...Jlu... s (I .1 n). _.u.kuvhw.vm

..u 3
' ..V'p. . 14

call

us»: .... Cloriw

. . 01.01.“..01 t mu....
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u

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...1 1..-..
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...mlflvl...
.1-

 

115

PLATE I

Grand Avenue View of Construction Site

April 14, 1920.

171nm) VHKAYRI
A~c ~¢ U :u

1%}
:ng

. 31/ .

 

 

117

PLATE J

Grand Avenue View of Construction

April 21, 1920.

118

 

119

PULTE K

Grand Avenue View of Construction

120

 

 

121

PLATE L

Washington Avenue View of Construction

April 21, 1920.

 

123

PLATE N
Grand Avenue View of Construction

1,]

1 . ' .11 1
‘I I1

.1. 1*. 11
33.31....uzouggtfi . .
23...;- Itoa . .

1.. d“

«03.23. . . A...
GU U1... 1:. I n0<w3¢ ".1thli ~11

 

125

PLATE N

Grand Avenue View of Construction

Kay 10, 1920.

126

3:02.529» a .6331. ..«Jha.

.tOOkwau 1:21/0’;

. r1...
8 .U!k§~..

:2:
(05 It

.IMUW . -. 1 .
Eauwaa.‘

.,”

 

127

PLATE 0
Washington Avenue View of Construction

June 8, 1920.

128

: .ruDirnulOU I .1 ....luxt
fatal; (15,,

. :bvngfv
06323.31» c .53.: 022.... J

.‘1‘\.-
\. v ..

\

 

129

PLATE P
Washington Avenue View of Construction

June 13, 1920.

130

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.1517... _¢HUJ~.IUKQ1\.‘1\

OU uzp<utra uni»...
§ . . I r \ .

 

 

 

 

131

PLATE Q

Bast Section of Construction
Viewed From the North

June 20, 1920.

132

A».

A
....)L

/
w\

 

133

PLATE R

West Section of Construction
Viewed From the North

June 20, 1920.

134

 

135

PLATE 8

Construction Site, June 27, 1920.

b
.101.’

..__
1
1..

“7."

£1

*4

L
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z”
1

1 13K. AH

3

135

u
x
4
o
.7:
2

Au '

5

..

X
n

  

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1"‘-

 

 

137

PLATE T
Construction Site, July 22, 1920.

138

 

139

PLATE U

Construction Site, August 23, 1920.

14o

 

 

 

141

PLATE V

Construction Site, August 25, 1920.

142

 

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‘1’. 1., r .

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In 9.1 .

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V“.\0 .k .. o (p

u )
'a. (-1. . .. -
311.11... 1. ($09.5... ..

o
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, u I n .

LII-Il-.-‘- ‘l.

 

143

PLZ'LTE W

Construction Site, August 24, 1920.

 

144

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i .5.

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‘F

ca.
.5.

145

PLATE X

Construction Site, August 24, 1920.

 

146

a.

O

HE M
o 1,

11

‘

 

147

PLATE Y

Construction Site, September 7, 1920.

 

 

 

148

 

149

PLAT“ Z

t1

Washington Avenue View of Construction

October 3, 1920.

150

-.. I, .I o
r s ... 1 in . .l. x. .
. . “Risk-.13. DE ..

.4
r.
3 .

9
\

- 1"!

 

151

PLATE AA

Construction Site, October 9, 1920.

 

152

“I .. 4 1.. .
J l O Q L. .1 '.
. 0.; to,

‘I

9 I

x. ...”... -. 0.1-... .. “.15“ 11.” . ..1M....
11.42.... .. . _. ..
WWW. five .. .

C‘

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APPENDIX C

LIST OF VAUDLVILLE ACTS & PHOTOPLAYS
AT THE 3331mm THEATRE
APRIL 21, 1921—1mm 19, 1922

161

Appendix 0
Listing of Acts Appearing at Strand Theatre 1221-22

Week of April 21, 1221:
A ril 1-O enin Hi ht:

Herbert Clifton, "Travesties of the Weaker Sex"

musical revue; William Bandell presents Johnny Dyer and
Earle B. Mountain in "My Soul Mate"

Dennis Chabot, "The Boy From Belgium"

Monette Tortini, "This Girl From France"

"When the Clock Rings"

DeWitt Burns and Torrence, "The Awakening of Joys"

Murphy Reinhart and Gibner, "Harmony Singing Comedians"

Alaska Duo offer "A Eight in the Yukon", a special
photoplay

Week of April 26, 122]:
First Half:

Hope Eden, Clairvoyant
Special performance for ladies,Friday afternoon after
the regular show
The local Elks will see her performance gp,masse
Thursday evening

Frescott and Hope Eden, "The Miracle Girl"

Mme. Jean Berzac's circus

Violet and Lois Weber and Elliott, harmonious songsters
and funsters

Lewis and Norton in "Touring From Cost to Cost", a
satire by Jack Lait

Harry and Anna Scranton

Special photoplay

Last Half:

Kennedy and Nelson, "The Speed Boys"

Fred Hughes

Brown Weston & 00., ”Terpsichorean Cocktail With a Kick"

King and Irwin, comedy skit, "The Divorce Lawyer"

"Apple Sauce" Jack Clifford and "Fig" Johnston in a
conglomeration of mostly everything

Hope Eden and Frescott

Feature photoplay

162

Week of April 30, 1921:
First Half:

Ralph Dunbar's "Wine White Hussars"

Charles Middleton and Leora Spelimeyer, "Lonesome Land"
Murray Bennett, "Bag 0' Tricks"

Arcos Brothers, Athletes of Distinction

Strand Trio, "Comedy Talking and Singing"

Frazer Cardwell and 00., "Assistance Please"

First National News

Last Half:

Maud Daniel's "The Rising Generation" ("Endorsed by
the Pulpit, Franklin D. Roosevelt, Secretary of
the Navy, and Rupert Hughes, the playwright and
Military Censor of the United States“)

Same acts as First Half of the week

Week of May 4, 1921:
First Half:

"The Rising Generation"
Olson and Johnson, "The Likeable Lads Loaded with Laughs"

Last Half:

The Briants, "The Dream of a Moving Man"

Guy Weadick and Flores LaDue, "Ropin' and Gab"
Jennings and Hack, "The Camouflage Taxi"

Jack Hedley Trio, "In the Moonlight“

Feature news

Week of Haygj, 1921:

First Half:

The Swor Brothers, black-face comedians

Helen Staples, sOprano

Fulton and Burt, "The Hold-up Girl"

Johnny Small and the Small Sisters, "Puppy Love"
Walter Ward and Ethel Dooley, "What We Can Do"
The Three Alex

Last Half:

Leon Kimberly, Helen Page and 00., "Location"
J. C. Nugent, author-comedian

Powel Troupe, wire experts

Olive Drisco, Al Raub, "The Brave Coward"
Lewis and Henderson

Wastika and the Understudy, trained sea lions

163

Week of’flay 14, 1221:
First Half:

The Two Edvards, "The Hunter's Dream"

Meredith and Snoozer, "The Intelligent Bull Dog"

Billy Arnold and Shirli Rives, "A Big Sale"

Billy Montgomery Assisting Minnie Allen and George Kirby
Chas Althoff, "The Sheriff from Hicksville"

Thomas Trio, gymnasts

Last Half:

Sailor “Ragtime" Reilly, "Special Songs and Stories"
Henry's Pets, "Novel Animal Actors"

Jas. Grady and Co., "The Toll Gate"

Sam and Blanche Ross, "Fun in One"

Hewkirk and The Fayne Sisters, "Songs and Steps"

Six American Belfords, Risley acrobats

Week of May 21, 1221:
First Half:

Bessie Rempel, "The Four of Us”, harmony boys

Hunting and Francis, "The Flower Shop"

Pearl's Roumanian Gypsies, "Frolicking in a Romany Night
Cook and Valdere, "The Versatile Girl and Huck Finn"

Hal Newport and Cliff Strik

Last Half:
Jimmy Hodges Musical Comedy 00., "Honeymoon Isle"

Week of May 28, 1221:
First Half:

Will J. Ward and "Five Symphony Girls"
Courtney and Irwin, "Build Your Own House“
Follette, Pearl and Wicks, "The Coal Driver"
Jerry and Gretchen O'Mera

Elly, the Girl Juggler

Mack and Sallie, "A Sure Thing and a Guess"

Last Half:
Don Lanning in musical comedy, "That's My Wife"

164

Week of June 4, 1921:
First Half:

Knight's Roosters, a chicken act

Dora Hilton, assisted by Fred Ahl at the piano

Stuart, the Male Patti

Ray Lawrence, "The California Baritone" in "A Cycle
of Songs"

Princess Kalama assisted by William Kal

The Hickey Boys, "Varieties of Vaudeville"

"The Carnival of Venice," songs and dances

Last Half:

Georgia Minstrels
Richards, "The Wizard," mind reader
The Seven Philippinoe

Note: Starting Sunday, June 19, 1921, the Strand
Theatre "reverted" to its summer policy of feature
pictures. This statement was given by Hana er
Roy Tillson. (State Journal, June 17, 1921 The
Strand Orchestra, under the direction of Roy Prescott,
scored each feature picture, in addition to playing a
special overture, "The Strand March,“ composed by
August Wesche and dedicated to Roy Tillson. The
overture was played during the comedy and news
feature at every performance. (State Journal,

May 23, 1921)

The Strand Theatre changed back to its Winter
Vaudeville policy on September 1, 1921. The only
change was that the bills changed every Monday and
Thursday instead of Sunday and Thursday as in the
past. The change was due to the fact that acts on
Keith Circuit were only available each Monday. From
this time, the Strand conformed to the Keith Circuit's
poligies and regulations. (State Journal, August 23,
1921

Week of September 1, 122 :

Don C. Alfonso Zelaya, "Music and Philosophy"
Baldwin, Austin and Gaines, singing comedians
Valentine and Bell, "Furniture Movers"

Stone and Hayes, "Green Goods"

Frank Rich and Co., "The District School"
Feature photoplay

Note: The Strand instituted the use of the "Strand
Usherettes" in September, 1921. (State Journal,
August 27, 1921)

165

 

Week of September 2, 122 :
First Half:

Milo Danse, "A Whiff of the Follies", with Gene and
Mignon, Florence Anderson, Stanford Glore and
Connie Bemis

Lulu Gates and her Crackerjacks, "Singing and Dancing"

Goetz and Duffy, "The Bride and Groom"

Lynn and Laraye, "The Beach Nuts"

Frank and Clara Latour, pantomime comedian and the
Bubble Girl

Last Half:

Joe Fanton and Co., "A Palace of Surprises"
Lee and Cranston, "A Mountain Romance"
Helene Collins and 00., "Windows"

Cook and Vernon, "Slater Susie"

Marcelle Hardy, "The Personality Girl"

Week of September 12, 1221:
First Half:

Jo-Jo Harrison, "A Comedy Oddity"

Byron Bros., "Another Saxe Band"

Wintergarden Four, "A Treat in Harmony"

Jack Gregory and Co., "Rovelty Land", juggling and
acrobatic act

Hoel Lester and Co., with Alice McDonald, "A Variety
Novelty"

Last Half:

Five Minstrel Monarchs, "A Unique Offering in Minstrelsy"
Tilyon and Rogers, "Show Me"

Three Lees, "Juggling Comedians"

Fenwick Girls, "Those Clever Misses"

Dancing Dorane, "Just a boy and girl"

Week of September 19. 1921:
First Half:

A1 and Fannie Stedman

Steed's Septette, "A Symphony of Spicy Syncopation",
featuring Anna Mae Bell and Ralph Hertlein

John Geiger and his talking violin

Robert and Demont, "Novel Melodies and Dance Oddities"

Willis and Harold Brown, "Artistic 'Ray' Pictures"

166
Last Half:

The Cappe Family, "An Evening at Home"

Raffin's Monks, "Comedy Animal Novelty"

Harry and Sally Keller, "Sensational Wire Novelty"

King and Wyse, "Is Friday the 15th Unlucky?"

Austin and Delahey, "Thy Syncopated Hotel," blackface
comedians

Week of September 26, 1221:
First Half:

Bert Fort and Pauline Price, "Dances on the Silver Wire"
Al Gamble and 00., ”The Human Comptometer"

Howard and Jean Chase, "That's Mine"

Charles Seaman, "The Narrow Fellow"

Phina and Co., "Fifteen Minutes of Real Entertainment"

Last Half:

"The Cotton Pickers," singing and comedy, including a
"scenic environment" that was a silk scrim scenic
drop with appliqued cotton blossoms and leaves

Watman and Berry, "A Treat in Music"

Alf Ripon and Jiggs, "A Right at Dirty's"

The Nagyfys, "Defying Nature's Laws"

Frank and Eddie Monroe, "The Bouncing Babies"

Note: On Monday, October 3, 1921, the Strand Theatre
changed its policy. In addition to the usual five-act
vaudeville bill, they began showing a five-reel feature
photoplay, thus providing ". . . a double attraction at
no advance in price."

They ended the practice of having reserved seats in the
theatre, and began continuous performances. The shows
continued to change every Monday and Thursday, but there
were now three vaudeville performances on Saturdays and
Sundays. (2h§_State Jourpgl, September 28, 1921)

Week of October.3, 1921:
First Half:

Jack and Jessie Gibson, "Talkative Unicyclists"
Earnest Hiatt, "Nothing Serious"

Ryme and Rhythm, "A Tempting Tid Bit"

Hall and Dexter, comedians

Mabel Fonda Four, Juggling Comiques

"A Perfect Crime," feature photoplay, with Monte Blue

167
Last Half:

Frazer and Peck, "Gymnasts Deluxe"

Fisher and Lloyd, "Two Shades of Burnt Cork"

Lewis and Gordon Producing Co. present Jack Delman,
"The Question"

Professor Peake, "His Family of Animated Blockheads"

Al Ross and Olga Foss, "Just Music"

Mack Sennett's "Home Talent," featuring Ben Turpin

For children: A puppet show, "The Origin of the
Drama," presented on a puppet stage placed on the
regular stage

Week of October_jO. 1921:

First Half:

Eddie Hume and 00., "Oh, Hector"

Reathans and Barette, "Aeroplane Courtship"

Jones and Crumbly, eccentric comedians

Ray Conlin, assisted by "Sparks"

Madge Kennedy in photoplay, "Oh, Mary! Be Careful!"

Last Half:

McIlvar and Hamilton, "Comedy Novelty Barrel Jumpers"
Mack and Stanton, "Home Sweet Home"

Jack Lee, "The Salesman"

Gill Brown, "Blossoms"

Feature photoplay, "The Ten Dollar Raise"

Week of October 1]. 1921:
First Half:

Folkis and LeRoy, “From Fifth Avenue to the Bowery"
Elsa Fond, "The Little Runabout"

Fields and Harrison, "In the Navy"

Joseph E. Bernard and Inez Regan, "Who Is She?"
Feature photoplay, "Old Dad"

Last Half:

Gordon and Gordon, "Titters, Twists and Turns"

"Pinched," comic, dramatic playlet

Mabel Blondell, "The Female Frisco"

Khyam and Co., "The Mystery Man and His Company of
Mental Marvels"

Feature photoplay

168

Week of October 22, 122 :
First Half:

 

McRae and Clegg, "The Intruder and the Queen of the
Wheel"

Howard and Hanley, "The Percolators of Comedy"

Peters and West, "Mirth and Melody"

The Seven Sweethearts, musical comedy revue

Photoplay

Last Half:

Lind Brothers, "In the Apple Orchard"
Kennedy and Davies, "Fun in One"

Cliff Clark, "Tunes and Topics"

Beatrice Morrell Sextette, "A Study in Blue"
Photoplay

Note: The Strand Theatre changed its policy on Sunday,
October 30, 1921 going back to changes in the shows on
Sundays and Thursdays, as in the past, because the former
policy was more popular with the Strand patrons. (State
Journal, October 28, 1921)

Week of October 21, 1221:
First Half:

Billy Lightelle with Geraldine Coffman, "Bright Bits of
Musical Comedy"

Shriner and Fitzsimmons, "The News Dealer"

Mary Door, "The Unusual Comedienne"

Gardner and Aubrey, "Melodies of the Moment"

Phot0play, "Big Game", with May Allison

Last Half:

Alexander Melford Trio

Howard and Ross Ellott

Coscia and Verdi, "Stringing Comedy"

Elliott Johnson Revue

Photoplay, Ina Claire in "Polly With a Past"

Week of Hozember 6, 1221:
First Half:

Felix Rice, "Rice Pudding"

George Morton, "The Black Dot"

The Bally Hoo Three, "La Petite Circus"
DeWoyer and Danie, "Fifty-Fifty"
Photoplay, "Homespun Folks"

169

Last Half:

Ray and Fox, "Vaudeville Oddity"

Helson and Bailey, "Give Me a Chance"

Fiske and Lloyd, "Look What the Boat Brought In"
Rose, Ellis and Rose, "The Jumping Jacks"
Photoplay, "The Old Oaken Bucket"

Week of November 12, 1221:
First Half:

John T. Ray and 00., "Check Your Hat"

Lola Senna and 00.

Willis-Bessie Gilbert and 00., "The Masked Frolic"
Dave Marley, "Fun, Frolic and Amusement"
Photoplay, "Devotion", featuring Hazel Dawn

Last Half:

Three Victors, "Smiles"

Ethel Keller and Chums, "Snappy Songs and Dances"

Flaherty and Stoning, "Vaudeville Tidbits"

Chapman and Chapman, "Dancing Comedians"

Photoplay, "A Broken Doll", featuring Monte Blue and
Mary Thurman

Week of November 2 1 21:
First Half:

Sister Brockman and Blanche Howard and 00., "Toyland
Frolics"

Volante Bros., "Accordionists DeLuxe"

Orren and Drew, "A Barnyard Episode"

Al Abbott, "World's Premiere Character Comedian"

Photoplay, "The Devil", featuring George Arliss

Last Half:

Johnny Alexander and Billy Fields, "Two of the Idle Rich"

"Tips and Taps", terpsichorean novelty

Sullivan and Mack, "A Decided Novelty"

Billy Miller and 00., "Adam Killjoy"

Photoplay, "The Girl From Nowhere", featuring Elaine
Hammerstein

Note: The Strand Theatre produced three shows on
Thanksgiving Day, 1921, instead of two. (State Journal,
November 23, 1921)

170
Week of November 21, 122 :
First Half:

Charles W. Cross, "Ruffles", Melody of Fashions, Dance
and Song

Frear, Baggot and Frear, "Baseball Idiosyncrasies"

Musical Shermans

Ralph Seabury, "The Illustrating Comedian"

Photoplay, "Gilded Lies" featuring Eugene O'Brien

Last Half:

Kale and Indetta, Hawaiian Melodists

Dollie Bingham and Margery Myers, "Right Off the Reel"
Al Raymond, "The United Statesman" by Darby Aaronson
Will Hill, Society Circus, trained animals with a

Trick Jazz Mule
Photoplay, "The Man of Stone" featuring Conway Tearle

Note: Beginning Sunday, December 4, 1921, the Strand
presented five vaudeville acts instead of four, as it had
been doing in the recent past. Photoplays continued to be
shown at each show. There was no increase in admission
price. (State Journal, November 29, 1921)

Week of December 2, 1221:

First Half:

Yip, Yip Hankers, "A Day in Camp"
The Rose Sisters, "Whirls and Girls"
Gualano and Marguerite, "Comedy and Music"
Hall and West, "Taking a Chance"
Lew Wells, "Monologist and King of the Saxaphonists"
Photoplay, "The Sin That Was His" featuring
William Faversham

Last Half:

"A Possible Impossibility"

LaPlano, "Sawing a Woman in Half"

Claymo, "Comic and Artistic Clay Modler"
Holly, "The Golden Voice"

Four Gypsy Songsters, "A Singing Novelty"
Photoplay, "The Hunch" featuring Gareth Hughes

Week of Decembep 11, 1221:
First Half:

The Robbins Family
Milton and Lehrman, "Two Kings of Hutology"

171

Avondi Duo, "Spanish Whirlwind Xylophonists"

LeRoy and Mable Hartt, "Love in the Southland"

Hash and Thompson, "Tumbling Humorists"

Photoplay, "Greater Than Love," featuring Louise Glaum

Last Half:

Francis and Stone, "Harmony Songs"

E. J. Moore, "The Gabby Trickster"

Dave Dillon and Edith Milton, "Moonshine," a Wee Story
in Song

Harris and Gilbert, "Blackstone a la Carte"

Leach Laquinlan Trio, "Something Different in Aerial
Entertainment"

Phot0play, "The Hole in the Wall," featuring Alice Lake

Week of December 18, 1221:
First Half:

John A. West, "The Musical Brownie"

"Rayolite, The Act Amazing"

Yamamoto Duo

0. K. Legal and 00., "The Silent Comedian"

Howard and Aitkent, "The Honeymoon Seekers"
Photoplay, "The Last Door," featuring Edmund O'Brien

Last Half:

Kinzo, "The Novel Comedian"

Joseph McShane and Arria Hathaway, "Woof Woof"

Gordon Walton presents Mme. Verobell and 00., "Songs and
Dances of 1921"

Blanche Franklyn and Nat Vincent

Darling mule, "One Kick After Another"

Photoplay, "The Match Breaker," featuring Viola Dana

Week of December 22, 1221:
First Half:

Frank and Gracia DeMont, "Nonsensicalities"

Violet and Charles, "Acrobatic Entertainers DeLuxe"
Phillips and Glendale, "Stylish Steppers"

Harry Golden and 00., "Fooling Father"

Taylor, Macy and Hawkes, "The Three Aces of Harmony"
Photoplay, "Nobody," featuring Jewel Carmen

Note: "Doll Party at Strand Proves Real Success"

"Christmas afternoon found about 50 kiddies from the
stork pants age up climbing all over the nursery at the

172

Strand Theatre. Mrs. Lucas found it impossible to keep
order and after a while she didn't try. All the little
folks whose names were registered on the Strand guest
book were entertained at a doll party and later in the
afternoon each child was given a present from the
Christmas tree by an impressive looking Santa Claus.
(State Journal, December 27, 1921)

Last Half:

Garnet and Hill, "The Ginger Snaps of Songland"
Marion Gibney, "Songs and Stories"

Hal Johnson and 00., "Mr. Chaperone"

William and Howard, "A Sure Cure for the Blues"
Marie Delight, "Bits of Clever Minstrelsy"
Photoplay, "After Midnight," featuring Conway Tearle

Note: A special show was held at the Strand Theatre on
New Year's Eve, 1921, at midnight. The seats were reserved
and the special acts were:

Horan Bros., Rovelty Skaters
Geo. Elliott, Soloist

Sam, "The Newsboy"

Geo. Camp, Mimic

Arnold Stolz, Magician

(State Journal, December 31, 1921)
Week of Janus 22:

Firgt Half:

Washington Trio, "The Village Choir"

Paul Brady, "Eccentricities"

Roder and Dean, "The Sky Drop"

Johnny Scott and Earl Woods, "Behave Yourself"

Marie Correla and 00., "An Athletic Surprise"
Photoplay, "Alias Ladyfingers," featuring Bert Lytell

Last Half:

Four Camerons, "Like Father Like Son"

Kincaid Kilties, "Scotch Dancers"

Bob Hardie, "The One String Wizard"

George F. Hall, "The Globe Trotter"

Eugene Bros., "A Feat or Two, A Laugh or Two on a Bar
or Two"

Photoplay, "Handcuffs or Kisses," featuring
Elaine Hammerstein

173

Week of January 8. 1922:
First Half:

 

Pinto and Boyle, "The Mysterious Trunk"

Nifty Trio, "A Mirth Provoking Frolic"

Hanson and Burton Sisters, "The Magic Man and his
Magical Maids"

Three Hamel Girls, "Music and Songs"

George Akron, "The Man on the Wire"

Photoplay, "The Fourteenth Lover," featuring
Viola Dana

Last Half:

Dell and Edna Elliott, "Oh, Edna"

Maxwell Quintette, "A Night at the Club"

Sol Bernes, "The Character Comedian"

Charles Frink, "The Wizard of the Banjo"

Maurice and Girlie, "The Unexpected"

Photoplay, "Bucking the Tiger," featuring Conway Tearle

Week of January 12, 1222:
First Half:

McCarver and Robinson, "A Study in Black and Tan
entitled 'Two Jazz Fools'"

The Four Balmains, "Wizards of the Wire"

Edah Delbridge and Tobe Gremmer, "Song and Story"

Lamey and Pearson, "A Tale of Two Cities"

Thomas P. Jackson, "The Stenographer"

Photoplay, "The Way of a Maid," featuring
Elaine Hammerstein

Last Half:

The Seven Venetian Gypsies

Billy Fields and LaAdelia, "The Rehearsal"

Rose and Thorn, "The Yale Boy and the Swede Girl"

Joe and Agnes Riley, "Songs and Irish Music"

Nora and Sidney Kellogg, "Hidden Talent"

Photoplay, "Little Eva Ascends," featuring
Gareth Hughes

Week of ganuapy 22, 1222:
First Half:

Brown and Simmons, "Yennie"

Hank Brown and 00., "Come Here, Come Here"

Cato S. Keith with Maude Parker and Ben H. Howe,
"R. U. Married"

174

McMahon Sisters, "Exponents of Real Harmony"
LaMont's Cockatoos, "Tropical Scenes From Birdland"
Photoplay, "Is Life Worth Living?" featuring

Eugene O'Brien

Last Half:

The Glencoe Sisters

Roth and Slather, "The Wop and the Maid"

Baby June and Pals, "The Maid of the Movies"
Mort Infield and Venza Noblet, "The Song Booth"
Maud Ellet and 00., "Girls of Altitude"
Photoplay, "Love," featuring Louise Glaum

Week of Januapy 22, 1222:
First Half:

Ethel and Ward Shattuck, "The Flower Shop"
Bayle and Patsy, "Atta Boy"
Five Yodeling Troubadours
Hill and Crest, "Naturalization"
Tom Brown's Saxe Six, "A Musical Offering DeLuxe"
Photoplay, "Jim the Penman," featuring
Lionel Barrymore

Last Half:

Prof. Paoli, "Melody and Art"

J. C. Nugent, "Vaudeville's Most Talked Line of Talk"

DeWinters and Rose, "A Scenic and Spectacular Dancing
Offering"

Messenger Trio, "Comedy and Songs"

Kanui Duo, "Hawaiian Music and Songs"

Photoplay, "Shadows of the Sea," featuring Conway Tearle

Week of Februapz 5, 1222:
All Week:

Sternad's Midgets, featuring a real live elephant,
educated ponies, trained dogs

Photoplay, "Small Town Idol," Max Sennett's Six Reel
Comedy-Drama, featuring Ben Turpin

Week of Februapy 12, 1222:
First Half:

Jimmy Hodge's Musical Comedy 00., "At Tampa Bay,"
featuring Verne Phelps, Sid Harrison, Jimmie Hollis,
Hazel Mack and Helen Stanzel

Photoplay, "Chivalrous Charley," featuring

Eugene O'Brien

175

Last H§;f:

Jimmy Hodge's Jolly Jolliers, "His Royal Majesty"
Photoplay, "The Golden Gift," featuring Alice Lake

Week of Februgpy 12, 1222:
First Half:

Hart and Francis, "The Aeroplane Hoopsters"
Ferry and Hawthorne, "Bits From Life"
Young and Francis, "The Military Duo"
Great Lester, "The International Ventriloquist"
Keno Hayes and Melrose, "That Fellow Don't Like Me"
Photoplay, "Wife Against Wife," featuring

Pauline Starke

Last Half:

Hugh Johnson, "Comedy Conjurer"

Knight and Sawtelle, "A Nightmare of Comedy"

Fred Hagan and 00., "The Bear-Cat"

Bert Rose and Reil Schaffner, "Figure It Out"

The W0nder Girl, "A Sensational Novelty"

Photoplay, "A Dog's Life," featuring Charlie Chaplin

Week of Februapz 26, 1222:
First Half:

DeVaro and DeCarlo, "The Flying Minstrels"

Ridgon Dancers, "Dancers Supreme"

Maybelle Phillips, "Exclusive Songs and Sayings"

Twyman and Vincent, "Pancakes and Flapjacks"

Spanish Goldinis, "An Artistic Novelity"

Photoplay, "The Great Adventure," featuring
Lionel Barrymore

Last Half:

Rago, "The World's Master Escape Artist"

The Blue Bird Revue, "A Harmonious Treat"
McConnell and West, "Comedy Singing"

Millard Brothers, "The Music Teachers"

Aldine and Wright, "A Novelty Wonder"
Photoplay, "Serenade," featuring Miriam Cooper

Week of March 2, 1222:
First Half:

Gibson Sisters, "The Cozy Revue"
Kahn and Boone, "Mirth and Melody"

176

Ollie Young and April, "Bubbleland"

Boothby and Everdean, "Songs and Travesty"
Antonieta Dvorak, "Cymbalon and Violin Virtuoso"
Photoplay, "His Nibs," featuring Chic Sale

Last Half:

Rice Brothers, "Real Comedians"

Baley and Burlew, "Premier American Dancers"

Willie Missem and 00., "Unique Novelists"

"Clownland"

Photoplay, "Salvation Hell," featuring Pauline Starks

Note: By March 4, 1922, the ads for the Strand Theatre
in the State Journal emphasized the photoplays, with the
names of the attendant vaudeville acts in much smaller
print. (State gournal, March 4, 1922)

Week of March 12, 1222:
First Half:

Rossow Midgets, "Acrobatic Boxers"

Adler and Clark, "Hangnails"

Genevieve May and 00., "A Jazzless Divertisement"

Culfport and Brown, "Darktown Comics"

Time and ward, "Sensational Bicyclists"

Photoplay, "The Prophet's Paradise," featuring
Eugene O'Brien

Last Half:

Al Striker, "Position Means Everything in Life"
Halligan and Lee, "A Smile a Minute"

Tom Davies and 00., "The Persuader"

Speaker Lewis, "The Twelve Minute Man"

Verna Merseyan and 00., "Dances Classique"
Photoplay, "Glass Houses," featuring Viola Dana

Week of March 12, 122 :
Eirst Half:

Jolly Jolliers Musical Comedy 00., "The New Cook"
Photoplay, "Straight From Paris," featuring
Clara Kimball Young

 

Last Half:

Jolly Jolliers Musical Comedy 00., "Mum's the Word"
Photoplay, "The Devil's Garden," featuring
Lionel Barrymore

177 ’

fote: The Jolly Jolliers closed the vaudeville season
at the Strand Theatre, as it "reverted" to its summer
policy of showing movies exclusively. The orchestra
remained, however, to provide accompaniment for the
photoplay. (State gournal, March 18, 1922)

But the fact of the matter was, that movies became so
popular, that, except for infrequent one-act additions to
the regular photoplay bill, the summer policy remained in
effect from then on. By December, 1922, the program at the
Strand Theatre was: .

The Overture (8 minutes;

Strand News (10 minutes

Comedy (a vaudeville act) (15 minutes)
Feature Movie

(State Journal, December 6, 1922)

 

Of the other theatres in Lansing at that time jg
(December, 1922) the Gladmer, the Plaza, and the Colonial
Theatres were showing movies exclusively, while the
Regent and the Capitol Theatres were producing shows that
included three-to-five vaudeville acts followed by a
photoplay, in shows that changed twice a week. (State
Journal, December 23, 1922)

Over a year later, from the time that the Strand
"reverted" to its summer policy, in March, 1922, the
theatre was still committed to the movies, and the
summer policy of 1922 was still in effect into 1923.
(State gournal, March 31, 1923)

APPBLDIX D

IJTERVIEW WITH JALES LAHER

178

Appendix D

Interview with James Maher

This interview was recorded July 27, 1976 by
Betty Kopit, with James Maher in Lansing, Michigan. It was
recorded from 1 o'clock to 2:30 in the afternoon at the
home of Mr. Iaher at 1212 Eureka Street, in Lansing.
Mr. Maher is 84 years old, appears to be in good health, is
Spry, lucid and a delightful gentleman to talk to. He had
a cigar in his mouth the entire time. This interview has

been edited.

9636*

Q. How long did you work at the Strand Theatre?

A. Well, between the Strand and the Michigan it must
have been several years. I went out to the college and
worked 18 years there after I left the Strand. They retired
me there and then I went to the Gladmer and worked.

Q. After you worked at the University?

A. Yeah, after I retired.

***

I had my blue room where I had my desk and every-
thing (at M.S.U.). I had all kinds of, Oh hundreds, of
pictures all around the walls.

Q. What was your job at the Strand Theatre?

 

179

A. Well, I was flyman there. Flew the scenery up
after each act. That was the time of the big bands and
all the big vaudeville acts coming through.

Q. Can you describe your typical day and the tasks
that were involved? What time you would get to work and
what you would do after each act?

A. We'd come in at 10 o'clock in the morning and
they'd change the bill. Vaudeville, twice a week, see, and
sometimes they'd stay for all week. Me and the stage
manager, the property man and an extra man would hang the
scenery for these acts.

Q. What kind of scenery was it?

A. Oh, flats and stuff that flew up in the air, drops
that flew up in the air and down.

Q. So, you'd get there at 10 o'clock in the morning.

A. Ten o'clock and we'd stay 'til night. Then that's
just when Uncle Howdy had the kids in there, and we used to
have to set up the bleachers for the kids, maybe a hundred
of them or so.

Q. Where were the bleachers located?

A. On the stage, see, in front of the footlights.
Then, when it come time to put the moving picture on after
the kids sang, we'd have to tear them bleachers down and we
had to do it in less than five minutes. It kept us pretty

busy.

180

Then the picture'd go on and the close of the bill, the
show.

Q. Can you tell me any recollections you have of the
vaudeville acts that appeared at the Strand?

A. I worked Will Rogers for $35 a week and oh, all
them old-timers. I got pictures with a lot of them. It was
quite a coincidence for me to meet all of them people. They

was so nice.

***

Q. Was the theatre always crowded?

A. In vaudeville days, we had an organ, and a lady
used to play the organ. We'd raise it up from a pit, up
even with the stage. She played two or three numbers. They
used to have it in vaudeville in the theatre, see. I guess
it's still in the Michigan yet. They don't use it.

Q. They haven't been using it during the summer.

They used to use it every Sunday night, just in the past
few years. What time was the first show given?

A. They'd have a morning show for the kids, see.
Uncle Howdy. He used to be at WJIM.

Q. But, it was really all day long.

A. Yeah, it was.

Q. Was the theatre crowded?

A. Oh, yes, they used to pack the theatre, them days

in vaudeville, the big bands.

181
Q. Would people stay all day long, for both shows or

just come for one?

A. A lot of them stayed for both shows.
Q. What was the admission price?

A. Oh, boy. Not so much as it is now days. I forgot
about that, what they were charging. It was way down low
with what they are paying now to see a movie.

Q. And do you know how much they used to pay the
vaudeville acts?

A. Vaudeville acts? Well, it varied, see. It all
depended what position. The next to the closing act was
always the money act, see. That was the big act. The last
act was usually an animal act or a bunch of girls dancing
or the chorus, see.

Q. So it would be the act that was next to closing
that would get the most money.

A. Yeah, it gets the most money.

Q. I see. Do you know how often the acts would get
paid? Would they just get paid every week or would they
get paid daily?

A. They'd get paid right there and then after the
show.

Q. When the vaudeville acts came to appear at the
Strand Theatre, where did they stay in town?

A. Years ago they used to come walking in with suit-

cases, see. They'd stay at private homes. Some would go to

182
hotels. The ones that were making the best money would go

to the hotel.

Q. Were they the private homes of people that they
knew, or people that they had met when they had appeared
here earlier?

A. They got a list of people where they could rent a
room for a day or two.

Q. Were there many acts that came back to Lansing
year after year?

A. Oh, yeah.

Q. That became very familiar?

A. We had repeats. The good acts would come back.

Q. Can you remember any that were regulars-that came
back to the Strand year after year?

A. Boy, Al Jolson, Rudy Vallee, Will Rogers (Some man
with a rope. All he knew was What he read in the news-
papers!)

Q. He was pretty funny.

A. He was quite a comic.

Q. Who were your favorite vaudevillians? Who were
your favorite acts?

A. Well, the Opera, Lily Pons. (and)

***

Yeah, who's the colored woman there?

Q. Marion Anderson?

 

183

A. Anderson. They was getting pretty good money then,
and for the service, they used to be pretty fair to me by
giving me a tip, see, 35 or $10.

Q. They'd give you a tip?

A. Oh, I got a lot of tips.

Q. Really, why would they give you tips? F

A. For the service I'd give them. One time there
was a lady (who) had a doorman, an officer, at the door.

You couldn't smoke on the stage. So, in the dressing room

 

they'd always sneak a smoke, see, and a big star was in the A
dressing room and the officer seen some smoke coming from
under the door, and he rushed right in and opened the door
without rapping. Usually when you're on the stage, before
you go into a dressing room, you gotta rap. He busted right
in and there was a woman in the nude, see, and oh boy, she
screamed! You could hear her way over the foot lights, and
the first act was on and, I runned over there, and I says
"What in the world did you do? Did you go in that dressing
room without rapping?" And he says, "Yeah, smoke was

coming out of the door." I says, "You get off of the

stage." He wouldn't, so I says, "Get over there by the
door." And the next day I talked to the manager, and I says,
"I don't want no policemen on this stage anymore." So we
stopped putting a policeman on the door watching. Boy,

she screamed something awful.

Q. And you got a tip out of that, huh?

184
A. Well, I didn't see nothing.

I'd ask them for an autograph and a picture and if
they wanted to leave it, they'd do it, see. But, they used
to put the pictures out on a board out on front of the
theatre, of the acts. They used to bring them backstage.
So I'd take them off. Some of the acts would want them
back, but others, they didn't care, they had so many. I'd
take them and then I'd go and ask them for autographs. So
I had hundreds and hundreds of pictures.

In bootlegging days they had these bootlegging joints
where you'd go in and get beer, you know, and whiskey and
alcohol. I lent this fellow about two hundred of my
pictures and he put them all around this room. Then they
made a raid and they took all my pictures, two hundred of

them, but I have a lot of them left.

***

Q. Can you tell me anything about the animal acts that
appeared at the Strand?

A. Oh, we had a number of dog acts.

Q. What would the dog acts be like? What would they
do?

A. Oh, all different sizes, little ones and big ones.
One time I come into the theatre early. This trainer had
a whip and was whipping these dogs. And, Holy Cats, I got
so mad, I went over and told him. I says, "What the . . ."

He says, "None of your business. I'm training these dogs."

185

I called up to the humane society and the next day they
come down and they had a talk with him and boy, they bawled
the life out of him. He was trying to train them with this
whip and he was hitting them pretty hard too. They put a
stop to that. I guess they were about to fine him.

Q. What other kinds of animal acts were there? E

A. An elephant act. 1

Q. Elephant? j

A. Yeah, (there was an) elephant room and the elephants

 

walked down the cement stairs into the elephant room. It A
was quite a thrill for the children.

Q. I'm sure. What did they do with the elephants
when the other acts were on?

A. Well, there wasn't but one animal act that would
come in on a bill. They'd usually pick the acts so there
wouldn't be two singers or two or three dancers with the
same music dancing, pretty near alike.

Q. And the people who owned the animals would just
take care of them while they were there? If a vaudeville
act was going to appear for a week, or a split—week at the
theatre, where would they keep the animals while they were
here?

A. In the animal room.

Q. Was the animal room on the stage or in the base-
ment?

A. In the basement. A lot of them coming down the

stairs used to be a kind of a task.

186

Q. I'm sure.

A. But they had attendants to keep them clean and
brushed. Dog acts usually bark a lot of time. They were
hungry I think half of the time. They'd spill the food.
The main thing was, with a dog act, they'd have to do
their tricks before they'd give them something to eat.

Q. Right. I read an article that said that one time
there was a chicken show at the Strand Theatre.

A. Chicken?

Q. Yep.

A. I don't remember. . . a lot of bird shows there.

Q. Bird shows? What did the birds do?

A. Oh, there was a parrot there one time that talked.
Birds that would roll over on the stage and jump up on the
perch. They had them trained to do different tricks.

Q. Did they ever fly out into the house?

A. No, oh yeah, they would fly out around the stage
and they'd land on a man's head.

Q. Were there many backstage problems when the
animals appeared?

A. We had one time we had to stop the show. I was
working on the fly gallery and they had big sandbags for
weights and balance so it wouldn't be so hard to pull.
They had the hooks where they hooked them on the bags, and
I was pulling this up, and all at once the hook caught in
the sand, up there way up in the air, and the whole stage

pulled it down and it went out in the audience and they

187
had to stop the show 'til it settled down. I got bawled
out for that. It was an accident but still I should have
kept the bag away from that hook. That's been the only
thing bad we ever had happen there at the Strand.

***

Q. Were the audiences very responsive to the actors?
Did they shout, clap, yell their approval if they liked an
act or if they didn't like an act, what would they do?

A. Well, they usually would be nice. For some acts
they'd do a lot of applauding and whistling and everything
. . . the good acts. We had an aerial act, circus act. In
them days, I had to go way up a hundred foot ladder way up
in the flyloft with a man or a woman. One time it was a
woman, with all her rigging up in the flyloft, and I walked
up there and helped them put their rigging up, see. But
they never had no accidents cause they knew how to tie the
knots.

Q. Did they bring their own people in to rig it or
did you guys rig it?

A. Usually the act would do it. Two or three of the
act. A lot of them wouldn't have nets underneath them too.
If they'd fall, they'd fall on the stage. Others would

have nets.

***

Q. What would happen if the audience didn't like an
act? What would they do?

188

A. Oh, they'd boo sometimes. The managers wouldn't
take an act that wasn't up to standards. They'd want a

good act.

***

I used to take a lot of the acts out after the
show,take them to the Elks Club, see, and they'd entertain
for the Elks there, see. They used to have the Elks Club
where the Michigan Bank is now, back of the Regent Theatre
and the old Bijou Theatre. I used to take the acts over
there and they'd entertain and have two drinks and stuff.

When I first come here I went and worked at the
(oh boy) not the Capitol Theatre, before the Capitol, (the)
Empress (Theatre).

Q. What did you do at those theatres?

A. I was electrician on the stage.

Q. At the Empress and the Capitol? That was before
you worked at the Strand Theatre?

I A. Oh, yeah, it was before. The first talking picture
was Al Jolson in "Sonny Boy" and we used to have the record,
you know. We used to play the record. I went in the booth
to work there at the Capitol and son of a gun, if we didn't
have a lot of trouble with the records. The booth would,
if you'd walk across it, would shake it and knock the
needle off the record. We'd have to stop and put it back on.
I went from there. I traded with Coski Higgins and went to

the Strand to work. I didn't like the booth. It was too
confining. I liked to be out amongst the people.

189

Q. I don't blame you. Did the vaudeville actors who
were on the circuit watch the other acts?

A. Oh, yeah, they'd stand in the wings and watch the
other acts.

Q. Did they ever steal material from one another or
end up singing the same songs or telling the same jokes? :-

A. Sometimes the number one song was repeated with
other acts.

Q. Do you remember what any of those songs were?

 

I
'FI'I.

A. "When you were sixteen, my village queen," "Weep 9
no more my lady," "Down by the old mill stream." All them
old-timers. I like to hear them yet when they sing them.

Q. Did any of the acts besides the circus aerial acts
ever bring any unusual scenery to the theatre?

A. Oh, my yeah. There used to be these musical tabs.
Oh boy, (they were) loaded with scenery. Had a bunch of
girls and it was vaudeville, like. They had scenery, a lot
of it hanging in the flyfloor, up and down with it all the
time.

Then Qpp;§.Tpm;§,Q§pip would come in. Then they
used to have a band out in front of the theatre before the
show. Then flpplp,2ppg§_gap;p_come into the Gladmer Theatre
and they had 51 hanging pieces. They started at the foot-
lights and went right back until Little Eva went up in
heaven, see. I was working the flyfloor up above the

Gladmer. The Gladmer flyfloor was way up high. The Strand

190

was on the same level with the stage. There must have been
16 men up there working with me. Of course, I run the
curtain and they'd start with one and go right back.
Everybody had a cue, a green light to go and a red light to
stop. We'd have it there and I'd tap them on the shoulder
to go, and save them from watching the light. I'd go along
behind them.

Q. Were there other legitimate plays put on at the
Strand?

A. Every bill would have this drama act or some kind
of an act. They always had one with furniture and every-
thing. When I was property man I used to go out and get
all this furniture and of course they'd put a card on
where the furniture was from, from different stores.

Q. That's when you were the property man at the
Regent?

A. Yeah.

Q. That must have been a very busy job, going out and
finding all the props.

A. Yeah, yeah, used to bring in big van loads of it.
Used to get them from Arbaugh's and different stores.

Q. And you rented the furniture?

A. They'd send us, they'd list, the acts would, what
they wanted to dress the stage up, and we'd get as near as
possible what they called for. But they always used what

we got.

191
Out to State we had Mr. Laughton come in,

Charles Laughton. And he come in and I had myself,
property man, stage manager and property man, flyman and
another man working the show. He was on the stage giving
this talk, you know, and son-of-a-gun, the boys come in and
they walked across the back of the stage, back of the drops, F5
bang, bang with their shoes. So, he stopped his act and
come up to me and says, "Who's making that noise?" Even

the audience heard it. See, he was mad and he said, "I

 

want you to take your shoes off, every one of you, or sit 5‘
down!" He said, "I don't want this noise back of this
drop!" So, I said, "The boys ain't going to take their
shoes off, Mr. Laughton." I said,"They'll be quiet." So
then it was quiet after that.

Q. And they all took their shoes off?

A. He wanted us to take our shoes off, so if we walked
around again back of the drop he wouldn't hear it. He was
nice after that though.

Q. Were other actors very tempermental?

A. Some were, some was tempermental, but out there
(we had) Jimmy Milton, the singer. We had the Auditorium
just packed full and Dean Cole, my manager there. . .

Q. What theatre was this at?

A. At the.Audit0rium out here at State, out at
Michigan State. He come back and says "Jimmy, we've got

about 700 or 800 students out here that can't get in the

192

theatre." He says "Can you get them in on the Fairchild
Theatre?" I says, "Yes in about three or four minutes."

So, we got busy and we hung a drop up and fixed up the stage
for the Fairchild Theatre. He let them all in, see, free.
Jimmy Milton sang to the people mostly out in the audience,
so he says, "Jimmy, you got the drink of water over there?" F-
I had a nice decanter in the wings and a glass and a table .
and I says, "Yeah, right here," and I waved the men over.

He says "Bring it out to me." So I went out with the

 

pitcher and a glass, see, and poured him a glass of water i
and handed it there. He said "Now, take a bow." The house
all applauded like the dickens. So he says "Well, I sang
enough songs now for the paid people. I'm gonna sing a few
for the people in the back room." So he turned around and
sang a couple of songs to them, to the Fairchild side.

Q. That's interesting. Did that ever happen again
where both sides, the Auditorium and Fairchild, were used
at the same time?

A. Oh, yeah, we used them a couple of times. We had
some wonderful times out to the State. I'm getting so that
I'm getting forgetful. I think of something and the next
minute. . . well, old age, I guess.

Q. The Strand was a beautiful theatre, wasn't it?

A. I worked when we changed it over to the Michigan.
They hung drapery all around and everything. I worked all

during that time, rigging it. I rigged the Strand. I

193
worked out there (at Oldsmobile) on shows too and the Civic
Center. I did all the hanging, the rigging, up on putting
the headblocks in and the shivs, a cable that runs over.
At the Civic Center I worked for years at the ice show.
First ice show come out to Michigan State in the old
Demonstration Hall. That was the first one. I had to take
3 or 4 hanging pieces from the Auditorium and take it over
to the Demonstration there and hang it in there. But it
was too small for the ice show. They sold too many tickets,
so they switched them down to the Civic Center where they
can get 8—9,000 in. I worked all them ice shows.

Q. And you mentioned Oldsmobile. They had Oldsmobile
shows at the Strand Theatre,didn't they?

A. No, Oldsmobile had their own shows, see. They'd
go out every change of model and they'd travel all over the
United States. I went out four different times with them
on the road. I went to the Coast two times and went to
New York and Oklahoma, Dallas, all them places where they'd
put their car on a turntable. I used to run the car, see,
push the button and also the curtain, for them. The
personnel, big shots, they, about three of them, didn't like
to fly. That's when they had the old crates, not like ships
they've got new with everything on them.

Q. Did they have any Oldsmobile shows at the Strand

Theatre?

1

 

194

A. Oh yeah, they put their show on at the Strand too.
They put the car on the turntable, but that was before
they built their own auditorium out there (at Oldsmobile).
Q. Did you ever meet Colonel Butterfield?

A. Oh, yeah. I was working at the Gladmer Theatre

"_?'

 

and he come in, had this old hat pulled over his eyes,

cap it was, and he come by as I was taking tickets at the

door. The lady in the box office would sell the tickets,

and I was taking tickets. After that I'd go back on the .
stage. A guy come in and he brushed by me and I grabbed him E

El..- ......u. .uz-Ilnl
.

like that, and I said "Hey, where's your ticket?" He says,
"Ticket? You gotta have a ticket to come in here?" It
was the Colonel, old Colonel Butterfield. He tapped me on
the shoulder and he said "You're all right." He had a big
laugh out of that.

Q. Can you tell me more about Colonel Butterfield?

A. Well, he started out in Battle Creek with one
theatre. Then he jumped around to have a theatre in
pretty near every big town. He was a little fellow about
my size, short. He used to go from one theatre to the
other. We didn't see him in Detroit at the main office
much, he was always on the go.

Q. So, you got to see him a lot in the years you
worked in his theatres?

A. Oh, yeah, I've seen him a lot of times.

Q. Can you think of any other stories about him?

195
A. Well, I never conversed much with him outside to
say "Hello" and "How are you?", but he was a jolly fellow,
seemed to be very pleasant. Yep, old Colonel Butterfield.
Q. Did you ever meet John Eberson who was the builder
and architect of the Strand Theatre?

A. Eberson? Yeah, I met him.
* * *

Q. This article mentions Midsummer Night's Daggm,at
the Michigan State College Theatre and (the fact) that they
had twelve electricians.

A. Yeah, twelve electricians, yeah.

Q. Why did they need that many?

A. Oh, they had a nice display of the lighting on that.
I'd cue everything. On and off, yellow, red, blue, white.

Q. And it took seven hours to set up that stage?

A. Yeah. That was a heavy show. Well, there must
have been about,I'd say,23 or 25 of us on the stage working
that show,'cause they had two property men, or a property
man and assistant with the show, and they carried three
electricians. They had their own three electricians, then
they told our electricians what to do. They must have had
about 8 or 10 grips that moved the scenery you know, set

it up and lashed it together.

*96'15-

Q. Were you there during the fire at the Regent

Theatre?

196

A. At the Regent? Oh yeah.

Q. You were there the night it burned down?

A. I was property man there at the time. They had a
little party down in the basement with the acts and the
stage hands. After the show the stage hands, and
Curly Burns and his company went to the hotel. We were
there about an hour or so. All at once they said the
theatre was on fire. We rushed over there,and of course
there was a fire down in the basement, cigarettes or

something, and it burned down, yeah.

***

Q. Would you like to just look through these (a stack
of old 8 x 10 glossies) and tell me anything you remember
about any of these people?

A. Oh, yeah. There's one from the blue room at
Michigan State.

Q. Oh, with all your photographs. (Jimmy covered the
walls of the Stage Manager's office on the Fairchild Stage
with old photographs of vaudeville and opera stars.)

A. Marian Anderson.

Q. Did you like Marian Anderson?

A. Oh, she was very nice, yeah. She was a talented
woman. Oh, there's Sarah Vaughn.

Q. Sarah vaughn when she was very young.

A. That was a good act. There is the best banjo
player in the world.

 

Q.
A.

Q.

man upon the stage.

A.

197

Really?
Eddie Peabody.

Oh, this says "To Jimmy, the best man behind the

There was an ice show crazy guy. I've played

with Gene Autry a lot of times.

Q.
A.
Q.
A.

horse.

guy. That guy (referring to a photo of Adolph Henjou) give

What did he do in his act?
Huh?
What did Gene Autry do in his act?

Oh, he sang with his wife and rope and also the

He always had his horse. . . with him. Here's a

me a twenty dollar tip.

Q.
happen?
A.

Adolph Menjou gave you a $20 tip? How did that

Oh, when I played him. Some of them that was very

good, some of them would tip, but I never kept them. I

split it up amongst the crew, see. Twenty dollars. There

was usually four of us on the stage. I'd split it up.

This is
Q.

A.

Q.

I ain't looked at these in years. Oh here it is.
the guy that wanted us to take our shoes off!

A picture of Charles Laughton.

You don't know who that is, do you?

Is that you. . . in front of a beautiful office?

You have lots of pictures up on the wall. This is a

picture

of you putting up another picture of a football

Best personal regards, Len Steadaman."

..Q'. A

 

2’

V's-lav

198

player. Is that a picture of you? Wow, what an old
picture. When do you think this was taken? You were in
Spats.

A. That was taken in Bay City when I first started in
show business.

Q. Right next to the stage entrance.

A. I was stage manager at the Regent Theatre there
in Bay City.

Q. This is a picture of Jimmy next to the stage

 

entrance, all dressed up with spats on. i’

A. That was in the wintertime, I guess. It was cold.
I've got my cigar there in my hand. . . .

Q. Like you do right now.

A. I smoke 10 or 12 a day. R. G. Dunns. All the time.
I buy them by the box.

Q. Well, I'd like to say thank you very much for
letting me talk to you. I've really enjoyed it.

A. Too bad, if I was twenty years younger I could've
given you more information.

Q. Well, you've given me a great deal of information.

Thank you very, very much.

: h.
.n

BIBLIOGRAPHY

 

Public Documents F

v" “ "'

hichigan Department of State, History Division, Archives
Section: Record Group 61-11, Records of the Corpora-
tion and Securities Commission; Record Group 70-5,
Records of the Department of Commerce Securities
Bureau; Record Group 72-47, Department of Commerce
Securities Bureau. 1

 

Stebbens Collection, Wayne State University, Detroit,
hichigan.

hichigan Department of Commerce, Corporation and Securities
Division.

Lansing Public Library, Local History Collection.
The George Wiskemann Collection, Lansing, Hichigan.

Michigan State University Library, Special Collections.

Books

Dulles, Foster Rhea, America Learns iglPlay:A_History g:
Popular Recreation 3607-1940, new York: D. Appleton-
Century Company, 1940.

Dunbar, Willis Frederick, hichigan: A_Histogy g; the
Wolverine State, Grand Rapids: william B. berdmans
Publishing Company, 1965.

Puller, George R., ed. Michigan: g Centennial History pi
the Statg and its Peo le, IL. Chicago: The Lewis
Publishing Company,1939.

 

Hewitt, Barnard, Theatre U.S.A. 1668 39.1251, hew York:
thraw-Hill Book Company, Inc., 1959.

Hoyt, Harlowe R., Town Hall Tonight, New York: Bramhall
House, 1955.

200

201

Rips, Elizabeth Rae, ed. Detroit ;p_its World Setting:
2 0 Year Chronology 1101—195 , Detroit: Detroit
Pu 110 Library, 1953.

I»

Sobel, Bernard, A,Pictorial History pf Vaudeville, New
York: The Citadel Press, 1961.

vardac, A. Nicholas, Stage 29 Screen, Cambridge: Harvard
University Press, 1949.

 

Articles T}

Dunbar, Willis Frederick, "The Opera House as a Social i
Institution in Michigan." Michigan History, XXVI :
(1945). pp. 661-673. 3

McDavitt, Elaine Elizabeth, "The Beginnings of Theatrical gg'
Activities in Detroit." Michigan History, XXXI fig

(1947). pp- 35-47-

Miller, Melvin H. "The Chautauqua in Lansing." Michigan
Histo , XL (1956), pp. 257-274.

"John Eberson." The National Cvolopaedia pflAmerican
Biography, XL—(l955), pp. 5 2-5 5.

Reports

Frudenfeld, Arthur A., ed. "A Typical Zypical Connie
Talmadge Picture is 'Good References,' Selected to
Open Strand Picture Policy for the Summer Season
Starting June 19." Lansing Theatrical Ha azine, I.
(1921), pp. 1-11. (George Wiskemann Collection,
Lansing, Michigan).

Unpublished Material

Frudenfeld, Arthur A., ed. ép Achievement, unpublished.
Opening Night Souvenir Book for the Strand Theatre.
Battle Creek: Ellis Publishing Company, 1921.
(George Wiskemann Collection, Lansing, Michigan).

202
Newspapers

The State Journal (Lansing), "New Theater Added in Year,"
January 2, 1922.

The State Journal (Lansing), Centennial Issue 1855-1955,
April 28, 1955.

T e State Journal (Lansing), "Renewal to Wipe Out Last of
'Old Rialto,'" June 10, 1967.

he State Journal (Lansing), "Early Days at Strand
Recollected," March 21, 1971.

The State Journal (Lansing), April 21, l921-—Harch 31, 1923.

Cartagraphic Sources

City of Lansing Building Department.

Michigan Department of State, History Division, Archives,
General Map Collection: Rand and McNally Map of
Lansing.

State of Michigan Library, Michigan Unit, State Journal
Map of Lansing, 1917, L-38.

Photographic Sources

Bijou Theatrical Enterprises, Detroit, Michigan.

State Journal Library, Lansing, Michigan.

Leavenworth's Photography, Lansing, Michigan.

Interviews

Warren Wardwell, Manager of the Michigan Theatre,
July 23, 1976.

James Maher, former stagehand at the Strand Theatre,
July 27, 1976.

 

 

 

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