Who Was Alpine's Star of Stage & Screen?

Total Page：16

File Type：pdf, Size：1020Kb

An Alpine History Mystery: Who Was Alpine’s Star of Stage & Screen? March 2014 The 2014 Academy Awards were presented this month to some of the finest stars of our time, and that brings to mind Alpine’s own star of stage and screen. If you didn’t know that Alpine was once the home of one of the most sought after stars of Broadway and Hollywood, then we have a story for you. Our celebrity was born in 1881 in Newton, Massachusetts, and first appeared on stage at age 10 in the Boston Cadets Revue. It is reported that our star stole the show and the following year the entire performance was written around this trouper. Under the stage name of Julian Eltinge, our artiste’ first appeared on Broadway in 1904, and in 1906 debuted at the Palace Theater in London, which led to a command performance for King Edward VII. Then, in 1910, a series of musical comedies were written specifically for the talents of this headliner. In one of the most famous shows, The Fascinating Widow, Eltinge masters the art of disguise, playing the part of Hal Blake who “disguises” himself as Mrs. Monte, to the delight of the audience. In 1914, Hollywood beckoned, and Eltinge played the leading lady role in the silent film version of The Crinoline Girl, followed by Cousin Lucy, and the 1917 film, The Countess Charming. The following year, Julian Eltinge starred with Rudolph Valentino in The Isle of Love. In all, Eltinge appeared in more than 18 films and 24 Broadway and Vaudeville shows. In 1923, our celebrity came to Alpine, purchasing property along South Grade Road with plans to build a resort for Hollywood stars to get away for a back country respite. But, with massive losses during the Great Depression, the vision of a large hotel with first- class dining room and resort recreations was never realized. Eltinge Drive in Alpine is named for this famous star of stage and screen, but Julian Eltinge was just a stage name. Do you know the real name of Julian Eltinge - one of the most famous female characters in theater and movies? .

Copy Link

Recommended publications

The Billboard 1909-02-13: Vol 21 Iss 7
FSICE TEN CENTS. fifty SIX PAGES. THEATRES^ CIRCUSES PARKS FAIRS REGISTERED IN UNITED STATES PATENT OFFICE. Volume XXL No. 7. CINCINNATI-NEW YORK-CHICAGO February 13, 1909. ISABEL D’ARMOND. BLANCHE SHIRLEY. MASTER GABRIEL. In Tbf> OIrl Quctloo * I’**** master GABRIEL. THE LYMAN TWINS CHORUS THE MERRY WIDOW WALTZ Xtie Billboard lUIBEII BALLOOIS. 5c. SHOW DON’T PATRONIZE US SOUVENIB BOOBS. if the prices that you paid before we BUBBEB 600DS, SOUVENIRS made ELECTRIC PIANO MUSIC, CUE BACK CANES. Ja|i«ncfi<- ('hiua Wan-, |K-r Ka).$.'i.50 were satisfactory. Remember we are KNIFE BACK KNIVES. Trick Match Itox, imt aroaa .75 m Japaucac Ton Toinha, per Kroaa.75 foroinf Piano Manufacturers to estab¬ Japaucac Zlttcra, |M-r ifross .75 FOB CARNIVAL SALES. Japanese WhlutlcH. i«“r uroai- .75 lish fair prices; if you want to always Japaneae TurtU-a, In (ilaaa liox, |>cr Kroaa.. .75 Fancy colored I(elurue<l Halla, |>er Krosa.. l.(K) have them, and get music that is supe¬ ,7 f ! ■'■I Fancy colore<l tjlaaa I‘en Holders. jM-r (froaa .StO rior in all respects to what you had to Japaneae Tainlireena, (H-r Ktoaa . 1.(10 Horae Shoe Mlrrora, ja-r (trosa . 1.50 take and look pleased aL then give us Skeleton Acrohata, per groaa . 1..50 \v' Japaneae Flag I’lir.rlea, per gross . 1.00 your business. Terina—Half deposit; balance ('. (». K NEWMAN MFC. CO.. We have the largest assortment of Knife Board 641 Woodland Ave., Cleveland. Ohio. V Cl Knives west of the Mississippi River. Our ■ - 1 prices are alamlutely rock bottom.
[Show full text]
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials .....................................................................................................................................
[Show full text]
Every Saturday by the Beginning, Confidence in History Is Not Entirely with Tacoma's Past Accomplishments in Raising WOOD & REBER, Inc
Vol. XIV. No. 25 JUNE 21, 1919 Price 10 Cents Entered as second class matter at the neUnited States postoffice at Seattler. Every Seattle Saturday Hotel Del Coronado A Favorite Resort for Seattleites. The Hotel del Coronado is situated at Coronado Beach, California, just •cross San Diego Bay from tlie City of San Diego, and is one of the mos1 delightful all year vacation hotels in the West. Polo grounds and golf links are in close proximity to the Hotel. Bathing—both sheltered tank and surf—motor boating and hydro-planing. Pacific Steamship Company's direct service with Seattle at the Northern end of the line and San Diego at the South, makes it easily accessible for Seattle residents. ' i-tSVM 3S * • -is vo:; When You Purchase GREEN BLACK AND Cord Tires YELLOW TAXICABS WHITE MAKE SURE YOU GET Women Will Find Brunswick that by using the excellent TAXICAB Service which we offer them the problem of economical service is solved— HAND-MADE CORD TIRES It's Cheaper Than Driving Your Own Car Our Experience Has Been That Once You Buy a Brunswick Cord Your Tire Troubles Are Solved In every taxicab we have a Taximeter, so simplified that by looking at it you know just how far you have ridden and Try the Brunswick Cord Tire The Exact Amount of Your Fare It is quite unnecessary to ask the driver; the Taximeter gives you the desired information— DETERMINE FOR YOURSELF THAT IT HAS THE BEST OF EVERYTHING BRUNSWICK PRESTIGE Our Drivers Are Courteous and Careful Based on 73 Years of Turning Out the Best in Every Brunswick Line is Back of Them.
[Show full text]
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items.
[Show full text]
The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz a Dissertation Submitted in Part
The Trouble with “Queerness”: Drag and the Making of Two Cultures By Katie Rebecca Horowitz A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Catherine Cole Professor Judith Butler Fall 2012 Abstract The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Linda Williams, Chair This dissertation responds to the frequent charge within academic and activist circles that queer theory is simply gay male theory cloaked in more inclusive language. Taking as its starting point an ethnographic case study of drag king and queen performance cultures, it challenges the efficaciousness of an everything and the kitchen sink approach to queer theorizing and organizing. This work constitutes the first academic monograph centered on queer life in Cleveland, Ohio and is also the first to focus simultaneously on kinging and queening, a lacuna at once explained by and demanding interrogation of the fact that these practices have almost nothing in common with each other. Despite the shared heading of drag, these iconically queer institutions overlap little with respect to audience, movement vocabulary, stage persona, and treatment of gender, class, race, and sexuality. The radical (in)difference between these genres serves as a microcosmic representation of the perennial rift between lesbians and gay men and highlights the heteronormativity of the assumption that all of the identity categories subsumed under (and often eclipsed by) the queer umbrella ought a priori to have anything in common culturally, politically, or otherwise.
[Show full text]
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HOORAY FOR HOLLYWOOD: GENDER AND SEXUAL NON-CONFORMITY LN THE CLASSICAL HOLLYWOOD ERA by Brett Leslie Abrams submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy [Education] in History i I Chair:lir: / a .
[Show full text]
A 16 Bar Cut: the History of American Musical Theatrean Original Script and Monograph Document
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 A 16 Bar Cut: The History Of American Musical Theatrean Original Script And Monograph Document Patrick Moran University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Moran, Patrick, "A 16 Bar Cut: The History Of American Musical Theatrean Original Script And Monograph Document" (2006). Electronic Theses and Dissertations, 2004-2019. 916. https://stars.library.ucf.edu/etd/916 A 16 BAR CUT: THE HISTORY OF AMERICAN MUSICAL THEATRE An Original Script and Monograph Document by PATRICK JOHN MORAN B.A. Greensboro College, 2003 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2006 © 2006 Patrick John Moran ii ABSTRACT A final thesis for my Master of Fine Arts degree should encompass every aspect of the past few years spent in the class room. Therefore, as a perfect capstone to my degree, I have decided to conceive, write, and perform a new musical with my classmate Rockford Sansom entitled The History of Musical Theatre: A 16 Bar Cut.
[Show full text]
A Historical Study of the Tulane and Crescent Theatres of New Orleans, Louisiana: 1897-1937
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1963 A Historical Study of the Tulane and Crescent Theatres of New Orleans, Louisiana: 1897-1937. Sadie Faye edwards Head Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Head, Sadie Faye edwards, "A Historical Study of the Tulane and Crescent Theatres of New Orleans, Louisiana: 1897-1937." (1963). LSU Historical Dissertations and Theses. 885. https://digitalcommons.lsu.edu/gradschool_disstheses/885 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been 64—5045 microfilmed exactly as received HEAD, Sadie Faye Edwards, 1929- A HISTORICAL STUDY OF THE TULANE AND CRESCENT THEATRES OF NEW ORLEANS, LOUISIANA: 1897-1937. Louisiana State University, Ph.D., 1963 Speech—Theater University Microfilms, Inc., Ann Arbor, Michigan A HISTORICAL STUDY OF THE TULANE AID CRESCENT THEATRES OF NEW ORLEANS, LOUISIANA: 1897-1937 A Dissertation Subnit ted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial flilfUlasent of the requirements for the degree of Doctor of Philosophy in The Department of Speech hy Sadie Faye
[Show full text]
Neil's New Finding
Neil Richards Finding Aid University of Saskatchewan Archives MG 355 Neil Richards fonds. -- 1896-2000. -- .7 m of textual material. Historical note Born and educated in Ontario, but based in Saskatchewan since 1971, Neil Richards (1949 - ) has been an active participant in local, provincial and national gay organizations since the early 1970s. His activist work included participation in the Committee to Defend Doug Wilson in 1975, the organization of the 1976 convention of the National Gay Rights Coalition in Saskatoon, and many of the earliest AIDS awareness efforts in Saskatchewan. In conjunction with his work at the University of Saskatchewan Library, he produced many exhibitions and public events concerning AIDS and gay history and life. Scope and content note This collection dealing with the history of theatrical transvestism and gender impersonation was begun by Neil Richards during his research for the physical and digital exhibition All Frocked Up: Glimpses of Cross-Dressing in Saskatchewan (2003). To provide historical and international context to the images from Saskatchewan, Richards collected, principally through Ebay purchases, paper ephemera featuring female and male impersonators who had achieved fame on British music hall and American vaudeville stages during the first half of the 20th century. The collection contains material relating to the careers of Vesta Tilley; Julian Eltinge; John Graffton; Millie Gold; Hetty King; Danny Brown; Doc Benner; Danny LaRue; Charles Pierce; Jim Bailey; Rae Bourbon; Lynn Carter; Divine; Hinge and Bracket; Rex Jameson; T. C. Jones; Hector Nicol; Nellie Kolle; Grace Leonard; Dixie Norton; Claire Romaine; Ella Shields; Florenze Tempest; Bert Errol; William Lingard; Tom Martelle and Karyl Norman.
[Show full text]
REVEAL a Thesis Submitted to the College of the Arts of Kent State University in Partial Fulfillment of the Requirements for Th
REVEAL A thesis submitted to the College of the Arts of Kent State University in Partial Fulfillment of the requirements for the degree of Master of Fine Arts by Kathryn Simmons May 2021 Thesis written by Kathryn Simmons B.A. The University of Akron, 2004 M.A. The University of Akron, 2013 M.F.A. Kent State University, 2021 Approved by ______________________________________________ Janice Lessman-Moss, M.F.A., Advisor ______________________________________________ Marie Bukowski, M.F.A., Director, School of Art ______________________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES……………………………………………………………………………. iv ACKNOWLEDGMENTS……………………………………………………………………...v REVEAL……………………………………………………………………………………….1 FIGURES……………………………………………………………………………………….10 REFERENCES…………………………………………………………………………………24 iii LIST OF FIGURES Figure Page 1. Thesis Installation Gallery View……………………………………………………….10 2. Jasmine………………………………………………………………………………....11 3. Sassy B. Jones………………………………………………………………………….12 4. Twiggy’s Place and Cocoa……………………………………………………………..13 5. Ginger Manchester……………………………………………………………………..14 6. Twiggy…………………………………………………………………………………15 7. Cricket………………………………………………………………………………….16 8. Erica, Big Momma, Sassy B. Jones, Queen, and Cricket……………………………...17 9. Rainbow………………………………………………………………………………..18 iv ACKNOWLEDGEMENTS This thesis is dedicated to the phenomenal drag queens that shared their stories, images, and inspiration. These are the pioneers that dared to meander outside the norm
[Show full text]
Broadway Theaters Tour
BROADWAY THEATRE AND COMMERCIAL DISTRICT TOUR The Broadway Reference Manual was compiled in 2002 by Anne Laskey, Los Angeles Conservancy Program Coordinator, with assistance from Ed Kelsey and contributions from Ted Gooding, Eric Lynxwiler, Lanna Pian, Tony Valdez, and Don Weggeman. The manual is based on the 1992 version compiled by Sandra Levis. Updated 2007, 2010. Major revision in 2012 by Conservancy staff. Copyright August 2013. Los Angeles Conservancy. All rights reserved. No part of this publication may be reproduced without the permission of the Los Angeles Conservancy. CONTENTS: PART I – Context A Brief History of Los Angeles 3 Broadway Theatre and Commercial District 5 Theatre Architecture 6 Los Angeles Theatre Districts Over the Years 6 Adaptive Reuse and Preservation 7 Bringing Back Broadway 7 PART II Buildings on tour Demolished theatres around Pershing Square ..9 Broadway Block-by-Block 10 Roxie 19 Clune’s Broadway (Cameo) 20 Pantages (Arcade) 22 Broadway Spring Arcade Building 24 The Dutch Chocolate Shop 25 Walter P. Story Bldg 26 Orpheum (Palace) 27 Los Angeles 31 Clifton’s Brookdale 34 Bullock’s 35 Loew’s State 36 Morosco (Globe) 39 Tower 40 Rialto 43 Orpheum 44 Eastern Columbia 47 United Artists 49 Pantages (Hill Street) 52 PART III Major theatres downtown not on Broadway 54 PART IV Glossary of Theatre Terms 56 Major sources 60 Broadway manual, August 2013 page 2 A BRIEF HISTORY OF LOS ANGELES On September 4, 1781, a group of 44 settlers founded El Pueblo de la Reyna de Los Angeles (The Town of the Queen of Angels). The governor of California made generous grants of ranch land to retired soldiers, and soon the flourishing colony was divided into mission, pueblo and rancho, with the city center centered around the Plaza (where Olvera Street is today).
[Show full text]
4 Enter the Lesbian 1
4 ▶ ENTER THE LESBIAN Cosmopolitanism, Trousers, and Lesbians in the 1920s [F]eminine stars now soliloquize— breathlessly— “to pant or not to pant.” — “New Films Find Feminine Stars in Male Garb,” New York American, September 9, 1923 In the 1920s, the American fashion world embraced female trou- sers for the first time. Perhaps surprisingly, the film industry released fewer films featuring cross- dressed women than it had in past years, but they were longer, more expensive, and received more attention. During this same period, lesbians and inverts appeared in a succession of high- profile movies, plays, and novels, including the infamous play The Captive and the novel The Well of Loneliness. Around the United States, newspapers and magazines avidly discussed these works, spreading awareness of lesbianism and inversion, the codes to recognize them, and the terms to name them. Reading strategies that had been the purview of “sophisticated” elites became available to anyone who read the daily paper. Journalists, gossip columnists, and fan magazine writers invited general readers to be part of the in- crowd by spreading the “lowdown” on lesbians far and wide. Hollywood’s first representations of lesbians and inverts coincided with a sec- ond wave of cross- dressed women, but the two trends were largely kept apart during this period. Part II of this book investigates how American cinema helped make lesbi- anism legible to American audiences and how this process related to women’s © RUTGERS UNIVERSITY PRESS 2016 121 http://rutgerspress.rutgers.edu/product/Girls-Will-Be-Boys,5637.aspx 122 The Emergence of Lesbian Legibility cross- dressing.
[Show full text]