This dissertation has been microfilmed exactly as received
QUARNSTROM, Isaac Blaine, 1935- HARMOUNT'S UNCLE TOM'S CABIN COMPANY: A STUDY OF A TWENTIETH-CENTURY "TOM" SHOW.
The Ohio State University, Ph.D., 1967 Speech-Theater
University Microfilms, Inc., Ann Arbor, Michigan (c) Copyright by
Isaac Blaine Quarnstr
1968 HARMOUNT'S UNCLE TOM'S CABIN COMPANY:
A STUDY OF
A TWENTIETH-CENTURY "TOM" SHOW
DISSERTATION
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University
By
Isaac Blaine Quarnstrom, B.S., M.A.
The Ohio State University 1967
Approved by i
A dviser Department of Speech PLEASE NOTE:
Appendix pages are not original copy. Print is light and indistinct on several pages. Filmed as received.
UNIVERSITY MICROFILMS ACKNOWLEDGMENTS
The collecting and compiling of historical material involves the efforts of numerous individuals. To those who directed and assisted me in this work, I wish to acknowledge and express my gratitude.
Particularly to the members of my committee, to Dr. John C. Morrow who gave me the initial suggestion for the study, to Dr. John H.
McDowell who suggested the unusual research procedures which proved so valuable in its completion and to Dr. Roy Bowen, my adviser, for his encouragement and help in preparing the final draft.
Appreciation is extended to Mr. Conrad Weitzel of the Ohio His torical Society Library for his assistance in locating innumerable Ohio village newspapers.
Appreciation is also extended to Mrs. Esta Tipton, publisher of the Williamsport News who contributed greatly to the study, not only through her newspaper but through her acquaintance with the residents of the Williamsport community. She guided me to many valuable s o u rc e s .
I am most grateful to those individuals who were kind enough to talk with me about the Harmount family. Particularly Mrs. Marie
Harmount and her son Richard of Middletown, Ohio, Mr. Russel Howard of Williamsport, Ohio, and Mr. Proctor Baughman of Circleville, Ohio. The interviews with these gracious people brought a life to this study that may not have been there otherwise.
Finally, I express appreciation to my wife, Karen, who has taken the burden of many of my home responsibilities during the writing of this history, making its completion possible. VITA
November'S, 1935 Born - Rupert, Idaho
1961...... B.S., Brigham Young University, Provo, Utah
1961-1963 ...... Teaching Assistant, Department of Speech and Drama, Brigham Young University, Provo, Utah
1963 ...... M.A., Brigham Young University, Provo, Utah
1963-1964 ...... Technical Theatre Assistant, Department of Speech, The Ohio State University, Columbus, Ohio
1964-1966 ...... Teaching Assistant, Department of Speech, The Ohio State University, Columbus, Ohio
Summer, 1966 .... Instructor, Summer Center of Communicative Arts, The Ohio State University, Columbus, Ohio
1966-1967 ...... Assistant Professor, Department of Speech and Drama, Central Michigan University, Mount Pleasant, Michigan
FIELDS OF STUDY
Major Field: Theatre
Studies in Theatre History and Criticism. Professors John H. McDowell and John C. Morrow
Studies in Modern Theatre Theory and Practice. Professor Rpy Bowen
Studies in Readers's Theatre. Professor Keith Brooks
Studies in General Speech. Professor Franklin H. Knower TABLE OF CONTENTS
Page
ACKNOWLEDGMENTS...... ii
LIST OF ILLUSTRATIONS...... viii
Chapter I. INTRODUCTION...... 1
II. THEATRICAL ENTERTAINMENT IN SE LECTED RURAL OHIO COMMUNITIES FROM 1903 TO 1920 ...... 10
Belle C enter, Ohio - 1903 A shville, Ohio - 1904 M ilford C enter, Ohio - 1906 Gratis, Ohio - 1906-1908 Eaton, Ohio - 1910 Ashland, Ohio - 1915 L eesburg, Ohio - 1916 New M adison, Ohio - 1918 Spring Valley, Ohio - 1920
Conclusions
III. EARLY YEARS OF THE HARMOUNT FAMILY'S "TOM" S H O W ...... 49
1903 1904 1905 1906 1907 1908 1909 1910 1911
Conclusions
v TABLE OF CONTENTS (continued)
P age
IV. THE HARMOUNT COMPANY'S "BIG CITY" PRODUCTION ...... 112
W inter Season 1911 1912-13 1913-14 1914-15 ,1915-16 1916-17 1917-18 1918-19 1919-20 1920-21 1921-29
Conclusions
V. UNCLE TOM'S CABIN AS IT WAS STAGED BY THE HARMOUNT COMPANY . . 193
The S cript The Scenery and Staging
Conclusions
VI. UNCLE TOM'S CABIN: THE THEATRE'S LONGEST R U N ...... 252
Why Such P o p u larity ? Why Did it End?
Conclusions
VII. GENERAL SUMMARY AND CONCLUSIONS .... 283
A PPEND IX A ...... 289
\ APPENDIX B ...... 291
A PPENDIX C ...... 363
A PPEND IX D ...... 372
vi TABLE OF CONTENTS (continued)
BIBLIOGRAPHY. LIST OF ILLUSTRATIONS
Figure Page
1. A'bert L. Harmount, organizer of the Harmount S h o w ...... 51
2. E arly H arm ount Show W a g o n ...... 56
3. Guy Howard as "Haley" with Harmount Show (1909)...... 71
4. Elizabeth Morris and Peters' boy ...... 75
5. Harmount Band (1910) ...... 77
6. George Harmount as "Phineas" ...... 80
7. Harmount's Tent (1 9 1 0 ) ...... 86
8. Interior of an Uncle Tom's Cabin te n t ...... 86
9. Harmount's Band in Parade ...... 89
10. H arm ount's Band in P a r a d e ...... 89
11. E dw ard L. K r a n e r ...... 91
12. Unidentified Actors in the Harmount Summer S h o w ...... 99
13. Tom and Georgia McAllister in Harmount Show . .. 107
14. "Tad" Harmount, business head and manager of the Harmount Winter Show ...... 116
15. Harmount Band During a Winter T o u r ...... 124
16. Harmount Winter Company ...... 126
17. Harmount Advertising ...... 147
viii LIST OF ILLUSTRATIONS (continued)
Figure Page
18. Harmount's Ford Trucks ...... 151
19. Two Harmount Trucks ...... 151
20. "Tad" Harmount with Show Dogs ...... 169
21. Harmount's Uncle Tom's Cabin staging flyer ...... 213
22. Harmount's backdrop ...... 216
23. "Light Wood" from Armbruster Collection ...... 219
24. "Light Wood" from Armbruster Collection ...... 219
25. Floor Plan Woods and Tavern ...... 220
26. "Kitchen" or "Tavern" backdrop ...... 221
27. "Kitchen" or "Tavern" leg d ro p ...... 221
28. Floor Plan River Scene ...... 223
29. "River Scene" ...... 224
30. Harmount's Winter leg drop ...... 228
3,1. Harmount's Snow M achine ...... 228
32. R ocks ...... 230
33. Harmount's "Rocky Pass"backdrop ...... 232
34. Harmount's photograph:"Uncle Tom and E v a " ...... 232
35. House Sketch ...... 235
36. "St. Clair House" ...... 236
37. "Plantation" ...... 236
38. Eva Song ...... 238
ix LIST OF ILLUSTRATIONS (continued)
Figure Page
39. Emmeline Song ...... 238
40. Tom Song ...... 238
41. Harmount's backdrop: "Auction" ...... 240
42. Street Scene in Armbruster Collection ...... 241
43. Street Scene in Armbruster Collection ...... 241
44. Harmount's backdrop: "Legree Plantation" ...... 243
45. Bill K ibble's L egree P lantation S c e n e ...... 243
46. Harmount's Cloud Drop: "Allegory I" ...... 246
47. Harmount's backdrop: "Rock of A g es" ...... 246
48. Harmount's Cloud Drop: "Allegory III" ...... 247
49. Harmount's 47 star flag curtain ...... 247
x CHAPTER I
INTRODUCTION
Volume upon volume has been written about Harriet Beecher
Stowe's novel Uncle Tom's Cabin. Since its publication in 1851, scholars have presented the history behind the writing of the novel, have thor oughly discussed its literary merit or lack of merit, and have considered its worldwide publicity. Some have discussed the influence that it may have had upon the Civil War, while others have actually credited the novel for having helped to start the war.
The popularity which the novel enjoyed is widely known. A fact much less familiar is that the play adapted from Mrs. Stowe's novel was so popular in America that it ran continuously for nearly three-quarters of a century. On August 23, 1851, just five months after the novel ap peared, a one hour adaptation of Uncle Tom's Cabin was presented in
New York at the National Theatre, but after only eleven performances the play was withdrawn. The play had failed miserably because it bore no resemblance to the novel; "Uncle Tom was depicted as a sort of
Caliban to the Little Ariel; the martyrdom was left out, and it all ended happily. " ^
^Harry Birdoff, The World's Greatest Hit: Uncle Tom's Cabin (New York: Vanni Publishers and Booksellers, 1947), p. 25.
1 2.
The version that was to make history opened at the Troy Museum,
New York, just one month and four days later. The four act drama adapted by George L. Aiken faithfully retained Mrs. Stowe's story. In
November, the Aiken adaptation was lengthened to six acts which re mained the popular version throughout the history of the play's productions.
"Tom Shows, " a title by which the traveling Uncle Tom's Cabin companies were later known, made their own adaptations, but generally from the
Aiken script rather than the novel. Chapter V of this study compares
Harmount's "Tom" version of Uncle Tom's Cabin with the original Aiken play to illustrate the kind of adapting that was done.
Hundreds of Uncle Tom's Cabin companies performed the play in almost every city, town, village, and hamlet across the country on al most every kind of stage imaginable. However, in spite of this tremendous popularity, the only major study of the play, outside of scattered maga zine articles, is the book The World's Greatest Hit by Harry Birdoff.
This book, published in 1947, gives a very interesting account of the play, beginning with its adaption from the novel in 1852 and following through to its influence on twentieth-century theatre and motion pictures. In two parts, entitled "An Informal and Affectionate History of an American
Folk Play" and "All About the Tommers, Who They Were and What They
Did, " Mr. Birdoff records a great mass of information concerning Uncle
Tom's Cabin productions in this country and abroad. His book very effectively illustrates the popularity and influence of the play; however, he does not give enough detailed information about any one company to 3. provide his reader with a vivid picture of the "Tom Shows" and their activities. His chapter on twentieth-century "T'om Shows" is particu larly lacking in detail.
Three articles in The OSU Theatre Collection Bulletin (1963) and an article in the 1963 Revue d'histoire du theatre deal with Uncle Tom's
Cabin in the twentieth-century. Dr. John H. McDowell has written two of the articles, one in The OSUTC Bulletin and the other in the Revue d'histoire du theatre. ^ Both articles are concerned with the staging of the Harmount's Uncle Tom's Cabin Company. The two remaining arti cles in The Bulletin are by Dr. John C. Morrow and Mary Ann Fruth.
Dr. Morrow's article is a survey of the Harmount "Tom" show in which he discusses briefly such aspects as touring procedures, performing in a "Tom" show, and the spectacular or circus-like atmosphere that ap pealed to audiences. Miss Fruth's article^ is a discussion of staging possibilities of two scenes in Harmount's production of Uncle Tom's
Cabin: the Ohio River scene and the Allegorical Transformation scene.
^John H. McDowell, Original Scenery and Documents for Produc tion of Uncle Tom's Cabin, Revue d'histoire du Th6cttre, XV, pp. 71-79, and, "Scenery and Staging of Uncle Tom's Cabin: Selected Scenes, " The Ohio State University Theatre Collection Bulletin, no. 10, 1963, p p . 19-30.
3john C. Morrow, "The Harmount Company: Aspects of an Uncle Tom's Cabin Company, " The Ohio State University Theatre Collection Bulletin, no. 10, 1963, pp. 10-18.
^Mary Ann Fruth, "Scenery and Staging of Uncle Tom's Cabin: Allegory and Ohio River Scenes, " The Ohio State University Theatre Collection Bulletin, no. 10, 1963, pp. 31-38. 4.
These articles present valuable material which makes the picture of the twentieth-century "Tom Show" clearer, but as the author of each article suggests, much research still remains to be done.
This study is concerned primarily with the history and analysis of a twentieth-century Uncle Tom's Cabin company, and presents for the first time many details of the "Tom Shows" that have heretofore gone un considered. The study begins (Chapter II) with an examination of the atrical activity in rural Ohio for the purpose of gaining an understanding of the kinds of entertainment that were available to rural residents in the first two decades of this century. The examination is limited to towns and villages in which the Harmount Company: performed. The early years
(Chapter III) and the development (Chapter IV) of the Harmount Company is next discussed in a year-by-year description of the company's growth.
This history is followed by a detailed analysis of Harmount's production of Uncle Tom's Cabin (Chapter V). The "Tom" script used by the Har mount Company is compared with the original George Aiken version of the play, followed by a detailed description of the staging procedures employed by the company. Both pictorial and textual information is em ployed to present a vivid picture of the Harmount's "Tom" show. The last chapter (Chapter VI) is both conjutural explanation for the tremen dous success of the play and an analysis of possible causes for the play's finally closing.
A major problem with the study was to find primary sources from which to develop the history and analysis of both the Harmount Company 5. and its success with Uncle Tom's Cabin. The Ohio State University
Theatre Collection owns much of the Harmount's Uncle Tom's Cabin scenery and many tour schedule records of the company's early years.
Known as The Harmount Collection in the OSUTC, it also includes pictures of the company and their wagons and tents, miscellaneous advertising materials, and several programs. The Ohio Historical
Society Library, except for the company's scenery, holds similar re cords. Their Harmount materials include letters from actors and telegrams concerning winter booking, receipts and box office statements, tour ledgers for 1906-1908, an actor's record on part of "Tad" Har mount's 1928 summer tour, two books on theatrical bookings, engage ment contracts, checks for lots and licenses, a Harmount program, and miscellaneous newspaper clippings. Most of these sources had been used in earlier studies. The research problem was to find enough addi tional information to complete the picture of the company and its activities.
Research began with an examination of the company's tour records. \ 'V •) . !> \ .• Through the help of the Ohio Historical Society Library, many news papers from the small Ohio towns in which the company played were in spected for evidence of the Harmount Company's appearance and for local impressions of the quality of their performance. After this research was completed, the information was still insufficient to provide a total p ictu re. 6.
The next step in the research was to interview individuals who had had personal contact with the company. One interview was with
Richard Harmount in Middletown, Ohio, who at the time of the interview
was the only known living relative of the Harmount family who had worked
with the company. A second interview was scheduled with Russel Howard,
who traveled with the company in 1910, in Williamsport, Ohio (the home
of the Harmount Company). The first interview proved very fruitful and
not only contributed many details for the study but also revealed the
whereabouts of Mrs. Marie Harmount, the mother of Richard and wife
of "Tad" Harmount. Mrs. Harmount was living in Middletown only a few
blocks away from her son. She had traveled with the company from 1911
until the show closed in 1929 and played every female role in the play
except "Little Eva." A three hour interview with Mrs. Harmount proved
most informative and provided many details which were now beginning
to give some "local color" to the study.
The scheduled interview with Mr. Russel Howard took me to
Williamsport, Ohio, where five more hours of discussion about the
"Tom" show added immeasurably to the picture of the company's activi
ties. All three interviews were recorded on magnetic tape and later
transcribed, so the descriptions of "Tom" show activities quoted in the
text of this study are exactly as they were spoken by the person being
interviewed.
While in Williamsport, a check with the local newspaper office
revealed that all of its back issues were available in bound volumes from the very first issue (1886) to the present. The newspaper was still being published every Thursday, and the publisher at this time was the daughter-in-law of the founder of the Williamsport News, Mrs. Esta
Tipton. She graciously consented to let me read through the issues of the News from 1902 to 1929. This horrendous task was made enjoyable by the company of Mrs. Tipton who sat in her office and chatted hour after hour about the Harmount family and the interest that the villagers of Williamsport had held for Uncle Tom's Cabin. Each day she would recall two or three more names of people in Williamsport who "might" have some information for this study. So, the newspaper research was broken up by short excursions about the village for interviews with elderly residents. Mrs. Tipton also assisted in the research by printing a front page article in the Williamsport News describing the research that I was doing. As a result, several valuable contacts were made with people who contributed to the study.
By the time the research (with the Williamsport News) was com pleted, enough information had been amassed from which to write a fairly detailed history of the company. However, the aspect of the study which held the most interest for me (the production analysis) still re mained primarily undeveloped. What was needed for a thorough analysis
of Harmount's production was the script that the family used in their
show. Each of the persons interviewed who had worked directly with the
Harmount Company spoke of having seen scripts used, but none of them
knew of any in existence. They felt, however, that there should be one
"around someplace.." The search for information about the company continued. The research in the Ohio Historical Society Library had supplied the infor mation that Harmount's company had performed on several occasions in the Grand Opera House in Circleville, Ohio, and that the family was
"well known" in that city. An excursion to that community proved fruitful. Since there was no way of knowing where to begin, the search was started by this writer's wandering down the streets of Circleville looking for someone who appeared old u.iough to have been living when the Harmount Company was producing Uncle Tom's Cabin. The first subject was an elderly gentleman who was in the street cleaning tar from his automobile. He recalled having seen the Harmount show on several occasions and described how one spring he rode to Williamsport to watch the Harmount family rehearse in their barn before starting on their summer tour. He did not recall any details of the staging, but he directed me to a gentleman by the name of Proctor Baughman, whose father had managed the Grand Opera House when the Harmount company was playing there. Mr. Baughman was the contact needed to complete the study. He had stagemanaged at the Opera House for several years and recalled vividly the Harmount production from a "backstage" point of view. It was also through Mr. Baughman that a Harmount script was found. With a script and a detailed description of the staging, the research was fairly complete.
Considering the tremendous popularity of the play in America, it is surprising that this study is the first to present a detailed history and analysis of a "Tom Show" company and its production. Perhaps the fact that the play lacks literary respectability may be part of the reason for its having been ignored for so long, but respectable or not, the phe nomenon in American theatre history known as Uncle Tom's Cabin cannot be minimized. Millions of Americans were exposed to this play for more than seventy years, and it became an integral part of their lives as an "educational, " but extremely entertaining theatrical piece. This study presents for the first time the detailed history and analysis of one of the American Theatre's greatest traditions. CH APTER II
THEATRICAL ENTERTAINMENT IN SELECTED
RURAL OHIO COMMUNITIES FROM
1903 TO 1920
In order to establish a general picture of theatrical activity in the rural areas of Ohio during the first two decades of the Twentieth Century, the specific entertainments in several selected small towns will be con sidered here in some detail. These selected towns were included on the Harmount company's circuit. Each town is considered during a particular year when the Harmount "Tom Show" was presented there; the towns also represent the general "types of communities frequently played by this traveling company. " Since these towns differed greatly in the degree of theatrical activity, a detailed consideration of several small towns will provide the reader with a much clearer picture of activities in the rural areas than would a general consideration of t\ pes of activities to be seen in these areas.
Only those towns from which newspapers are available are con sidered. Research has indicated that information obtained through in terviews was generally not specific enough to be of much value. The local newspapers proved invaluable in supplying the needed information,
10 11. since the towns were small enough that any entertainment that took place generally made front page news.
Belle Center, O h io --1903
When the Harmount Company drove their show wagons into Belle
Center, Ohio, on Wednesday, September 9, 1903, and began to set up their tents, it must have been a day of great anticipation for the resi dents of this village --population 964. "Foreign" entertainments were something they saw very little of, especially during the summer months.
Throughout the preceding summer months, the townspeople had been entertained once a week only with free band concerts performed by the local people. ^
During the winter months, besides a few private parties, the basketball games, and taffy pulls, the Reverends Scott and Grieve had secured a Lecture Course through the Buckway bureau which would pro- vide at least four "foreign" entertainments "of high order." The first had been a lecture by John S. Van Cleve at the "U.P. " Church on Friday,
January 23, 1903, entitled "American Humor." The second attraction, the Patricolo Grand Concert company, performed on Monday evening,
February 9, at the First Presbyterian Church because it was larger and could hold more spectators. The third attraction had been a lecture
^The Herald-Voice (Belle Center, Ohio), July 10, 1903, p. 1.
^Ibid. , January 2, 1903, p. 1. 12. entitled "The World We Live In" given by Edward T. Hagerman, D.D., on Thursday, February 26. On April 2, the last attraction of the Lecture
Course provided the Belle Center residents the opportunity of seeing The
Coit Novelty Company, an organization of "world wide reputation."
Although the residents would see no other theatrical entertainments in the town that winter, there had always been the hope of the more avid theatre fans that something similar to what had happened the previous winter in a neighboring town would happen to them. On the front page of the February 20, 1903, issue of the Belle Center newspaper, the following article had appeared:
Many lovers of the theatre are contemplating witnessing the production of "The Rivals" at the Grand Opera House at Bellefontaine next Tuesday evening. It is in this play that Joseph Jefferson Jr. has made a great reputation in the character of Bob Acres, and Logan county people should be thankful of the opportunity to witness the work of this great actor.4
No such article appeared during the winter of 1904; however, something perhaps just as exciting took place in January of 1904. A very success ful entertainment was given by four local girls. The local paper gave it
front page notice: ". . . as to the program it was much better than
rendered by many traveling entertainments. " The program consisted
of a vocalist, two readers, and a pianist. One of the readers, "Little
Miss Royer, recited 'A Naughty Little Girl's View of Life, 1 with so
■^Ibid.
^Ibid. , February 20, 1903, p. 1. 13. much expression that she was compelled to respond to the hearty applause given by the audience. She also gave 'The Minuet' and delsarte move ments. " The second reader, a Miss Day, closed the entertainment with
C "a very good exhibition of Indian Club Swinging, which was enjoyed. "
The coming of spring provided the residents of Belle Center with the news of another theatrical event that had taken place in the neighboring town of Harmony. The Herald-Voice records on April 1: "A play was given at Harmony by 11 students of Prof. Shaffer entitled The Trite.
The play was so good that the patrons requested that it should be repeated on Saturday evening, which was done before a full house. ..."
During the next two winters, the only entertainments to appear in
Belle Center were the four numbers scheduled each winter for the Lec ture Course. It was no wonder then, that in June of 1903 the lecture committee, a little prematurely, announced on the front page of the
Herald-Voice the coming winter's program: "We have contracted for four numbers of a higher class than formerly." The first attraction was to be the Brockway Jubilee Singers, the second a lecturer, the third another "musical entertainment" and the fourth, "one of the best lectures on the platform in the U.S. " It was not until September that the complete winter program was secured:
December 3, 1903 ------Copley Musical company
^Ibid. , January 22, 1904, p. 1.
6Ibid. , April 1, 1904.
^Ibid. , June 5, 1903, p. 1. 14.
January 11, 1904 Lecture, Rev. Furbay of Columbus F e b ru a ry 6, 1904 Colored Jubilee Singers M arch 8, 1904 Lecture, Mr. Mitchell of Cleveland®
If the scarcity of theatrical entertainment, or amusement of any kind for that matter, did nothing else, it made the residents of Belle
Center appreciative of what they did see. Front page newspaper reviews of the Lecture Course attractions of 1903 and 1904 indicate the critics' general delight with practically every entertainment:
Jan. 30, 1903--Mr. Van Cleve1 s talk bristled with wit and humor intermingled with the stinging sarcasm, and many of the numerous illustrations were heartily cheered by the listeners. 9
Feb. 13, 1903--Patricolo Grand Concert--In the auditor ium were seated fully 400 people, the full capacity . . . As to the individual merit of each member of the company . . . the pianist . . . a perfect master of the instrument, so much so that every listener many of whom were un learned in music, appreciated his wonderful technique, movement, and expression. . . . That Miss Duga's read ings were appreciated was evidenced by the repeated encores accorded her renditions. Her depiction of child conversation and action was next to marvelous . . . The violinist, drew from the audience an attention that was wonderful. She too, was encored on each of her numbers . . . the barytone's ^sic ^selections were good and appre ciated, yet his expression lacked the force that is neces sary for success before an audience.
March 6, 1903--Rev. E. T. Hagerman was a delight to the large crowd assembled. . . . His lecture . . . a- bounded in good sense with pith, humor and wit for a s a u c e .21
8lbid., September 18, 1903, p. 1.
9lbid. , January 30, 1903, p. 1.
IQlbid. > February 13, 1903, p. 1.
22Ibid. , March 6, 1903, p. 1. 15.
April 10, 1903--The Coit Novelty Company--A large crowd was in attendance and all thoroughly enjoyed the entertain m ent.
December 11, 1903--Copley Square Concert Company-- Very creditable one the special feature being the mastery and technique of Miss Willard on the Xylophone and bells . . . It is the opinion of all who attended that the lecture course gave entire satisfaction. 12
February 12, 1904--The Brockway Jubilee Singers--Every seat was taken in the auditorium and the Sunday School room and the balcony was filled. . . This was one of the most satisfactory entertainments ever procured for the course in Belle Center . . . The natural harmony and evident training of rich musical voices, added to the pathos and expression gave to several of the numbers a distinctiveness that only colored people possess. 14
Ashville, Ohio--1904
An audience which greeted the Harmount Uncle Tom's Cabin
Company in Ashville, Ohio, on May 18, during their second summer tour was not quite as hungry for entertainment as the residents of Belle
Center had been the previous summer. In spite of the fact that the popu lation of Ashville was only 654, 310 less than Belle Center, theatrical
activity in Ashville was far greater, perhaps because Ashville had an
opera house around which community activities seemed to center. Com mencement exercises in Belle Center were held in the Presbyterian
Church, while in Ashville they were held at Steward's Opera House.
l^lbid. , April 10, 1903, p. 1.
1-^Ibid., December 11, 1903. p. 1.
14lbid., February 12, 1904, p. 1. 16.
With an opera house, residents of Ashville were given the opportunity of
seeing other entertainments besides those the Lecture Course provided for people of Belle Center. Amusements for 1904 began in February with a three night engagement of The Gross-Lyall National Stock Company
"presenting a repetoire [sic^ of the very latest eastern successes. " The
company composed of fourteen of "the best stock actors in the county" replete with special scenery and singing and dancing specialties and headed by the Italian actor Mr. Robert Grandi and that "clever little woman Lillian Leight" opened in Ashville with the play Hearts of Gold. 1 5
The Daily News of Chillicothe, Ohio, reported: "No company ever played a drama better. They drew a large audience and pleased it
im m ensely.
Ashville residents played an active part in the entertainments presented at Steward's Opera House, not only as spectators at "foreign"
entertainments but as participants in locally produced shows. The
Modern Woodsmen of Ashville produced the two act comedy drama,
Hick'ry Farm, on Saturday evening, March 12, 1904. The Ashville
Home News described the play:
A charming delineation of New England rural life, presenting a diversity of excellent characters, that of the farmer being fine. The courtship of the Dutch alderman is one of the most ludicrous scenes ever written. The scenes between the old farmer and his daughter are most touching and pathetic, and in fact
^ Ashville Home News, February 27, 1904, p. 2.
l6Ibid. 17.
all the characters are far above the average. The play has so many good points that it never fails to be a s u c c e s s .I?
Hick'ry Farm proved to be so popular with Ashville audiences that it was repeated again on March 31.
Ashville had its own Dramatic Company which contributed greatly to the community through its performances as well as by such deeds as purchasing a "fine" Livingston piano for the high school, which they paid for from receipts of plays presented during 1904. The piano was first used during their performance of Tony, The Convict on Thursday, March
17 at the opera house. 1 R The play was in five acts and eleven scenes and the Home News’ review of March 19 made particular mention of the clever work of the specialty acts between scenes. Their second offering for the year was a play entitled A Vagabond's Honor, a play in four acts,
"set with special scenery together with plenty of good music, " to be presented Thursday and Saturday evening,May 5 and 7. The front page review in the Home News indicated that,
While the patronage was good it was not what the play merited. Each act is mixed with just enough comedy to make it pleasing to an audience. The pair of hobos is a spectacle to behold with their makeups as near the real thing as it is possible to get . . . The scenery in the third act was painted by a Columbus artist, Mr. Zehrung, and is a clever piece of work. Also the thrilling scene of Mrs. Jordan falling through an
ITlbid.
l^ibid., March 12, 1904, p. 1.
19Ibid., April 23, 1904, p. 2. 18.
opening in the bridge made by the villian and the rescue by her long lost husband was a new feature to Ashville shows .20
When the Harmount Family show drove into the little town of
Ashville a week and a half later, they faced a much more critical audience than they would usually meet in so small a town. The news paper advertisement in the Saturday, May 14 Home News hailed the
Harmount Family Uncle Tom's Cabin Company, which was scheduled to exhibit at Ashville Tuesday, May 17, as "first class in every par-^ ticular." The advertisement described it as one of the largest Uncle
Tom shows on the road, carrying their own superb brass band and a grand orchestra. The Home News had a somewhat different opinion of the show in a May 21 review:
An Uncle Tom's Cabin tent show struck town Tuesday giving an exhibition in the evening. The audience was medium both in size and number and the quality of the performance below the average. Our home talent folks know better how to please an Ashville audience. 21
A month later on June 18, another show pitched its tent in
Ashville, the Long Bros. Dog and Pony Show. It was advertised as
"one of the best shows of its kind on the road" having added new features
such as aerialists, acrobats, and leapers since they had last visited
Ashville. These added attractions, along with their fifty "bright" dogs
and ponies, promised to give Ashville residents a pleasing entertainment.
20Ibid., May 7, 1904, p. 1.
21Ibid., May 21, 1904. 19.
The Home News of June 26 indicates that they fulfilled their promise:
Long Bros, show drew a large crowd and was well received. The ponies and dogs were well trained and performed tricks and executed drills with almost human knowledge. The drill of seven ponies and their grand mount was simply grand. Prof. Myers in his juggling act is certainly a top liner. A large number attended the concert and certainly got the worth of their money. All in all it was one of the best shows that has struck the town in a number of years. 22
During the remaining days of June and the following month of July no other entertainments appeared in Ashville. The Band Concert Pro gram of August 6 was the next and last entertainment of the summer.
One of the highlights of the program was the Descriptive by Carlton entitled "Frolic of the Imps." The Home News published the following synopsis:
Twelve O'clock. Gathering of the Imps. Bugle call. Grand march of the imps. Imps dance. Frightened by a shot. Return of the Imps. All waltz. Appear ance of "Old Nick. " Nick joins the dancers. Imp's chorus and dance. The clock strikes one. Time to
leave. The Imps homeward b o u n d . 23
The Steward's Opera House opened its winter season of enter tainment on-the 1st of October with Frank Sylvestor, humorist, poet, and impersonator, assisted by his wife in one of their "up to date refined entertainm ents."^ This was followed on the 19th by a dra matic recital of personal experience in the Russian-Japanese War by
22ibid. , June 26, 1904.
^ Ibid. , August 6, 1904, p. 1.
^Ibid. , October 1, 1904, p. 4. 20.
Mr. Theodore Dion, Military attache newspaper correspondent and traveler. The recital was entitled "How I Escaped From Port Arthur"
and was beautifully illustrated by "75 magnificent views greatly en larged by a splendid picture machine. The next entertainment to
appear at the opera house was Mr. Dooley's "High Class" Vaudeville
Company on Thursday, November 10. According to the Home News,
this attraction was "fairly well patronized and in most part was up to
standard, the work of the juggler, acrobat, dancing and negro charac-
ters being especially good." 2. A second attraction for the month of
November was scheduled on the 19th, but because several members
left the company of Montana Nell the show failed to appear. ^7
Before the December attractions appeared,the stage at the Steward
Opera House was enlarged by making an extension to the front and
forming a semi-circle. According to the local paper it made a "good
? ft improvement. " An Ashville audience saw Harry Green and Helen
DeVere in the "funny Rural play, 'Eli and Jane' ", at the opera house
on December 5. According to the News it was a "howling success, "
not necessarily from a financial standpoint but from "the goodness of
25ibid., October 15, 1904, p. 3.
^ Ibid. , November 12, 1904, p. 4.
^ Ibid. , N ovem ber 26, 1904, p. 3.
28lbid. , Decem ber 10, 1904, p. 4. 21. the play. " The play was described as "one of those mirth provoking
shows that keeps everybody happy for a week.
The Ashville Dramatic Company presented its first production of the season at the opera house on December 17. The play, Life for Life, was a "great success." A large audience witnessed the play, and that
they were not disappointed was evidenced by "the many hearty encores
received." The Home News reported that "the play was considerable
£ sic ^heavier than any production attempted previous, flylj* sic ] but all
■3 Q were equal to the more difficult work and done themselves proud."-3
Ashville audiences saw two more attractions during the winter of
1904-05--Dan Darleigh in the rural play Old Si Stebbins on January 28,
and Fred Raymond's comedy Old Arkansaw. Old Si Stebbins, adver
tised as one of the best rural plays on the road, played Ashville be
cause of a mistake in booking and came to the Steward Opera House on
a guarantee. That it was a higher quality show than Ashville was
generally accustomed to seeing is indicated by the review in the Home
News on January 28. It was described as,
. . . a great success and was noted the best thing in the foreign show line that ever before happened to come our way. The parade at 4 o'clock got the youngsters wild as well as the old folks and of course everybody nearly so, went to the show, and everybody who went was delighted and happy and can't hardly wait until another comes along
29Ibid.
30lbid. , December 24, 1904, p. 1.
2^Ibid., January 14, 1905, p. 3. 22.
able to "deliver the goods." The long tiresome waits between acts which many shows have been trying to educate our people to get use ^sic Jto and content them selves as best they can, was this time changed into one of the good things to be enjoyed, excellent music, by an orchestra composed of eight pieces. 32
The review went on to congratulate the management on securing the last two shows (Eli and Jane and Old Si) but asked that Ashville please not be given any more "snides." It was the reporter's opinion that "a good show could play to a full house at Ashville every three or four w eek s."33
Old Arkansaw came to Ashville highly recommeded by Mr.
Bratton, the opera house manager in the neighboring community of
Roseville, Ohio. He described the play as having a whole lot of good clean comedy and being "strictly first class from start to finish." He said that "the company carries fine scenery and plenty of it. Their 75 foot train scene and blowing up of the Benton county jail in the last act is as realistic as life."^ An Ashville review described the play as o C "one of the best entertainments of the season." An article which appeared in the Home News on March 4 perhaps suggests some reasons
•^Ibid. , January 28, 1905, p. 3.
33Ibid.
34ibid. , February 18, 1905, p. 1.
•^Ibid., March 11, 1905, p. 4. 23. for the play's popularity and provides some insight into the "taste" of the tim e:
Fun predominates in the performance and by the way fun is what most people desire when they go to a theater. Strong dramatic situations and thrilling hair breadth escapes appeal to critics and to some theatre goers, but a good hearty laugh makes everyone feel better, and the laugh producing qualities of "Old Arkansaw" are what enables it to visit the same section year after year, and each time play to a larger audience. "Old Arkansaw" besides abounding with clean refined comedy possesses many good dramatic situations and it has especially fine scenery and effects. It is a play deal ing with common folks and apparently the characters are the acme of naturalness. Still a wonderful fund of com edy is introduced through the action of the play and you will remember it as one long laugh. ^6
The suggestion of the Ashville Home News reporter that Steward's
Opera House could play to a full house every three or four weeks was evidently not taken to heart by the manager, as the Home News records no more entertainments at the opera house until October 27, 1905. Not only were there no entertainments at the opera house, but also there are mentioned no traveling entertainments of any kind in the local news paper during the summer of 1905.
Milford Center, Ohio--1906
All 682 residents of Milford Center saw fewer entertainments in their little town in the years 1906 and 1907 than the residents of the
slightly smaller community of Ashville had seen during the previous year. The first local entertainment of the year in Milford Center did
36ibid. , March 4, 1905, p. 4. 24. not take place until April, at which time the residents were all ad monished to "Encourage the High School Entertainment to be given at the school hall" on the 27th of April, 1906. ^
With the arrival of spring, the advertisements of traveling shows began to appear in the Milford Center Ohioan. The Ringling
Bros. 1 advertisement of May 11 announced their appearance in Spring field and described their special feature for the year as being "the beautiful and sublime spectacular production of the Field of the Cloth of God, " which necessitates the use of 1200 actors and actresses and almost 500 horses performing upon the "largest stage ever used for O Q exhibitional purposes. " Later in the summer, August 14, the John
Robinson's Big Circus was advertised as exhibiting in Marysville.
The only traveling show to exhibit that summer within the town of Milford Center was Harmount's Uncle Tom's Cabin. In fact, Uncle
Tom's Cabin was the only entertainment to appear, other than the
April High School Entertainment, during the entire year of 1906 and the spring and summer of 1907. In the autumn of 1907, the residents of Milford Center, seemingly in need of diversion, instigated a lecture course consisting of four attractions to be seen during the winter season of 1907-08. The first attraction appeared on a Tuesday evening in
•^Milford Center Ohioan, April 26, 1906, p. 2.
3 ®Ibid., p . 3. 25.
October at the school hall. The Milford Center Ohioan, October 3, describes the event:
Brush the magician rendered an excellent program and the packed house was pleased beyond expectation. The Hindoo basket illusion was well worth the price of the full course and is something that our people have not had the privilege of seeing before. Taking it from an entertainment standpoint it was the best we have seen here for years. 39
Evidently this taste of "culture" whetted the appetites of the residents of Milford Center. The following month, November 8, mem bers of the local Presbyterian Church sponsored "the Event of the
Season, " the Aeolean Concert Company--a company composed of 20 people including a soprano, a reader, and a twin quartet, composed of two pairs of twin brothers. The advertisement reported that "each pair resembles each other so much that the director cannot tell them apart unless they have their instruments." One of the outstanding features of the program was a descriptive number entitled "The Frolic of the Imps" which was put on with "electrical and mechanical effects. This was undoubtedly a favorite of the period as this is the same selection that was featured in the Ashville Band Concert a few summers earlier.
Not only were residents motivated to sponsor "foreign" entertain ment, but during the latter part of November, several young men and
39lbid_. , O ctober 3, 1907, p. 2.
^^Ibid. , November 7, 1907, p. 3. 26. ladies of the community were stimulated enough to present a play at the school hall entitled Little Goldie.
G ratis, O h io -- 1906- 1908
The village of Gratis, Ohio, with a population of 398 was not quite large enough to support an opera house or even a Lecture Course similar to those in Belle Center or Milford Center. As a result, their entertainment, other than the special Decoration Day Celebration and the Thanksgiving and Christmas entertainments at the Andrews school house, was provided entirely by tent shows. Not one tent show exhibited in Gratis during the summer of 1906, so in May of 1907 when the Har- mount company presented their show for the residents of Gratis, it is not surprising that the local newspaper reported: "Uncle Tom's Cabin played to a full house Saturday night, notwithstanding the inclemency of the weather. A near tragedy occurred during the performance, however, which the local newspaper described:
During the performance most of the seats fell down from improperly putting up or the condition of the ground from the rains it was hard to tell which. It is a wonder quite a lot were not badly hurt but there were only a few and they only slightly . . . Quite a few received a few scratches and bumps and some of the ladies fainted which made things pretty lively. But the seats were soon in position and the show went on. The performance was pretty good under the circumstances. 43
4*Ibid. , November 28, 1907.
4^The Twin Valley Echo (West Alexandria, Ohio), May 30, 1907, p. 4.
43Ibid. 27,
During the month of July, another tent show exhibited in Gratis
for an entire week. According to The Twin Valley Echo, the show con
sisted of "moving pictures, etc." The attendance was good, and the
Echo reported that the fact that it was held in a tent "no doubt helped to
draw the crowd. " "All" pronounced the entertainment "good" and were
sorry to see it leave. 44
The month of August brought new excitement to the residents of
Gratis. The Twin Valley Echo records; "The instruments for the Gratis
Band have been received and from the amount of tooting now heard they
have surely commenced work and we hope ere long to have music by
our own band. "4^ The hope, however, was not realized during that
summer nor the following. The residents of Gratis saw no other enter -
i ainments in 1907, and the only one they saw during 1908 was the Modern
Medical Company, a vaudeville medicine show, which exhibited for one
week. The residents must have been appreciative because the Echo
reports that "the tent was as full as it would hold every night.
Eaton, O h io --1910
Although Eaton, Ohio, had a la rg e r population (3, 155) than p r e
ceding towns discussed, it also welcomed "foreign" entertainments. By
1910, Eaton held two moving picture houses, the Theatorium and the
k 44Ibid., July 25, 1907, p. 1.
4 ^Ibid. , A ugust 8, 1907, p. 4.
46Ibid., September 10, 1908, p. 1. 28..
Bijou Theatre, the Eaton Opera House, and the I.O .O .F. Opera House.
Just how active the movie houses were is not indicated by the local paper. Considering the number of residents in Eaton and the avail ability of films, it seems logical to assume that they would have opened only on the weekends. However, The Eaton Herald gave a thorough coverage on the entertainments that were held in the opera house. From these reports, the quantity and quality of entertainments appear to be very similar to the smaller towns in which the Harmount Company had played in previous years. On February 5, 1910, the first entertainment came to the Eaton Opera House, highly recommended by the opera house manager of the neighboring town, Winchester, Indiana. The manager wrote "They are all O.K. , best show we have played, and give good satisfaction and a fine show. The show was The Cry Baby which, according to the advertisements, told a story "combining pathos and hum or.
The second show, As Told in the Hills, starring Princess Wah- ta-Waso, played the opera house on Monday, March 7. The Herald advertisements described the play as having a "more developed plot, story and action than anything of the kind ever yet offered to the dra matic public." In addition to the production, the residents of Eaton were to have an extra treat with this production, for according to the
^Eaton Herald, February 26, 1910, p. 1. advertisements, "Princess Wah-ta-Waso, assisted by other ladies of the company, will receive at the Rossman hotel on the afternoon of
M arch 7, from 4 to 5 o'clock.
March was a busy month, with two major entertainments. On
Monday evening, the 21st, the public schools were fortunate in securing the Miami University Glee Club for a concert "of the highest merit" which was presented in the opera house. Admission was thirty-five cents for lower floor and first row in the balcony and twenty-five cents for "rear of wings and balcony. " The Eaton Herald encouraged the residents of Eaton to attend with the following article:
Didn't you say "nothing very good ever comes to Eaton, " and give that reason for not patronizing the entertainments given in the local opera house? Now, the Miami University Glee Club is good, and you should patronize a good concert. Secure your tickets of school pupils. ®0
The final treat of the month came, on March 31. The Lecture Course
Association presented The Old Southland Sextette in the I.O .O .F. Opera
H ouse. 1
April brought only one entertainment, Sidney W. Pascoe's "great" melodrama, Just a Woman's Way, to the Eaton Opera House, which was the last entertainment of the season. After this, the stage remained
^ Ibid. , March 2, 1910, p. 5.
^Ibid. , March 16, 1910, p. 5.
51Ib id ., M arch 23, 1910, p. 3.
5^Ibid. , A pril 6, 1910, p. 5. 30. dark until August when the local W. R. C. presented an entertainment 53 and "pleased a good sized audience."
It would seem that Eaton was not the most active place during the summers. The only entertainment advertised in the Herald for the summer of 1910 was the Harmount Uncle Tom's Cabin Company which
54 played there on Thursday evening, May 19.
The Herald, May 18, 1910, reported on the Harmount Show:
This is beyond a doubt the largest and best Uncle Tom's Cabin Show on the road, carrying a brass band, quartette of sa^ajphones, 15 great bloodhounds, 35 people, donkies, ponies and everything that adds to make best Uncle Tom's Cabin show on the road. ^
Fall brought a second tent show to Eaton. The Hagen-Wallace
Combined Shows appeared on Monday, August 29. The Company paraded through the streets of Eaton at 10:00 a.m . ; the Herald re- ported that 6000 people attended and that it was "one of the best (shows) . A ever exhibiting here and all seeing it were pleased. "3D With Eaton's population being only 3, 155, this trained animal show must have attracted people from all over the county. .
53lbid. , August 3, 1910, p. 5.
^This lack of summer entertainment was undoubtedly a major factor contributing to the establishment of a Chautauqua in Eaton during the summer of 1913.
^Eatdn Herald, May 18, 1910.
56lbid., August 17, 1910, p. 1. September was an active month at the Eaton Opera House. The comedy drama with a jingle, Two Americans Abroad, arrived from its ten week run in Chicago to play Eaton on Thursday, September 8,
c n with "magnificent scenic effects." For one week commencing Monday,
September 12, in conjunction with the Preble County Fair held in Eaton, the Shannon Bros. Stock Company performed at popular prices. On
September 22 the "Big Musical Comedy 'The College Boy' " was presented at the Opera House exactly as it had been presented in Chicago all s u m m e r. 88
On October 31, a production of A Texas Ranger played the opera house--promoted by "the Montana Cowboy Band in two street demon strations--^ noon and 7:30 p.m ."; after this, the winter entertainment at the Opera House consisted of a Lecture Course under the auspices of the Ministerial Association of Eaton. The season consisted of five performances: "The Original Carolinian Jubilee Singers"; "The
Toronto Male Quartette";"1 The Morphets, 1 m asters of magic, melody and mirth"; an imitator; and Dr. King of King's School of Expression.
Ashland, Ohio--19 15
Ashland, with a population of 6, 795, had, in 1915, its own Lyceum
Bureau (The Ohio L.B. ) with a "splendid and high class" line of
8^'lbid. , September 7, 1910, p. 5.
58Ibid.
59ibid., October 12, 1910, p. 1. 32. entertainers and lecturers on the road, plus two active theatres, the
Ashland Opera House and The Grand Movie Theatre. The Grand movie theatre apparently ceased to operate after February 5, 1915; weekly movies had been advertised in the local papers preceding
February 5, but ceased on that date with the advertisement of a movie entitled "Called Back. " Evidently, competition from the Ashland Opera
House forced the Grand Movie Theatre out of business because of the highly attractive films offered. An article in the January 13, 1915, issue of The Ashland Press provides evidence for this assumption:
Every evening except when a regular attraction is booked at the opera house, the best licensed films available are shown here. Large pictures and exceptionally clear. Good music and always plenty of room. Watch for the dates of extraordinary specials. Admission 5 cents.61
There was probably not enough potential audience in Ashland to support two motion picture houses, so after February 5, the Ashland Opera
House alone provided the community with its major portion of entertain m ent.
The Ashland Opera House had started the new year by installing a
"pretty" new stage curtain. A lengthy article on the front page of the
Ashland Times describing the curtain gives some insight into the ar
tistic "taste" of local residents:
The new curtain is 30 feet wide and 30 feet high,, and' { the picture presented on the canvas is a handsome woodland
^ A s h l a n d Times-Gazette, January 20, 1915, p. 3.
^The Ashland Press, January 13, 1915. 33.
scene, showing a stream of water flowing among the trees . . . all in all it is attractive and most restful to the eyes of the people who look upon it . . . Overhanging the picture itself is a beautifully and richly painted plush drapery caught up by cords. The curtain replaces the "handsome and attractive (?)" £ sic ^"Harvest Festival" scene which has been so much admired (?) by audiences ever since the opera house building was remodeled after the big fire in February 1903. This "beautiful" Harvest Festival scene, including the woman's ancient hat and the rooster impaled on a pitchfork, which haunted people at the local playhouse all these years, was painted in the studio of The Tiffin Scenic Co. , and was purchased . . . at a considerable cost. Un doubtedly no other painting ever exhibited in Ashland has excited quite so much unfavorable comment and criticism as that curtain . . . although it might be stated that not a few patrons of our playhouse will more than likely miss the barn-yard rooster sitting majestically on top of that sheaf of ripened wheat at one end of the fruit and wine laden boat and those cute looking turns on the heads of the ladies in the other ends of the boat. ^2
Further insight into the taste of Ashland residents can be gained
from reviews in the Ashland P ress. A four act comedy melodrama,
The Girl and the Tramp, was described by the Press as possessing an
interesting plot and many funny situations. The audience was given a
special bonus in the form of vaudeville sketches between the acts. The
play is described in the review as "different from the common run of
shows of today. It was reminder of the type of drama of a few years
ago and proved a pleasant relief to some from musical comedy. "DJ
The complete lists of productions to appear at the Ashland Opera
House during the year 1915, plus the summer tent entertainments which \ :______62Ashland Times-Gazette, January 6, 1915, p. 1.
^The Ashland Press, February 24, 1915, p. 1. 34.
"showed" in Ashland will provide perhaps the greatest insight into the cultural appetites of the residents of the community:
Ashland Opera House - Live productions and "special" movies.
January 1 ------"Neptune's Daughter" (a photo play) Jan u ary 7 ------Ross Crane - "Humorist, Philosopher, Musician, crayon artist and clay modeler. " January 9 ------"The Spoilers" (a photo play) Jan u ary 2 0 ------Lyman H. Howe's Motion Pictures - "U.S. Navy Native Life in the Phillipines, " "How a Cash Register is Made, " etc, with travel scenes, comic cartoons, etc. F e b ru a ry 2 ------"September Morn" (a musical comedy) February 11 ------"The Girl of My Dreams" (a musical comedy, "garanteed attraction") February 12, 13 Cal Stewart - "The original Uncle Josh of phonograph records." February 15-17 The Five Old Civil War Veterans (ages run from 69 to 85) February 19 ------"When Old New York was Dutch" (musical comedy) February 23 ------"The Girl and The Tramp" (comedy melodrama) February 25 ------"Officer 666" - "melodramatic farce, original all star cast" (Motion picture) M arch 5 ------"Bringing Up Father" (musical comedy) M arch 1 9 ------"Julius Caesar" (Film spectacle) Music by High School Glee Clubs' and Orchestra.
A PR IL 1 ------HARMOUNT'S UNCLE TOM'S CABIN
A pril 8 ------"Peerless Minstrels" (home talent production) A pril 1 3 ------"Damaged Goods" May 1 4 ------"The Winning of Barbara Worth" (N. Y. cast)
Movies only at Opera House During the Summer
September 23 ------"Henpecked Henry" (musical comedy, featuring the Dancing Daisies) O ctober 4, 5 ------Indoor circus followed by a Movie. O ctober 1 3 ------"The Sheperd of the Hills" O ctober 3 0 ------Solz's Little German Band, in connection with photoplays, (feature film - "The Ivory Snuff Box") N ovem ber 4 ------"Safety First" -- Timely & Topical (comedy) November 15 ------"It Pays to Advertise" Season's biggest hit. 35.
D ecem ber 7 ------Howe's pictures - San Francisco and San Diego Expositions. D ecem ber 8 ------"David Garrick" English comedy followed by a Fox feature photoplay entitled "The Song of Hate" D ecem ber 9 ------"The Newlyweds and Their Baby" Big Girly Music Show with 40 1/2 people. December 11 ------"Jopland" John W. Vogel, the "Minstrel King" and his combined forces in a minstrel farce- com edy. December 18 ------"September Morn" (musical comedy) December 25 ------"Mutt and Jeff in College" cast of 30, new scenes and electrical production. New musical score.
Summer Tent Shows
May 2 5 ------Hagenbeck-Wallace Three Ring Circus Ju n e ------"Free - every evening for two weeks, Electric lighted stage on McNulty Lot. " "The Franklin Man and His Alabama Minstrels" Concert starts at 7:30, Free to all. July 1 ------Heber Brothers Greater Shows August 18-24 ------Redpath Chautauqua - "Ashland's Third, includes an acting company performing Twelfth Night !"65
Ashland audiences evidently favored musical comedy. Of the twenty-two live theatrical productions which appeared during 1915, ten were musical comedies. The musical September Morn played twice in
Ashland during the year, once in February and again in December. It was advertised as having many "Jingle Songs" and a "Great Tango
Chorus." Only one musical during the year, The Newlyweds and Their
Baby, did not receive good public support. It received an excellent review from the Ashland Press, although in the same article the re viewer states:
It is to be regretted that more of the people who like
^The Ashland Press.
65Ibid. good clean operatic comedy did not take advantage of the opportunity to see this play, which fulfilled every antici pation. Ashland people have usually been strong for musical comedy, especially for attractions of known m erit which have had crowded houses when they appeared in this city, but for some reason the patronage Thursday evening at "The Newlyweds and Their Baby"' was not equal to expectation.
The reasons for this lack of attendance may have been poor
weather, since the performance date was in December, but if this had
been the case the reviewer probably would have mentioned it. Too,
the sparce attendance may have been due to the advance publicity,
which described the musical as a "Big Girly Music Show with 40 1/2 people" that discouraged sqme of the people who like "good clean
operatic comedy" (italics mine) from attending.
Ashland's preference for musical comedy plus its interest in
"the type of drama o£ a few years ago" was perhaps the reason for the
excellent reception that the Harmount Company received when they
played Ashland on April 1. The company was now carrying its own
orchestra and band plus a male Negro quartet which provided song and
dance for the production. Both Ashland newspapers gave the Harmount
show excellent reviews. (See Chapter IV, Page’ 13&. )
L eesburg, O h io --1916
Leesburg (population 823) could not boast an opera house in 1916;
however, they did have the Johnsonia Theatre which was used by the
k&Ibid., December 15, 1915, p. 7. 37. community for various types of entertainment--movies, lyceum series performances and for local talent productions. The Leesburg Dra matic Club gave its first performance of the year there on January 19, a four act comedy drama entitled A Prairie Rose.0'£i7 A month later,
February 25, the Highland Dramatic Club from a neighboring community presented for the benefit of the Leesburg Altruistic Association the play
Elliot's Vindication or, The Prisoner of Andersonville. 68 Leesburg's first movie for 1916 was a picture entitled "The Gods of Fate" which played at the Johnsonia on Tuesday evening, March 14. It was adver tised as "one of the biggest and best 5-reel Motion Picture Shows ever
brought to Leesburg."^ At the Johnsonia the following Monday, March
20, a lecture by "Burns of the Mountains" brought to a close the year's
Lyceum s e r i e s . ^ other than summer talent shows, the Lyceum series was the only "foreign" talent that Leesburg citizens had the opportunity to see. This undoubtedly accounts for the many local productions. .
The home talent activities for 1916 included a recital entertain ment of the art of elocution given by Miss Jennie Bowman, which included 71 "an interesting demonstration of skill with the Indian Clubs, " two
6?The Leesburg Citizen, January 13, 1916, p. 5.
fr^Ibid., February 17, 1916, p. 4.
k^Ibid. , March 7, 1916, p. 6.
^ Ibid. , March 23, 1916, p. 1.
^Ibid. , April 13, 1916, p. 4. 38. entertainments -- Betty's Campaign and Down in Alabam -- each involving
50 prominent local people in the casts, and a Senior Class Play entitled
Between the Acts. 7^ Betty's Campaign was described as "dealing with politics forty years hence and the satire is full of fun, catchy music and clever clean comedy." 7 3 Some insight into the type of comedy employed is gained from the announcement that Roy Innes, a local gentleman played
"Betty" and wore a beautiful evening gown in the last scene which he handled "as gracefully as any society belle. "7^
Motion pictures in Leesburg were just starting to gain popularity.
The March 14th showing of the movie "The Gods of Fate" was followed later in the month by "The Great Divide, a benefit photo-play for the fifth and sixth grades' victrola. In May, an afternoon and evening show ing of movies was announced and advertised in The Leesburg Citizen
as follows:
Motion P ic tu re s --J o h n s o n ia T heatre, May 30, 1916, Afternoon and Evening. FIVE OR SIX REELS. 1. Head Office Buildingsr Head Officers, Publi cation Plant, and Views of Head Camp. 2. M. W. of A. Foresters' Encampment. 3. "The Man Who Came Back, " or the story of the M. W. of A. Tuberculosis Sanitorium at Woodman, Colorado. ALSO, Three popular and interesting reels by the Mutual F ilm Com pany. 73
72lbid. t May 4, 1916, p. 1.
73Ibid., April 13, 1916, p. 4.
74Ibid.
75Ibid., May 25, 1916, p. 5. 39.
Although they were not announced in the local newspaper, movies apparently were shown somewhat regularly, for in November, 1916,
Mr. E. R. Johnson installed in the Johnsonia a new and modern Edison motion picture machine; he declared that the old machine "had a tend ency to break the films and cause embarrassing delays in the perform ance.
The 1916-17 Lyceum Series began in Octobfer with a group of
Hawaiian Singers and Players, who had appeared at the World's Fair in San Francisco. The Leesburg critic was ecstatic over their per formance: "it is doubtful whether the stage at the Johnsonia has ever in its history furnished a performance Which excited such universal praise as the musical recital given by the Hawaiian Singers." He went on to describe the 4udience reaction:
When King Ragtime made his debut, in spite of the fact that the talent was catering to a strongly Quaker audience, we couldn't help but notice that vast num bers of feet which have been used for walking pur poses only for years, had a tendency to pat rhythmi cally and their bodies twitch in anxiety to do an impromtu hoe down. ^
The remainder of the Series included entertainments of a more pedantic nature: two lecturers--Chaplain Colemand of the Army Reserve, and
Colonel Miller, Editor of "Western Retail Lumberman"--a vocal and instrumental quartet, "The Ionian Ladies Serenaders"--and The
^Ibid. , November 30, 1916, p. 1.
^Ibid. , October 26, 1916, p. 1. 40.
Lyndon-Gordon Company, two storytellers from the south with songs and stories of the south before the war. 78
Summer entertainment in Leesburg was not as scarce, perhaps, as it was in other towns which we have considered thus far. Besides the Harmount Show, Leesburg residents were given the opportunity of attending the Alderfer's combination acrobatic, dog, and pony show,
Lincoln's Uncle Tom's Cabin Show, and six days of the Lincoln Chau tauqua. The great popularity of Chautauqua is made evident by the follow ing article which appeared in the Leesburg Citizen:
So rapidly do the days and weeks fly past in the 365 day cycle that it seems but a short time since we were feast ing our minds and recuperating our health under the re juvenating atmosphere of the 1915 Lincoln Chautauqua. So great was the enthusiasm aroused by its 6 day education and fun-making, that we all saw the adjourning day approach and come to pass with a feeling of regret that we couldn't have a Chautauqua all the year around, very like our childhood days at Christmas time, after the candy supply is so diminished as to look inadequate for another day's attacks, the nuts and fruit goodies gone beyond recall, our most heartfelt wish for a Christ- mad at least every month if not oftener.79
New Madison, Ohio--1918
New Madison, with inhabitants numbering 628, had an Opera
House and a motion picture theatre at the beginning of the year 1918, but before the year was half through, the motion picture theatre had
7^Ibid., March 23, 1916, p. 1.
79Ibid., July 20, 1916, p. 1. 41. closed. The entire year seemed to be one of unfortunate happenings
for theatrical entertainments in New Madison.
Bad weather had caused some difficulty in obtaining entertain ment early in the year, so that the only "foreign" entertainments other
than motion pictures to appear in New Madison during the winter months were the Ideal Comedy Company 8 0 and the final number of the Lyceum
Course, a lecture_by Humorist Andrew Johnson. The New Madison
Herald described Johnson's lecture as a certified cure for the blues.
The Herald stated, "if you are feeling depressed over the weather, the
gas, or anything else go hear Johnson and forget your troubles for the
Q 1 time being at least." Those who attended forgot only for the time
being.
Residents of New Madison did see two local plays that winter, Qp Si Slocum's Country Store presented by the Walker School, and The
Wayfarers, a rural comedy drama presented by the United Brethren
Sunday School Winiska Class. 83
In April, the high school seniors presented Oliver Goldsmith's
She Stoops to Conquer or, The Mistakes of a Night. The local critic
wrote of it: "Unlike the farce comedy usually given here, this play
S^The New Madison Herald, January 18, 1918, p. 5.
®^Ibid., p. 1.
^ Ibid., February 1, 1918, p. 1.
®^Ibid., F e b ru a ry 8, 1918, p. 1. 42. proves that the greatest wit may be found in a character, and not necessarily in the plot. This was demonstrated by the merriment that Tony provoked upon each appearance." 84
The New Madison Herald recorded no other entertainments for the year other than movies, the Harmount Show in May, and three days of "National Welfare Chautauqua"--July 31 through August 2. An influenza epidemic in October forced the residents of New Madison to cancel all public meetings for the remainder of the year.
The movies provided more entertainment in 1918 than any other medium, in spite of the fact that they ceased in June; those movies
shown are listed below:
February 10 ------"Temptation" (It is one that grips all thru its six reel length) February 16 ------"The Foundling" with Mary Pickford February 23 ------Big Blue Bird feature and Nestor comedy M arch 2 3 ------"The Gentle Intruder" with Little Miss Mary Miles Minter March 27 (Special) "Fighting in France" The Official French Motion Picture. A pril 1 3 ------"Twin Kiddies" Little Marie Osborne, a child of less than six years plays a double r o le . A pril 2 4 ------"Twin Trouble" Exciting western photo drama featuring Wm. S. Hart. May 3 ------"Wooden Shoes" May 1 0 ------"Wee Lady Betty" An Irish Melodrama M ay 1 7 ------"The Re-Making of a Nation" May 1 8 ------"The Ten of Diamonds" M ay 2 3 ------"Wooden Shoes" May 2 5 ------"The Haunted House" Q C June 1 ------"Mountain Dew" with Margery Wilson.
84Ibid. , April 19, 1918, p. 1.
88The New Madison Herald. 43.
The movie advertisements ended with June 1, and an article entitled
"Picture Show No More" appeared.in the Herald on June 27. The article stated that the owners had removed the furniture and fixtures from the Madison Theatre giving their reason for discontinuing operation Q L as "lack of public support. " This seems ironical when one considers the article written May 16, 1918, entitled "Go Early and Avoid the Rush at the Picture Show." The article was to encourage the people living in
New Madison to attend, if possible, the afternoon showings of "The Re-
Making of a Nation, " a six reel journey through a war school. The following week, the Herald reported that 900 people had seen the per formance (the seating capacity of the theatre was 150). In the afternoon,
300 viewed the movie; in the evening, 600--"necessitating the running of o y four shows which lasted until about 2:30 Saturday morning." The War was evidently all that anyone could think about.
After the Harmount Company had set up their tents in New Madison on May 24, The Herald printed an article entitled "Poor Old Uncle Tom" which expresses the attitude of many of the New Madison residents to ward the War and towards entertainments in general.
Uncle Tom, Little Eva, Eliza, Simon Legree, and other characters in "Uncle Tom's Cabin, " did not have an opportunity to display their talent in New Madison on Friday evening of last week, as advertised in the appear ance of Harmount's show by that name.
86lbid. , June 27, 1918, p. 1.
8^Ibid. , May 16, 1918, p. 1. 44.
Threatening weather no doubt helped keep the crowd away, but few appearing on the ground; but really we believe the crowd would have been very limited had the weather been ideal. Even those holding "comps" did not venture inside the tent. Several times did we hear the expression from dif ferent ones that in these times such enterprises have no place in the lives of people, when there are so many calls for money from other more worthy sources. And there were with the troupe five or six big husky looking fellows who might better be serving their country, if not fighting, then out in the harvest fields or in the munitions factories, or dozens of other places.88
Spring Valley, Ohio--1920
The little community of Spring Valley with 443 residents found it necessary to provide for themselves whatever entertainments they saw, since there was no opera house and no lecture course in thetown. The first entertainment of 1920 came on a Thursday evening when thejunior class of the high school gave a "box social and entertainment in the high school room. A month later, Henry Wadsworth Longfellow's birthday anniversary was observed at the high school with a presentation of a program of poetry from the author's works. 9 0
During the spring, two activities were reported in May. The senior class presented "one of the best high school plays ever given, " 91
88Ibid. , May 30, 1918, p. 1.
89Xenia Herald, February 19, 1920, p. 1.
90Ibid., March 11, 1920, p. 1.
91Ibid.,, May 13, 1920, p. 4. (the title was not mentioned) and an alumnae banquet was held, at which music was furnished by the Apollo orchestra, of Xenia, 7 No92 other entertainments are recorded until November, at which time the students of Cedarville College gave a play, ^3 (the title again was not mentioned).
The appearance of Harmount's Uncle Tom's Cabin in Spring
Valley on May 27 received no notice in the newspaper. The reason for this is not clear. One would assume that since entertainment was so limited, the appearance of any entertainment would have been news worthy. Perhaps tent shows were such a common occurrence by this time that they were not considered important enough to include in the n ew s.
Conclusion
The towns discussed in this chapter, although selected entirely from Ohio, are representative of the other Midwestern states --Indiana,
Illinois, Iowa, Wisconsin, and Michigan--in which the Harmount Company performed. Despite the varying sizes of these towns, they remained more isolated and rural than cosmopolitan, primarily because farming remained the largest source of income and the farmers created de mands for other businesses to thrive on. The life and habits of the people in these rural communities dictated their needs for and interest in entertainment.
92ibid, , May 27, 1920, p. 1.
^Ibid. , December 2, 1920, p. 1. 46.
Generally, the church or the school served as the center for the social life of rural residents. In addition to this source of entertainment, the community held picnics, barn dances, taffy pulling contests, and various holiday celebrations. Most of these pleasures took little time and some took place on days when people demanded a rest from the routine, i.e., Saturday nights, Sunday afternoons, and patriotic holidays.
These communities were located off the "beaten track" of communication with larger cities, and it was natural for them to provide their own means for social entertainment.
Of course, it can be assumed that some townspeople felt a need for further contact . with new people, outsiders, in order to keep up with the cultural tastes of the larger towns. Perhaps from this recog nition came the Lecture Course and the Lyceum Series which brought to the provinces speakers, elocution artists, and some individual enter tainers, such as minstrel singers, bell ringers, and magicians. This arrangement would have benefited both the townspeople and the artists: the townspeople wanted something "new" and an escape from their routine; the artists had an opportunity to perfect their performance and earned money for their efforts. These types of entertainments usually took place in the winter. Since the farmers had less work to do during the winter months, they had time to drive into town for a
special evening, and the townspeople generally enjoyed variety from the daily business. All needed to escape from the confining, harsh, winter weather. During the summer, the people were extremely busy. The business of farming took a great deal of time, and community business thrived.
However, the generally warm weather affected people in several ways.
They were too busy to create their own entertainment, but they were
restless for action, for fun, for variety, and for escape from their own rather boring lives. Evidently, the entrepreneurs realized these facts, also, for the good weather and passable roads created ready conditions for the coming of traveling entertainers--tent shows, circuses, dog and pony shows, medicine shows, wild west shows, Chautauqua enter tainments, and, of course, Uncle Tom's Cabin shows.
The Uncle Tom's Cabin show, even in the early twentieth century, was especially attractive to the rural communities. The company offered a play with fast action and fearsome situations, familiar charac ters, and an abundance of comic action along with the serious. Be
sides the play, the company presented specialty acts either between
acts of the play or as after-pieces; more important, it provided music-- before the show, during the show, after the show. The rural community
folk loved the music.
The Harmount family, in Williamsport, Ohio, recognized two
advantages about an Uncle Tom's Cabin show. First, they saw that it
fulfilled a need for the people and became a satisfying experience for
them. Second, they definitely realized the financial advantage: these people wanted entertainment; they willingly paid for it; the better the
show, the more the profit. Thus, the Harmounts began their Uncle 48.
Tom circuit in 1903. Because of their own ingenuity and because of their determination,, they were to become one of the "best" traveling
Uncle Tom's Cabin companies. This was obviously a period when the entertainment went to the people; the people could not come to the enter tainment. Therefore, the company traveled. In the next two chapters
(III and IV), I will explain the origin and the growth of the Harmount
Company, along with a general description of their touring procedures, the itineraries, the selection of company members, and the methods used to transport equipment while on the road. In addition, I will
examine the company's eventual achievement of success and gradual decline. In the fifth chapter, I will exarrline the Harmount script of
Uncle Tom's Cabin as opposed to the Aiken adaptation and will discuss the staging techniques used for the production. CHAPTER III
EARLY YEARS OF THE HARMOUNT'FAMILY'S
UNCLE TOM'S CABIN TENT SHOW
Albert Luther Harmount was born in Williamsport, Ohio,
November 15, 1853, the son of George B. and Mary Elizabeth (Baugh man) Harmount. He grew up there, was educated, and at the age of twenty met and married Georgia Etta Marks. A1 was an exceptionally
good musician besides being a skilled blacksmith and a wood work man. He provided for his wife and the seven children that were born
to them by working at his trade, teaching music, and organizing bands
in the community of Williamsport. His seven children--Clarence, Ida,
Lebbie, George, Denman, Anna, and Charles --were all educated in
the Williamsport schools and were taught music by their father. ^
George Harmount died in 1890 leaving A1 to care for the seven 7 children. Ida, the oldest daughter died the following year. At this
point in his life acting as both father and mother to six children, A1
Harmount must have found few idle moments. He probably had no idea
that after having worked as a blacksmith for thirty-six years, he was
1 Williamsport News, April 13, 1922.
2Ibid.
49 50. soon to abandon his trade and with his six children enter the "show profession."
Williamsport as a community seemed to have a special interest in theatrical shows. One show in particular was a favorite of young and old. The Williamsport News of May 23, 1902, describes a birthday party that was held for a six year old resident of Williamsport. "Ice, strawberries, cakes, candy, fruits, and all other luxuries loved by the little people were there in abundance. 'Everybody had a big time' as one of the guests told us, 'and we wound up by playing "Uncle Tom's
C a b i n ." " '3
The Harmount brothers were not unlike the younger members of the community. They, too, had found an interest in Uncle Tom's Cabin.
During the summer of 1902, three of the boys had traveled with an
Uncle Tom's Cabin tent show which belonged to the Long brothers from
Circleville.
When the boys returned home that summer, they brought with them 4 a script of Uncle Tom's Cabin; they convinced their father to enter the
Show profession, as noted in the September 19, 1902, edition of the
Williamsport News: "A. L. Harmount and family are figuring on putting C out a pavilion Uncle Tom's Cabin show, next year."
•2 Circleville Democrat and Watchman, "Cullings From Local Exchange, " May 30, 1902, p. 3.
■^Interview with Russel Howard, August, 1966.
Circleville Democrat and Watchman, September 26, 1902, p. 3. i
Fig. 1. - -Albert L. Harmount, organizer of the Harmount Show. 52.
1903
During the winter, the Harmount family was busy getting horses and wagons in shape and doing considerable rehearsing. ^ They pur chased their first tent which had only one pole and was approximately thirty feet across, ^ at "a cost of $210 which they agreed to pay for at
$10 a week."® By spring, everything was ready. The hometown newspaper reported their first appearance:
The Harmount family Uncle Tom's Cabin made their first appearance May 15. The tent was overflowed and the performance was repeated the 16th. The proceeds each night were about $90. They gave as good an Uncle Tom's Cabin as has been in Williams port for some time. 9
The company was composed of A. L. Harmount, his daughter, Anna
(18 yrs.), and sons, Clarence (27 yrs.), George (age 23), Dennis (age
20), and dharles (age 16), plus Charles Rector, Viola Allen, Lloyd
Davis and a few others, about 12 people in all.
Anna played the roles of "Eliza" and "Ophelia. " Since more men than women joined the company, some of the tenors had to play female roles. Mrs. Marie Harmount recalled that young Charles
®Ibid. , March 6, 1903, p. 3.
Interview with Russel Howard, August, 1966.
® Alice E. Tipton, "Hitting The Road With AiVGhiOuUnclfe 1Tbm ,s Cabin Show, " Columbus Sunday Dispatch, October 23, 1938.
^The Circleville Union-Herald, May 21, 1903, p. 12.
^W illiamsport News, October 2, 1903, p. 1. 53.
Harmount, or "Tad" as he was called, played "Topsy, " in their 1903 production. ^ *
During the first summer on the road, the Harmount show re
mained in Ohio except for nine performances in Indiana, August 3
through August 12, playing small towns ranging in population from 29
in Fairview, Fayette County, Ohio, to 2, 690 in Raymond, Union County,
Ohio. They showed in almost every county in the western half of Ohio.
The majority of the towns played were under 400 population, and only
five towns exceeded 1000. 1^ According to the Harmount records, the
company closed its initial tour on September 24 in Norton, Delaware
County, Ohio, but the Williamsport News reports their closing at Waldo,-
Marion County. 1 The show closed a little early because of cool weather
and because Anna Harmount was not very strong. ^ Anna was brought
home to Williamsport on Friday night, September 25 by her brother
George, and the rest of the company came through on wagons and arrived
home Sunday evening, September 27. It was reported that they had had
a successful season. "They not only lived well and fed their stock well
but they have paid their bills and got a little money left. "15
Ulnterview with Marie Harmount, August, 1966.
l^Crams Atlas of the World, 1902.
15Williamsport News, October 2, 1903.
^ Ibid. , September 25, 1903.
l^Ibid. , October 2, 1903. 54*
After resting up a week, the Harmount Family Uncle Tom's
Cabin Company gave a performance on Saturday night October 3, in their tent which was pitched on the Harmount lot at Main and Mill Streets.
The local newspaper described the event as follows:
The people came from far and near, and not only the show's seating capacity, but the capacity of the tent it self was taxed to the utmost. The Harmounts have secured two new people, the Craner Bros. , who add somewhat to the merit of the show, and, of course, the experience the family has had this summer has improved them considerably. Every one seemed well pleased with the performance and went home happy. The concert given at the conclusion of the "Tom" show was much better than the first concert given here before the show started on the road. One of the Craner boys is an exceptionally good Buck and Wing dancer, and he is a fair black-face monologist j^sic J. Charley Rector does a clever monologue and sings a solo and the concert con cludes with a farce that is full of nonsense. The band plays some good marches in the genuine "ballyhoo" style, and the boys give the music the side show swing, that makes the ruralists crowd up to the ticket wagon and shove out their corncutting money. The show left Monday for Yellowbud. It is the inten tion to show as many towns as possible within a radius of thirty miles of Williamsport before cold weather sets in. Mr. A. L. Harmount told us that he had bargained for a larger and better tent for next season, and will improve the show in every way, and make bigger towns.
The Harmount tour records indicate that the Company played seven more performances and closed officially for the season on Monday,
October 12th.
During the winter of 1903, the Harmounts continued in their theatrical pursuits. Assisted by local "Woodmen" (a fraternal order)
l^ibid., October 9, 1903, p. 1. 55. talent, the Harmount family presented in the Williamsport Town Hall the "great drama" entitled "A Noble Outcast" for benefit of the Modern
Woodmen Camp. Their first performance was given on Saturday evening,
February 27 17 to a house described by a local newspaper as "Standing room . . . at a premium." The play was presented again on March 12. 1 R
1904
On April 1, the Williamsport News reported that the Harmount family had been busy all spring repairing and painting their wagons and properties, and A1 had purchased the new tent. During the latter part of April, Clarence made a business trip to Cincinnati to purchase litho- graphs for the Uncle Tom's Cabin show, and19 by the first weekend in
May, the company began to assemble. On Saturday morning, May 7, a
little seven year old girl, Miss Katherine Mason of Chicago arrived in
Williamsport with a big card attached to her. She came from the "Windy
City" alone to play the role of "Eva" with the Harmount Company. 2 0
Monday, May 9, the advance advertising wagon started on the road to 2 1 prepare the way for the show which would begin touring May 16.
^Circleville Democrat and Watchman, February 19, 1904, p. 3.
^ The Circleville Union-Herald, March 3, 1904, p. 12.
^ Williamsport News, April 29, 1904.
20Ibid. , May 13.
2 ^Circleville Union-Herald, May 12, 1904, p. 12. Fig. 2. - -Early Harmount Show Wagon. Original Print in OSUTC. 57.
After rehearsing the company for a week, the Harmount company gave two performances (May 13, 14) in Williamsport before going on the road. They pitched their new tent in the Cupp pasture and despite rain,
showed to "good crowds both nights. " 22 The local news described the company as having,
more people and a better outfit this year than they had last, and with the experience they gained last year, there is no apparent reason why they should not have a more profitable season than in 1903, when their profits were a snug sum indeed . . . they play "Uncle Tom" as well as it is ever seen save in the large theatres. 23
The 1904 tour began without the entire company. Miss Anna Har mount missed the first week on the road in order to graduate from
Williamsport High School on May 20. Anna was Albert's fourth child to graduate, Anna's three older brothers having all graduated from the
same school. She joined her father's show on Saturday evening in Mt.
Sterling. ^4
Anna missed an interesting week. The show opened its tour in
Darbyville on the 16th, and although the population totaled only 250,
they played to a full house. The local reporter made no mention of the
quality of performance, but he was impressed with the parade. He
described it as "grand, in fact almost preposterous. "23
^ Williamsport News, May 20, 1904, p. 1.
23Ibid.
24lbid.
^The Circleville Democrat and Watchman, May 20, 1904, p. 3. 58.
The second night out, the show met with a very critical audience in Ashville, Ohio. As was pointed out in Chapter II, Aghville residents had more opportunities to see theatrical productions than most com munities of similar size. Their local critic's description of the quality of performance as "below average" may, however, have resulted from the fact that this was only the fourth performance of the season, and
Anna was missing from the cast. At any rate, the Show played to a
2 fi very small $16 hquse. .
The summer tour took the company into Indiana for the major part of July, August, and part of September. The Williamsport News kept the local residents posted on some of the company's activities.
On Friday, May 26, in Milledgeville, Ohio, they ran into a storm which damaged their tent somewhat, but still they reported that they were having a good time. 27 To have a good time seemed to be an important part of the Harmount tours. Richard Harmount, son of Charles "Tad"
Harmount, describes some of the good times:
When we traveled around the country, places and points of interest that were to be seen if they were within a few miles why Dad would take us there and show us. For example, Dad liked to fish and I liked to fish and when we were in Michigan, we'd slip off to a lake some place as soon as we had the tents up and everything and fish for four or five hours. Or, we liked to swim, and I remember swimming in the Monongahely fsic J and the Allegheny rivers behind a steam boat when I was about 16 years old . . . If there was an amusement park or
^ A s h v i l l e Home News, May 21, 1904, p. 2.
^W illiamsport News, June 3, 1904. something of interest to see or something worthwhile, why we always combined a lot of pleasure with work. 28
The 1904 summer company combined pleasure with their work. The four Harmount brothers and Charles Rector took in a Sunday excursion to Chicago on July 31 and wrote that they saw the ruins of the Iroquois
Theatre, in which so many people had lost their lives in a fire the previous winter. They wrote also that they enjoyed a ten mile steam
ship ride on Lake Michigan the same day. ^
The 1904 tour took the Harmounts within two counties of the
Illinois .line before they began working their way toward home. The tour ended October 10 in Lithopolis, Ohio, and the company arrived home Tuesday evening, October 11, and reported a prosperous season. 3 0
They had made enough profit to provide a little extra money for them to paint their house in Williamsport before winter. 31
1905
Spring of 1905 saw A. L. Harmount and his four sons busy again
overhauling their wagons and other "Uncla Tom" show property, pre
paring them for the season to come. The Williamsport News reported
that "weather permitting, they will open early in May, and the present
^Interview with Richard Harmount, August, 1966.
^ W. N. , August 12, 1904, p. 1.
30lbid. , October 14, 1904.
■^Ibid., October 28, 1904. 60. plans are to spend the greater part of the season in Indiana, making western Ohio going and coming." It reported further that John Maley was to go on the advance this year, because Frank Finney who had been the previous years' advance man had opened a pool room in
Yellowbud. 32
Anxious to get on the road again, the Harmounts opened their show in Williamsport on Tuesday evening, May 2, at the corner of
Mill and Main Streets. The advance preparation this season had in cluded a trip to Columbus by the Harmount boys to see the Sell's Show opening. Perhaps this had provided them with some new ideas. An attraction which was added this season was a Band Concert "out-front" before the doors were opened. The company opened to a crowded house in Williamsport and they were described as having "put up a better show
-3 -a than in past seasons. " They left Williamsport May 4 to spend most of the summer in Indiana. 3^
Touring was not all pleasure. The show had been on the road only four days when Ed Hampton, a canvasman, quit the show "on account of O £ over work, " and Nines Shopp took his place. The company ran into more difficulties before they had been on the roafl three weeks. The
32Ibid. , A pril 20, 1905.
^ Ibid. , May 4, 1905.
^Harmount tour records in the Ohio State University Theatre Collection.
33W. N ., May 11, 1905. 61. advance man, John Maley, quit his job because of the frail health of his wife and the extra cares brought on her by having to take care of
Mrs. Hannah Shook, who was seriously ill. 38 Clarence returned to
Williamsport Sunday, May 21, and succeeded in engaging Thomas
Ferguson to fill the position. Another of the Harmount brothers spent
Sunday in Columbus looking for an actress to take the place of Miss
Mildred Shook (a cousin) who played the roles of Miss Ophelia and
Eliza. Miss Shook had to leave the show because of the illness of her mother. Not only was the company having personnel problems, but they had missed two nights performances since being out because of storms. 37
However, in spite of all this "hard luck, 11 Clarence reported on May 25 that they had not played to less than $50 houses so far in the season,
O Q and that they had cleared $500 since leaving home. For only two and a half weeks work, the Harmounts were doing well.
Bad luck continued to plague the show. On the 29th of May at
West Minster, Allen County, the show tent was blown down and torn in two, but they still reported good business. ^9 The following day, Miss
Nellie Mason of Chicago joined the show to take Mildred Shook's place as Eliza and Ophelia. 40
38Ibid., May 25, 1905.
37 I b i d .
38Ibid.
39lbid., June 8, 1905.
40Ibid., June 1, 1905. 62.
The show continued through June to travel north in Ohio until they reached the Michigan border on June 26. Their stay in Michigan was very
short, because "There was too much sand. ,l44 After only four days in
Michigan the company moved into Indiana where they remained for the months of July, August, and September.
The Williamsport newspaper reported Harmount Company activi ties several times during the summer of 1905. In July, Clarence returned home because of the death of his aunt, Mrs. Shook, and
reported that everybody in the company was "good and healthy, " and
the show was making money despite the wet weather. 42 By the latter part of July, Miss Mildred Shook had left Williamsport to rejoin the
Harmount show in Indiana. 43 The show ran into more difficulties in
August when Thomas Ferguson, the advance man, was forced to return
to Williamsport because of his son's mental affliction. 44 The News
finally reported pleasant news on September 21: "About half of the
crew spent the 15th inst., at the State Fair at Indianapolis."46 The
1905 Summer show closed on October 7 in Fairfield, Green County,
O h io .46
4^Ibid. , June 29, 1905.
42Ibid., July 13, 1905, p. 3.
4 3Ibid. , July 21, 1905.
44Ibid., August 24, 1905, p. 3.
46Ibid. , September 21, 1905, p. 3.
46Harmount records in the O.S.U. Theatre Collection. 63.
1906
Friday, January 5, 1906, a new and larger tent arrived in Williams port, which had been purchased not only to replace the one torn the previous summer, but also to allow room for more spectators. Their goals were set on playing larger towns during the coming season.^
Charles "Tad" Harmount returned to Williamsport on March 15 from
New York where he had spent the winter and became involved immedi ately along with the rest of the family in preparing a play entitled A
Country Kid which was to be presented the first week in April for the benefit of an afflicted member of the Modern Woodmen Camp. The production, according to the Williamsport News was very successful:
The members of the order as well as the public re sponded liberally, and the largest crowd ever in the hall witnessed the performance. The frequent and hearty applause indicated that the audience was amused and enjoyed the ludicrous situations in which the play abounds. "Reuben Thacker, " the country kid, was splendidly played by D. C. Harmount, and Miss Anna Harmount did equally well as "thick" a mischievious country girl. They showed up whenever there was any nonsense doing, and their three song specialties, proved good additions to the regular program . . . And the acting of Charles Harmount was done -in a manner that left no doubt o;f the villiany of the character he represented. Russel Howard as a wayward son, did his full share in the cast. While Clarence Harmount as the pall of the tramp, and later as a sheriff, completed the cast. The play is a rural comedy, and the author, Nesbit Stone Scoville, makes no attempt to do other than pro voke laughter . . . Total Receipts $ 96. 35.48
47Williamsport News, January 12, 1906.
^®Ibid., April 12, 1906. As soon as the family had finished working on the benefit per formance, they began preparing for the summer season of Uncle Tom's
Cabin. On the front page of the Williamsport News, April 12, the
Harmounts were reported to have provided themselves with a larger and better tent, and some new horses and mules. The 1906 ledger in the Ohio Historical Society Library gives the names of five teams and two spares. The News reports:
They have built a new stage, and had a new and complete outfit of scenery painted. They have purchased one or two new band instruments, and are putting in their spare mo ments working up an entire new program for the band con cert this season. Everything will be painted up new and clean before the show leaves. 51
The 1906 summer company was to consist of primarily the same people as the previous season. Thomas Ferguson would again go on the road as advance man. Miss Kathryn Mason of Chicago would play
"Eva" again, and Miss Mildred Shook returned to Williamsport the latter part of April from St. Mary's to play once again "Miss Ophelia" and "Eliza" with the Harmount summer show. ^2
The show opened in Williamsport on Wednesday evening, May 2, and the local newspaper described it as one of the most effective
4 9lbid.
^Harmount records in the Ohio Historical Society Library.
51W. N ., April 12, 1906, p. 1.
5^Ibid. , April 26, 1906, p. 3. 65. presentations of Uncle Tom's Cabin ever seen under canvas. 53 On
Saturday of the same week, the Harmount show played to a crowded tent in Mt. Sterling, and the local newspaper reported that "everybody was well pleased with the performance. The various characters were well represented, and there were plenty of good specialties."3
The Harmount band was undoubtedly one of the strong features of the show. They showed at Saratoga on Decoration Day with the band furnishing the music on the streets. They received "the heartiest thanks of the old soldiers and citizens. "55
In June, the Harmount family wrote home that they were going
"to take a turn at Illinois" in a few weeks, to see how Uncle Tom would go with the "Suckers. in viewing the Harmount records, Uncle Tom seems to have gone very well with the "Suckers." They played their largest houses of the summer in Illinois, $119. 80 in Onarga and
$134.95 in Cornell. The Harmounts wrote home from Illinois bn
August 17 that they were having "fine business and good weather. " On
September 4, they wrote from Emmington, Illinois, that they were
"making for hom eJ'^Later in September, a Harmount letter indicated
55jbid., May 10, 1906, p. 1.
^ Mt. Sterling Tribune, May 12, 1906.
55W. N. , June 17, 1906, p. 3.
56ibid. , June 21, 1906, p. 3.
^Ibid. , September 14, 1906. _ 66. that during one week they traveled 130 miles and showed every night but one, and that they were now "coming home as rapidly as their teams could bring them. "^8 The company arrived home on Thursday,
October 11, and reported a successful summer's trip in spite of the fact that a cold "snap" had compelled them to cut out the Clark, Madison, and Fayette county dates, which they had scheduled for the conclusion of their summer season. ^
That their summer tour was a financial success is perhaps suggested by the note which appeared in the Williamsport News on
November 15:
The Harmount boys brought their automobile home from Springfield, Sunday. It is a 24-horse power Queen, and appears to be a magificent [sic j machine. The advance man will travel in it next season, contracting for the "Uncle Tom" show. ^0
1907
For the first time since the Harmount Company was organized, the family opened their "Tom" show out of town. They left Williams port on Monday morning, May 13, for Clarksburg where they played their first show of the season that evening.
When the show had been out only two weeks, the company experienced in Gratis, Ohio, what could have been a tragedy. The
^®Ibid. , September 27, 1906, p. 3.
^Ibid. , October 18, 1906, p. 3.
6C*Ibid., N ovem ber 15, 1906. 67.
West Alexandria Twin Valley Echo reported under "News from Gratis" the following:
Uncle Tom's Cabin played to a full house Saturday night, notwithstanding the inclemency of the weather. During the performance most of the seats fell down from improperly putting up or the condition of the ground from the rain it was hard to tell which. It is a wonder quite a lot were not badly hurt but there were only a few and they only slightly. Miss Geneva Street and Ada Clark being the worst hurt. Quite a few received a few scratches and bumps and some of the ladies fainted which made things pretty lively. But the seats were soon in position and the show went on. The performance was pretty good under the cir cumstances. & *
Another accident of some sort appeared later in the season on a
Wednesday, August 14, in Hampshire, Illinois. The Harmount records contain a statement from Mrs. Tillie Witmeyer, dated August 14, 1907, certifying that she had received $34 from the Harmount Company in full payment for all damages claimed against the company for an accident occurring to her on that date. We cannot be certain of the nature of the accident, but perhaps it may have been something similar to what had happened in Gratis earlier in the year. If this is the case, perhaps the equipment which the Harmounts had purchased the previous summer was faulty. Their 1906 summer Journal records the purchase of 60 feet
of "R. T. " [Rough Timber ?]J at $60 and Seat Boards for $7. 50. 63
61 The Twin Valley Echo (West Alexandria, Ohio), May 30, 1907, p. 4. 62 Harmount records in the Ohio Historical Society Library.
6^Ibid., Journal, p. 153. In spite of these accidents and notwithstanding the fact that one of the Harmounts' horses died on the road in the latter part of July, a letter from them at Clinton, Wisconsin, dated August 17, 1907,
la indicates that "Everything is O.K. . . . doing a fine business." The show had traveled across Ohio, Indiana, and Illinois with the intention of going into Iowa, but in the latter part of July, they decided to abandon the Iowa route and try southern Wisconsin instead. ^5 Their letter dated August 17 from Wisconsin reads: "The people are so 'dutch' up here they can hardly understand English at all. We have been playing the summer resorts on the lakes here for ten days. I think we will cross the Mississippi into Iowa, if nothing happens. Evidently some thing happened because the tour records indicate that the company re turned to Illinois after leaving Wisconsin and remained in that state until the end of the season.
1908
The 1908 summer season began with a performance in Williams port on Tuesday evening, May 19. The local paper makes no mention of the performance, and a review which in previous years had always appeared in the Williamsport News when the company had played their home town did not appear this year.
64W. N. , August 22, 1907, p. 1.
k^Ibid. t A u g u st'8, 1907, p. 3.
k^ibid., August 22, 1907, p. 1. 69.
The only available records of the 1908 season other than the tour schedule are two letters written by the company. One letter is dated
June 27 from Romney, Indiana; the second, from Bloomington, Illinois,
August 17. The letter of June 27 indicates "fine business. " The com pany had purchased a new horse tent, and were preparing to buy a new show tent 80 ft. by 120 ft. because their old tent could not "accommodate
L * J the crowds.110' The letter from Bloomington indicates continued success
"We are doing fine business; last week was one of the best we ever had; our door receipts were $985, and we had opposition two nights; but drew the crowds." The letter goes on to state "we have three fine L Q bloodhounds, and they are certainly doing good work."
The Company returned home in October and reported that a change had taken place in many of the towns in which they had played.
They reported that the previous year it had been hard to find an Illinois town that did not have a saloon, but during this past summer, of all the towns they showed in "from April to October--only 12 were wet." Ac cording to the Harmount boys the temperance wave had hit Indiana and
Illinois even harder than it had hit Ohio. 69
67Ibid., July 2, 1908, p. 1.
68Ibid., August 20, 1908.
k^Ibid., October 15, 1908, p. 3. 70.
1909
The success that the Harmounts had found on the road with Uncle
Tom's Cabin was undoubtedly the major reason for a second company to organize in the village of Williamsport. George Pitt, a friend of the Harmounts organized the Pitt Uncle Tom's Cabin Company in the
Spring of 1909 and started on the road. Mr. Pitt undoubtedly received many helpful suggestions from the Harmounts on the do's and don'ts of the traveling show business. Williamsport News reports that George
Pitt and Clarence and Charles Harmount traveled together to Cincinnati in April of 1909 to "look after their show printing.
Both shows opened in Williamsport in May and an article appeared in the local newspaper describing the shows as being,
composed of ladies and gentlemen. They are clean, respectable people, everyone of them. They are on the road to make a living, and if possible a little more. But they are not out on a swindling expedition. They intend to give value received for all tickets sold; stand by every contract made; exact the same from the other fellow; and settle all bills at one hundred cents on the dollar. They are worthy of confidence and will treat courteously all with whom they come in contact. 71
The Harmount opening performance on Wednesday evening, May
12, was patronized as usual by about as many people as their canvas
could cover, and those present reported that the performance was a little better than the high standard they have established in the past. The only
70Ibid. , April 22, 1909, p. 3.
7 llbid., May 20, 1909, p. 1. 71.
Fig. 3. - -Guy Howard as "Haley" with Harmount Show (1909). 72. roles which were not played by the family during this season were the characters of Legree, Miss Ophelia, Topsy, and Eva. These roles were played by "foreign talent. 1,72 The Company's second performance of the season which was given in Frankfort, Ohio, was reported as having a "full tent of people" and pleasing many with their production of "the old-time drama. However, the company ran into difficulties in High land County the second week out. Clarence reported that "the Smallpox scare had almost stopped everybody from leaving home, " and as a result they had played to some small houses. 7^ Once the Company arrived in Indiana though, they reported that business was "good. " 71 *5
A letter from the Harmounts from Brocton, Illinois, dated July
19 indicates that they were "in the Illinois oil fields and . . . doing good 16 business." The same letter indicates that they were to receive a new tent within a week which would measure 70 by 130 feet--ten feet narrower and 10 feet longer than the tent that they had bargained for the previous summer. It is very probable that the tent which the company purchased in 1908 was second hand. A receipt from The Columbus Tent and Awning
Co. dated March 22, 1909, records the shipment of ten feet of "second
72Ibid.
73Ibid. , May 27, 1909. 74TU. •, Ibid.
75Ibid., July 8, 1909.
76Ibid. , July 22, 1909. 73. hand side wall 6 1/4 oz. drill" to A. L. Harmount, 77 perhaps to patch the tent they had purchased the preceding summer. The poor condition of the old tent would seem to be the only reason for purchasing another, since the size of the new one was practically the same, and the only other reason for changing tents so soon would be to increase the seating capacity.
The letter from Brocton, Illinois, also indicates that the H ar mounts had added four saxaphones to the band which brought the total number in the band to fourteen. The Company was now playing "no towns of less than 1000 population, " and some towns were as large as
7000. They had also added two more teams and wagons to their aggregation. 78
A letter from the Harmounts from Ramsey, Illinois, dated July
22 indicates the company was still doing good business and along with all their success they still had time for recreation. The letter indi cates that the boys would be going to Saint Louis on Sunday the 25th and were looking forward to a good time. 779
The Harmount's 1909 summer tour record is not complete. It ends on July 17. That the tour continued through the summer, however, is indicated by the Williamsport News October 14, 1909: "The Harmount
77 Harmount records in the Ohio Historical Society Library.
78W. N. , July 22, 1909.
79Ibid., July 29, 1909. 74.
Show arrived here Thursday forenoon. They report the most success ful season in their show career. They are all well and their stock is in fine shape."®®
1910
After the show had closed in the fall of 1909, George and Denman
Harmount traveled to New York City where Denman took a job playing a cornet in the orchestra at a vaudeville theatre. He did not return to
Q 1 Williamsport until the latter part of January, 1910. 1 The family members evidently all had to find something to keep them busy during the cold winter months, but as soon as the weather would break in the spring, the family would congregate in Williamsport to help prepare everything for the coming summer's tour of "Uncle Tom." The wagons had to be overhauled and painted, and the horses and mules had to be brought in from a neighboring farm where the Harmounts hired a local o o farmer to keep the stock during the winter.
Spring not only put the Harmounts to work preparing "Uncle Tom" for the road, but it put the whole town to thinking about Uncle Tom's
Cabin. An article bn the front page of the Williamsport News in April of 1910 gives a long historical sketch of Uncle Tom's Cabin stating that the two local companies (Harmounts' and Pitts') have made success
®®Ibid., October 14, 1909, p. 3.
® ^Ibid. , January 27, 1910.
^Interview with Russel Howard, August, 1966. Fig. 4. “-Eliza’..''th M orris (played "Little Eva") and Lebbie Harmount Peters son (played Harry Harris) in 1910. 76. of their efforts and are in better condition now than ever. The article states:
Williamsport is a "Tom" Town from center to circum ference. It is the home of two very successful "Tom" shows, that add from $5, 000 to $10, 000 to the wealth of the town each year, and furnish paying employment for half the year to a goodly number of our young folks, not a few of whom can quote, "the lines" of several members of the cast, while some know the play from a to iz z a r d .83
The Harmount sHimmer show opened in Williamsport on Thursday,
May 5, to a large audience, "with a stronger show than they have ever had before. Their equipment is firstclass in every particular. " 84
According to the 1910 payroll records, the Harmount Company consisted of the following members:
Edward L. Kraner Milton Cherryhome Mrs. Anna (Harmount) Cherryhome Mrs. J. J. Peters (Lebbie Harmount) F re d Shaw James H. Johnston (Negro) May 5-23 Frank Howard ------May 4 - June 13 Plemon Summers ------June 20 - July 18 Ralph Morrow ------May 5-23 E a rl R o lfe ------May 23-30 Fred Bailey ------June 20 - August 8 Charles Hampton ------May 5-23 John E(ydgig ------May 19 - September 5 Roscoe Seybert ------May 5 - O ctober 1 Ed Z e lle rs ------M ay 18 - July 18 James Harrison ------September 17-26 . John Harmount ------May 5 - O ctober 1 H a rry L o tt ------May 5 - O ctober 1 J. Frank Andrews ------May 24 - September 12
83W. N. , A pril 21, 1910, p. 1.
84Ibid., May 12, 1910. Fig. 5. - -Harmount Band (1910), from left to right: back row, Ed Kraner, Fred Shaw, "Tad" Harmount, Anna Harmount, Russel Howard, George Harmount, Clarence Harmount and John "Plummer" Harmount (a cousin to Al bert). Front row, Albert Harmount, Denman Harmount, the son of Lebbie Harmount Peters, George Saunders and Frank Andrews. 78.
George L. Saunders- May 5 - O ctober 1 Guy H ow ard ------May 17 - O ctober 4 Russel Howard ------May 20 - October 1 Ralph Perry ------A ugust 4 - O ctober 1 Ben P e n c e ------August 4-15 George Triutt ------A ugust 4- 15^5
As can be seen from the dates given above only a few were with the company for the entire season. Edward L. Kraner was still with the company; he had joined them in 1903. According to Russel Howard,
Kraner played Legree except when George Harmount played it, which was only occasionally. Milton Cherryhome served as "cook" for the company and took no part in the performing end of it; Fred Shaw was the tent boes and also played "Skeggs." John Harmount, brother of
Albert, played in the band and took care of the horses. George L.
Saunders played the role of "Uncle Tom" and played snare drum in the band. TThi's^was certainly unusual doubling for the "star" of the show.
According to Mrs. Harmount, Saunders was with the company for
"years. " Guy Howard played "Hailey" and his brother Russel plaiyed
"St. Clair."
As the payroll record shows, the Harmount girls were back with the company playing the roles of "Topsy, " "Miss Ophelia" and "Eliza" after having been absent from the company during the summer of 1909.
Neither Albert Harmount nor any of the Harmount boy's, were listed in the payroll record. Albert was generally in charge of everything
^Harmount records in the Ohio Historical Society Library.
Q L Interview with Russel Howard, August, 1966. according to Russel Howard. He played in the band, but did not per form any roles in the show. Clarence played in the band and occa sionally played "Uncle Tom." Besides playing in the band and selling tickets, George Harmount played "George Harris" in the show and alternated sometimes with Ed Kraner in the role of "Simon Legree."
Denman performed the role of "Lawyer Marks" and played trumpet in the band. Charles, or "C.B." or "Tad" as he was nick-named, was the advance man in 1910 and spent most of his time on the road. He and his helper J. Frank Andrews 87 would travel ahead of the show during the week posting bills and getting licenses and contracts for lots on which the show could play. The advance men would usually travel on traction lines. According to Russel Howard, "in them days there was alot of traction lines in the country. You could go pert!near any place on traction--that's a trolley car." "Tad" and Frank would usually return on Friday night or Saturday with the booking all done for the next week and give George the list of where to go, along with directions as to where to find the mayor of the town, etc. On the weekends "Tad" on the trobnbone and Frank on the bass drum would play in the band, adding to its numbers. 88
The Harmount show had grown immensely during its seven summers on the road. They had grown from a one pole, thirty foot
87W. N. , June 16, 1910.
88Interview with Russel Howard, August, 1966. Fig. 6. - -George Harmount as "Phineas" in Harmount Show (1910). 81- round top tent in 1903 to a three pole, thirty foot round top tent with two middles in 1910 (Fig. 3). Russel Howard described the show equipment as "all good. " According to Mr. Howard their wagons were in good condition and they had good livestock. He described the tent as "new, a nice outfit. "®9
Increasing the quality of their equipment each year had obviously paid off for the Harmounts. A letter from Kingman, Indiana, dated
June 11, 1910, stated: "This week ends banner week of our show career; we were packed and jamned, and turned them away for six straight nights; total receipts for the next week were $1, 600.1,99 The same letter indi cates that Brance Johnson was with the show promoting advertising relations with local merchants. According to the letter, he was making from $5 to $10 a day "with that Williamsport 'natural Gas' with which he is gifted. This active advertising may have helped bring the crowds. We cannot be certain what form of advertising Mr. Johnson was selling, but it is very possible that it was the same kind which
Richard Harmount described his father "Tad" as doing in later years.
Space on the canvas walls at the sides of the stage was sold to the local merchants for the posting of bills advertising their various
services and products. 92
89Ibid.
90W. N. , June 16, 1910.
9 *Ibid.
^Interview with Richard Harmount, August, 1966. 82.
Since the 1910 tour route is not known (records not available) it was not possible to obtain a performance date from which to find a
review of the season's show. Mr. Russel Howard in an interview indi
cated that he had joined the show in Eaton, Ohio, after it had started
on the road. The Eaton Herald reported that the Harmounts had played
there on Thursday, May 19. The Herald printed no review of the show,
but the advertisements that it carried prior to the show's performance
statedi "The talk of the country is the famous saxaphone quartette with
Harmount's Big Uncle Tom's Cabin Show . . . This feature alone is well
worth the price of admission. A dateless, unnamed newspaper
clipping in the possession of Richard Harmount mentions a Saxaphone
Quartette as a special feature and that the Harmounts had played in the
town on Monday, July 4. The saxaphone quartet was added to the
company during the summer of 1909. Since July 4th of that year was
on a Sunday, July 4, 1910, would have been on a Monday, so it is highly
probable that the following review is of the 1910 production. .
Uncle Tom's Cabin was given here by Harmounts & Sons Monday evening, July 4. A very large crowd was in attendance and all expressed themselves as being well pleased with the performance. A splendid band concert was given on the streets. This company consists of 35 people and their production of Uncle Tom's Cabin was above the average. The Saxophone Quartette was a special feature as was the large number of blood, hounds, both Siberian and Red Bone. If it's Harmounts you can
^The Eaton Herald, May 18, 1910, p. 5. 83.
rest assured of a clean, first class production of the old southern d ram a, 94
Mr. Russel Howard described in detail his experiences while traveling with the Harmount company in 1910. He rode from town to town on the wagon which carried the cook tent. The company owned three tents, the cook tent, the horse tent, and the main show tent. A major project when the company first drove on to a lot was the setting up of the tents. Mr. Howard describes the activity:
We’d get on the lot and then Den and me would decide where to put the cook tent, [Denman drove the cook tent wagon j so it wouldn't be in the way of the others, and on a piece of high ground if there was any in there so if it rained water wouldn't stand in where we was eatin'. First thing, we'd unhitch from that wagon, There wouldn't be nobody else there yet. We'd lay the lot out. We'd take a long chain and we had some stakes with ribbon on, that we'd stick in the ground, and then the wagons would drive>on the lot where they was sup posed to go and swing 'em around so that the back end would be where the tent's gonna be and then we'd take all the stuff out of the back end. Well, I'd get a kid from the town. There was always somebody around. Huh ! Dern ! The first person is a simpleton on the lot. If there was one in town he'd be there. And if he don't come down, it was an old saying, "We'll have a poor crowd tonight. " Well, I carried the outfit that marked where the tent was to go on the cook wagon, so that I could get out and lay the lot out if anybody was close. I'd lay the lot out and put one stake out at each point. I'd generally get a kid. The kid would hold the stake up or hold the string and I'd peg the stake in enough for it to hold. Then every driver'd see the stake and they knew where to go or I'd tell 'em where to go. The stage wagon had an awful lot of stuff [poles, stakes, etc.] in it. The sides and everything laid down to make the stage, and the wagon carried the center
94Newspaper clipping in possession of Richard Harmount. 84.
pole. It was a great big thing that was as long as from here around town. They had three poles . . . Then when the stage wagon come in they'd start throwin' stakes out just as soon as possible. It was just like throwin' straw out. If you wasn't on your toes why they'd shove a bunch of 'em right on you. Them guys don't care cause they're here today and gone tomorrow. And then would come the time to put the stakes in when they got the canvas out. Well, you'd get the stakes drove if you could get their own people to drive'em. If there was enough of 'em it'd be pretty fast, but by the time some tramp in these little towns that wanted a job and wouldn't want it either, by the time he'd find out he couldn't drive 'em, why the rest'd have to drive'em. I've jumped in many times and had to drive 'em. Well, there'd be a row of stakes around. You'd have every other one put in. Then they roll the canvas out. They had what would be a thirty foot round top they'd call that, thirty foot across divided right in the middle in two pieces for the ends and then they had two pieces thirty feet wide just two straight pieces for .the middle and that made it necessary to have three center poles. They were great big long things. You'd think you'd never get'em up just with hand power, but they'd get'em up--just get a rope on it. If you can get it three foot off the ground why you can take it. They drove the tow pins, that's what goes down to the bottom of the pole, we'd drive three so it couldn't get between and it would be sure to go if you had enough power to pull it up. I've seen that George [HarmountJ when it'd be goin' slow run out there a cussin' and a goin' on and he'd say git out of here we're gonna put it up, and he'd git under it and start it up. And they had the main guys to that pole so you could throw a half-*hitch over one of them stakes you already had drove. And then you'd get the thing £tent topj up so it looked like a rag down over a weed. It'd be that bad lookin' until they'd get it up so it looked like something. Then they's stretch it out, and it was a good lookin' outfit. That was the pro cedure of gettin' on the lot. 95
After the tents were up, the stage would be set up and also the seats. The interior of the tent when completely set up looked very much
95mte rview with Russel Howard, August, 1966. 85. like the drawing in Figure 8, but according to Mr. Howard the Har mount show had more center seats.
The dressing rooms in the show tent were located at the sides of the stage in a three-cornered area. There was no covering on the floor, and the trunks were placed in the dressing rooms so that costumes could be taken out, used, and then placed right back in the trunks, so they would not get dirty. ^
The stage was formed by a wagon which was driven into place.
The sides of the wagon were then folded down and were supported by jacks. The stage opening was approximately 20 to 25 feet wide. The depth of the stage according to Mr. Howard was only about 15 feet.
The height of the stage platform according to him was "up to my shoulders." Mr. Howard gave his height as about 5'7", which would have made the stage height between four and five feet. He described the front show curtain as having something painted on it; "some kind of a town scene, Like a street scene, town buildings and stuff. " 97
Mr. Howard did not recall many details about the scenery or
stage apparatus. He did, however, recall vaguely the ice scene on the Ohio River:
They had their ice scene just straight, there wasn't nothin' up to the sides and it was a straight pieces that was a little bit ragged on top and showed like ice in water. And it was painted on like the cakes were
96lbid.
97Ibid. Fig. 7. --The Harmount Tent Show (1910).
Fig. 8. - -Interior of an Uncle Tom Cabin tent from a Stetson's "Tom" show advertisement. 87.
broken up not nice and even. It was painted like crooked you know, and she ^ElizaJ was just about knee deep in it and she went across there behind that weavin' back and forth and runnin1 and steppin1 like she was steppin' on 'em. The ice row was hangin1 from up above with black cord so you couldn't see it, and they'd just kinda shake it. It didn't look too bad. They'd kinda Wave it you know from the s id e s .98
Mr. Howard was shown pictures of the Harmount winter show scenery. His reaction was that they were nothing like what he had seen during the summer of 1910. They had no cabin scenery, and no plantation scenery, "just a few things settin' around on the stage, like a house mostly with rugs. " When asked if the Harmounts used painted back drops for the scenes in the shows, Mr. Howard replied; "Well, they had something but it wasn't like anything. Didn't have too much on. "
William G. Bale, who used some of Harmount's winter scenery in his
1952 revival of Uncle Tom's Cabin at Ohio Northern, described the summer show drops (which he saw but did not use) as rather sm all-- 99 approximately 9' x 12'. Russel Howard, in continuing his description of the summer staging, described the Legree plantation scene as having a place, "kind of in the corner, where they used a pile of straw or hay or somethin' for Uncle Tom to be a layin' on you know after Legree had beat him up. " In "Little Eva's" death scene he recalls, "They had a kind of an apparatus for a bed and had chairs in there in the room where she was ill, and the relatives around, and some of the niggers
98Ibid.
99interview with WilliamG. B ale, June 27, 1967. 88. around, and I was there right at the bed with her. " (Howard played
St. Clair.) When questioned further concerning painted scenery Mr.
Howard responded: "Well, they might have had a cloud curtain or somethin' like that, but they didn't have nothin', well, they didn't have to have it then, cause people kinda knowed the story you know and they'd come to see it. The winter staging will be discussed in detail in
C hapter V.
The major function of the band in 1910 was to play in a parade downtown in the afternoon and perform the concert before the show each evening. The parade was generally nothing spectacular. (See Photos,
Figs. 9 and 10. ) It usually consisted of the band walking down to the center of town and playing a few tunes in the town square. Mr. Howard recalled a few exceptions.when, because of competition from other shows in a town, they would parade in a carriage or wagon about the^ town shopping occasionally to make announcements. The band played very little during the actual performance. According to Mr. Howard,
Harmounts "had a violin player and he'd play kinda soft when Eva was a dyin' and we sang one song, anybody could sing it, it was part of the show to sing that song."*®^
An important part of the show was the after concert for which tickets were sold during the intermission of "Uncle Tom." Usually
^^Interview with Russel Howard, August, 1966.
101Ibid. I
Harmount's Band in Parade
m
Fig. 10. - -Harmount's Band in Parade. 90
about half of the audience would remain for the after-show. The 1910
after-show consisted of a juggler and a couple of monologue readers,
but the main attraction according to Mr. Howard was Mr. Ed. Kraner.
He was a Buck and Wing dancer. He played the piccolo, "and he'd get
out there on roller skates and do Buck and Wing dancing and play his
own music." (Fig. 11.) As soon as the concert was over, the crew
would drop the side walls to allow the crowd to exit quickly. The drop
ping of the walls would also provide light for their exit.
Light for the show was provided by a gasoline apparatus set up in
the center of the big tent. The following is a conversation with Mr.
Russel Howard concerning the lighting used by the Harmounts:
We had one main light. Course we had lanterns and stuff like tnat but they had a gasoline light set in the center of the big tent. It was a patent affair, and it burned gasoline under pressure. It was a pretty good light, but I don't know, I always thought it wasn't too safe.
Was the whole tent lighted through the entire show? "Yea."
So you didn't have just the stage lighted then?
I don't remember of any light at all but this big light. It was a tank and some other mechanism and they had it in a box about that thick [one foot] and that wide £three feet]' and it was that high £four feet] and the mechanism for it was in there. Gas was forced into that pipe some way.
Was there a glass dome on it or something?
No, just a shade, an ordinary shade, painted affair. And. that pipe come out of the center of that box and it ji stopped at a "T" way up and there was little mantles to go on that. My ! but that made a light though! Fig. 11. --Edward L. Kraner played Simon Legree with Harmount Show. (1910) Details of photo as de described by Russel Howard: "Now we had that trombone there, it might be mine, and there's a sledge hammer sittin1 there. One of the roustabouts when they got ready to snap the camera ran up there and unbeknowns to Ed se| that thing down to let 'em know that he drove stakes too part of the time. But he couldn't play that horn. He couldn't make a noise on it. " 92.
Was the mantle covered with something?
Oh just a little shade [glass chimney] , why you can see them anywhere. I always wonderedjwhy a strong wind didn't puff 'em out.
The light was kept on during the whole show?
It was kept on all the time and as soon as they could put it out, they did. I think they was a little bit afraid of it. But it made an awful good light.
Did they have any lights outside the tent?
Oh, it was a gasoline light that was about like a wash pan with a top on it that held the gasoline edgeways, and it would hang up on some thing and a pipe would come down out of it and then come this way [at a right angle] and up to a burner to keep it out of the weather.
Were there any lights on the stage?
I don't remember anything. That center light might have been a little closer to the stage than it was to the entrance end but it wouldn't be too much. No, I don't remember any kind of light only that gasoline light that I was tellin' you about. Or they might have used the washpan shaped lights like those they used outside of the tent. I think if there was such a thing, I kinda feel like there was, they hung 'em on a pole maybe in the center. But with that open flame it wouldn't be too safe. They must've had something besides that one big light that they had to light the tent with, cause it was too far away and there wouldn't be any light on the ones that was on the stage.
According to Mrs. Stanley Bridgefoot (Nettie Betts as a child, who played Eva for the Harmounts), the Harmounts burned some "red
'stuff', powder around the edge of the stage. "103 There also would
1Q2Ibid.
l^Interview with M rs. Stanley Bridgefoot, August, 1966. 93. have undoubtedly been some lanterns used in lighting the stage in spite of their not being "too safe."
When the after-concert was over, the side walls dropped, and the audience gone, the roustabouts would immediately go to work putting the show gear back on the wagons. This was usually done fairly quickly, except sometimes, according to Mr. Howard, when the people would
"just eat it up [the show] and hang around and talk after the thing was over and be in the way while the fellows was tearin' down and gettin' loaded again. " They always loaded everything except the cook tent on the wagons at night before going to bed; then as soon as everyone had breakfast the following morning and the cook tent had been loaded on the wagon, the show would be on the road again. The show almost always traveled during the day except when they had a "long pull" or there was something the matter with the road and the Harmounts felt that they needed extra time in order to make the next town in time to set up for the show. 104
Mr. Howard described one occasion in clear country in Illinois when there was a "big rain a cornin' up. " In this particular town there was a creek about a mile out of town without a bridge. Since the wagons would have to cross it, someone in the company got the idea that they ought to try to cross the creek and get up on high ground
^®4Interview with Russel Howard, August, 1966. 94. again before the storm hit. So the wagons were quickly loaded, and they started out. Mr. Howard describes the experience:
Well, when we got up to the top of the hill to go down we set the brakes on the wagons and held a conference with the Harmounts and the reliable ones as to whether they should go down and take a chance or not. They decided they couldn't go. They'd stay right there at the top of the hill. So we unhitched everything. We un hitched the horses and left the stuff right in the road. Unharnessed the horses too and tied them to the fence. Well, there was an awful hard rain storm and every thing. The lightning picked a bar.n off not two hundred yards away, out in an open field. And it had wheat shocks in it [the fieldj. The lightning hit that barn and it was afire in a minute, all over. I seen it hit on some of the wheat shocks and burn 'em up just like a puff. But we weathered the storm and the creek got up over the road a little bit, and before morning it was off and we started and went on to the next town. . . That's a spooky time ! ! That's the time you wish you was home. 105
Storms were a continual threat to the show. The Harmounts records show that during some summers, as many as two shows a week would be lost because of storms. The company in 1910 ran into a storm that almost destroyed the big top. Mr. Howard tells the story:
We was in a big rain one day and we had the tent up in a wheat field. Just bare ground beside the wheat stubble. And there come a rain, and it was a rain. And they let the top down . . . Well, there was this awful rain and they thought it was going to whip the rest of it down. I hollered for the fellows to trip the side poles--them that runs around the sides. And they ran around there, and by that time the ground was wet and the tent was wet. The tent weighed two ton wet, and it held water. Why there was barrels of water in that tent layin' on the ground and up on the
105Ibid. 95.
side stakes. They started to trip those wall poles and they couldn't trip them and you could hear 'em a snappin' 'em clear around the tent. Breakin' 'em right in the middle where they'd run into 'em and try to jerk 'em loose ya know. Well, they was in the ground that far [indicates approximately two feet] by then with all that weight on 'em . . . I stdyed up in the wagon and let somebody else do that.
Perhaps the greatest threat to the show besides the weather, was
the colossal task of transporting the show from town to town. The roads
were generally covered with gravel, but in Illinois and some places in
Indiana, the roads remained more primitive--dirt. Mr. Howard
remembers they would ask someone along the road, "How's the road
from here to so and so?" and he might answer, "Well, it aughta be
pretty good, it's bein' black dirted. " That meant that they had simply
put black dirt on top of the road expecting the rigs to wear it down;
this did not, however, create much of a road surface to pull heavy
wagons on. Mr. Howard recalls the difficulty created by the poor road
conditions:
We pulled into Batesville, Indiana, and we'd had what they call that gumbo out in there--dark with the black top. We'd had that to pull through all day and we'd moved at night too to get to that town. Well, the mules come in there with their tongues a hangin' out and their ears a floppin'. Dog tired! ya know. We got up on the lot and some town crack, smart alleck, who'd done hauling and had a team of horses started makin' fun of our mules--and they were good ones. Well, the Harmounts held a conference, and they decided they'd hire four teams in the town if they could get 'em,, to hook up to each one of the wagons, or one team to l each of four wagons, and they could get over there to the other town faster. The first fellow they went to was this
106Ibid. 96.
fellow that was mouthy. They asked him if he would pull ahead of one of our teams to so and so. "Yeah, " he said, "B ut you b e tte r get ready to keep up !" And oh'! he blowed off! Well, when we got ready to go, he wanted to know where his load was. Well they had one of our teams hitched to it and he was going to take the front, so he went off just sayin' "Oh, he didn't have no load, he didn't have no load. " Well, we'd loaded him up. We put more stuff on the wagon that he was going to pull cause he'd been so mouthy about what a good team he had. So they put some of the stuff out of the other wagons that our teams was gonna help pull and let him havelit. Well, four dollars a team and that was high then. I think it was high then. I think it was eight or nine miles across there. It was this gumbo, rollin' up on the wheels you know, black dirt. He started out you know, with a whip in his hand just a goin' good and a mile out of town, he pulled off the road and his team was a latherin' all over, hot, he'd been a pushin' 'em, and everything went around him. Everything ! Well, when we got in there, why he finally come in, but his horses was tired believe me. And they talked him into stayin' and we'd give him his dinner and feed his horses before he went back, but he was still kinda mouthy. It about broke his heart though. Broke his back too.
When traveling from town to town, it was important that the wagons all kept on the same route. Usually one wagon would take the lead and then would leave markers along the road for the rest of the wagons that.followed. If they came to a crossing or a fork in the road the driver of the first wagon would find out the "right" turn and then mark the road, usually by stringing grass, which they pulled up from
along the side of the road, across the road&'.not to travel. They pre
ferred the grass marking system because."if you made a mark across
there everybody else runnin' over it'd soon obliterate that, but the
107Ibid. 97. 108 grass, they wouldn't stop to pick up all the blades of grass. "
Sometimes it was a problem just to find the "right" route. Mr.
Howard tells of an experience in which they encountered difficulty:
One night we was movin1 at night and stopped at a house and just seen a coal oil light in there. Somebody went up to the door and knocked and knocked, and a man come to the door in his nightie. And whoever it was, it must've been George, cause George took care of things like that. Well, George told him we was a show movin' to the next town and we wondered if we was on the right road. We didn't want to get too far off the road. And he commenced to tell, and directly the old woman ap peared behind him in her night gown and cap, she stood behind him just inside the door. The man was standin1 at the door barefoot. The woman says, "No, they go up here by so and so and they turn by so and so. " And he disputed her right there and they kept talkin' about it and a talkin' about it and SHHHHHH ! that old woman got in too deep to suit the old man and he said, "Ayyyyyy !" and cussed about it and said, "You tell 'em!" And he went back in the house and we didn't see him no more. 109
There were many obstacles to overcome while the show was on the road, and not just only while the show was in transit. Mr. Howard recalls some difficulties the company encountered in the towns they played:
When we got into town, you could hear a whispering thing that there'd been a show in there that was kinda dirty, and they wasn't gonna go to this show. Well, we went up town with the band. A good many people was standin' on the street, but the women was all standin' back like there was a fire on that side of the street. It looked kind of odd, and it showed that this tale we'd heard was true. And this Kraner, George had him make a speech and tell them what's what about our show.
108Ibid.
109lbid. 98.
So he told them a good many things. He said, "We want you to know and Mr. Harmount told me to tell you that the women on this show are Mr. Harmounts daughters and wives of the sons, and if there's no women in this tent tonight there'll be no show. " Well, we had better than half a crowd that night.
There were other times the company ran into problems with audiences. For instance, while they were playing in the flat country of
Illinois, a good portion of the audience would be coal miners. Most of them were Italian and could not speak English. Mr. Howard tells how, during the show, some of them insisted on being back stage, "Why, they couldn't say nothin'. You couldn't do nothin' with 'em. You couldn't start a fight, if you go to put them out and they didn't want to go. So, we just let 'em tramp around in there. Couldn't do much else. " n l
On the other hand, there were good audiences. Mr. Howard states that negroes made exceptionally good audience members, and if there were any in the towns in which they played, they would come to the performance. They were good spectators because, according to Mr. Howard, they appreciated any scene they were shown, and they sat still and were not noisy. He told of only one exception:
One night I done George Harris and he threatens to kill Legree if he finds that he's hurt Uncle Tom. Well, he laid the law down to Legree and started away and Legree grabbed his whip like he's goin' ta hit George Harris over the head, and you had to turn around real
lOlbid.
11llbid. Fig. 12. --Unidentified Actors in Harmount Summer Show. 1.00.
quick and put the gun in his stomach and say "you'll answer to me, " and just stick him right in the stomach. And of course, I was backed off out of sight, and some colored fellow settin' down in the reserved seats he said, "Ah! I guess that'll saw your pickles." He meant that for Legree. ^2
In spite of the difficulties encountered, the show seemed always to make it from one town to ftie next, usually in time to get the tents set up so that there was some free time available before the evening show, during which members of the company could do what ever they wanted.
Sometimes they would hit a town where there was a "swimin1 hole" and
some of the younger company members would go swimming. Some of the older members of the company found other activities during their free time. Mr. Howard tells how many of "them Southern fellows" would go up town and "drink anything to get a little alcohol. " Since most of the towns in Ohio, Indiana, and Illinois were "dry, " it was sometimes
difficult to find "good liquor." However, although it was "difficult" to
find, it was still available if one knew where to look. Mr. Howard said
there was a system of communication with certain store keepers in
which no matter what was asked for while in their stores, one was given
a clue that told him liquor was available. He recounts the following
instance as an example:
this old fellow that played Tom Saunders , he had a little cold and he wondered if he could get some hore- hound candy that would soften his throat a little. He went up town to the drug store and there's where it lit right then. He asked a kid, just, a kid workin' 'in' there
112Ibid. 101.
at the time, "Ya got any horehound candy?" And that boy answered him this way: "Yeah, the boss said you fellows could have it cause he said you couldn't be here after today. " And that meant that they sold liquor in that drug store and you could buy it cause you wouldn't be there long enough to tell. Well, that set 'em on fire. My! My!*!3
Drinking was not the only pastime. According to Mr. Howard, the show did not travel on Sunday except when it had to, so this gave the members of the company more free time. For some, the time was spent with card playing. The wagons were built so that the ends could be fastened down tight, where some of the men would play cards most of the day. With the wagon ends tightened down, the town marshal, if he came around, could not see in. Mr. Howard recalls how some of the crew would draw what pay was "cornin' to 'em and go up in that wagon and leave it. "
There were other things to keep some busy during the afternoon hours. Mr. Howard tells how Clarence and "Tad" attempted to "train the dogs a little bit" one afternoon when they had everything set up early:
Clarence took somethin', maybe a ham bone or somethin' you know, and let 'em smell it and got 'em wild you know, barkin' and that's all there was to it, they just wanted loose . . . He and Tad had made up to train the dogs that day, the small ones. So Clarence said, "Now I'll go back there, " it looked like a mile back there across that big field to a big tre e . C larence said, '.'Now when you see m e get pertnear to that tree you turn 'em loose. " All five of 'em on him. Well, "Tad" didn't wait that long, he wanted to see the fun. Oh My! Harmie just yelled, sounded
113Ibid. 102.
pretty near like he was cryin' out there. Why he got away as far as four hundred yards I expect, out in that r immense field, and ’’Tad” turned the dogs loose and then laughed about it. Course as soon as they seen it was Harmie, they called Clarence "Harmie, " course they wagged their tails then. H 4
The dogs by this time were becoming an important part of the
show, not only to be used during the ice scene, but as attention-getters
to lure the crowds. In 1910, the Harmounts had ten of them, five great
danes and five bloodhounds, but according to Mr. Howard, "sheee ! jsicj
they wasn't bloodhounds, jist hounds. " The hounds were kept in a small
wagon made with chicken wire, "a good rig, " and the bloodhounds were
transported from town to town locked up in this wagon cage "to make
them look vicious, but they wouldn't bite nothin'. And they'd tie the
great danes and people'd come up just easy you know, to see 'em and
who ever was there 'd say 'Now don't get too close. ' And they wouldn't
bite nothin' !" The great danes were used in the show because they were
much more attractive than the hounds, and the great danes without his
ears clipped looks very similar to a hound, "if you'd never seen one.
It must have been really something to see a dog that would stand more
than six feet tall on his hind feet, and according to Mr. Harmount, the
first thing people would say when they would come around the tent was
something like, "God! look at those dogs, look at the size of those dogsJ" 116 i 114Ibid.
115];nterview with Richard Harmount, August, 1966.
l l 6 Ibid. 103.
The five great danes were kept under the stage during the performance. According to Mr. Howard, they seemed to know when to start barking, "cause nobody told 'em nothin'." When the ice scene was in progress, the dogs would begin barking right on cue. "They seemed to know when, and they'd always come around front and some of 'em would get their feet up on the stage and once in a while one of
'em 'd get up on there." Mr. Howard states that at times he feared for "Eliza's" safety. The dogs did not usually get up on the stage.
They would just put their front paws up on it and growl and bark and
"make an awful noise. That the dogs did not chase "Eliza" across the stage is verified by Mrs. Harmount and Proctor Baughman. Even much later in their winter show, the dogs were trained to lie down in front of a ground row which was between them and Eliza.
Living conditions on the road were sometimes very difficult.
There was always plenty of good food, but members of the company had to sleep in the wagons on m attresses that had to be packed in with the rest of the company's gear. The wagons, according to Mr. Howard were huge things, all covered (except for the stage wagon, which was an open wagon), and the front and back could be buttoned down tight.
"The only bad thing about it was the m attresses"; they would get dirty, and "if somebody happened to crawl in a bed or lay down on it that had lice, you'd have 'em ." The only time that members of the company
H^Howard interview. 104. could bathe was when there happened to be a swimming hole in the town, or sometimes they could bathe just by sponging-off with a bucket of water. Mr. Howard stated, however, that there were some with the company who did not bother to bathe at all. Mr. Howard's overall opinion of the summer tour in 1910 with the Harmount company was,
"It was rough, I wouldn't do it again under any circumstances." i0
The show closed for the summer in Cardington, Ohio, around the first of October. Mr. Howard recalls bringing the show "right down through Columbus, on Fourth Street. " A policeman up at the northern end of Columbus directed them over to Fourth Street and said: "Now you can go clear down." And down they went, through
Columbus to Williamsport, to close their eighth successful season on the road with Uncle Tom's Cabin. * ^
1911
Interest in Uncle Tom's Cabin continued to grow with the resi dents of Williamsport. From that,little village in the spring of 1911, three "Tom" companies set out on the road to perform for tl^e rural
areas in the Middle West. This made Harmount's ninth season on the
road, the Pitt company had changed its name to Lee's Uncle Tom's
Cabin Company 17 0 for their second tour, and a third company was
118Ibid.
l^ibid.
120W. N., April 27, 1911, p. 1. 105. organized under the name of The Trio Uncle Tom's Cabin Company. 121
The Harmount family gained a new member before leaving on their 1911 summer tour. Charles B. "Tad" Harmount, the youngest of the Harmount brothers, married a young lady from Middletown,
Ohio, Miss Marie Nelson, in January of that year.
When the show opened in Williamsport on Saturday evening, May
6, the advertisement that appeared in the local news indicated some new innovations for the company. The company was using for the first time the phrase, "After the Minnow Comes the Whale of Them All." To support this statement, they advertised that they were carrying 35 people and a concert band, plus 10 bloodhounds.consisting of six Siberian and four American Redbone bloodhounds among which were the famous dogs, Ben and Baker. The dogs were described as "without a doubt the finest lot of dogs ever seen with any traveling organization." } ? The P company, according to their advertisement, did not carry "a big farcial street parade" this year, "to mislead the people, but have saved
TOO the extra expense and secured good people and elegant scenery. "
And in spite of all these added features, the price of admission was still only fifteen cents for children and twenty-five cents for adults.
^Circleville Democrat and Watchman, September 29, 1911, p. 3.
122^ 6 Eaton Herald, May 10, 1911, p. 1.
123W. N., May 4, 1911, p. 1. 106.
The show opened under their "large" tent pitched on the Yates lot on Green street and as in previous years, a "large" crowd was in attendance. Just how large "large" was, we cannot be sure. The 124 population of Williamsport in 1911 was only 536, and even if every member of the community were in attendance, the tent which the Har mounts were advertising as containing "3500 comfortable seats, " would have appeared to be anything but crowded. Nevertheless, the local news reported that there was a large crowd in attendance and IOC they were given a good "Tom" show. The report continued:
The only out-of-town people in the cast were Eva, Tom, and Haley. Members of the Harmount family played in all other parts save one Adolph. And it might be added that five other members of the family were not on the boards Saturday night. [The family now included the husbands of Lebbie and Anna and the wife of Charles.] This was the first appearance of Mrs. C. T. [error C. B.] . Harmount on the stage. She plays Eliza and Miss Ophelia, and her work is fully equal to that of any other person they have ever had present those charac ters. Mrs. M. Cheeryholmes [Anna Harmount] again demonstrated that she has never been excelled on the local stage as Topsy. All the other characters did splendidly, and as a whole the show was a well balanced cast. 127
The second Friday on the road, the company played in the small village of West Elkton, population 215. It was reported by the Eaton
124];bid. t A pril 27, 1911, p. 1.
125Ibid. , May 11, 1911, p. 1.
10/ Interview with Marie Harmount, August, 1966.
127W. N., May 11, 1911, p. 1. Fig. 13. --Tom and Georgia McAllister in Harmount Summer Show (1911). 108.
Herald, under "News from West Elkton, " that the Harmounts played to a "large crowd." The residents of the village "pronounced it a fine tent show. "
The company traveled through Ohio, Indiana, and on into Illinois.
Business was continually improving as is indicated by a letter from
Elmo, Illinois, dated July 6: "Business is good; packing them every night. Have order in for another 30-foot middle; makes tent 60 x 150, four poles. "^ 9 Success continued throughout the month of July. A letter from Pittsfield, Illinois, July 29, indicated that everything was
"O.K. " and that they were still "packing 'em every night. " The letter goes on: "We ferried the Illinois river (half mile wide) last Wednesday; some trouble with donkeys. Bought another dog today, sure a fine one; that makes 15, and Clarence says he wants about 5 m ore."^®
The trouble encountered while trying to ferry the donkeys across the Illinois river was trivial when compared to the trouble they ran into a week later. A letter dated August 9 from Golden, Illinois, de
scribes it:
We encountered a real hail stDrm at Liberty, Illinois, Monday, August 7. About 5 o'clock in the evening a storm came up and passed around us, then turned and came back, bringing with it, one of the most destructive hail storms ever witnessed in this section of the country. Hail stones fell that measured eleven inches around and weighed 8 ounces. The storm lasted about an hour and
128The Eaton Herald, May 24, 1911, p. 4.
129W. N. , July 13, 1911, p. 1.
130Ibid., August 3, 1911, p. 1. 109.
the ground was completely covered with ice. The hail stones were of many peculiar shapes, some being globular, others shaped like a discus, some like icicles that had been broken to pieces, others were deeply pitted--all of them sharp-cornered masses of ice, and very destructive. We had all our tents up and the work all done, and did not lower the top for the first storm, and the second one came so quickly we did not have time to lower it until the hail came straight thru. The cook top was almost completely destroyed, but the horse top was comparatively loose and did not receive a puncture. The wagon tops were beaten full of holes and we can lie in bed and count the stars. We lost the night's show, the first one we have missed this season. *31
The damage received from the storm seemed to have little or no effect on the success of their tour. On August 21, the company wrote from Gilson, Illinois, that they were "Packing them, out in this country, every night." They stated that in Abington, Illinois, on Satur- 132 day night, August 19, they had turned away 2, 000 people.
The company began working toward home around the 15th of
September and arrived there Monday night, October 10. They reported 133 in the local news "a very satisfactory season. "
Conclusion
Although the Harmount family did not organize their Uncle Tom's
Cabin tent show until 1903, there was still enough of an audience in rural America; who continued to support this show for the Harmounts
^ ^Ibid. , August 17, 1911, p. 6.
^ ^ Ibid. , August 24, 1911, p. 8.
133 Circleville Democrat and Watchman, October 20, 1911, p. 3. 110. to enjoy success. The show was a very small operation during its early years, which included nothing but the barest essentials in the way of costumes, scenery, and lighting.
In their early years, the company played mostly small rural towns and villages whose residents remained relatively uncritical of what they saw. Most of them had seen nothing with which to compare the Harmount Company, so they were all satisfied.
The greatest point in favor of the Harmount Company seemed to be their talent as musicians. The " 'ballyhoo' style" of their band as the Williamsport News described it seemed to be the outstanding feature of the show, and was undoubtedly a major factor in drawing the rural crowds into the Harmount tent to see Uncle Tom performed.
Another attraction for the crowds was the gigantic dogs which the company carried with them on their tours. "Fine" animals were something which the farmers could appreciate, and since the Harmount dogs were such magnificent specimens, the countryfolk would probably have felt they had received their money's worth simply by seeing the a n im a ls .
Even though the company's efforts resulted in financial gain, the members earned it. It was no easy task to transport an entire acting company and rig by wagon across states with roads that were, for the greater part, only dirt-topped. The company had to maneuver wagons, horses, and donkeys through creeks or rivers with no bridges; they were exposed to wind, rain, and hail; they endured uncomfortable 111. traveling conditions each day of each summer season in their pursuit of rural audiences. Once in town, the members of the company had to face "set up" of tents and equipment, had to tantalize the potential audience, and were required to maintain a healthy, wholesome attitude in view of the rather strict standards of behavior upheld by the com munity--card playing, drinking, or any other unorthodox behavior was done "in private." And the daily comforts of living were nonexistent.
People slept on uncomfortable mattresses, they ate in a tent, and they may have relaxed by sitting on the ground or a wagon. There was nothing "comfortable" about their life on the road. It can be easily emphasized that life with a traveling tent show was not easy.
By the time the company had concluded their ninth season, they had learned enough about show business that they were ready to venture into it in a more professional manner. They were about to embark into a winter project that would take them into the opera houses and town halls of larger towns and cities where the competition would be much g r e a te r . CH APTER IV
THE HARMOUNT COMPANY'S "BIG CITY"
PRODUCTION
The Harmount Uncle Tom's Cabin Company which started on a very small scale in 1903 continued to grow each year through experience gained on the road; also, the company had attempted to improve their show in some way with every season. By 1911, they had progressed to a point where they were ready to compete with other entertainments on a professional level; they were ready to display their talents in the theatres and opera houses of larger towns.
Winter Season--1911
At the conclusion of their ninth successful summer with a touring show company, the Harmount family decided to try their hand at a winter tour of opera houses and town halls, not with Uncle Tom's Cabin, however. They were to travel under the name of "Jack Peters and
Company" with a play entitled Jesse James. The-play opened in
Williamsport at the town hall on November 15, 1911, just a little more than a month after they had closed their summer tent show. After the opening, the following review appeared in the local newspaper:
HALL WAS PACKED--NEW JESSE JAMES COMPANY GIVEN ROYAL OVATION--Play is creditably given--the 112 Harmount family starts on the road with a Western Bill under the management of Mr. J. J. Peters [husband of Lebbie Harmount J--Have good bookings. The capacity of the town hall was tested last Wednes day night . . . on the eve of their departure with their new play. "Jack Peters and Company" sounds new, too, but in reality it is the Harmount Family Uncle Tom's Cabin Co. turned inside out and made over. And, like the Hindoo's garment, "it's as good on one side as the other. " Some say better, holding that they play "Jesse" better than they play "Tom." The bill is a Western drama in four acts, portraying exciting incidents (some of them really true) in the life of Missouri noted outlaw, Jesse James. Nine of the characters in the cast are members of the Harmount family. And there are two more, Mr. J. J. Peters and Mr. A. L. Harmount, both of whom are kept busy looking after the financial end of the aggregation. The play as presented here was equal to the very best dramas ever put on the local stage. The ladies handled their parts splendidly, and made the show. From the title, it would naturally be inferred that the leading characters are men--rough men, too. So they are, and all were well presented. But any cast without ladies lacks zest, and it is the ladies who add flavor to this version of "Jesse Jam es." The show opens with Captain Quantril (George) and Bob Ford (Tad) in a bar-room where they plot to slay Jesse (Den) and Frank James for alleged insults. Quan tril and his band capture Dr. Samuels (Clarence) and Mrs. Samuels (Lebbie), the mother and step-father of the James boy; murder their son Willie (Albert), burn their home, and keep the old people prisoners in a cave for ten months. Jesse and his band rescue them; later they frustrate Quantril's attempt to wreck and rob a train, and finally hand them over to the authorities. Ford escapes, joins the James gang, and at the first opportunity shoots Jesse while he is unarmed. Woven into the story is Jesse James' romantic court ship and marriage to Zelda Roston (Anna). The scene of their home life in St. Joe is the prettiest in the play. The most exciting is the clash of the two bands of desperados at the train wrecking episode. The pathos is supplied by the aged Dr. and Mrs. Samuels at the hand of Quantril's band. And the humor comes from Lig (Guy Howard) and Liza Snowball (Marie), negro servants of the James boys. 114.
Mrs. Harmount is as comic in black-face as any ever seen h ere. When the company has given the drama a few times on stage where the lights are better arranged and the scenery and set pieces handled smoothly, they will put on a show that will appeal to the admirers of the sen sational, wild-west situations, and get the coin. The show carries a good brass band and a pianist, and can supply an orchestra when one is needed. The coronet solo introduced during the wait between the second and third acts was good, and pleased all present. The company played Morrow, Thursday; Jamestown on Friday; Xenia, Saturday. They are booked at a num ber of theatres in Ohio, Pennsylvania, West Viriginia, and Kentucky. It is the hope of their friends here that the show will make good and make money.
Just how successful they were with Jesse James we cannot tell, because no records of this venture are available. The Williamsport
News did, however, print the tour route for the first half of December and indicated that the company was "doing fine."^ Their December tour route was as follows
Dec. 2 Lore City, Ohio Dec. 4 Byesville, Ohio Dec. 5 Murray City, Ohio D ec. 6 Freeport, Ohio D ec. 7 Uhrichville, Ohio Dec. 8&9 (Open Dates) D ec. 11 Canal Dover, Ohio D ec. 12 Salenaville, Ohio D ec. 13 Irondale, Ohio Dec. 14 (Open Date) D ec. 15 Barbington, Ohio D ec. 16 Alliance, Ohio
We can assume that the tour continued through the winter as they had planned; however, we cannot be certain, as there is no further
1 Williamsport News, November 23, 1911, p. 1.
‘“Ibid. , December 7, 1911, p. 1. 115. mention of the Harmount family activities in the Williamsport News until spring of 1912.
1912-1913
After nine summers of nothing but Uncle Tom, it is not surprising to learn that the Harmount family had decided to give themselves a little variety. Evidently, the preceding winter tour with Jesse James had stimulated the family's interest in expanding their repertoire; at any rate, instead of beginning the summer of 1912 with Uncle Tom, the company opened with its "mammoth" production of Ten Nights* in ai B a r-
Room, in their 3500 seat tent in Williamsport, Wednesday evening,
May 8, 1912.
The opening was advertised on local billboards and by a "large" front page advertisement in the Williamsport News. The second page of the News included the following article:
The Harmount family will play" Ten Nights in a Bar Room' here. At other towns they will play 'Uncle Tom's Cabin' also. This is an aggregation with which all our readers are familiar. This is their tenth’season on the road, and they have always made good. They know the ins and outs of the show business and have never yet i: disappointed an audience. 3
"Never" is perhaps a little strong, since there were a few audiences in the early years on the road that were not completely satisfied with what they saw.
3Ibid. , May 2, 1912, p. 2. F ig. 14. - -"T ad" H arm ount, b u s i ness head and manager of the Harmount Winter Show. 117.
The home audience which attended the opening of Ten Nights in a
Bar Room was certainly not totally satisfied with the company's per formance even now that it had gained considerable maturity and was advertised as having "everything new. "4 The review which appeared after the opening stated that "The drama as a whole, was not up to the standard this aggregation has established in 'Uncle Tom's Cabin. ' "
Several reasons were suggested. First, the company had been dis appointed by the nonarrival of some people they had employed, and at the last hour, they had been forced to make several changes in the cast. Second, "a heavy downpour of rain began falling before the curtain dropped on the first act and the rain continued thru the second and third acts. Many people became uneasy and changed their seats, causing so much confusion that these two acts were lost to the greater part of the audience."^
The audience in Williamsport did not leave the performance totally urtsatisfied. The concert following the play featured a musical
act of bell ringing "that was good" and it included "a physical wonder
and strong man, who did astonishing things to the joints in his arms
and hands, " The concert concluded with a three man sketch. ^
The audience was also pleased with the band which they had heard
in concert before the show as well, as during the performance. The
4Ibid. , May 16, 1912, p. 2.
5Ibid.
&Ibid. 118. review reported that the band had been augmented by some out-of-town talent, and that it was "perhaps, a little better than ever before. They made the band a feature of the show and it proved a winner.."
Although we have no records of all members of the company, the cast of characters for Ten Nights is as follows:
M r. R o m a in ------Clarence Harmount Simon Switchel ------Den Harmount Harvey Green ------H a rry Van Willie Hammond ------Charles Thacker M r. S la d e ------Tom McAllister Joe M organ ------George Harmount Mrs. Morgan ------Mrs. Nellie Harmount (wife of Clarence} Mary Morgan ------Little Miss Irene Smith Miss Mehitable ------Mrs. Marie Harmount !(wife of Charles} Frank Slade ------H a rry Van®
According to Mrs. Marie Harmount, the two Harmount sisters from this point on never appeared in the winter show. The name of
Lebbie (Harmount) Peters was used on winter programs for roles which were doubled. According to Mrs. Harmount, they did not like to put the name of the people that owned the show on the program too often.
Just how often the Harmounts played Ten Nights in a Bar Room or Jesse James on the road we cannot know for certain. However, the fact that the company felt they needed two extra shows in their reper toire to present at a minutes notice is reason enough to believe that their presentation was more than occasional. Mrs. Marie Harmount in an interview stated that these shows were used in towns in which
7Ibid.
8Ibid. 119. another "Tom" company had played recently. Evidently there were many companies still on the ro^id in this second decade of the twentieth cen tury. She also stated that these two shows were chosen primarily be cause "they required about the same cast of characters as Uncle Tom's
C abin.
The 1912 summer tour took the Harmounts through Western Ohio,
Indiana, and Illinois --the same route which had brought them such success in previous summers. This summer was no different. Besides an occasional misfortune such as the terrible storm that they ran into in Indiana on Saturday evening, June 15, which "blew their horse tent flat, " or the badly infected hand which Clarence received from a cut on the edge of a gasoline stove which he described as badly swollen and very painful and having almost "laid him up, the company reported nothing but good fortune. A letter from Tuscola, Illinois, dated July
31, reported "Everything O. K. Big business, fine weather." ^ Another, from Perrsville, Indiana, August 26, reported, "All well and business good, " in spite of the fact that they had been "too busy pulling through the mud" to write the previous week. 12
^Interview with Mrs. Marie Harmount, August, 1966.
10W. N ., July 25, 1912.
^ *Ibid. , August 8, 1912.
•^Ibid. , August 29, 1912. 120.
The company returned to Williamsport the first week in October and arrived there Saturday, October 5. The News on the 10th described the Harmounts as having "gone into winter quarters, 11 after having "had a profitable season, traveling through Indiana, Illinois and Western
Ohio.
The company may have "gone into Winter quarters, " but they did not remain there long. By November, the company was ready to go on the road again with an opera house company presenting "the beautiful temperance dram a--Ten Nights in a Bar Room. 11 The business staff for the show consisted of the following: C. B. Harmount, manager;
Frank A. Bowen, business manager; Bert Farnis, director; George R.
Harmount, carpenter; and D. C. Harmount, musical director. ^ They opened in Williamsport on Saturday evening, November 2. The Har- mounts advertised the show as having an "all-star cast":
Remember, not a stock company production, but a selected company of talented actors and actresses. Special scenery to fit the play; life-like scenes in Simon Slade's Tavern; Joe Morgans'home, showing him suf fering from delirium tremens; the wine glass that strikes Mary Morgan; the death of little Mary; Joe Morgan's promises; the simple Switchel, who was "raised on gin and molasses;" Mehitable Cartright, the "gal that never had a beau. " A tear; and then a laugh. A drama for mothers, for fathers, and for young folks. It teaches a great lesson to one and all. 15
l^circleville Democrat and Watchman, October 18, 1912, p. 3.
l^ W. N. , F e b ru a ry 27, 1913, p. 1.
^Ibid. , October 31, 1912. 121..
The review which appeared on the front page of the Williamsport
News on November 7, 1912, reported that the town hall had been more than three-fourths full. The review continued:
The stage work by the members of the company was some what above the average seen in the like companies. This old story of misspent life, portraying the sad end to which it is almost sure to lead, seems to wear with the public Hke nothing else save Mrs. Stowe's story of slavery days. The company carries a good brass band and they have some special scenery. They expect to put on specialties between acts, and introduced one, a clever musical-monologue turn, here. Mr. Frank Bowen deserves the credit and applause given for it. . . . The company certainly has the best wishes of the "home folks" and it is believed they will be well re ceived among strangers. ^
The reports from the show were that strangers did receive them well. On December 22, the company wrote from Erie, Pennsylvania, that they were "having big business, and enjoying good health, " and that they were en route to Niagara Falls that day. ^
The company continued to play Ten Nights in a Bar Room until the last week in January. Their tour had taken them into Western Penn sylvania, up into Southern New York, and then back again into Penn sylvania, where they closed Ten Nights. . . and opened Uncle Tolm's
Cabin. The company evidently planned to use foreign talent, for the
New York Clipper on Saturday, January 18, ran a Harmount ad asking for "Tom" people.
^ Ibid., November 7, 1912, p. 1.
^ Ibid., December 26, 1912, p. 1.
^®Ibid., January 23, 1913, p. 6. 122.
In the latter part of January, Clarence Harmount, who had stay ed home in Williamsport to look after things, traveled to Pennsylvania with two dogs and some scenery which the company used to open Uncle
Tom's Cabin the week of January 27th. ^ The opening was not without incident. While working the dogs at Washington, Pennsylvania, on
February 1, one of the dogs worked his muzzle off and bit Charles in the hip, which laid him up for a week. 20 When Clarence returned to Wil liamsport on the 5th of February, he found that in his absence one of their mules had died "under peculiar circumstances and another was sick
9 I from some cause suggesting poison."
Uncle Tom was evidently more popular than Ten Nights in a Bar
Room. Clarence, on his return to Williamsport, reported that the company was playing to "good houses." 22 The Williamsport News reported on the 13th of February that "nothing but good reports ‘(Some o o from the Harmount show." One of these good reports appeared in the New York Clipper on February 22: "Capacity houses are the rule.
While we have encountered rain, snow, and cold weather, still the cry
^Ibid. , January 30, 1913, p. 3.
2^Ibid. , February 27, 1913, p. 1.
2*Ibid. , February 6, 1913, p. 3.
22Ibid.
22Ibid. , February 13, 1913, p. 1. 123. of S. R. O. [Standing Room Onlyj . The big street parade goes out rain or shine.
Although this was only their second winter on the road, they were learning fast what pleased the crowds. The "no parable" gimmick that they had used in their advertising the preceding summer was evidently not successful, as Harmount was now featuring the band in a grand parade each day at noon, which according to "Tad" was a "Win ner. They had undoubtedly used the materials which they had pur chased before leaving on the winter tour to spruce up the band uniforms.
According to a receipt from the Indianapolis Regalia Company dated
September 13, 1912, Harmounts received the following materials:
2 1/3 yards Satin @ $1. 00------$ 2. 33 2 1/2 yards Fringe @ . 6 5 ------1. 63 2 1/3 yards Lining -@ .25 ------.58 2 1/3 yards Sateen ------.58 2 dozen tassels ------2.40 1# Spangles ------2.15 B e a d s . 3 3 ^ $ 10. 00
Not only was the appearance of the band improved upon, but the entire visual part of the show received a "lift. " "Tad" Harmount reported on February 10 in a letter from Urichville, Ohio, that the company was now using a "complete line of newscenery from
^Ibid. , February 27, 1913, p. 1.
^ Ibid. , February 13, 1913, p. 1. ? A From reheipt'^iven.by Richard Harmount. ^ o t/z v ^ m o c x TOM'S
0*8 in*
Fig. 15. - -Harmount Band during a Winter tour. Back row center, in front of flag--George. Second row, far left--Clarence, third from left--Denman, second from right--Tad, " far left--Albert, center woman--Marie Harmount, Woman in light furs-- Nellie Harmount (wife of Clarence). 125.
27 Armbruster. " The same letter states that "The Tom show seems to be giving the very best of satisfaction. " The success they were experiencing was, however, not without considerable effort. "Tad" described the tour as "a 24 hour job": "We are on the go all the time it is daylight and until after midnight each night. We give two matinees < a week. 1,28 Certainly this was a different schedule than they had been accustomed to during the previous ten summer tours. Marie Harmount, described the winter tours as "work, " because they had a heavier schedule and they were riding bn trains with which they had to keep a schedule. Hotels, too, required scheduling. She compared winter and summer tours by stating that "everything on the winter show had to be done ahead of time; in summer you could relax a little." Considering all the work involved with the winter show, the company was probably 29 not too unhappy when the 1912-13 tour closed early--M arch 3.
1913-14
By the time their second winter tour had concluded, the Harmount family must have decided that Uncle Tom's C 3.bin was th eir forte. F ro m this point on in their career, they were to be strictly an Uncle Tom's
Cabin Company, except, of course, for those occasions, during: the:
2?W. N. , February 13, 1913, p. 1.
28Ibid.
2%bid., March 5, 1913, p. 3. Fig. 16. - -Harmount Winter Com pany. Mario Harmount center, in white apron. 127. summer tours when they would be forced to play something else be cause another "Tom" show had recently performed in the town.
Interest in "Tom" shows still seemed to be growing in this thir teenth year of the new century. The small community of Williamsport was again to put three "Tom" shows on the road, C. C. Rector's Over land Uncle Tom's Cabin show, The Trio Show, and the Harmounts.
The Williamsport News records the visit to Williamsport of a Mr. Tom
Connor and Mr. Thego of Commercial Point, "They were in town 30 Monday getting pointers on the business from local showmen"; these men also were planning to put a Tom show on the road in the spring.
The Harmounts did not open their summer tour in 1913 with a performance in Williamsport. Perhaps they had decided to give the town a rest, not from Uncle Tom, just from their version of it, as the other two local companies both performed for the local residents.
Family records include contracts for company members for the summer season of 1913. This was evidently something that the company had learned to use in their winter tours and decided it would be good business to carry it over into their summer hiring. Mr. Russel Howard
(who toured with the company in 1910) said that the family had no form of written contracts during that summer. All business was done by verbal agreement. The contracts give more insight into the types of
•^Ibid. , January 30, 1913, p. 1. 128. jobs available with a Tom company and also the salary per week:
Grover Etchison - Canvasman and driver - $5. 00 per week Alton Cain - Horseman-groom and driver- $7. 00 per week M iradith Foy - A ctor -$10. 00 p er week W. E a rl Fulton - A ctor, m usician, and specialty man -$12, 00 per week A1 Shields - Musician and actor -$12. 00 per week
What roles the actors played we cannot be certain, but the contracts point out the fact that the Harmount family members were not filling all the roles. Earlier it was stated that in the winter shows, the Harmounts were careful not to monopolize all the acting parts. It can also be assumed that the Harmount family members might have had personal obligations that would pull them out of the company for some time. For instance, during this season, Marie Harmount was unable to travel be cause she was pregnant (a boy, born September 18, 1913).*'
The summer tour began the first week in May. Where the opening show was presented is not known. The first letter from the Harmount
Company in 1913 came from Shirley, Indiana, dated June 2. It indicated 31 that everything was "O.K. " and that they were having capacity crowds.
The second letter came from Thorntpwn, Inldiana, and expressed simi lar success: "Business great at every stand. 1,33 Later on in the month, the company ran into difficulty. On June 30, from Rensselaer, Indiana,
>!5The only male child to be born in the family that wduld carry the Harmount name. All of "Tad's" brothers married at some time in their lives, but none of them had any children.
31W. N. , June 5, 1913.
33Ibid., June 19, 1913. 129. they wrote, "Terrible hot here, and people are suffering from it; travel is worst we have ever experienced, but the business is capacity. All are holding up well in this weather, but it's trying on the thermometer at 104° in the shade. "33
Their trouble was nothing to what the Trio Company experienced that summer. The Trio Company's trouble, however, was self-inflicted.
The Williamsport News reported in August:
The Trio show closed one day last week in a Michigan town, owing to a business arrangement between the financial backers, George H. Pitt and John B. Dunlop. Mrs. Pitt and some of the performers came home by rail . . . the show came in over the road . . . the horses and wagons look as well as when the show was making money right along, and it is unfortunate that it could not have remained on the road the whole season. 34
Tad Harmount expressed his regret over the dissolving of the Trio Com pany in a letter to the Williamsport News stating that he thought they
"should have patched up until the season closed. This philosophy is undoubtedly one reason why the Harmounts were able to stay on the road as long as they did. When they were traveling it was "family" and they had had a lifetime of experience "patching up. "
We have no further record of the 1913 summer tour. We can be fairly certain that their tour ended approximately the same time that it had in previous years. An article appeared on September 13 which
33lbid., July 3, 1913.
3^Ibid. , August 21, 1.913. 130. indicated they were back in Williamsport. The article included a para graph which had appeared in the Columbus Dispatch on Monday, Sep tember 10. It described the purchase of a dog "Jeff" from the Harmount family by the Columbus police. The purchase price was $40. 00. In fact, the Harmount dogs seemed to be making a name for themselves.
In February of 1913, Clarence had sold two of his Great Dane pups "at a long price" to Mort. Steece of Chicago. Mr. Steece was backing a big "Tom" show which he planned to tour during the summer. The dogs would be expected to chase Eliza across the Ohio River nightly, as their sires had done before them.
The Harmount winter show opened in Williamsport on Saturday evening, October 4. This was to be their first winter playing strictly
Uncle Tom's Cabin, and their advertisements indicate that they in tended to do it in grand style. A ten inch, three column ad refers to the show as "C. B. Harmount's Big City Production." It describes the company as having a "Concert Band, Good Orchestra, " the "famous
Silvertone Colored Quartette, " $500. 00 worth of Special Scenery, and an All Star Cast featuring "Baby Alberta" as "Eva. " And all of this was "Grandly Equipped and Artistically Arranged" for the nominal admission price of Children, twenty-five cents and Adults, thirty-five c e n ts .
36Ibid. , February 27, 1913, p. 1. 131.
The review o'! their opening show, as usual, was good:
The Harmount show newly organized under the manage ment of Mr. Charles B. Harmount, assembled a strong aggregation here last week and gave their initial perform ance of 'Uncle Tom's Cabin" at the town hall Saturday night. They were greeted by a large audience, as they always are. The show has been equipped with some very effective scenery, and in addition to the regular cast, and one of the noisiest brass bands bn the road, they have a genuine colored quartette in different scenes in the drama. The show is being booked by an Indianapolis agency this winter and already have some splendid show towns in Ohio and other states, as well as a number in Canada. 37
The Harmounts incorporated "foreign talent" into their show and
hired outsiders to assist in the management. While in Wilmington on
October 6, where they gave their second performance, they contracted
Mr. Ben F. Fuller as the advance agent for the company. He would
receive, according to the contract, the sum of $30. 00 per week and
transportation. 38 Another member of the company was a Mr. George
Gould of Grand Rapids, Michigan. Two letters which he wrote to
C. B. Harmount reveals one of the company's methods of hiring "foreign
talent":
S eptem ber 10, 1913
Dear Sir, in answer to ad in B. B. Bill Board could you use A-l coronet in band and orchestra or to play parts. Have played Dan Haley, Shelby old and young, and Skegs. Was one season with Stetsons U. T.C. I am 29 years old and strictly sober. Can lead your band and have music k •^^Ibid. , October 9, 1913, p. 1.
•^Records in the Ohio Historical Society Library. 132.
for band and orchestra. Would consider $12. 00 per week and expenses.39
Septem ber 14, 1913
Dear Sir, your offer of $18. 00 per week and pay own hotel for cornet band and Orchestra at hand. Now your show is a new one on me but if you are to play winter season and can guarantee salarys every week would be able to join you for the season. Kindly mail me copy of agreement and particulars. I can fill my end of contract.
Occasional letters from the company during their tour, which
took them into Michigan, Canada, Wisconsin, Minnesota, Indiana, and
back into Ohio, indicate that business was good and that they "made good
in every town they played in. 11 41
In the summer the heat bothered them, but they had no problems
of that sort on this tour. Clarence wrote from Medford, Wisconsin,
on December 23: "The sun is shining here but the thermometer is eight
degrees below zero. One sees nothing but fur coats and the men look
like bears on their hind feet. No snow and no wind today.
Toward the end of January, "Tad" became ill and had to return
to Middletown where he could be under the care of a good physician,
4 0Ibid.
^ W. N. , December 11, 1913, p. 1.
4^Ibid., January 1, 1914.
I f 133. and his son in Middletown had pneumonia; he had to leave the show for the rest of the tour.4'-3 Clarence took over the management and kept it on the road until the first week in April. On March 17, he wrote home that the show business had been good all winter and that they now had twenty-two people with the aggregation. 44 The r rcompany , returned to Williamsport, Wednesday morning, April 8, and reported a "pros- perous winter tour." 45
1914-15
The summer tour of 1914 opened on Friday evening, May 8, in
Mt. Sterling, Ohio, This made the twelfth summer on the road for the
Harmount Company, and they had performed for the residents of Wil liamsport at least that many times either in their summer tent or in the town hall. The novelty and excitement of having theatrical touring com panies in so small a town was evidently beginning to wear off a little, since the company once again opened their tent show of Uncle Tom's
Cabin out of town. The apparent lack of interest by the townspeople may have been due to the fact that the company was each summer hiring fewer local people for the tour. This may also account for the fact that only three articles appeared in the Williamsport News during the sum mer of 1914. The first article appeared on Thursday, May 7, announcing
43Ibid. , February 5, 1914.
44Ibid. , M arch 26, 1914.
45Ibid., April 16, 1914. 134. the opening in Mt. Sterling, the second on September 3, indicating that C. B. Harmount had been in town the previous Wednesday and had taken his sister, Mrs. Anna Cherryholmes, back to the show with him on Thursday, and the third appeared on September 10, reporting that the Harmount show had pulled into Williamsport the preceding Monday after having spent the summer in Michigan, Indiana, and Illinois.
Although no report was made about the success of the tour, we can get some indication from checks made out to the individual family members on September 25, 1914. The checks signed "A. L. Harmount fk Company" are payment for 1913 shares. The amounts are as follows:
A. L. Harmount $468. 80 George R. Harmount 416. 50 C. T. Harmount 448. 55 C. B. Harmount 382.57 D. C. Harmount 367. 3 8 ^
The seeming decline of local interest had little effect upon the com pany's continued success. As soon as the company had returned home from their summer tour, "Tad" left for Pittsburgh and New York City
"in interest of the 'Tom' show" that he was preparing to put on the road that winter. ^ As with each previous season, he was determined to make this one the "Biggest" yet. Each year he seemed to succeed in doing just that. Before embarking on the 1914 fall-winter tour, the company purchased, according to the Williamsport News, "a lot of new
^Harmount records in possession of Jan Hill, Circleville, Ohio.
^ W . N. , September 17, 1914, p. 3. 135.
uniforms, wardrobes, scenery, electrical equipment, and show para phernalia of every sort, " and assembled a better aggregation than they AQ had ever previously. "Tad" had assembled an "all-star" company
for this season which featured Tom Davis, "the World's Greatest Uncle
Tom."*a Along with him, the cast of characters was as follows:
Uncle Tom, the faithful old slave ...... TomDavis George Harris, a fugitive ...... George R. Harmount August St. Clair, a southerner ...... George Smith Phineas Fletcher, a rough diam ond ...... F ra n k M ack Lawyer Marks, a crooked cow ard ...... Denny Clark*k Dan Haley, a dealer in horses and niggers ...... F. C. Williams Mr. Shelby, a Kentucky planter ...... Herbert Bendall George Shelby, his son Jack Smythe Simon Legree, terror of Red R iv er ...... Willis L. Holmes Skeggs, auctioneer ...... Ed K raner Adolph, valet to St. C lair ...... Harry Grice Sambo & Quimbo, Legree's devils ...... Charles Brown Harry Still Harry, the child of George H arris ...... Master Ray Scott Aunt Ophelia, of the Green Mountains .... Mrs. C. T. Harmount Eliza Harris, broken-hearted mother ...... Miss Maggie Havely Emmeline, the maid Miss Lebbie Peters*^ Topsy, who never was born ...... Miss Marie Harmount Aunt Chloe, Uncle Tom's wife ...... Miss Hazel N e l s o n * b
4®Ibid, , October 8, 1914, p. 10.
*aThis same actor had been mentioned in a letter to the Harmounts from a musician seeking employment the previous year. The letter dated September 4, 1913, stated that the writer's experience with Uncle Tom'^ Cabin had been with Sam McCutcheon's company as orchestra leader in 1907 and that the same year Tom Davis was with the company playing Uncle Tom. 49 This would seem to indicate that the name Tom Davis was well known among "Tommers."
^Harm ount records in the Ohio Historical Society Library.
*l>According to Mrs. Marie Harmount, the name Denny Clark was actually Denman C. Harmount and Libbie Peters and Hazel Nelson were names used for roles that were doubled. 136.
Cassey, once slave of Legree . . Miss Edna Holmes L ittle E v a ...... Gladys Strouber c n Prince and Keno ...... Siberian Blood Hounds3
That the show itself was as good as the paraphernalia which it carried is indicated by a letter which appeared in the Williamsport News on October 22 under the title "Bouquet to the Harmount Show. " The letter was written by Mr. George E. Jolley of Belpre, Ohio, and read as follows: **'
Saw the Harmount show at Athens, Friday, October 9 and they have some show. Even tho it poured down rain the entire evening, the house was packed, and the crowd went home well pleased. This is quite a compliment in Athens, as the place is noted for its criticism of one- night plays. Mr. Gillilan and myself, having seen the show six years ago, could hardly recognize the same company. The stage settings and scenic climaxes were equal to the best. The family deserves much commen dation for their success in that line, and we are glad to send a word of appreciation to the folks at home. 51
This was to be a big year for the Harmounts. In November, a two column cut of C. B. Harmount and four of the Great Dane dogs ap- peared in The Clipper (November 28), a weekly theatrical news publication. An accompanying article indicated that the company was now playing in the New England States with twenty-four people and a white and colored band. It stated that "athough the territory is new,
C O the show is meeting with success."
^The Lancaster Daily Gazette, March 20, 1915, p. 8.
N. , October 22, 1914, p. 6.
3^Ibid. , December 3, 1914, p. 1.
53Ibid. 137.
The success with which they were meeting is verified by the almost rave reviews which they received at practically every stop.
In February, they played in Scranton, Pennsylvania, and the Scranton
Times reviewed their performance:
The big audiences that were swayed from tears to laughter by the story that will never grow old, enjoyed Harmount's "Uncle Tom's Cabin, " at the Lyceum Theatre Saturday. Of course the attraction is not new, but the Harmount company is not as well known in Scranton as the Al. W. Martin, Stetson and other uplifters of art via the H. B. Stowe route. But should this company return, as most "Uncle Tom" companies have a habit of doing, it is a safe prediction that the Lyceum will be packed to its fullest capacity. There is a freshness and snap to the performance that most of the others lack, and the band, the quartet numbers between the acts and other diverting features make up two and a half hours of solid enjoyment, particularly for the playgoers of tender years. The com pany is an unusually large one and it is conducted on a ^ plane somewhat above the usual attraction of its class.
In March, the company played Lancaster, Ohio, and the Lancaster Daily
Eagle reported the following: "As usual, an 'Uncle Tom's Cabin'
Company played to a full house at the Chestnut Street theatre last night.
There were 35 people in the company and made that bill which will
probably never be timeworn, exceedingly well pleasing. " 55
April brought the Harmount Company to Delaware, Ohio, for an
evening's performance. The review was similar to what they had had
all along: "Seldom is that old favorite . . . staged with a more pleasing
effect that was the performance of the play Monday evening at the city
^ The Scranton Times, February 15, 1915.
5 5 The Lancaster Daily.Eagle, March 23, 1915, p. 5. 138. opera house by Harmount's big company. . . . On Thursday of the same week, the company performed in Ashland, Ohio. Both of the city's local newspapers gave the show excellent reviews:
EXCELLENT PRODUCTION - Of Uncle Tom's Cabin at Opera House Thursday Evening to an Appreciative A udience.
Harmount's production of that old but ever popular drama "Uncle Tom's Cabin" was seen at the opera house Thursday evening by a rather small but exceed ingly appreciative audience. The company which is recognized as one of the best of its kind on the road had its own special scenery with which the members were able to reproduce in a realistic way the various episodes of the play including the flight of Eliza and her crossing the ice, the flight in the rocky pass, the death of Eva, the slave market at New Orleans and the alle gorical transformation at the close. They also had their own band and orchestra and four sure-enough bloodhounds. Tom Davis as Uncle Tom kept the interest and sym pathy of his audience by his excellent interpretation of the faithful old slave and Denny Clark as Lawyer Marks caused many laughs. Willis L. Holmes as Simon Legree, Mrs. C. T. Harmount as Aunt Ophelia and Miss Marie Harmount as Topsy handled their parts capably as did the minor characters. Gladys Strouber as Little Eva while not seriously detracting from the production was the weak point in the cast. Local color was added to the play by the four colored men, one of whom was Tom Davis who played Uncle Tom. One of the other three gave a good exhibition of clog dancing in the slave market scene, while their singing at the death of little Eva was im p re s s iv e . 57
COPIOUS TEARS FELL - when Little Eva and Faithful Uncle Tom again breathed their last at the Opera House.
Seldom if ever, does a theatrical season pass in Ashland that the local playgoers do not have the oppor tunity of witnessing an "Uncle Tom's Cabin" production.
^ The Journal-H erald (Delaware, Ohio), April 6, 1915, p. 8.
^The Ashland Press, April 7, 1915, p. 3. 139.
This old southern drama appeared at the Opera House on Thursday night, and, as is usually the case, there was a large sized audience in attendance. The company presenting the play at this time was Harmount's, and while it does not carry as many people as some of the former Uncle Tom Companies that have appeared in Ashland in season's ^sicj past such as Martin's and Stetson's, yet the Harmount company gave good satis faction. The scenic effects were especially pleasing. This in itself was identibal [sicj to the oldtimers. The character of the faithful old slave,"Uncle Tom, " was a negro in reality, and Tom Davis assumed the part ex ceedingly well. Frank Mark as "Phineas, " Willis L. Holmes as "Simon Legree, " Miss Marie Harmount as "Topsy, " and G.R. Harmount as "George Harris" the fugitive, took their parts well. Gladys Strouber as "Little Eva" was well acted; but she is a trifle too old to take the principle role as satisfactorily as might have been desired. * However, the death scene was particu larly well staged, and there was the usual number of tears in the audience, also during the cruelty to Uncle Tom by Legree, and when the old slave died. A negro quartette sang a couple of selections between acts and there was some clever dancing during the plantation s c e n e .^8
The company continued their successful tour until the last week in
April and then returned home to Williamsport on Wednesday, April 29.
Their tour had taken them into West Virginia, Pennsylvania, Maryland,
New Jersey, New York, Michigan, and Indiana, and they had crossed cq the state of Ohio three times. 7
^According to Marie Harmount, this was a problem faced by most winter companies of Uncle Tom's Cabin. Girls young enough to play the role effectively were required to be in school during the winter months; hence, the "older" Little Evas.
^®The Ashland Times, April 7, 1915, p. 1.
59W. N., May 6, 1915. 140.
1915-16
The 1915 Harmount summer tent show opened in Williamsport on Saturday evening May 29, only not under their big tent as they had advertised in the local paper. . A continuous downpour for the previous three days had made it impossible for them to pitch their tents, so they opened their summer show, for the first time since they had started touring, in the town hall. The rain was merely one problem of the company. Two performers contracted earlier did not arrive, and the Harmount boys noticed a lacking in the show which they described as "light." 0 The local newsman did not agree; he: wrote of the perform ance', lAwe c'ahi truthfully say we never saw 'Uncle Tom1 s’Gab in' put on any
Z I better than it was done on this occasion. " The company was still featuring negroes--Tom Davis as "The World's Greatest Uncle Tom," and the colored quartette--which had been one of the outstanding features of the previous winter's show. The "lightness" of the show described by the Harmounts was undoubtedly a result of their comparing the show with their outstanding company of the previous winter. Audiences seeing the summer show, however, could not make this same comparison and were, therefore, satisfied with what they saw.
The show left Williamsport Monday morning, May 31, almost a
month later in beginning than any previous summer. Their winter show
kQlbid. , June 3, 1915.
6lIbid. 141. had continued so late into the spring that they must have felt that the company needed this month to rest from their travels. They performed
Monday evening in Fox, Ohio, and then moved to Ashville on Tuesday for a performance. This performance never took place, however,
as a note from the Ashville News indicates: "Harmount's Uncle Tom's
Cabin Show stopped over with us Tuesday night but the elements were not kindly disposed and the rain poured in torrents and those who braved
the storm and were in attendance were drowned out by a leaky tent--so there was no Tom show." Just what tentLtbe Harmounts were now
using is not certain, A letter to the company dated March 30, 1915,
from the American Tent and Awning Company of Minneapolis, Minne
sota, suggests that they may have realized that their tent was deteri
orating and were in the market for a new one:
G entlem en:
Yours of the 29th at hand and in reply would say we can furnish you a 60 foot round top, with two, thirty foot middle pieces, the top made of 8 oz. khaki and has an 8 foot wall made of 6 oz. , all complete with ropes, poles and pins for $734.70 f. o.b. Minneapolis. Hoping to be favored with your valued order, we are,
Yours very truly,
L Q American Tent and Awning Co.
The company undoubtedly turned down this offer, because a new tent
certainly would not have been leaky. Perhaps the Harmounts had
62Ibid., June 10, 1915. . L o Harmount records in the possession of Jan Hill, Gircleville, Ohio. 142. decided that since they would be on the road for only three months during this summer, an investment in a new tent would not be necessary.
The final report of the summer show came from the Ashville
News. Since the Harmounts had been rained out earlier in the season in
Ashville, they stopped over on their way home to Williamsport, and gave a performance to "a well filled tent." The local critic's reaction was, "The boys have added enough frills and trimmings to the original
'Tom' show to make it worth while. Of course Marks and Topsy are the
L a same as of old. The boys gave a good show." This was certainly a different reaction from what they had received in Ashville in May of
1904. (See Chapter III. ) The company arrived home Saturday evening,
September 4 and reported that they had "made money in spite of the
L C almost constant rain. "
The Harmounts opened their winter opera house show on Septem ber 27 in Wilmington, Ohio. The company was beginning to establish a favorable reputation, and thus, agent Ben F. Fuller was able to obtain some good bookings for them. They played in such cities as Spring field, Ohio (Pop. 46,921), Saginaw Michigan (Pop. 50, 510), Battle
Creek, Michigan (Pop. 25, 267), and Gary, Indiana (Pop. 69, 647). One available review of their winter show comes from a much smaller city
64W. N. , August 26, 1915, p. 8.
k^Ibid., September 9, 1915, p. 3. 143, than those listed above, but it points out the caliber of show the H ar mounts were presenting:
Harmount's "Uncle 'Tom's Cabin" Company appeared before a crowded house at the Town Hall Saturday evening. The company, which consisted of 20 people, put this old favorite on the stage, both as to scenic effects and merit of actors, in a way that has never been surpassed in Batavia. The performance ran smoothly throughout and the dramatic and comedy requirements were capably met. The wish of all who saw this really meritorious perform ance is that it may come to Batavia again. 66
The show closed on December 18 for the holidays, so that the company could be home for Christmas, and opened again on December
30 in Circleville. The Circleville Herald reported on that date, "Under favorable weather conditions Harmount's Tom show gave an excellent street parade at noon. The show has the best reputation of any Uncle
Tom show on the road this season; nearly the entire company is made
ZL 7 up of Williamsport people. . . . " The review of the performance, which appeared the following day, verified the statement concerning the Harmount reputation.
Harmount's Uncle Tom's Cabin packed the Grand Opera House last night and gave an excellent portrayal of Harriet Beecher Stowe's famous novel. The Harmount family has made a wonderful success with their venture in the theatrical line since starting on the road some years since in a small way from Williams port; everyone in that ancient village on Deercreek seems to be stung with the same bug, on one occasion several years since four companies left that point on one season. The Harmounts however are the only survivors of the
66The Clermont Sun (Batavia, Ohio), October 6, 1915, p. 1.
6^The Circleville Herald, December 30, 1915, p. 8. 144.
four; the secret of their success lies in the fact that there are enough members of the family to stage the show even though the company was disrupted by a strike. The company carries an excellent band and orchestra and a bunch of the finest specimens of Siberian hounds of any company in the country. . . Manager Baughman says; "It is the best Tom Show that ever played the Grand. " 68
Manager Baughman's son Proctor in an interview in August, 1966, made a similar statement: "The Harmount show was one of the best that I have ever seen come into the theatre, and we had two or three
'Tom' shows a year come into the Grand. It did more business than
L Q any other theatrical show." When Mr. Baughman was asked if he had ever seen Stetson's "Uncle Tom" show, he replied, "Yes, I remember it. " When asked how it compared to the Harmount Show he responded, "It didn't compare. It wasn't anywhere near as good. No,
Harmount had really one of the best. The best one as far as your lighting and everything was concerned, " Proctor was stage manager at the Grand for his father and worked backstage on the Harmount show on several occasions when the company played Circleville.
The winter tour continued through Ohio, into Indiana, up into
Michigan, back again into Indiana, and then into Wisconsin, where they closed on March 27. A paragraph from a letter to Ben F. Fuller
66ibid. , December 31, 1915, p. 4.
^Interview with Proctor Baughman, stage manager of the Circleville Grand Opera House, August, 1966. from the Erie Lithographing and Printing Company dated March 31, suggests the reason for the early closing:
Are sorry to note that you were obliged to close the Company on account of bad business and washouts, but trust that you will again be favored with your orders. 70
It is doubtful that the "bad business and washouts" were a result of the
Harmounts not providing satisfaction. Box office receipts from two performances in early January indicate good business. The first on
January 1 at the Schultz Opera House in Zanesville, Ohio, shows the sale of 288 orchestra seats at 25£ and 381 balcony seats at 10£ for a gross of $110. 10. The company's share was $55.05. Another receipt from the Masonic Opera House in Chillicothe, Ohio, dated January 8 shows the ticket sales for a matinee performance: 225 general admission
@ 25£ and 592 children @ 10£. The total cash intake was $115.45, 65% of which went to the Harmounts.
A more likely cause of the bad business was the grippe epidemic which hit the United States in early January. It was reported in the papers as the most serious ever known. The Cedarville Herald re ported on Friday, January 14: "This community is probably no worse affected with the grip than many others as there seems to be sickness in at least one-third of the families . . . It is said that the attendance in the schools has been reduced about 20 to a room. ..."71
7®Letter in Harmount records in possession of Jan Hill.
71 The Cedarville Herald, January 14, 1916, p. 5. 146.
A second cause may also have been the race riots in Georgia which occurred the first week in January and made front page news in every paper in the country. Seven negroes were killed in one Georgia town because of the murder of a white man, and in another little town in South Carolina two negroes were lynched because, while walking along the road, one of them called out to a white girl, "Hello Sweet h eart."^ After reading about actual happenings such as these on the front page of the newspaper, audiences were probably in no mood to go to the theatre and watch Uncle Tom's Cabin.
1916-17
In the year 1916, May 13th was the day that the Harmounts opened their summer tent show. If they were at all superstitious, this was probably the last time they would ever open their show on the 13th, for luck was certainly not with them during this season. To begin with, the local newspaper printed no review of their opening. The reason can be conjectured after observing reviews of other performances of the Harmount Company during that season. The philosophy of the
Williamsport News may have been, "If you can't say anything good, don't say anything. " They said nothing. Others were not as kind. As in previous years, the advertisements which preceded the company heralded the "Largest and Best Company on the road. " They praised the fifteen Giant Bloodhounds as being "beyond a doubt the finest pack
^The Lancaster Daily Gazette, January 3, 1916, p. 1. Fig. 17. --Harmount Advertising. Original Print in OSUTC. 148. of dogs ever seen with any traveling organization." They wrote of the "funniest Topsy, " the "sweetest Eva, " the "most faithful Uncle
Tom, " and the "meanest Simon Legree, but the reviews following the show told a different story. No matter what the population of the town, the reports all seemed to be the same. In Jeffersonville, Ohio, population 716, the report was: "Uncle Tom's Cabin given by the Har mount Company at this place attracted an immense crowd and carried away a large sum of money, but was far from satisfactory to those in attendance. . . . In Urbana, Ohio, population 7, 739, the story was much the same. The Urbana Daily Democrat praised the street parade the day of the performance, "The band was a good one and the trappings were all in good condition, " 7 but^ the following day the review appeared with a bold-face type heading which stated: "HARMOUNT'S 'UNCLE
TOM'S CABIN' SHOW FAILED TO PLEASE THE CROWD. " The review continued: "the show attracted a large crowd of sight-seers, v whose report on the production was not complimentary. ..." 77 On
73 The Semi Weekley Madison Country Democrat (London, Ohio), May 19, 1916, p. 1.
^ The London Times (London, Ohio), June 1, 1916, p. 8.
^ Urbana Daily Democrat, May 30, 1916, p. 8 .
s, 7 AUrbana Daily Democrat, May 31, 1916, p. 4. 7^Urbana Daily Citizen, June 6, 1916, p. 7. 149. the same page under the heading "Was The Same Here, " the following statement appeared: "An aggregation presenting 'Uncle Tom's Cabin, ' appeared here in a tent Monday night. It is said that the company had a much larger crowd than it deserved. - -Mechanicsburg Telegram. " Two reports from St. Paris, where the company played on May 31 did not agree on the size of the crowd in attendance, but their opinion of the show was unanimous: ". . .It was not so well attended and did 78 not prove altogether satisfactory to the audience." Another, "A large crowd attended but did not speak very complimentary of the play. " 79 Just what the weakness may have been is uncertain. Part of the show's weakness may have been due to the fact that George was on crutches recovering from a fractured leg which he had received in an auto accident in early May, but this would certainly not account for all the trouble. The Harmount company returned to Williamsport on Wednesday, October 11, after having closed their summer tour in Sedalia, Ohio, on Tuesday night. In spite of the reviews, they reported "good crowds thruout the entire season, excepting two weeks during wheat harvest, which is always dull time with shows." They also reported that they would probably not go on the road with their winter show. 8 0 7 RUrbana Daily Democrat, June 2, 1916, p. 10. 79ibid. , May 24, 1916, p. 8. ^®W. N. , October 12, 1916. 150. To spend a winter at home in Williamsport was perhaps a wise decision. It gave them some time to do some planning for a "bigger, " more successful season for the summer of 1917. There was a time in the history of Tom shows when it was con sidered good business to double everything. The philosophy was that if one was good, two must be better. During the 1880's, many companies boasted two "Topsy's" or two "Mark's" or even two "Uncle Tom's." The Harmounts decided to outdo them all. They made plans for two complete companies both carrying the Harmount name but traveling separately. For this new venture, they wanted everything to be new, so they held a public auction and sold all of their horses, mules, and wagons. The Williamsport News reported their plans in detail: Next Spring the Harmount's will put out two "Tom" shows. Both will travel in auto trucks. One will be formed at Middletown, and leave there in seven trucks under the management of C. B. Harmount. The other will assemble here and leave in six trucks under the management of C. T. Harmount. By the use of trucks they hope to have fair sized cities for each date. When using horses and mules this is often impossible, the distance between western cities being such that they were often compelled to stop and show at hamlets where they did not expect more than enough business to pay expenses. The new plan looks good, and everybody here wishes them success. The truck chassis were purchased in Dayton, Ohio, and the truck bodies were added in Middletown by the Harmount boys, then driven home to Williamsport. A typed notice found in the Harmount records, ®^Ibid. , November 2, 1916. Fig. 18.--Harmount's Ford Trucks. Original Print OSUTC. Fig. 19. - -Two Harmount Trucks. Original Print in OSUTC. 152. probably intended for newspaper promotion, provides us with further details of their progress and a clear understanding of the quality and amount of equipment involved: Work advancing at Winter Quarters of "Harmount's" Big Uncle Tom's Cabin Show. All the repair work on 22 trucks has been completed and they are now in the paint shop. The Mechanics are now working on a Beautiful New Body for the New Calliope; also a New Electric Light Truck; All New Tents, and Scenery, Uniforms. Banners are being completed. Four Lady Buglers will lead the Parade on four Beautiful Spotted Polo Ponies. Two Bands White and Colored. Will be carried also a bunch of Jubilee Shouters and Cake W a lk ers. The Show will be Transported on 22 Trucks, four- trailers, and one Tractor. Two Trucks and four men head of the Show. Everything points to a prosperous Season. Forty people with the show. A letter from C. B. "Tad" Harmount dated March 21, 1917, re veals that perhaps the whole idea of having two companies came from "Tad, " who according to his son, Richard, and wife, Marie, was usually the one to take care of all the business of the company and saw to it that their ventures were successful. The fact that he usually managed the winter tours is reason enough to believe that this was not just family prejudice talking. The following letters from "Tad" points out further the important role which he played in keeping the show on the road, and indicates that the profits from the show were not suf ficient to provide for the entire family. ^Harmount records in the possession of Mrs. Jan Hill, Circle ville, Ohio. 153. Dear Father & Bros. Well how is everything coming on with you down there. I hope you are getting ready and everything is O.K. Now you people must not think hard of me for taking this step as I think it is for the best as I can not possibly live on the money I have derived in the Company as My family demands it for instance . 50 a day for milk alone not counting clothes, rent, eats, etc. I see where.I can eventually have some money in the proposed proposition and maby j^sic j have a little home of my own which I know I will never have living from hand to mouth as it takes money the prices they ask for things today. I have got you routed with a route that should get money as far as Chicago and I will get an Illinois map and finish you into Wisconsin where you will have clean sailing and good roads. Now two dogs is all you can use on the show you are carrying and as crowded as you will be, so I would like to have 2 dogs Cracker and what other one you care to let me have. You may consider yourself lucky for buying the fords when you did as I am using 2nd hand ones as I can't buy new ones and they are going to jump $50. 00 each in price. . . I will take care of your routing but keep it to yourselves. My interest you may have and use to your own advantage as I am not going to push any one. And you must put your heads together and say we are going to fight it anyway. Trusting these lines finds you all O.K. and ready to go in the h a rn e ss. I am as Ever.. 1917-18 The first week in May of 1917 the two companies began assembling, one in Williamsport and the other in Middletown. The Williamsport group included all of the Harmount boys except "Tad." It also included Otis Betts, Guy Howard, and his wife, all from Williamsport, and some 83Ibid. 154. foreign talent. The Middletown group was made up entirely of foreign talent outside of "Tad” who did no acting himself this season; his time was spent managing. The Williamsport News told of the opening of the two shows in an article entitled "Monkey Wrench Replaces the Currycomb on Harmount Show. " The article reported the following: The Williamsport branch of the Harmount Big Uncle Tom’s Cabin show opened the season here Monday to a large crowd of people. The Middletown branch showed Eaton, Ohio, the same night. The local aggregation has some first-class "Tom" actors, and their band is one of the best on the road anywhere. The show travels in motor trucks and is therefore able to make larger jumps across the country than is possible with horse-drawn equipment. They also hope to find gasoline more eco nomical than hay and corn. 84 We have no specific evidence by which to judge the success of the opening of the Middletown branch. The Eaton Register reported only that the Harmount Company played Eaton on the 14th: "While Mr. & Mrs. Orange Marker were attending the Uncle Tom's Cabin show Q C Monday night Frank McGarth, 28 appropriated their horse and buggy. . .1,03 The weather was not on the side of the Harmount tent show in Eaton. The Eaton Herald reported on May 9: "It snowed today . . . and one of the heaviest snows of the winter while it lasted the flakes being of unusual size . . . the temperature last night was below freezing, Q L ice the thickness of window glass was frozen. "°° No further records 84W. N ., May 17, 1917, p. 1. 88The Eaton Register, May 16, 1917, p. 1. 86The Eaton Herald, May 9, 1917, p. 1. 155. are available for the summer tour of the Middletown Branch of the H ar mount company. The Williamsport Branch of the Harmount show played only seven performances in the state of Ohio during the summer of 1917. Of those seven towns, only Wilmington appears to have commented editorially. A week before Harmounts were to play there, an article appeared in the Wilmington Daily News which verifies the cold weather report from Eaton, Ohio: "Although the weather so far this spring has been anything but suggestive of tent show, Wilmington is going to have o n one of the outdoor attractions." The article also points out that this will be the first "big" show to play in Wilmington, all of them having thus far "given the city the go-by, although playing various nearby cities."®® The article concludes by stating that "Mr. Harmount is well-known in Wilmington, having frequently played in the Opera- house. "8<^ The following Saturday after the Harmounts had set up their tents on the Bell lot on North Spring Street, an article appeared in the afternoon paper described the show as follows: "The Harmount outfit, including the 'big top, ' is spic and span and presents a nice appear- q o ance. " There was no review of the performance. ®^The Wilmington Daily News, May 11, 1917, p. 6. 88Ibid. ®9lbid. 9°Ibid. , May 19, 1917, p. 6. 156. The day after the company left Wilmington, they moved to Waynes - ville, Ohio. From there Guy Howard wrote a letter informing the home- folks that "business was good and the weather fine."9^ After only a week on the road he had already drawn some conclusions about the new mode of transportation: "The trucks are the thing. They go over these hills with 92 ease. Made a 15 mile move in one hour and 15 minutes." No further record of the summer show is available other than the tour schedule which lists the towns played in that summer and the dates on which they played. The Williamsport News does not record the date of their return home nor the usual comment on the success of their tour. The first indication given that the company was back in Williamsport is the front page article which appeared in the News on November 22, and told of company's plans for the winter season. They were to travel under the management of C. B. Harmount ("Tad") with what the News described as "the strongest 'Tom' show they have ever taken out. "92 The company opened at the opera house in Delaware, Ohio, on Friday, November 23, and gave their second performance of the winter season in Mt. Gilead the next day. The review which they received from their Mt. Gilead performance was favorable: "Harmount's Uncle Tom's Cabin Company played to a fair sized audience at the Opera 91W.. N. , May 24, 1917. 92Ibid. 9^Ibid., November 22, 1917, p. 1. 157. House Saturday evening. The Company carries a large number of people and their presentation of the historic story was a good one of one of the oldest ones on the road. " 94 According to the Williamsport News, the company's stay in Ohio was short. They were booked for eight or ten Ohio cities before going east, and then had solid dates through Pennsylvania, New York, and Massachusetts, and some in Rhode Island. The News reported that they would also work in Con necticut and New Jersey, "which will give them almost solid time until Spring. "95 The admission price for the show was about the same as it had always been--twenty-five, thirty-five, or fifty cents--but this season the advertisements for their show carried a phrase which read "10% additional for war taxes. "9^ News of the show's winter tour came only from two letters written home by the Harmount boys. . One from Clarence on January 3, 1918, and a second from "Tad" dated January 28. Clarence wrote from Coxsacks, New York, the following letter: Tom H. Tipton: ^publisher of Williamsport News j I am trying to pass away a little time in this town on the banks of the Hudson River waiting for a train. We are finding it extremely cold up here. Saw men cutting ice 16 to 18 inches in thickness, filling large ice houses ^ The Sentinel (Mt. Gilead, Ohio), November 29, 1917, p. 2. 95W. N. , November 22, 1917, p. 1. 9^The Sentinel (Mt. Gilead, Ohio), November 22, 1917, p. 8. 158. here for supplying New York City in the summer. They surely have some mode of taking care of it; much differ ent from the way it is done in Ohio. The thermometer has stood 20 degrees below zero for four days now-- some cold, believe me ! I walked about a mile with my four dogs across the Hudson River, and the wind that came down the valley was surely raging. The sun was shining brightly but it did not seem to have an iota of heat in it. The show is now passing into Massachusetts and we expect to play some time in New Hampshire and Maine. Will go as far as Bath, Maine, then back down thru New York into New Jersey and over into eastern Pennsylvania. We have been faring as well as anyone who is now traveling. We were knocked out at Catskill, as the opera house burned there the night before we were due. It seems very strange that so many opera houses in this section of the country have been burned down this winter. There is quite a good deal of infantile paralysis in this state, but we have not hit any sections where it was tying up the theatres. We had a good look over the battle field of Saratoga. Slabs mark all important points, and the inscriptions thereon tell what took place there. No wonder we should cherish our flag dearly when we understand what our nation-founding soldiers endured. The topography of the battlefield is about like that stretch of hills and hollows along the Pennsylvania railroad be tween Morrow and Cincinnati. You can imagine what a difficulty it must have been to fight over such ground when it was clothed in virgin forest. I have frozen my ears and my nose, and have suffered some by the poison from them, but otherwise all are O.K. I hear that Williams port is having some small-pox; no fatalities I hope. The soldiers in this part of the U.S. guarding docks and bridges, have suffered terribly from the cold. Would like to be back in Williamsport doing Rip Van Winkle sleep until this kind of weather passes over. . . ."97 "Tad's" letter came from Holyoke, Massachusetts, sounding very much like the manager that he was: Business is extra good. At Fall Knee, we played to over 4, 000 paid admissions, matinee and night show; gross receipts of the day were over $1400. Not bad. 97w. N. , January 10, 1918, p. 1. 159. Have sure got some show this season. Railroads are a little bad but we are getting by pretty good; only missed one matinee on account of it. . . . 98 In this same letter, "Tad" gives their tour schedule for the coming weeks: "Waterbury, Connecticut, February 1, 2; Bridgeport, 4, 5; Patterson, New Jersey, 11, 12, 13; Trenton, 14, 15, 16; Phil adelphia, week of March 4; Baltimore, week of 11th; Washington City, week of 18th. " " This is the first available record to show that the company played anything more than one-night stands. In order to play Philadelphia, Baltimore, and Washington City for an entire week each, they must have had "some show." Several reviews are available for the above dates which verify "Tad's" opinion of their 1917-18 winter show. In Waterbury, Connecticut, the company received two favor able reviews: Poll's theatre was crowded ('till the police interfered with the ticket sale) yesterday afternoon with an army of kiddies to see C. T. Harmount's Uncle Tom's Cabin, and all went away pleased and satisfied--and by the way, traffic was blocked on Main street last evening, showing that the grown-ups are also big kiddies. Mr. C. B. Harmount's Co. is a large one and each member of the cast played their part with a snap and go, which was something new for a Tom Show. The scenery was fine and plentiful. The colored singers and dancers in the plantation scene depicted the Sunny South in a con vincing m an n er. 100 "ibid., February 7, 1918. " ibid. * "Democrat (Waterbury, Conn.), January 2, 1918. To the patrons of Poll's Theatre, Saturday afternoon and evening, offered for their delectation a presentation of that drama, whose influence upon a nation might be said to have been such as to throw it into years of civil strife and which resulted in placing before a great nation more forceably than any other means, the evils and horrors of a system of human traffic in human beings, slavery--"Uncle Tom's Cabin." This latest offering to the theatre goers of Waterbury was received by a good sized house. It was noticeable how many new Americans were among those present. And they sat patiently through it all, obviously wondering what it was all about, and some what astonished when George Harris defied the laws of the United States, and vociferously declared "It was no country of his"--George Harris you will remember was Eliza's husband, yes, Eliza who crosses on the ice followed by the ferocious bloodhounds. Eliza was there, and you followed her on her wild flight. She crossed stage front, the drop curtain repre senting a scene in a forest, not later than September or October, and then followed the great river-crossing scene, with Eliza in the midst of the ice frozen river, swaying on the moving ice--the swaying was very good-- while Phineas the kindly Quaker accompanied her, and on the shores two valiant cullud boys struggled to hold back the ferocious bloodhounds. And my, how they did struggle. Those dogs looked as if they would just jump over and eat Eliza, yes, they did not. Oh, yes, Topsy was there. Just the same old Topsy as ever, and Marks the lawyer. Marks was the real original Marks the lawyer. Carping critics may some times say that Mr. Poll doesn't send to Waterbury the original company, but those present at Saturday's pro duction are willing to go on their oath that Marks was the original. By the end of the third act, the audience had become somewhat restless. There was frequent occasion for turning on the lights, an effective method of preserving order, and the theater employees were on their job every instant. But Simon Legree saved the day, or rather the night. Simon possessed all the ferociousness which the bloodhounds had discarded. His whiskers alone would have driven fear into the heart of the fiercest slave that ever re fused to obey. The audience warmed right up to him. He was hissed roundly about every 20 seconds, and then the 161. lights of the house would go on, and order being restored, the play would resume. Then Legree would Legree a little more, and more hissing and cat calls followed. Un doubtedly, Simon stirred the audience. Little Eva died all right, and she went up to Heaven. The main difficulties of the thing were that neither Little Eva, Uncle Tom nor Eliza could be heard, so that part of the dialogue being lost, the numerous new Americans who were present, mainly from the land of our ally, Italy, were unable to follow the plot, as easily as some musical C'ortiedie’s.'.thatimight be m entioned. 101 The Waterbury American review is somewhat confusing, since it is difficult to determine how much sarcasm the writer' is using. It is interesting that out of the six available reviews for the 1917-18 season only one (Waterbury American) does not straightforwardly praise the company's production. The two reviews from Paterson, New Jersey, praise the Har mount production at length: "UNCLE TOM'S CABIN” POPULAR AS EVER AT LYCEUM. The familiar old story of how a faithful old slave met death at the hands of a cruel m aster, after having lived most of his life toiling for a kind owner, is told in "Uncle Tom's Cabin, " which is again being given, in a two-day stay, at the Lyceum theatre. Yesterday afternoon and evening, capacity houses attended each performance. That this production, told in a more up-to-date way than years gone by, pleased those who were fortunate enough to secure seats at the opening performance, was mani fested by the many lauditory remarks which were heard as the patrons filed out of the showhouse. It will be pro duced again Wednesday afternoon and evening. In playing the roll [sic1 of "Uncle Tom" C. T. Har mount wins his audience from the time he first steps out of his cabin until he dies from a blow inflicted by his cruel master. He arouses a feeling of sympathy which ^Waterbury American (Waterbury, Conn.), February 4, 1918, p. 9. increases as the play rolls along. That he is the right man for the right part is conceded by those who studied Harmount's acting yesterday. Probably next in importance in the cast is Baby Dot, who appears on the stage as "Little Eva." Although only a young girl, Baby Dot, daughter of "August St. Clair" (George Smith) a southerner, has an ability at handling her part which caused considerable worthy comment among the patrons. This clever little actress enacts what is known as the dying scene with such skill that many of the patrons were seen crying yesterday. The,"dying scene" in which "Little Eva" leaves this earth to enter the open gates above, is more touching this season than ever before. Will L. Holmes is playing the part of "Simon Legree, " a cruel slave owner, the terror of Red River, does just what an actor who handles such a roll as has been allotted to him aims to do--makes his audience bitter against him. This is his ambition, and in doing so, he brings out his qualities as a performer. "Legree" is the man who purchases "Uncle Tom, " and ill-treats him, after the faithful old slave becomes accustomed to kindness from the hands of "August St. Clair, " who was shot by "Legree" following a quarrel. "Eliza Harris, " who, with her husband, "George Harris, " both of whom run away from their master, are parts which are handled in a clever manner by Miss Kate Phillips and Willis Holmes, respectively. "Eliza" it will be remembered, is the slave who escaped across an- ice choked river. Although the production has its sad parts, just enough comedy and good music is introduced to make it well balanced. The fun and laughs are brought in by "Lawyer Marks" (Joseph Barnum) "Topsy" Miss Marie Harmount, a live- wire colored girl who is classed by her master as "a little devil, " and "Phineas Fletcher, " a rough diamond, (Clarence Jackson). This trio of fun-makers brings out hundreds of hearty laughs and tend to offset the parts of the play which are more touching. As musicians and singers, a corps of negroes are awarded many rounds of applause. A colored quartet produces some of the mellowest harmony ever heard at the Lyceum before, and a couple of guitarists also do much to relieve the downcast air caused by "Little Eva's" death. Others on the cast follow: Dan Haley, a dealer in horses and niggers, F. C. 163. Williams; Mr. Shelby, a Kentucky planter, Herbert Bendall; George Shelby, his son, Jack Smythe; Skeggs, auctioneer, Ed Kraner; Adolph, valet to St. Clair, Harry Crice; Sambo and Quimbo, Legree's devil’s, Charles Brown and Harry Still; Harry, child of George Harris, Master Roy Scott; Aunt Ophelia, of the Green Mountains, Edna Holmes; Emmeline, the maid, Miss lloe, Uncle Tom's wife, once slave of Legree, Mrs. Edna Holmes; Prince and Keno, Siberian bloodhounds. *02 "UNCLE TOM'S CABIN" HERE, BETTER THAN EVER The show that will never grow old opened a two days' engagement at the Lyceum theatre. "Uncle Tom's Cabin, " needs no introduction to the people of this country, for this ever popular play has been produced for years and has out lived all other theatrical productions. It was a large and enthusiastic audience that greeted "Uncle Tom" last night at his opening in Paterson. "Uncle Tom's Cabin" is one of those shows that you can go and see over and over again. "Funny Topsy" with all her fun was there in great old style and kept the audience in an uproar continuously. "Little Eva" was well acted and "Uncle Tom" was played to perfection. There was the usual mean "Simon Legree" with his bloodhounds and his big whip. There was "Marks" the lawyer, whom anyone has ever seen could not forget. The entire cast of "Uncle Tom" was well balanced, each and everyone played their part to perfection, and it is one of the best companies ever seen in the city in "Uncle Tom's Cabin." The production is complete in every respect and nothing is missing to make the play and scenaros ^sic Jperfect. "Uncle Tom" will play at the Lyceum theater tomorrow with a special matinee for the i n o school children. 1 J 102The Paterson Press-Guardian, (Paterson, N .J.), February 12, 1918. ^^Paterson Call (Paterson, N. J.), February 13, 1918. 164. A review of the Bridgeport, Connecticut, performance continues in praise of the Harmount Company: "What, Again?" "Not Yet!" Uncle Tom's Cabin appeared twice yesterday at the Park and both houses were packed. C. B. Harmount's Original Co. was an agreeable surprise after seeing some of the former attempts to depict Uncle Tom's woes on the local stage. The company is the best that ever appeared here, and the scenery elaborate. The band and orchestra were also above the average traveling show musicians. 104 Every aspect of the company is given praise by the reviewers. Of particular note is the scenery, but special mention is also made of the excellent performances by members of the company. Both "Topsy" and "Uitle Tom" were noted in the reviews as exceptional performers, and both roles were being played by members of the Harmount family. "Tad's" wife, Marie, was playing "Topsy, " and Clarence was performing the role of "Uncle Tom, " which is described in the Waterbury review as having been "played to perfection. " Proctor Baughman, stage manager of the Grand Opera House in Circleville, Ohio, described Clarence's "Uncle Tom" as one of the best he had ever seen, but he stated that he did not know how objective he was since he knew Clarence personally. These out-of-town reviews certainly indicate that Mr. Baughman's opinion of Clarence's acting abilities were not overly prejudiced. The family's acting skill had undoubtedly improved over the years through the experi ence received performing Uncle Tom's Cabin both winter and summer. IQ^Post (Bridgeport, Conn.), February 4, 1918. 165. The company was probably on the road until the end of April as they had been imother seasons. With the show going as it was, it is unlikely that it would have ended any sooner. That the company had returned to Williamsport by May 1 is indicated by the article which ap peared on May 2 in the local paper: "Den Harmount is traveling as a solo cornetist with the Sparks Circus. The army bands have taken so many musicians that the shows are having troubles out of the ordinary. Den will return home and lead the Harmount band when the 'Tom" show goes on the road."1U3 1918-19 The Harmount's 1918 summer "Tom" show set out on the road Tuesday, May 14, and gave their first performance of the summer season that evening in Mt. Sterling, Ohio. The company was again traveling in motor trucks, and they had modernized their show even more by purchasing a Delco electric light system to use in the tent. 10 6 According to the Williamsport News, the company had had considerable difficulty in securing sufficient help, but finally were able to leave Williamsport "with some as good people in the cast as they usually carry with the summer show. " 107 The difficulty encountered in securing sufficient help was only the beginning of their difficulties. On May 24, just ten days out on the 105W. N . , May 2, 1918, p. 1. 1Q6Ibid., May 9, 1918, p. 3. 166. road, the company performed in Dark County, Ohio, in the little town of New Madison, population 628; rather, they attempted to per form in New Madison. An article which appeared in the New Madison Herald on May 30 indicates that the War was causing the company more problems than the difficulty of hiring sufficient help or the 10% War Tax that had been added to their admission price: POOR OLD UNCLE TOM Uncle Tom, Little Eva, Eliza, Simon Legree, and other characters in "Uncle Tom's Cabin, " did not have an opportunity to display their talent in New Madison on Friday evening of last week, as advertised in the appearance of Harmount's show by that name. Threatening weather no doubt helped keep the crowd away, but few appearing on the ground; but really we believe the crowd would have been very limited had the weather been ideal. Even those holding "comps" did not venture inside the tent. Several times did we hear the expression from different ones that in these times such enterprises have no place in the lives of people, when there are so many calls for money from other more worthy sources. And there were with the troupe five or six husky looking fellows who might better be serving their country, if not fighting, then out in the harvest fields or in the munitions factories, or dozens of other places. 108 This attitude toward entertainment may have been only a local one (See Chapter III), but it is very possible that with the War taking so many young men from the small communities across the country, druing the summer the Harmounts encountered other communities with similar attitudes. k ______ 108The New Madison Herald, May 30, 1918, p. 1. 167. The company's tour record for the summer of 1918 indicates that they gave more performances in Ohio towns than they had done the previous summer. In 1917, they played in only eight Ohio towns. This summer, the company played Ohio towns for two weeks before crossing the Indiana border, and five weeks on their return trip. The company left the state on May 26 and returned June 18. The show closed one month later according to their records, July 20 in Kingsmond, Ohio. This was the earliest closing date in the history of the company. The Williamsport News make no mention of a 1918 winter tour and there are no other records available for this year. The News does mention on December 12 that George Harmount had left town the previous week for Indianapolis, where he had been employed in a garage, and did not return to Williamsport until the latter part of January. However, the company could have gone on the road with out him, as he was not mentioned in the cast of characters on the winter show of 1917. The only positive indication available that the company may have had a winter show or at least planned for a winter show is a letter from a prospective advance agent to Clarence Harmount written May 11, 1918, from Toronto, Ontario, Canada. Clarence was evidently planning ahead for the coming winter season when he knew that "Tad" l^W . N., December 12, 1918, p. 3. H^Ibid. , January 30, 1919, p. 3. 168. would no longer be with the company. The letter in part reads: . . . In regards to the coming season I would not care to work for less than Forty dollars and transportation per week. That is less than I have been getting for several years. I can produce my books to verify this statement. Furthermore after you and I have been together for some time I would want a raise, after I demonstrate that I am worth it...... I have been behind the Harmount "Tom" company in different sections of the country and never heard it given a black eye, in fact all managers seemed to think it was a better performance than they had been in the habit of getting. I am not throwing Bull just strait j^sicJ facts as I have heard them . . . The letter continues at great length and concludes with the post script, "If your Agent ahead of the show this summer does not make good, I can join on receipt of wire, any time, any place." The fact that the show closed its summer tour so early is an indication that Mr. J. C. Canner of Toronto, the author of the letter, was not hired by the Harmounts for the summer show and therefore, probably not for the winter show either. It is probable that there was no winter Harmount show in 1918. Mrs. Marie Harmount indicated in an interview that there was no winter show one year because of the difficulty of hiring personnel due to the War. 1919-1920 The Harmount family was gradually becoming separated, a separation which would eventually contribute to the death of Harmount's Uncle . Tom's Cabin Company. "Tad" had started his own company which up to now had also been known as Harmount's Uncle Tom's Cabin, Fig. 20. - -"Tad" Harmount with show do g s. 170. but starting with the summer of 1919 was to be called "Tad's Uncle Tom's Cabin Company."**'*' George Harmount no longer traveled with the company on all of their tours, and Anna (Harmount) Cherryhome and Lebbie (Harmount) Peters were no longer with them. In a letter from Lalle Grove, Illinois, "Tad" wrote that he was 11? carrying 35 people and 26 head of horses with his company. What he could possible be doing with 26 horses we cannot imagine, unless the "used" Ford trucks which he had purchased earlier were not in working condition, and he had had to return temporarily to horse drawn conveyances. Other than the Harmount's summer tour schedule, which indicates that their 1919 summer tour began June 3 in Sabina, Ohio, and after a week and a half took them into Indiana and Illinois and then back again into Ohio to close at Five Points on October 4, there is no other avail able record other than a "good business" report from John Harmount, Albert Harmount's brother, and two letters written concerning the employment of an actress for the summer season. One of the letters dated May 13, 1919, was written by Clarence Harmount to a Miss Maude Harris in response to an "at liberty" notice which had appeared in the Bill Board. He requested that she state her lowest salary for playing roles of "Chloe" and "Topsy" and performing * * *Ibid., July 17, 1919, p. 1. 171. as a concert specialty. The letter was written on company stationery with a heading that stated: 15 - SUCCESSFUL SEASONS - 15 THE ORIGINAL HARMOUNT UNCLE TOM'S CABIN CO. The "Original" added to the title was undoubtedly a result of "Tad's" having his own summer "Tom" company now. The letterhead listed Clarence as Manager, A. L. Harmount as Treasurer, George R. Har mount as Stage Director, and Denman C. Harmount as Musical Director. The second letter was a response from Miss Harris in which she indicates that she would accept the position for $20 a week. Whether or not this young lady was hired we do not know. We do know that "Tad's" wife, Marie, was no longer with the company and Clarence had obtained a divorce from his wife Nellie (Lott) Harmount^^ so she would no longer have been with them; as a result, it would be necessary to hire someone to play the women's roles. The Harmount Uncle Tom's Cabin winter company that went on the road during the 1919-20 season did not originate in Williamsport as it had done each previous season. It was a company organized by "Tad" Harmount at Milwaukee, Wisconsin, in October of 1919. ^ ^ Marie Harmount noted that "Tad" used the Harmount name on his winter show because it was better known. We know from newspaper H3lbid., March 1, 1917. 114Ibid., July 17, 1919, p. 1. * ^Interview with Mrs. Marie Harmount, August, 1966. reports that Denman Harmount was not with the company this year. He spent the entire season from October 15, 1919, to April 26, 1920, traveling through the eastern states with a show troupe of The Girl and the Cowboy, and Kibble's Uncle Tom's Cabin Company. This was un doubtedly a "blow" to the Harmount show as Kibble was one of the biggest "Tom" shows in the country at the time, and a prime com petito r . That George was with the company this season we can be certain from an article which appeared in the Reading, Pennsylvania, News - Times on January 11: An interesting wedding was solemized^sicj in Reading Pennsylvania, when Miss Catherine A. Mowrer, of Columbus, Ohio, an actress with Harmount Uncle Tom's Cabin, showing at the Rajah theatre Monday afternoon and evening of last week, was claimed as the bride of George R. Harmount, of -Williamsport, Ohio. The couple were granted a marriage license at the court house and were married shortly afterward by a local clergym an. This is the first attempt on the matrimonial sea for the couple, neither of them having been m arried before. The bride is aged 42 years and Mr. Harmount is 40 years old. He gave as his occupation a musician, while his bride said she was an actress. Clarence was also with the company, probably playing "Uncle Tom, " Ben Fuller who was advance agent for the company during the season makes mention of Clarence in a night lettergram to "Tad. " * ^ W . N. , January 20, 1920, p. 1. 173. That all was not "smooth sailing" with the show is indicated by- two lengthy letters which Mr. Fuller wrote to "Tad" during the early months of the 1919 winter tour concerning the boohing of the show. Both letters indicate that Mr. Fuller was having difficulties and that he was frustrated with the job of advance man. One letter in particular presents insight into his problems. This letter of Friday, October 10, read s: . . . This has been the climax of all the advance experi ence I ever had. I am working seemingly in a trance. I have worried and worked to dissapointments ^sicj . . . I have reason to feel that Biz is going to pick up around this lower Wisconsin. Lets hope so. Fuller continues the letter Saturday noon after phoning a theatre manager for a booking in a southern Wisconsin town: . . . he said our show did not give satisfaction two years ago and said he had opportunity to book the Big one (Kibble). Said he would want to give date. So he is all off. I phoned to American Show print Co. at Milwaukee and ordered 8 sheets to be shipped today to Brodhead. I tried my best to get them to give us our old price on Dates and Heralds, same as we are paying Erie Now and He said price of paper had gone up so they could not and he would not believe, that Erie were still furnishing us at, this price. So its as much one way as the other as its Higher on ex press up here but, would be $1. 50 per week more to get from Milwaukee and their Heralds are punk, compared to what we are getting. It also costs more for wiring Erie as 10 words day rate is 6l£ and sometimes am compelled to send day messages and letter wires. Which I had to here to day to try and get same in and out of Erie by nights express. Mr. Fuller spoke more of the Kibble "Tom" show in a night lettergram to Tad": . . . The Kibble Show is playing this week in Streator, Pontiac, Etc. That's why you could not get this time as you 174. wanted account of him in. You see he is routed Chicago all this week . . . he wrote then canceling it . . . So you see what dirty stuff Kib pulls. He is a Shriner too, tell Harmie to attend to him if he goes to knockin us, which I am sure he has and is doing. This is the only thing that I know will stop him. The Kibble "Tom" show evidently had considerable control in several eastern states. This was the company that had been known in the 1890's as the A1 W. Martin Company, the largest and most extrava- 118 gant Uncle Tom's Cabin Company in the history of the show. J. C. Canner in his letter to Clarence the previous summer regarding the job of advance agent had made mention of Mr. Kibble: In regards to territory, I do not think there is a man on Earth who can get the best Penna. time away from Bill Kibble. He has all the good ones tied up tight and it would be useless to try and break in. However there are any number of the smaller cities in that state that are ripe where business should be all to the good. H^What was involved in "attending to him, " only a Shriner would know, but it was undoubtedly effective. Being a Shriner was some thing which had "paid-off" for Clarence more than once. Mrs. Harmount tells the story of the company's being arrested in Atlantic City, New Jersey, for parading on the boardwalk without a license, but when the arresting officer saw that Clarence was wearing a Shrin'er's pin, he released them. 118 The following note is from an October 8, 1927, article in the Saturday Evening Post: "The largest troupe that ever took the road was the Ed Salter and A1 W. Martin company, organized in 1895 and carrying 52 persons. It became the A1 W. Martin show; then William Kibble bought it. When Kibble died in Mount Clemens, Michigan, C. F. Ackerman, of Warsaw, Illinois, who had been Kibble's manager, picked up the fallen banner. Ackerman, dying at Youngstown, Ohio, I September 7, 1925, his manager, Joe Franklin, stepped into the breach and kept the show going until April 15, 1926, when it closed forever at Saskatoon, Saskatchewan. " p. 198. 175. The record seems to indicate, however, that business during the 1920 season was not "all to the good. " The problems faced by the company in securing performance dates was only a beginning to the trouble which lay ahead in the coming seasons. Just how long the company remained on the road in the spring of 1920 is not known. The next report in the Williamsport News after the one on January 20, is a notice, May 13, 1920, indicating that the com pany would be leaving soon on their summer tour. 1920-21 Clarence Harmount opened the family summer show in 1920 at New Holland, Ohio, on May 17. The opening evidently took place in bad weather, for the Williamsport News reported, "The Harmount Uncle Tom Show gave their performance to a fair size audience in New Holland Monday night, considering weather conditions." 119 The 1920 summer company was in Ohio for only three short weeks before crossing the state line into Indiana for a four week trip across the state and then into Illinois. The company pl-ayed nine weeks in small Illinois towns and closed almost a month early at Beaverville, Illinois, on September 4, 1920. The 1920 tour is the last trip that the Har mount company made for which there is a complete tour schedule av ailab le. 119W. N., May 20, 1920, p. 3. ^®Harmount tour records in the O.S.U. Theatre Collection. 176. From the appearance of the record, it would seem that the company had gone a full cycle. In the summer of 1920, they were playing approximately the same size towns as they were in their initial year--1903. Many of the towns they played in 1920 were too small even to be included in a Census. The smallest town with a recorded population in which they played that summer was Pence, Indiana, population 110. There were only 16 towns that exceeded 1, 000 population and 15 of those were less than 1, 900. The only one of any size in which the company played was Greenfield, Ohio, popu lation 4,:228. Evidently the trucks which the company had purchased primarily for the purpose of making it possible to play only in larger towns (the added speed would allow them to pass over the small hamlets) had not fulfilled their purpose. If the trucks had disappointed the Harmounts, they were not the only "Tom" company that had been disappointed. In a letter to Clarence from a member of the Burk's Uncle Tom's Cabin Company of Topeka, Kansas, the question is asked: "How is your trucks working out or did you go back to the horses? So many don't 17 1 like the trucks." Clarence would have answered that they were still using the trucks, but whether he liked them as well as he had the horses, we can only conjecture. ^■^Letter from "Nell" dated July 12, 1920. 177. In spite of the very small towns in which the company played that summer, when they returned to Williamsport in September, the family reported to the News "a successful summer trip. " 122 For the summer tours, the Harmount family had split, and each summer the Harmount's Uncle Tom’s Cabin would go on the road under the management of C. T. Harmount and "Tad’s" Uncle Tom’s Cabin Company would go out under C. B. ("Tad") Harmount's management, but for the winter show the family once again combined forces. The winter company did not always include every member of the family, but generally the majority of the Harmount boys were included. The fall and winter company of 1920 opened their tour with all of the Harmount boys except Clarence in a performance at Jackson, Ohio, on Monday evening, October 18th. ..123 Thercast of characters was as follows: Uncle Tom, the faithful old slave ...... Fred Fumley George Harris, a fugitive ...... George R. Harmount August St. Clair, a southerner ...... Earl Wilson Phineas Fletcher, a rough diamond ...... Thos. McAllister Lawyer Marks, a crooked coward ...... D. C. Harmount Dan Haley, a dealer in horses and niggers ...... Herman Hunt Mr. Shelby, a Kentucky planter ...... Harry Brown George Shelby, his so n ...... Denmon Clark* Simon Legree, Terror of Red R iv er ...... Thos. McAllister Skeggs, auctioneer ...... Ed K raner Adolph, valet to St. Clair ...... Clarence Davis Sambo and Quimbo, Legree's devils ...... Bob Robinson Sam Jam es Harry, child of George H arris ...... Master Ray Scott Aunt Ophelia, of the Green Mountains ...... May Irving Eliza Harris, a broken-hearted mother. .Mrs. George McAllister Topsy, who never was b o rn ...... Leonna Alfretta* 122w. N. , September 16, 1920, p. 5. 123Ibid. , October 21, 1920, p. 5. 178. Emmeline, the maid Libbie Smith v Aunt Chloe, Uncle Tom's wife Mrs. Mary Hunt Cassey, once slave of Legree Georgia HammeT‘c Little Eva Baby Alice Prince and Keno Gymp and Tip ^4 According to the Williamsport News, the company was to tour 1 T C "mostly eastern states." Very few performance dates are recorded. The company played the Empire Theatre in Glenn Falls, New York, in late December or early January, D and they played Atlantic City, New 127 Jersey, January 3-5, 1921, and Binghamton, New York, on January 31. The only other known date is their performance at the Shattuck Opera House in Hornell, New York, on February 19, 1921. There is an un dated program available for this performance; also, the Ohio Historical Society Library has a telegram which Clarence received at the Opera House in Hornell, New York, on February 19, 1921. The Williamsport News reported that Clarence left the company on Sunday evening, February 20, for New York where he planned to *Names used for purposes of doubling so that the actor's name does not have to be repeated or so that the Harmount name is not used too often. Denmon Clark is the same as D. C. Harmount. Libbie Smith is a ficticious name. Leonna Alfretta, according to Marie Har mount, is the name that George Harmount's wife used on the program. Georgia Hammel is the maiden name of Mrs. George McAllister. 124From a program headed Grand Opera House, dated Monday, November 8, 1920, unidentified City. I25W. N. , October 21, 1920, p. 5. in/ From program in possession of Robert Francis, Circleville, Ohio. 12?W. N. , January 6, 1921, p. 5. 179. 128 arrange with a theatrical company for the next season's bookings. The News also reported that the company returned home on February 24 and reported "business during the past few months as good considering the industrial conditions which prevail in the eastern cities. "129 is probable that the performance in Hornell, New York, on the 19th was the final one of the season. The cast of characters for that per formance varies slightly from the cast which started the season. Clar ence Harmount is listed as playing Uncle Tom instead of Fred Fumley, the role of Phineas Fletcher is listed as being played by Thomas Mack, (this is the same actor, the name is changed from Thomas McAllister to disguise the doubling), Harry Brown has changed to Robert Brown, C. C. Rector instead of Denman Harmount is now playing George Shelby, Will Willard is replacing Ed Kraner, A1 Green has replaced Sam James and Baby Mary has replaced Baby Alice in the role of little Eva. When and why these changes took place is not apparent, but it does give some indications as to the extent a company can change with in one season. Clarence returned to Williamsport on Tuesday, March 8, and reported having attended the inauguration ceremonies of President Harding in Washington, D. C. , on his way home from New York where ^ ^Ibid. , February 24, 1921, p. 3. i 129Ibid. , March 3, 1921, p. 1. 180. he was attempting to arrange booking for the Harmount company for the next winter season. 130 1921-1929 The Williamsport News reported on May 12, 1921, "The Har mount's Uncle Tom's Cabin Company will open their summer season on Monday night at Mt. Sterling. The company will travel in auto 131 trucks this summer." This is the only available indication that there was a summer tour of the Harmount Company in 1921. If they did go on the road, it was without the assistance of George Harmount and his wife. The News reports that they spent the entire summer in Colum bus, Ohio. ^3^ Information concerning the winter season of 1921-22 is just as scarce. The newspaper reported in early spring that a booking house was making contracts for Harmount's winter show in theatres and that some "good time" was being engaged by the company. 133 The only other available record of the company's activities is a telegram from New York City, dated September 12, 1921. The telegram reads as follows: C. T. Harmount Williamsport, Ohio ^ ^ Ibid. , March 10, 1921, p. 1. 131Ibid. , May 12, 1921, p. 3. *3^Ibid. , September 1, 1921, p. 3. 133Ibid. , May 12, 1921, p. 3. 181. Am trying to start you Huntington, P a ., September 22nd. If not successful will positively commence Sep tember 26th. Many of big towns played last season, refuse to rebook coming season, experiencing lot of trouble on account of same. Have guaranteed all towns you would have a regular production the coming season-- is this correct--wire answer. 134 We might assume that the company did go on the road for at least part of the winter, but there are no records to verify this assumption. The Williamsport News reports in February of 1922 that Denman Harmount was teaching a class of fourteen pupils in instrumental music at the IOC Perry township schools at Atlanta, Ohio, so it is doubtful that he would have been with the company had it gone on the road. In considering all available sources, it appears that 1921-22 was the last winter for the Harmount family to take an Uncle Tom's Cabin show on the road. This somehow seems appropriate, since Albert Luther Harmount, the father of the family and the man who was responsible for putting the first Harmount's Uncle Tom's Cabin Show on the road back in the summer of 1903, died in Williamsport, Ohio, April 6, 1922. After this date, the Williamsport News made no further mention of "Harmount's Uncle Tom's Cabin Company." In May of 1922 the News reported that "Tad's" Uncle Tom's Cabin show 1 o L. will exhibit in Williamsport "sometime the latter part of the month, " *-^Harmount records in the Ohio Historical Society Library. 135W. N. , February 23, 1922, p. 3. 136Ibid. , May 18, 1922. 182. and it also indicated that Clarence was traveling with "Tad's" Com- pany. 137 ' The Williamsport News reports that Mr. and Mrs. George Harmount were traveling with Kibble's Uncle Tom's Cabin Company during the winter of 1 9 2 2 and that D. C. Harmount was in New TOO York City playing in an orchestra. 7 There is much confusion about which summer was the last for the Harmount Company. An article which appeared in the Columbus Sunday Dispatch Magazine January 13, 1952, states that the company operated until 1927. This may not be reliable, since on the same line the article states that the company played Columbus in 1920, which is not true. The company records give no indication that the company played in Columbus, and Mrs. Marie Harmount stated in an interview that the company never played that city. Another article written in the same magazine in 1938 stated that the last year on the road was 1925. Since the writer of the article personally interviewed Clarence, this date is probably correct. 140 It is probable that Clarence took the Harmount Company on the road during the summers of 1923, 1924, and 1925. There are two l ^ Ibid., August 3, 1922. ^ ^Ibid. , October 5, 1922. 139Ibid., May 3, 1923. ^ 9Columbus Dispatch, October 23, 1938. 183. letters and a cash receipt in the Harmount records which verify the 1925 summer tour. One letter dated June 8, 1925, and addressed to "Friend Harmy" [Harmy was Clarence's nick-namej reveals that the situation of the "Tom" actor was as tough as the situation in which the Harmount company found themselves: . . . I certainly wouldn't ask for transportation if I didn't need it. We were on a rep company for 4 weeks that broke up and left us flat, first time in years that I have been so broke. Yes I am still.playing trombone could work in the concert if you are going to put one on about salary I don't know Clarence. Are you going to have a cook house, my wife and I would have to room as I know she wouldn't stay on the lot. Salarys are about the same for musicians 35. 00 and pay your own that is what John F. Stowe is paying but if you are going to have a cooks house I will pay you fj. 00 per week like I did Stowe as for the wife 20. 00 would be O.K. say 50. 00 for the team I know I am that valuable around a Tom show now Clarence let me know what you think. If I had a dime I wouldn't ask for railroad fare, so if you can use us single or double I would prefer the later let me know at once for I have to get work quick. *41 The second letter dated January 29, 1926, asks how the "Tom Show" did the previous seasonv and inquired as to whether or not Clarence had plans to go out again in the summer of 1926. This letter too suggests that perhaps "Tom Companies" were becoming a thing of the past: . . . I was with me Jack Hoskins of the MUTT & JEFF fame, had a 32 weeks season and to a fine business, closed December-7th will open up here (Shreveport, La. ) with THE GUMPS - one of Gus Hills Cartoon Comedys, I never had any idea that one could make money'.with anything else but Uncle Tom Show, NO MORE UNCLE TOM when I can get more money with ^^Harmount records in the possession of Jan Hill. 184. one of these bills put in a longer season only 12 people to handle no Kids, No Dogs-No Band, no Parade to get out early arrivals every day everything ready to go by noon-hour, its easy picking. 142 The cash receipt is perhaps the most positive proof that there was a 1925 summer season. The receipt reads: "Received from C. T. Harmount twenty dollars payment in full for services rendered during the summer season of 1925 [signedj Claude Thornton. " 143 inter esting point is that the receipt is dated May 13, 1927. This was evidently the payment of an old debt. According to Mrs. Harmount, Claude Thornton lived with Clarence at his home in Williamsport for several years after the show closed. The company must have run into financial difficulties during the summer of 1925 because on September 21 of that year, Clarence and Denny Harmount mortgaged all of the property of their Uncle Tom's Cabin Show, which consisted of the following: Six ford Trucks with bodies, five covered and one box, one Ford Roadster, One Delco Lighting Plant in full equipment; one 50 by 80 foot tent; 10 sections of seats 10 boards high; four saxaphones; 12 sets, or suits of band uniforms; 26 or 28 drops of Winter theatrical scenery; eight drops of Summer theatrical scenery; two male and two female Great Dane dogs, named as follows: Sis, Minnie, Junior and Prince. . . . 144 14^lbid. 143ibid. 144ibid. 185. The summer of 1925 was undoubtedly their last season on the road with Uncle Tom's Cabin. Technically, there was still a "Harmount" show on the road each summer until the fall of 1929, but it did not carry the title of "Harmount's Uncle Tom's Cabin Company. " It was instead "Tad's Uncle Tom's Cabin Show." The only available record of "Tad's" company was found in a journal of Claude Thornton's that had been left in the Har mount home in Williamsport; the entry indicates that Mr. Thornton traveled with "Tad's" company for a short time in the summer of 1928. "Tad, " being the business man that he was, tried every adver tising stunt in the book to keep Uncle Tom's Cabin' on the road. Ac cording to Richard, they sold candy kisses during intermission. Richard described how he had to get out and make a big speil that "tonight we're introducing a special Attraction from Gordon Howard Candy Company of Chicago. " He described selling the candy at ten cents a box. All these boxes are all marked where the blankets and the end-tables and the lamps and the wrist watches are at and you know who you give 'em to and we kept half of 'em. I'd see a nice lookin' girl and I'd sell it to her and make sure she got the wrist watch. That's show bizz. " "Tad" had one calliope, according to his wife, ^^and he did on occasion rent the services of local pilots to distribute bills over the small town in which they were to play, but he did not own a plane according to Mrs. Harmount, and this stunt was used very seldom. Mr. Birdoff, in his *^Not two as Mr. Birdoff records in his The World's Greatest Hit. 186. book, states that C. W. Shartle, Jr. was "Tad's" partner and that "from a plane christened 'Little Eva' scattered heralds over the town billed. "146 According to Mrs. Harmount this is not entirely correct. Mr. Shartle was "Tad's" partner, but not in the "Tom" business; they worked together in the Dr. Pepper, soda pop, business. The Uncle Tom's Cabin show ("Tad's")with which any one of the Harmount family was involved closed at the end of the summer season in 1929. According to Mrs. Harmount, when "Tad's" Uncle Tom's Cabin company closed that year, they sold everything except the trucks. They sold all of the scenery in Cincinnati "cause they could use it for other things. "147 "Tad" took the trucks with him to Nashville, Tennes see, and rebuilt them so that they could be used for the Dr. Pepper soda pop enterprise. When "Tad" died in 1931, his wife, Marie, and their three children returned to their home in Middletown, Ohio, leaving behind in Nashville what few articles they may have kept from the "Tom" show. A strange phenomenon which has been described by others who have written about "Tommers" is this peculiar feeling that all "Tommers" express, that the "Tom" shows are going to come back some day. Mrs. Harmount in an interview stated, "if my husband was alive today we could take a show and go out and make money. There aren't enough 146Birdoff, p. 388. ^^This would have been the scenery which "Tad" had purchased for his show, not the Arrribruster scenery obtained by the O.S. U. T. C. from the Harmount show. 187. performers, maybe there will be someday. They might all come back.11 Clarence Harmount lived his last days in Williamsport, and every year until his death, according to local residents, he dreamed of taking his show on the road again. In February of 1951, he lent his Uncle Tom's Cabin scenery to the Theatre Department at Ohio Northern for use in a revival of the play that they were staging. Mr. Harmount was invited to the opening performance as a special guest. When inter viewed he stated, "I was glad to let them use it. It needed an airing. " Clarence concluded the interview by stating, "I may go back on the road myself next year. 11 148 Clarence Harmount died in Williamsport eight years later, March 11, 1959, possibly repeating the lines he had re peated hundreds of times to audiences in opera houses, town halls, canvas tents, and to just anyone on the streets of Williamsport who would take the time to hear his stories of Uncle Tom's Cabin, but per haps this time they were little more meaningful: "The angels and blessed Miss Eva am beckoning me home, tell Chloe and the little ones to follow me to the other shore for I rest in peace. "^ 9 Conclusion One principle which seems to drive the American people on in search of greater success is the promise of financial profit. If we accept this principle, we can assume that from the evidence presented, ^ ^ Columbus Dispatch Magazine, May 20, 1951, p. 6. 149Harmount script of Uncle Tom's Cabin. the Harmounts were driven onward by such a goal. Of course, it was not the only objective, for the polish and finesse of the company cer tainly must have brought forth a sense of pride in the company member ship as they reflected upon their work. We might also assume that the competition from other traveling shows spurred the Harmounts on to bigger and better shows. Whether the Harmounts realized one, two, or three objectives is not too important; the facts reveal that they did im prove the show, improve the company, and travel both during the summer and the winter. Although the expansion of the company is admirable in itself, it is interesting to note that this very expansion actually contrib uted to the company's demise. The expansion of the Harmount Company took form in several ways. First, the family added new shows to its repertory. They traveled not just with Uncle Tom's Cabin, but with Jesse James and Ten Nights in a Barroom. In spite of the general cohesiveness of the company, the two newer shows were not well received. The company was primed for Uncle Tom; perhaps the actors had performed it so long that they were saturated with the particular characters, and the flexibility needed by actors to assume other roles was not possessed by these players. P er haps the communities where the company traveled still thrived on Uncle Tom and did not care to see other melodramas. Perhaps other companies performed these plays with more finesse, and whatever pro duction the Harmounts presented could not compete with them. The reasons for failure can only be conjectured, but the Harmounts wisely deleted Jesse James and Ten Nights . . . from its 1913 winter program and concentrated solely on Uncle Tom from then on. The Harmount band added immeasurably to the overall success of the company. When the company arrived at a town with the weather cold and clear or overcast and snowy, the parade moved down "main street. " The loud, brassy, "ballyhoo" music attracted many and generated enough excitement to bring the people to the town hall or opera house in the evening to hear more. And more they were given. The band became a standard prologue to the opening of the show, it added zest to tense situations in the play, it entertained the audience between acts, and it sent them home clapping their hands and tapping their feet. The pro ficiency of the band sometimes took precedence; people remembered the band long after they would the very familiar play. The Harmounts kept the band in excellent condition. They spent money as lavishly as possible on uniforms, instruments, and salaries for good musicians. They recognized the value of the hand for their overall sucess, and at times, it seems to have taken precedence over other elements of the production, but not always. Money was invested eventually in other aspects vital to a growing company. Scenery was greatly improved. The Harmounts felt a "posh" show would be needed in order to entice people to come. Now that they were performing in buildings during the winter, the architectural impact or the decor of the buildings seemed to call for more beauty on a stage than was previously needed in a canvas tent. Also, the people in the larger cities which they had added to their circuitwere exposed to several companies, and they could compare them easily--the Harmounts wished to be admired, not ridiculed. They contracted, therefore, for better scenery painted by professional artists and eventually owned the $20, 000 worth of scenery and equipment which they so proudly advertised. Besides spending money on scenery, the Harmounts improved their means of transportation. With roads improving and railroads flourishing, they felt better means could be found for movement of actors and equipment than the horses and wagon techniques. Thus, company members were moved by rail from one city to another, with the Har mounts supplying ticket money. This mode of travel was expensive, but it kept the company happy and allowed for faster contact between cities. Then, for the summer tours, the Harmounts bought several trucks in which to move the company and equipment from town to town (the expense of such an operation is obvious) in order to lessen the time spent on the road and to permit the by-passing of small towns where the profit to be made would not cover the cost to set up and perform. Evidently, the Harmounts thought the price for better trans portation worth it. In a way, they were trying to keep up with an awakening world whose pace of living was gaining momentum. Perhaps the greatest downfall of the Harmount's expansion occurred with the splitting of the company and the hiring of outsiders. Earlier in this chapter, it was stated that the Harmounts felt that "two" of every thing could create better business; thus, they formed two companies in the winter of 1917. By elementary arithmetic, two companies would obviously create a need for more scenery, actors, technicians, and public relations men. The "family show" was expendable in light of the desire for more exposure to the public, more towns covered in a season, and more profit. In order to maintain their reputation for quality shows, the Harmounts then began to hire fewer local folk from Williamsport and took on actors and technicians and even an advance man from outside the state. Scenery, lighting, a band, special equip ment, and trucks were supplied to handle both companies. The inten tion for expansion was understandable; but the initial cost for such a venture was horrendous at the time. Also, with an aggregate of dif ferent company members with varying values and attitudes toward show business, and with growing "indifference" of the companies to ward the Harmount name, the two companies became diffuse, split, and fragmented. Such fragmentation leads to disunity; disunity leads to disintegration. The companies managed to survive for a number of years, in spite of the changing nature of the Harmount shows and in spite of increasing troubles. By 1918, they reached the peak of success; by 1929, they were out of business. Probably the greatest factor in the ruination of the Harmounts was the American commitment in World War I. War taxes, a higher cost of living, a general fear felt by the people, and, especially, their outrage at frivolous entertainment in time of war kept the midwesterner s home and their money in their 192. pockets. From that time on, no matter how the Harmounts tried to improve their show or expand their production, they could barely meet expenses, much less make a profit. Generally then, the Harmount family came upon a successful venture when they started their summer show in 1903; they enjoyed success for several years, expanding and improving their entire production. With a change in the world, a change in the people's attitude toward enter tainments and Uncle Tom, and a certain incapability of the Harmounts to change with them, the show gradually disintegrated and finally folded in 1929. The origin, growth, and general success of the Harmount Company have been explored. In order to gain further understanding of this growth and success, the play itself, Uncle Tom's Cabin, must be ex amined, because, in spite of the additional spectacle, the play was the focus and purpose for the Harmount Company's existence. In the next chapter the script is analysed and staging practices are explained. CH APTER V UNCLE TOM'S CABIN AS IT WAS STAGED BY THE HARMOUNT COMPANY The Harmount script of Uncle Tom's Cabin varied somewhat through the years. According to Mrs. Marie Harmount, the script was taken from the George Aiken version, but it was adapted to fit the Harmount show. In referring to the Aiken script of Uncle Tom's Cabin, Mrs. Harmount said, "It would take you all night long to do it like it's in this book. You had to cut it down. The original script that the Harmount family used in 1903 was probably one they had ob tained from the Long Brothers' Uncle Tom's Cabin Company, with whom they had traveled the previous summer. This script was dif ferent from the one used later by the company, In an interview with Mr. C. Earnest Hill, Williamsport's Funeral Home Director from 1907 to the present date (1967), he stated that he had typed scripts for the Harmounts three different times. He could not recall the exact dates but thought perhaps the last time had been in 1910. He recalls his reaction to the script: "When I typed it the tears would run out of my eyes till I'd have to stop and wipe them. " Mr. Hill was shown ^ Inter view with Mr s . Marie Harmount, August, 1966. 194. both the Aiken script and the Harmount script. He responded that he had never seen the Aiken script and that the Harmount script was not one that he had typed but that it read more like the version he had typed 2 than the Aiken script did. The Harmount script which appears in the Appendix and which is compared in this chapter with the George Aiken script is one which, according to Proctor Baughman (stage manager at the Grand Opera House in Circleville), Clarence Harmount and he had worked on together during one of the latter years that the Harmount show went on the road. According to Proctor, the script Clarence Harmount had was going to pieces, so Proctor took it and copied it over into a "late model" script. ^ It is hoped that through this comparison the changes that took place during the play's seventy-five years of continuous performance may be clarified; also, it should point out ;to some extent the changes in theatrical taste that occurred in the American theatre during those years. The Harmount script is that which the company would have used in their winter show, ^ for the summer version, according to Marie Harmount and Russel Howard, was considerably shorter. A Harmount company inventory dated 1925 indicates that the company owned 28 ^Interview with Mr. C. Earnest Hill, Williamsport's Funeral Director from 1907-1967, August, 1966. ^Interview with Mr. Proctor Baughman, August, 1966. ^Mr. Richard Harmount identified the script as the Harmount's in a letter dated May 11, 1967. 195. drops of winter theatrical scenery and only eight drops of summer C theatrical scenery. The script was undoubtedly similarly simplified. A second purpose of this chapter is to reproduce the visual elements of staging in Harmount's Uncle Tom's Cabin. The staging of certain scenes in this show has been conjectured by other scholars through an examination of the Harmount scenery in the Ohio State Uni versity Theatre Collection, but new detail can now be added to the previous studies. Details have been gathered primarily from the Harmount script and from interviews with Mrs. C. B. "Tad" Harmount and Mr. Russel Howard who acted with the company, with Mr. Proctor Baughman, who on several occasions stage managed the Harmount show when it played the Grand Opera House in Circleville, and with Mr. William G. Bale who used some of the Harmount scenery in his 100th year anniversary production of Uncle Tom's Cabin at Ohio Northern in 1952. The S cript Although the Harmounts used the George Aiken version of Uncle Tom's Cabin for their acting script, they made many changes; for example, several characters were d e le te d ^ along with entire scenes. ^Harmount mortage in possession of Mrs. Jan Hill, Circleville, Ohio. &The following characters were deleted from the Aiken version of the script by the Harmounts: Gumption Cute, Mr. Wilson, Deacon Perry, Tom Loker, Doctor, Waiter, Marie, Mann. The two dogs, Prince and Keno, were additions to the Harmount script. 196. The Harmount script includes four acts with fifteen scenes and one tableaux, compared to the original Aiken version with six acts, eight tableaux, and thirty scenes. Considerable re-writing was done for various reasons. Most important, the rather stilted language needed to be up-dated. However, there is an indication that vaudeville-type comedy, which seems to have been very popular at the time, was added; also, there might have been a necessity to condense some of the longer, more involved scenes contained in the Aiken script. Rather than begin the show with a comparatively undramatic and lengthy conversation between George and Eliza, the Harmounts chose to begin with a short dramatic clash between George and Haley, when the latter attempts to kiss George's wife, Eliza, and is caught in the act. The first seventeen speeches in the Harmount script appear to be en tirely original, for in the Aiken script George and Haley never meet. Speech 18 in the Harmount script picks up the Aiken dialogue and generally maintains original wording for six speeches, but with a great deal of cutting. The scene concludes with another original speech written for Haley in which he adds another dramatic element to the scene, by suggesting foreboding things to cornel ". . . you'll repent the day you ever insulted Tom Haley. " This speech replaces the entire second scene of the Aiken script which is a discussion between Haley and Shelby concerning the purchase of Eliza and her son Harry. 197. The second event in scene i in the Harmount script begins at Uncle Tom's cabin, ^ which according to Richard Harmount, was the starting point for their summer show. 8 It follows the Aiken script fairly closely in dialogue, but the Harmount script has given Tom and his wife Chloe more of a stock negro style of speaking. Where the Aiken script uses "I'm, " the Harmounts use "I's"; the Aiken script uses "aint, " but the Harmount script uses "hain't. " Also, some of the speeches in this scene have been transposed. In the Harmount script, speeches 24 through 38 have been placed before 39 and 40, whereas, in the Aiken version, speeches 39 and 40 appear after 33, after which the script returns to 34. The scene concludes with six original speeches in which Eliza asks for Uncle Tom's blessing which gives him opportunity to refer to the scriptures. He mentions Daniel in the lion's den and the fiery furnace, and concludes with Job, to which Chloe responds: "Job, Job, the devil he never had no half dozen niggers hanging on his petticoat tails now that's what comes from those devilish nigger traders, if the devil don't catch those devilish devils what in the devil is the devil good for any way. " Scene ii according to the Harmount script p'Eliza meets Phineas"J follows scene iv of the Aiken version very closely. Only one speech is added. Little Harry responds to his mother's question, "What shall ^The U. T. C. scene is referred to as a separate scene on only the 1918 program. (See Appendix C page 364.): Q Letter from Richard Harmount dated May 11, 1967. 198. we do?" by saying, "Put your trust in God mama that's what Uncle Tom says. " Scene iii of the Harmount script is the continuation of scene iv in the Aiken version. The Harmount script provides Harry with two more speeches not present in the Aiken script. When Phineas asks him his name he answers: "Harry Harris Sir"; when Phineas asks him if he would like a chaw of tobacco, he responds, "No thanks, I don't chew." Richard Harmount recalls having played the role of Harry Harris when he was a small boy and having repeated those speeches. He recalls how his father "Tad" used to laughvat his pro nunciation of "Haerry Haerris." Speeches 62 through 66 in scene iv of the Harmount script follows the Aiken version fairly closely, but when Marks is introduced in speech 67, the long scene which follows has very little similarity to the Aiken version. The waiter and Tom Loker are cut from the Harmount script, and only an occasional speech is recognizable as having come from the Aiken script. Speech 84 is similar as well as speeches 127 through 131. The remainder of the scene, speeches 67 through 182, appears to be made up of original speeches written in by the Harmounts or their predecessors primarily for comedy. For example, when Marks introduces himself as a lawyer (speech 81), Phineas! response is, "A liar sir?" to which Marks replies, "A lawyer." This lengthy scene added by the Harmounts not only adds comedy to the scene, but provides an "easier" exit for Eliza from the Tavern. (See speeches 160 through 182, especially . 180. ) 199. Scene iv of Act I in the Harmount script is primarily the same as scene v of the Aiken version. In the Harmount script, however, Loker is deleted and Phineas is added to assist Eliza in her escape, which adds an element of confusion to the scene. (See speeches 187 and 189. ) Scene vi (Ice Scene) in the Aiken script has no dialogue. The Harmount's scene v corresponds to it, but four speeches which reveal Phineas still assisting Eliza in her escape have been added. An inter esting reversal occurs at the end of the Harmount scene when the dogs, instead of continuing in pursuit of Eliza, turn on their masters, Marks and H aley. Act II (Kitchen Scene) of the Harmount script continues the George-Eliza story by starting the act with what is Act II scene iii in the Aiken script. Harmount's Act II begins with a long speech by Phineas which takes the place of a scene between Phineas and Wilson in Act II scene iii of the Aiken script. When George enters, (speech 195) the Harmount script follows the Aiken version quite closely through speech 233. The one major change in the scene is that the character Wilson has been deleted and Phineas gives his speeches. After Marks and Haley enter the scene (speech 234), the Harmount script maintains no resemblance to the Aiken version. Speeches 234 through 275 pro vide comic relief and allow the escape of George. Act II, scene ii follows the Aiken version Act II, scene v quite closely. The Harmount script brings out more comedy in Phineas' 200. attempted be a Quaker. More "Verily1 s, " "Thee's, " and "Thou's" are added to his lines. More humor in general is added to the scene with such exchanges as: Phineas: . . . for is that not written into scripture. Blessed be the man who sitteth down on a red hot stove. George: And why so? Phineas: For verily he shall rise again. [Speeches 306 - 308] and such speeches as: Phineas: There goes friend George and sister Eliza. She am liken unto the lily of the valley while I am like unto the poppy of the corn field or the dog fernell of the barn yard. So earth to earth and dust to dust if the good Lord won't have us the devil must. [Speech 3 11] Scene iii of Act II (The Rocky Pass Scene) in the Harmount script is the same as scene vi of Act II in the Aiken version. Although many of the speeches are the same, the Harmounts have added a considerable number of new ones. Haley replaces Loker in the Harmount script, and the comic exchanges between Haley and Marks incorporate most of the additional speeches. For exampe: Marks: Didn't you hear a noise? Haley: That was only superstition. Marks: Soup in the kitchen? Haley: No Superstition, . . . [Speeches 320 - 323] At the conclusion of the scene, Haley is killed in the Harmount script rather than Loker. The very serious mood established by the Aiken 201. script at the conclusion of the second act is changed by the Harmounts to one of light comedy. The Harmount script directs Phineas to grab Marks, bend him over his knee, and paddle him. Act III (St. Clair Mansion) of the Harmount script uses scene i and ii of Act II in the Aiken version for its opening scene. Marie, Eva's mother, is deleted from scene i in the Harmount script, and Ophelia is given the speeches of Marie that are necessary to carry the scene. The content of the scene in the Harmount script follows the Aiken version fairly closely, except when the character Topsy is introduced. The Har mount script includes numerous additional speeches which are primarily for the purpose of adding more humor to the character of Topsy. The following humorous speeches are obviously original and comprise the major portion of the scene: 459-463, 470-484, 499-508, 513-516, and 518-582. Harmount's Act III, scene ii is the same as Aiken's Act HI, scene i. In speeches 583 through 601, there is very little difference in the two scripts, but as soon as Topsy enters (speech 602), only an occa sional speech is similar. Much re-writing was done for the comic character of Topsy. The majority of speeches 602 through 677 are original and were added primarily for comic effect. Scene iii of Act III (Garden Scene) in the Harmount script is basically the same as Act III, scene ii in the Aiken version. Two speeches which would have appeared in scene iii between 713 and 714 were deleted by the Harmounts and speeches 716 through 719 were added to the end of 202. the scene. The major cut, if it can be called major, comes in the con cluding speech of the scene (speech 707) spoken by St. Clair. The underscored part of the following speech is that which was cut: Has there ever been a child like you Eva? Yes there has been but their names are always on grave-stones, and their sweet smiles, their heavenly eyes, their singular words and ways, are among the buried treas ures of yearning hearts. It is as if heaven had an especial band of angels, whose office it is to sojourn for a season here, and endear to them the wayward human heart, that they might bear it upward with them in their homward flight. When you see that deep, spiritual light in the eye, when the little soul reveals itself in words sweeter and wiser than the ordinary words of children, hope not to retain that child; for the seal of heaven is on it, and the light of immortality looks from it's eyes. The reason for this deletion is not immediately evident. Perhaps it was done primarily to shorten the speech, however, it also may have been deleted to limit the flowery eloquence of the speech, which may not have been fully appreciated by the rural audience. In scene iv, which is the same as Aiken's scene iii, several small changes were made by the Harmounts. According to Proctor Baughman two speeches were added for Eva: one, Eva's Bible is given to Topsy and Eva asks Topsy to be a "good little girl"; two, Eva tells Tom goodbye and states, "I'll see you up there." Speech 728 of Eva's, in answer to the question "what is it you see?" is lengthened by the Har mounts from simply, "Oh! love! joy! peace!" to "I see the beautiful gates ajar and above them are written in letters of gold 'Suffer the little children who come unto me, and forbid them not, for such is the kingdom 203. of heaven. 1 Oh love--joy! Peace." One other minor difference in the Harmount script is the placement of Tom's speech 726. In the Aiken version, this speech appears just preceding speech 729. The entire fourth act of the Aiken script is cut in the Harmount version. Harmount's fourth and final act opens at the auction mart, similar to Act V of the Aiken script. In the opening speeches of this act, the important events that took place in Act IV of the Aiken script are very meticulously preserved. As the scene opens, it is revealed that the St. Clair "niggers" are for sale, for in speech 736 we find St. Clair had been killed in a barroom fight by Simon Legree, a "bad man. " Speeches 745 through 756 establish Legree's "evilness" more strongly. Simon Legree boasts about his strength in the Aiken version with no interplay with another character: "Umph! Do you see that 'ere right hand? There's a fist that's grown hard a smacking down niggers ! Just feel the weight on't, stranger. However, in the Harmount script, Legree boasts directly to Marks: Marks: Say Simon that's an awful hard fist you've got. Legree: Yes, do you know howl got that fist so hard. Marks: No how did you get it so hard. Legree: By knocking down niggers. [Speeches 753 - 756j ^Montrose Moses (ed. ), Representative plays by American Dramatists (New York: Benjamin Blom, Inc., 1964), p. 664. (From a scene added to by a prompter to a manuscript copy in the New York Public Library. ) 204. It is probable that the scene in the Aiken script which was added by a prompter was generally used by the "Tommers" to suggest the brutality of Legree and likewise to explain the cause of St. Clair's death in Act IV, scene iv of the Aiken script. The auction scene in the Harmount script is quite a lengthy scene. It takes the Harmount script one hundred and five speeches to accomplish what the Aiken script does in nine speeches. These figures are some what misleading since the Aiken script, instead of providing specific lines for the bidding, simply gives general instructions. For example: "Various bids are made. Adolf is knocked down to Mann for eight hundred dollars," and "Business as before. Emmeline is sold to Legree for one thousand dollars." However, taking this into consideration, there are still considerably more speeches in the Harmount script which are added primarily for comic effect. (See speeches: 767-771, 783- 803, 810-815, 817-820, 822-829, 832-841, 858-860.) Considerable horseplay goes on during the bidding in the Harmount script. Lawyer Marks keeps repeating his bid of seventy-five after each new bid is given. When he finally gets the bid he reveals that he was only bidding seventy-five cents. This inane verbal witticism was in cluded in every "Tom" show, not a Harmount original; it became a stock "comic bit, " for Elizabeth Corbett spoke of this scene in 1926 as being a part of every "Tom" show, and an article in The Boston Traveler ^Elizabeth F. Corbett, "A Foot Note to 'The Drama', " The Drama (May, 1926), p. 285. 205. also drew attention to this particular scene as always being included. * ^ It is interesting to compare the general mood of the two versions of the auction scene. The mood in the Aiken version is quite serious. There is nothing light about the way Legree "seizes Tom by the jaw and opens his mduth" as he says, "Let's see your teeth." 12 The entire auction scene in the Aiken script points up the tragedy of human beings being bought and sold like animals. The Harmount script presents an entirely different mood. Although most of the speeches in the Aiken script auction scene are used somewhere in the Harmount auction scene (See speeches: 849, 806, 807, 862, 863), the general tone is lightened considerably; the Harmount script adds interest with a combination of both comic and tragic elements. The scene is given a lively beginning with colored boys singing and dancing. Although the scene at times suggests the tragedy of a human auction, the audience is not allowed to dwell on this aspect long. Following every serious speech, a sequence of low comedy speeches is added to keep the overall mood very light. An example of one of these "humorous" exchanges is as follows: Marks: Oh Skeggs its all over town. Skeggs: What Marks ? Marks: Mud. Skeggs: Get out of here. ^Speeches 817 - 82Cf| ^ The Boston Traveler, April 7, 1923, p. 9. ^Moses, p. 668. 206. Such an exchange might have come straight from vaudeville. Act IV, scene ii of the Harmount script is very similar to Act VI, scene ii of the Aiken version. However, the Harmount script continues to add many additional speeches for comic purposes. In this scence, George Shelby is searching for Uncle Tom. He meets Lawyer Marks and begins to question him, but Marks refuses to give any information without pay. When Shelby asks how much Marks wants for the infor mation, in the Aiken script his response is "Well, say five dollars, that's reasonable." In the Harmount script, his response is similar, "Oh, say a five." But the following speeches are added for comic effect: Shelby: I can give you that and never feel it. Marks: Well, make it ten and feel it. Shelby: No I'll hold you at your original bargain . . . [Speeches 877 - 879] These less heavy additions continue throughout the scene in the H ar mount script. When Shelby inquires about the auction of the St. Clair negroes, the dialogue is as follows: Aiken Script Shelby: How were they bought--all in one lot? Marks: No, they went to different bidders. Shelby: Was you present at the sale? Marks: I was. 207. Harmount Script Shelby: How was they sold single or in lots ? M arks: In the alley just back of the lots. Shelby: No I mean did they go to one or two different bid d ers. M a rk s : Oh they went here and there and everywhere. I was one of the principal bidders myself. [Spe eches 885 - 888^ The Harmount script in the complete scene accomplishes basically the same purpose as the Aiken script, but takes almost twice as many speeches in which to do it--Aiken: 28 speeches; Harmount: 52 speeches. Practically all of the additional speeches are added to make the char acter of Marks more comical. (See speeches: 889-894, 903-908, 918- 920.) Act IV, scene iii {Legree's PlantationJ of the Harmount script is basically the same as scene iii of Act V in the Aiken script. A few lines are shortened or altered in the Harmount script, but not enough to make any significant difference in the two versions. The closing speeches of the scene are perhaps the only major differences. In the Aiken script, Emmeline pleads for Tom who is about to be whipped: Emmeline: Oh, no ! you will not be so cruel--have some mercy ! Legree: Mercy? you won't find any in this shop ! Away with the black cuss ! Flog him within an inch of his life ! 208. Her pleading in the Harmount script takes on a different tone with a speech which sounds more like a command: Emmeline: Stop Simon Legree ! touch that old man at your peril. In the Harmount script, Legree makes no response before the scene ends. Mrs. Marie Harmount mentioned in her interview that a dog was trained to jump at Legree and take the whip from his hand. This is the place in the script where this business was probably executed. Legree makes mention of seeing dogs off-stage in speech 924, perhaps to foreshadow their entrance at the end of the scene. If the dogs did jump him after speech 952, this would explain Emmeline's final threat ening speech (953). Act IV, scene iv is missing from the Harmount script. A 1917-18 program synopsis for the Harmount show describes the scene as "A street in New Orleans: Marks secures a warrant for the arrest of Legree." A 1921 program's description of this same scene includes also: "Legree tells Cassie the story of his past life. ..." If the scene included both Legree's story and Marks' securing the warrant for his arrest, it would have undoubtedly included speeches from both scenes iii and iv of Act VI in the Aiken script--Legree's story appears in the third scene and the securing of the arrest warrant does not occur until the fourth. It is most probable, however, that the missing fourth scene of Harmount's Act IV did not include Legree's story to Cassie since the scene synopsis which follows the extant Harmount script most 209. closely is the one which appears on the 1917-18 program. If this is the case, the missing Act IV, scene iv would probably have been taken strictly from Act VI, scene iv of the Aiken version which is a dialogue between Marks and Cute. However, a character substitution would have been necessary since the Harmounts never used the character Cute. Although scene v, Act IV in the Harmount script is very similar to scene v of Act VI in the Aiken version, some differences occur. The Harmount version has a different opening speech where Legree gives a short dissertation on his relatiohship with Cassy and Emmeline. Once the scene begins, it follows quite closely the Aiken version from speech 955 through speech 968. As usual, the Harmounts have added additional speeches here to increase the villainy of Legree. Legree threatens to burn Uncle Tom "to a crisp" at a stake, and then orders Sambo to "feed him to the hogs." (See speeches 964, 965, and 968.) The remainder of the scene in the Harmount script is presented in 35 speeches, more than three times as many as in the Aiken version. In the Aiken script, Shelby and Marks enter together. After only two speeches, Shelby has found Uncle Tom, and a few speeches later, Marks, after attempting to arrest Legree, has killed him. In the Harmount script, additional lines enhance both the dramatic impact and the comic relief. George Shelby is given some very strong lines in which he threatens Legree (speeches 975 and 977), and Marks is provided with a final scene in which to deliver a few more comic speeches, while he is disposing of Legree (speeches 983-988, 997, 1000, 1001) . In the Harmount script Marks is 210. then provided with a long concluding speech in this scene in which he directs Sambo to "take this old beast (LegreeJ out and slop him to the hogs." This was also evidently one of those speeches which every "Tom Show" included. According to one writer, "that was a line that used to make them sit up and wear their hands out!"^ Act IV, scene vi in the Harmount script is made up of speeches taken from the conclusion of Act VI, scene v of the Aiken version. The scene between George Shelby and Uncle Tom includes seven speeches in the Harmount version which are primarily the same as the six speeches in the Aiken script. The Harmounts have added only a couple of additional lines: Tom's concluding speech in the Aiken version is changed in the Harmount's to read "... No, I am rich in the love of God see the angels and blessed Miss Eva am beckoning me home. Tell Cloe £sicjand the little ones to follow me to the other shore for I rest in peace, " and George Shelby is given a concluding speech (1010) in the Harmount script, which does not appear in the Aiken version. The final scene, scene vii of Act IV in the Harmount script is the same as scene vii of Act VI in the Aiken script. There are no spoken lines given in either script, only a written description of the business. The Aiken script includes a fairly detailed description of the transformation scene. The Harmount script reads only "trans formation scene, slow curtain. " F. Davis, "Tom Shows, " Scribner's Magazine, LXXVII (April, 1925), p. 354. 211. The Harmount "Tom" script, although adapted from the Aiken version of Uncle Tom's Cabin, differs from it considerably. The story line was simplified by the deletion of numerous scenes which were not essential to the main action, and many original speeches were added which made the play more entertaining for rural audiences. The entertainment value of the Harmount script was enhanced for the rural audiences by increased spectacle in the scenic elements. Even tually, the Harmount company for their winter show invested $20, 000, according to their advertising, in beautiful scenery which they pur chased from the Armbruster Scenic Studios. ^ This chapter continues with a detailed diaeussionuof the scenic elements employed by the company in their winter Uncle Tom's Cabin show. The Scenery and Staging In the spring of 1.062, the Ohio State University Theatre Collection received as a jijiit from Jack Clark of Williamsport, Ohio, some the atrical scenery which had belonged to the Harmount Company. This scenery had come into his possession through the purchase of the H ar mount property in Williamsport. The scenery is of inestimable value in providing the theatre scholar with a visual picture of etn early ^The Armbruster Studios of Columbus, Ohio, was bne of the out standing studios in America during the early part of this Century. They designed scenery for many of the large acting companies. They de signed and painted the scenery for the Kibble Uncle Tom'a Cabin Com pany, which was described earlier as the "Big" Uncle Tofti Company touring America during part of this Century. 212. twentieth-century "Tom Show. " As was stated earlier, these drops have been used by scholars in other studies to reconstruct the visual elements of the Harmount'production; however, additional information has now come forth which makes a further consideration of the Harmount scenery and staging necessary. The staging of the Harmount show was not always the same. There were extreme differences in production between the summer and winter shows, but since the stock sets which were used in the various opera houses where the show played in the winter varied in number and appearance, the winter show itself differed from performance to performance. The following consideration of the staging of the show is based primarily upon the Harmount script of Uncle Tom's Cabin and the stagemanager's recollections of the show when it played the Grand Opera House in Circleville, Ohio. For the scenes which used the Har mount scenery, there would have been very little variance from one performance to the next. For an analysis of these scenes, the recol lections of Mrs. Marie Harmount who was with the company from 1911 to 1929, and Mr. Russel Howard who toured with the company in 1910 will also be considered. The synopsis of Act I, scene i in the Harmount program is as follows: "Meeting of George and Eliza. Uncle Tom's Cabin; flight of Eliza. " This description follows very closely the action in the Harmount script. However, some confusion about the staging of this scene arises with the contents of a Harmount flyer (Fig. 21), for the drop for scene i | tu,mancle PnMctiM Com’$eaW« L - MARKED Fig. 21.--Harmount's U. T. C. staging flyer. Orig inal in OSUTC. is described here as "Uncle Tom's Cabin Coon Hunt." The descrip tion does not fit the scene's action as well as the staging which Proctor Baughman described while referring to the script. Scene i of the script calls for a wood scene with no indication for a change of scenery during the scene. While reading the.script, Mr. Baughman indicated that after speech 24, the scenery changed from a wood drop to the Uncle Tom's cabin scene. The set change that Mr. Baughman describes seems much more logical than the use of only one set in which to play the entire scene. Perhaps the explanation here may be that since the summer pro duction opened with speech 25, the Uncle Tom's cabin scene, ^ possibly the winter show began here also on occasion, or perhaps the scenes listed on the flyer included more than one scene drop; the drop number for each scene might have been used simply for the purpose of identifying all pieces of scenery to be used in a given scene. We know, for instance, that the Allegory Scene at the end of Act IV consisted of numerous drops, as did scene v of Act I. It is reasonable to assume, then, that the drop numbers given on the flyer do not necessarily indicate that there was only one drop for that scene, but rather referred to whatever staging was necessary for the particular scene. Mr. Baughman described the scene beginning with speech 25 as opening with a colored quartet going "coon" hunting with dogs, guns, etc. , and singing "My Old Kentucky Home. " He labeled this as scene ii ^Letter from Richard Harmount dated May 11, 1967. 215. of Act I which does not correspond with the script or with two of the Harmount program synopses. However, it does agree with the 1918 program synposis. The Harmounts played two performances in Circle- ville in 1918--February 27 and 28. 1 A According to Mr. Baughman, the drop which the Harmounts used for Uncle Tom's cabin had a painted cabin with a practical door and looked very much like the scene in Figure 22. Proctor Baughman described the lighting of the first scene as "Dark Stage. " It is interesting to compare this with the "lights" description in Figure 21. The flyer calls for the lights in scene i to be "dark or dimmers." According to Mr. Baughman, the Grand Opera House in Circleville did not have dimmers. He stated that there were very few small opera houses with dimmers at that time. According to him, the only one in the surrounding territory would have been the Majestic in Chillicothe. The Grand Opera House was equipped with three overhead lights, footlights, and a set of proscenium lights--"a string of lights approximately 10 feet high on each side at the curtain line." The proscenium lights were "220's, the old carbon type" and the others were "regular lights like you got today only of course not as bright. " When "Dark" was called for, "it could mean any one of the lights, it could be either proscenium or footlights, anything to make the ^Harmount poster in possession of Mrs. Joan Hutchison, Columbus, Ohio. Fig. 22. --Harmount's backdrop: "Path" with "leg" in front. Notations re scenery in quotation marks indicate labels inscribed on the original scenery in the OSUTC. (Photographs of Harmount scen ery by Allan S. Jackson.) 217. stage dark. Usually when you wanted a dark stage with white lights you'd use your proscenium lights." If "Full Stage" was called for in lighting, all the lights were turned on. Note that the flyer in Figure 21 calls for colored lights. Accord ing to Mr. Baughman, this was another element of lighting that was found in very few of the smaller opera houses. The only color in lighting at the Grand in Circleville came from color wheels placed in front of the spots located at the rear of the auditorium. There was no basic red, white and blue lights in most small theatres. Mr. Baughman, while examining the flyer in Figure 21, stated: "On your Allegory here it mentions blue, red and white. Well, you couldn't give a color combination like that so you would possible use your foots on that and not anything else, in other words, so it would all be hittin' direct to the Allegory. He went on to state that if any color was used on this scene, it would have come from the color wheels at the rear, but he could not be certain of these, since he was always on the stage. Lighting for the entire show then would have been fairly uncomplicated. When the flyer called for "Dark or dimmers" either only the footlights or the proscenium lights would have been used, when it called for "Full, " all lights were turned on, and if color was called for, the footlights would have been used with whatever color that could be projected from the color wheels at the rear of the auditorium. In Act I, scene ii where "Eliza meets Phineas" (speeches 48 through 57), the script calls for a "Street Scene, " and the Harmount 218. flyer (Fig. 21) calls for a "Wood" scene; Mr. Baughman indicated that when the show played Circleville, the house substituted a "Woods" scene for the Street Scene. (Figs. 23 and 24 are Woods scenes from the Armbruster Collection which provides us with an idea of the appear ance of this scene.) According to Mr. Baughman, the drop in this scene was used "way down stage" perhaps in the first groove, which made it possible for the following scene to be set up behind the drop. Mr. Baughman sketched the scene change from Woods to Tavern as shown in Figure 25. Stage directions in the script call for right and left exits plus a center door. This causes sibme confusion about the actual layout of the sets, since Mr. Baughman described the set with a practical window at center stage rather than a door. The scene in the tavern is titled "Kitchen Scene" in the Harmount script. It is interesting to compare the Armbruster studio drawings of a set maquette titled "Kitchen" in Figures 26 and 27 with the script requirements of the scene. It is possible that these draw ings were for the Harmount Company. A notation on the back drop sketch (Fig. 26) reads, "Kitchen, more like a Tavern supposed to be in Ky. Put on some sale bills. Should look more public. " According to Mr. Baughman, at the conclusion of the Tavern (Kitchen) scene Eliza climbs through the window (probably on speech 180). The "six large soap boxes" included in the Harmount prop list were stacked up below the window to make her escape easier. After Eliza exits, the Woods drop is brought in again in the first grove. Fig. 23. --"Light Wood" inventory card from Armbruster Collection in OSUTC. Fig. 24. --"Light Wood Lake Drop" scenery inventory card from Armbruster Collection. 220. River Drop - can be seen through window. chair Table chair #2 T avern # 1 Woods Fig. 25. --Proctor Baughman's floor plan sketch of Woods and Tavern scenes. Fig. 26. --"Kitchen" or "Tavern" backdrop. Original in Armbruster Collection in OSUTC. 1‘SAt.EF lyMUpifC] Fig. 27.--"Kitchen" or "Tavern" legdrop. Original in Armbruster Collection in OSUTC. While speeches 183-189 are delivered in front of the Woods drop, the tavern scene is changed to the Ohio River scene. The change is described by Mr. Baughman as follows: "Now they drop a drop in front as she's headin' for the river. While they do that they strike the Tavern scene and set up the rest of the ice scene. " He described this scene as consisting of the winter back drop, (Fig. 29) some winter legs (Fig. 30) and three battens painted to appear like ice blocks. Two of the battens were rigged to hang from piano wire and the third was used as a ground row. The ground row used was cut at different angles to look like large blocks of ice. Mr. Baughman sketched the river scene as shown in F ig u re .28. Previous studies of the staging of this particular scene were based primarily on a statement made in an article printed about the company m the Columbus Dispatch. 1 7 The article was written by Miss Tipton, the daughter of the owner of the Williamsport News. According to her mother, Esta M. Tipton, she interviewed Clarence Harmount to obtain information for the article. Her description of the ice scene is as follows "The ice was canvas spattered with white paint over wooden boxes, which TO were made to move about. " It is possible that boxes similar to what Miss Tipton describes were used at times, probably in the summer show. Richard Harmount recalls the scene in his father's show, which would Alice E. Tipton, "Hitting The Road With An Ohio Uncle. Tom's Cabin Show, " Columbus Sunday Dispatch, October 23, 1938. 223. W inter back drop (Fig. 29) Ice blocks on battens hanging on wire. Ice swings from side to side in opposite directions. • 4 1 high Trunks* 3' high ice blocks on batten to stage floor winter legs (Fig. 30) *Trunks - measured 22 1/2" x 42" x 26' Fig. 28.--Proctor Baughman's floor plan sketch of Ohio River scene. 224. Fig. 29. - -River Scene of the 1952 Ohio Northern's Anniversary performance of Uncle-Tom's Cabin. The back drop only is Harmount's. According to William O. Bale, director of the production, the Harmount scenery which he borrowed for his revival was in "poor" condition. The ice drop was in poor shape so he cut the scene down in size so that only a small portion of the drop can be seen in the pho tograph. The ground row of ice seen in the above photo was constructed by Mr. Bale. The Harmount ground row was higher so that the scenery trunks could be placed behind it. 225. have been a summer performance in the late 'twenties, as a combi nation of Mr. Baughman's and Miss Tipton's descriptions: There were cakes of ice floating on the stage . . . They were no real cakes of ice, they were cardboard boxes painted to look like ice with snow on them and they attached with strings and they'd pull them back and forth like that and make them look like they were moving. In front was a water scene, like with ice see, like a small drop about two feet which would just show about up to Eliza's knees, and it showed her behind that and it looked like she was goin' across and these cakes of ice looked like they were floating in there . . . She was behind a ground drop. The cakes of ice would move, but she ~ didn't jump on them. The foot drop was on a board and they'd move it back and forth and it looked like it was moving see . . . And sometimes they didn't even fool with movin' the cardboard cakes of ice, they'd just move the drop in front a little to make it look like it was ice. . . it would look like she was tryin' to get across the ice in this water and ice scenery painted in front of there see, and it would kinda make it look like the river was movin'. ^9 Two other descriptions of the ice scene, one by Mrs. Marie Har mount and another by Russel Howard are very much like Mr. Baughman's description. Mrs. Harmount described the scene in an interview as follow s: Mrs. Harmount: It was all scenery, everything was scen ery . Question: Was there a ground row? Mrs. Harmount: Uh huh, and Eliza walked between them. I did that, with one of my kids. And the dogs behind you and the dogs were trained yah know, they just came ^interview with Mr. Richard Harmount, August, 1966. 225. have been a summer performance in the late 'twenties, as a combi nation of Mr. Baughman's and Miss Tipton's descriptions: There were cakes of ice floating on the stage . . . They were no real cakes of ice, they were cardboard boxes painted to look like ice with snow on them and they attached with strings and they'd pull them back and forth like that and make them look like they were moving. In front was a water scene, like with ice see, like a small drop about two feet which would just show about up to Eliza's knees, and it showed her behind that and it looked like she was goin' across and these cakes of ice looked like they were floating in there . . . She was behind a ground drop. The cakes of ice would move, but she didn't jump on them. The foot drop was on a board and they'd move it back and forth and it looked like it was moving see . . . And sometimes they didn't even fool with movin' the cardboard cakes of ice, they'd just move the drop in front a little to make it look like it was ice. . . it would look like she was tryin' to get across the ice in this water and ice scenery painted in front of there see, and it would kinda make it look like the river was m ovin'. -*9 Two other descriptions of the ice scene, one by Mrs. Marie Har mount and another by Russel Howard are very much like Mr. Baughman's description. Mrs. Harmount described the scene in an interview as follow s: Mrs. Harmount: It was all scenery, everything was scen ery . Question: Was there a ground row? Mrs. Harmount: Uh huh, and Eliza walked between them. I did that, with one of my kids. And the dogs behind you and the dogs were trained yah know, they just came ^Interview with Mr. Richard Harmount, August, 1966. 226. to the first scene and barked^®. . . You walked like you was on ice, ya know that's actin', but you had to learn that's what you had to do. Mr. Howard's description is similar: They had their ice scene just straight. There wasn't nothin' up to the sides and it was a little bit ragged on top and showed like ice in water, painted like that, and she went across there behind that . . . and it was painted on like the cakes were broken up not nice and even. It was painted like crooked ya know, and she was just about knee deep in it and she went across there behind that and she'd weave back and forth and run and step like she was steppin' on ice . . . They'd (the stagehands) kinda wave it (move it back and forth) you know from the sides. 21 Proctor Baughman also provided information about the staging of the scene: They took all their scenery trunks and put in between the ice battens and they jumped from trunk to trunk to getftie effect of jumping on ice. The batten in front would be swingin' this way and they'd be swingin' just opposite, done by a man on each side . . . The dogs that chased Eliza would come on the stage but they'd never go in, they were taught to lay down in front of the ground row . . . Eliza would run left to right across the ice (stage right to stage left). ^Another point which all three agree on is that the dogs never chased Eliza clear across the stage, but rather stopped at the first ground row and then at the conclusion of the scene turned on Haley and Marks. The script bears this out. ? 1Perhaps the reader should be reminded that Mr. Howard is describing the summer set which would have been differentfrom the winter set in appearance, but it probably would have worked on the same principle. 227. For special effects in the ice scene, the Harmounts carried two special lights which were used to give the illusion of falling snow and moving ice. Proctor Baughman was able to describe the snow machine in detail because he rebuilt the front of it for the Harmounts at one time when it had rotted out. His description is as follows: It has a circular disc that's perforated with little holes . . . about maybe 18 inches would be the size and it slipped on this machine. . . . Then you had a key like winds a clock on the front end. You'd wind it and that would start going right away. This disc would turn and it gave the effect of snow falling on the ground. The snow machine was set on one side and the ice machine on the other, right in the proscenium, right inside the curtain line . . . they stood about 5 or 6 feet high on stands. He had stands and everything right with them . . . just like the spots they used to use around the theatre. It was originally a carbon light, but I rigged it up with an electric pro jectionist bulb. (See Fig. 31 for photo of Harmount snow machine in possession of Robert Francis, Circle ville, Ohio. ) The total effect of the scene was, according to Mr. Baughman, one of the "best" he ever saw come into the theatre. He could recall only one other ice scene which was comparable in effectiveness. He de scribed it as having ice that "was right on the stage floor,it was built on rockers like a rockin' chair, and it would actually rock with Eliza when she'd step on them. " Tom McCallister, who acted with the Har mount Company for several seasons was probably referring particularly to the ice scene when he said: "Harmounts forced Stetson's show to 228. J Fig. 30. --Harmount's winter leg drop. Original in OSUTC. 'm h m i ' 1 l i l i f i p V -K ; < ^ z Fig. 3 1.--Harmount1 s snow machine: showing front lense and clock mechanism, center perforated disc and rear frame for the attachment Of a light. 229. fold after 1917 because Harmount had the best moving scenery and a c to rs. For the first scene in Act II, an inside set is called for. The script titles it a "Kitchen Scene, " and the "marked" flyer in Figure 21 refers to the drop used in this scene as the "Harris Curtain." There is no scenery in the Harmount collection which resembles either of these descriptions. Stage directions in the scene call for a center door and a right exit; possibly, this scene could have used the same set as was used in the Tavern, or Kitchen, scene in Act I. The repetitious use of a stock set would more likely be practiced only during the summer performances; the flyer (Fig. 21) indicates the use of different scenery which could be more easily handled in the winter productions. Act II, scene ii was played downstage in front of either a Woods or Street drop. The "marked" flyer calls for a "Street or Light Wood, " but the script calls for a Street Scene"; Proctor Baughman indicated that a Woods scene was used when the Harmount played the Grand. The choice of the Woods scene would probably have enhanced the audience's sense of believability, for after scene ii in the woods, scene iii moves to a "Rocky Pass." The imaginative "leap" needed from a "Street Scene" to the "Rocky Pass" could have been rejected by the spectators. Columbus Sunday Dispatch Magazine, January 13, 1952, p . 21. Scene ii was played on a shallow stage while the "Rocky Pass" was set up for scene iii. Mr. Baughman sketched the set pieces used * in this scene: Hill v * “’.drop ro ck Table back of rock is where Harris is located. One of the tables called for in the Harmount prop list was used for this purpose. Fig. 32.--Proctor Baughman's sketch of set rocks used at the Grand Opera House for the "Rocky Pass" scene. According to Mr. Baughman, this set of rocks belonged to the town's theatre, and usually, every theatre kept them in stock. This would account for their absence from the collection of Harmount scenery. The "Hilly" back drop used in this scene.is, however, in the Harmount collection. (See Fig. 33) Act III of the Harmount show, according to the Harmount pro grams, was not listed as having numbered scenes; the program reads: "Home of St, Clair; the arrival of St. Clair, Eva, Ophelia and Uncle Tom; St. Clair presents Topsy to Ophelia: Tom and Eva in the garden 231. by the lake: Torri waiting for the bridegroom: Death of Eva. " The "marked" flyer lists only one scene for Act III, "St. Mansion." The script lists five scenes for this act, i. e., Parlor, Street, Garden, Street, Parlor. Referring only to the "marked" flyer, one would possibly be led to believe that Act III of the Harmount show was all played in one setting; yet, by looking at the snyopsis of the act, it seems improbable that all of this action would take place in the same setting, especially the action that is described as "Tom,-and Eva in the garden by the lake." As was suggested earlier, it seems probable that the drop numbers given on the "marked" flyer (Fig. 21) did not necessarily mean that there was only one drop for that particular scene or act. Further evidence that Act III consisted of more than one setting is the Harmount photograph (Fig. 34) of Uncle Tom and Eva in the "Garden. " From the appearance of the photograph, this scene which comes in the third act was played downstage with the back drop in the first groove. The entire act certainly could not have been played in this setting. Since the script and Mr. Baughman's description of the staging do not appear to agree precisely with either the flyer or the program synopsis, one can assume, by analogy with previous evidence of the staging techniques, that Act III did utilize more than one setting for the various actions designated by the Harmount program synopsis. Scene i of Act III is a "Parlor" in the Home of St. Clair. Ac cording to Mr. Baughman, a fancy parlor set was "stock" with most theatres and therefore, would always have been immediately available. Fig. 33. --Harmount's "Rocky Pass" backdrop. Original in OSUTC. Fig. 34. - -Harmount's Photograph: "Uncle Tom and Eva in the Garden. " Original in OSUTC. (Notice that prop list A in the Appendix calls for "one Parlor set, very- fancy. ") This scene shows the arrival of St. Clair, Eva, Ophelia and Uncle Tom. In this same scene, St. Clair presents Topsy to Ophelia. The script calls for a second scene beginning with speech 583, which it titles a "Street" scene. The scene includes discussion between Tom and St. Clair and a humorous exchange between Topsy and Ophelia. This could possibly have been a house drop placed in the second groove in order to allow room to clear the parlor scene and to set up succeeding scenes. A "Garden" is required for scene iii. Referring to the photo graph (Figi 34), it appears that this scene was also played downstage possibly in the first groove, perhaps to provide working area for the setting up of the final scenes of the act. According to Proctor Baugh man, this was quite a complicated set and was used also for scenes iv and v of the same act. The description by Richard Harmount of Act III as it was staged in the summer show is as follows: The garden scene was a mixture in with the bedroom scene. It was in such a way that the bed was placed there on the stage where it'd be lookin' out in to the garden, then when Tom is sittin' there in the rockin' chair talkin' to Eva why you'd visualize it as sittin' in the garden. Then when you see it in their death bed scene she is by the window, the bed is by the win dow, they just changed the lighting. ^3 Harmount's description indicates that the staging for Act III was simpli fied more for the summer show than the winter, by cutting out extra scenery for the garden. According to Proctor Baughman, the Garden ^Interview with Richard Harmount, August, 1966. 234. set was a "house" drop. When he was shown photographs of the scenery in the Harmount collection he stated, "You've got scenery missing, " and then proceeded to describe the Act III scenery as follows: The plantation scene of St. Clair in Louisiana is a big southern mansion and it's got a bench outside where Uncle Tom and Eva go through quite a lot of their con versation when she gets sick, she has T. B. and she goes in the house, all your stage lights are killed and there's a light like a room and this part [indicating stage right] is all scrim and it shows you as looking right in this room. That's where Eva dies . . . Ophelia comes out and sees Tom layin' by the door of the Mansion and he tells her that he knows that she's about ready to die and they go inside and then you have your death scene through that scrim. Lookin' through this scrim right into this little room where she i s . 24 Later in the interview Mr. Baughman described the scene in further de tail: The back drop would be entirely a big house with southern style architecture and it [the chamber] would be over in this one side and it had like windows there but the rest of it was scrim and you'd put what we used to call a back ing that looked like a room. It was nothing but two f^ats that opened up that covered that and it looked like she was in a room. You'd have the lights turned on just in that section. So you'd be looking through the front of the house, right into her bedroom. It was very realistic. 25 When asked if Eva's bedroom was placed on a higher level, he responded, "No, because your windows were way low like French doors would be now. In other words, your scrim was down low. It 24jnterview with P ro c to r Baughman, August, 1966. 25Ibid. 235. looked just like looking through French doors." Mr. Baughman crudely sketched the scene and described the lighting as follows: House LScrim for death bed scene. In the first part of the scene, (evening) stage partly dark. For last scene, overhead lights out. Light is turned on back of scrim. Fig. 35. --Proctor Baughman's sketch of St. Clair drop. It is interesting to compare Mr. Baughman's sketch of the St. Clair Mansion with scenery inventory cards from the Armbruster Studio Collection in the Ohio State University Theatre Collection. Figure 36 is a card entitled "Cotton Field, St. Clair House." Note the "6 x 8 scrim" indicated on the sketch. Notice also the use of a scrim in Figure 37. The Harmount drop probably appeared very much like Figure 36. This use of the scrim for the St. Clair Scene was evidently a common practice. The Harmount property list called for one three-quarter bed and mattress, one pillow, and two sheets for use in this scene. Evidently, 236. Fig. 36. - -"St. Clair House" inventory card from Arm bruster Collection. Fig. 37. --"Plantation" inventory card from Armbruster Collection. 237. this was much more elaborate than what was used in the summer show. Richard Harmount described the bed used in the summer as nothing more than an army cot with a sheet thrown over it. Music was used in the final scene.of Act III. The script indicates "(Eva Song)" after speech 704. This would have had to have been either the orchestra "in under" softly or actors humming, since lines were spoken over it. The script calls for the song agaip at the conclusion of the act, but this time it indicates that the "colored boys sing Eva's song" before the "slow curtain." Richard Harmount stated that in the summer show, the entire cast sang the song from backstage. In 1925, an article in Scribner's Magazine described Eva's death scene as having "slaves on their knees . . . singing 'I wonder where my Eva's ( gone, ' " a 2 &song probably used by most "Tom" companies. Figure 38 is a transcription from magnetic tape of the song as Richard Harmount recorded it. The numbering of the scenes in Act IV in the Harmount script differs from the several program synopses. (See Appendix; compare 1918 program with others.) Two programs indicate seven scenes; the others only six. The information in the synopses about the scenes is primarily the same, but the scenes are presented in a slightly different order. The Harmount script lists six scenes in the fourth act which coincide with the 1918 program synopsis; actually, although the script merely lists "Allegory, " it would be a seventh scene, as noted in all of the program synopses. 2 A Davis, LXXVII, p. 351. 238. Fig. 38. --Eva Song. va E-ee - va, can you tell me where my Eva's ps* ...... f t t V” • > ■:f - f J --— p t t p i i u - y gone? She has gone & left me here to weep & moan. Can you tell me Fig. 39. - -Emmeline Song. D on't sell poor Tom. Don'twhere m y E v a 's gone? D on't sell poor Tom. Don'twhere rW ------1 -jfe ...... '' -f^ - j - r - t .. —0*.&—0 — --y-f-j.. f 4 J 4 ...... ^ . JV..J ------sell him I pray. .Auctioneer .Auctioneer won't you stop the sale? Fig. 40--Tom Song. H — n = 3 = T 9 W *JjM L 7 0 - 1 y 1 - * 4 ------The poor old slave has gone to rest we know that he is free. Dis- A f f\ r t \ r--*ri ]»pi f turb him not but let him rest way down in Tenn-e - see. 239. It is interesting to note that the "marked" flyer (Fig. 2.1) lists only four scenes in the fourth act and does not refer to the allegory as a "scene." This does not agree entirely with the Harmount programs or the script. This lack of agreement would lead one to believe that the Harmount show changed somewhat almost every year. Act IV, scene i of the Harmount script indicates one particular action, that of an Auction, but the scene (Fig. 41) is remembered by various titles. Both the script and the "marked" flyer label it the "Levee"; Mr. Howard calls it the Auction scene; Richard Harmount referred to it as the Steamboat Scene. The drop depicts a wharf with two steamboats at the dock, and the Harmount property list calls for a barrel, two set stumps or nail kegs, and one large book. The act opens with "colored boys singing dancing. " According to Mrs. Harmount, the music used for this was titled "Gonna Raise a Ruckus Tonight." In the first speech of the act, Skeggs shouts for them to stop, and directions are given in the script that he "rap hammer on barrel." No other stage direction for this scene is given in the script, and no other indication of music in the scene is suggested. However, Richard Harmount recalled that his mother played the role of Emmeline during one summer show and sang a second song (Fig. 39). Scene ii of Act IV is "George Shelby searching for Uncle Tom, " and the script calls for a "Street" scene. Proctor Baughman remembered using a "Street" drop owned by the "house." Figures 42 and 43 depict Fig. 41. --Harmount's backdrop: "Auction." Original in OSUTC. Fig. 42. --Street Scene in Armbruster Collec tion. Original in OSUTC. Fig. 43. - -Street Scene in Armbruster Collec tion. Original in OSUTC. 242. scenes from the Armbruster collection which shows us what the appear ance of the scene may have been. Act IV, scene iii of the Harmount script takes place on the Legree Plantation, and the setting called for a back drop and several set pieces or properties. The back drop used for the scene is retained in the Har mount Collection at The Ohio State University and is reproduced in Figure 44. ^ The Harmount property list notes the need for three bushel bas kets, an old harness, and an old express wheel which were actually used, according to Mr. Baughman. He also noted the use of another, more intricate set piece: They had a thing like a cross up in the center where it'd act as a pillar, and they'd (Sambo & Quimbo) put him with his face to it and put his hands in these places and drop the things and pin it and they actually whipped a person . . . they carried that with them. It took four stage screws to fasten it to the floor. It was on a plate. Comparing the summer show staging of this same scene with Har- mount's winter staging reveals that scenic elements of the company had improved immensely. According to Russel Howard, in 1910 the only scenery used for this scene was a pile of straw for Uncle Tom to lie on. The Legree Plantation scene opens with the negroes singing an old southern song, possibly "Swing Low, Sweet Chariot" or "Old Folks at Home. When Legree enters he shouts, "Hush up you niggers . . . , " ? 7An interesting comparison of scenery for the Legree Plantation scene can be made between the Harmount and Kibble companies by com paring Figures 44 and 45. 28 Interview with Richard Harmount, August, 1966. Fig. 44.--Harmount's back drop and leg: "Legree Plantation." Original in OSUTC. Fig. 45.--Bill Kibble's Legree Plantation scene: from an original color maquette constructed by the Arm bruster Studio for the Kibble Uncle Tom's Cabin company. Bill Kibble's "OK" and signature appears on the reverse side of the maquette. Original in OSUTC. 244. and according to Richard Harmount, he cracks his whip. The scene concludes with Emmeline threatening Legree (see speech 953), and as was previously suggested, perhaps the dogs entered here to grab the whip from Legree1 s hand as he is about to strike Uncle Tom. 29 Scene iv is missing from the Harmount script and scene v is the Legree plantation again. Perhaps this is the way the show was played at one time, without the fourth scene. This would explain the scene designation for Act IV on the "marked" flyer (Fig. 21). If scene iv were dropped, then scenes iii and v, being the same setting, would have been referred to as "Scene 3, " which would make the scene desig nated vi in the Harmount script the same as "Scene 4" on the "marked" flyer. Scene vi in the script calls for a "Street" scene, but according to Proctor Baughman a "Woods" drop was used instead. So, with scene iv missing, the staging set-up would have been as follows for Act IV: Set #1 Levee, #2 Street, #3 Legree Plantation, #4 Wood, #5 Allegory. This coincides exactly with the "marked" flyer. At the conclusion of the scene designated by the script as scene vi, this direction is given: "Business hands upright and off. " Richard Harmount stated that while this was taking place, the colored quartet sang a song from off stage (See Fig. 40). The Allegorical Transformation which concluded the show was perhaps the most elaborate and beautiful setting owned by the company. ^Interview with Marie Harmount, August, 1966. 245. We know that it consisted of numerous drops. Mrs. Harmount de- on scribed the Allegory as consisting of "about five drops of net." While looking at photographs of the Harmount scenery, Proctor Baugh man gave the following description of the staging of the final scenes of A ct IV: There's a wood scene, and the other stuff has all been moved away, that is, your plantation scene, and every thing is set for your allegory. The Woods scene is in place until Georgie Shelby leaves and then that's raised and you go into the heavens scene and that's your first scene of your Allegory. The first scene of the Allegory is the set of clouds with the Rock of Ages behind it, then the clouds are raised. [Figs. 46 and 47] Now, you've got two sets of clouds that aren't here. After Rock of Ages you've got two clouds that move. First is a cloud that covers the stage . . . then the second cloud is raised to reveal Eva standing in the small cloud circle with arms outstretched . . . You've got legs from the back to the front that are cloud-like and you keep movin' these clouds until you get clear back to this final one which lifts right in front of this little hole (Fig. 48] and its 's a cloud effect . . . There's a whole curtain there of clouds and you lift it up and that shows her standing there. That's the last one of the Allegory and then you drop the flag down for the finale right in front of him (Uncle Tom). {Fig. 49] That closes everything off and then you use your front curtain to close the show. . . All the scenery for the allegory is scrim outside of the one piece that's right in front of Eva so that you can't see her until it's raised. It was a beautiful set of scenery, all color s. 3^ Mrs. Harmount's description of the closing of the show agrees with Mr. Baughman's, "We always closed with a flag, you know. Just 30Ibid. 3 ^Interview with Proctor Baughman, August, 1966. Fig. 46. --Harmount's Cloud Drop: "Allegory 1." Original in OSUTC. Fig. 27. --Harmount's backdrop: Rock of Ages. Original in OSUTC. Fig. 48.--Harmount's Cloud Drop: "Allegory III." Original in OSUTC. Fig. 49. -“Harmount1 s 47 star flag curtain. Original in OSUTC. 248. like they close television. It's just television all over again only it used to be on a larger scale, that's all." 32 The favorite stories which people tell about "Tom" shows describe accidents encountered by Eva on her "flight" to heaven. It is interesting to note that everyone interviewed for this study had never seen an Eva flown. When asked about all the "stories" that one hears, the answer was always, "Yes ! That's all they were. " 3 3 In all his years at the Grand Opera House in Circleville, Mr. Baughman does not recall of ever having seen a "Tom" company attempt to fly Eva. When he was asked how Harmount's Allegory scene compared to other "Tom" shows that played Circleville, Mr. Baughman replied: Harmount had really one of the best. The best one as far as your lighting and everything was concerned. And the only difference between his and another one that I don't recall the name of was one where the sterioptican was used showing Eva standing up in this cloud where actually she had already dressed and gone to the hotel. They didn't make the girl stay around like Harmount did. During the Harmount show you'd stand back at the back and see the Allegory from the side. It would look awfully strange to see Eva standin' on top of a step ladder with her arms stretched out. It was a tear-jerker for the front jaudiencej though, I'll tell you. 34 Conclusion Although many writers suggest that the play was handed down through the years by "word of mouth, " research for this study indicates -^Interview with Marie Harmount. ■^Interview with Marie Harmount and Proctor Baughman. ^Interview with Proctor Baughman. 249. that each "Tom" company actually owned a script. The scripts of different companies eventually resembled one another to a great degree, because acting "Tommers" would move from one company to the next, taking with them stage business, dialogue, scenery ideas, and "char acters" that they had found to be successful with audiences. With a basic story to work with, taken generally from the George Aiken adap tation of the novel, and with the intermingling of the "Tommers, " one can assume that the "Tom" shows remained fairly alike in story line arrangement. (See program synopses in Appendix. ) The Harmount's version of Uncle Tom is more "lively" or active, and more appealing than its source, the Aiken original. The plot is rearranged to set up two separate stories rather than a simultaneous narrative line. In the Aiken original, the George-Eliza and the Tom- Eva stories are all combined as one; in the Harmount, the George-Eliza story comprises Acts I and II, and the Tom-Eva story is told in Acts HI and IV. This rearrangement of the plot actually simplifies the play and allows an audience to follow the show with a minimum of confusion. Within the structure of the play, several elements were changed, either to broaden the character delineation or to increase audience interest. First, the dialects were exaggerated. The white characters spoke more frankly in simpler words, and the negro characters spoke with sterotyped qualities, usually associated with the uneducated negro. Second, extraneous dialogue was eliminated, and important speeches were shifted about in order to give them a particular emphasis. Third, 250. by simplifying the action of the drama, characters received more focus. The audience would remember strong, broadly defined characters more than they would recall elaborately detailed action. Fourth, the Har- mounts added a great deal of "low" comedy by inserting new dialogue, by adding comic "bits" of business, and by emphasizing especially the characters of Marks and Topsy. This addition of comedy automatically gave the play an overtone of lightheartedness and fun, a direct contrast to the Aiken original which emphasized the serious subject matter. The Harmounts did not exclude the serious elements from the play; instead, they merely attempted to formulate a balanced script. If the script offered more variety with serious and comic scenes intermingled, the audience might remain interested because there was no need to hold any one emotional response for too long a period. Finally, the Harmounts incorporated several musical pieces to draw the audience's attention away from the weight of the story and the slapstick of the characters into a pleasant reverie. In general, these changes in the script were natural, for the production came to reflect the change in tastes of the early twentieth-century audience from that of a half century earlier. In spite of the fact that the Harmount script remained much the same in company productions, the staging of the show would vary from winter to summer, season to season, and even theatre to theatre. This variety in staging afforded the company an opportunity to remain fresh at their work, and this constantly renewed interest assisted them in achieving success. The company evidently maintained a professional 251. attitude toward their production, for they continually tried to improve the production, both in acting and technical effectiveness. In fact, the $2 0 , 0 0 0 worth of scenery, which they noted in their advertising, proved to be some of the most beautiful and effective scenery ever used in a traveling "Tom" show. The Harmount company was also one of the few on the road to use a "Beautiful Electrical Display, " featuring electrical snow and ice scenes. Generally, the Harmount company ultimately achieved a caliber of performance and staging known to rural communi ties as one of the "best" Uncle Tom's Cabin shows to be seen. CHAPTER VI UNCLE TOM’S CABIN: THE THEATRE'S LONGEST RUN In this day of the "short-run" play, when the survival of a pro duction for more than one season is an exception to the rule, it is diffi cult to imagine a play running continuously for nearly seventy years. According to records, Uncle Tom's Cabin opened September 27, 1852, and was not reported as having finally closed until January, 1931. * Even after this announcement, Uncle Tom was still played in some parts 2 of the country. One can only estimate the number of people who would have wit nessed the play during this phenomenal run. In 1902, it was reported that Uncle Tom's Cabin had had more than a quarter of a million presen tations, and the total attendance during that half century of its existence 3 equaled the total population of the United States, and this report was given nearly thirty years before the play finally concluded its initial run. l"Death of Uncle Tom, " Outlook, CLVII (January 21, 1931), p. 89. ^"Shed a Tear for the Passing of Long Suffering Uncle Tom, " The Literary Digest, CVIII (February 14, 1931), p. 34. F. S. Arnett, "Fifty Years of Uncle Tom, " Munsey's Magazine, XXVII (September, 1902), p. 902. 252 253. Attendance during these final thirty years did not taper off suddenly, either. In 1922, it was reported: There are at least one hundred 'wagon shows' playing the smallest towns and presenting this play; there are a dozen organizations moving by railroad playing the less important small cities. There are occasional revivals of this play in the leading cities by 'stock com panies' or by specially engaged casts. ^ In1925, another report indicates that the play was so popular that at least three or four "Tom Shows" came to the local opera housesevery season. As late as 1927 there were still at least ten Uncle Tom's Cabin companies on the road. ^ We can get some idea of what percentage of the American population had seen the play from a note which appeared in the Portsmouth Daily Times when the Harmount Company played Portsmouth in 1915. The note was titled "Uncle 'Tommed' For The First Time" and read that "Police Officer Isam Mason, despite the fact that he is forty years of age, witnessed an Uncle Tom's Cabin production for the first time in his n life, Thursday." The population of Portsmouth, Ohio, in 1915 was 23, 481. Mr. Mason's not having seen a "Tom" show was enough of a rarity to make news-print, an indication that almost everyone in ^ Advertisements of the Newton and Livingston U. T. C. Company. From James Sweetman of Circleville, Ohio. 5 Davis, LXXVII, pp. 354-55. ^Wesley W. Stout, "Little Eva Is Seventy-Five, " Saturday Evening Post, October 8 , 1927, p. 198. ^Portsmohth Daily Times, October 1, 1915, p. 28. 254. Portsmouth who was old enough to attend the theatre must have witnessed a production of Uncle Tom's Cabin at some time in his life. An article appearing the same year in the Sandusky Star-Journal stated, "It is hard to find a person who has not seen it several times. "® It would be reason able to assume that the Midwestern towns and small cities were frequented with the "Tom" shows. Why Such Popularity? Two questions come to mind when one considers the overwhelming success of Uncle Tom's Cabin. One, what unique characteristics about this play made such success possible? Two, what circumstances could eventually cause the death of a play which had run long enough to be come an American institution? Possible answers to these questions will be considered in this chapter. Why the play enjoyed such popularity. - -It would seem that since the play was so commonly known, audiences would be very critical of the production. However, the exact opposite seems to be the case. Audi ences apparently attended the play and appreciated it re g a rd le s s of the quality of the production. One writer suggests that since people saw so many productions of Uncle Tom, what they missed in one production they could imagine taking place in another. It would seem that "so long as Eliza was barkingly chased across the ice, Eva went prettily to ^Sandusky Star-Journal, March 24, 1915, p. 5. 255. heaven after telling her father to be sure to set Uncle Tom free, and q Simon Legree was villainous enough . . . they were satisfied." Numerous stories are told which point out the degree of sincerity with which audiences responded to Uncle Tom's Cabin. One is told by an Actress who recalls having played the role of Little Eva as a child. She remembers doing her death-scene one night when a heavy shower came up. The tent in which she was playing was old, and in the middle of the scene, a stream of rain came through the canvas and hit her in the neck. She explains that it was ruining her scene: Gravely her weeping sire rose, went out into the wings, returned with Marks's comedy umbrella, and, kneeling again there in the ground-floor drawing room of the St. Clare £sic Jpalatial residence in New Orleans held it over her head and let her die dry. She maintains that not one soul in the audience laughed. Nothing that was meant to be serious got a laugh out of those audiences. Even in productions that were meant to be satirical, the serious scenes were played sincerely. An unidentified newspaper article describes such a production: "Uncle Tom's Cabin" opened last night in the Lyceum in a twentieth century dress. Instead of tears, and feelings of dramatic suspense for the fate of Eliza, there was much mirth and good humor. In a way the work is a burlesque of the old sentimental play with the addition of new plantation songs and dances. Still 9Davis, LXXVII, pp. 354-55. 10Ibid. , p. 355. 256. there was no apparent sacrilege--no mockery of the pathos. Little Eva died prayerfully and beautifully. Take-offs on Uncle Tom seemed to have been popular in the early years of the twentieth century. That they were not too successful is indicated by John Mason Brown in 1933. He wrote that in "recent years, spoof revivals" had been very common. He described them as having "a way of being very funny for the first fifteen minutes or so, and then going suddenly sour." 1 2, Uncle Tom's Cabin was evidently too close to the lives of Americans, for them to be able to laugh at it too heartily. Uncle Tom's Cabin was more than just a play; it was a retelling of a part of American history. "Tom" show advertisements described it as "A drama of our country and the only one that is part of our nation’s history."^ Hellen W. Shimer in a syndicated newspaper column com ments on the audience appeal of Uncle Tom: "It gave people what they wanted . . . there was something for which they could fight. When they 14 wept, it was because a real wrong had been committed. " Elizabeth Corbett gives us further insight into the effect of the play upon American audiences of the time by describing a performance of Uncle Tom's ^Newspaper clipping from Mr. James Sweetman, Circleville, Ohio. 1 2 "Uncle Tom Authentic Americana, " Literary Digest, CXV (June 17, 1933), p. 13. 1 2Newton and Livingston Advertisements. ^The Literary Digest, CVIII, p. 34. 257. Cabin that she saw in an Old Soldiers' Home of Civil War Veterans: Halfway back in the auditorium we presently spied a coal black negro in the familiar blue uniform. He himself had been a slave, and had later fought to free the slaves. He watched the stage in absorption that was almost bewilder ment, and down his poor old black cheeks the tears were running, and drying white against the black as he winked them away, not to miss a word of the play. To him this was no troupe of poorly trained actors who went through a tiresome routine because they knew no other way to make a living. Acting itself before him eyes was the drama of his race's long enslavement. ^ When Mrs. Marie Harmount was asked what she felt was the reason for the tremendous success of their "Tom" company, she replied, "I don't know unless it was the North feelin' sorry for the South, you know the southern colored people. There was so many colored people that come up here you know. Perhaps it was this strong feeling that audiences had for the story of Uncle Tom which caused the popularity of the play to continue for so long. However, numerous other factors must also be considered. The preceding chapter suggests that perhaps the reworking of the script, the addition of comedy and the "modernizing" of some of the stilted language, may have enhanced its continued popularity. In com paring the Harmount script with the Aiken version, however, it becomes apparent that there is not an extreme amount of difference between the two. According to the Harmounts, they themselves performed "the 1 ^ Elizabeth F. Corbett, "Uncle Tom's Cabin Footnote to the Drama; America's One Folk Play, " Drama , XVI (May, 1926), p. 286. ^Interview with Mrs. Marie Harmount. 258. original Aiken version of the script"; they just, in their words, "adapted 17 it" primarily because of the extreme length of the Aiken script. Chapter II points out that the taste of audiences in the early part of the twentieth century was such that they preferred productions which included music, and familiar characters, and which combined comic scenes with serious ones. Audiences also enjoyed specialty acts between the scenes. Uncle Tom fulfilled all of these requirements and, undoubt edly, made it more than reasonably successful. John Mason Brown contemplates the success of Uncle Tom's Cabin in his review of the New York Player's Club revival of the play in 1933 in which Otis Skinner played the title role: Undoubtedly if read at home most of the foul villainies, the rusty humors and Sunday-school beatitudes of the play would seem ridiculous to say the least. They can make no claims to literary merit.They arebluntly fashioned, without regard for style or innuendo, or even common sense. But when encountered behind the footlights, and acted as earnestly as they are by the Players, they do more than hold the attention. They are humiliating proofs that Mr. Aiken knew his business--the theater's business, if you will--better than do any number of our post-Freudian and very adult dramatists who pride themselves on their sophistication and their style. Mr. Aiken knew, at any rate, how to turn out a show; to put something on the stage which, as he has dramatized it, is inconceivable off of it. Nor has his hokum lost all of its power even now. His wheezy drama was, and is, designed for suscep tible audiences; for playgoers who welcome an opportu nity to surrender to the thrill of the theater's most pal pable make-believe. He treated audiences like children on a holiday, which is perhaps the way in which they 17Ibid. 259. should, and must, be treated--at least occasionally--if the theater is to continue to be theatrical. But in the midst of much pleasant laughter at the more blatant absurdities in his writing, and in spite of the many barnstorming years his play has weathered,"Uncle Tom's Cabin, " still casts a spell over playgoers. . . . *8 The Commonweal agreed with Mr. Brown concerning the pro duction: " 'Uncle Tom' has all the elements of good theatre. Many an ultra serious revival suffers from lack of equally good play material. " 19 If the play could please so critical an audience as late as 1933, imagine the power it must have had for less sophisticated audiences a half century earlier. The play certainly contained every element that is essential for pleasing an audience. It was "Grand Drama, " complete with vital char acterization, touching pathos, appealing humor, spectacular scenes, music and dancing, and above all, a passionate and high-minded pur pose. George Aiken was able to include all of these elements in his original dramatization, and during its lengthy run, in spite of the numerous adaptations, these essential elements were always present. In the opinion of Proctor Baughman, pathos was the essential element adding to the play's popularity: "It was a tear-jerker, and any tear- jerker, I don't give a darn whether it's on stage or in pictures would make a hit. " Critically, however, the "appealing humor" that was ^ Literary Digest, CXV, p. 13. 197Richard Dana Skinner, "Players Revive Uncle Tom, " Common weal, XVIII (June 9, 1933), p. 160. 260. prevalent to some extent even in Aiken's original script was increased more, perhaps, than any other single element. Enough low comedy, particularly those scenes with Lawyer Marks or Topsy, was added not only to lengthen the scene but also to hold the interest of the viewers. Aiken's original dramatization included spectacular scenes, but even these were expanded or made more elaborate. Consider the St. Clair Mansion scene of the Harmount company, with its use of the scrim to change the scene from outside to inside. The Allegory from the earliest productions was very elaborate; however, there were producers in the large cities who tried to make it even more so by flying both Eva and Uncle Tom to the heavenly realms in flying "chariots." Of all the scenes, the "River" scene probably received the greatest changes. According to a letter from Professor George P. Howard, his grand father, who organized a "Tom" company in 1852, "wrote in the scene of Eliza crossing the ice. " 20 According to Professor Howard, his grand father did not like the ending of Act I as Aiken had written it, so he crossed it out and on the back of the page wrote in the river crossing. This was only the beginning of changes for this particular scene. In 1879, Jay Rial added hounds to his "Tom" show to increase the excite ment of the chase, and after that, theatre managers would not book companies which did not carry live canines. 21 “^Letter from George P. Howard October 11, 1966. 2 1 Birdoff, pp. 295-297. 261. The dogs became a very important part of the "Tom" show and managers began substituting larger and fiercer looking animals to fit the description given on the playbills such as "Ferocious Siberian (or Alaskan) Bloodhounds." Mr. Rial also added a donkey to the show. George C. D. Odell, in his Annals of the N. Y. Stage, cites an adver tisement of a production on the Bowery in 1891 in which alligators participated in the pursuit of Eliza crossing the ice. 22 Alligators on the ice-choked Ohio may be the most flagrant example in theatre his tory of the departure from verisimilitude in the search for sensational effect. The excitement of the "River" scene was increased in other ways besides the addition of the bloodhound chase. One French production can be cited in which the slaves were shown escaping to Canada by sailing down the Ohio river. In the course of this impossible journey, they accomplished the doubly impossible feat of "shooting the falls of N iagara. A scene which was made spectacular by the addition of music and dance, especially in the twentieth century, was the Auction scene. The scene opened with the singing and dancing of a negro chorus, which immediately gave producers an opportunity to add to Uncle Tom's Cabin 22Frank Rahill, "American No. 1 Hit, " Theatre Arts, XXXVI (October, 1952), p. 22. 2 ^A. M. Drummond and Richard Moody, "The Hit of the Century: Uncle Tom's Cabin 1852-1952," Educational Theatre Journal, IV (1952), p. 319. 262. a flavor of the Negro minstrel shows and some vaudeville routines that were very popular at the time. Mr. Neil Schaffner recalls that in a "Tom" show he remembers seeing, "the vaudeville and musical por tions of the show superseded the play itself, " and in his opinion was the major reason why people went back to see it year after year. 24 Advertisements for the 1922 Newton & Livingston "Tom" show stressed that the company contained "The original 'Georgia Shouters'. " One advertisement read: There are solos, quartettes and choruses in which the oldtime songs as well as new ones are sung by voices having the peculiar negro sweetness. There are a number of excel lent dancers and they dance among others the latest shuffle, called the 'S'wanee Shine. '^5 The addition of music was not a new innovation; however, Cordelia H oward re c a lls, "It was cu sto m ary at that tim e (jL850'sJ to introduce songs appropriate to the character and plot. " She recalls that soon after the production in New Jork (1852), her father wrote and com posed four songs: "Eva To Her Papa, " "Oh! I'se So Wicked, " "St. 2 6 Clare To Little Eva In Heaven, " and "Uncle Tom's Religion. " Of course, one must also remember that the play, for producer and manager, was a "money-getter, " and, therefore, was likely to be presented at every opportunity. It is a fact that audiences cannot ^L etter from Neil Schaffner to Dr. John H. McDowell, May 7, 1966. 2 ^Newton and Livingston advertisements. ^G . p, Howard (ed. ), "Memoirs of the Original Little Eva, " Educational Theatre Journal, VIII (December, 1956), p. 277. select the play they see; they can only express their feelings about the plays chosen for them, and Uncle Tom's Cabin was a likely one to be chosen. It had proven itself. When other plays failed to draw the audience, it could be counted upon to attract a full house, which meant more money in the manager's pocket than a full house at other plays. Conveniently, Mrs. Stowe had failed to protect herself with a copyright for the novel or its adaptations. Thus, the millions of dollars profit 27 taken in at thousands of box offices went entirely to the producers. Not only did she not receive money for the story, but also could Mrs. Stowe not take legal action against those re-writing the script. As a result, any scribbler who took a notion could dramatize the book, and any manager could stage the results. Perhaps this freedom of being able to do with the play what they wanted was added motivation for thea tre managers to produce Uncle Tom's Cabin. Had Mrs. Stowe obtained copyrights for her novel, Uncle Tom would have undoubtedly died a much earlier death. When the Harmounts organized a "Tom" company as late as 1903, it was still a money-getter. Richard Harmount recalls some of the profits made from the show: I heard that in a period of ten years they (Harmounts) had cleared $186, 0 0 0 which would be about about $18, 0 0 0 a year, and in those times that would be quite a sum of ^A n article in Mentor magazine March, 1923, speculated that had Mrs. Stowe been rewarded on the royalty basis of that day, her earnings from the play would have amounted to something like $2, 000, 000. (p. 43) 264. money. Now that would be after expenses and everything had been paid out . . . Now I know my father (Tad's show in the '20's) made pretty good money. In fact he made enough that I know that one year he paid $9000 cash for a home . . . When I was a kid I can remember him cornin' in off of the show and just to kid my grandmother Nelson . . . he'd stick hundred dollar bills all over the window 28 Russel Howard tells the story of one of the Harmount brothers, after a very successful summer tour, pushing a wheelbarrow piled full of silver dollars down the middle of Williamsport's main street to the village bank. ^9 Monetary profit from any property will attract the entrepreneur, and so long as Uncle Tom's Cabin made a profit, it was exploited by the theatre companies. Although all of these elements contributed greatly to the popu larity of Uncle Tom's Cabin, perhaps the most important element for its success was its high-minded purpose. The play was a family enter tainment which had moral and educational lessons for all underlying the basic plot, action, thrills, and humor. During the nineteenth and early twentieth centuries with a victorian spirit still prevalent in the Midwest, it is understandable that audiences would flock to see the show. Along with its educational and moral purposes, the play might have been successful because it was accepted openly by the pulpit. The play spoke out strongly and clearly for the rights of man regardless of ^Interview with Richard Harmount. 29 Columbus:Dispa-tch Magazine, January 8, -1961, p. 29. 265. color; it preached love and tolerance by concluding with old black Uncle Tom going to join little white Eva in the gloriour realms of heaven. People who had never seen any other theatrical performance saw Uncle Tom's Cabin because much of the advertisement stressed the point that the play was "endorsed by the clergy as the cleanest play ever written";^® they could attend the play for the same reasons they attended church. A writer for the Kansas City Star when asked the question, "Why does the public never grow weary of paying good money to hear this old story repeated?" replied that the play was "an expression of a negro slaves' sublime belief in the hereafter, a confidence in the truth of God, and the cruel blows of the oppressor answered by an expression of faith." 3 1 This was certainly as strong a sermon as any that could be heard from the pulpit. When the play was first presented in the 1850's, a great gulf existed between the church and the theatre. Few god-fearing churchmen would think of entering a theatre building. Uncle Tom's Cabin was a play which attracted members of all religious sects. Many would still not attend the "theatre" to see it, but it was made accessible to them in other en closures. Cordelia Howard, the original "Little Eva" in her Memoires spoke of one such enclosure: Many people who were desireous fsic 1 to see "Uncle Tom" ■^The Sandusky Star-Journal, March 24, 1915, p. 5. •^Williamsport News, April 21, 1910, p. 1. 266. would not enter a theatre, but felt no scruples about attending the Lecture Hall, . . . differing only in name from any regular playhouse. Frequent signs along the corridors to the Lecture Hall served to assure these conscientious people that they were not attending a th eatre. 32 Still another reason for the long run of Uncle Tom’s Cabin is suggested by a writer who stated, "Some six hundred actors live by this play exclusively. They are fed and lodged, work the year around . . . 1,33 The play had become a way of life for many people. "Tom" companies were highly specialized institutions composed of people who dedicated their entire lives to it. Even with the "Tom" show pro viding sustenance for its companies, the dedication of these people must have given them an ability to maintain a high caliber of perform ance in order for the shows to retain a freshness, a professionalism enjoyed by the audiences. The inner spirit of the companies could have spread to the spectators, thus allowing the shows to go on and on. A reason suggested by Mrs. Harmount for the Harmount Company's particular success was that it was a family project. She was not speaking necessarily of blood relation. She said: When we got out on the road winter or summer it was family, you know what I mean, and performers were family just the same as we were and a lot of times there was husband and wife and child . . . A lot of the times we would have the same people on the summer show that we had on the w inter show. 34 32G. P. Howard, VIII, p. 277. 33Arnett, XXVII, p. 902. 34lnterview with Marie Harmount. 267. A "Tommer" who was not one of the immediate Harmount family de scribed the company as "one of the best to work for--they fed the best ■3 C and you could count on a fair play . 11 This family attitude helped not only to keep the company members happy and hence keep them on the road longer, but it also helped to establish a clientele for the company to return to year after year. According to Mrs. Harmount they played "m ostly in the sam e towns, sm all towns they were;, and I had a lot of o £ friends out there." The Harmounts had established customers and friends across the country, much the same way that any good traveling salesman would in order to distribute his wares successfully. The company certainly had no trouble in selling Uncle Tom's Cabin. There were a few companies that evidently did have trouble. P er haps the problem was not so much a lack of ability to sell the show, but rather a lack of interest in selling it. A note from an Ohio paper in 1916 tells of Lincoln's Uncle Tom's Cabin company appearing in New Vienna to a very small house, 39 viewers according to the note, the poor attendance was a result of the company's coming in "without using any means of advertising except a few window bills which were put on the preceding Thursday." 37 Those who attended the performance de scribed it as "very good" in spite of the small house. The Lincoln •^Columbus Dispatch Magazine, January 13, 1952, p. 20. •^Interview with Marie Harmount. •^The Leesburg Citizen, August 10, 1916, p. 1. 268. Company played in Leesburg the following night to a similarly small house. The newspaper reporter there, referring to the note from New Vienna,wrote, "Same here Mr. Reporter man, those few lines are a scoop superb, and give us just another argument for printer's ink. They ^Lincoln's U. T.C. Co.J got out of Leesburg with a half hundred shekels. " 38 Perhaps the Lincoln company had believed that advertising was not necessary with a show as popular as Uncle Tom. In some com munities this may have been true. Consider, for example, the following rep o rt: Times have changed! The "Uncle Tom" that paraded the streets yesterday hadn't even an "Uncle Tom" in sight. There wasn't a "Topsy" to be seen nor was there a "Little Eva. " The nearest approach thereto was a woman in knickers who tooted a cornet in the band, but knickers don't even attract a second glance herabouts |psicj these days. But with all that missing, they got away with it. Great is the name of 'Uncle Tom. '^9 Although the name was great, the play usually had to be "sold" to most communities. In fact, it was the "bally-hoo" advertising used by the majority of the "Tom" companies to which some attribute the phe nomenal success of the play. The glorious parades through town with a band, calliope, and a chariot drawn by ponies with "Little Eva" perched on top, along with a procession of local youngsters who received "comps" for carrying banners or leading one of the bloodhounds, added up to a 38Ibid. ^Unknown newspaper clipping from James Sweetman. 269. total spectacle which many old-timers still recall vividly. The band helped further to attract crowds by playing a before-the-show concert in front of the theatre or tent. "Tom" shows, Harmount's in particular, used every possible means of advertising the show. Besides using wood-cut pictures of scenes from Uncle Tom's Cabin in their voluminous newspaper advertising, the company also used multi-colored billboards and posters which they plastered on buildings and fences throughout the countryside. As was mentioned earlier, "Tad" Harmount in later years even rented an airplane on occasion in order to have advertisements of his dropped over towns and villages in which he intended to play. The use of this twentieth-century invention to publicize a nineteenth-century play that had outlived its time was a last desperate attempt to keep Uncle Tom from dying. But despite such attempts to keep the show running, Uncle Tom's Cabin finally "passed away." Why Did It End ? Usually when one considers the fading of the "Tom" shows, he immediately assumes that motion pictures took over for mass enter tainment. Perhaps this could be so; however, it is my intention here to examine more closely the conditions which existed at the time, to see if there may have been other factors which were just as responsible for bringing about the "death" of the show. That the play is badly constructed is a point on which all critics agree. Arthur Hobson Quinn, the principal chronicler of American 270. drama, describes the play as "hopeless from the point of view of dra matic criticism. . . . The play never has been looked upon as having any literary merit. It has been described as "crude and overly- dramatic." It has also been criticized for its episodic nature, its lack of conventional coherence and unity, and its lack of ordinary preparation and follow-through in which characters are introduced without sufficient preparation and are quickly dropped once they have made their contri bution to the play. These are all criticisms about which no one will atgue, but whether or not this had any effect on audience appeal is an other matter. It is a well established fact that the majority of American playgoers know little or nothing of the art of dramatic construction, and even less about literary requirements. This condition has existed throughout the history of American theatre. If the audience is enter tained by the play, they do not care how well it is constructed or how adequately characters are introduced. Although this weakness may have kept a few intellectuals from attending the production of Uncle Tom's Cabin, it is probable that the play's poor construction had very little influence on the average theatregoer's attendance. It has been suggested by one critic that the "Tom" shows finally came to an end because the play "at last had been outgrown by shifting standards of public sophistication "4 * --it had become out-dated. This ^A rthur Hobson Quinn, A History of the American Drama, from the Civil War to the Present Day. Vol. I (New York: 1944), pp. 288-289. 41Davis, LXXVII, p. 359. 271. same critic points out that Uncle Tom's Cabin was not seen in the large cities after the turn of the century. Even though standards were becoming more sophisticated, it is interesting to note that in 1933 when the play was revived in New York, the critics were unanimous in their praise of the play in production. One would naturally assume that the praise would have come as a result of looking at the play as a curio or as pure nostalgia; however, in referring directly to some of the reviews this does not seem to be the entire rationale. Referring to a quotation used earlier in this chapter, John Mason Brown of the New York Evening Post described the play as "good theatre." He explained that "Mr. Aiken knew . . . how to turn out a show; to put something on the stage which, as he dramatized it, is inconceivable off of it." Mr. Brown continued by stating that the "hokum" contained in the play had not "lost all of its power even now, " and that the play "still casts a spell over" audiences. "The Players give 'Uncle Tom's Cabin' a chance, acting it in all serious- 42 ness so that modern audiences can revel in its claptrap joys. " Richard Lockridge of The Sun in reviewing the New York Players' production stated: Otis Skinner played it years ago, when it was not funny, and it is not funny as he plays it now. Doubtless it is no discovery that the old play, for all its stilted language and all its heavy moralism--not even for all the scarcely bearable purity of young Eva--has broad bands of grand d ra m a in it. 43 42j_,iterary Digest, CXV, p. 13. 43Ibid., p. 14. 272. Mr. Lockridge continued, "And, with here and there an exception, the members of the Players' cast are content to let it stand as a play; to play it 'straight' and with no overemphasis ..." He described in particular Elizabeth Risdon's "Eliza" as having an appeal that nothing can shake, and it is not the appeal of the curio. Several of the big scenes will get you, if you don't watch out. You may even forget that it's all old hokum. The slave-market scene, for example, is stirring drama in which the violent taking of sides is unavoidable. Mr. Skinner is in this scene as in so many others, quietly moving. You will find nothing to smile at in the dumb appeal with which he turns toward his white friends as JLegree bids against them. 4 4 Mr. Lockridge concludes his review with the statement, "It is not only 4 S authentic Americana; it is in its own right a pretty grand evening." Barnard Hewitt in 1951 stated after having critically studied the play of Uncle Tom's Cabin that he felt the play "might be worth a serious revival today, " because the play speaks out so strongly for the rights of man regardless of color. Mr. Hewitt felt that "it is possible that it would seem more relevant to our present [l951Jproblem of descrimi- nation" £sicjthan contemporary plays dealing with the subject, his reasons being that the play "preaches love, which is greater than toler ance, and it also preaches rebellion [through the character of George Harris! , that too sometimes leads to good." In light of the increased 45Ibid. 4^Barnard Hewitt, Uncle Tom and Uncle Sam: New Light from an Old Play, " Quarterly Journal of Speech, XXXVII (February, 1951), p. 70. 273. problems of discrimination and intolerance in the country today (1967), it is possible that Uncle Tom's Cabin might still be "worth a serious revival. " This possibility would seem to indicate that the play did not close because it became "outdated. " There must have been other re a s o n s . Some have suggested that the reason for the final death of the "Tom show" was the inferior production that it received in the twentieth century, but this seems to be an unjustified generalization. We know from the study of the Harmount Company that there was at least one company on the road which took pride in their production and strove to give their audiences a quality performance, and there were numerous other companies on the road in the 1 9 2 0's with exceptionally fine pro ductions of Uncle T om ,^ Perhaps an inherent trait in audiences is the remembering of bad performances or disasters on stage more than the remembering of excellent productions. As a result, the disaster stories are passed on from generation to generation and seem to indi cate a large number of unpolished performances. Such disasters in clude the following: "Little Eva" getting caught in the fly rope that takes her to heaven and left dangling up-side-down in mid-air; dogs falling into the Ohio River and climbing out "dry"; or "Uncle Tom's" white skin "shining-through" his black makeup on the back of his neck I ^Interview with James Sweetman and Proctor Baughman. | i i i i 274. or wherever, as a result of the actor's not being meticulous in his application of burnt cork. Although some historians would have us believe otherwise, "bad" acting was not necessarily the rule in Uncle Tom's Cabin productions. The "acting" in the Harmount Company certainly could not be classified as "bad. " There are too many reviews available which indicate the opposite, and the Harmount Company was undoubtedly not the only com pany with competent actors. With as many companies as there were touring the country, there would have been plenty of "good" and "bad" acting. In 1922, it was estimated that almost every actor on the American stage had, at sometime in his career, played a part in 48 Uncle Tom's Cabin. Therefore, one can assume that many audiences would be exposed to different qualities of acting, and each company most likely had its share of good, adequate, mediocre, or poor actors. The caliber of acting would not really affect an unsophisticated audience's reaction to a performance as much as other factors would, such as staging or scenic effects. Commercialism has been blamed by some historians for the death of Uncle Tom. A1 W. Martin in particular is singled out by one writer as "the man of accursed memory who walked out on the limb and then 49 saw ed it off, " 7 by inserting the wedge of commercialism into Uncle 4 ®A. B. Maurice, "Uncle Tom's Cabin--play that goes on forever," The Mentor, XI (March, 1923), p. 43. 49Corbett, XVI, p. 286. 275. Tom's Cabin with his proclamations of " 'two little Evas and two Topsys, ' not to mention 'fifty thousand dollar production'." Perhaps this destroyed the play from the point of view of the drama critic, but it certainly did not harm its appeal for the naive theatre-goer. He was probably just as apt to spend his money to see two Topsys as he was to see only one--per- haps even more apt. The conjectures on the fading of Uncle Tom's Cabin discussed above remain merely invalid opinions, for little practical evidence can be presented fo substantiate them. However, the show could have died for other, more realistic reasons. One of Mrs. Marie Harmount's replies to the question of what caused their company finally to close was tha.t "We finally closed just because there was no theatres anymore." She undoubtedly was referring to their winter show, which closed permanently during the 1 9 2 1 - 2 2 s e a son--several years before their summer show closed for good. What Mrs. Harmount meant by "no theatres" was not that they suddenly stopped existing physically, but rather that they were either closed or were converted to motion picture houses. It is assumed, therefore, by most historians that motion pictures were the cause for the closing of theatres in general--which would, of course, affect Uncle Tom's Cabin. In looking more closely at some of the conditions that existed at the time, it becomes clear that perhaps the motion pictures are given more credit for the theatres' closing than they deserve. Consider the 276. following article which appeared in a small Ohio city newspaper in 1915: It is a well recognized fact that the regular theatrical business has been poor for several seasons and scores of companies sent out of New York at the beginning of the season are often back in a few weeks, forced to close be cause of poor patronage. The movies have been charged with responsibility for this condition. A newspaper woman who made an investigation recently and interviewed dozens of theatrical managers and scores of show patrons, has concluded that it is not so much the movies as it is the poor shows sent out of New York for the "province^'to accept as their entertainment. Bucyrus has shared the experience of other cities in the matter of patronage of the "legitimate, " but what has hap pened in many other places has not occurred here. The Bucyrus Opera House has remained open every season, though there are a thousand theatres closed in cities of this size and larger, over the country. ^0 Another point which deserves consideration is the condition of the physical theatres themselves and the caliber of management. An article written by Mr. J. L. Peltret in 1921 chastised audiences for not doing something about conditions in the theatres back of the curtain lines. The article described the "unclean, badly ventilated dressing rooms, unsani tary toilets, the general filth found backstage in many theatres" as "appalling. ^ Mr. Peltret pointed out that many reputable actors refused to play outside the larger cities because of existing conditions. He told of a star of international fame who played in the capital city of one of the largest states in the Union: "Conditions on the stage were so unsanitary that she wrote to the governor of the State denouncing them as an outrage 50 The Bucyrus Evening Telegraph, October 2, 1915, p. 6. 51j. L. Peltret, "Pitiful Plight of the Provinces, " The Drama, XI (August, 1921), p. 429. 277. to public decency and a danger to health. " Mr. Peltret states that when he visited that particular theatre a year or two later, he found the conditions unchanged. Tom McAllister who acted with the Har mount Company tells a similar story of conditions that existed "on the road." The theatres were dirty, and Mr. McAllister described the hotels at which actors were forced to stay as "dirty--some of them C O rat and spider infested." Certainly an actor with any pride would have found it difficult to live under such conditions. In discussing "The Pitiful Plight of the Provinces, " Mr. Peltret stated that the incompetent theatre manager was "the rule rather than the exception, " and the unsanitary conditions that existed in many theatres were undoubtedly a result of poor management. To illustrate further the incompetency of theatre managers he wrote: Let me briefly outline the details of arranging for a one- night stand engagement, as relates to this discussion. Some weeks before an attraction reaches a town the ad vance agent sends material to the local manager including press matter and cuts for the newspapers together with printing for the billposters. On one-night stands the ad vance agent can spend only one day in each town and arrives seven to ten days ahead of his attraction. It is not unusual for him to find unopened the material he has sent, including that which was to be used in advance of his arrival. If experienced he is hardened to this, hopes for the best, and proceeds to arrange for a scale of prices, draw up an advertising schedule for the newspapers, see that the printing is on hand for the billposters and to call, if time allows, on the newspaper editors. He lays out a 52Ibid. 53The Columbus Sunday Dispatch Magazine, January 13, 1952, p. 20. 278. campaign for the local manager to execute after his departure. How many, many times the attraction reaches the town and the company manager finds that practically nothing arranged for by the advance man has been attended to. The public has not been definitely informed of the attraction and, unless it is one of great fame, 54 business is bad and the town, to use a vulgar vernacular phrase, becomes known as a rotten show town. The truth is that there may be business and good business in that town for the attraction. It is not the town which is rotten, it suffers through rotten theatre management. 55 If these conditions did exist, and we have every reason to believe that they did, it is understandable why so many producers gave up trying to tour their shows. The two causes given most credit for the death of Uncle Tom by the majority of critics are the development of transportation and the motion pictures. The automobile enabled people to travel more, and with this increased mobility people could drive to the large centers to see "bigger and better" attractions, and hence it is assumed that they became more critical and were no longer satisfied with the small town productions that they had been seeing and appreciating for years. The only fault with this assumption is that when the theatre was healthy, many of the productions which played the large cities also traveled to to the smaller ones to perform. The only people who were seeing "quality" productions for the first time were from the extremely small villages or rural areas. ^T his could be one reason why Uncle Tom's Cabin was played so often by opera houses. It was famous and therefore required less ad vanced advertisement in order to attract a crowd. 55P e ltre t, XI, p. 429. 279. Although most historians blame the motion picture for the destruction of live theatre, this phenomenon is overemphasized. Film production happened to increase during the 'twenties and happened to fill the gap made by the dearth of other forms of entertainment. The fact of coincidence has become an incorrect statement of cause and effect. If one is to remain objective about the closing of the "Tom" shows, he can realistically attribute the causes to those producers who sent out poorly organized productions and to the incompetency of theatre managers who mishandled their responsibilities. Also, certain financial complications created disillusion for those producers anticipating large profits. Such realities as higher railroad fares for transporting actors from town to town and actors' unions which demanded higher wages for performers depleted the producer's profits. Mrs. Harmount stated that these were certainly some of the major reasons for the Harmount show finally coming to a close. After the Harmount company split, it was necessary to hire almost all union actors, and the producers just could not afford to maintain the production. Then, because of these increased expenses, admission prices were raised which caused further competi tion from the comparatively inexpensive movies. And then, just at the moment when the companies were struggling against higher costs, poor audiences, and chaotic management, the Depression with its overpowering destruction finally forced the travling shows out of business. Uncle Tom's Cabin, the Harmount company, and a unique theatrical tradition ended. 280. Conclusion Uncle Tom's Cabin enjoyed nearly seventy years of vibrant life in the American theatre. It was "good" theatre for many audiences during the latter part of the nineteenth century, and it remained "good" theatre for the provinces up through the first quarter of the twentieth century. Specifically, the Harmount script and production brought new life to the very familiar, very old story. Audiences thrilled to the chilling episodes of the Auction Scene, the River Scene, and the Rocky Pass Scene. They wept with sympathy for the deaths of Eva and Tom; they became angered over the actions of Simon Legree; they shrank back in their seats when the dogs tried to attack Eliza; and they laughed with relief over the antics of Marks and Topsy. Also, the audiences thor oughly enjoyed the scenic spectacle, the use of special effects, and the band. A few hours at a Harmount Uncle Tom show simultaneously ful filled the numerous needs of audiences. The play was approved by the clergy because it possessed moral and educational implications and was not merely a frivolous night at the theatre. The actors, at first, were dedicated "Tommers" who worked diligently to improve their entertainment. The Harmounts themselves worked winter and summer to add improvements to the staging and acting of the script, sometimes investing large sums of money to make the production even more appealing to spectators. In addition, the Har mount show, initially, was a strong family enterprise. All members of the family would be affected by the success or failure of the venture; 281. a pride in the show evolved to such a degree that keeping the Harmount name associated with high quality helped to drive the company on to greater heights. In general, with the stamp of approval given by the clergy and with the determination and unity of the Harmount family, their Uncle Tom's Cabin Show represents more than a play; it repre sents a part of American theatrical history. As noted in this chapter, the "Tom" shows gradually declined in popularity and along with them, the Harmount Company. Several con jectures can be made regarding this disintegration. Despite its wide popularity, the play itself was poorly constructed. It was too episodic, and characters were overly stereotyped; verisimilitude was lacking. As progress came to the provinces, so did a certain amount of sophis tication, and with a more critical audience, the play seemed antiquated. Many companies lost money because of poor productions, bad actors, and incompetent theatre management. The Harmount Company certainly suffered from an awkward script which was becoming less interesting to more critical spectators, and they suffered from poor theatre management, but their high quality in production remained fairly consistent. However, other demands hurried the company on towards a final closing. The company suffered from mechanical problems with their equipment and trucks, higher rail road fares for the traveling company members, increased salaries of "outside" union actors and specialty men, and higher admission prices which few people wanted to pay. With the increased mobility of the 282. majority of the population and with the increased popularity of motion pictures, interest in "Tom" shows dwindled rapidly. World War I put the minds of potential audiences onto more serious matters; the Depression affected the whole complex of society, in which there was no longer room, desire, or need for a "Tom" show. Exit the Harmount Uncle Tom's Cabin Company. CHAPTER VII GENERAL SUMMARY AND CONCLUSIONS In a 1927 interview an elderly "Tommer, 11 in speaking of the American "Tom" Show, stated, " 'They ought to build a new wing for us at the National Museum down in Washington, or somewhere, and bury us in Arlington . . . Boy, we're historic I' "* In the years since 1927, all of the "Tom" shows have come to an end, but in spite of their "histor.icalnes s" they have seldom been acknowledged as an important part of American theatre; therefore, it has been the intention of this study to serve as a record in tribute to the American theatrical institu tion of "Tomming" by presenting a detailed history of a twentieth-century "Tom" show. The story of the growth and development of Harmount's Uncle Tom's Cabin Company and the analysis of the company's play script and their staging practices have been the primary concern of this study. However, preliminary to the discussion of the Harmount com pany, the study examines the theatrical activity in early twentieth-century rural Ohio, in order to establish for the reader the type of entertainment that was available to the average rural midwestern community. This examination provides an understanding of both the locale and the period ^Stout, p. 201. 283 284. in order that a clearer understanding may be achieved of the role Uncle Tom's Cabin played in one particular segment of American theatre h isto ry . Following the examination of rural theatrical activity, a year by year description of the growth, development, and decline of the Harmount company has been presented through information obtained from newspaper accounts of the period, magazine articles, personal interviews with members and friends of the company, and from documents, letters, and business records of the Harmount family. The Company's history has been followed in the study by a detailed analysis of the play Uncle Tom's Cabin as it was staged by the Harmount family. The analysis compares the George L. Aiken version of the play with an authentic "Tom" script used by the Harmounts when they performed the play. Also considered in the analysis is a scene by scene description of the staging employed by the company. The description of the staging has been illustrated with photographs of the actual scenery used by the Harmount Company. The study concludes with a discussion of possible answers to the questions: "Why such popularity?" and "Why did it end?" Uncle Tom's Cabin in the early twentieth century, although of relatively little importance in the metropolitan areas of the country, still held considerable interest in the rural communities. The "Tom" shows which began in the 1850's were reported as dying out in the 1870's, '80's and '90's, but the shows continued on into the twentieth century. A point of considerable interest is that the Harmount "Tom" company, 285. with whom this study is concerned, did not begin until 1903, a time when "Tom" shows were supposed to have been well on the way out. The early success of the company resulted primarily for two reasons. First, the Harmounts took entertainment into amusement- starved communities. Uncle Tom's Cabin was an obvious choice since many of the towns which the company visited were inhabited by pious people who were restrained from attending many theatrical entertain ments because of their religious beliefs. Uncle Tom's Cabin was an exception; it had a "Christian moral" to teach. Second, the Harmount family members welcomed others into the company by promoting interest in their personal welfare. The outsiders, then, felt comfortable working and traveling with the family circle. Many company members acted in both the winter and summer shows, thus expanding the overall "family spirit" which gave the Harmount Company a unique closeness. This tightly knit group worked well together and each member had a desire to work diligently for the success of the production. The Harmounts' established their "Tom" show primarily because the play was a proven moneymaker and was almost sure to provide the family with a living. This classified them as "opportunists" rather than "artists." Their concern for the "fast buck" was undoubtedly looked up on by professional actors of the day with great disfavor. Interestingly, however, as the Harmount company gained success, their attitude seemed to change. Uncle Tom's Cabin apparently was no longer some thing to be presented just for monetary gain, for the company eventually 286. developed a certain pride in their performance which drove them to continual improvement of every aspect of their production. "Elegant" scenery was purchased, and the acting in the company improved. Re views of their show during what was probably their peak season (1917-18) indicate that the members of the family had gained finesse and polish in their skill as performers. The lack of "professionalism" which the family exhibited in their early years had finally been overcome at the peak of their career, and the excellence of performance achieved should certainly have earned for them the title "professionals, " whether or not more sophisticated actors of the day would accept them as such. The professional attitude undoubtedly accounts for the company's achieving considerable success even in a few larger cities. The company appears to have reached their peak of excellence in their performances from 1917 to 1920 in their winter tours of the Eastern States. The company had improved continually from their first season in 1903 until they reached a standard of quality which made them com parable to the "Big" Uncle Tom show of the day, Kibble's Company. After the family reached this peak, they gradually declined until the Harmount shows finally closed in 1929. Several factors brought about this decline. The company, which had grown out of a rural community and at first used strictly local people, through their desire for improved performance gradually brought outsiders into the show. As the percent age of outsiders in the show grew, the company lost that family unity which had contributed to their early success. With progress, success, 287. and a desire for more profits, the company was also motivated to split into two companies, and a fleet of trucks was added--both of which brought additional financial strain. While the company was in debt for this new equipment, the United States entered World War I which created a shift in the attitude toward entertainment by the country's citizens. The Harmount company was forced to remain home during a winter sea son because they were not able to hire adequate help, and the attitudes of the audience members were such that a traveling show was not really welcomed. Added to these difficulties were both the increased popularity of the motion pictures and the availability of transportation. Too, audi ences for which the Harmount company performed were changing as their need in entertainment altered. Uncle Tom's Cabin, which had once served a very important part in their lives by providing "acceptable" entertain ment, was no longer necessary. The small communities were becoming, through the increased opportunities of travel, less provincial; hence, they were beginning to attend and appreciate other entertainments. From the peak of the Harmount family's career (1917-20) until the shows closed nearly nine years later, there was a gradual decrease in both audience appeal and in the excellence of the company's performance. By 1929, according to Marie Harmount, there was no longer any money in the Uncle Tom show enterprise. This undoubtedly,resulted from both the audience's change and from the gradual decline of the Harmounts' pro duction standards. Uncle Tom's Cabin was no longer a moneymaker, and it was no longer needed by the rural audiences as a major source of 288. entertainment. The play which had begun in 1852, had, after more than three-quarters of a century, more than fulfilled its purpose. A PPEND IX A THE HARMOUNT FAMILY Albert Luther Harmount (father)--organizer of the Uncle Tom's Cabin Company. Clarence T. "Harmie" Harmount (first son, no birth record available, probably born in 1875)--played Uncle Tom in the Companies later productions. Married Nellie Lott, divorced, no children. Ida Harmount(b. April 3, 1877 "Cora" on records, d. 1891). ^ Lebbie (Harmount) Peters (b. January 10, 1879)--played female roles. Married Jack Peters. Moved to New York where she acted in motion pictures at the Biograph Studios. George Harmount (b. December 30, 1880)--played Legree and acted as tent boss during summer tours. On some winter tours he served as director. Married at age 40 to Catharine A. Mowrer, aged 42 years. No children. Denman C. Harmount (b. June 18, 1883)--played Marks, talented musician, taught music. Married late in life to a nurse from Chillicothe. No children. Anna (Harmount) Cherryhome (b. March 6, 1885 "Lewetta" on records)-- played female roles with company during early years. Married Milt Cherryhome. Charles Bryner "Tad" Harmount (b. August 6, 1887)--served as advance man for the company. Business head of the winter enterprises. Organized "Tad's" Uncle Tom's Cabin Company. Married Marie Nelson, had three children, two daughters and one son (Richard). Marie (Nelson) Harmount (wife of "Tad")--performed with the company from 1911 to 1929. She excelled in the role of Topsy. 1 ^Birthdates taken from Pickaway County Probate Court records in Circleville, Ohio. 290 A PPEN D IX B THE HARMOUNT PLAY SCRIPT FOR UNCLE TOM'S CABIN Act I Scene i, Woods. "Meeting of George and Eliza. Uncle Tom's cabin; flight of Eliza. Enter Eliza L 3 Haley R. 2 C Meet Center. 1. Haley: Hell gal who are you looking for ? 2 . E liza: I am looking for my master sir. 3. Haley: Who is your m a ste r ? 4. Eliza: Mr. Shelby is my master, sir. 5. Haley: Well you're a fine looking gal. How would you like to have me for a master ? 6 . Eliza: Sir ! I do not understand you. Let me pass. 7. Haley: Not until you have given me a kiss. (Grabs Arms) 8 . E liza: Help! Help! (George Harris enter R. 3E. Throws Haley to right front, turns to Eliza) 9. George: Are you hurt? 10. Eliza: No, George. 11. George: What were you doing with my wife? (turn to Haley) 12. Haley: Well she's a slave isn't she? ^Scene descriptions taken from scene synopsis in Harmount program from "Grand Opera House. " See Appendix C. 292 293. 13. George: Yes she's a slave, but she is my wife and demands my protection. (Embrace Eliza and Harris) 14. Haley: Insolent slave, I'll (attempts to strike George with whip. Harris grabs whip, throws it on floor) 15. George: Take care or the slave may have a chance to chastize it's master. Your business is with Mr. Shelby I believe. Yonder is his house now go. (Points off right) 16. Haley: (Picks up whip. George turns to Eliza, Haley draws knife Eliza screams, George turns, Haley drops knife makes exit backward) Curse you George Harris you shall repent for this insult some day, and don't you forget it. (exit R2 E) ^Right second entrance^. 17. George: Ha Ha threats are like chickens, they come home to roost. Well Eliza I have come to say Goodbye for I am going away. 18. Eliza: Going George! Going where? 19. George: Going to try and find Canada. 20. Eliza: Well George if you must go, goquietly and care fully and may heaven bless you. 21. George: Well, Eliza, Goodbye. (Kiss start off Right) 22. Eliza: But George, our boy. 23. George: True I had almost forgotten him, come let's take one last fond look and then farewell forever. (Exit both Right 2nd) 24. Haley: (backs on stage from Right 3 gets knife) Curse you George Harris, little do you know I bought that brat of a kid of yours, and some day I'll buy you. And when I do you'll repent the day you ever insulted Tom Haley, (exit L. 2) 294. ^Summer Show started here.J ^ Eliza Enters Right 2 with Harry 25. Cloe: For the lands sake who am that out thar ? 26. Eliza: Tis I Eliza. 27. Cloe: Bustle up old man get on you panaloons for I's gwine to open the door right away. 28. Tom: All right Cloe. I'se a coming right along (enters Tom and Cloe Left 4) For the lands sake if it hain't Eliza. Why whats the matter child has you done took sick or what has come over you. 29. Eliza: I am running away Uncle Tom. Carrying with me my child Harry, the master has sold him. 30. Cloe: Sold him! 31. Eliza: Yes sold him. I crept into Missus Chamber last night and I heard master tell Missus that he had sold my child Harry and You and Uncle Tom both to a slave trader and the man is to take possession tomorrow. 32. Cloe: Now what's my old man done that Master want's to sell him ? 33. Eliza: He haint done anything Aunt Cloe it isn't for that that master wants to sell. I heard Missus plead and beg for us both, but he told that it was no use that he was in this man's debt and if he did not sell then it would end in having to sell all the things on the place and move off. 34. Cloe: Now what are you going to cry for old man you want to break this poor old woman's heart, (cries) 35. Eliza: I saw my husband this morning. I little knew then what was to come. He told me he was going to try and run away if you see him you must give O Act I Scene ii according to 1918 program, but not according to later programs. my love and tell him if we we never meet again on earth I trust we shall meet in heaven. Tom: That's right Eliza put your trust in the good Lord, He is our best friend, our only comforter. E liza: And you won't go with us Uncle Tom? Tom: No, No Eliza child. Time was when I would but the good Lord has given me work here among the poor people and I must bear my cross to the end. Cloe:: Now old man you going to be toted down the river where they kill niggers by hard work and starvation. Come I'll bustle up your clothes ready and you go with Eliza. Tom: No, No Cloe I haint going. Let Eliza go if she wants to it's her right and I wouldn't want to be the one to say No, but you heard what she said, and if I must be sold why let me be sold. I expect I can bear my cross as well as any of them. Master always found me on the spot and he always will. I never broke my trust nor used my pass no ways contrary to his will and I never shall. It is best for me to go alone. Cloe than for every thing on the place to go to rack and ruin. Master haint to blame Cloe, and he'll take care of you and all the little one's when I am sold away. Cloe: I expect you are right old man youse are always right. E liza: Uncle Tom you give us your blessing. (Kneels) Tom: May the good Lord watch over you guide and protect you on your journey. And that am my prayer Eliza, that am my prayer. E liza: Goodby Uncle Tom. Goodbye Aunt Cloe. Farewell my dear old home, sweet dreams of the happy past farewell, fare-well forever. (Exit right 2) Cloe: Take good care that Child Eliza take good care that child now old man. And what's going to become of the rest of us niggers I'd like to know. 296. 46. Tom: Cloe you know him who saved Daniel from the lions den and saved the children from the fiery furnace, him who walked on the sea? He am still alive and I have faith to believe that he can and will deliver me. So come on into the cabin Cloe and have patience like poor old Job. (Exit cabin or E 4) 47. Cloe: Job, Job the devil! He never had no half dozen niggers hanging on his petticoat tails. Now that's what come from those devilish nigger traders. If the devil don't catch those devilish devils what in the devil is the devil good for any way. (Exit C or 4) Act I Scene ii, Street Scene. ^ "Eliza Meet Phineas" Enter Phineas Fletcher right 48. Phineas: Well, here I am and a devil of a hobble I've got myself into. I promised my gal Ruth I'd meet her on the adjacent bank of that pesky river, but how in the tarnation am I to do it. It's all riled up like a cat and still a rising, it's like a ice cream freezer in a tetotal state. Well, she'll be in my hair if I don't, so rile up there you old varmint and shake the dust off your back. (Exit left Enter Eliza Right) 49. Eliza: Courage my child your mother will save you yet. Look the river is one mass of floating ice. Oh Harry my child, what shall we do ? What shall we do ? (kneels) 50. Harry: Put your trust in God mama, that's what Uncle Tom s a y s . Enter Phineas Fletcher left 51. Phineas: Why hello gal. What seems to be the matter? ■^Grand Opera House used a Wood's Scene instead of Street Scene. 297. 52. E liza: Oh sire is there any ferrys or boats going across this evening. 53. Phineas: Well, I reckon not gal. The boats have all stopped running. 54. E liza: Stopped running ? 55. Phineas: Yes. But what's the matter, some one took sick and you want to get across ? 56. E liza: Yes, I have a little child who is in great danger and I hadn't heard of it until last evening, so I would like to get across. 57. Phineas: Well, say gal there is an old friend of mine down the road here that is going over with a load of truck tonight. That is if he darst to. He'll stop at a little tavern down the road here. You come and go with me and I'lTsee if I can't get him to take you cross, so come right along gal. Act I Scene iii, Kitchen Scene. "Haley engaged Marks to run down Eliza and her child. " 58. Phineas: Well, gal here's the tavern, but say, that's a right smart looking chap you have there. I say young ster, what's your name? 59. H arry : Harry Harris Sir. 60. Phineas: Harry Harris hey? Well I say, Harry won't you have a chaw of tobacco ? 61. H arry : No thanks, I don't chew. 62. Phineas: Oh, you haven't come to that yet, well I have and don't feel none the worse for it neither. But what's the matter with the youngster? He looks kind of pale around the gills. 298. 63. E liza: Yes, poor little fellow, he is not used to walking and I have hurried him on so. 64. Phineas: Tuckered out hey? Well gal, there's a little room with a fire in it. You take the babe in there warm his nose and toes call for anything you want to eat or drink and I'll stand the damage. 65. E liza: Oh sir how can I thank you for your kindness to a s tra n g e r. 6 6 . P hineas: Well gal if you don't know how why just don't try so come, get, vamoose ! (Eliza goes into room) Well, there goes what I call a fine gal and a No. 1 sort of female, but I can't lay around here all night waiting on that ferry man. Never. (Exit) Enter Marks Center Door 67. M arks: Boo, boo, boo, just fell off a Xmas tree cold, cold, devilish cold, what a good night for a bracer (Phineas comes up from behind taps Marks on shoulder) don't shoot, don't shoot. 6 8 . P hineas: Why that ain't a shooting iron that's chewing tobacco. Won't you have a chaw? 69. Marks: No, thanks I don't chew. 70. P h in e a s : You better chew. 71. M arks: I don't choose to chew. 72. Phineas: Well I say chaw, (draws gun) 73. M a rk s : Oh, I changed my mind right now. (Chews, spits out) 74. P hineas: You don't p em to like my tobacco. 75. M arks: No, I haven't come to it. 76. Phineas: Well suppose we have a little gin. 77. M a rk s : Now you're hitting me in a tender spot. 78. Phineas: Just squat yourself and we'll go for my ointment. 299. 79. M a rk s : If there is anything I like to do its squat. 80. Phineas: First tell me who you are, what you are, where did you come from, and where are you going. 81. M a rk s : I'm a lawyer, my name is Marks, I came from no where and I am going right back to the same p la c e . 82. Phineas: A liar sir ? 83. M arks: A law yer. 84, Phineas: Oh well I don't think none the worse of you for it, for you see the laws of unnecessary evils are like an old stump without fungus. So take a holt lawyer and fill up and I'll spin you a little toast. 85. M a rk s : Well, if there is anything I love its eggs on my toast, 8 6 . P hineas: Well here's hoping that the path of your true love shall never have an ice choked river to cross as mine has tonight. 87. M a rk s : Well, here goes the ice choke, river and all. 8 8 . P h in e a s : Let her flicker. 00 ' O M arks: So you want to get across the river. 90. P hineas: Yes the fact and the matter is that I have fell in love with the prettiest gal on the other side that ever wore a quaker bonnet. Sit down. 91. M arks: I am sit. 92. Phineas: What'll you have. 93. Marks: A little gin. 94. P hineas: Help yourself. 95. M a rk s : I don't care if I do. (drinks) So you fell in love with a quaker bonnet. I 300. 96. Phineas: No, a pair of pretty black sparkling eyes beneath the bonnet. 97. M arks: I suppose you gave them to her. 98. Phineas: No, you see the way of it was like this, I used to own a bunch of niggers and had them work on my plantation until my gal Ruth said she wouldn't have a thing to do with me as long as I owned a pesky nigger. Sit down. 99. M a rk s : I am sit. 100. P h in e a s : What'll you have. 101. M a rk s : A little gin. 102. Phineas: Help yourself. 103. M a rk s : I don't care if I do. (drinks) Well I suppose you sold them all. 104. Phineas: No, I gave them all their freedom and told them to skip, skedaddle, and vamoose the ranch. 105. M arks: I suppose this act of generosity on your part gained for you the lady's love. 106. Phineas: Wrong again. 107. Marks: Always wrong. 108. Phineas: She said that she wouldn’t have a thing to do with me unless I became a quaker. She told me to come over tonight and give my final word and I'll be tetqlly chawed up if I haint made up my mind to do it, chawed up if I haint. Sit down. 109. Marks: I am sit. 110. Phineas: What'll you have. 111. M a rk s : A little gin. 112. Phineas: Help yourself. 113. M a rk s : I don't care if I do. 301. 114. Phineas: Now see here lawyer, if you don't quit your bobbing up and down when I am talking to you I'll knock you down. 115. Marks: Yes you will! (jumps up) 116. Phineas: Yes I will! (jumps up) 117. Marks: I said you would, (sits down) You sorta surprised? 118. Phineas: Well you see I sorta surprised myself for you see I am not the sort of stuff you make a quaker out of. 119. Marks: No, I should say not. You would make a better horse thief. 120. Phineas: What's that? 121. Marks: Oh that, a little joke on myself that's all. 122. Phineas: Well you had better be a little careful qbout your jokes that's all, but there's the bottle help your self and when that's gone call for more. If you don't, I'll rip you up for I am in a ruinationous state. (Exit R. 2.) 123. Marks: So would I be if he would rip me up, well his heart is in the right place, but his head is wrong. He said for me to drink all I wanted and he would stand the damages so here's looking at you, chaw-me-up. (Haley enters Left) 124. Haley: Well here's luck the very identical fellow I've been looking for. I say Marks put that down, (slaps shoulder) 125. Marks: Well hain't I putting it down? 126. Haley: I guess you were about that time. 127. Marks: Why hello Haley old boy what brought you up here from New Orleans ? 128. Haley: Well, you see, the fact and the matter is I bought a kid the other night from old man Shelby. The mother gets wind of it and cuts here. Lucky 302. now I've tracked the fool gal to this very spot and I'm afraid she's took the kid and got across the river by this time so I want to get you to help catch them. 129. Marks: So you want me to help catch the gal. 130. Haley: No, hang the gal it's the kid I want. Oh I was a fool for ever buying the brat anyway. 131. Marks: You always was a fool. 132. Haley: W hat' s that ? 133. Marks: I said that you always went to school. 134. Haley: Well that's different. 135. Marks: Say Haley I'll tell you a trick worth two of that. 136. Haley: Let's hear. 137. Marks: The baby belongs to you because you bought it, paid for it, the gal we'll catch her, take her down to New Orleans, sell her for a cool thousand. And that will be $800 for me and $200 for you. What do you say to the bargain? 138. Haley: That's a pretty fair bargain. Say we take a drink of gin to wash the bargain down. (Phineas steps to table) 139. Marks: Gin it is. (Phineas draws gun) No I've quit drinking. 140. Phineas: Marks whose your friend here? Introduce him to m e. 141. Marks: Mr. Haley, Mr. Chaw-me-up, Mr. Chaw-me-up, Mr. Haley chaw him up chaw everybody up, but for heavens sake don't chaw me up. 142. Phineas: Hello Mr. Scaley. (shakes) 143. Haley: Haley if you please. (Throws Phineas' hand hits Marks in eye) 303. 144. P hineas: Oh, Marks I didn't see you there. 145. Marks: Well, I can't see you there now. 146. P hineas: Well what are you two fellows up to any way. 147. M arks: Well the fact and the matter is that Haley bought a baby from ------ 148. P hineas: Shut up. 149. M a rk s: I am shut. 150. P hineas: Mr Haley you tell the story. 151. Haley: The fact and the matter is I bought a baby from old man Shelby the other night and the mother got wind of it and cuts here. Lucky now I have tracked the fool gal to this very spot and I am afraid she's took the kid and got across the river by this time so I am going to get Marks here to help me catch them . 152. P h in e a s : Oh so you are going to get Marks to help catch them. 153. M a rk s : Yes he is going to get me to help catch them. 154. P hineas: Don't you know that reminds me of a story. 155. M a rk s: A good story. 156. P hineas: Something that happened along here about four y e a rs ago. 157. Haley: Let's hear it. 158. P h in e a s : Just squat yourself and I'll spin you the yarn. 159. Marks: If there is anything I love it is a good story. 160. P h in e a s : Well sir about four years ago, a runaway girl with her babe was trying to make her escape from two of the meanest looking nigger catchers that was every my misfortune to meet. 161. M a rk s : Just like ours exactly. 304. 162. Phineas: One of these fellows was a mean hang dog looking fellow wore . . . (describes dress) and say Haley he looked just like you. 163. Haley: What's that? (draws whip) 164.. Phineas: That was in the story four years ago. 165. Marks: Ha, ha, what a good joke on Haley. 166. Phineas: Well the other was a little red pedefogging lawyer chap (gives description) and say Marks he looked just like you. 167. Marks: What's that. 168. Phineas: That was in the story four years ago. 169. Marks: Well, that's different. 170. Phineas: When along happens an old trapper chap something like me you know. 171. Marks: A corn fed individual. 172. Phineas: He heard that gal's story so resolved to help her out and so he placed her in a little side room about like that one over there, (points to room) 173. Marks: Oh she's in here is she? 174. Phineas: No, that was in the story four years ago. 175. Marks: Oh, yes. Don't get excited Haley. 176. Phineas: So he took these two fellows down in one corner of the room and . . . 177. Marks: Was it this corner over here? (starts left) 178. Phineas: No, I believe it was in this corner over here, then he puts his arms around their necks in this m an n er. Do you see the point? 179. Marks: Yes, for heavens sake take it away. 305. 180. Phineas: So he told these fellows a funny story. Told the gal to come out of her room kneel down and offer up a prayer for the safety of herself and her child and made her escape while those pesky fools stood there in the corner and laughed never knowing the difference. 181. Marks: There she goes now. 182. Phineas: Down or I will fill you full of lead. Act I Scene iv, 2Curtain drop Street Scene. ^ "Marks and Haley on the track of Eliza; Phineas Assists Eliza to Escape. " Eliza Making Her Escape - Enter E. 183. Eliza: Look! They press upon our footsteps, they are close up on our trail the river is full of floating ice. If it rolls between us and our pursuers we are safe. May heaven have mercy upon us. 184. Haley: Come on Marks $200 for a boat. 185. P h in e a s : Make for the ice gal! Make for the ice 186. Marks: Wait for me Haley, wait for me. 187. Phineas: Here lawyer which way are you going. 188. Marks: I'm going this way. 189. Phineas: Well you go that way. (Exit R. ) ^Grand Opera House used a Woods Drop in place of Street Scene. 306. A ct I Scene v, Ice Scene. "Eliza crossing the ice. Escape of Eliza from ferocious bloodhounds." 190. Phineas: This way gal, this way. 191. Haley: Come on Marks. 192. Phineas: Ah the dogs haveturned on their masters. 193. Marks: Oh! Lord. End Act One. L 307. Act II Scene i, Kitchen Scene. "Three days later; Phineas meets George Harris and the lawyer is outwitted. " 194. Phineas: Well here I am again. I promised my gal Ruth that I'd find the husband of the gal who crossed the river the other night, but how in the tar nation am I to do it? He's not likely to be running around here with a full sized figure staring him in the face. Hello, what's this? Five hundred dollars reward for the capture of the runaway George. (Reading) George was 5 feet 6 inches tall branded on the left hand by the letter H. Signed by his master William Harris. Such papers as that are a disgrace to old Kentucky. You treat a man like a man you get a man's pay, treat a man like a dog and you get a dog's pay every day in the week. Them are my sentiments and I don't give a tetotal damn who knows it. (Exit R 1. ) E n ters C door. 195. George: James see to the trunks. At last I have escaped those human blood hounds now to find my wife and child and away for Canada. Hello, what's this? (reads sign) And signed by my Master William Harris. 196. P hineas: Hello George Harris. 197. G eorge: What you know me ? 198. Phineas: Why don't get riled up George, I am no human bloodhound in disguise. 199. George: How did you discover me ? 200. Phineas: By a tetotal smart guess, but say George do you know I have been sent after you. 201. George: Who by m y m a ste r ? 202. Phineas: No, by your wife. 308, 203. George: My wife? Where is she? 204. Phineas: With a quaker family over on the other side. 205. George: Then she's safe is she. 206. Phineas: Tetotalamonously. 207. George: Conduct me to her at once. 208. Phineas: Well I will in a bracers shake but I wouldn't advise you to do this. 209. George: I'll do it all on my own responsibility. 210. Phineas: Yes George but your breaking the laws of your country. 211. George: My country sir? What country have I but the grave? And I wish to God I now laid there. 212. Phineas: I know George, but we must all submit to the indi cation of providence. 213. George: Indication of Providence, Phineas, suppose the Indians were to capture you take you away from your wife and children and set you to hoeing corn for them all your life? I suppose the first stray horse came your way you'd take it for an indication of providence now shouldn't you. 214. Phineas: Well George putting the matter somewhat peculiar like in that way I don't know but what I might but if you're taken, it will be only the worse for you. They'll beat you, half starve you and sell you off down the river. 215. George: Down that river I will never go for if the worse comes to worse I can at least earn 6 feet of free soil the first and last I shall ever own in old Kentuck. 216. Phineas: Why George this state of mind is getting awful, it's getting really desperate George. I'm concerned you're going to set yourself in opposition to your country. 309. 217. George: My country again sir, you have a country but what country have I or any one like.me. Born of a slave mother I haven't any country anymore, anymore than I have a father. But I am going to have one I don't want anything of your country except to be let alone and to go peacefully out of it. But if any man tries to stop me let him take care for I am desperate. I fight for my liberty until the last breath I breathe. You say your fathers did it. If it is right for them, it is right for m e. 218. Phineas: Well George I know you had a hard master and I will not defend him now, but here, you will need some money on your journey. 219. George: No, I have enough to see me safely through. 220. Phineas: You can't have much providing you came by it honestly, so take this. 221. G eorge: I take it on one condition. 222. P h in e a s : And that is ? 223. G eorge: That you will allow me to repay it some day in the fu tu re . 224. Phineas: Oh hang the future we'll talk of the present now, but how far and how long are you going to travel on in this manner ? It is a good game and well carried on, but for your best interest, too bold. 225. George: I know it is a bold game but they will never think of looking for me here. They will look farther on ahead and besides my disguise is so good why you yourself hardly knew me. 226. Phineas: Yes George, but the mark on your hand. 227. George: Yes, the parting regards of Mr. Harris, it looks interesting doesn't it. 228. Phineas: Put it away George it makes my very blood run cold when I think of your conditions and your ris k s . 310. 229. G eorge: Mine has run cold for a good many years but now it is up to the boiling point. 230. P h in eas: Why George what's come over you, you hold up your head and speak and act like another man. 231. George: I am a different man, I am a free man and I have said master the last time to any man. I am free. 232. P hineas: Don't be too sure, you may be retaken yet. 233. George: All men are free and equal in the grave. (Marks and Haley outside) 234. M a rk s : Open the door here or we'll bite the hinges off. 235. P h in e a s : Here they come now let's conceal ourselves. 236. George: Let's fight our way through them. 237. Phineas: No you step in that little side room and let me parley with the varmints. 238. M a rk s : Here old chaw-me-up we'll ask him all about it we want to know. 239. Phineas: What? 240. M a rk s : Nothing, nothing. 241. Haley: Have you seen a man? 242. M a rk s : Yes, have you seen a nigger? 243. Phineas: What's that? ^points gun at MarksJ 244. M arks: I said please don't pull the trigger. 245. Phineas: Well sir I can look you two all over and say that I haven't see a man all day. 246. Marks: He looked right at me when he said it. 247. Phineas: It seems funny every time I see you two fellows you're looking for a runaway nigger. 311. 248. Haley: Yes and every time we see you you're protecting a runaway nigger. 249. Phineas: Bah! 250. M arks: Yes, and everytime I see you I see a nigger. 251. P hineas: What's that? 252. M a rk s : That was in the story four years ago. 253. Phineas: Well what sort of a fellow are you looking for any way. 254. Haley: He is a tall handsome fellow very good looking-- 255. Phineas: Oh a right good looking fellow hey? 256. M a rk s : Yes, in fact the girls all say that he looked some what like me. 257. P h in e a s : He must have been a beauty. 258. M a rk s : Oh he was a peach, but there are some bad peache you know. 259. P h in e a s : You say he was a tall handsome fellow? 260. Haley: Y es. 2 6 1 . P h in e a s : Wore a stiff hat? 2 6 2 . Marks: Yes. 263. Phineas: D ark suit? 264. M arks: Y es. 265. P h in eas: Branded on the left hand by the letter H? 2 6 6 . Haley: Y es. 267. Phineas: And his name was George, George, George? 2 6 8 . M arks: Harris, where is he? 269. P h in e a s : Well gentlemen, I haven't seen a thing of him. 312. 270. Marks: Oh go to the devil we'll search the house. (Exit R. 1. Marks and Haley) 271. Phineas: Come George, it’s time to cut your hickory. [Exit GeorgeJ 272. Haley: Stand out of my way. 273. Phineas: Down lawyer and pray. 274. Marks: I am a lawyer and lawyersnever pray. 275. Phineas: Pray I say Pray, [pointsgun at MarksJ Now I lay, me down to sleep etc. (Marks prays till cur tain drops.) C Act II Scene ii, Street Scene. "Next Day, George and Eliza Reunited" Enter George with Eliza left 1. 276. George: Well Eliza after many wanderings we are again united. 277. Eliza: And may heaven bless us. 278. George: Yes and not forgetting those generous quakers. 279. Eliza: And one kind, friend Phineas it's indeed he who I owe much. Him who helped me up that river's icy bank. 280. George: My brave girl, how did you get across the river? It was full of ice and heaving up and down. 281. Eliza: I know it was. They were close behind me, I leaped upon the ice and how I got across I don't know. The first thing I knew some man was helping me up the bank and that man was Phineas. ^Grand Opera House used a Woods Scene instead of a Street Scene. 312. 270. Marks: Oh go to the devil we'll search the house. (Exit R. 1. Marks and Haley) 271. Phineas: Come George, it's time to cut your hickory. [Exit GeorgeJ 272. Haley: Stand out of my way. 273. Phineas: Down lawyer and pray. 274. Marks: I am a lawyer and lawyers never pray. 275. Phineas: Pray I say Pray, ^points gun at MarksJ Now I lay me down to sleep etc. (Marks prays till cur tain drops.) Act II Scene ii, Street Scene. "Next Day, George and Eliza Reunited" Enter George with Eliza left 1. 276. George: Well Eliza after many wanderings we are again united. 277. Eliza: And may heaven bless us. 278. George: Yes and not forgetting those generous quakers. 279. Eliza: And one kind, friend Phineas it's indeed he who I owe much. Him who helped me up that river's icy bank. 280. George: My brave girl, how did you get across the river? It was full of ice and heaving up and down. 281. Eliza: I know it was. They were close behind me, I leaped upon the ice and how I got across I don't know. The first thing I knew some man was helping me up the bank and that man was Phineas. ^Grand Opera House used a Woods Scene instead of a Street Scene. 313. 282. George: My brave girl you deserve your freedom for you have richly earned it. 283. Eliza: Yes George and when we get to Canada I can get work and between us we can find something to live on. 284. George: Yes Eliza as long as we have each other and our boy. Oh Eliza, if these people only knew what a blessing it is for a man to feel that his wife and child be long to him. I've often wanted to see men that could call their wives and children their own fret ting and worrying about anything else. Why I feel rich and strong though we have nothing but our bare hands. I feel as if I could scarcely ask God for any more yet. If they will only let me alone now I will be satisfied, yes thankful. 285. Eliza: But we are not quite out of danger George. We are not yet in Canada. 286. George: True, but we are so near I can smell the fresh air of freedom and it makes me strong again. 287. Phineas: Yea, V erily, verily, friend G eorge and E}liza, how is it with thee, thou and thine. 288. George: Why Phineas, what means this strange metamorphosis? 289. Phineas: It meaneth friend George that I have turned quaker. 290. George: What you? 291. Phineas: Yea, verily friend George. I was driven to it by a powerful argument. That argument comprised a pair of bright sparkling eyes, rosy cheeks, and pouting lips. Those lips friend George are enough to make a man assassinate his own grandmother. Hold on quaker you're getting off the track. Friend George I have news of interest to thee and thy party and it would be well that thee should hear it. 292. George: I pray thee Phineas to keep us not in suspense. 293. Phineas: Nay I will not leave thee in suspense friend George after leaving thee along the road and being weary and tired from hard travels, I stopped at a little 314. tavern lay my self down on a pile of bags pulled over me a buffalo robe and in a few minutes was fast asleep. 294. George: With one ear open. 295. Phineas: Nay I slept with eyes, ears and all closed for an hour or so but presently I was awakened by a crowd of men drinking and talking of thee and thy party friend George, and they have a right sm art notion of thy road tonight and will be down upon us six or eight strong. Now what's to be done ? 296. Eliza: Oh George ! What shall we do? 297. George: I know what I shall do. 298. Phineas: Thou seest how it will be sister Eliza, pistols, poppers, bing, bangboom. Some one is going to get shooted and I pray to God it is not I. 299. Eliza: I see Phineas, but I pray to heaven it come not to that. 300. George: Phineas, I do not wish to involve anyone with or for me but if you will lend me your vehicle and direct me I will drive to the next stand alone. 301. Phineas: Thee are quite welcome to my vehicle also the grand magnificent quadruped attached thereto, but I knowest a thing or two about the road that thee does not. It would be well that I should accompany thee. 302. George: Yes Phineas, but I do not wish to involve thee. 303. Phineas: Involve me why chaw-me-up-up-up . . . whoap quaker, you're getting off the track again. When thou doest involve me friend George let me know it. 304. Eliza: George, Phineas is a wise and skilful man and we would do well to abide by his judgment. 305. George: I know Eliza, but let any man dare take from me my wife and child and I will fight until the last breath. Phireas, can you blame me? 315. 306. Phineas: Mortal man could not blame thee friend George. Flesh and blood could not otherwise for who unto there who does offences and who unto them to whom the offence cometh and whoa unto the camel light and whoa unto the Israelite, whoa un to the mosquito bites and whoa- whoa- whoa . . . For is that not written into scripture, blessed be the man who sitteth down on a red hot stove. 307. George: And why so ? 308. Phineas: For verily he shall rise again. 309. George: It is quite plain to see that Phineas was not cut out for a quaker, but don't you think we had better hasten on our flight. 310. Phineas: I don't know but what we had friend George. You take Sister Eliza and lead on and I will follow after thee. (Exit Phineas, George and Eliza) 311. Phineas: There goes friend George and sister Eliza she am liken unto the lily of the valley while I am like unto the poppy of the corn field or the dog fernell of the barn yard. So earth to earth and dust to dust if the good Lord won't have us the devil must. (Exit R. ) Act II Scene iii, Rocky Pass Scene. "The flight in the rocky pass; death of Haley; George and Eliza free at last." 312. Phineas: Right up this way. It is an old hunting den of mine and they can't get us as long as they come in single file and in full range of our guns. Doest thou see ? 313. George: I see, Phineas, but this is my affair allow me to take all the risks and do all the fighting. 314. Phineas: Thou are quite welcome to do all the fighting friend George, but will thou allow me one pleasure? 316. 315. G eorge: And that is ? 316. P h in e a s : The pleasure of looking on. (noise) Here they come and now let's conceal ourselves. 317. Haley: Come on Marks right up this way. 318. M a rk s: Well I can smell coon tracks agoing up this way. 319. Haley: Come on Marks don't be afraid. 320. M a rk s : Didn't you hear a noise? 321. Haley: That was only superstition. 322. M a rk s: Soup in the kitchen ? 323. Haley: No Superstition, but come right along now, come on Marks don't be a coward. 324. M a rk s: I'm no cow-yard, but I can smell coon tracks going up here (shot) there's your niggers and they are fairly treed. 325. Haley: Yes and I am for going up. 326. M a rk s: Don't Haley them niggers might shoot and that would be bad you know. 327. Haley: Oh hang it Marks you always was for saving your pesky skin. 328. M arks: Well why shouldn't I, it's the only one I ever had and them niggers do fight like the devil some tim e. 329. G eorge: Well gentlemen who are you down there and what do you want? 330. M arks: I'll tell you what I want. 331. G eorge: W hat? 332. M arks: Oh, I want to go home. 333. Haley: We're after a party of runaway niggers. One George and Eliza Harris, now tell me aren't 317. you George Harris that used to belong to William Harris of Shelbyville, Shelby Co., Kentucky? 334. George: Yes, I am George Harris. 335. Marks: The very fellow, we've got him. 336. George: Mr. Harris did at one time claim me as hisproperty but now I am in Ohio standing on Heavens free soil, my wife and child I claim as my own. You can come up if you like, but the first one that comes within range of my gun is a dead man. 337. Marks: Oh! Lord, Haley, look at the gun. 338. Haley: Oh hang it Marks brace up. 339. Marks: I can't I busted my suspenders. 340. Phineas: Yes and the first one of you two fellows that runs up against them thar will think you've run up against the business end of a large size bumble bee. That means six months in a hospital, while this means sure and sudden death, ^ come up and take your choice. 341. Marks: Go on up Haley and take your choice, I will stay here and wrestle with a hospital. 342. Haley: I have no choice. See here Marks, you're a lawyer go up there and give them a dose of law. 343. Marks: And get a dose of lead. 344. Haley: No give them a few point of law. 345. Marks: And get a punch off a bunch of bones. Oh, no I stay right here. 346. Haley: No Marks you don't under stand go up andgive them a dose of Blackstone. ^Shows his fists, first left then right. 318. 347. Marks: You mean expound Blackstone? Well, when it comes to expounding law I have got the world beat, but first I must take a drink out of the black bottle. Now you watch them Haley while I drink. 348. Haley: See here Marks don't be a hog. 349. Marks: Well I don't like to see two hogs at the same time. Now I'll sit this bottle right down here and you watch it while I go up. Now just watch it I said Haley--Say Haley come here. 350. Haley: Well, what is it? 351. Marks: There's going to be a funeral here and I'll be in it. 352. Haley: See here Marks your a lawyer and I brought you here to talk. 353. Marks: Yes, but you are trying to get me killed. 354. Haley: Come Marks go on up there I'll be right here at your back. 355.( Marks: Yes but I was in this late war and I would rather have a breast work. 356. Haley: Go up Marks and tell them what you know in fact tell them all you know. 357. Marks: Might as well tell them what we both know, it won't take any longer. 358. Haley: Go on up there now and talk to them. 359. Marks: Look here young man put that down, it might go off and hurt someone and that would be bad you know. Now we have come after you and we are going to have you. We have got the law and the power and the power and the law on our side. We have got the blood hounds on the outside we are on the inside and I've got the court house in my vest pocket so you might as well give yourself up first as last, for you have got to give up in the end, for I am a rut-em-tut and cut and shoot and limb of the law from Arkansas and don't you for get it. (shot) Oh Lord the bottle-the bottle- higher-higher - - 319. 360. Haley: Say Marks are you shot? 361. M arks: No, I am only half shot. 362. Haley: Well where did he hit you. 363. M a rk s : He: never touched me. 364. G eorge: I know you have the power and the law on your side but by the great eternals you haven't got us. V 365. Phineas: No and you are not going to get us either. 366. M a rk s : We don't want you, Chaw-me-up, it's the other fellow we want. 367. Phineas: Well we want you and we're going to get you too. 368. M arks: Not if I see you first. 369. P h in e a s : Say George, you see that scaley chap down there? Watch me take him in the eye with a chaw of tobacco. 370. Haley: Well Marks old boy what is it? 371. M a rk s : A chaw of tobacco. 372. Haley: Well throw it away. 373. M a rk s : No tobacco is to scarce now, I'll just eat this one. 374. P h in e a s : Say George it won't do to waste two bullets on them fellows. You take the scaley chap and I'll take the one with the tall light hat on. 375. M arks : All right take him if you want him. Oh Lord where is my sky piece? 376. Haley: It's up there. 377. M a rk s : Well it can stay there, I'll never go up after it. 378. Haley: See here Marks, I was never afraid of a nigger in all my life, and I'm going up. i 320. 379- Mark: Oh, don't Haley. (Haley is shot by Harris and falls dead. Phineas grabs Marks bends him over on his knee and paddles him .) CURTAIN End Act Two 321. Act III Scene i, Parlor. "Home of St. Clair; arrival of St. Clair, Eva, Ophelia and Uncle Tom; St. Clair presents Topsy to Ophelia. " Ophelia Enters Center Door. 380. Ophelia: Well I just received a letter from St. Clair and according to this notice he should have been here a fortnight ago. (noise outside) Well I guess the wards have arrived at last. 381. Eva: Oh Auntie, Auntie, Auntie. 382. Ophelia: Gracious Heavens child you make my head ache. 383. St. Clair: At last cousin the wards have arrived and how do you like the appearance of our city? 384. Ophelia: It's a pretty place, but it looks rather old and heathenish to me. 385. St. Clair: Well Tom my boy this seems to suit you. 386. Tom: Yassa Massa, it seems to be about the right thing. 387. St. Clair: See here cousin I've brought you a coachman to order, he's a regular hearse for blackness and soberiety and will drive you like a funeral if you like. Open your eyes now and look at him and don't say I never think of you when I'm gone. 388. Ophelia: I know he'll get drunk. 389. St. Clair: No he's warranted a pious and sober article. 390. Ophelia: Well I hope that he will turn out well, but its more than I expect. 391. St. Clair: But cousin have you no curiousity as to how and where we picked up Tom. 392. Eva: Uncle Tom papa, that's his name. 322. 393. St. Clair: Right you are my little sunbeam. 394. Tom: Massa, that am no occasion to say nothing about m e . 395. St. Clair: Your too modest my modern Hannibal. You see cousin, we met Tom on board the steamer and Eva persuaded me to buy him. 396. Ophelia: She's so odd. 397. St. Clair: As the steamer approached the landing a sudden rush of passengers precipitated Eva into the r i v e r . 398. Ophelia: Gracious Heavens. 399. St. Clair: A man immediately sprang overboard and grasping her in his strong arms held he up until she could be drawn on board again. 400. Ophelia: Merciful Heavens ! 401. St. Clair: Who was that man Eva? 402. Eva: Uncle Tom (kisses Tom). 403. Tom: The dear child. 404. Ophelia: Oh St. Clair how can you let her? 405. St. Clair: Why what cousin? 406. Ophelia: Well I like to be good and kind to every thing and don't like to see anything hurt but as for kissing-- 407. St. Clair: Niggers that your not up to. Hey? 408. Ophelia: Yes that's just it. 409. St. Clair: Oh that's nothing when you get used to it. 410. Ophelia: Used to it! Well I could never get used to kissing a white man let alone a nigger. 411. Eva: Come Uncle Tom let's go pick some flowers. 323. 412. Tom: P le a se M assa m ay I go ? 413. St. Clair: Yes Tom, Eva is your new master and you are only supposed to obey her. 414. Ophelia: Eva my child. 415. Eva: Well Auntie? 416. Ophelia: Don't exert yourself. 417. Eva: No Auntie, come Uncle Tom. 418. St. Clair: Well cousin what do you think of Tom? 419. Ophelia: He's a perfect behemoth. 420. St. Clair: Come cousin and say something pretty to a fellow. 421. Ophelia: You've been gone a fortnight beyond your time. 422. St. Clair: Yes, but I wrote you the reason why. 423. Ophelia: Such a short cold letter. 424. St. Clair: Dear me, the mail was just going and it had to be that or nothing. 425. Ophelia: That's just the way, always something to make your journeys long and letters short. 426. St. Clair: Oh hang the woman any way. Come cousin and let's take a stroll in the garden, and if you should step on any little nigger babies well just let them mention it. 427. Ophelia: Nigger babies under foot, how shiftless. 428. St. Clair: Never mind, here come Tom and Eva now. n 429. Eva: Oh, Uncle Tom you look so funny. ^Uncle Tom has wreath of flowers on his head. 324. 430. Tom: I spect I do little Missie but I begs the M assa1 s pardon. You see the little missus would do it. She said that I am like the ox in the good book all dressed up and ready for the sacrifice. 431. St. C lair: I see you are Tom but Eva darling which do you like best, to live as they do at your Uncles in Vermont or to have a houseful of servants as they do here. 432. Eva: Oh of course one way is the pleasantest. 433. St. Clair: Why so? 434. Eva: Why it makes so many more around you to! love .you you know. 435. Ophelia: Now that's just like Eva one of her odd speeches. 436. Eva: Is it an odd speech papa? 437. St. Clair: Rather odd as the world goes but where has my little Eva been ? 438. Eva: Oh, I've been up in Tom's room hearing him sing. 439. St. C lair: Hearing Tom sing hey? 440. Eva: O yes he sings such beautiful things about the New Jerusalem and the bright angels and the land of Canaan. 441. St. C lair: I dare say it's better than the opera. 442. Eva: Yes and he is going to teach them to me. 443. St. Clair: Singing lessons coming on? 444. Eva: Yes, he sings for me and I read to him out of my little Bible and he explains what it means you know. Come Uncle Tom let's pick some more flo w e rs. 445. Tom: All right little Missie I'se coming right along. 446. St. Clair: An Evangeline rightly named, for has not heaven made thee an Evangel to me. 325. 447. Ophelia: Well cousin St. Clair, how can you let her. 448. St. Clair: Why not cousin? 449. Ophelia: Why I don't know it seems so dreadful. 450. St. Clair: You would think no harm in a child caressing a large dog, even if he was black, but a creature that can think, feel, reason and is immortal you shudder at, confess it cousin. I know the feelings of some of you Northerners well enough. Not that there is a particle of virtue in our not having it, rbut custom with us does what Christianity ought to do, obliterate personal prejudices. You loathe them as you would a snake or toad yet you are indignant at their wrongs. You would not have them abused but you don't want to have anything to do with them yourself. You would send them to Africa out of your sight and smell, and then send a missionary or two to do all the self denial or elevating them consendiously. £sicjIsn't that it? 451. Ophelia: Well cousin there may be some truth in that. 452. St. Clair: What would the poor and lonely do with children. Your little child is your only true democrat. Tom now is a hero to Eva, his stories are won ders in her eyes, his songs and Methodist Hymns are better than the Opera and the trape and little trinkets in his pockets a mine of jewels to her and he the most wonderful Tom that ever wore a black skin. This is one of the roses of Eden that the Lord has dropped down expressly for the poor and lonely who gets few enough of any other kind. 453. Ophelia: It's strange cousin one might almost think you were a professor to hear you talk. 454. St. Clair: A professor cousin, of what? 455. Ophelia: Why a professor of religion of course. 456. St. Clair: Not at all, not a professor as you town folks call it and what is more not a practice either. 457. O phelia: Oh what makes you talk so then. 326. 458. St. C lair: Nothing is easier than talking while yours lies in doing. By the way, that reminds me that I have made a purchase for yon department and here is the article now. 459. O phelia: Well I do wonder what it is something nice I supposi a dog or a cat or poll parrot. 460. St. Clair: Here Topsy, come up here. 461. T opsy: Can't come now. 462. St. Clair: Why not. 463. Topsy: Cause the cooks done lost the lid to the cook stove and I done got to sit on the hole to hold the smok in. 464. Ophelia: Gracious Heavens. 465. St. Clair: Never mind the smoke but come up here. 466. Topsy: All right I'se a coming. [Enters turning somer saults /J 467. Ophelia: Gracious heavens St. Clair, what did you bring that shift-less mortal up here for? 468. St. C lair: For you to educate and bring up the way she should go. 469. Ophelia: Well I've had enough to do with her already, more than I care about. Gracious Heavens St. Clair, she got on my new spring bonnet. 470. St. Clair: Topsy take off Miss Ophelia's bonnet. 471. Topsy: Can't do it Massa. 472. St. Clair: Why not? 473. Topsy: Because I got to go right down and take care of the little pickinininys. 474. St. Clair: Never mind the little pickininies but take off Miss Ophelia's bonnet. [Topsy removes hat and steps on it."] 327. 475. Ophelia: Oh, St. Clair my nice new spring bonnet. 476. Topsy: By golly I didn't feel no springs down there. 477. St. C lair: Topsy come over here. And now Topsy this is your new mistress. 478. Topsy: Golly am that old woman new ? 479. St. C lair: No I have given you to her. 480. Topsy: Golly I don't want her. 481. St. C lair: You fail to understand me Topsy. I am going to give you to her. 482. Topsy: Oh! You give me to her. 483. St. Clair: Certainly. 484. Topsy: Alright Miss Phelia here I is. 485. Ophelia: Don't come close to me Topsy. Turn around, how dreadful dirty and so shiftless. How old are yon 486. Topsy: Dunno missus. 487. Ophelia: Don't know how old you are didn't any one ever tell you? Who was your mother? 488. Topsy: Never had none. 489. Ophelia: Never had any mother? Where were you born? 490. Topsy: Never was born I just growed on a blackberry bush and when I got ripe I dropped and here I is. 491. Ophelia: Now see here Topsy, I'm not playing with you. 492. Topsy: No and I'm not playing with you either. 493. Ophelia: Now Topsy tell me who your father and mother were and where you were born. 328. 494. Topsy: Never was born, never had no father or mother or nothin', was raised by a speculator and Old Aunt Sue used to take care of us didn't she M assa ? 495. St. Clair: She speaks the truth cousin. Speculators buy them up when small and raise them for the m a rk e t. 496. Ophelia: How long did you live with your late master and m is tre s s ? 497. Topsy: Oh about so long. 498. Ophelia: Was it a year or more or less. 499. St. Clair: She doesn't know the meaning of a year cousin and she doesn't even know her own age. 500. Topsy: Golly I never saw a woman that did. 501. Ophelia: Well Topsy what can you do? 502. Topsy: I can stand on my head. 503. Ophelia: Oh St. Clair ! 504. St. Clair: Wait Topsy, not here in the parlor. 505. Ophelia: Oh cousin St. Clair. 506. St. Clair: Why what cousin? 507. Ophelia: Is she right side up yet? 508. St. Clair: Right side up with care cousin. 509. Ophelia: Well Topsy what did you do for your master and m is tre s s ? 510. Topsy: Oh I washed the dishes, fetched water, rubbed knives and forks, waited on the white folks and danced the breakdown. £dancesj 511. Ophelia: Cousin St. Clair, right on my favorite corn. 329. 512. St. C lair: You’ll find plenty of virgin soil there cousin put in your own ideas and you won't find many to pull up I dare say. 513. Ophelia: Oh cousin St. Clair don't leave me with this shift less mortal all alone. Topsy take off my shaw 514. Topsy: Golly am that thing a shawl? 515. Ophelia: Certainly Topsy, what did you think it was? 516. Topsy: I thought it was a bustle. 517. Ophelia: Topsy do you know anything about heaven ? 518. Topsy: Heaven? Heaven, is that something good to eat? Have you got it there in that bag? 519. Ophelia: No Topsy heaven is a place of eternal bliss up th ere. 520. Topsy: Well if heaven is a place of eternal bliss up there then down there must be a place of eternal b lis te r .. 521. Ophelia: No Topsy if you will only be a good girl when I go up home to Vermont I'll take you with me and send you to Sunday School. 522. Topsy: With all them little white children? 523. Ophelia: Yes Topsy. 524. Topsy: And will they take hold of my little black hands. 525. Ophelia: Why certainly Topsy. 526. Topsy: Golly won't that be nice. 527. Ophelia: But first you must be born again. 528. Topsy: (C rie s .) 529. Ophelia: What's the matter Topsy? 530. Topsy: I don't want to be born again. 330. 531. Ophelia: Don't want to be born again? Why not? 532. Topsy: Because I am afraid they might make a mistake and born me a boy. 533. Ophelia: No danger of that Topsy, but first I must teach you to say your prayers so come on over here and kneel down (Topsy sits down). No, on your knees. 534. Top sy: Oh you mean like they do in camp meeting. 535. Ophelia: Certainly, now you put your hands up like this. 536. Topsy: This way? 537. Ophelia: No like this. Now repeat slowly after me. 538. Topsy: Slowly after me. 539. O phelia: No I mean what I say and nothing else. 540. Topsy: --and nothing else (Topsy steals gloves). 541. Ophelia: Now I lay me down to sleep. 542. Topsy: All curled up in a little heap. 543. Ophelia: No! No! You shiftless mortal. If I should die before I wake. 544. Topsy: Slap me in the mouth with a buckwheat cake. 545. Ophelia: Well I see that I can't make anything out of you so I'll take you up and let you make the attic beds so come along. 546. Topsy: Alright Miss Feelie I'se coming right along (steals ribbon out of belt). Golly what a long tail our old black cat has got. Now I'll just put this ribbon around my waist and go down to the nigger ball and them niggers will say Hello Topsy, where you get all that beautiful ribbon ? I'll say go along, you niggers don't know what a beautiful ribbon is. 547. Ophelia: T o p sy ! 331. 548. Topsy: Golly here come Miss Feelie. Now I catch it sure pop this time. 549. Ophelia: Topsy! 550. Topsy: Whate-e. Get up there don't you know your busine (shoves ribbon up sleeve). 551. Ophelia: Topsy what are you doing there? 552. Topsy: Nothing only scratching my lower extremeties. 553. Ophelia: Topsy did you see anything of my beau? 554. Topsy: Golly an old woman like her got a beau ? 555. Ophelia: No. I m ean m y sash. 556. Topsy: Your mash? What color was he black or white? 557. Ophelia: No I mean the ribbon that goes around my waist. 558. Topsy: No indeed I didn't Miss Feelie what color was it blue, green, white or orange? 559. Ophelia: Now I have my suspicions. Topsy come over here and show me your hand, no I mean the other -- the other one -- the other one. 560. Topsy: Golly Miss Feely how many hands you suppose I got? I done show you three alfeady. 561. Ophelia: Topsy you have been storying to me. 562. Topsy: I hope I turn black in the face if I have Miss Fele. 563. Ophelia: I can see it sticking right out of your eyes. 564. Topsy: Golly I'd like to know how she can see it sticking out of my eyes when it's up my sleeve. 565. O phelia: There what's that? 566. Topsy: Well I'se all reveling out, if there hain't Miss Fellie's ribbon. I wonder how that got cotched up my sleeve. 332. 567. Ophelia: Yes, there it is Topsy. You know what I have a notion to do with you? 568. Topsy: No. What Miss Feelie? 569. Ophelia: I have a notion to give you a good shaking and there's my gloves too. 570. Topsy: Well I wonder where they come from. 571. Ophelia: Topsy, hand me those gloves. 572. Topsy: Am them your gloves Miss Feelie? 573. Ophelia: Certainly they are. 574. Topsy: Then pick them up. 575. Ophelia: Topsy! Now hand me those gloves. Now Topsy, you have been stealing. 576. Topsy: No I hope to never see the back of my neck if I did. 577. Ophelia: Topsy I have a notion to give you a complete whipping so there, thfere 8t there. ® 578. Topsy: Where, where and where? Golly Miss Feelie what do you call that? 579. Ophelia: I call that a complete whipping. 580. Topsy: Golly that wouldn't kill a skeeter. You know what I got a notion to do to you? 581. Ophelia: No Topsy what? 582. Topsy: I've got a notion to butt you off the face of the earth, so look out here I come, (business) Curtain 2nd Drop. ®The Aiken script directions here are "boxes her ears." Accord- ing to Russel Howard, in the Harmount show Ophelia tapped Topsy with a fan. 334. 595. St. Clair: Oh I see Tom you allude to the condition I came home in last night. Well I admit I had a little more champagne brand than I could comfortably carry that's all. 596. Tom: All my dear young kind massa, but I am afraid it will be the loss of all. 597. St. Clair: Come now Tom dry your eyes, I am not so wonder fully good that I am worth crying over. I have always despised it and myself for it, and I give you my promise that you shall never see me in that condition again. 598. Tom: Bless you massa, bless you. 599. St. Clair: Never mind your blessings Tom but run along with your errands. There I'll pledge my honor to you Tom, you don't see me so again. 600. Tom: Bless you, bless you. (Exit R) 601. St. Clair: There goes poor old Tom and I've given him my promise and I'll keep faith with him to. (Enter Ophelia & Topsy) 602. Ophelia: Topsy take your nose out of that cats milk. 603. St. Clair: There's that ink bottle in some more trouble. 604. Topsy: Hain't got my nose in that milk. 605. Ophelia: Yes you have! Come right along here I am going to tell your master. 606. Topsy: Let go my ear let go my ear. 607. St. Clair: Well now, what's the matter cousin? 608. Ophelia: Well what hain't the matter ? I took this child up to my room and gave her a hymn to learn with only 49 verses and what did she do but spy out where I kept my patches and cut them all up into doll jackets. 609. Topsy: Well my doll just had to have a jacket. 335. 6 1 0 . Ophelia: What's that you're saying ? 6 1 1 . Topsy: I's just talking to this child of mine. 612. St. Clair: Well cousin what have you done ? 613. Ophelia: What haven't I done? I just whipped and talked and talked. 614. Topsy: That's the trouble with that old woman she talks too much. / 615. Ophelia: What's that Topsy? 6 1 6 . Topsy: Oh I'se just talking to this baby. Shut up ! 617. St. C lair: Well cousin I'll try my hand. Topsy come over here. Now Topsy, why can't you be good? 618. Topsy: Don't know specs it's my wicked heart, Miss Feelie says so. 619. St. C lair: Top don't you love anybody? 6 2 0 . Topsy: S'pose I am going to tell you? 621. St. C lair: Why certainly Top, now I've been way up north for quite a while and evidently you have fallen in love with someone and I must know who it i s . 622. Topsy: Promise me you won't tell? 623. St. Clair: Certainly. 624. Topsy: Never tell that old woman over there. 625. St. Clair: I'll never tell no one. 6 2 6 . Topsy: Then I love , but cut him out. 627. St. Clair: Now Top neither one of the boys care about you, and if you will be good Miss Ophelia will love ^According to Russel Howard, names of popular local people were used h ere. 33 6 2 8 . Topsy: Golly that old woman love me ? 629. St. C lair: C ertainly. 630. Topsy: Golly man she'd rather have a toad touch her than m e. 631. St. C lair: Well you just try her and see. 632. Topsy: Miss Feelie. 633. Ophelia: Well Topsy. 634. Topsy: Does you love me? 635. Ophelia: Why certainly Topsy if you will only be a good g irl. 636. Topsy: Then if you loves your black baby kiss her. (Exit L) 637. Ophelia: Oh cousin St. Clair you see how it is every time my back is turned she is into mischief and I dare say she's into something this minute. 638. St. Clair: Oh no she isn't cousin give the child a chance. 639. Ophelia: Will you just call her up and see? 640. St. C lair: Well just to oblige you I will. 641. Ophelia: You'll find out. 642. St. Clair: Topsy come up here. 643. Topsy: Yes I's a coming. 644. St. Clair: Well hurry up. 645. Topsy: Yes I'se a hurrying. 646. St. Clair: Topsy, how dare you come to me with your back turned toward me turn around. 647. Topsy: I don't want to. 337. 648. St. C lair: How many times have I told you not to do that? Turn around. I told you not to do that. What on earth have you been doing? 649. Topsy: Pow dering. 650. St. C lair: Where on earth did you learn how to powder ? 651. Topsy: Miss Feely powders. 652. Ophelia: Don't you believe her St. Clair. 653. St. C lair: Never mind cousin, but Topsy how do you know Miss Ophelia powders ? 654. Topsy: I was going past her door the other day and I peeped through the keyhole. 655. St. Clair: Peeped through the keyhole Top? How often have I told you not to do that? 656. Topsy: I only done it just this one time. 657. St. Clair: Well never let it happen again but go ahead and tell me how you know Miss Ophelia powders. 658. Topsy: I was going past her door and peeped through the keyhole. 659. Ophelia: (Motions for Topsy to keep still) 660. Topsy: I won't shut up. 6 6 1 . St. Clair: Cousin can't you leave the child alone? Go ahead Topsy. 6 6 2 . Topsy: I was going past the door and I peeped through the keyhole and there stood Miss Feelie before the dressing glass going like this like that all over her face with a powder puff. 663. St. Clair: A powder puff what on earth is that? 664. Topsy: Golly don't you know? 665. St. Clair: I must confess I do not. 338. 666. Topsy: Well I am astonished at you. I just explain a little, a powder puff is a little tip end of a jack rabbit's tail with the rubbed off. Oh look-look. 667. St. Clair: What at Topsy? 668. Topsy: What is that just below your nose above your mouth ? 669. St. Clair: Oh that's m y ------ 670. Topsy: What kind of soup? 671. St. Clair: No my moustache. 672. Topsy: Golly I never had no stache massa you nearly scared me to death. 673. St. Clair: How Topsy? 674. Topsy: I thought you had swallowed a jackass and left the tail sticking out. 675. St. Clair: Oh get out of here. 676. Ophelia: Oh cousin St. Clair what a good joke on you. 677. St. C lair: What Cousin? Oh that is alright, but how about the powder? (Exit R, Ophelia follows. ) Act III Scene iii, Garden Scene. "Tom & Eva in the Garden by the lake. " 678. Tom: Read that passage again Miss Eva. 679. Eva: And I saw a sea of glass mingled with fire. Uncle Tom there it is. 680. Tom: Where Miss Eva? 681. Eva: Don't you see there? --there's a sea ofglass mingled with fire. 339. 682. Tom : True enough Miss Eva. Oh had I the wings of the morning I'd fly away to Canaans shore; Bright Angels would carry me home To the New Jerusalem. 683. Eva: Where do you suppose new Jerusalem is.Uncle Tom ? 684. Tom: Up in the clouds Miss Eva. 685. Eva: Then I think I see it. Look in those clouds, they look like great gates of pearl and you can see beyond them far far off. Uncle Tom sing about the spirits bright. 6 8 6 . Tom: I see a band of spirits bright That taste the glories there; They are all robed in spotless white, And conquering palms they bear. 687. Eva: Uncle Tom I've seen them. 6 8 8 . Tom: To be sure you have and you're the brightest little spirit Uncle Tom has ever seen. 689. Eva. They come to me sometimes in my sleep those spirits. Uncle Tom I'm a going there. 690. Tom : Where Miss. Eva? 691. Eva: I am going up there in the clouds to the spirits bright and I am going before long. 692. Tom: No use in talking. I've always said so, she am not born to live for the Lord's Mark is on her fore head and there's something deep in her eye. There you are my little darling you are feeling better nowadays are you not? 694. Eva: Papa I've had things I wanted to say to you for a long time and I want to say them to you now before I grow weaker. 340. 695. St. Clair: Before you grow weaker Eva that is only an idle fear of yours, you grow stronger every day. 696. Eva: Don't deceive yourself papa I am no better and I know it perfectly well and I am going before long. I am not low spirited if it were not for you papa and my friends I should be perfectly happy. I want to go. I long to go. 697. St. Clair: Eva my darling what makes you so sad and what seems to be so dreadful to you? 698. Eva: I feel sad for our poor people they love me dearly and they are all good and kind to me. I wish papa they were all free. 699. St. Clair: Why Eva child don't you think they are well enough off now? 700. Eva: When I am dead papa you will do it and think for my sake ? 701. St. Clair: When you are dead child, Oh Eva don't talk so. You are all I have on earth. 702. Eva: Papa the poor creatures love their children as much as you do me. Oh, do something for them. 703. St. Clair: There, there darling only don't talk of dying and I will do anything you ask. 704. Eva: Then promise me dear father that Uncle Tom shall have his freedom as soon as I am gone (Eva Song). 705. St. Clair: Yes dear I will do anything you ask me to. Here Tom take Eva to her room, this night air is too chilly for her. 706. Eva: Papa kiss me goodnight. 707. St. Clair: Has there ever been a child like you Eva? Yes there has been but their names are always written on grave stones. When you see that deep spiritual light in the eye-when the little soul re veals itself in words sweeter and wiser than ordinary words of children, hope not to retain 341. that child for the seal of heaven is on it and the light of immortality looks out from its eyes. (Curtain 2nd) Act III Scene iv, Street. ^ Tom waiting for the Bridegroom. " Tom Kneeling - Enters L E. 708. Ophelia: Why Tom when alive have you taken to sleeping anywhere and everywhere like a dog? I thought that you was one of the orderly sort that liked to lie in bed in a Christian way. 709. Tom: I do Miss Feely--but now ------ 710. Ophelia: Well, what now? 711. Tom: Hush, Massa St. Clair won't hear of it. But Miss Feely you know there must be somebody watching for the bridegroom. 712. Ophelia: What do you mean Tom? 713. Tom: You know it says in the scripture at midnight there was a great cry made, "Behold the bride groom cometh." That's what I'm expecting every night now Miss Feely and I couldn't sleep out of hearing of that blessed child now days. 714. Ophelia: Why Tom, did Eva say she was worse this evening ? 715. Tom: No but she told me this morning that she was coming nearer. That's them that tells it to the child Miss Feely. It's the angels, it's the trumpet sound afore the break of day. 716. Ophelia: Well Tom I must be going in now. ^G rand Opera House used "a garden with house in background. " 342. 717. Tom: Miss Feely may I go in and take one more look at that blessed child before she goes up thar ? 718. Ophelia: Yes Tom. You've been a good and faithful servant so come in. 719. Tom: Thank you Miss Feely, thank you. Act III Scene v, Parlor. 'Death of Eva. 720. Ophelia: Oh Cousin St. Clair what is the matter ? 721. St. Clair: Hush Cousin, Eva is dying. 722. Ophelia: What! Dying? 723. St. Clair: Yes. Oh if she would only wake and speak to me once more. Eva Darling don't you know me? 724. Eva: D ear P ap a. 12 725. St. Clair: Oh God, this is dreadful! Oh Tom my boy, it is killing me. Pray that this may be cut short, this wrings my heart. 726. Tom: Oh Bless the Lord, it's all over dear massa look at her it's all over. 727. St. Clair: Oh Eva tell us what it is you see? 728. Eva: I see the beautiful gates ajar and above them are written in letters of gold "Suffer the little children who come unto me, and forbid them not for such is the kingdom of heaven. " Oh love--joy! Peace. 1 ? According to Proctor Baughman Eva spoke additional lines which the Harmount's always included at this point: "Topsy, here is my little Bible, take it and be a good little girl. Good-bye Uncle Tom I'll see you way up there. " 343. 729. St. Clair: Farewell beloved child the bright eternal doors have closed after thee. We shall see thy sweet face no more. Oh, woe for them who watched thy entrance into heaven when they shall wake and find only the cold gray sky of daily life and thou my Eva gone forever. (Colored boys sing Eva's song. Slow Curtain Down. ) End of Act Three 344. Act IV Scene i, Levee Scene. "The slave market in New Orleans; Tom and Emmeline sold to Legree." Colored Boys Singing and Dancing. 730. Skeggs: Hey! Hey you niggers, cut that out! (raps hammer on barrel) Well you niggers want to look your best today, I am going to sell you all off. 731. Marks: Here you niggers hold up my hosses head--hold up his tail then--Hello Skeggs what's going on up here today? 732. Skeggs: The sale of St. Clair's Niggers. 733. Marks: St. Clair? What's the matter with him? 734. Skeggs: Didn't you hear about it? 735. Marks: No. 736. Skeggs: He got killed a few weeks ago down here in a bar room fight by a man named Simon Legree. We're expecting him up here today and he's a bad m an. 737. Marks: So am I. Let him come. 738. Legree: I say Jenks if you don't pay that bill by tomorrow night you will have occasion to die with your boots on. 739. Marks: I pity Jenks. 740. Legree: Hello Skeggs. I say what's going on up here today ? 741. Skeggs: The sale of the St. Clair niggers. 742. Legree: The St.Clair the devil. Who is your friend? Intro duce him to me. 345. 743. Skeggs: This is Marks the lawyer--Mr. Legree. Marks shake hands with Mr. Legree. 744. Legree: Hello M arks. 745. M a rk s : Hold on, hold on. 746. L egree: Well hain't I holding on? 747. M a rk s : I mean let go. 748. Legree: Why didn't you say so. 749. M a rk s : Hain't that ablame pretty looking thing now? Say Simon, what do you call that? 750. Legree: I call that a hand. 751. M a rk s : Looks more like a ham to me. 752. Legree: What's that? 753. M arks: Say Simon that's an awful hard fist you've got. 754. L egree: Yes do you know how I got that fist so hard? 755. M a rk s : No, how did you get it so hard? 756. Legree: By knocking down niggers. 757. M arks: Well I am no nigger. . 758. Legree: What's that? 759. M a rk s : Yes I am . 760. Skeggs: See here there will be no fighting go on here today. 761. L egree: Well who is to hinder I'd like to know. 762. Skeggs: Well I will and if I can't, the strong right arm of the law shall. Oh Marks, I didn't know you was th e re . 763. Marks: Well I knowed you was there all right. 346. 764. Skeggs: Well gentlemen the first we have to put upon the stand today is a young mulatto boy answering to the name of Adolph. Adolph was Mr. Clair's valet, and a very handy boy about the house. Adolph take the stand. Gentlemen look him o v e r. 765. M arks: What do you call that? 766. Adolph: A head. 767. M a rk s: That ain't a head that's only a pimple. It hasn't come to a head yet. Open your mouth. Looks like a watermelon after a wagon had run over it. Throw out your chest, if you haven't a chest throw out your stummick £sicJ . Say Skeggs, there's something wrong with this nigger. 768. Skeggs: No there isn't. 769. Marks: Yes there is. 770. Skeggs: Well what is it? 771. M a rk s : He's got the heaves. 772. Skeggs: No he's not, he's as sound as a doll. Well gentle men before we start I wish to state that the terms are cash or papers payable on the Bank of New Orleans. 773. M a rk s: Oh I always pay cash for what I buy. 774. Skeggs: Well gentlemen what do I hear to start from. 775. L egree: I'll start him at $500. 776. M a rk s : $75. 777. L egree: $600. 778. M a rk s : $75. 779. L egree: $700. 780. M arks: $75. 347. 781. Skeggs: $775 gentlemen, are you all done? Last and third call, and sold to Mr. Marks at $775. 782. M a rk s: Come over here Adolph. Here way--off, Oh Adolph I mean. Now take my umbrella and run down to the office and dust off the dust and etc. 783. Skeggs: I beg your pardon, but haven't you forgotten some thing ? 784. M a rk s: What, a lawyer forget anything? Let me see, oh yes my umbrella. 785. Skeggs: No I mean the musuma. 786. Marks: What's that? 787.. Skeggs: The long green. 788. M a rk s: This is short green, they've tramped it all down. 789. Skeggs: No, you fail to understand. You failed to pay for the boy. 790. M arks: Oh yes it's a thousand dollars neither here nor there with us. 791. Skeggs: Why certainly. 792. M a rk s : I'm sure not here. Adolph have you got a dollar bill about you? 793. Adolph: Yes massa. 794. M a rk s : H ere give m e 25£ change. 795. Skeggs: What haven't you made a mistake? 796. Marks: Is that a two ? 797. Skeggs: No. What did you bid for the boy? 798. Marks: Seventy-five. 799. Skeggs: Seventy-five what? 800. Marks: Seventy-five cents. 348. 801. Skeggs: Do you suppose that I am standing up here and knocking down a full grown nigger for 75£? 802. Marks: Well, I've been knocked down many times before for le ss. 803. Skeggs: I expect you have but you take that money and get. G et! 804. Marks: You bet. 805. Skeggs: Well gentlemen the next we have to place upon the stand is the young mulatto girl, Emiline Emiline was Mr. St. Clair's housemai . d a very handy girl. Emiline take the stand. 806. Legree: Pretty good looking gal. How old are you ? 807. Emiline: Don't you hurt me. [£i£] 808. Legree: Well I'll hurt you worse than that if I buy you. I'll start the girl at $500. 809. Skeggs: $500 etc. etc. 810. Marks: Oh stop the sale I lost something in here that was in the fam ily for 100 y e a rs and I w ouldn't take a $1 0 0 0 for it. 811. Skeggs: Well what was it? 812. Marks: I lost it right along in here. 813. Skeggs: What was it? 814. Marks: A collar button. 815. Skeggs: Get out of here ! I am offered $575 for the girl. 816. Legree: $600. 817. Marks: Oh Skeggs it's all over town. 818. Skeggs: What M arks ? 819. Marks: Mud. 349. 820. Skeggs: Get out of here. $675. 821. Legree: $700. 822. Marks: Oh Skeggs, an awful accident just happened down the street. 823. Skeggs: What was it Marks? 824 Marks: I am too full for utterance. 825. Skeggs: Go on and tell me. 826. Marks: A little boy went into a hardware store and got shot. 827. Skeggs: Got a shot! What did he get shot for? 828. Marks: To go hunting with. 829. Skeggs: Oh, get out of here ! $775. 830. Legree: $800. 831. Marks: $75. If I can win a gal I'll buy me. 832. Skeggs: See here, didn't I tell you you could not bid here? 833. Marks: Did you? I am awful forgetful. 834. Skeggs: I stood on that very spot and told you that you could not bid. 835. Marks: Oh your like a leopard you change your spots. 836. Skeggs: Well I say that you cannot bid in here. 837. Marks: I will bid. 838. Skeggs: I say you won't bid. 839. Marks: Skeggs, let me inform you that I am a free born American citizen standing here under a blue canopy of heaven and I will bid. 840. Skeggs: Well what will you bid? 841. Marks: I'll bid you goodnight. 350. 842. Skeggs: $875. 843. Legree: $900. 844. Skeggs: $900 once, twice, thrice, and lastcall, and are you all done? Sold to Simon Legree for $900. 845. Legree: Stand over there gal. 846. Skeggs: Gentlemen the next we have to place upon the stand is a good old faithful darky called Uncle Tom. Tom was Mr. St. Clair's overseer and if St. Clair had lived until today he wouldn't have taken his weight in gold for him. Tom take the stand. Look him over. 847. Marks: Has he got a pedigree? 848. Skeggs: Yes sir, here it is. 849. Legree: He's a nigger with his boots blacked. Hold up your arm. Let's see how your teeth are. How old a re you? 850. Tom: Sixty years old massa. 851. Legree: What did you do for your late master? 852. Tom: Had charge of Massa's plantation. 853. Legree: That's a likely tale, a nigger having charge of his m aster's plantation. 854. Marks: He speaks the truth, it's down here in black and white. 855. Legree: Well I'll give 800--900--$1000. 856. Marks: I'll give $1100 for the old fellow. 857. Legree: You can't have that nigger. I give $1200. Beat that if you dare. 858. Marks: Mr. Simon you might outbid me, but you can't whip m e. 859. Legree: What's that? 351. 860. Marks: Yes you can. 861. Skeggs: $1200 gentlemen are you all done? Sold to S. Legree for $1200. 862. Legree: Now then you two niggers belong to me. 863. Tom: And may the good Lord have mercy on us both. 864. Legree: Bah! 865. Skeggs: Gentlemen that concludes the sale for today. 866. Marks: And gentlemen I must say that that old man was sold to the meanest man in New Orleans. 867. Legree': What's that? 868. Marks: And there are documents to prove it. Act IV Scene ii, A Curtain Street. "George Shelby searching for Uncle Tom. " 869. Shelby: At last my mission of mercy has arrived and now to find the home of Mr. St. Clair, repurchase Uncle Tom and covey him back to his wife and children in Old Kentuck. Ah, a stranger ap proached. He might be able to give me some information. I'll just accost him--I beg your pardon, but are you training for a race? 870. Marks: No I'm racing for a train. 871. Shelby: Well could you give me a little information? 872. Marks: Well, I'm a lawyer and lawyers never give any thing. 873. Shelby: Perhaps you have no objections to selling it. 874. Marks: Now your talking business. 875. Shelby: Well what do you value it at? 352. 876. M a rk s: Oh, say a five. 877. Shelby: I can give you that and never feel it. 878. M arks: Well make it ten and feel it. 879. Shelby: No I'll hold you at your original bargain, but could you tell me where Mr. St. Clair lives? 880. M a rk s : In a place where you could not very handily find him . 881. Shelby: What's that--not dead? 882. M arks: He ought to be he's been planted 6 w eeks. 883. Shelby: Did his death cause the sale of his negroes? 884. Marks: It certainly did. 885. Shelby: How was they sold single or in lots ? 8 8 6 . M a rk s : In the alley just back of the lots. 887. Shelby: No, I mean did they go to one or two different bidder s ? 8 8 8 . M a rk s : Oh they went here, there and everywhere. I was one of the principal bidders .myself. 889. Shelby: You was ? What did you bid? 890. M a rk s: Seventy-five. 891. Shelby: Seventy-five what? 892. Marks: Seventy-five cents. 893. Shelby: And what did you get? 894. Marks: Kicked out. 895. Shelby: That's what I thought, but while there did you see an old darkey answering the name of Uncle Tom? 896. M a rk s : Uncle Tom ? 353. 897. Shelby: The same. 898. Marks: Yes, I bought that old negro myself, but as I had more negroes than I cared for on my plantation I sold him to a man by the name of Legree. 899. Shelby: Where could I find this man Legree? 900. Marks: Well in a little way out of the way place down by the Red River in a spot where you could not handily find him without a very competent guide. 901. Shelby: Where could I find such a guide? 902. Marks: Well let me see, as Mark Hanna is dead and Taft and I are on the best of the terms I might take the job myself providing you come down hand som ely. 903. Shelby: You direct me there and your reward shall be ample. 904. Marks: Apples what do you take me for a cider mill? 905. Shelby: No you take me there and your reward shall be sufficient. 906. Marks: Fish? I am not running a fish cart. 907. Shelby: No, you fail to understand me. You direct me there and I shall pay you well. 908. Marks: Oh well I'll take the job providing you do. 909. Shelby: Very well, meet me at the steamboat landing in one half hour for I am going to my hotel. 910. Marks: Hotel? Where have I heard that word before? What hotel are you stopping at? 911. Shelby: Hotel Central. 912. Marks: Well that's strange, I have been stopping there my self. ^This line seems to indicate that this script may have been used in first decade of Twentieth Century. Taft served as President from 1 9 0 1 to 1 9 0 9. 354. 913. Shelby: Well I must say it is strange. I have been stopping there for quite a while and I never saw you about. 914. Marks: Perhaps you haven't been down to the barn. 915. Shelby: Perhaps not, but you be down to the steamboat landing in ------ 916. Marks: By the way what is your name. 917. Shelby: George U. Shelby. 918. Marks: Well George U. Shelby [pronounced George, you shall bej allowed to pay for my supper at the Hotel Central. By the way, do you smoke. 919. Shelby: C ertainly. 920. Marks: Have a match. Act IV Scene iii, Legree's Plantation. "... the whipping; Tom cruelly flogged by Legree." 921. Tom: I've come through the dark places. My, I've passed through the vale of the shadow, my heart sinks at times and feels like a chunk of lead then it rises to my throat and chokes me until tears come down my cheeks but when I take out that little lock of hair Miss Eva gave me it brings me peace and joy to my soul. I still has the bright silver dollar Master Geo. Shelby give me the day I was sold away. Massa George must have grown to be quite a young man by this time. I wonder if I shall ever see Cloe and the little ones again? (Negroes singing "Old Folks at H om e. ") 922. Legree: Hush up you niggers, I didn't buy you to howl, I bought you to work. Well gal we're at home now the jumping off place of all creation. Did you ever wear any earrings? 355. 923. E m iline: No M assa. 924. L egree: Well if you be good gal I will buy you a pair. Tom do you see those dogs out there in the shed? 925. Tom: Yes M assa. 926. L egree: They are raised and trained to catch runaway niggers and they'd just as leave chaw you up as eat their supper so now you know what to expect if you try to get away. 927. Tom: Yes M assa. 928. L egree: Well gal, come into the house and I'll make a lady out of you. 929. E m iline: No I'd rather work in the fields with the rest of the slaves. 930. L egree: Oh, you are going to be contrary. Well I'll soon take that out of you. 931. E m iline: Kill me if you like. 932. L egree: Here's a nigger willing to die. Tom you know when I bought you I didn't buy you for a common field laborer. 933. Tom: Yes M assa. 934. L eg ree: I am going to promote you. 935. Tom: Thank you massa, thank you. 936. L egree: I am going to make a driver out of you. 937. Tom: Oh massa not that, not that. 938. L egree: Yes ! Take that whip and give that girl a flogging within an inch of her life. You've seen enough of it in your time to know how I reckon . . . stand over there gal. 939. Tom: I beg the massa pardon but I hopes he won't set me to doing anything like that. It's somfething I never did do, can't do, and won't do no ways possible. 356. 940. L egree: Well you'll learn a right smart to do around this plantation before I'm through with you. Out there and up with your hands. Out there now and take that, and that, and that, . . . now maybe you pretend it's wrong to flog the gal? 941. Tom: Yes Massa, I think it's downright cruel. 942. L egree: Think! What right have you cursed, black devils got to do with thinking? I'll do all the thinking that is to be done on this plantation. You do the work curse you. Maybe you think your a gentleman master Tom to be telling me your master what's right and what's wrong. Now will you tell me you can't do it? 943. Tom: Yes Massa. I am willing to work night and day and work while there's life and breath in this old body of mine but this thing I can't feel it right to do. I think massa it would be downright cruel and it's what I never will do Massa. If you mean to kill me, kill me, but as to raising my hand agin, on anyone on this plantation and especially on woman and that thar gal it's something I shall never do. 944. Legree: What? 945. Tom: I'll die first. 946. Legree: Here's a pious dog let down among us sinners to tell us right from wrong. Another nigger wants to die. Tom didn't you ever read in that good book you are always talking about where it says Servant obey your master? 947. Tom: Yes Massa. 948. Legree: Well, hain't I your Master? 949. Tom: You is my massa. 950. Legree: Didn't I pay $1200 cash for all there is in that old black shell of yours? Ain'tyou mine, mine body and soul? 357. 951. Tom: No massa, this poor old body may belong to you, but my soul belong to the one up above who has bought and paid for it, and you can't harm that massa you can't harm that. 952. Legree: Well I can't can't I? Well we'll find out. Here Sambo hold this old black beast while I beat him within an inch of his life. 953. Emiline: Stop Simon Legree! Touch that old man at your p e ril. Curtain Act IV Scene iv, MISSING. "A street in New Orleans: Marks secures a warrant for the arrest of Legree." Act IV Scene v. "Tom receives his death blow: Marks kills Legree. "14 954. Legree: Curses on them gals Cassy and Emiline, I'll be the death of them yet. Ever since I bought that Emiline, Cassy has had the very devil in her. I know what I'll do I will call them gals up here and have them sing and dance for me and that will drive the blues away. Here Sambo send them gals Cassy and Emiline up here at once. 955. Sambo: Can't do it massa seen them going down the road about half an hour ago. l^See 1918 program. 358. 956. Legree: What? Bolted? By the gods, saddle my horse ! Call the dogs ! Hold! . . . send that black beast of a Tom up here, he's at the bottom of this and 111 have it out of him or kill him. Hain't he mine? And whose he to hinder me I'd like to know. See here Tom, do you know that I've made up my mind to kill you. 957. Tom: Very likely massa, very likely. 958. L egree: Yes I done just that very thing unless you out with what you know about them gals Emiline and Cassy. Speak! 959. Tom: I hain't got nothing to tell massa. 960. L egree: Do you tell me you don't know. Do you know any thing ? 961. Tom: I know massa, but I can't tell. I will die first. 962. L egree: See here Tom do you think that because I have always been so good and kind to you and let you off be fore that I am going to'do it again? Well I am not going to I have made up my mind, I have counted the costs. You have always stood out against me, now I'll conquer you or kill you one or the other. I'll count every drop of blood there is in you one by one and take them drop by drop until you give up. Speak! 963. Tom: Massa if you was sick and in trouble and the takin' of every drop of blood in this poor old body would save your precious soul I'd give them to you freely, but do your worse massa my trouble will soon be over, but if you don't repent yours will never end. 964. Legree: Tom what would you say if I bound you to a stake and built a slow fire at your feet and burned you to a crisp ? 965. Tom: Massa you may burn me, you may beat me 359. 15 966. Legree: Beat you ! Why damn you, I will kill you ! How do you like that you black beast? 967. Tom: Massa you have done your worst, but I forgive you with ail my heart. 968. L egree: Oh forgive the devil. Here Sambo, take that old dog out and feed him to the hogs. Here goes $1200 to the devil. Well, his black mouth is closed that's one consolation. 969. Geo. Shelby: I beg your pardon but is your name Legree Sir? 970. Legree: Yes my name is Legree and what of it? 971. Shelby: At a recent sale did you purchase an old darkie called Uncle Tom? 972. Legree: Yes I did and a devilish bad bargain I made of it too. 973. Shelby: Where is he? Could I see him? 974. Legree: Yes you can see him, out in the shed there trying to die. You can go out and assist him if you lik e . 975. Shelby: What? Tom trying to die? See here Simon Legree at one time Uncle Tom was my father's most faithful overseer and my loving companion through my childhood and if any harm has come to him through your cruel treatment you shall answer to me. 976. Legree: What? 977. Shelby: To me with your life--not this evening, (exit) 978. Legree: Well I wonder who this young upstart can be? Some of Old Tom's friends I suppose. Well, I can keep an eagle eye on him. (exit) 1 ^ According to Proctor Baughman "Legree hits Tom over head with loaded handle of whip" at this point. 360. 979. Marks: So this is where Simon Legree lives? Now here is my little persuader. Now you little son of a gun if you ever did stick to me stick now. I'll just take a stroll around the plantation and see if I can find him . 980. L egree: Here you niggers get off that cotton down there. 981. M a rk s : Is your name Legree sir? 982. L egree: Yes my name is Legree Sir. 983. M a rk s : He said he's a greaser he does look kind of slippery that's a fact. 984. L egree: Who the devil are you? 985. M a rk s : I don't know who the devil I am. 9 8 6. L egree: Well what do you want? 987. M a rk s : I w ant to go hom e. 9 8 8. Legree: Well go. 989. M a rk s : Simon I have got a warrant for your arrest. 990. L egree: A warrant for my arrest? What for ? 991. Marks: Murder. 992. L egree: Murder of who? 993. Marks: Murder of St. Clair. 994. L eg ree: St. Clair the devil! 995. Marks: I've got him bluffed. I expect I had better go up and get him. I had better shoot him first and tell him what I want afterwards. Don't do that Simon I was raised a pet. Now Simon I'll make you a proposition, you give me a $1000 and I'll tear up this warrant and never say a word about it. 996. Legree: I'll give you a thousand devils. 361. 997. M a rk s : No, No Simon wouldn't I be a pretty looking thing running around here with a thousand devils sticking in my pocket? Now I have come after you and am going to have you. 998. L egree: What you take me why ------ 999. M a rk s : On No Simon. 1000. L egree: You little red petty foggin lawyer chap I've whipped fifty better men than you and I eat better men than you every morning for breakfast. 1001. M a rk s : Well Simon if you have to eat me you'll have more brains in your stomach than you have in your head. 1002. L egree: What's that? (shot falls) 1003. M a rk s : You little son of a gun you did do it. Lay still there or I'll pull the snapper on. His palpatator has stopped palpin. Here Sambo take this old beast out and slop him to the hogs. .There goes 12 cents to the devil. (Curtain Street) Well, you little son of a gun you did do it. Well, I'm a lawyer, my name is Marks and don't you for get it. Act IV Scene vi, Street. 16 "George Shelby finds Uncle Tom . ..17 1004. Shelby: Stop Uncle Tom, maybe you can retain your strength. Look up, don't you know me? See, it is I, your young master, George Shelby. 1005. Tom: It is bless the Lord, now I can die in peace. ^Woods scene used at the Grand Opera House. 17See 1918 p ro g ra m . 362. 1006. Shelby: You mustn't die Uncle Tom, I've come to buy you and take you home to Old Kentuck. 1007. Tom: Oh Massa George you come too late the good Lord has bought me and is going to take me home with H im . 1008. Shelby: Poor, poor old fellow. 1009. Tom: Don't call me a poor fellow. I was once a poor fellow, but that's all past and gone. No I am rich in the love of God. See the angels and blessed Miss Eva am beckoning me home. Tell Cloe and the little ones to follow me to the other shore for I rest in peace. 1010. Shelby: Poor, poor old fellow his life has been a rough and rugged one but his body has rest beneath the blue grass of Old Kentuck. Oh witness eternal God. (Business hands upright and off) Act IV Scene vii. "Allegorical Transformation." 18 THE END 18 Flag drop down to close show, then "slow curtain. " APPENDIX C UNCLE TOM'S CABIN PROGRAMS 364. PROGRAMME Uncle To:i~; tli? fa ith fu l ol.l s la v e ...... Clarence Hzvmouut George hr,vis, a Fugitive ...... Jack Nelson Augusta. St. Clair, a Southerner ...... Eel. Krancr Phineas Fletcher, a rough diam ond ____ George Chirk Lawyer .Marks, a emoked coward ...... Dtuny Hannount Dan Finley, dealer in horses and niggers Frank Scott M r. Shelby, a Kentucky planter ...... H erb al t- lJendrdl George Shelby, his son...... Jack Smyth e Simon Leg roe, Terror of bled L ive r...... George Hannon nr. Sin g,;.s, Aucthm opr ...... Paul Nelson. Adolph, Ya'ot lo Si. Clan' ...... H a r r y G ric e Srn:b(j and Quimbo. i l.eercc'- eleviis) .. Charles Brown and I-T.nrry Still I F r r r y , c'iiih! of 1 leorge IFaris ...... M a s t e r h o y S c o tt Aunt Ophelia, of die Green Mountains.. Miss JTargcwl Bov,en Jvlizn lle v K brok. u-henrted m other... Miss Maggie Ilave'y Emmeline, the m aid ...... Miss Libido Peters Topsy, '.vho n e v e r w as b o r n ...... d f/s s Marie L'rriyonnt Aunt Cl.loo, Uncle Tom ’s vife ...... AfDs Haze! Kelson Cnssey, once slave of Ihrgrer ...... iSJd'ss Pear! Carbon i.iltle 12\ v?...... baby Irene Smith Prince and lieno ...... Siberian Blood hounds SYNOPSIS ACT I. Sceuc 1—Meeting of George and Eli'/.u. Scene 2—Uncle Tom ’s Cabin; Fight of Eliza. Scene."— Elina meets Vliinnns. Scene .1— Matks and Haley on the track of Elisa; Piiinnas assists Eliza to escape; E li/a crowing the ice. Scene 5 —Escape of Eliza from ferocious bloodhounds. A C T II. Scene 1 -Three days later; Phineas meets George Hu-ris and the lawyer is outwitted. Scene 2—Next day; George and Eliza ie-ucitcd; Scene 3— The fight in the rocky pass; death of Haley: George and Eliza Iren at- hint. ACT III. Ilonie of St. Clair; the arrival of St. Clair, Eva, Ophelia and tk,do To m ; St. Clair presents Topsy to Opheliat.Tom and Eva in the gar,leu by the hike: Tom waiting for Hie bridegroom; Death of Eva. A C T IV'. Scene I— The slave market in New Orleans: Torn and Emmeline sold to I.egree. Scene 2— George Shelby searching for Uncle Toni. Scone 3— J,pgrco’s Plantation: The whipping; Tom cruelly flogged by Degree. Scene 4 — A street in Now Orleans'. Marks recures a warrant for the arrest of Degree. Scene o— Tom receives his death blow: Marks kills Degree. Scene 0— George finds Uncle Tom ; “You’r too late, Massa George, the Lord has bought me and is gwinc to take me home.” Scene 7— Allegorical Transformation. M u s ic b y W ill Hossiter, Chicago, 111. S ce n e ry Arm bustcr C. ID ITurmmint M a n a g e r Frank A. Bowen Business Manager D. C. Havmount AFusicr.l Director Alias Fear! Carlton Wardrobe Harry Gri.ee P ro p s. Geo. Hana.oun'; Stage Director 1917-1918 Program P TA Y GEAKD OPERA ii a A vftConda* 5\£igbl, Nov. Sib B M w m m r s iliacls 1 eAfifs Calbiii CAST O f CHARACTERS 1 U n c l e T'-i-, , th e f a i t h f u l oi I s la v e ...... F r e d F u m l e y 2 George Harris, a fugitive ...... Geo. R. Ilzrrnount 3 August St. Cluir, i\ southerner...... -...... Earl Wilson 4 Phineas Fieteiier, a rough diamond ...... Tbos. McAllister 5 Lawyer Marks, a crooked cc-vard ...... I). C. Harmount 6 Dan Hnley, a dealer In horses end niggers ...... Hermon Hunt 7 Mr, Shelby, a Kentucky planter ...... Harry Brown £ George Shelby, his son...... Pontoon Clark 9 Simon Legree, tenor of Red River...... Thus. McAllister 30 Skeggs, RtK.ttar.c-er ...... Eel K r a m e r 11 Adolph, vnlet to St. Clair ...... C l at sr.ee B a v L 32 Sambo and Quimbo, Degree's devils Boh Keb!u*ni, Sam James 33 Harry, child of George H arris ...... Ms»tor Flay Scott 34 Aunt Ophelia, of the Green Mountains...... M a y I r v i n g 35 Eliza Harris, broken-hearted mother...... Mrs. Geor gia McAllister 36 Emmeline, the ir.r.id ...... Libbie Smith 17 Topsy, who never was h o rn ...... l.eonnr. Alfreltf. IE. A.snt Chloc. Uncle Tom ’s w ife ...... Mr?. Mary Hunt li ’.'a;?*;,, ‘'nee slave of Legree ...... Georgia Hummel 20 L i in s C . i...... R a b y A i i e e 23 P r : n ; e t.r.d I'. m u ...... Gyrnp and Tip E o p e .RT B e o w k , Orchestra Leader SYNOPSIS ACT I. Meeting of George and F.liza. Uncle Tom ’s Cabin; flight of Eliza. Scene 2. Eliza meets TTinms. • Scene 3 I-laley cng'-sgas Marks to run down Eliza and bt r child. Scene i. .'-'arks and Hr!pv on the track t.f Eliza; Phineas assist :• Eliza to esim.pr. Scene 5. Eliza crossing the ice. Escape of Eliza from ferocious bloodhounds. ACT II. Scer.e 1. Three days- later; Phineas meets George Harris and the-lawyer is outwitted. Scene 2. Next day; George and Eliza re united. Scene 3. The fight, in trie rock pass; death of Haley; George and Eliza free at last. ACT III. Home of St. Clair; arrival of St. C’air, Evs, Ophelia and Uncle Tom: St. Clair presents Tcpsy to Ophelia: Tom aiio Err. in the garden by the lake; Tom waiting for the bridegroom; death of Eva. ACT IV. Scene 1. The slave market in New Orleans; Tore, and Em meline sold to Legree. Scene 2. George Shelby searching for Uncle Tom. Scene 3. Legree’s plantation; the whipping; Tom cruelly flogged by Legree. Scene 4. Legree tells Cassey the story of his past life; r. street scene in N ew Orleans; Marks secures p. v.'&rrant for the arrest of Legree; Tom receives his death blow; .Marks kills Legree. Scene A. George finds Uncle Tom; "Y ou’re too late Msrst George, the Lord has bought me and jpvir.c to take me home.1' Scene 6. Allegorical transformation. Specialties introduced between Acts by our Colored Quartette 1920 Program 366. SHA'TTUCX -ORARA CiO CS'R j,m w aj ■- w m s ii.m i - ataw gsre HORNELL, NE.VV YORK «jo*ar>-trv*,n?T'- . o u - ' i v . ' 'tr ixp-«.'v r.-rvi 'jn*ic-»r.n»—.• .nxon-.»v«*'^*Ai< 07 irrjnr^,s;J h a u m o i : n t 's “Uncle Tom’s Cabin 55 M a tin ;..* am i N u r h i (' A ST O f O K A U A C T K K S Uncle Tom, iln* faithful itlil Have. G. T. Hn/nnouiit Ge<->rgo id a v i - , a i‘m n t iv e _ G e o . TL B u n m m n ' St ''l.di. a Kentherner ______Earl Wilson Phineas E'c.'clmr, a tough dnmmml. .. _____ . _. Thomas Muck Lawyer Mudis. :i oro-iked coward ...... Deamon Gladr DanHc.ley. v dealer in h< - s and niggers ______H-ginon Hunt "dr. Shelby, ;i Kenuwky iihmirr ______Cohort known George hhieiby. Id/ sen, . ______G. 0. Rector Simon Imgree, u:!'!'):' of Red River ______Thomas McAllister Skeggs, a act ion oec ...... 'Will Willard Ai.otph. Vai-.’t to St. Glu'r . ______Clarence Davi.*, S a m b o :m 'm ! G u im b o . J.i g r c e ’s d e v ils______Rob Robinson and A1 CTi et. ii Harry, ■•idio of’ George Harris... ______Master Ray Scott Aunt. Ophelia, of the < -.reeii Mountain.'- ____ M.ay Irving Eliza llarri:-. a i 11d ;-0.r*n;*(**rl. m e M m r ...... Mrs. George McAllister Kennel!'".- the m aid ______Libbie Smith To;\-o\ v.iie i"*\er was horn ______f comm Alfretia Aunt Cilioe, Km;!.* To.Us -.vife______Mrs. Mary Hunt Ga-st v. one/ Gave uf Lego*.? ______...... C.mraia Haitnnel T.;ri le E v a ______...... __ Hi y M a r y t>.t, '. ,, 11. EW'H... .nW . . . . ------Gynip and Tip Robert Brown. Orehe/i ra j_.eader S V N O I's iS At T I— Went icg oi: G"urgv and Eliza. Uuch' T.aids cabin t flig h t o f E ! w u rj.• rim S — Kiiza meets Phineas. Sc-nc lj- -H .ihy engages Marks to run down Kb/,a .i!i i her child. Setae* A Mark> and JIawy on track of Eliza; Pluneas a:;hsw Kijy„! to scape. — Eliza Cr<.*s>iiig the ice. Escape of Eliza fi'v.-iu 1 •Vociwi.s bioodhoi !ids. Ah’T II - Scene I Three days biTer. Phineas meets George Karris and the lawyer is outwirfed. S'vno '!— George and Eliza reunited. Scene 3—1 be light n;i the look pass; death of Haley. George and Eliza free at last. AUX 1 tl • Kouie of Sr. Glair; arrival o f - r- Glair. Eva. Ophelia and Uncle Tom ; St. OSair presents Topsy lo Ophelia: T oju and Eva in tilt garden by the lake; Tom waiting for the briih-ji ■;( m; d-ath of Java. ACT TV— Scene I— Tin* -lave marker in Mi -w Orleans. Tom and Em el: nr sold to Legree. S-'vue . — George .sdi-dby senn'hing mr Uncle Tom. Scene o - - Legruc’s plantaiion: the whipping: T-ou cruelly bogged by Legree. Sc.m 4-diCgrce tells Cassi" liie story of his past IRV* a street scene in X.*w Or* b*ans; Marks secures a warren?. i'..r tic* arrest of Ij-gr*. Tom receives Ids duatli-blow; Maries kills I. *gree. tx-mm o—(dc.a-'je finds Uncle 'Join: “ Y ou’re too late, IMarsc Givage, H;e Lord law b-eager me and gwiue to lake m e hi.mit.',” Wc m 1 *' — A 1 hw^e'ica ■ in o sf-.■ rto:«ri■ oi. Ap*. oia]ri.:s im re d u c e d Let ,v..***u \ he a'Ss by oar Colctrd Qrarrctt . 1921 P ro g ra m PHOGUAMMH Uncle Tom , tin' falihfiil nhlBlnvo ...... < "c,n r e n e e l i n r n i o i m t Gcnrjiti Harris, a. Knjritlvc ...... I'.-i't .Inrvir- A turnsta Kt, (.’'air, a. SiHif.ucrtwr ...... ‘Hucye Smith 1’;, -as Uk'dclier. a. rtmjxlj diam ond ...... C V ■ M a r k i -v Murks;:! minkcil cuWJi.nl ...... I'. : s..)Iri.;■ ;c i . Un'.ey, ilc.ik i ia horses am i nljt^era ...... V Walters : •. Shelby, n Kenl m k.y planter ...... iis-p,ended Shelby, I. nil 11...... 1"...... -fi; K S m y t h e .., i V n ' i j r iii ll:i(l I U v e i\..4 1...... ! a r k X 11 : !: ui'tionoiM'...... 1...... i;.>t V. .-.•>m? A w ip h , Valet l.o kit. (Hair ...... Hurry i!rioe S i i i h u i i u,tit! Quinibo, (I.eivrec'.s ilevilt./ Shark:- .'..-own am i H arry Skill i ..'irr.v. child of George H a rris ...... iir.w ar Hoy Sor.tt A ■-.-it Ophelia, of the Green Mountain.'; .'A me i«la ,1 nrvi.i >'.i?.a Harris, broken-hearted mother Mi«s M aa'ck i/avoly Kn. incline, the maid Mi Him it-tors V o ;>:;y, w l i o n e v e r w a s h o r n ...... I'm ■ 'Ala ; ;, 1 -. Aunt Chioe, Uncle Tom 's wife ...... A;;..- Un:: . Nelson (’ussy, once slave of Legree ...... '.’ is.-, He.".;-! C a r l t o n 1 .5 ttlo Ifivn ...... - ...... G ladys Sr.rodhbi.:r i'riiici: and K eno ...... :ii.erian Ulood JLo u i h I b •SYNOPSIS .•■.cl; 1. Seem; 1— M eeting of George and hli/.n, So.mo 2— Uncle T o i i i ' b ( .'in; l<’li;;lit of Uliza. Scene :i •- Bti;;a inoels Phiuen:,. Sccuc •!— i;;,ri;« mid 1-1 .iley on elm track or Hlixa: lMiineas assists Kliza to es- cu.-p, ; ]Clh:a crossing the Ice. Scene a — Use..;pe of iOlir.a from ferocious bii . l u l h o n n d s . A til. Scene 1— 'I’ll roe days latver; I’h.neas George Harris nr..; the layer Is outw iticd. Scene 2-- Vo... d.'.i.." • ye fni Jillr.fi, re- uni.ml. Scene fl— The light in the rocky | m.v of Haley; Uoorgc tnnf ICliza free a t last. Act III Homo of St, Clair; tile ;; r ■!. ill <• S.. , P. vu, 0|i!u.>lla n.ntl Uncle Tom ; St. Clair presents Top..;, ;,o < -i i ami lOva In Hie riien hy the lake, Tom wnitin;; ft.c tie- : Heath of Eva. Act IV . Sceiio t— The slave innri.et in Me,. > 'ri'len.iiH; 'T’om mul t'..timeline cold to Legree. Scene 2 — George slushy sr. iviiing for Uncle T ,,m . Scene i!— Lefrrco’s I.'iau tn.i.ion: Tim w h i p p : \ om cruelly iloj.v- y , I liy Legree. Scene -1 -• A street i.i New Or.-t Mi.rki; eccurea a w arrant for the arrest of Legree. Keene 5— ”l ■.: ■. .vccive.; Ills dealli i.loiv; Marks kills Legree. Se.emi (i— Ceoi-ye il bs Uncle Tom ; “ Yon’r to;) lute, Mnusu George, the Js.nl has bought m u r.iiil is gw ino to Hike me lullin'." Scene 7-~ Allegorical Ti'Jiii. Aoitiii t():i. ■ Specialties Introduced del ween ncN; by oi.r • •.!)!,irei! ipiarl.etf.c. lUiS! NICKS KTA • . it. 1.1,-inuount...... M a n n g e r ,;. 11'. li’uller :...... bva-neo Repminntiifive iierc Jarvis ...... Stage Director S. 0. Sehorm er ...... Orclicstra I.cadar -Jenny Clark ...... Hand Header Harry Grlco Master of Transportation •Scenery hy Armbnckev, Colnmbuc. 368. •:,j z.zztzzzzy W eek Beglning Monday, February 19, 1923 NEY/TON AND LIVINGSTON’S “ UNCLE TOM’S CABIN ” UNCLE TOM, the faithful old slave FRED FINLEY GEORGE HARRIS, the runaway mulatto bov; ...... EARL WILSON AUGUSTUS ST. CL A ill, a southerner GEORGE ST) TEEL PHINEAS FLSTOiiEft. a kind-hearted trapper CLAUDE ST. CLAIR L A W Y E R M A R K S , a c ro o k e d c o w a r d ...... E A F . L N E W ' J 'O N DAN RALEY, dealer in horr.es and “niggers" ...... J J 0 R 3 Y F A Y MY;. Slil'.Lin''. a Kentuvkv planter ...... J O H N B O O T H GEORGE LHELHY, hie son...... LiLLJE BLYTHE SIM ON i. EG REE, terror of Red River...... EDWARD JAMES SKEEGS5, auctioneer ...... DAVID LIVINGSTON ADOLPH. valet to St. Clair ...... C D S G O I N S S A M D O & QUXMBO, Legvee’s slaves BOB ROBINSON, AL. GREEN H A R R Y , riis child of George- & Eliza Harri.s....lIERWJN M cM AHOX AUNT OPHELIA, 1'iom “Old Vermont” LILLIAN ST. CLAIR KLI/.A. II.ARRIS, broken-hearted mother MAY WILSON KMALLN'E', the maid ...... RUBY CARTER TOPSY, who \v;.s never born...... 1VJSY SIK\Y ART AUNT CIll.OE, Ui,cL Toni’s wift ...... EON A ALLISON M ARIE. St. Clair's wife ...... FLORENCE BULLAE C A S S I K , a s la v e ...... L I L L I A N * P I E R S O N LITTLE EVA, the angel child ...... MADELINE STEVfART SIBERIAN BLOODHOUNDS ...... G Y 'P & J A C K _ . SYNOPSIS ACT ONE— Meeting of George and Eliza. Uncle Tom’s Cabin, Flight of EliZit. Scene 2--E!i?.a meets Phineas. Scent 3— Haley en gages Marks to run tlovr. Eliza and her child. Scene 4— Marks and Ilalsy on the tracks of Eiiza. Thineas assists Eliza to cwapu. Scene 5— Eliza crossing the ice. Escape of Eliza from the ferocious bloocl- ho u ncis. ACT TW O — Secna 1— Three days later. Phineas meets George Harris and the lawyer is outwitted. Scene 2 - Next day. George ana Eliza reunited. Scene 3—-The fight or. the rod: pass. Death of lla- lev. George and Eliza free at last. ACT TH R EE— Home of St. Clair. Arrival of St. Clair, Eva, Ophe lia and Uncle Tom. St. Clair presents Topsy to Ophelia Tom and Eva in the garden of the lake. Toni waiting for the bridegroom. ‘Death o f E v a . ACT FOUR— Scene The slave market in New Orleans. Tor: and Emaline acid to Legree. Seem: 3— Degree's plantation. The whipping. Tom cruelly flogged by Degree. Scene 4— Legree tells Cassie the story of his past life. A street scene in New Orleans. Marks secures a warrant for the arrest of Legree. Tom receives his death blow. Marks kill? Legree. Scene o— Georgo finds Uncle Tom. “You're too late, Massa George, the Lord has brought me and is a gwine to take- mu home.''' Scene 6 — Allegorical transformation. EXECUTIVE STAFF Owners and Managers ...... Earl Newton and David Livingston General Aecnt and Business Manager ...... T o m A i t o n Band and Orchestra Leader ...... Hurry Lincoln Stage Manager Claude St. Clair Stage Carpenter ...... B o b b y F a y Master of I’t> ; ...... Kerns Hh Buisb MOOSE THEATRE Mason Bros. Present the "Big Dramatic Production . “UNCLE TOM’S CABIN” CAST OF CHARACTERS Uncle Tom, the faithful old slave ...... Fred Finley George Harris, the runaway mulatto boy Claude St. Clair August St. Clair, a southerner Bert Stoddard Phineas Fletcher, n hind-hearted trapper ...... Billie Blythe Lawyer Marks, a crooked coward ...... Leo La. Clede Dan llealoy, a dealer in niggers and horses... .Harry E. Lloyd. Mr. Shclh.v, a Kentucky planter...... Ed. Osier George Shelby, his s o n ...... Bob Mason Simon Degree, a terror of Red R iv er ...... Dave Livingston Sk«ggs, auctioneer...... Earl Kelson Adolph, vah't in St. C l a i r ...... Charles Jones Sambo and Qtifmbo, Logi ee’s slaves ...... Craig and Vondoll Harry, the child of George and Eliza H arris Harry Roy Aunt Ophelia, from old Vermont Lillian St. Ola it Eliza Harris, a broken-hearted mother ...... Marie Zollie F.maline, the maid ...... LuciMe Beistei Topsy, who never was born ...Margaret Wheeler Aunt Chloe, Uncle Tom's wife ...... Anna S. Mason Cassia, a slave ...... Grace Sturgess Little Eva, the angel child ...... Lucille Lewis Siberian Bloodhounds Duke and King ACT I. Scene 1—Meeting of George and Eliza. Uncle Tom’s Cabin. Flight of Eliza. Scene d—Eliza meets Phineas Scene 3—Healey engages Marks to run down Eliza, and her child. Scene 4- Murks and Healey on the track of Eliza.. Phineas assists Eliza to escape. Scene 5—Eliza crossing the ice. .Escape of Eliza from the ferocious bloodhounds. ACT II. Scene 1—Three days later, Phineas meets George Harris. The lawyer is outwitted. Scene 2—-Next day. George and Eliza reunited. Scene 3 — The fight on Rock Pass. Death of Healy. George and Eliza free at last. ACT 111—Home of St Clair. Arrival of St. Clair, Eva, Ophelia and Uncle Tom. St. Clair presents Topsy to Ophelia. Tom and Eva in the garden by the. lake. Tom waiting for the bridegroom. Death of Eva. ACT IV. Scene I—The slave market at New Orleans. Tom and Emaline sold to Degree. Scene 2—George Shelby searching for Uncle Tom. Scene 3--Lcgree’s plantation. The whipping. Tom cruelly flogged by Legree. Scene 4—Legree tells Cassia the story of his "life. A street scene in New Or leans. Marks secures a warrant for the arrest of Legree. Tom receives a death blow. Marks kills Legree. Scone 5—George finds Uncle Tom. “ You’re too late Marse George, the Lord has bought me and is gwine to take me heme.” Scene o— Allegorical tva reformation. 370. \ M . :M.o 1 M F R I D A Y Al'VO SATURDAY, ' YSY A YD A (IJathwe. a:v.l T Leon T‘.'. Waslibury, . STETSON’S “UNCLM T0MJ3 CABIN” C A S T O F C H A R A C Y I K 3 U i ' c b Tom. fvYhir.i! rlu slave ...... V d . E s p e y Cv'o,-fe-e Harris. :• fugitive ...... >18 ivy fc'.nw/oon A ’ t j -u ? t:n » CY. CO-.::-, r. ivnrni-hosnTed Southerner.. .. Kmo.y Kii:<3 PiTi' '1:', ’ "'’v:-hr. a rough diamond ...... O v Y h 1.2Vv-m I.uv:yor YV.rV.n, ■ n kiiyeeuiiious shyster ...... W k . r n ’il I I . <1 !v»r i r l.-rr.-:-.:.? a n d n i g g e r s ...... ilY l JV.Ao.i C O . T i/ m .- ', a 'a' ''in.'by rdaivter...... i : y ; Y .:n*>e» CY.o'y:..- L:r.c1 ■ i;*, .As non ...... I.Y r o ld y ^ip -o: he;".00 , iJ j terror of the Bod River...... Orion In.v.'ir S'::"' .-•, ir.ic' a-.- ,...r o f tire N e w O r le a n s s k iv o n i:i,'k .-t ...... ' Y H o v r ■ d .-> " i'd jA y , v :\i-.i U: .Si. C l a i r ...... Char Y.ivr- T u r b o , i >l J.t give's fam iliar devils ...... ’V i'U o Y.Y Q u i ■■.!:■>, 1'.’": of I.oyreuY Yvils ...... A ra m i ’ j. i l a . r y , o f CY-or::;o ar:.:l E li z a H a r r i s ...... T a n k D e a n I. Larin Y . an irirri-in I n v a l i d ...... T Y riir Boyy. Ann'. 'Vhjjelhi, ;■ prnduc of iht> Grom Yount.-iin . orto ...... H : ’ r l 'i r n I I ' ' r!v. 1. Y a r i : . 1 .oil m o t h e r ...... Elk'. r i i l Y r Ifr.oiY,'. inaiu r f.J ;:r Sr. Cl-ir ...... _...... r ia l A d : ".is A m - i ( •d.re, Vr"'j T'.mY Tnkhlid v.-jip ...... E l i a Yrsv! Toy-vy. v.ho ::n r v.?s : o m ...... To: IYv ;r:.i LAY 'i-ivr ...... A .A: irk: YV Y O G '1:1 A o : I— in Mr. Si rhyT nbur.nY,.- :n oY ‘ ;'. fir.nu 2 Gir'l. u r'.-s 0 ill. Crr'...' Tr’i -,r G . r r i ! . bY t!•>:-i. .'A----. ■■•’T.'.v! O 'o r L10:o b y do.--; ■ >•:- •• ... O s T ’. Snrri: Y .v a- or Coro iiYo". To:'-.: - I.Cra by A::, r;. ■■ ~ 11■_•: 1 ny fYo.r; C--TT- Or') AG.v-r. ICO..i.Y-.bl- ihK A : 1 T :- - if ; : n n - ! — Y A ::.: .s's taro-:. C r o : :.-- IT ' : Y In :":.'.ivh of :::: r.Y'o. So-..ro ;rri iCO'a :.ra!'i. TYir-.a: t*_iQu'-knr. fra,: I;airy :i f.yr'ks -m ‘rial. Trr io ■ he Tv!-.;.- 0.1s/ at r r r a. (fO .roi r Act; I I •‘ ■■id .-'..o-ri-. r: f-laio y .’;i 1:r.'0-in norrra: ,,'oioYo-..) Ao: ITi--S::..:;n I.-—St. Gialr'i Inor-, Hnr!" i':rr a,.:! :C\ a 0 ;- C'r: .. f-sc f.A a.:A. Scoa-. 'ryosy in rrG.fiG: a;.;:0h. Oorrr S— Horlv Tom r-al T.va in tho 'Xi.o'-m.. S-a u.i C-~Or\'..'r: To:: vaOrliihy Lor t!ie brlro r: or ii'. S-: 0':C S--H ■ -1 Ii o f L i A Y V !v r. Art ] V--iYriv i.-Tta fr.nor' sir",; Ir YYv '.Jaraiis. Torr: 2— -G20! 3C Y. so.■.'•!:a A G:r:Y 'T :■•'■•. c r-no f!— Lopyr ‘A.i yiarar.'. vi. Oro.ie -!— Y-r.v.s hi; rarrar, Sce-iO ■ , - I.oyi'ot’;; nhnratio::, (.r,:i: Toil; i'e.*:iv: • :■ r Y: Yo- . Scero 13 f i i '- . l l \ o n h'nuvi > t.la iita tio n . d Y i l y y tl.-.-ls v_’ i ■.j■ • 'i’o!-:, hu, try Yr::. Ir.y ’-: 7--Gia:i:; u-n.Oii! :■.. if-. •, y. Gri I x.1 TOair. 371. — ------.------T* ^ M V O U T H E A T R E % )V ' , ’ GKEULICII & MATLOCK, Props. - v ; ; . C. G. Matlock, Mgr. : . ■ i ' . MONDAY, DEC. 17, 1923 ' . >:■ . STETSON’S b ig ’ ■ f “UNCLE TOM'S CABIN" : •1' ■ 1,1 ■ '■ • ■ ' ■ :•■ '’■ '■ ■ • ■ 'i . ' OAST or UlIAItAOTEHS • Uncle Torn, Hip faithful old slave ..... i ...... , . Mr, Walter Johnson (George llnrrls. n, desperate fugitive ...... :..... 9..,...;.,!...;....,. Mr, Frank Willliitnft • Alphonse St. Clulr, a, wnrpi-hcit.rt.pd Southerner i . Mr, 19. Hamburger • 1’hlnees F letch e r, ti (o u g h t diam ond '..'..di.. M r. D. A. Ilodfleld 'Dawyor Marks ...... 1...' ... Mr, II. it. DtnvnlnK ’Dan llnlvy, ti tinnier In hnrsns and niggers ...... ’...... Mr. Jack llrrnnan i M, Shelby, a Kentucky planter ...... ,....,...... '...I...... Mr. IT, F. W illard '' Georgo Sholby, his son ■...... v...... d...... Mr. Del Smith Simon Degree ...... I...... I,:...... Mr. Job Franklin S. KroggS, auctioneer. New Orleans slavo market .....'...... '...... Mr, II. ltny “ Adolpii, valet, to St. Clair ...... 1...... ;...... Mr. Dother Burke . Harry, a child of Mils'.a and George Harris ...... Master Kdwards , Mario St, Clair, ah Irritated Invalid ...... ;.... Miss Irene [.'niton, '.Aunt Ophelia, a product of Oroen Mountain State ....; Miss Della Williams . 1.911m Harris, a broken-hearted mother ...... 1 . . Miss Dot Williams • ..d.O’mmallno, a maid of Mrs. St. C lair .....I ..L.,.. Miss Mosnlo Brooks Al|nt Chlofc, Uncle Tom’s faithful wife ...... 1...... Mis. Slobs ,i Topsy, who eves novor bom ...... Miss Mario Wells ’ .! Little E va...... Us.by Alma- ■ Cltsslo i 1...... 1...1 Miss Judla Masters j Lcgrccs'it Famous Dovlls—Sambo, ChArlos Jones, Qulmbo, LOW Francis, And)4 ■ .7. Milnclc, Jtutus, David Stokes. , . • ; St. Clair Slaves—Adolph, , A1 Jones, Dnnll, Will Hint Itrynh, , Lldzlc, Mamie'. . • , D uncltn, ■ ' ■ SYNOPSIS OF SCENES • ; i ACT. I.—Scene I—'Winter of 18112, December evening ai Shelby’s Plants.-. .tlon Irt Kentucky. George Harris plans his escape. Unelo Tom. and Harry are • sold to Haley. The coon hunt, Eliza comes to Uncle Tom for counsel. Qood- '1 byo to the dciir, old cabin homo. Scone 2—Next morning. Tavern. Tho Ohio I rivet. Phliicas moots 131lv.it, ' ■ . (One mlnutb between Act I and XI) ' . . | . •' ■ ACT II.—Sceno 1—Skinner's Tavern two days later. Bcono 2—Georgo and •; Eliza meet. ScOnc 3—Death of ITaloy. Sceno 4—Specialties by nuartctlo. Y . ACT 111.—Homo of St, Clair, Topsy as a present. Topsy In mischief again. Uricle Tom and Eva In the. garden. Tom's prcsontmcht. Doath ot Eva. : ACT IV.—Sceno il—The. old slave market In New Orleans. I.egrce. buy) I Tom and Emmallno, . Scene ; 2—Slreets' of Now Orleans. Hcoiie. 3—Degree's ', Plantation. Ton) receives his death blow. Goorgo Sholby,arrives lator. Death, lo t Uncle Tom. Grand Transformation., ■, v ; : , !, y . r V ' :! 4 ::V ',■! O F F K JE uB ‘{i : •' -i ■ C. F, Ackerman '.. Manager aI, C. Conner A, l.;..k.! Advniico Iloprcsentatlvo W. E. WbeiiM 4..1: ...... i...... k.,..../iad..,...... '.....di...,...i.. Musical Director ‘.Tack B ren n an ' ...... l.L ...... '..J Stage Carpenter > it- tt. .frowning ’ ...... stage M anager ., L. A. ,Itodfleia':;r.'.rim i»,.,.^I..’..i,,;i,,.(...... d..,k;;.'k,.T..i.;..l...v:a.'.i'.;....i[..A1.. I’ro p c rty M an APPENDIX D HARMOUNT'S ADVERTISING AND PROPERTIES LISTS Harmount's Advertisement Copy BIQ “ UNCLE TOM’’ SHOW Can yon imagine being able to sit in a nice comfortable seat in a theatre ant! seeing what ap pears to be actual snow storm. Mr. C. B. Har- mount has obtained these results through electrical effects with his W orld’s largest production of Uncle Tom ’s Cobin. These machines are also used in producing the floating cakes of ice on the Ohio river by moonlight, and a grand electrical display fo r little E v a ’s tra n s fo rm a tio n a n d the. H e a v e n ly realm s. A t Two big audiences that were swayed from tears to laughter by the story that will never grow old, enjoyed “ Harmount's Uncle Tom's Cabin,” at the Lyceurii theater Saturday. O f course, the at traction is not new, but the Hnnnouul company is not as velhknown in Scranton as the Al. W . Mar tin, Stetson and other uplifters of art via. tiie Har riet Beecher Stowe route. But should this com pany return, as most “ Uncle Tom " shows have a liabit of doing, it is a safe prediction that the Ly ceum will be packed to its fulle.-c capacity. Tntve is a freshness and snap to the peTormrince that most of the others lack, and lire hand, the cjuartet numbers between tire acts and o t h e r diverting fea tures make up two and a half hours of solid enjoy ment, particularly for the playgoers of tender yeas s. The company is an unusually large one and it is conducted on a plane somewhat -.Live the u“u;d at traction of its class.— Scianion 'rimes, Scranton, fa. “Jeff,” the Great Dane dog which w h s a t tached to the police department l.ist summer is n o w . playing with Harm Mint’s Big Uncle Tom's Cabin company in the northern part of the state and inci dentally lie is scaring a lot of policemen. Jeff’s father iiiled the blood-hound part with this show until he died. The third night out “Jeff” played the part as well as his father ever did. Whenever the show parades the street of a city “ Jeff” break's out of the line every time he sees a cop. A t Toledo and Sandusky he made up with a lot of cops. At Sandusky he rushed up to a cop who didn’t notice the Columbus police badge on Jeff’s collar, and fearing the dog was going to attack him he drew his gun and was about to shoot when he realized the dog’s action was friendly.— Columbus Dispatch, Columbus, Ohio. Harmount’s Uncle Tom’s Cabin. Co. Harmount’s Big Unde Tuiri’s Cabin Company is co/ring to This company is ti*h y reciv.n'./e.’ to he the largest ar.-J best ;r. the world, carrying an entire acting cast of forty peopU., -.mong v 'lirh a re colored ju b ile e sit e.crs; b u d ; a n d w in g dr-no v s , r.od *.'• I t . H . f - mount’s famous chal'uiitr;- olurcJ >;umtcire, “ Th? Go:u"-.i SloMom F o u r . ” M r H u r m o u n t is aiso fe a tu rin g d e c tr L n ! .-now s>.?nes ice scenes that no other Uncle Tom ’s Cabin company is carrying, but which Mr. Harmouot has added to his company mi emeu: >„s expense. The beautiful electrical transformation, representing lithe Eva in the realms of Heaven. The above features a;e seldom with shows charging twice tlie price of admission. • C . B . H a r m o u n t ’s $ 20,000 production of U n c i.- '.’ nr.! s 0 ; . H r . v,in be a t the This company does not feature a big *n.-:o1. parade, as tr.o it w.'n-r Uncle T o m ’s Cabin companies lie, 'm: ■‘■-•s f«at.t»e t! ic: Ir' Bos.r-et Stowe’s masterpiece, with all specie sc.m-cr. for each and ..veiyact. Lifelike scenes of Um-'e Tom ’s Cabm tiic arrh -tl “t Lib..: ::t Uncir 1 om’s dour, and the nuewell prayer, ce-'ur hi an ci ".‘tried scow storm; Pliienas Fle'cV r’s tavern on the ; .ks ;.f .;•* Q:c>. rive.-; the outwitting of th- slave trader, Ida." Kaley, mid Ur. lawyer, A b r k s ; th e ice-gorg'-a O h io riv e r s y .,;!i.ti I; b l i /a 's esc; we , p u r sued b y m a n -e a tin g S ib erian bi>•<' in,■uud.-,; i.ittle E v a 's ;oi:i.v: ;t the tropical trees and flowers in fi.il hU'-m . tu- invious Nev. Ow -ans slave market, where Uncle Turn i - -'•!’ Mmon Legree. the ivf--o; of Red River; Simon Legree’s p'.intntiu 1, where Unr'.: Torn :s.cc the blow that proves fatal. You have seen larger street par ides with Uncle Tom ’s C ab i, but you have never seen finer scenery and a giun.Wr display if else- Irica! effects than that w h’cli wiil be seen with H.irmounl s 12o,c ;o production at the 1 he finest ?•.-lined l-to-jdhccnds in the world wili be seen w ith the Harmouot Sto.cw pro j-. ct,. of Uncle Tom ’s Cabin at the How would you like to sec Uncle Tom ’s Cabin p-oduced a» it was yea.-s ago, the old avi’.horixed version, witi; special scenery t>. n.atiii each and every act, showing the darkies in tlv; cotton tick's: tli? whipping post, and other scenes too numerous to :)k..;;on, ai! to he si-er. w i ’.ii H a r m o u n t ’s S20,000 production at th;- The funniest T o p sy , rhe sweetest Eva, the most comicai .Mar!..-, end the most faithful Uncie Tom, ali go to make Hannot rit’s 52.7 ,. 000 prod .c ti.m of U n c ie T o m ’s C a b in th e w o r ld ’:* k-.rgcsr a,id i>»st. A r the The mo.-P talked of Uncle Tom's Cabin show ;-i the world is H.•.>,•- mount's $20,-500 production. This show will be the with an acting' cast of forty people, carrying their o w l 'cai.d anu or • chestra, ail special scenery and electrical effects. 375. At last the Manager of the Opera House UNCLE TO M ’S C-A.BIN - The Harmount’s Unde Tom's Cabin winch Is booked to appear at has securer1, for his pauons l !lo much talked of Hnr- mount’s Bis Scenic Pi eduction of that Old South ern Drama, “ Unde Tom's Gal'!!!/” This com; is sail to tie the largest of its kind on the road to pany is considered the largest and best company of day, carrying Two Bands, Orchestin, Comivd its kind on tile road to-day, carrying I heir own con Quae el, All New Scenery, l’rcsentii’g ill-.' scenes cert hand; pack of Siberian Blood Hounds, am.mg of PbMeas Fletcher's Tavern, the ice gmon th e which are ike famous dogs, Prince and Ke-no. Aii O h io R iv er, escape of E liz a pvr.-ai-.’u by m a n -e a tin g their own special scenery from the rise of the cur blood hounds. ■ Air. St. C lair’s SoUlhvn kon.e show tain until the close of the performance, presenting ing tr'pion! gardens with orange.-- and magnolias in life-like scenes of Phineas Fletcher’s tavern; the Moon . ’I’he arrival of Miss Onhekn, To,?‘-y, and ice gorged Ohio river by moonlight; Eliza's escape, Uncle Tom. And all the scenes rdd hi;.. to .Miss pursued by fierce man-eating Siberian Mood hounds. Eva’s life, death and transform-timi. Don’t inis.-' Mr. St. C lair’s southern home, show ing the tropical this show as it means more to you t..m ad! others gardens v. ilh the oranges and magnolias in full of a li e tim e a n d scenes n e v e r to Hc ,-e-c-:.acted in bloom, 'the arrival of Miss Ophei:a, from Ver this o any other country. mont, the woman who tries to culidilcri the child that never was born, Topsy. Toe great levee scene, showing the bales of cotton; the New Orleans wharf; the sale of St. Clair’s negroes, among UNCLE TOT,’.’5 CABIN which is the faithful old slave, Uncle 'Pun. Sinmn In the Drama of Uncle Tom ’s Cabin are | I.tgrec’s plantation on lied River; the whipping and tured cent's such as civilization of -V.-Jay lias pal. death of Uncle Tom. The grand trur.si’unnaLion faraway. Few now read that o::d/rr ■. ! sloiy of scene; little i’ivu in the realms of Heaven. Watch Mrs. Stowe, but dramatizing id which lias kept for the parade. a liv e for n e a rly three' q u a rte r' a c e u 'u ry . '1 iz.-iv are few persons of mature years, l.aymc.: u" C l erg1. - Harmount’s big Scenic production of Uncle man, who have not time and time again witnessed Tom ’s Cabin is deservedly popular, it is hard to the pi iy and yet it is as popular ,.-d,y as forty find a person who lus not sect! it, or doesn't intend years ; go. As i historical p'oductl.v, it is .jr,equall to. Ir is patronized and endorsed bv the Clergy ed as v oleashig per.formar.cv if te , .-r fa !:• I. At the men and Religious Press, as delightful, instructive, and stricliv moral at The . tory of “ I'r.cle Tran's Lin! ;o’' was v ;Ift.ni by Mar let Beechei Stowe soir.vliaie in tne go's, and Harmount’s Uncle Tom's Cabin, will be at it is said that it was written while ike author was liv in g i i Cincinnati, and the Q uake1- 'T'hbieus” was taken from Fickrelltow.o, Logan zou/.lc, atone producing the correct and only authorized version time a strong Quaker settlement, vh.ve rt '-.away of Harriet Beecher Stowe's great masterpiece. slaves were always.secure, the j'u.pV :>t that ''dig- W atch for the parade. ious sect being str.enjly "Ppo.-e I ti> d /ve ry . w-- w.w/.tVK -x UNCLE TO M ’S CAL-l.N Harmount’s Grand Production of Uncle Tom' Cabin, at the Opera House The show tliat for fifty years has appeared in all the piincipai towns of the zon/wy ai.d never grows . id. a wonderful story -.vrittet, by the most w o n d e r id w o n : a n of th e nin e tee n th c e n tu ry , dr.i in- Nothing like it ever seen before, 'flu one oppor ■ li/.td ai -I presence 1 to mow people than uuy other tunity of seeing this great plav, produced as ii s h o w . It deals W i'il ’die e"Ci’.ls or 1/10 -‘-J /, ; - should be, with all special scenery, capable cast, fore the W ar” ami few now live to ri.cn!! these scenic and mechanical effects, and like old friends times, yet tile "tory never glows old and r.,'ver fails that improve with age. Watch, for the parade. to interest bovh u!J ruvd voting. It Is kto-..I-::-d to appear at the The funniest Topsy, Lawyer Marks, and Ophelia. The Meanest Legree. The most faith ful Unde Tom, and the rnost beautiful Eva, aii combine to make B. U-.rr.i p.,it's Big 1’io.iuc- T:i-y carry their own bands J w i’I give t;'.c tion of Unde Tom's Cabin, ihe idea.! attraction of usual s>. .at parad--. G -n-ei'l .vclaestr'i ,u: '.is- p th e th e atrical season. W a tc ii tor the p.ira.de. fon.iarct, nsgiv •ar.artd.te snr. -ind out.-v,w tiou of s'aves, b!-:.c.! iiounds tiahir,,'; th,-.a'! the c-ld iitn*. e it-ic s and m a n y n e w a.i’u :v..isiu.-- 'Vie-,, 376. Harmount's Advertising Posters ' HAR-THO-Cr NT'S' MiCU T9 MS GASIN ES, ■■■ 378. Harmount's Properties Lists Ma?M-onnfs Uadb Tern’s Cabki Co* PROP. LIST One—Shot Gun or Musket Tv/o — K.».t nIi e r Table s Two—Kitchen Chairs O n e --Pa.ri.or Set, very fancy T en—-Bat tons Dade Tom’s Cabin Haniioiail’s $29,000 Production C. B. HAR,MOUNT, MANAGER. One Three-quarter Bed and Aiatress Three BusheMJasksts One Musket One Lantern Two Kitchen Tables Three Kitchen Chairs Two Whiskey Glasses Six Large Soap Boxes One Oil! Harness Or.e Old Express Wheel Furniture ior Exterior Setting One Large Hat Box, Strawboarcl One Barrel Two Set Stumps or Nail Kegs Three Tin Palis One Pillow Two Sheai :-1 One Large Book TWENTY ROYS FOR PAPAOS > BIBLIOGRAPHY BIBLIOGRAPHY Newspapers The Ashland Press, Ashland, Ohio., 1915. The Ashland Times-Gazette, Ashland, Ohio. 1915. The Ashville Home News, Ashville, Ohio. 1904-1905. The Her aid-Voice, Belle Center, Ohio. 1903-1904. The Boston Traveler, Boston, Massachusetts. April 7, 1923. The Bucyrus Evening Telegraph, Bucyrus, Ohio. October 2, 1915. The Cedarville Herald, Cedarville, Ohio. 1916. The Circleville Democrat and Watchman, Circleville, Ohio. 1902, 1911- 1912. The Circleville Union-Herald, Circleville, Ohio. 1904, 1915. The Clermont Sun, Batavia, Ohio. 1915. The Eaton Herald, Eaton, Ohio. 1910-1911, 1917. The Eaton R egister, Eaton, Ohio. 1917. The Journal-Heraid, Delaware, Ohio. 1915. The Lancaster Daily Eagle, Lancaster, Ohio. 1915. The Lancaster Daily Gazette, Lancaster, Ohio. 1916. The Leesburg Citizen, Leesburg, Ohio. 1916. The London Times, London, Ohio. 1916. Milford Center Ohioan, Milford Center, Ohio. 1906-1907. Mt. Sterling Tribune, Mt. Sterling, Ohio. 1906. 380 381. The New Madison Herald, New Madison, Ohio. 1918, The Paterson Call, Paterson, New Jersey. February 13, 1918. The Paterson__ Press-Guardian, Paterson, New Jersey. February 12, The Portsmouth Daily Times, Portsmouth, Ohio. October 1, 1915. Post, Bridgeport, Connecticut. February 4, 1918. The Sandusky Star-Journal, Sandusky, Ohio. March 24, 1915. The Scranton Times, Scranton, Pennsylvania. February 15, 1915. The Semi Weekly Madison County Democrat, London, Ohio. 1918. The Sentinel, Mt. Gilead, Ohio. 1917. The Twin Valley Echo, West Alexandria, Ohio. 1906-1908. The Urbana Daily Citizen, Urbana, Ohio. 1916. The Urbana Daily Democrat, Urbana, Ohio. 1916. Waterbury American, Waterbury, Connecticut. Febrxiary4, 1918. Waterbury Democrat, Waterbury, Connecticut. February 2, 1918, Williamsport News, Williamsport, Ohio. 1902-1930. The Wilmi:' n Daily News, Wilmington, Ohio. 1917. Xenia Heralc "enia, Ohio. 1920. Articles Ames, Edgar W. "First Presentation of Uncle Tom's Cabin, " Americana, VI (November, 1911), pp. 1045-1052. Arnett, F. S. "Fifty Years of Uncle Tom," Munsey's Magazine, XXVII (September, 1902), pp. 897-902. Brown, John Mason. "Topsy-turvey; Uncle Tom's Cabin barred in Bridgeport and New Haven, " Saturday Review of Literature, XXVII! (October 6, 1945), pp. 24-25. 382. Byron, A. "Yesterday® pp •(,.2 ^ a n d Today, " Drama, XI (October, 1920), Clancy, Daniel F. "Uncl)i Magazine, (January^ Tom Didn,t Come Eack> " Columbus Dispatch s ------Ms, 1961), p. 29. Clark, B arrett H. "AmeriV. Journal, XXI, pp. 1 - M an Drama in It's Second Decade, " English Corbett, Elizabeth F. "UnclM A m erica's One Folk PlaM Tom's Cabin Footnote to the Drama; gg " D ram a, XVI (May, 1926), pp. 285- Davis, J. F . "Tom Shows, " Scj^ 1925), pp. 350-60. y i bner's Magazine, LXXVII (April, \ "Death of Uncle Tom, " Outlook, C l\ VII (January 21, 1931), pp. 89-90. Dempsey, D. "Uncle Tom, Centenearia, (June 3, 1951), pp. 55-6. o, " New York Times Magazine, Dohn, Norman H. "Uncle Tom. Still, Dispatch Magazine, (May 'em In> " Columbus Sunday 1951), pp. 6-8. Drummond, A. M. , and Moodv W Uncle Tom's Cabin 1853#p' Kichard. • "The Hit of the Century; IV (1952) pp. 315-22. M'" -952, " Educational Theatre Journal, Eaton, W. P. "Toward a NeJ| 1922), pp. 364-66. % Theatre, " Drama, XII (September, Feguson, A . F. "Theatre ProhM (January, 1920), pp. i " 3mila in the Smaller Cities, " Drama, X .. i'- •». Fruth, Mary Ann. "SceneJ Allegory and Ohio R f p and Staging of Uncle Tom's Cabin; Theatre Collection ]Jfver Scenes> " The Ohio State University Uetin, No. 10 (1963), pp. 31-38. Hewitt, Barnard. Old Play Torn- and Uncle Sam: h ew Light from an 1 q51\ Quarterly Journal of Speech, XXXVII (February, ’ 6 3 - 7 0 . Howard, G. P.® —" ^ a -'lled. ) "Memoirs of the Original Little Eva, " Edu- -aal Theatre Journal, VIII (December, 1956), pp. 267.-82. nrnortal Uncle Tom; posters from its early days, " New York Times ,„( Magazine, (October 28, 1945), pp. 28-29. 383. Laurie, Jr., Jr. "Theatre's All-Time Hit, " American Mercury, LXI (October, 1945), pp. 469-72. Martin, N. "Old Order Passeth, " Drama, XII (June, 1922), p. 313. Maurice, Arthur B. "Uncle Tom's Cabin--play that goes on forever, " The Mentor, XI (March, 1923), p. 43. Maxfield, E. K. "Goody-Goody Literature and Mrs. Stowe, " American Speech, IV, pp. 189-202. McDowell, John H. "Original Scenery and Documents for Production of Uncle Tom's Cabin, " Revue d'histoire du thbfitre, XV, pp. 71- 79. "Scenery and Staging of Uncle Tom's Cabin: Selected Scenes, " The Ohio State University Theatre Collection Bulletin, No. 10 (1963), pp. 19-30. Melcher, F. G. "America's No. 1 Bestseller Reaches a Centenary: Uncle Tom's Cabin, " Publisher's Weekly, CLXI (March 15, 1952), p. 1290. Moody, R. "Uncle Tom, The Theatre and M rs. Stowe, " American Heritage, VI (October 1955), pp. 28-33ff. Morrow, John C. "The Harmount Company: Aspects of an Uncle Tom's Cabin Company, " The Ohio State University Theatre Collection Bulletin, No. 10 (1963), pp. 10-18. Nicholas, H. G. "Uncle Tom's Cabin, 1852-1952, " American Heritage, IV (Winter), pp. 20-23ff. "One Hundred Good Novels: Stowe, H. B. : Uncle Tom's Cabin, " Publisher's Weekly, CXXXVII (1940), pp. 1931-32. Collation of editions. "The Origin of Uncle Tom, " The Mentor, XVII (March, 1929), p. 60. Peltret, J. L. "Pitiful Plight of the Provinces, " Drama, XI (August, 1921), pp. 428-31. Pilcher, Velona. "Variorum Stowe, " Theatre Arts Magazine, X (April, 1926), pp. 226-39. Prugh, Dan F. "Uncle Tom Was Rugged!, " Columbus Sunday Dis- patch Magazine, (January 13, 1952), pp. 20-21. 384. Rahill, Frank. "American No. 1 Hit," Theatre Arts, XXXVI (October, 1952), pp. 18-24. Roof, K. M. "Does the Popular Represent Public Taste?," Drama, XII (December, 1921-January, 1922), pp. 80-lff. Schultz, J. P. "Chautauqua Talk, " American Speech, VII, pp. 405-11. "Shed a Tear for the Passing of Long Suffering Uncle Tom, " Literary Digest, CVIII (February 14, 1931), p. 34. Skinner, Richard Dana. "Players Revive Uncle Tom, " Commonweal, XVIII (June 9, 1933), p. 160. Stockbridge, Frank P. "The Most Popular American Drama, " Green Book, IX (January, 1913), pp. 80-87. Stout, Wesley Winans. "Little Eva Is Seventy-Five," Saturday Evening Post, (October 8 , 1927), pp. 10-llff. Stowe, Charles Edward. "Dramatization and Production of Uncle Tom's Cabin," The L iterary Digest, XLII (June 10, 1911), p. 1151. Tipton, Alice E. "Hitting the Road with an Ohio Uncle Tom's Cabin Show, " The Columbus Sunday Dispatch, (October 23, 1938). "Tom Shows, " Time, XXXV (April 8 , 1940), p. 36. "Uncle Tom Authentic Americana, " Literary Digest, CXV (June 17, 1933), p. 13. "Uncle Tom's Cabin Criticism , " Theatre A rts, XXXVI (October, 1952), pp. 18-24. "Uncle Tom's Cabin: History of the play, " New York Times, IX (May 21, 1933), Section 1, p. 8 . Wayne, J. L. "History of Uncle Tom 's Cabin, " Hobbies, L (August, 1945), p. 106. "What's become of Uncle Tom's Cabin?, " American Playwright, III (August, 1914), pp. 264-6. Wilson, Forrest. "Book That BrewedA War, " Reader's Digest, XXXVIII (May, 1941), pp. 103-7. 385. Winterich, J. T. "Bookmarks: Centennial of Uncle Tom's Cabin, " Saturday Review, XXXVI (February 28, 1953), p. 23. "Words That Shook the World, " Senior Scholastic, XLIX (November 4, 1946), p. 22. Wyatt, E. V. " 'Uncle Tom's Cabin' a review and a retrospect, " Catholic World, CXXXVII (July, 1933), pp. 466-9. Young, S. "Uncle Tom's M easure, " New Republic, LXXVI (October 4, 1933), pp. 212-13. Books Birdoff, Harry. The World's Greatest Hit: Uncle Tom's Cabin. New York: S. F. Vanni Publishers and Booksellers, 1947. Furnas, Joseph C. Goodbye to Uncle T om . New York: W. Sloane Associates, 1956. Hughes, Glenn. A History of the American Theatre, 1700-1950. New York: Samuel French, 1951. Moses, Montrose, (ed.). Representative Playsby American Dramatists. 2 vols. New York: Benjamin Blom, Inc., 1964. Odell, George C. D. Annals of the New York Stage. Vol. XV. New York: Columbia University Press, 1949. Quinn, Arthur Hobson. A History of the A m erican Drama. 2d. ed. New York: F. S. Crofts and Co. , 1943. Stowe, H. B. Uncle Tom's Cabin. With an introduction by Russel B. Nye. New York: Washington Square Press, 1963. Manuscripts Harmount Company records in the Ohio State University Theatre Collection. i Harmount Company records in the Ohio Historical Society Library. Harmount Company records in the possession of Miss Jan Hill, Circleville, Ohio. 386. Letter received from Richard Harmount May 11, 1967, in which he identifies the script of Uncle Tom's Cabin found in Appendix B as the Harmount script. Letter received from George P. Howard, Marion, Massachusetts, dated October 11, 1966. Letter from Neil Schaffner to Dr. John H. McDowell, dated May 7, 1966. Interviews Personal interview with William G. Bale, Westerville, Ohio. June 26, 1967. Personal interview with Proctor Baughman (recorded on magnetic tape), Circleville, Ohio. August, 1966. Personal interview with Marie Harmount (recorded on magnetic tape), Middletown, Ohio. August, 1966. Personal interview with Richard P. Harmount (recorded on magnetic tape), Middletown, Ohio. August, 1966. Personal interview with C. Earnest Hill, Williamsport, Ohio. August, 1966. Personal interview with Jan Hill, granddaughter of Anna Harmount, Circleville, Ohio. August, 1966. Personal interview with Russel D. Howard (recorded on magnetic tape), Williamsport, Ohio.’ August, 1966. Personal interview with Mrs. Joan Hutchinson, granddaughter of Anna Harmount, Columbus, Ohio. August, 1966. Personal interview with M. E. Nog^le, Circleville, Ohio. August, 1966. | Personal interview with Judge William D. Radcliff, Williamsport, Ohio. June 26, 1967. i Personal interview with James Sweetman, Circleville, Ohio. August, 1966. 387. Personal interview with M rs. Esta M. Tipton, publisher of The Wil liamsport News, Williamsport, Ohio. August, 1966. Personal interview with M rs. Joseph West, Williamsport, Ohio, August, 1966. i