THE HISTORY OF THE GREAT SOUTHERN THEATER, COLUMBUS, OHIO

A Thesis

Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts

By MARCIA A. SIENA, B.A.

The Ohio State University 1957

Approved by:

Speech TABLE OF CONTENTS

CHAPTER PAGE

I. INTRODUCTION, REVIEW OF THE LITERATURE, AND

HISTORICAL BACKGROUND • • • • • 1 Introduction • 1 Review of the Literature . 1

Historical Background • • 3

II. THE GREAT SOUTHERN THEATER • • • • 8

The Financial Backing 8

The Physical Plant . • • 8

LObby, foyer, and promenade balcony • • 9

Auditorium • • 11

Stage Area • • • • 16

Changes . • • 28

III. PRODUCTION IN THE GREAT SOUTHERN THEATER • 37

Scenery • 39

Lighting . • • 42

Special Effects • • 51

Traps . • 51

Treadmills • 54

Flying • 54 Others 56

IV. SUMMARY AND CONCLUSIONS • • • 57

Summary • • • 57

Conclusions • 58 ii PAGE

APPENDIX • • 59

BIBLIOGRAPHY • 100

iii LIST OF FIGURES

FIGURE PAGE

1. The Great Southern Hotel and Theater, 1896 • • 10

2. Original Interior Design • 12

3. Orchestra Seating Chart • 14

4. Balcony and Gallery Seating Chart 15

5. Proscenium Arch and Stage 17

6. Proscenium Arch • • 18

7. Light Board • • • • • 20

8. Pin Rail • 21

9. Paint Frame and Workbench • 22

10. Grid and Pulley Bank • • 24

11. Bull Wheel • • • 25 12. Tunnel • 26

13. Elevators • 27

14. Top of Elevators • • 29

15. Great Southern Theater, 1914 • • 31

16. Great Southern Theater, 1957 • • 32

17. Foyer • 33

18. Gallery • • 34

19. Sketch of Auditorium, 1896 • 35

20. Auditorium, 1957 • 36

21. Under The ~ ~ Act III • • • 43

22. Under The Red ~ Act III, Scene II • 44

23. The Devil's Disciple Act IV • 45 iv FIGURE PAGE

24. ~Idol's~ Act II . • 46

25. Secret Service Act II . . ' • 47 26. Secret Service Act III 48

27. Secret Service Act IV • 49

28. Trap 53

29. Slit in Ceiling for Flying 55

v CHAPTER I

INTRODUCTION, REVIEW OF THE LITERATURE,

AND HISTORICAL BACKGROUND

INTRODUCTION

Columbus, as the capital of Ohio, has been a large and important city for well over one hundred years. It was the purpose of this paper to examine the theatrical activity in

Columbus and, more specifically, to compile a history of one of its theatres, the Great Southern Theater.

A well-managed and active theatre can be a great boon to a city, its business establishments, and its citizens. It can draw money-spending people to the city, be a good financial investment, offer new jobs to local workers, present the best theatrical attractions to its patrons, and serve as a showcase for local talent. This paper attempts to show that the Great

Southern Theater did all of these things in and for Columbus.

REVIEW OF THE LITERATURE

Much has been written about theatre in Columbus, in­ cluding the Great Southern Theater. The majority of the liter­ ature concerning Columbus theatre was found in local newspapers.

For the purpose of this paper the Columbus Daily Dispatch, the

Columbus Evening Dispatch, and the Columbus Sunday Dispatch, which covered the period of the Great Southern Theater, were used because they had the most complete and varied coverage of

1 2 theatre news. The information which the newspapers offered pri­ marily concerned the actors, musicians, and playwrights. There was very little information about the technical and production aspects of the local theatre scene.

The historical background of Columbus theatre activity was obtained from three local histories and an unpublished

Master's thesis. Osman C. Hooper's History£!~ City of Colum­

!ll!.2' Qh!.2. contained a little information about the very first theatrical activities. William T. Martin's History .2.f Franklin

County picked up where Hooper left off and offered a few dis­ connected facts which covered a period of approximately twenty years. Opha Moore's History of Franklin County, Ohio covered the

longest period of time with the most careful and complete nota­

tions. Kathryn E. Utz's unpublished Master's thesis, "Drama in

Columbus, Seasons 1849-50 to 1860-61," was primarily concerned

with dramatic literature and actors, but it did include a careful

compilation of the available facts.

~ Gallery of PlaIS ~ Players, a periodical of the

late 1890's devoted to the legitimate theatre, was concerned,

on the whole, with theatre stars, but it included scores of

production photographs. All of these photographs are of interest

from the standpoint of scene design and a few of them have proven

of value in this paper because they illustrate stage settings

which might have appeared on the stage of the Great Southern

Theater. HISTORICAL BACKGROUND

It is believed that the first public performance of a play in Columbus was Oliver Goldsmith's She Stoops ~Conquer at the Old Market House on West State Street on April 10, 1828, with a Mr. and Mrs. Harper in the leading roles. Sometime during 1830, and continuing sporadically for the next two or three years, theatrical performances were produced at Young's Coffee House under the management of Messrs. Gilbert and Trowbridge. The entertainments were produced in an upper room which was called 1 the Eagle Theater.

In the fall of 1835 a stock company erected the first theatre building in Columbus, The Columbus Theater. It was a small frame structure located on the west side of High Street between Broad and Gay Streets. The Columbus Theater had a fifty foot frontage, depth of one hundred feet, and height of thirty feet. Approximately one-half of the interior was occupied by the stage. There were also two tiers of boxes, a pit, and a saloon at the rear. In the winter of 1836 a dramatic company, under the management of Messrs. Dean and McKinney appeared. The

Columbus Theater was also used for amateur performances, meetings, 2 and oratorical contests.

On January 29, 1836 the Ohio State Journal and Columbus

1 Osman C. Hooper, History of The City ~ Columbus, 2!!!.2, (Columbus: The Memorial Publishing Company, 1920), P• 283. 2 Ibid. 4

Gazette printed an announcement that on January 11, 1836 an ordi- nance had been passed to regulate "Stage Players and Public

Exhibition." It provided that the mayor would issue a yearly license for theatrical performances in return for seventy-five dollars, the license being revokable if the performances were not conducted in a "decent and orderly manner."

During the winter seasons the Columbus Theater was occupied under different managers until 1843 when it was finally closed because the saloon at the rear of the theatre drew more attendance than the stage attraction.3

For approximately the next five or six years Odeon Hall and Walcutt's Museum were the only places of amusement in Colum- bus. In 1847 a theatre called Neil's Hall was built on High

Street on the south side of the Neil House, but it was short- lived because it burned to the ground in September of 1848. It was rebuilt the next year and called Neil's New Hall until 1858 4 when it was renamed the Concert Hall.

During the next seven years, until 1855, there was no building in Columbus wholly devoted to theatrical activities, although there were numerous halls and rooms in various buildings which housed lectures, concerts, and theatrical productions. The first theatrical production after the burning of Neil's Hall was

3William T. Martin, History of Franklin County (Columbus: Follett, Foster and Company, 1858T'; P• 311.

4 Opha Moore, History tl Franklin County, !, Ohio (Indianapolis: Historical Publishing Company, 1930), P• 386. 5 held at the Concert Hall in the Statesman Building on January 2, 5 1849.

Between November of 1851 and November of 1852 there were many changes in the locations of theatrical entertainment. In

December a new building, known variously as Walcutt 's New Hall and Walcutt's Concert Hall, was completed at the corner of High and Town Streets. It housed a large room for theatricals, lee- tures, and concerts. Beginning in January the Hall of the New

Starling Medical College was used for Lectures and Theatricals.

After the burning of the Old State House in February the Ohio

Representatives met at Odeon Hall. During the early spring the

City Hall, home of the offices of Columbus City officials, began

devoting the rear half of the building to concerts and dioramas.

In November of 1852 .Ambo 's New Hall, next to Odeon Hall, was com-

pleted and the State Senate moved in. Late in 1853 Hessenauer's

Hall, opposite the City Market, was made available to the public

for lectures, dances, and theatrical performances. Its name was 6 changed to Fremont Hall in 1856.

In 1855 Columbus had its first structure, the Dramatic

Temple, which was planned and built as a theatre. Dramatic

Temple, owned by Kinney, Burnell and Company, was on the south

side of State Street between High and Third Streets opposite the

5 Kathryn E. Utz, 11 Drama in Columbus, Seasons 1849-50 To 1860-61" (unpublished Master's thesis, The Ohio State University, Columbus, 1947), p. 10. 6 Moore, .2_2• .£.!!., P• 388. 6 State House, now the present location of the Grand Theater. 7

On October 17, 1855 the Daily Qhi2. Statesman reported that the Dramatic Temple could seat fifteen hundred in annchairs, had beautifully fitted dressing rooms, new wardrobes, a drop curtain, scenery painted by a Mr. Samuel Gulick, and a proscenium with a medallion arch on which there was a painting of Shakespeare.

For a town which had only had converted rooms here and there for theatre productions, the Dramatic Temple was something of which it could be proud and thankful, for it continuously induced more of the better traveling theatre attractions to play Columbus.

Because the townspeople called it the Columbus Theater, in 1856 the Dramatic Temple officially changed its name to the Columbus 8 Theater.

In 1871 William A. Neil, a Columbus man, purchased the

Columbus Theater and after extensive remodeling reopened it on

November 13, 1871 as the Atheneum. The Sargent Stock Company was engaged at the Atheneum in 1872, which proved to be the be­ ginning of consistent legitimate theatre perfonnances in Columbus.

It remained the Atheneum until 1879 when the name was changed to 9 the Grand Opera House.

During the 1880's Geary's World Museum, at the corner of High and Spring Streets, featured freak shows, but it also had

7 Ibid. 8 utz, .2.J?• .£.!!., P• 14. 9 Moore, .2.E• .£.!!., p. 391. 7 a theatre at the rear of the second floor. In 1891 the owner of the building, Mr. Henry M. Chittenden, remodeled it into a hotel,

The Chittenden, and a legitimate playhouse called the Globe

Theater. Soon afterward the name was changed to the Park The- ater. In 1892 Mr. Chittenden built another theatre, adjoining his hotel facing Spring Street, which he named the Henrietta

Theater, honoring his wife. On the evening of November 24, 1893, a fire started in the Henrietta Theater which took down, not only the Henrietta, but also the Chittenden Hotel and the Park Theater 10 as well. In one fell swoop Columbus lost two of its three legitimate theatres and its nicest hotel.

lOibid., p. 393. CHAPTER II

THE GREAT SOUTHERN THEATER

THE FINANCIAL BACKING

After the Henrietta Theater fire Mr. Chittenden rebuilt

his hotel on its original site and a group of north-side business- men financed the building of the High Street Theater north of the

New Chittenden Hotel. Both of these establishments were opened

for business in 1894, but in the meantime a group of south-side

businessmen decided that they wanted and needed a new hotel and 1 theatre in their region of the Columbus downtown district. An

organization of approximately four hundred stockholders was fonned

to finance the construction of the building and later to lease 2 the hotel and theatre.

THE PHYSICAL PLANT

The stockholders hired three local architects, Joseph

Dauben, David Reable, and Charles Krumm to choose the site and

design the building which would house both the theatre and hotel.

The south-east corner of South High and East Main Streets was

purchased for the structure. The building was designed to be

one hundred eighty-eight feet, six inches square, six stories in

height, its exterior of brick and native stones, and with the

hotel entrance on High Street and the theatre entrance on

1 Moore, .2£• cit., p. 387. 2columbus Daily Dispatch, September 28, 1895.

8 9

Main Street. (See Fig. 1). The gallery entrance was located on

Pearl Street, around the corner from the main entrance. There was

a separate box office in the gallery entrance, thus eliminating

the necessity of gallery patrons mingling with those patrons who

purchased reserved seats in the orchestra or balcony. 3 For help

in this portion of the planning the architects hired Menno S.

Detweiler, one of the designers of the 1893 Chicago World Fair.4

Lobby, foyer, and promenade balcony. Above the doors

to the theatre lobby, in cut colored glass, were the letters

"O H S". This set of initials stood for the Opera House Southern, which the owners had decided upon as the name of the theatre.

Although the owners seemed satisfied with the name, there was

reported a good deal of discontent among the townspeople, even

to the extent of a planned raid to break the glass, thus oblit­ 5 erating the official name. There was found no evidence that the

threatened raid was carried out, but it was discovered that the

lessees ignored the official title and always advertised as the

# Great Southern Theater.

The marble and decoratively carved wood lobby, which

housed the box office on the west side, general offices and an

entrance to the gallery box office on the east side, was in-

clined to the foyer. Between the lobby and foyer was a massive

3 Columbus Dail~ DisEatch, September 5, 1896.

4 Columbus Dail;I: DisEatch, November 10, 1894. 5 Columbus Dail~ DisEatch, September 12, 1896. 10

co (;) 00 ...... 0:: ril 8 < ril ~ z~ .... < ...:l f;:3 ril ~ E-4 :::::> 0 t!1 1-1 = r:. ~ ril 8 p= 0 ti.) 8 < ~ ~ r::.l 8= 11 ornamental iron grillwork gate. Above the gate were cut colored glass windows like those over the main entrance.6

On both sides of the carpeted, terra cotta and orange foyer was a marble stairway leading to the promenade balcony.

Under each stairway was a checkroom. The ladies' and men's lounges were also located in the foyer. Throughout the foyer were arranged groups of upholstered chairs and couches and the 7 walls were hung with pictures of popular theatre personalitiese

The promenade balcony, or mezzanine, offered the same decor and comfort as that of the foyer. Off the promenade balcony were the offices of the manager and the tunneled stairways which 8 led to the balcony.

Auditorium. On June 8, 1894 the Columbus Daily Dispatch published the first picture and description of the interior of the

Great Southern. Actually the only positive information that was offered was that the design was by the consulting architects Yost and Packard (see Fig. 2) and that the auditorium would seat ap­ proximately eighteen hundred when completed.

The auditorium was arranged on three levels, the orches- tra, balcony, and gallery. On orchestra level the theatre mea­ sured sixty-seven feet wide and ninety feet from the stage to the

6 Columbus Daily Dispatch, November 10, 1894.

7columbus Daily Dispatch, September 5, 1896. 8 Ibid. 12

FIGURE 2 ORIGINAL INTERIOR DESIGN 13 rear wallo 9 The balcony and gallery were supported by a system of steel cantilever construction, which eliminated the usual series 10 of support posts throughout the house. Only two support posts were needed, both of which were in the rear of the orchestra and

behind which no seats were placed. The orchestra seats and couches, which were actually double seats, were quite plush. The balcony contained just single seats like those in the orchestra and the gallery was equipped with hard, straight-back, pew-like 11 benches.

The Great Southern tried something new in the arrange- ment of its boxes. There were three boxes on each side, but they were all on orchestra level. The boxes were separated from the rest of the house and each other by a step and an iron railing.

Next to each box there was a small private room concealed by an 12 iron gate and drapes.

At the time of completion the Great Southern boasted a seating capacity of one thousand, seven hundred and twenty- three. For the convenience of the patrons the seating chart was printed in the programs of the first year and was posted at the 13 box office. (See Fig. 3 and 4).

9 Columbus Dail;t DisEatch, September 15, 1895. 10 Columbus Dail;y: Dis:eatch, November 10, 1894. 11 Columbus Dail;t Dis:eatch, September 5, 1896. 12 Columbus Dail;t DisEatch, August 15, 1895. 13 Columbus Dail;t DisEatch, September 12, 1896. 14

ORCHESTRA

C EN T R E I fl,I < •l • IU"' •O ' I]• •8•1

•0 • I • I • I < I • l!J•

1 •Ql •I ' • I• 9 ( ' l!J •OTI•l·l • l•i " ID• •8•1

...~\/ .·-·-~ . . . . ~ " ~ I (

4 ~~~ · ~. 1'\• ~ ~ "' ·~·

FOYER

FIGURE 3

O~HESTRA SEATING CHART 15

FIGURE 4 BALCONY AND GALLERY SEATING CHART 16

The heating of the theatre was taken care of by the central heating system of the hotel. During hot weather the house was cooled with tons of ice. It was placed in the hotel basement and electric fans directed the flow of cold air to air ducts which 14 led to grated holes in the orchestra floor.

The proscenium arch was elliptical in shape and was carried all the way back to the balcony in a series of decorative 15 arches. (See Fig. 5 and 6). Concealed within the arches were approximately one thousand electric lamps, all of which were tinted orange. Throughout the remainder of the auditorium and entrance were six hundred more electric lights of various 16 colors.

The early publicity stories and advertising of the Great

Southern stressed the fact that the structure was built entirely of fireproof material, that there was a fire curtain, that there was very little in the auditorium that could possibly burn, and that the house was equipped with more than sufficient fire exits.

No doubt this stress was made to dispel! any apprehensions of a fire like that at the Henrietta Theater.

Stage ~· The stage measured thirty-two feet wide at the proscenium, forty-five feet from the footlights to the upstage

14 Columbus Dail~ DisEatch, June 11, 1898. 15 Columbus Dail~ DisEatch, November 10, 1894. 16 Columbus Dail~ DisEatch, August 15, 1895. 17 18 19 wall, and seventy-two feet from stage to grid. On the stage level there was actually nothing more than the wooden stage floor with its floor pockets, dressing rooms both left and right, and metal stairways on both sides. Built into the small curved apron there was a metal trough, curved to the line of the apron, which con- tained the electrical fixtures for- the footlights. Stage left there was an entrance into the hotel proper, in which some of the dressing rooms were located. There were twenty-two dressing rooms 17 scattered throughout the backstage area and hotel.

At stage right a curved stairway led to more dressing rooms and the light board. (See Fig. 7). A straight stairway stage left led to dressing room at the same level as the light board. From both of these landings straight metal stairways led to the next level which was composed of the pin rail stage left

(see Fig. 8), a catwalk at the rear, and a bridge stage right. On the catwalk there was a high wooden workbench on which the scene painter kept his paints and brushed. From this level he painted drops tacked to the paint frame which was raised and lowered be­ tween the catwalk and rear wall. (See Fig. 9). On the bridge stage right there were shelves and a sink for the convenience of the scene painter. These three walkways were constructed of steel and cement, except for the railings which were wood.

A metal stairway led from the bridge to the grid. The grid was constructed of steel beams which ran up and down stage 20

FIGURE 7 LIGHT BOARD 21 22

FIGURE 9 PAINT FRAME AND WORKBENCH 23 over which were placed wooden beams running1 across stage. Fas­ tened to the wooden beruns were the banks of blocks and pulleys for the flying of scenery and curtains. (See Fig. 10). Exposed electrical cable was strung across the ceiling. In the center of the grid next to the rear wall was the bull wheel, actually two wooden wheels, the largest of which was six feet in diameter.

(See Fig. 11). Lines were attached from the bull wheel to the paint frame, with the free ends tied off on the catwalk. The frame was raised or lowered by the manipulation of the lines from the catwalk. On stage right there was a metal and cement stairway leading to the basement. On this level there were also dressing rooms and entrances to the hotel. One of these entrances was a tunnel which connected to the luggage room in the hotel basement.

(See Fig. 12). Through this tunnel was transported any para­ phernalia which might have been packed in the personal luggage of any of the perfonners who were stopping at the Great Southern

Hotel during the run of the production.

Under the apron of the stage was a double stairway which led to two small doors which opened into the orchestra pit. Be­ neath the orchestra pit was a small crude room which was used by the stage electrician. Upstage of the double stairway, or directly under the on stage portion of the ceiling, the area was clear of obstructions so that there was room for any special rigging which might have been necessary for a production.

Beneath the upstage area there was a wooden elevator system. (See Fig. 13). It consisted of three units of two 24

FIGURE 10 GRID AN PULLEY BANK 25

FIGURE 11 BULL WHEEL 26

FIGURE 12

TUNNEL 27

FIGURE 13

ELEVATORS 28 movable frames. These frames raised and lowered in tracks very much like those of sash windows. The floor above the elevators, which measured twenty feet six inches by three feet eight inches, was removable. It was divided evenly into three sections, one above each of the three elevator units. The tops of the vertical runners of each of the frames were notched to fit the notched cross beams under the floor boards. (See Fig. 14).

The two vertical runners of each frame were held in place by three horizontal rails. Attached to each track, just below the level of the top support rail, was a pulley mounting.

A line was run through the bottom and middle rails of each frame, up to and over its pulley, and across the ceiling to the stage

left side of the whole system. When these lines were pulled the

frames rose, lifting the flooring with them. At the desired height, the lines were tied off and pegs were inserted into holes

drilled through the tracks and frames.

This elevator system was used only during set up and

strike. The stagehands raised the elevators, removed the floor

sections and put them to one side. The resultant holes in the

stage floor served as a passageway through which were passed . 18 props, trunks o f cos t umes and mak e up and se t pieces.

Changes. The Great Southern Theater changed relatively

little in its sixty-one year life span. Of course there were

18See footnote 6, Chapter III. 29

FIGURE 14 TOP OF ELEVATORS 30 nwnerous minor changes such as new paint jobs, carpets, and seats, but only a few which changed its initial appearance. The box office was moved from the lobby to the outside (see Fig. 15 and

16) and the original box office was transformed into a refresh­ ment consession. The iron gates which separated the lobby and foyer were replaced by heavy wooden doors. The check rooms in the foyer were closed off and the chairs and couches were removed from both the foyer and the promenade balcony. (See Fig. 17).

The greatest change in the auditorium took place in the gallery. The lower part of the center section was gutted for the installation of air conditioning air duets and the projection booth. (See Fig. 18) . The only other changes were in the orchestra. (See Fig. 19 and 20). The lighting fixtures were removed from the proscenium arch and the private rooms next to the boxes were removed.

The most drastic change was made on the stage. The rear half of the stage area was converted into a refrigerator unit for the hotel kitchen. In the basement the center area which was originally free from obstruction was converted into a storage room for the hotel. A few new switches and dimmers were installed in one of the dressing rooms in the basement and all of the entrances from the stage area to the hotel were sealed off. These changes were made over a period of years after the

Great Southern Theater became a movie house. 31

....~ 0) ...... ~ r:i ~ ....It) ~ ~ [ii p § 0 1-1 gg C':ro4 s0 ti) ~< [ii 0 32

~ [JJ_ llll l'-lf ,,11:11.. ~~ l • . L'!

FIGURE 16 GREAT SOUTHERN THEATER, 1957 33

FIGURE 17

FOYER 34

FIGURE 18

GALLERY 35

FIGURE 19 SKETCH OF AUDITORIUM, 1896 36

FIGURE 20 AUDITORIUM, 1957 CHAPTER III

PRODUCTION IN THE GREAT SOUTHERN THEATER

The Great Southern Theater was originally to have opened on October 1, 1895, but because of reported difficulty in obtain- ing building materials it did not actually open until one year 1 later. When it finally opened it was leased and managed by the

Valentine Company, under the general managership of Mr. Lee M.

Boda. The Valentine Company also leased and managed the Fairbanks

Theater in Springfield, the English Opera House in Indianapolis, the Valentine Theater in Toledo, and the Victory Theater in

Dayton.

The Valentine Company and Lee Boda remained at the Great

Southern for all but its last two seasons as a legitimate theatre.

In the fall of 1911 the Hartman Theater was leased by the Valen- tine Company and Boda took over as manager. 2 From 1911 to the end of 1913 the Great Southern was leased by the Dussenbery

Brothers and played the Erlanger Syndicate and Shubert shows.

By the end of 1913 the fate of the Great Southern was certain. The Hartman Theater, newer and under better management,

1 columbus Daily Dispatch, September 12 1 1896. 2 The infonnation concerning the Valentine Company and the management and policy of the Great Southern Theater was obtained from Robert F. Boda, son of Lee M. Boda, during a series of interviews in June and July, 1957. Robert Boda worked for five years at the Great Southern in the capacity of head usher. In 1912 he became associated with the Hartman Theater and is now its lessee and manager.

37 38 had taken over the best in legitimate theatre offerings in

Colwnbus. The owners realized not only their plight, but also their great opportunity at hand. They understood the constantly growing interest in and acceptance of motion pictures and the commercial value of a motion picture theatre. For years the

Great Southern Theater was the outstanding movie house in Colum­ bus, but with the advent of the newer and larger syndicated houses its drawing power began to decrease. Today it is still an active theatre, but it is old and does not draw the same size and type of audience that it once did.

The Great Southern was a tremendously active and ver­ satile theatre, especially when compared to present day theatre.

Throughout each year it offered its patrons the latest shows from

New York, the great theatre personalities in repertory, the finest in the realm of music, a few carefully chosen special attractions, and the best of the local talent. (See Appendix).

The first three summers also saw activity at the Great

Southern, although not as much as during the regular theatre season. On Monday, June 11, 1900 the Roof Garden of the Great

Southern Hotel was opened under the management of Oral M. Heffner.

The Roof Garden, which sat twelve hundred, offered theatrical performances mixed generously with cool evening breezes and refreshments. The attractions, booked by Lee Boda, were those of the J. K. Burke Circuit. The Roof Garden was equipped with a one thousand dollar stage, under which were located six dressing rooms. It was sixty feet long and raised four feet above 39 3 roof level.

The ruling policy of the Great Southern was to offer the

finest and most wholesome entertainment available at reasonable prices to the best of audiences. The management saw to it that theatre attendance was a refined, exciting, and rewarding ex- perience. The box office was equipped to handle the ticket orders efficiently and uniformed messangers delivered reservations

any place in the city without extra charge.

A long distance phone handled out of town orders and a

phone connection to the backstage area facilitated the ordeal of

opening a performance. Because practically every attraction of

the period included music , every theatre had its own orchestra

I 6 and the Great Southern was recognized as having the very best

local musicians in its ten piece orchestra. Whenever possible

the newspaper advertisements included the time for which carriages could be ordered by the patrons.

Like all comparable theatres, the Great Southern was

equipped with what was known as stock scenery. This scenery,

always supplied to the Great Southern by Armbruster and Sons

3 Columbus Evening Dispatch, May 24, 1900. 4 The information concerning the scenery at the Great Southern, unless otherwise noted, was obtained from a series of interviews in June and July, 1957, with Albert E. Armbruster, proprietor of Armbruster and Sons Scenic Studios, Columbus. Albert Armbruster and his company designed and constructed all of the stock scenery ever employed in the Great Southern Theater. He was also a member of the Grea t Southern Theater orchestra. 40

Scenic Studios, were all very much the same throughout the coun­ try. Each theatre usually had at least three stock sets, one fancy interior, one rather crude interior, and an exterior with foliage borders. The sets were used by stock companies, reper­ tory groups, and sometimes by a one show company which needed extra or replacement flats.

There were certain standards and specifications to which the stock sets were built. The flats were quite heavy and awkward to handle because they were made of white pine which measured one and one-quarter inches by three and three-quarter inches, covered with linen muslin. At the Great Southern, and most of the other theatres, they were a standard fourteen feet high and five feet, nine inches, or less, wide. This standardization facilitated the mixed use of scenery carried by a company and that which the theatre supplied. Armbruster and Sons also kept the Great

Southern supplied with at least one drop curtain and a ceiling.

When it was necessary for any of the stock scenery to be repainted for a perfonnance one of the Armbrusters would be on hand at the theatre to do the job. The rest of the work con­ cerned with the scenery or properties was done by union stage­ hands. The stagehands were usually helped by non-union boys who were known as "clearers."

The majority of the productions carried their own scenery and went to great lengths to extol its beauty and realism in advance publicity release. More often than not, there would appear in the local newspapers advance scene description, but the 41 local reviewer was either satisfied with what he saw and felt that no comment was necessary or else he was dissatisfied and again felt that comments were unnecessary. In either case, there was rarely a manifestation of an impression in any direction.

A typical example of what appeared in the newspapers is illustrated by the coverage of The Sporting Duchess which appeared at the Great Southern in December, 1897. (See Appendix). On

November 29 the Colwnbus Dail;r Dispatch announced that, ''the horses, carriages, dogs, scenery, costumes and paraphernalia which made up the original production will still be in evidence."

On December 2 it said that, "it is said to have thirteen mammoth

scenes, twenty thoroughbred race horses and over five hundred

brilliant costumes. " December 3 it was declared that, "the thoroughbred horses will be ridden by professional jockeys."

In the December 4 edition the reader was informed that, "twenty

horses are engaged in the great struggle." The "great struggle" was the English Derby. On Tuesday, December 7, the reviewer's comment on opening night was, "the stage scenery is magnificent.n

No photographs of scenery on the stage of the Great

Southern Theater are available and very little concerning scenery

was found in the newspaper coverage. Seven photographs of New

York productions of four plays which did play the Great Southern 5 are available. The photographs are of the original New York

productions, but each of these plays advertised that the original

5 Gallery of Pl~ys and Pl~yers, Numbers 10 and 12, 1897. 42 cast and scenery would appear at the Great Southern Theater.

Figures 21, 22, and 23 illustrate exterior sets and in each is demonstrated the use of a ground cloth and painted drop.

In Figure 22 two set pieces, the tree stump and a crude tree trunk, are clearly illustrated, as is the wing. Figure 23 illustrates the use of foliage borders.

Figures 24, 25, 26, and 27 are all of interior sets.

Figure 24 illustrates the use of solid borders and wings. Figures

25, 26, and 27 illustrate realistic box sets.

There is no proof that this scenery did appear on the stage of the Great Southern Theater, but there is the possibility that it might have. These photographs at least offer some idea of the type of scenery that was used at the time.

6 LIGHTING

The stage lighting system of the Great Southern Theater was simple, effective, and appropriate. Light was needed on the stage area so that the action could be seen. Beyond this basic need for visibility, little thought or effort was given to color, direction, toning, or motivation.

The Great Southern was equipped with five border strips,

6 Tha information concerning various aspects of the physical plant, lighting, and special effects in the Great Southern, unless otherwise noted, was obtained from a series of interviews in June and July, 1957, with Charles D. Dillon, stage electrician at the Great Southern Theater from 1905 to 1911. Charles Dillon is a fifty-four year member of the Stage Employees - Local Union No. 12, was associated for many years with the Hartman Theater, and is presently associated with Loew's Ohio Theatre. 43

1-1 1-1 1-1

II~' 44

t-1 t-1 ~ ~ t.) tll.. t-1 t-1..... fol N N ~ p~ ~ 1-1 I'.:. §I~' ~I !I 45

>1-4 E-t ~ I l'z'l t') ..:I C\J Ile 1-4 u ~ tll p 1-4 t!J ~ 1-4 ~ tll ..:I- 1-4 ~ !I 46 47

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H H H E--4 ~ U) I Cl! r:r:l u H 0~ ~ H r:r:l rz. t/l E-4 61 ~ t/l 49

1-1> 8 ~ l'- Cll r:1 t.> ~ 1-C ::> C!' ~ . ~ ~ 8 S1 g 11.i 50 two vertical strips, and footlights. These strips were nothing more than metal troughs in which were placed household carbon lamps. The borders were placed parallel to the curtain line and the verticals stood just inside the proscenium. The strips were all on three color circuits, red, white, and blue, but there was rarely any manipulation of color for effect. There were also a few olivettes and floods which, when called for, were placed on the bridge and pin rail or on boxes and tables in the wings and connected to the floor pockets.

A light plot always arrived ahead of the company. The plot usually did little more than specify the depth of the set so that the borders would be in the correct position. Occasionally the plot called for the use of flood lights or for a special color in the foots and strips. When a special color was needed the plot was accompanied by a metal can of the coloring. It was then the re·sponsibili ty of the electrician to take down the strips, put the lamps in the dipping strip, which was in his workroom in the basement, and dip the lamps in the coloring.

There were occasions when a show would need a carbon arc follow spot. The Great Southern was always equipped with at least one, but the companies always carried their own and pre­ ferred to use their own because they were never sure if a theatre had the instrument and, if so, if it were in good working order.

Whenever the follow spots were used they were put in the first row of the gallery, which was equipped with floor pockets.

When asked just what part the lighting played in a 51 production at the Great Southern, Charles Dillon replied, "It all depended on who the star was. That was it. The lighting didn't mean anything. "

SPECIAL EFFECTS

Because the Great Southern was a first class theatre which played primarily the new shows and mo s t popular personal­ ities and did not have to rely on the older, more spectacular type of melodrama for its drawing power, it was not often the scene of the spectacular theatrical effect, just for the sake of spectacle.

In February, 1897, a combination of opera and moving pictures appeared on the stage of the Great Southern. For Cannen a genuine bull fight, which lasted fifteen minutes, was .. reproduced by the eldoloscope, but, "it was not used as sensation, but as a logical and consistant portion of the story itself. 117 In February,

1899, the Great Southern was the scene of the snowstonn in~

~ East. The snow was blown on stage by electric fans from the bridge and pin rail and some was dropped from the grid.

Traps. The stage of the Great Southern usually had three or four traps in it. If a show required a certain type of trap in a particular position the carpenters would cut through the stage floor and put it in. Sometimes there was not enough time to build a new trap so the company would have to use either

7 Columbus Daily Dispatch, February 20, 1897. 52 available traps or none at all. In some cases a company carried its own trap already assembled, requiring only a hole in the floor.

Because of the constant changing of trap positions and the re­ sulting condition of the patched flooring, the Great Southern often had a new stage floor installed during the summer months.

At the present time there is only part of one trap in existance at the Great Southern. (See Fig. 28). It is located down stage center and is now bounded by pipes on one side and the storage room on the other. It consists of a twenty-two inch by sixteen inch section of the stage flooring resting on two piv­ oting arms. The anns are mounted on two beams which run parallel to the curtain line. The arms are braced together at the end opposite the pivot so that they move as one unit. Attached to this brace are the remains of two hinges. The arms are blocked so that they can move up only to floor level and down only about four inches below floor level. There is a piece of rope attached to one end of the flooring. Below the pivoting arms are two braces, on one of which is the remains of a pulley mounting. It appears that both braces housed pulleys, that rope was attached to both ends of the flooring and that by pulling the lines over the pulleys the flooring could be moved into place or out of the way. Probably the hinges on the end brace attached a support which held the whole trap unit in place when the flooring filled the hole in the stage floor. The size of the trap indicates that it was used by just one person at a time, in a straight standing position, or for small props. 53

FIGURE 28

TRAP 54

Treadmills. There were a few shows which included horse races and therefore called for treadmills. Most of these shows just required the placement of a treadmill on the stage floor with a ground row in front of it for masking. There was one show, however, which, with the original cast and production, played only long runs and spent a long time in setting up. Ben

Hur played the Great Southern for two weeks in March, 1903. The house was dark the whole week before the run opened so that the carpenters and stagehands could make preparations. Approximately half of the stage floor was torn out and replaced by treadmills which had been specially built to handle the chariot race in the play. During the race two of the chariots collided and one of the chariots lost a wheel. The wheel was rigged with a peg to hold it in place. Attached to the peg was a wire which led off stag e left and when it was time for the wheel to come off the wire was pulled, the peg fell out, and the wheel came off.

Flying. In 1909 an English company appeared in the

Great Southern with a show called The Bells. This show, like many others before it, required rigging to fly one of the actors.

Always before, the rigging was done from the grid. This company came in with a family of young men who had invented a new way of rigging the machinery for flying an actor. These men cut a hole in the ceiling approximately one-third of the way back between the stage and the balcony. (See Fig. 29). Through this hole was passed a cable which was attached at one end to the machinery 55

FIGURE 29 SLIT IN CEILING FOR FLYING 56 stationed on the grid and at the other end to the actor on the stage. The high point of the show was when the actor flew from the stage to the balcony railing, from which he delivered a few lines, and then flew back to the stage.

The young inventors virtually lived on the grid to protect their interests. They had applied for patent rights on their invention, but the patent had not been granted by then and they had had trouble with stagehands who tried to steal the machinery or parts thereof. The next year, after the patent had been granted, they returned to fly Peter Pan. This same family retains the patent today and still flies Peter Pan and other shows.

Others. There were sometimes s p ecial effects machines required that most theatres did not have. For this reason all companies which needed a special machine, such as thunder or wind, carried their own. They also carried all their own properties.

Traveling shows had found that it was much safer to make sure they had what they wanted by carrying it with them rather than depending on the theatres they played to supp ly it. CHAPTER IV

SUMMARY AND CONCLUSIONS

SUMMARY

The recorded history of Columbus theatre activity dates back to 1828 . From then until 1855 plays were presented in nu- merous halls and rooms which were used for all types of enter= tairunent. In 1855 Columbus built its first theatre, the Dramatic

Temple, which, under various owners and names, remained an active theatre until after 1900. Vithin a four year period in the early

1890's two legitimate theatres were built, destroyed by fire, and another was built to take their place.

In 1896 the Great Southern Theater, owned by four hundred stockholders, was opened. Housed in the Great Southern

Hotel building at the corner of South High and East Main Streets, the theatre was claimed to be completely fireproof. The theatre was comfortable and efficient for both patrons and performers.

The theatre, from the technicians standpoint, was very well equipped and left little to be desired. The theatre underwent a few changes, most of them minor, after its conversion to a movie house in 1914.

The Great Southern was equipped to fly all scenery, including its own stock sets which were sometimes needed to supplement or replace the scenery usually carried by the traveling companies. The lighting of the shows was simple, but efficiently produced by strips of colored carbon lamps. The rigging of

57 58 special effects, although usually quite easily done, sometimes required steps as drastic as cutting a hole in the ceiling or ripping up part of the stage flooro

CONCLUSIONS

Although the Great Southern Theater was built and equipped to handle any possible technical problems of production, it was rarely used to its greatest capacity or best advantageo

The interest in theatre was all in the stars or personalities who appeared. There appeared to be little interest in the develop­ ment or improvement of theatre arts and skills, other than those of the perfonners.

The Great Southern has gone through two cycles of rise and fall of popularity. For fifteen seasons it was the finest and most active legitimate theatre in Columbus. During the next two seasons its popularity and activity declined in the face of

new competition. Its conversion to motion pictures again estab­

lished it as the finest and most active house of its kind in

Columbus. The a ppearance of competition in the field of motion pictures again caused a decline in its popularity.

There does not appear to be any chance for a revival

of popular interest in the Great Southern Theater in the near

future. Because of the physical changes which have been made on

the stage, ther e is very little possibility that the theatre will ever again be used for the production of plays, but perhaps

it could again enjoy its great popularity if it were converted 59 to handle one of the special projection types of motion pictures which are now popular. APPENDIX.

60 APPENDIX

The following is a chronological listing of attractions at the Great Southern Theater during its first four seasons of activity as a legitimate theatre. The information included in the listing was gathered from the Columbus Daily Dispatch, the

Columbus Evening Dispatch, the Columbus Sunday Dispatch, and

Great Southern Theater playbills. The attractions are class­ ified into theatre seasons which begin in the late summer or early autumn of one year and end in the spring or summer of the following year. Each attraction is entered by dates of appear­ ance, days of appearance, days of matinees, underscored title, producer, manager, director, and cast list. The entries are as complete as the available data permits. Each entry is single­ spaced with double spaces between entries. Dates are in figure form; days of the week are abbreviated; and a matinee is in­ dicated by the abbreviation "mat".

61 62 1896 - 1897 SEASON

9/21-23, Mon.-Wed.: !!! ~~~'produced by IO.aw and Erlanger with David Warfield, Lee Harrison, Walter Johnson, W. E. Richie, Gregory and Carroll, Lucy Daly, and Madge Lessing. 9/24-26, Thurs.-Sat., Sat. mat.: A Railroad Ticket by w. W. Free­ man, with James Mackay.

9/28,29, Mon., Tues.:~ Politician and The Wrong Mr. Wright with Roland Reed, Maud White, Mary Myers, William Bernard, Sheridan Tupper, James Douglas, Julian Reed, Charles Wyngate, and John H. Bunny.

10/1, Thurs.:~ American Beauty by Hugh Morton and Eustace Kerker, managed by Conary and Lederer, presented by the Lillian Russell Opera Company with Lillian Russell.

10/8-10, Thurs.-Sat., Sat. mat.:~ Bells by Leopold Lewis and .!'.h!:t ~ Dominion by Clay Clement, managed by Ira J. LaMotte with Clay Clement, Charles D. Craig, Carleton Macey, George Berry, John Lessor, Jeffrey D. Williams, Julian Geiger, Amelia Gardner, Lettie Allen, Rolinda Bainbridge, and Carra Kenwyn.

10/15, Thurs.: Thoroughbred by Ralph Lumley, produced by Charles Frohman with Thomas Q. Seabrooke, Edgar L. Davenport, H. M. Pitt, Isabel Everson, Maggie Holloway Fischer, Maud White, and Charles W. Butler.

10/23,24, Fri., Sat., Sat. mat.: Palmer Cox's Brownies produced by C. B. Jefferson, IO.aw, and Erlanger with Frank Deshon.

10/28, Wed.: Cricket ..2!! ~Hearth and~ Me~ Shillings by Hugh Morton with Joseph Jefferson.

11/3, Tues.: ~· Belgraff with Wilton Lackaye, Marie Wainwright, Alice Evans, Forrest Robinson, C. W. Couldock, Byron Douglas, Alfred Hampton, Caroline Franklin, and election returns read from the stage.

11/6,7, Fri., Sat., Sat. mat.: j Midnight~ by Charles H.Hoyt, music by Victor Herbert, managed by Duncan H. Harrison with Digby Bell, Laura Joyce Bell, Anna Ward, and Ed Redway.

11/9-11, Mon.-Wed.: Sue by Bret Hart, produced by Charles Frohman with Annie RUSsell and Joseph Haworth. 63 1896 - 1897

11/12,13, Thurs., Fri.:~ Nancy Hawks produced by the Mortinetti­ Tannehill Comedy Company with Ignacio Marinetti, Frank Tannehill, Jr., Anna Boyd, Carrie Radcliffe, Lillian Florence Wickes, Thomas H. Burns, Louise Muldiner, Henry Mowry, Lillian Dean, Riva Gibson, and E. s. Morey. 11/26,27, Thurs., Fri., Thurs. mat.: Lost, 24 Hours with Robert Hilliard, Amelia Bringham, c;ro1yi'"°Kenyon, Frances Whitehouse, Raymond Hitchcock, Russel Bassett, Cecil Butler, and Roy Fairchild.

11/28, Sat., mat. and eve.: The~ Parisians produced by Charles Frohman with W. J. Ferguson, Sadie Martinet, James O. Barrows, c. B. Wells, W. B. Shirley, Tully Kendricks, Vaughn Glazer, Frank A. Conner, Mrs. E. J. Phillips, Margaret Gordon, Claire Rodrique, Virgie Graves, Nellie NeCauli, Judith Bordeaux, and Frank Morris. 12/3-5, Thurs.-Sat., Sat. mat.:! Temperance 12.!!! by Hoyt with George Richards, Eugene Canfield, Richard Dillon, John A. Holland, Herman Sheldon, Conrad Cantzen, George Ober, E. F. Nagle, Gertrude Perry, Maria Vart, Julia Gilroy, Laura Ayres, Sallie Stembler, and Madison Corey.

12/7-9, Mon.-Wed., Wed. mat.: The Great Diamond Robbery by E.W. Alfred and A. C. Wheeler, produced by A. M. Palmer and Edwin Knowles, with Rese Eytinge, Annie Yeamans, Selene Johnson, Fanny Cohen, Irene Hayword, Louise Cosser, Ellen Cummins, w. A. Whitecar, Edward Ames, Thomas M. Hunter, Joseph E. Whiting, George C. Boniface, J. H. Cosser, Joseph Bell, Gustave Frankel, Joseph A. Wilkes, James Bevins, James Floyd, John Jones, W. A. Black, and E. N. Bartlett.

12/10-12, Thurs.-Sat., Sat. mat.: Othello, Julius Caesar,~ Merchant of Venice, and Richard III with Thomas A. Keene, Charles B. Hanford, Carl Ahrendt, A. G. Cole, Bertram Temple, Lawrence Lowell, John Milton, Paul Taylor, Florence Hopkins, Mary Timberman, Marie Drofnah, Mrs. S. A. Baker, and Lawrence F. Walker.

12/13, Sun.: Gilmore's~ Concert, directed by Victor Herbert, with Marie Donavin, soloist.

12/15, Tues.: Albert Chevalier Concert, managed by Charles Frohman with the Abbott Sisters, Harry Atkinson, Harry Brett, Cyrus Dare, Alfred West, and Nora Girton, soloists. 64 1896 - 1897

12/17-19, Thurs.-Sat., Sat. mat.: Too Much Johnson by William Gillette, produced by Ch;rres Frohman with George Backus, Eugene Jepson, Kate Meek, Maud Haslam, and Thomas Valentine. 12/25,26, Fri., Sat., Fri. and Sat. mats.:!!• g. Field's £2!!­ bined Minstrels with Bogert and O'Brien, Frank Lamondue, Clayton, Jenkins and Jasper, Lou Sulley, Eddie Fox, Ollie Young, and Fred Leslie.

12/28-30, Mon.-Wed., Wed. mat.: Squire Kate,~ Pennington, Spinster, Goblin Castle, !!!!, Little Individual, and Vanity !!!.£ with Georgia Cayvan, Anne Sutherland, Flaorence Conron, Minifred McCaull, Mary Jerrold, Kate TenEyck, Louise Palmer, George Woodward, Frank Atherley, Orrin Johnson, William Herbert, Albert Brown, Lionel Barrymore, Thomas Bridgiand, and Charles Thropp. 12/31-1/2, Thurs.-Sat., Fri. mat.: .Qa Broadway with Maggie Cline and John G. Sparks.

1/4,5, Mon., Tues.:~ Night in!!:!~ by H. Grattan Donnelly with Nellie McHenry, John Webster, Charles Morrison, Charles Eastwood, Joe Sparks, J. Hays, Henrietta Lee, Fanny Brooks, Viola Raymore, Edith St. Clair, and Le Petite Rosa. 1/8,9, Fri., Sat., Sat. mat.: Denise, Camille, and!!!!, Wife .2.! Scarli managed by Daniel and Charles FrohQlan with Olga Nethersole, Nathaniel Hartwig, Robert Pateman, and Henrietta Watson. 1/11,12, Mon., Tues.: The Right !2, Happiness and Caesarine spon­ sored by the Columbus Lodge of Elks with Minnie Maddern Fiske. 1/13, Wed.: Lillian Nordica Concert directed by Al Hayman, Klaw and Erlanger with Sofia Scaichi, Barron Berthold, John C. Dempsey, and M. I. Luckstone.

1/18-20, Mon.-Wed., Wed. mat.: Monte Cristo, Virginius and~ Courier 2f Lyons managed by William F. Connor with James O'Neill and William Dickson.

1/28-30, Thurs.-Sat., Sat. mat.:!!!!, Prisoner .2.! Zenda by Edward Rose, produced by Daniel Frohman with Isabel Irving, Maude O'Dell, Howard Gould, Robert F. McClannin, Walter S. Hale, Arthur Elliott, John Finilay, Mervyn Dallas, R. J. Dustan, Myron Calice, Vaughn Glazer, and Grace Reals. 65

1896 - 1897

2/2, Tues.: The Jucklins by Daniel L. Hort, directed by William R. Hayden with Stuart Robson.

2/6, Sat., mat. and eve.:~ Politician and~ Wrong Mr. Wright by George H. Broadbelt with Roland Reed, Isadore Rush, Charles Coote, Charles S. Abbe, Holbrook Blinn, Sheridan Tupper, John H. Bunny, James Douglass, Mary Myers, Althea Luce, and Monte Donico.

2/8, Mon.: Arion~ Concert with Lillian Miller, Sieveking, Marie Louise Dresel, and Henry Lippert, soloists.

2/11, Thurs.: Rev. H. H. Barbour's lecture The Story 2£ .!!!!, War. 2/12, Fri.: Charity Concert by the Columbus Orchestra, Arion Club, Orpheus Club, Pugh Vidette Band, Maennerchor, Harry Lott, and The Schubert Quintette Club.

2/15,16, Mon., Tues.:~ Friend !£2.!!! India produced by Smyth and Rice Comedy Company with Frederick Bond, Edward Abeles, Walter E. Perkins, Charles Arthur, Marion Giroux, Kenyon Bishop, Louise Calloway, Helen Reimer, and May Voke.

2/17, Wed.:~ Foundling by William Lestocq, produced by Charles Frohman with Cissy Fitzgerald, Thomas Burns, Adolph Jackson, Jacques Martin, Frank Batton, E. Soldene Powell, Stella Zanoni, Meta Maynard, Clara Baker Rust, Ella Mayer, and Nellie Martineau.

2/18, Thurs.: Robin Hood produced by H. C. Barnabee and W. H. MacDonald, presented by the Bostonians with Henry Clay Barnabee, William H. MacDonald, Jessie Bartlett Davis, Hilda Clarke, Eugene Cowles, Alice Nielsen, George Froth­ ingham, Josephine Bartlett, William E. Philp, T. Kelley Cole, Gracia Quine, Harry Brown, S. L. Studley, R. H. Burnside, L. B. Merrill, and May Von Dresser.

2/19,20, Fri., Sat., Sat. mat.: Mystic Midgets with Carl H. Booth, Robert L. Boda, Frank Drake, Austin McElroy, Joseph Liv­ ingston, Percy Stafford, Lee Boda, Edward Godec, Wright McAllister, Alanson McAllister, Charles L. Kurtz, Jr., Wendel Beggs, Oliver Feeley, Ralph Rutherford, Robert McAllister, William Tracy, Robert Patterson, Fmerson Mathews, Percy Williams, Roy Ferguson, Claude Stearns, Orla Burgess, Herbert Vance, Edgar McCahl, Carrington McCallip, Elmer Ury, Mary Phalen, Mignon Poste, Louise Medberry, Louise Logan, Margaret Plumer, Eura Case, 66

1896 - 1897

2/19,20, (Continued) Norma Fassett, Jeanette Logan, India Early, Mabel McCallip, Florence Orabaugh, Minnie Badger, Eliz­ abeth O'Kane, Mary Feeley, Bessie Allison, Hortense Baker, Louise Brooks, Clara Brooks, Martha Duhn, Faith Stallman, Ellen Yost, Iola Conison, Anna Baker, Florence Tremaine, Theresa Erb, May Sutton, Helen Bader, Kate Early, Lydia Phillipps, Lillian Harmer, Edna Miller, Anna Drake, Helen Roberts, Eattie Hemlier.

2/22-24, Mon.-\Ved., Wed. mat.: Carmen with Rosabel Morrison and Edward Elsner.

2/26,27, Fri., Sat.: Fleur~ Lis and~ Little Trooper, managed by S. T. King with Della Fox and Harry Macdonough.

3/1-3, Mon.-Wed., Wed. mat.: !h! Divorce~ by Victoien Sardou with &oily Bancker, Raymond Capp, Harry Beresford, and James A. Kierman.

3/8-10, Mon.-Wed., Wed. mat.: King~' The Merchant .2.f Venice, and Damon ,!!!.!! Pythias with Frederick Warde, Charles Sutton, Beverly Turner, Ernest C. Warde, Harry C. Burton, Charles Clarke, Darrell Vinton, Lionel Clarke, Milledge Sherwood, Morton Bakers, Florence Wilburham, Constance \iilliams, Marcia Tieadwell, Helen Baker, and Phyllis Ashcom.

3/11-13, Thurs.-Sat., Sat. mat.: Cymbeline with Margaret Mather, E. J. Henley, William Redmund, Albert Bruning, William Courtleigh, William McVay, H. A. Weaver, Joseph Kilgour, Mrs. Thomas Barry, Florence Wallack, J. H. Kolker, Walter Stewart, Lester Wallack, Nora Sarony, V. M. De Silke, Lynn Pratt, and W. H. Thompson.

3/16, Tues.: Arion£!!:!!? Concert with Teresa Carenno, Genevieve Clark Wilson, and Josephine Jacoby, soloists.

3/17,18, Wed., Thurs., Wed. mat.: Herrmann The Third, Magician with Adelaide Herrmann.

3/19,20, Fri., Sat. Sat. mat.: The Wizard of The Nile by Victor Herbert and Harry B. s;I'th, managed by ~lle and Clark, presented by the Frank Daniels Opera Company with Frank Daniels, Francis Burkhardt, Louise Royce, Greta Risley, Walter Allen, Leonard Walker and Louis Cassavant.

3/22, Mon.:! !2.21 !?.!, Fortune by Martha Morton with William H. Crane. 67 1896 - 1897

3/23,24, Tues., Wed.:! Parlor Match by Evans and Hoey, produced by Flo. Ziegleld with Anna Held, Minnie French, Allenne Crater, Harriet Sheldon, The Helen Sisters, Beatrice Tait, Millie Tait, and Grace Scott.

3/26,27, Fri., Sat., Sat. mat.: Pudd'nhead Wilson by Mayo with Theodore Hamilton.

4/13, Tues.: Cavalleria Rusticana, Act II of Martha, and Act IV of !! Trovatore, produced by the De Pasquali Grand Opera Company, sponsored by the Arion Club with Signora De Pasquali, Signorina Ba.rberini, Signor De Pasquali, and Signor Sartori, soloists.

4/15, Thurs.: Rosemary managed by Charles Frohman with John Drew, Maud Adams, Ethel Barrymore, Harry Harwood, Daniel Harkins, Arthur Byron, Graham Henderson, Frank E. Lamb, Deloss King, and Annie Adams.

4/16,17, Fri., Sat., Sat. mat.:.'!!!! Mandarin by Reginald DeKovan and Harry B. Smith, presented by the DeKovan-Smith Opera Company with Bertha Waltzinger, George C. Boniface, Belle Harper, Henry Norman, Alice Barnett, George Honey, Helen Redmond, Joseph Sheeham, Henry Norman, Claudia Caristedt, Samuel Marion, Ina Winship, Jane English and Vila Sayne.

4/19, Mon.:.'!!!! Jucklins directed by William R. Hayden with Stuart Robson and Mrs. Robson.

4/20, Tues.: Colwnbus Orchestra Concert.

4/26, Mon.: !h!t Cherry Pickers with Ethel Knight Mollison.

4/30, Fri.: London Assurance produced by the North High School Dramatic Club.

5/3,4, Mon., Tues., Tues. mat.:.'!!!! Geisha directed by Agustin Daly with Dorothy Norton, Violet LLoyd, Mark Smith, and Charles w. Swain. 5/6, Thurs.: Arion Q!!!!? Concert with Ella Russell and H. Plunket Greene, soloists.

5/10, Mon.: A Contented Woman by Hoyt with Carolin Miskel Hoyt, Amy .Am;s, Belle Archer, Claresse Agnew, Reose Snyder, Frank Lane, William H. Currie, Will Bray, Matt Snyder, and Ed Garvin. 68 1896 - 1897

6/28-7/3, Mon.-Sat., mat. every day: veriscope moving pictures of the Corbett-Fitzsimmons Fight !!! Carson City. 69 1897 - 1898 SEASON

8/16, Mon.:!!· g. Field's Big Minstrels, stage managed by Dan Quinlan with Al. G. Field, Tommy Donnelly, Billy Van, Ollie Young, Willie Patton, Curtis C. Williams, Manola and Miller, Cornalia Family, George Jones, and Doc Quigley. 9/16-18, Thurs.-Sat., Sat. mat.:!!!! Governors directed by E. D. Stair with "Happy" Ward and Harry Vokes, Lucy Daly, Margaret Daly Vokes, Johnny Page, Gus C. Weinburg, Villa Soyne, John Keefe, James Cherry, Hal S. Stevens, and the Troubadour Four.

9/23-25, Thurs.-Sat., Sat. mat.: Christopher,!!.£• by Madeleine Lucette R;yley (New York title was "Jedbury, Jr. 11 ) with George Backus, Lilla Vane, Harriet Anbury, Herbert Ayling, Ernest Tariton, E. W. Thomas, Mrs. J. T. Croven, and Soldene Powell.

9/27-29, Mon.-Wed., Wed. mat.:~§!!:!.~ Paris produced by E. E. Rice, score by Ivan Caryll, directed by Frank Smithson with Mamie Gilroy, Mlle. Fleurette, William Blaisdell, Edgar Halstead, James Sullivan, J. C. Mar­ lowe, Phillips Tomes, Carrie Behr, Clara Lavine, and Grace Belasco.

9/30, Thurs.:_!!! Gay~~ by Hugh Morton and Gustave Kirker, produced by Klaw and Erlanger with Eddie Foy, Jeannette Bageard, York and Adams, Lee Harrison, Gertrude Zella, Etta Gilroy, Harry Watson, Gilbert Gregory, Arthur V. Gibson, E. s. Tarr, William Selbey, James G. Peakes, Alice Veazie, and Josephine Stanton.

10/1,2, Fri., Sat., Sat. mat.: ~ Mysterious !!£• Bugle by Madeleine Lucette R;yley with Joseph Holland, Gretchen Lyons, Mary Haines, Joseph Kilgour, Charles Collins, Agnes Findlay, Master Michaelson, Edgar Norton, Alfred J. Edwards, Henry Phillips, Arthur Mackenzie, Winona Shannon.

10/4-6, Mon.-Wed., Wed. mat.:~ Little Vagrants with Mildred Holland, Edith Fassett, James Horne, Elizabeth Robertson, Dore Davidson, Blanch Moulton, Edwin Tilton, Ramie Austin, Eugene Sweetland, Emillie Everette, Claire Oinslie. 10/7-9, Thurs.-Sat., Sat. mat.: !h.2. Idol's Eye by Harry Smith and Victor Herbert, produced by Kirk La Shelle with Frank Daniels, Norma Kopp, Belle Bucklen, Helen Redmond, Claudia Carstedt, Jane English, Alf. c. Wheelan, Maurice Darcy, Will A. Danforth, and Sinclair Nash. 70 1897 - 1898

10/11-13, Mon • .-Wed., \'led. mat.: ~ Francis ~ ~ by Michael Morton with Etienne Girerdot, Owen Westford, Raymund Capp, George F. Farren, Louis Grisel, Lavinia Shannon, Sarah McVicker, Monte Donico, Gertrude Homan, and Idalene Cotton.

10/14-16, Thurs.-Sat., Sat. mat.:!!!!~ .2! Champagne with Richard Golden, Katherine Germaine, Frederick Knights. 10/18,19, Mon., Tues.: .Q!2 Innocence and.§!£ Henry Hypnotized with Tim Murphy and Miss Sherrod. 10/20,21, Wed., Thurs., Thurs. mat.: The Gladiator, Ingomar and Othello with Robert Downing, Eugene More, Adelaide Fitz Allen, Harriet Sterling, Catherine English, Irene Hoyt, Edward Steele, Edward Hort, and Frank Kemble. 10/22,23, Fri., Sat., Sat. mat.:!!!! Nancy Hawks by Frank Tannehill, Jr. with Marie Jensen, Frank Tannehill, Jr., Harry Beresford, Clayton E. \Vhite, F. w. Caldwell, Pauline Fletcher, Jessie Bradbury, Mrs. Frank A. Tannehill, and Grace Hopkins. 10/25, Mon.: Knights of Pythias, secret session. 10/26,27, Tues., \lied., Wed. mat.: Iskander by W. D. Eaton, dir­ ected by w. D. Eaton and Frederick Warde with Frederick Warde, Carl Smith, William Redmund, Charles D. Herrman, Beatrice Lieb, and Louise McKilroy.

10/28, Thurs.: Madeline .2£, !h! Magic~ by Strange and Edwards with Hilda Hollins, Arthur Donaldson, Frank Deshon, Hellen Harrington, Charles Campbell, George Lyding, Frank Moulin, Cecil Lorraine, Rose Parker, and Watty Hydes.

10/29,30, Fri., Sat., Sat. mat.: Comedy 2! Errors,~ Stoops!!!, Conquer and~ Henrietta with Stuart Robson, John L. Wooderson, Mrs. Robson, John Webster, Jr., Thomas A. Wise, Gertrude Perry, Lida McMillan, Mrs. Samuel Charles Adaiance.

11/2, Thurs.: Victor Herbert and His~· Regiment~ with the Republican Glee Club and soloists Marie Donavin, Otto Hagedorn, and Victor Herbert. 71

1897 - 1898

11/3,4, Wed., Thurs., Thurs. mat.:! Man .2£ Ideas by Sydney Rosenfeld and ~ Wrong ~· Wright lvith Roland Reed, Isadore Rush, Maud White, Helen Keating, Mary Myers, Sheridan Tupper, Earle Browne, Bert Coote, L. P. Hicks, Julian Reed, James Douglas, and Charles S. Abbe.

11/5,6, Fri., Sat.:~ District Attorney by Harrison Guy Fiske and produced by the Neill Stock Company with James Neill, Edythe Chapman, Anne Blanche, Kate Blanche, Agnes Maynard, Jenny Dailey, Emmett o. Shackelford, Joseph B. Everham, R. Morris, Haskel Mayall, E. D. Tiltman, N. D. Bessera, and William Dean. 11/8,9, Mon., Tues.: !1 Piney Ricige by David Higgens with David Higgens, Frederick Julian, Helen Bell, Louise Rial, Olive Maud Davis, Edwin Holland, Georgia Waldron, and Henry Hilliard. 11/11, Thurs.: Primrose and West Minstrels with Ezra Kendall, Schrode Brothers, Fal~d Semon, Alex Cameron, Louis Pritzkow, Charles Kent, Carroll Johnston, Trovo Lo, Fred Warren, and Mr. West.

11/12,13, Fri., Sat.:~ Prisoner .2£ Zenda directed by Daniel Frohman \Vith Howard Gould, Grace Reals, Franchon Campbell, R. F. McClannin, Robert Elliott, Vaughn Glasser, Benjamin Monteith, and Duncan Harris.

11/15-17, Mon.-Wed., \fed. mat.: The Man From Mexico by H. A. Du Souchet with Willie-C01II'er, Violet Rand, Louise Allen, Dan Mason, Maclyn Arbuckle, and M. L. Heckert.

11/18, Thurs.: Arion Concert with Antoinette Trebelli and Seldon M. Pratt. 11/19,20, Fri., Sat., Sat. mat.: Monte Cristo, Virginius and The Dead Heart with James O'Neil, Hallet Thompson, Williai :r:-Dixon, Kate Fletcher, and l!mily Dodd.

11/22, Mon.: ~Wedding~ by Stanisiaus Strange and Edwards with Lillian Russell, Delia Fox, and Jeff Angelia.

11/24,25, Wed., Thurs., Thurs. mat.: Magda, ~ Stuart and Macbeth with Helena Modjeska, Joseph Haworth, John T. Malone, Anna Proctor, Anna Daily, Grace Fisher, and Mrs. H. J. Sergeant. 72

1897 - 1898

11/26 1 27, Fri., Sat.: Heartsense by Charles Klein and J. I. c. Clark with Henry Miller, Arthur Elliott, Leslie Allen, Charles Harbury, Josephine Lovett, and Alice Temple. 11/29-12/1, Mon.-Wed., Wed. mat.: The New Dominion and A Southern Gentleman with Clay c1;;e"nt":-Karra Kenwyn, Eleanor Carey, Frank Aiken, Jeffrey D. Williams, Carleton Macey, Mr. T. F. 0 1 Malley, Frank Walcott, and William Mack. 12/2, Thurs.: Magician Kellar.

12/6-8, Mon.-Wed., Wed. mat.:!!!!, Sporting Duchess produced by Frank L. Perley with Folliott Paget, J. H. Stoddart, Cora Tanner, Edmund Collier, Louis Massen, and Richard Malloy.

12/9-11, Fri.-Sat., Sat. mat.: The Strange Adventures .2f ~ ~ !!!!, Beanstalk produced by Klaw and Erlanger and music by A. B. Sloane with Madge Lessing, Maude Hollins, Carrie Perkins, Nellie Lynch, Walter Allen, Hubert Wilke, Ross Snow, Daniel Baker, and Henry Morse. 12/13, Mon.:! Virginia Courtship by Eugene w. Presbey with William H. Crane, Walter Hale, .Boyd Putnam, William Boaz, Annie Irish, and Percy Haswell. 12/14, Tues.: The Old Homestead with Denman Thompson, John Baker, Annie Thompson, Will M. Cressy, Louis H. Croxson, Louisa Morse, Celia Baker, Charles H. Clark, Dan Reagan, and Marie Kimball.

12/15, Wed.: Rip~ Winkle with Joseph Jefferson, Virgie Glyndon, Master Tyler, Anne Sutherland, William Winter, and Theadore Hamilton. 12/16, Thurs.: The Whirl of The Town by Hugh Morton, music by Gustave Kirker and-Pr'Oc:iiiced by the George W. Lederer Company with David Warfield, Catherine Bartho, Louis Harrison, Louis Wesley, Con. R. Lynch, Tony Hart, Jr., Randolph Curry, Dorothy Drew, Helen Brackett, Lida Lear, Lola Harris, Margo Hobart, Lou Harlow, Theresa Vaughn, and Willard Simms. 12/17,18, Fri., Sat.:! Secret Warrent by W. A. Tremayne .with Robert Mantell, Charlotte Behrens, and Harry G. Keenan. 73 1897 - 1898

12/22, Wed.: Junia Minstrels produced by Junia Lodge of I. o. o. F. with George J. Karb, Harry Lott, Judge Galioway, Frank Doremus, Andy Pembroke, Will Patton, and Etho Wheeler. 12/23, Thurs.: Banda Rossa Concert with Maestro Eugenio SorrentinQ, conductor and Carlotta Stubenrauch, violinist. 12/25, Sat., Sat. mat.: Al. G. Field's Minstrels with Ollie Young, Tommy Donnelly, BII'li; Van, Doc Quigley, and Joseph La Fluer. 12/30,31, Thurs., Fri.: Louis 1f! by Quinten Duward and Casimir Delvigne, directed by Edwin .Arden and Arden Smith, managed by Charles B. Hanford and Richard ill with Thomas W. Keene, Charles B. Hanford, George Morton, Carl Ahrendt, Laurence Lowell, John Milton, Paul G. Taylor, Arthur Stanford, Mrs. S. A. Baker, Lucia Moore, Mary Timbermann, and Marie Drofnah. 1/1, Sat., Sat. mat.: The Geisha with Laura Millard, Linda Da Costa, Mark Smith-;-"Kate Gilbert, John Park, and Charles W. Swain. 1/3,4, Mon., Tues.: A Bachelor's Romance by Russell and Day M£• Valentine's Christmas, !!!! Taming~ Th! Shrew and ~ Spitfire by John Madison Morton with Sol Smith Russell, Nanette Comstock, Edith Crane Fanny Addison Pitt, Margaret Robinson, Orrin Johnson, Sidney Booth, William Seymour, and Alfred Hudson.

1/5,6, Wed., Thurs.: A Stranger,!!! N!!! ~by Charles Hoyt, produced by Charles Hoyt .and McKee with Otis Harlan, Anna Boyd, and William DeVere. 1/8, Sat.: lecture by Dr. Mansen. entitled !!!! Farthest North.

1/10-12, Mon.-\Ved., Wed. mat.: French Marriage, Jane~' East Lynne, Camille, and Carmen with Eugenie Blair, Edwin Ferry, Edgar Baum, Mr. Bramwell, M. w. B. Arnold, Elia Wren, and Linda Downing.

1/13-15, Thurs.-Sat., Sat. mat.:~ Heart of Maryland by David Belasco, produced by David Belasco with Mrs. Leslie Carter, Frank Maerdaunt, James E. Wilson, Theadore Roberts, Malcolm Williams, and Angela McCall. 74 1897 - 1898

1/17-19, Mon.-Wed., Wed. mat.: Under~~~ by Edward Rose, managed by Charles Frohman with William Morris, Mary Hampton, Giles Shine, William Farnum, Mary Anderson, Edwin Thanhouser, and Frank McGlynn. 1/20-22, Thurs.-Sat.: .TI!! Hoosier Doctor by Augustus Thomas, managed by Duncan R. Harrison with Digby Bell, Laura Joyce Bell, Harry s. Bobenson, Herman Hirschberg, Arthur Hoops, Fmma Butler, Mabel Strickland, Margaret Dale Owen, Viola Miles, and Ethel Vance.

1/27-29, Thurs.-Sat., Sat. mat.: ~ Fair !!! Midgettown by Robert Breitenbach, music by Victor Hollander with the Lilliputians including Franz Ebert, Adolph Zink, and Selma Goerner.

1/30, Sun.: Sousa's Famous~' John Phillip Sousa, conductor and Maude Reese Davies and Jennie Hoyle, soloists.

2/1, Tues.:.'.!!!! Adventure .2! ~Ursula by Anthony Hope with E. H. Sothern, Virginia Harned, Royden Eriynne, Owen Fawcett, Morton Selton, A. R. Lawrence, M. Stedman, Daniel Jarrett, George E. Bryant, Rowland Buckstone, C. P. Flockton, John J. Collins, Norman Patr, Rebecca Warren, and Kate Pattison­ Selten. 2/2, Wed.: Cymbeline directed by c. B. Whitney with Margaret Mather, Mark Price, Mr. Wolfe, Mr. Eberle, and Mr. Lynn Pratt.

2/3-5, Thurs.-Sat., Sat. mat.: Secret Service by William Gillette and produced by Charles Frohman with Byron Douglas, Hardee Kirkland, Arnold Daly, Mr. Harris, Mr. Crosbey, Hannah May Ingham, Isabelle Waldran, and Margaret Mayo.

2/6, Sun.: Innis'~' conducted by Innis with Bertha Webb, Rosa Linde, and Emil Keneke, soloists.

2/7, Mon.: ,! Stranger !!! ~ ~ by Hoyt and McKee.

2/9, \Ved. : _! ~ .2! Quality by Frances Hodgson Burnett and Stephen Townsend, produced by Napier Lothian with Julia Arthur, Edwin Arden, Stephen Townsend, Scott Inglis, George Woodward, Robert Mc¥ade, Joseph Allen, Lawrence Miller, Florence Canron, Ethel Knight Millison, Marie Bingham, and Herbert Fortier. 75 1897 - 1898

2/11, Fri.:!!, Capitan by John Phillip Sousa with the 14th. Regiment Band and DeWolf Hopper, Edna Wallace Hopper, Bertha Waltzinger, Alice Hosmer, Edmund Stanley, Thomas S. Guise, Alfred Klein, John Parr, Harry F. Stone, Robert Pollard, Louis Shrader, and Katherine Carlisle.

2/15,16, Tues., Wed., Wed. mat.:.!!:!! Geezer by Joseph \V. Herbert with Donnelly and Gerard, Mark Sullivan, Mal Lowery, Nina Bertolina, Charles H. Prince, Nettie Black, Nellie Gilcrist, Bessie Pope, Annie Black, \Vill Redstone, Lee Easton, Mary Shaw, Fmma Watson, Bessie Montgomery, Mabel Rivera, and Effie Gillette.

2/17-19, Thurs.-Sat., Sat. mat.: One Round of Pleasure by Clay M. Greene and Sydney Rosenfeld, musicby Ludwig Englander, produced by Klaw and Erlanger with Walter Jones, Rogers Brothers, Richard Carle, Charles Birke, Ida Brooks, Marie Celeste, Maude Reymond, Hattie Moore, Richard Karl, Robert Mansfield, and Marion Dunn. 2/22, Tues.: Arion Concert with George .Hamlin, Martina Johnston, Lillian Miller, and Alice Speaks,

2/24, Thurs.: Old Lavender with music by Dave Braham, Jr. and managed by \V. J. Hanley with Edward Harrigan, Dave Braham, Jr., and Myra C. Brooks.

3/3-5, Thurs.-Sat., Sat. mat.:~ Sunshine 2f Paradise Valley by Denman Thompson and George W. ~er, scenery painted by Homer F. F.mmens and electrical effects by J. Carl Mayrhofer with Henry w. Frilliman, James B. Brady, John Walsh, John D. Giffin, Ben D. R3'er, H. E. Chase, Donald Harold, Albert Brown, Mrs. Charice Petere, May Thompson, Helen Gurney, Ellen Mortimer, Master Gurney, and the Verdi Ladies Trio of New York.

3/7-9, Mon.-Wed., Wed. mat.: The Girl From Paris, orchestra con­ ducted by John Braham and produ~by Edward E. Rice with Fred Lennox, Rose Beaudet, Cheredah Simpson, Hattie Wil­ liams, William Broderick, Arline Pot ter, Bertha Woop, Harry Earle, Benjamin Howard, Harold Vizzard, Warren Cook, Sidney Tovey, Wallace Black, Mr. D. L. Don, Ida Rock, George Campbell, Anna Buckley, Nick Long, and Miss Georgie Caine. 76.:

1897 - 1898

3/10-12, Thurs.-Sat.: David Garrick,~ Professor's~ Story by J. M. Barrie and .!'.!!!. Middleman by Henry Arthur Jones with E. S. Willard, Maud Hoffman, Agnes Knight, William H. Cane, Ruth Wakeman, Verner Clarges, Bromley Davenport, and Oswald Yorke.

3/14-16, Mon.-Wed.: La Tosca and Cleopatra by Sardou with Fanny Davenport and Melbourne MacDowell and Company.

3/17, Thurs.: Cincinatti S:ymphon,y Orchestra with Frank Van der Strucken, conductor and Franz Rummel, soloist.

3/21, Mon.:· Joint Concert Recitals with Purgno and Gerardy, Mrs. Maud Pratt Chase, Lucius Chase, and Ernest Gambl.

3/22, Tues.: Samson by Handel, directed by Signor Vegara with E. s. Mattoon, pianist and Stella Krwmn, Cora Vance, Mrs. H. C. Rowland, Zettley Krwmn, Henry Bronson, and George Francis Beard, soloists.

3/23, Wed.: !lli!. Devil's Disciple by Bernard Shaw with Richard Mansfield, Mr. Johnson, Miss Blanchard, Miss Clark, and Mr. Andrews.

3/25,26, Fri., Sat., Sat. mat.: Hamlet, The Merchant .2,! Venice and Othello, directed by Mason Mitchell with Walker Whiteside and John Sturgeon.

3/28-30, Mon.-Wed., Wed. mat.:~ Sign .2.! !lli!. Cross by Wilson Barrett, managed by Charles Frohman and Frank W. Sanger, and presented by William Greets' London Company with Irene Brooke, Charles Dalton, Gertrude Boswell, W. E. Borney, Bacil Gill, Hubert Druce, J. Monkhouse, Harry Burcher, G. R. Peach, Harry Child, Marion Grey, Agnes Scott, Marjoie Cavania, Edith Paullin, and Lily Child.

4/4, Mon.: The Serenade by Victor Herbert and Harry B. Smith, direct~by Frank L. Pearly, musical direction by S. L. Studley, with the Bostonians, Henry Clay Barnabee, William H. MacDonald, Jessie Bartlett Davis, Eugene Cowels, Alice Nielsen, George Frothingham, Josephine Bartlett, William E. Phillip, Harry Brown, Grafton Baker, W. H. Fitzgerald, Nellie Guistl, Helena Fredericks, Jennie Hawley, and Charles P. Hawley. 77

1897 - 1898

4/7-9, Thurs.-Sat., Sat. mat.:~ Friend !!:.2!!! India by H. A. Du Souchet with the Smith and Rice Comedians including William c. Madeville, Ernest Warde, W. E. Colligan, Charles Mitchel, Lute Vrohman, Agnes Farnum, Ada Gillman, Margaret Otis, Louisa Arnott, Julin Bachelor, and Arthur Larkin.

4/18,19, Mon., Tues.: LaBoheme and Lucia di Lammermoor by the Baggetto Italian Grand Opera Comj;any.

4/20,21, Wed., Thurs., Thurs. mat.: Gaiest Manhattan by Koster and Bial, directed by John F. Harley with Richard Gorman, Marie Twohry, Gus Pixiey, Jennie Lewis, Alta DeKerwen, Miss Michelena, James A. Kiernan, Mabel Montgomery, Matt Alexander, Thomas Kierman, Jean Mcilmoyle, The Acrobatic Dancers, and The Pickaninny Quartet composed of Sturgeon, Franklin, Rolland and Webster.

5/2,3, Mon. Tues., Tues. mat.:~ Trooping~ The Colors by John Phillip Sousa, directed by Sousa with Ada May Benzing, Arthur Pryor, Simone Mantia, Franz Hall and Basil Tetson, soloists.

5/6, Fri., Orpheus Concert.

5/8, Sun.: Why!.!!!!~ Agnostic, lecture by Col. Robert G. Ingersoll.

5/9,10, Mon., Tues.:! Bachelor's Honeymoon by John Stagpleton with George F. Nash, John T. Sullivan, Robert Patton Gibbs, Vells McLeod, Nila Sykes, Virginia Jackson, Phillis Ashcom, Jane Leslie, Horace Thrum, and Walter Thomas.

5/11, Wed.:!!! American Citizen by Madeline Lucette R;yley, pro­ duced by N. C. Goodwin and Maxine Elliott with Nat Goodwin, Maxine Elliott, William Ingersoll, Clarence Handyside, Neill O'Brien, Thomas Oberle, Louis Payne, Estelle Mortimer, Gertrude Elliott, Hattie Russell, L. E. Woodthorpe, and Master Ralph.

5/18, Wed.: The Swell Miss Fitzwell by DuSouchet with May Irvin, iilliam Burress and Joseph Sparks.

5/19, Thurs.: Arion Concert directed by Mr. Coerne with Ernest Gamble and the Misses Sutro, soloists. 78

1897 - 1898

6/13-15, Mon.-Wed., Tues. and Wed. mat.:~ Pasha produced by the Wilbur Opera Company.

6/16-18, Thurs.-Sat., Thurs. and Sat. mat.: Qµeen's ~ Handker­ chief produced by the Wilbur Opera Company.

6/20-22, Mon.-Wed., Mon. and Wed. mat.:~ Merry~ produced by the Wilbur Opera Company.

6/23-25, Thurs.-Sat., Thurs. and Sat. mat.:~ Diavoio produced by the Wilbur Opera Company.

6/27-29, Mon.-Wed., Mon. and Wed. mat.:~ Mikado produced by the Wilbur Opera Company.

6/30-7/2, Thurs.-Sat., Thurs. and Sat. mat.: Two Vagabonds produced by the Wilbur Opera .Company-:-

8/13,15, Sat., Mon., Sat. mat.: Al. G. Field's Minstrels with Harry Sheldon, Patton Hyde,-Fainnan and Cartmel, Doc Quigley, Everhardt, Arthur Regby, The Faust Family, and Tommy Donnelly. 79 1898 - 1899 SEASON

9/7,8, Wed., Thurs., Thurs. mat.: Monbars by Lewis Nathal and !.!!!!. ~ .!!'! ~ Moonlight by Charles Osborne with Robert Mantell, Corona Ricciardo, James L. Carhart, Tilleston Bryce, Blanche Moulton, Arthur Maitland, and Marie Booth Russell. 9/21,22, Wed., Thurs.: !!!z Smith 1!f! !!2!!!.!, by George Broadhurst with Machlyn Arbuckle, Annie Yeamans, Marion Giroux, Dorothy Usner, Jessie Conant, Frank Hatch, and Maurice Darey.

9/28, Wed.:~ Happened !2, Jones by George Broadhurst with George C. Boniface, Jr., Anna Belmont, Kathryn Ostennan, J. w. Cope, Mrs. E. A. Eberle, Florence Robinson, Lewis Newcomb, Ada Craven, Helen Bell, and H. F. Roberts. 10/3-5, Mon.-Wed., Wed. mat.: The Man !£2!! Mexico by DuSouchet, presented by Smyth and Rice with Willie Collier, Thomas Wise, Louise Allen, Marion Lawrence, Leslie Haskell, Dan Mason, Adolph Jackson, George W. Parsons, Louis B. Hall, and M. L. Heckert. 10/12,13, Wed., Thurs.: Devil's Island by Vera deNoie and Arthur D. Hall, managed by James H. Wallick with William Harcourt, Maurice de la Tour, Emily Rigl, Vera deNoie, Ralph Delmore, Tony West, Emile laCroix, Adelyn Wesley, Carlton Wel-ls, Dorothy Rossmore, Warren Conlan, Frank Sciries, Christie McLean, Kate Worthington, and Fred Colby.

10/14,15, Fri., Sat., Sat. mat.: !h!, Highwayman by DeKovan and Smith, directed by Signor A. DeNeoellis, produced by the Broadway Theatre Opera Company with Camille D'Aryille, Joseph D1Mara, Jerome Sykes, George O'Don­ nell, Reginald Roberts, John Mayon, William s. Corliss, Maud Williams, and Nellie Broggins.

10/17,18, Mon., Tues.:~ Carpetbagger by Opie Read and Frank S. Pipiery with Tim Murphy.

10/19,20, Wed., Thurs.:~ Ragged~ by Ernest Lacy and Joseph Humphreys with Andrew Mock, Annie Ward Tiffany, Thad. Shine, Charles Canfield, Edwin Brandt, James Vincent, B. P. Ringgold, Thomas Jackson, John C. Fenton, Thomas Mackey, Josephine Lovett, Minnie Monk, Georgia Florence Oip, Prince Lloyd, and Charles A. Nun. 80 1898 - 1999

10/21,22, Fri., Sat., Sat. mat.: A Bachelors Honeymoon by Johb Stapleton with George F. Nash, Villiam Winter Jefferson, Ella McLeod, Irma LaPier, Jessie Burnett, Mr. T. J. Hartman, Mr. R. M. Thomas, and Geoffrey Stein.

10/23, Sun.: Grand Music Festival for the Golden Jubilee of the Columbus Maennerchor directed by Adolph Coerne, T. H. Schneider, pianist and Fred Neddermeyer, concert master with Hedwig Theobald, Franc Ziegler, Beary Lippert and Fred Krwnm, soloists and the Indianapolis Maennerchor, Chillicothe Eintracht, Columbus Orpheus, Columbus Arion, Columbus Liederkranz, and the Germania Helvetia Maen­ nerchor.

10/25,26, Tues., Wed., Wed. mat.: The Moth and The Flame by Clyde Fitch produced by the- Kei'Cey-8n~hannon Company with Herbert Kelcey, Effie Shannon, Joseph Whiting, Bruce McRae, Edward Bee, Davied Torrence, Charles Steadman, C. L. Robinson, Marion Abbott, Grace Reals, Isabel Waldron, Winona Shannon, Leila Ellis, Ethel Kingston, Mary Hanson, Mamie Dunn, Mrs. Ferren, Emina Jenvier, George Eichels, and George Flannery. 10/29, Sat., Sat. mat.:! Misfit Marriage by H. DuSouchet, produced by Smyth and Rice, acting business manager James Denton DeWolfe with Max Figman, Henry Herman, Clayton White, Malcolm Bradley, A. J. Edwards, Frank M. Kendrick, Thomas MaGuire, Ina Hanuner, Katherine Mudkins, Millie James, Lucile Nunn, and Ann Warrington.

10/31,11/1, Mon., Tues.: Romeo,!!!.!! Juliet, Pagliacci, and Cavalleria Rusticana produced by the International Opera Company with Clementine DeVere, Selma Kronold, Salvo Panblanchi, Augusto Dado, Mr. C. Forrest, Eleanor Broadfoot, Louise Engel, Mary Helene Howe, George Mitchell, Virgillio Bellatti, H. Winfred Goff, Aristride Mancini, Amella Fields, Mary Roebuck, Forest D. Carr, Earl B. Parks, Arthur Kuester, Edward Percy, and Mr. H. Gunson.

11/4,5, Fr~, Sat., Sat. mat.:~~ .2.f ~~by Creston Clark, .!!!!! Marbled Heart, and David Garrick with Creston Clark, Adelaide Prince, and John Carter. 11/7,8, Mon., Tues.: Shenandoah by .Bronson Howard with Maurice Barrymore and Mary Hampton. 81

1898 - 1999

11/9, Wed.: Dr. Carl Louis Perin, lecture, palm and mind readings. 11/10, Thurs.: Primrose,!!!!! Dockstader Great .American Minstrels, orchestra directed by Professor Lathan with Lew Dockstader, George Primrose, Manuel Romaine, w. H. Thompson, Fred Reynolds, John Davis, Edward Hansen, Harry Ernest, John Perry, B. s. Cahn, Lem Rose, Deonzo Brothers, The Hampton Family, Quacker City Quartet, and Howe, Wall and Sedly.

11/11,12, Fri., Sat., Sat. mat.:!!!!!, Prisoner~ Zenda by E. E. Rose, directed and managed by Charles Frohman with Howard Gould, Margaret Fuller, R. F. McClannin, Albert Perry, Mace Greenleaf, Holden Chandler, Duncan Harrtz, Robert Conness, Benjamin Montieth, Helen Strickland, and Amy Ricard. 11/14-16, Mon.-Wed., Wed. mat.: Heartsense produced by Charles Frohman and The Master by O. Stuart Ogilvie with Henry Miller, AuguStUs Cook, Charles B. Welles, Mabel Bert, and Ellen Mortimer.

11/18 1 19, Fri., Sat., Sat. mat.: Under !!!!! ~ !!!!!, by Edward Rose, produced and managed by Julius Cahn with William Morris, Frances Gaunt, Frank McGlynn, John Terris, and Edwin B. Tilton.

11/21-23, Mon.-Wed., Wed. mat.:~ Black Hussar,~ Pasha, Bohemian Girl, and Amorita produced by the Boston Lyric Opera Compaey with Laura Denio, Francis Wilson, Harry Hallman, Eugene Rogers, Robert Lett, Jack Henderson, Josephine Stanton, George Lomi, Henry Hallam, Mamie Kingsbury, and Richard Jones. 11/24, Thurs., Thurs. mat.: Natural§.!.! by Donnelly and Girard, produced by Eddie Girard with Eddie Girard, Edward Garyle, Amy Ames, Mallie Thompson, Frank O'Brien, Nina Bertolini, Jessie Gardner, Gus Hennessy, John Connolly, George Manchester, Nellie Gilchrist, Alice Block, and Josie Clark. 11/25,26, Fri., Sat., Sat. mat.: The Voyagers by Madeline Lucette R;yley, Woman Hater by David D. LLoyd, and ~ Wrong !!!:• Wright with Roland Reed, Isadore Rush, and Mrs. Charles G. Craig.

11/27, Sun.:~ Phillip Sousa Concert with Maude Reese Davies and Dorothy Hoyle, soloists. 82

1898 - 1899

11/28,29, Mon., Tues.: Julius Ceasar and Othello with Charles B. Hanferd, John A. Ellsler, Frank Henney, Marie Drofnah, Mary Timbennann, George Morton, John Milton, Paul G. Taylor, Richard Buhler, James Young, Lucy Garth, Lawrence F. Walker, and Harvey A. Cassidy.

11/30, Wed.: At The French~ with Fanny Rice.

12/1-3, Thurs.-Sat., Sat. mat.:~ Countess Valeska by Rudolph Stratz and ~ !2,!! ~ .!!_, produced by Charles Frohman with Julia Marlow, Hobart Boswoth, Norah Lamison, and Mrs. Sol Smith.

12/5, Mon.: lecture by James Whitcomb Riley, assisted by Katherine Cordner Heath and the Apollo Quartet.

12/7 Wed.: An Enemy of The King produced by John Griffith, directed by E. H. Sothern with John Griffith.

12/9,10, Fri., Sat., Sat. mat.: The Royal~' stage managed by Claude Brooke with Charles Coghlan, Gertrude Coghlan, Andrew Robson, Alexander Kearney, Palmer Collins, Charles Stanley, Claude Brooke, Charles W. Bankson, Harry Hanlon, R. C. Chamberlain, Taylor Granville, Mortimer Weldon, Edgar George, Lottie Linthicun, Gertrude Bennett, Josephine Adams and Nora O'Brien.

12/12-14, Mon.-Wed., Wed . mat.:~ Governors with Ward and Vokes, Johnny Page, Eddie Ott, Margaret Daly Vokes, John Keefe, Louise Montrose, and Jouise Kerlin.

12/15, Thurs.: Butternut's Bride with Frank Rogers, J. Clarence Sullivan, Frank Ims, Charles Bancroft, Edward Jacobs, John Stephens, George Sharp, Gertrude Purtell, Laura Faye Noble, Frances Brondecker, and Mrs. W. H. Goggin.

12/17, Sat.: U.C.T. Minstrels produced by the Columbus Council No. 1, H. Kaufman, general manager, L. E. Parsons, stage manager, Harold Simpson, director, W. H. Lott, vocal in­ structor, with W. D. Porter, R. B. Collins, Ed Haines, A. J. Pray, A. M. Dodd, F. o. Nusloum, Archie Sells, F. J. Van Sickle, C. B. Smith, J. F. Sniffin, B. J. Throop, B. B. Ellis, T. N. Kerr, C. W. Hamilton, Jake Myers, C. W. Zimmer­ man, Frank Oldham, C. A. Harris, J. W. Walters, Fred S. Syke, s. C. Brown, T. R. Hane, J. W. Hastings, Jule Gates, W. W. Walton, W. L. Whitacre, L. G. Titus, J. A. Taft, Otto Nusbaum, George W. Cutler, J. B. Reeves, and E. L. Frey. 83 1898 - 1899

12/20, Tues.:~ Bride Elect by John Phillip Sousa, produced by Klaw, Erlanger, and B. D. Stevens with Albert Hart, Helen Clark, Christie MacDonald, Mabella Baker, Alice Campbell, George Lyding, Melville Stewart, Harry Luckstone, Charles H. Drew, Lola Allen, Marie Franklin, o. R. Johnson, and H. E. Schaeffer.

12/26, Mon.:~· M• Harverly American-European Minstrels with John W. Early, Charles E. Foreman, Joseph M. Norcross, Harry L. Talley, James Roy, William Lyons, Billie Rice, Arthur Deming, Fred A. Johnson, Gustav Vernon, Ole Peterson, Nichols Sisters, George W. Lewis, Master Martin, John Daly, Charles Wyhte, William Riley, William Eunice, and Joseph D. Green.

12/28,29, Wed., Thurs.:~ Serenade, by Victor Herbert and Robin Hood produced by the Bostonians with Henry Clay Barn­ ai>e'e, William H. MacDonald, Jessie Bartlett Davis, Helen Bertram, William Lavin, George Frothingham, Harry Brown, Josephine Bartlett, William Brodwick, W. H. Fitzgerald, Lloyd Rand, Carolyn Daniels, Charlie Hawley, and S. L. Studley.

12/30,31, ~ Q!!! Coat by W. H. Allerdice and ~ Friend E!:2!!! India, presented by the Smyth and Rice Comedy Company with Frederick Bond, Edward S. Abeles, John Ward, John Maher, Joseph Adelman, Frank Perry, John Finn, Helen Reimer, Nita Allen, Clara Hathaway, Mabel Adelman, and May Vokes.

1/2,3, Mon., Tues., Mon. mat.:,!!~~~ Waves produced by Deunne and 1?3ley with Mathews and Bulger, Josie DeWitt, Nellie Hawthorne, Trixie Wade, Bessie Challenger, Eva Leslie, Marie Twhoey, Julia Ralph, Will West, Ned Wayborn, W. H. Macarts, Gilly Gregory, Robert Vernon, Gus Mortimer, and Delcie Walker.

1/4,5, Wed., Thurs.: The Fortune Teller by Victor Herbert and Harry B. Smith, prod;;;d by Frank Perley, presented by the Alice Neilsen Opera Company, orchestra directed by Paul Steindorff with Alice Neilsen, Eugene Cowels, Richard Golden, Joseph Herbert, Joseph Cawthorn, Frank Rushworth, Paul Nicholson, Marguerite Sylva, and Jennie Hawley. 1/6,7, Fri., Sat. Sat. mat.: The Hoosier Doctor by Augusta Thomas with Digby Bell, Laura Joyce Bell, Elsie Esmond, Margaret Dale Owen, and Herman Hirshberg. 84

1898 - 1899

1/10, Tues.: Robert G. Ingersoll lecture, Superstition. 1/13,14, Fri., Sat., Sat. mat.: Magician Keller. 1/15, Sun.: Dr. John J. Alexander, spiritualist. 1/16, Mon.: !h! !!!! Dominion with Clay Clement. 1/19-21, Thurs.-Sat., Sat. mat.:!!! Tosca and Fedora produced by Fanny Davenport and presented by The Melbourne MacDowell Company with Blance Walsh, and Melbourne MacDo'well. 1/24, Tues.: CyranoDeBergerac with Richard Mansfield and Margaret Anglin. 2/3, Fri.: The Meddler with Stuart Robson, Frank C. Bangs, Theodore-Babcock, Harold Russell, George Pauncefort, Mrs. Stuart Robson, Maud Granger, Gertrude Perry, and Marie Burroughs.

2/9-11, Thurs.-Sat., Sat. mat.: Way~~ by Lottei Blair Parker, managed by William A. Brody with Phoebe Davies, Odell Williams, Forrest Robinson, George Backus, Walter M. Hodges, Frank Bell, John Banney, Sarah Stevens, Ella Hugh Wood, Louise Galloway, Carol Gorden, Jennie Millard, John F. Boyle, Edwin W'. Hoft, and Felix Haney.

2/13,14, Mon., Tues.:~ Greek Meets Greek by Joseph Halton and Monte Cristo with James O'Neill, Kate Fletcher, w. J. Dixon, Ed L. Breese, T. G. Lengham, Hugh Cameron, Joseph Hawk, Minnie Radcliffe, Louise Collins, Elizabeth Baker, Frederick Hartley, Mark Ellsworth, Aubrey Beattle, and C. J. Gilbert. 2/15, Wed.: !h! Jolly Musketter by Strange and Edwards, produced by the Jefferson DeAngelis Opera Company with Jefferson DeAngelis. 2/17,18, Fri., Sat., Sat. mat.: Rupert .2! Hentzau by Anthony Hope and ~ Gibson ~' produced by Daniel Frohman with James K. Hackett, and Jobyna Howland. 2/20,21, Mon., Tues.: Macbeth and Anthony and Cleopatra, managed by John C. Fisher with Helena Modjeska, Charles Hennan, Lester Lanergan, George Spencer, Frederick Vroom, Anna Proctor, and Mrs. H. E. Sargent. 85

1898 - 1899

2/22, Wed., mat. and eve.: !!2!!• ~Grigsby by Charles Klein with Sol Smith Russell.

2/23, Thurs.: Orpheus£!!!!? Concert.

2/24, Fri.:~ Turtle by Joseph W. Herbert with Sadie Martinot, E. W. Morrison, Sallie Berg, Harry Allen, Henry Bergman, M. A. Kennedy, Agnes Findlay, W. J. Ferguson, Maude White, and Mrs. Mc Kee Rankin.

2/25, Sat., mat. and eve.: The Fortune Teller by Harry Smith and Victor Herbert, produced by Frank Perley with the Alice Nielsen Opera Company.

2/28-3/l, Tues., Wed., Wed. mat.: ,!h! Strange Adventures .2! Jack .!!!,!! !h! Beanstalk by Barnet and Sloan, produced by Klaw and Erlanger with Nelsa Chamberlain, Lotta Faust, Anna Nash, Lottie Sennett, May Taylor, Margaret Mills, Rosita Rivera, Armandita Rivera, Emille Beaupre, Nellie Lynch, Harry Kelly, Harry Clay Blaney, and Marie Celeste.

3/3,4, Fri., Sat., Sat. mat.:.!!!! Golden Horseshoe, presented by The Liliputians with Adolf Zink, Franz Ebert, Mrs. Elise Lau-Ebert, Helene Lindner, Selma Goerner, Herman Ring, and Max Walie.

3/5, Sun.: Columbus Symphonv Orchestra, Fred Neddermeyer, conductor, Franc Ziegler and Harry Lott, soloists.

3/7,8, Tues., Wed., Wed. mat.: Rosemary with Otis Skinner and Gretchen Lyons.

3/10,11, Fri., Sat., Sat. mat.:~ Herrmann, magician, with Adelaide Herrmann and Prince Yoshi Hosokwi.

3/15, Wed.: Ian Maclaren.

3/17, Fri., mat. and eve.: Banda Rossa, directed by Eugenio Sorrentino.

3/18, Sat., mat. and eve.: Pudd'nhead Wilson with Edwin Mayo, Ada Dwyer, Frank Campeau, William R. McKey, Marabel Seymour, Charles J. Edwards, William s. Gill, Ralph Dean, Miss Delano, John H. Browne, Agustus Balfour, Louis W. Asself, Edwin W. Lewis, Augustus Huse, Donald Smedt, and Nellie LaSalle. 86 1898 - 1899

3/21, Tues.: The Second Mrs. Tanquaq, directed by Morcus R. Mayer, with Olga Nethersole, T. B. Thalberg, A. S. Homewood, W. Graham Richards, Charles Wellesley, Ciceley Richards, Madge Fields, and Lillian Hingston. 3/24,25, Fri., Sat., Sat. mat.: The French Maid with Anna Held, Charles A. Gegelow, Hal~ Mostyn,-wrrliam Armstrong, Edward Jose, F. J. Heron, George Honey, Eva Davenport, Idalene Cotton, Yolande Wallace, Mamie Forbes, and Augustus Schike.

3/27-29, Mon.-Wed., Wed. mat.: The Passion~' moving pictures, accompanied by Joseph C. Kissell. 3/31, Fri.: The Charlatan by John Phillip Sousa and Charles Klein with DeWolf Hopper, Neila Bergen, Edmund Stanley, Alfred Klein, Alice Judson, George w. Bornum, Mark Price, Arthur Cunningham, Adine Bouvier, Harry P. Stone, and Katherine Carlyle.

4/1 Sat., mat. and eve.:~ Gladiator, Ipgomar, and Paris~ with Robert Downing, Eleanor Ronge, and Freda Gal.lick.

4/3,4, Mon., Tues.: Telephone§!!:! by Hugh Morton and Gustave Kerker, produced by George lV. Lederer with Louis Monn, Clara Lipman, Lillie Collins, Joseph C. Fay, William T. Terriss, Nick Long, Mahalas Burnham, James F. Macdonald, Ben T. Killon, Samuel P. Fisher, Rose Braham, Helen Harrington, Sarah McVicker, Nellie Douglas, Florence Cammage, Mary Post, Amy Lesser, Mabel Frenyear, Augusta Bertrand, Lillie Austin, Mamie Chapin, Minnie Woodburg, Jeanne Bernard, and Lulu Farrence; on Tuesday also the reading of the election returns.

4/6-8, Thurs.-Sat., Sat. mat.: ~ Friend f!:2!!! India by B. A. Du Souchet, produced by Smyth and Rice Comedians with Charles Bradshaw, Ada Gilman, Ernest Warde, Louise Arnot, West Temple, Madge Otis, and George Mack. 4/11,12, Tues., Wed., Wed. mat.: Shore Acres by James K. Herne, directed by H. C. Miner, starring James K. Herne. 4/13, Thurs.: The Geisha with Helen Royton, Minnie Ashley, Alxia Bassian,Charles Danby, W. H. Frederick, and Leonard Walker Fairfax. 4/14, Fri., The Wizard of The Nile by Smith and Herbert with Frank Daniels, Kate uart, No:nna Kopp, and John B. Park. 87

1898 - 1899

4/17, Mon.:~ Liars by Henry Arthur Jones, produced by Charles Frohman with John Drew, Isabel Irving, Jennie A. Eustace, Ethel Barrymore, Gertrude Greene, Marie Derickson, Georgie Mendum, Arthur Byron, D. H. Harkins, Milton Lipman, James Baker, Frank E. Lamb, Gage Bennett, and Darwin Rudd. 4/19, Wed., mat. and eve.: Al. G. Field's Minstrels with c. A. Skelcher, Reese Prosse'i=, Harry Sheldon, John c. Dickens, George Reaves, Charles A. Van, George Hassell, Paul LaLonde, and Frank Todd. 4/21,22, Fri., Sat., Sat. mat.:!!, !h!, French!!!!! with Fannie Rice. 4/23, Sun.: Banda Rossa, conducted by Eugenio Sorrentino.

4/24,25, Mon., Tues.:! 1,!& £!Quality, Pygmalion~ Galatea, and Mercedes, managed by A. H. Canby, with Julia Arthur, W. s. Hart, Ralph Stuart, Charles Kent, Robert McWade, Joseph Allen, T. B. Bridgeland, Florence Conron, Agnes Knighte, and Marie Bingham.

4/26, Wed. : Nathan ~ by Clyde Fitch with Nat Goodwin, Maxine Elliott, Clarence Handyside, Mr. Ingersoll, Mr. Oberie, Mr. O'Brien, Mr. Hall, Mr. Budd, Gertrude Elliott, Hattie Russell, and Estelle Mortimer.

4/28, Fri.:!~~! Night by Charles H. Hoyt with Otis Harlan, William Devere, Celia Clay, Ed Wonn, Charles Zimmennan, Ed Garric, Robert Cowan, Jules Jordan, Charles Agnew, Hattie Wells, Alma Kramer, Hattie Williams, Cecilie Sands, Sidney Mansfield, Florence Relda, Harry Donnehan, and Marie Lourie. 4/29, Sat.: M!!!!t• Marcella Sembrich Concert, assisted by Guisseppe Campanari and Myron Whitney, Jr., •ith &nil Mollenhouer conducting the Boston Festival Orchestra.

5/16, Tues.: ~Kip by Glen MacDonough with May Irwin, Joseph Sparks, and Ignatio Martinetti.

5/17,18, Wed., Thurs.: Lignum Vitak's ~by Charles G. Schenck, A. c. Corrod, and Tob B. Galloway, presented by the Olentangy Club. 5/18,20, Fri., Sat., Sat. mat.: The School f2.!: Scandal, Othello, and Macbeth, managed by Wagenhals and Kemper with Louis James, Kathryn Kidder, Frederick Warde, and Harry Langlon. 88

1898 - 1899

5/22, Mon.: Colmnbus Republican~~' directed by w. H. Lott, with Mrs. M. B. Mills, George Taylor, Franc Ziegler, Harry C. Lott, and Caroline B. Hwnphrys, soloists. 8/16, Wed., mat. and eve.:!!.•§. Field's Greater Minstrels with Al. G. Field, Harry Shunk, Tonuny Donnelly, Jake Wilby, George Kingsberry, Doc Quigley, Bob Keys, Tom Hude, Less Fainnan, John W. Norton, Harry Sheldon, Resse Prosser, George Hassell, Tom Crockett, C. C. Pearl, C. F. Snell, Paul LaLonde, George P. Marshall, Louis Faust, Ruby Faust, Georgie Faust, and Artie Faust. 8/24, Thurs.: w. H. West's Minstrel Jubilee with Carroll Johnson, Richard J. Jose, Tom Lewis, Waterbury J. Tenny, Eddie Horan, Howard and Mack, Johnny Whelen, James Devlin, Lou Tracy, Tommy Carey, Dox Cruger, Clement Stewart, Joseph Garland, J. P. Rodgers, T. H. P. Earle, George P. Marshall, and Fred A. Herting. 8/28-30, Mon.-Wed., Wed. mat.: Magda produced by the Valentine Stock Company with Anna Blancke, Edward R. Mawson, Kate Blancke, Jessie Bonstelle, Jack We·bster, Frances Des­ monde, Thomas B. Bridgeland, Charles H. Fleming, Osborne Searle, Edward Leonard, Robert Evans, and May Taylor.

8/31-9/2, Thurs.-Sat., Sat., mat.: Romeo~ Juliet produced by the Valentine Stock Company. 9/4,5, Mon., Tues.: Hazel Kirke produced by the Valentine Stock Company.

9/7-9, Thurs.-Sat., Sat. mat.:!!!!~ Orphans produced by the Valentine Stock Company.

9/6, Wed.:!!!! Purple~ by Sydney Rosenfeld, produced by the Valentine Stock Company. 9/11-16, Mon.-Sat., Wed. and Sat. mat.: Taming!.! ill Shrew produced by the Valentine Stock Company. 9/18-23, Mon.-Sat., Wed., Fri., and Sat. mat.: .fil lli Comforts of Home by William Gillette, Camille, and Little ~ 'Fauit'i"e'roy produced by the Valentine Stock Company. 89

1899 - 1900 SEASON

9/25, Mon.: Pudd'nhead Wilson with Edwin Mayo and Adelaide Fitz Allen.

10/3, Tues.: Primrose ,!!ll! Dockstader's Big Minstrels.

10/4, Wed.: Spider ,!!ll! Fly by M. B. Leavitt.

10/10, Tues.: The Jolly Musketeer by Jullian Edwards, produced by the DeAngelis Opera Company with Jefferson DeAngelis and Grace Van Studdiford. 10/13, Fri.: Trelawney 2f. !!!2, Wells by A. W. Pinero, produced by Daniel Frohman, presented by the Lyceum Company with John Mosor, Mary Mannering, Charles Walcot, Heldia Spong, William Courtney, Olive May, Grant Stewart, Mrs. Charles Walcot, George C. Boniface, Mrs. Thomas Whiffen, John Findley, Ethel Hornick, Charles W. Butler, Alison Skipworth, William Eville, Grace Heyer, H. S. Taber, Blanche Kelleher, Albert Howson, and E. H. Wilkinson. 10/16, Mon.: A f2.2.!: Relation with Sol Smith Russell.

10/18,19, Wed., Thurs., Thurs. mat.: !!!2, Telephone~ with Will H. Sloan, Jessie Merrlies, and James E. MacDonald.

10/20,21, Fri., Sat., Sat. mat.: Shenandoah by Bronson Howard with Robert Elliott.

10/23,24, Mon., Tues.: !!!2, Carpetbagger by Read and Pixley with Tim Murphy, Ogden Stevens, Gerard Anderson, James Manley, Olney Griffin, Ralph Thomas, Eleanor Merron, Helen Coriette, and Aubrey Powell.

10/26, Thurs.: His Father's Boy by Sydney Rosenfeld with Roland Reed, Isadore Rush, Lotte Alter, Alethea Luce, Mary Myers, Sheridan Tupper, Brandon Hurst, Julian Reed, L. P. Hicks, and James Douglas.

10/27,28, Fri., Sat., Sat. mat.: Egypta, directed by William D. Channery and Clarence Stephens, produced by the Colwn­ bus Rifles with Stella Krumm, Sara Salt, Mrs. J. M. Bowman, Ella Belle Candy, Martha Downs, James Leonard, Arthur Hoentig, J. Zettler Krumm, Harry Rabon, Mr. Williams, Mr. Clare Nace, Ira Miller, Harry Market, Blanche Neiswander, Gertrude Phaler, Nellie Herbert, Clara Kinnear, Grace Ganther, Roxane Garber, Alma Burgess, Hilda Flodensburg, Grace Williamson, Miss Mayfield, Edith Houser, Elizabeth Houser, Miss Frame, 90

1899 - 1900

10/27,28, {Continued) Mrs. G. A. Haines, Miss Neil, Margaret Davis, Mrs. Crippen, Daisy Wilcoxon, Edith Varner, Miss Rowe, Miss Riddle, Ada Wolf, Mrs. Stimmel, Levi Burgess, Charles Jeffries, Charles Longnecker, Charles Lynas, Milton Hohe, E. C. Jackson, George Haines, Claude Hare, Walter H. Richter, O. E. Miles, Howard Payne, E. B. Hang, P. H. Sparks, J. B. Neil, Villiam H. Gangmaster, Frank Zangmaster, Trwnan Seymour, L. P. Thompson, W. W. Thunnan, and J. B. Walter.

10/30, Mon.:.!!!! Choir Invisible by Frances Hastings, presented by the Henry Jewett Dramatic Company, with Frances Hastings, Wilfred Clarke, Vaughan Glaser, Lester Lonergan, Meta Maynard, and Ada Gilman.

10/31,11/1, Tues., Wed., Wed. mat.:! Runaway§!.!:!. presented by Augustan Daly's Musical Company with James T. Powers, Ethel Jackson, Van-Rennselaer Wheeler, May Baker, Miriam Lawrence, Joseph C. Jay, Henry Stanley, Charles Ruthven Smith, Maurice Abbey, and Spottiswood Aiken.

11/2, Thurs.:!!! Paradise produced by Klaw and Erlanger, presented by the John B. Doris .Amusement Co~pany with Richard Golden, Flora Fairchilds, Walter Hodges, Hudson Liston, Harry St. Maur, Mr. W. B. Downing, Hattie Russell, Laura Chase, and Margaret McDonald.

11/3,4, Fri., Sat., Sat. mat.: The Highwayman by DeKoven and Smith, presented by the Broadway Opera Company, managed by s. T. King with Arthur Deagon, Florence Walcutt, Maud Williams, and W. H. Tre-Denick.

11/6,7, Mon., Tues.:.!!!!~~ Brewer by Adolph Phillips with Adolph Phillips, Marie Van Wezen, Ada Blanche, Mamie Serini, Gussie Frankel, Fmil Berla, Carl Schroeder, Fmil Schaff, Fred Buechler, Johanna Fraeukel, Auguste Fraeukel, Marie Walden, Ernestine Felden, and Theodor Brusk. Elec­ tion returns read from the stage.

11/8, Wed.: Arizona by Au~ustus Thomas, directed by Kirke LaShelle and Fred R. Hanlin with Vincent Serrano, Theodore Roberts, George Nash, Edwin Holt, Edgar Selwyn, Malcolm Gunn, Lionel Barrymore, Albert Bruning, Ellen Cummings, Eleanor Robson, Grace Henerson, Geneva Ingersoll, and Adora Andrews.

11/10,11, Fri., Sat., Sat. mat.:~ by David Belasco, produced by Charles Frohman with Mrs. Leslie Carter and Charles A. Stevenson. 91

1899 - 1900

11/13, Mon.: Parson!!.!!!! with W. H. Pascoe, Frank Lander, Fred Bock, Frank Currier, Genevieve Warren, Martha Fudesill, May Terrell, Dallas Tyler, and Thomas Doyle.

11/14, Tues.: Dear Old Charley with George Ober, George C. Boni­ face, Jr., Kathryne Osterman, Bertha Waltzinger, Helen Hartcourt, Florence Turner, John Hyams, Stephen Maley, and Alfred Burnham.

11/15, Wed.:.!!!!, Rivals with Joseph Jefferson, Joseph Jefferson, Jr., William Jefferson, Jefferson Winter, Ffolliet Paget, Verner Clarges, Boyd Putnam, Elsie Leslie, and Blanche Bender.

11/20,21, Mon., Tues.: The Ragged Cavalier and ~ ~ .2! .!!!.§. ~ with Creston Clarke and Adelaide Prince. 11/22, Wed.: A Colonial§!!::.! by Abby Sage Richardson and Grace L. Furniss, produced by Daniel Frohman with Howard Gould, Robert Conners, Albert Perry, Charles Brandt, Benjamin Montiett, George DeLong, George W. Lynch, Gerda Wisner, Eleanor Carr, Helen King Russell, and George Friend.

11/23-25, Thurs.-Sat., Sat. mat.:!!!,! Great Kellar. 11/27, Mon.: The Liars by Henry Arthur Jones with Otis Skinner and Nanette Comstock.

11/28, Tues.: The Purple~ by Sydney Rosenfeld with Robert Rogers, Louise Mackintosh, Frank Botch, Charles Edwards, C. H. Robertson, James Carew, Henry Stockbridge, Joseph Coleman, Teresa Maxwell, Laura Nelson Hall, Olive Porter, Edith Ives, and Lillian Avann.

11/29,30, Wed., Thurs., Thurs. mat.:~· Smooth, produced by Smyth and Rice with Willie Collier, John F. Ward, John B. Maher, Thomas Evans, George W. Parsons, M. L. Hecker, Thomas Garricie, Helen Reimer,. Helena Collier, Mrytle May, and Louise Allen Collier.

12/1 1 2, Fri., Sat., Sat. mat.:! Female Drummer by Charles E. Blaney and Clay T. Vance, managed and produced by Charles E. Blaney with Johnstone Bennett, James Smith, Harry Ladell, Willis P. Sweatman, Nellie O'Neil, and Tony Williams. 92

1899 - 1900

12/4,5, Mon., Tues.: Hunting ,!2!: Hawk.ins by Guy F. Steely with Eddie Girard, Edward Garvie, Helen Morgan, Olive Grandison, Zelda Paldt Sears, Helen Malbury, George Herbert, Barney Reynolds, Sinclair Nash, George s. Probert, and Frank J. King.

12/6,7, Wed., Thurs.:!!!!. Smugglers .2! Bada.yez by Frederic Rank.en and Giak Minkowsky and !!!!. Serenade by Victor Herbert and Smith, produced by the Bostonians, orchestra conducted by s. L. Studley with Marcia Van Dresser, Helen Bertram, Grace Cameron, Henry Clay Barnabee, W. H. MacDonald, Frank Rushworth, George Frothingham, Josephine Bartlett, Frederick Knights, W. H. Fitzgerald, Charles R. Hawley, and Edith Hendee.

12/8,9, Fri., Sat., Sat. mat.: The Dagger~~ Cross by W. A. Tremayne, managed by Hanley, with Robert B. Mantell, Marie Booth Russell, and Mr. G. A. Stryker.

12/12,13, Tues., Wed., Wed. mat.:!!!!. Rounders by George W. Lederer and Harry B. Smith, managed by George W. Lederer with Dan Daly, Christie MacDonald, Phyllis Rankin, Rich­ ard F. Carroll, Harry Davenport, Sarah McVicker, D. L. Don, Sol Solomon, and Marie George.

12/14, Thurs.:~· Julie ~-King Recital.

12/15, Fri.: Shore Acres by James A. Hearne with Charles G. Craig. 12/16, Sat., mat. and eve.: Rupert .2f Hentzau, produced by Daniel Frohman with James K. Hackett, Jobyan Howland, Charles Ahrndt, Brigham Royze, Stephen Wright, George Alison, Thomas B. Daly, Longley Taylor, Sidney Price, Edward Donald, James Ottley, Mace Greeleaf, Edgar McGregory, Gertrude Rivera, Virginia Bucham, and Grace Reals.

12/18-20, Mon.-Wed., Wed. mat.: The Oriental Concert and Enter­ tainment Compan.y.

12/26, Tues., mat. and eve.: The Heart .2f Maryland by David Belasco.

12/27,28, Wed., Tues.:~ Little Minister by J.M. Barrie, music by William Furst, scenery by E. G. Unitt, produced by Charles Frohman with Maud Adams, Orrin Johnson, William H. Thompson, George Irving, Thomas Valentine, R. Peyton Carter, Lloyd Carleton, Frederick Spencer, Nonnan Camp­ bell, Wallace Jackson, Mrs. W. G. Jones, Margaredt 93

1899 - 1900

12/27,28, (Continued) Gordon, Sarah Converse, Fernanda Eliscue, and Eugene Jenson.

12/29,30, Fri., Sat., Sat. mat.: M1 lle !!.!.!. by Brady and Ziegfeld with Aubrey Boucicault, Marie Wainwright, Jeanette Loury, Alice Judson, Thomas H. Burns, Dore Davidson, E. Lovat Frager, and Charlotte Mortimer.

1/1, Mon., mat. and eve.: Oliver Goldsmith by Augustus Thomas with Stuart Robson, Henry E. Dixey, Florence Rockwell, Jeffrys Lewis, Walter Hale, Beaumont Smith, H. A. Weaver, and Ella Mortimer.

1/3-5, \Ved.-Fri.: The White Heather by Cecil Raleigh and Henry Hamilton, scenery by Ernest Gros, Burridge, Gates, and Morange, with Rose Coghlan and John T. Sullivan.

1/6, Sat., mat. and eve.:~~ !2.!: The Ladies produced by Charles Frohman with E. M. Holland and Fritz Williams.

1/8, Mon., mat. and eve.:.!!!! Royal~ by Charles Goghlan with Andrew Robson and Gertrude Goghlan.

1/12,13, Fri., Sat.: The!!!..! Eye by Sidney R. Ellis, produced by Charles H. Yale, scenery by H. Logan Reed and S. D. Parker, with Al H. Wilson, Fanny Bloodgood, Lillian Wrenn, Arthur Hamilton, George W. Kerr, Ed Caron, Ed A. Kerr, William Eunice, Lillian Herndon, P. G. Ann­ strong, Lula Konrari, Dolly Delroy, Bernie Devore, Edward F. Mack, Arthur Overpeck, Eugene Skeyer, Phillips Bruce, and Rosaire and Elliott.

1/15,16, Mon., Tues.: Frederick.!!!! Great by Lewis Morrison, produced by Jules Murry with Lewis Morrison and Florence Roberts.

1/17, Wed., mat. and eve.: The Adventure ,2! ~Ursula by Anthony Hope, directed by Daniel V. Arthur, produced by Daniel Frohman with William Morris, Frances Drake, Hugh Ford, Frederick Guest, Sydney D. A;yres, W. B. Downing, Bradley Clark, F. C. Young, George McClellan, Frederick E. Cooke, W. R. Kline, Esta Dean, and Edith Lemmert.

1/20, Sat., mat. and eve.: What Happened 12, Jones by George H. Broadhurst with George W. Larsen, Walter Lenaox, Barney McDonough, Gilbert Gardner, Harry Levian, J. W. Cope, Robert Brower, Vivian Townsend, Juliet Sager, Dorothy Hammack, Emily Stowe, Josephine Shepherd, Ada Craven, Anita Bridges, and Laura Case. 94

1899 - 1900

1/22,23, Mon., Tues.: Phroso by Anthony Hope, produced by Charles Frohman with Odette Tyler, E. D. McLean, J. H. Ben Rino, and Franklyn Roberts.

1/24,25, Wed., Thurs.: Sporting Life with Joseph Kilgour, Elita Proctor Otis, Joseph Wheelock, Frazer Coulter, Frank Burbeck, Francis Stevent, Marion Elmore, Adelaide Warren, Mabel Mortimer, Belle Briggs, Fred Strong, Beresford Webb, Hardee Kirkland, Frank Jamison, Charles Harris, Eddie Dillon, William Elmer, and Charles Haskins.

1/26, Fri.: Ignace~· Paderewski, Recital. 1/30, Tues,: The Merchant .2! Venice with Henry Irving and Ellen Terry.

2/1-3, Thurs.-Sat., mat. every day: moving pictures of the Jeffries-Sharkey Fight.

2/5, Mon.: Secret Service by William Gillette, produced by Charles Frohman.

2/6, Tues.: !!1Y Smith~~ by George H. Broadhurst with Annie Yeamans, Maclyn Arbuckle, Fred. W. Peters, Dan Mason, M. B. Snyder, H. F. Robert, Brandon Douglas, Mrs. E. A. Eberle, Anita Bridger, Gertrude Roosevelt, Blanch Carlyle, and Rose Snyder.

2/8, Thurs.~ Marie Antoinette by Clinton Stuart, managed by John C. Fisher, with Helena Modjeska, John E. Kellerd, Wadsworth Harris, George Spencer, Lynn Pratt, Hannah Sargeant, Mary Hall, Kate Dalglish, and Frederick Mosely.

2/10, Sat., mat. and eve.: !h!, Jolly Musketeer by Strange and Edwards, produced by John P. Slocum, presented by the Jefferson DeAngelis Opera Company with Jefferson DeAngelis and Maude Hollins.

2/14,15, Wed., Thurs.:~ Than Qµeen with Julia Arthur, William Humphrey, Laurence Hanley, William Harris, Frederick Hartley, and Florence Conron.

2/17, Sat., mat. and eve.: At !h!, White Horse Tavern by Sidney Ro,senfeld, produced by Daniel and Charles Frohman with Anne Sutherland, Frederick Bond, Charles H. Bradshaw, Adelaide Keim, Miriam Nesbitt, Esterbrook Galloway, Fred Summerfield, and Louis Albion. 95

1899 - 1900

2/26, Mon.: Costume Concert.

2/28,3/1, Wed., Thurs.: The Singing~ by Victor Herbert, The Fortune Teller by Victor Herbert and Harry B. Smith, produced by Frank L. Perley, presented by the Alice Nielsen Opera Company with Alice Nielsen, Eugene Cowles, Ritchie Ling, George Tennery, Lucille Saunders, John Slavia, Joe Herbert, and Joe Cawthoth.

3/3, Sat., mat. and eve.: Because .§.h! Loved.!!!!!! ,22, by William Gillette, produced by Charles Frohman with J. E. Dodson, Annie Irish, Francis Carlisle, Kate Meek, Leanore Braham, Ralph Dean, Tully Marshall, W. J. Constantine, Charles Eldridge, Roy Fairchield, Margaret Fielding, Margaret Mayo, Marion Fairfax, and Francis Comstock.

3/6,7, Tues., Wed., Wed. mat.:~ Village Postmanster with Archie Boyd. 3/8, Thurs.:! fil£h Man's .§2!! by Michael Morton with William H. Crane, William Coutleigh, William Ingersoll, Miss Percy Haswell, Selene Johnson, Sando! Milliken, William Sampson, and Charles Jack.son.

3/12,13, Mon., Tues., Mon. mat.: The Christian by Hall Caine with Viola Allen, Robert Drouet, Edgar L. Davenport, Charles Mason, Edgar Norton, Guy Nichols, Charles Rowan, Georgia Dickson, Helen Lowell, Evangeline Irving, Carrie Merrilees, Jessie Bradford, and Perditha Hudspeth.

3/14,15, Wed., Thurs.: Children .2f The Ghetto by Israel Zangwill, produced by Liebler and Company, staged by James A. Herne with William Lackay, Guy Bates Post, Adolph Lestina, Fred Lotto, William Norris, Gus Weinberg, Gus Frankel, Hohn A. Holland, Harry R. Hanlon, Rosabel Morrison, Ada Dwyer, Laura Almosnino, Zelie Davenport, Mme. Cottrelly, Mabel Taliaferro, Ada Curry, Louise Muldiner, Alice Evans, Maurice Wright, Henry Dolan, Phineas Leach, Maurice Evans, J. Martin Alliger, Annette Frankel, Mrs. Preston, and Mrs. Bradford. 3/16, Fri.: The 'l'yrann,y 2.f Tears by Haddon Chambers, produced by Charles Frohman with John Drew, Isabel Irving, Ida Conquest, Georgia Mandum, Arthur Byron, Harry Harwood, and Frank E. Lamb. 96

1899 - 1900

3/17, Sat., mat. and eve.: Hearts .2f ~by James A. Herne, scenery by Ernest Albert, with E. P. Sullivan, Nat Jones, Thomas M. Hunter, James Horne, Ida Hamilton, Elliote Enniking, Margaret Cecil, and Marie Adair.

3/19, Mon.: Sousa and His Band with Bertha Bucklin and Blanche Duffield, soloists. ~

3/20,21, Tues., Wed.: Erminie with Francis Wilson, Pauline Hall, Lulu Glaser, William Broderick, Jennie Weatherby, Josephine Knapp, and Mr. Lang.

3/28, Wed.: Three Little Lambs by R. A. Barnet and E.W. Corliss with Marie Cahill, Nellie Braggins, Clara Palmer, Violet Goodall, Raymond Hitchcock, William E. Philip, William T. Carleton, Edmond Lawrence, Frances Gordon, Gertrude Town­ send, Thomas Ricketts, Harold Vizard, and Tom Hadaway.

3/29,30, Thurs., Fri.: !h£. Magistrate and~~ by Belasco and DeMille, presented by the Pike Theater Company.

4/2, Mon.:~ Degenerates with Lily Langtry.

4/3,4, Tues., Wed., Wed. mat.:!~ .2f Quality by Frances Hodgson Burnett and Stephen Townsend, directed by Henri Gressitt with Eugenia Blair and William Bramwell.

4/5,6, Thurs., Fri.:~ Yankee Cruiser, written and directed by Fred Miller, Jr., presented by the Junia Hussars with Edward L. Taylor, Roy Baker, Gordon Miles, Oscar E. Miles, Harry Sager, Will Gribben, Frank Rogers, Hedwig Theobald, Lillie Hallwood, Annie Scott, and Gertrude Purtell. 4/10, Tues.: The Belle of New York, produced by George w. Lederer with Ad;y; Ritchi;:- Ja'iiies E. Sullivan, Edward J. Connelly, Miss Toby Clause, Joseph Kane, Ichabod Bronson, James Darling, C. K. Fortesque, William Cameron, Georgia Hawley, Hattie Moore, and William P. Carleton.

4/11, Wed., mat. and eve.:!!•§. Field's Minstrels.

4/13,14, Fri., Sat., Sat. mat.: Uncle Tom's Cabin with William Huntington, George Harris, Ed Burgett, George Monte, Frank Duffy, Mrs. Frank Duffy, Fay Duffy, Nettie Barnett, and Bonny Duffy. 97 1899 - 1900

4/17,18, Tues., Wed.: Chris!!:.!!!! !.!!2. Wonderful La.mp by Glen McDonough and John Phillip Sousa, produced by Klaw, Erlanger, and R. D. Stevens with Jerome Sykes, Edna Wallace Hopper, and Bertha Waltzinger.

4/19, Thurs.: Mrs. Charles Bradfield Morrey's Piano Recital.

4/20,21, Fri., Sat., Sat. mat.: Barbara Frietchie with Julia Marlowe, Herbert Kelcey, J. G. Gilmour, Annie Clarke, Alice Leigh, Arnold Daly, Dodson Mitchell, Norah Lam­ ison, Mary Blyth, Algernon Lassin, and Donald MacLaren.

4/23, Mon.: Miss Hobbs by Jerome K. Jerome, produced by Charles Frohman, with Annie Russe.11, Charles J. Richman, Mrs. G. H. Gilbert, Campbell Gollan, William H. Lewers, Harry Rose, Francis Sedgwick, Clara Bloodgood, Mabel Morrison, Eliza­ beth Rathburn.

4/25,26, Wed., Thurs.:~ Last .2.!1'h£. Rohans by Ramsey Morris, managed by Rich and Harris with Andrew Mack, George w. Deyo, B. T. Ringgold, Edwin Brandt, Ernest Ward, lV. J. Mason, James Vincent, Thomas Jackson, Josephine Lovett, Mrs. Samuel Charles, Jennie Satterbee, and Georgia Florence Oip.

4/27, Fri.: Society Lady Minstrels.

5/3,4, Thurs., Fri.: The Rogers Brothers!!! Wall §i• by John T. McNally, produced by Klaw and Erlanger with the Rogers Brothers, Maude Raymond, Georgia Caine, Ada Lewis, Jeanette Bageard, Edith St. Clair, Carolyn Ebberts, John G. Sparks, Ross Snow, Lee Harrison, John Parr, and Peter Curley.

5/8, Tues.: When We Were TwentY-.2.!!!, by H. V. Esmond with Nat Good­ win, Maxine Elliott, Harry Woodruff, Ysobel Haskins, Frank Gillmore, Estelle Mortimer, Gertrude Green, Neil O'Brien, Clarence Handysides, and L. E. Woodthorpe.

5/11, Fri.: Sister~ by Glen MacDonough with May Irwin, George M. Beane, Roland Carter, Rulleli Lennon, James F. Callahan, Charles Prince, Queenie Vassar, Louise Rial, Jane Burby, Lulu Hesse, Madelon Temple, Lillian Lawton, Marie Millword, Madeliene Anderton, and Herbert Gresham.

5/14,15, Mon., Tues., Tues. mat.: Arion Club May Festival with Emma Nevada, Selden Pratt, Ellsworth Giles, David Bispham, Leopold Lodowsky, Miss Gardner Clarke, and Blumenberg, soloists. 98

1899 - 1900

5/24, Thurs.: Twelfth Night sponsored by the Federation of Women's Clubs of Columbus, presented by the Women's College Club with Miss Dexter, Eugenia Gray Watson, Katharine Robinson, Eva Rankin, Grace B. Kelton, Tom Hoover, Willie S. Brown.

5/28,29, Mon., Tues.: Cuba with Lafayette Brodfield, Gertrude Purtell, and Zettler Krwmn.

5/30, Wed.: Mr. Smooth with Willie Collier. 7/12,13, Thurs., Fri.: Thirty Years .2! Freedom. BIBLIOGRAPHY

99 BIBLIOGRAPHY

A. BOOKS

Hooper, Osman C. History .2.f the City .2.f Columbus, Ohio. Columbus: Memorial Publishing Company, 1920.

Martin, William T. History .2.f Franklin County. Columbus: Follett, Foster and Company, 1858.

Moore, Opha. History .2.f Franklin County, Ohio. Indianapolis: Historical Publishing Company, 1930.

B. PERIODICALS

Gallery .2.f Plays ~ Players, Nos. 10, 11, and 12, 1897.

C. UNPUBLISHED MATERIALS

Utz, Kathryn E. "Drama in Columbus, Seasons 1849-50 to 1860-61. 11 Unpublished Master's thesis, The Ohio State University, Columbus, 1947.

D. NEWSPAPERS

Columbus Daily Dispatch, November 25, 1893-December 16, 1899.

Columbus Evening Dispatch, December 18, 1899-January 12, 1914.

Columbus Sunday Dispatch, December 17, 1899-January 13, 1914.

Daily Q!!!2. Statesman, October 17, 1855.

Ohio State Journal ~Columbus Gazette, January 29, 1836.

E. INTERVIEWS

Albert E. Armbruster, proprietor of Annbruster and Sons Scenic Studios, June and July, 1957.

Robert F. Boda, lessee of the Hartman Theater, June and July, 1957.

Charles D. Dillon, stage electrician of the Great Southern Theater, June and July, 1957.

100