Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1973 A History of Theatre in New Orleans From 1925 to 1935. Melvin Howard Berry Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Berry, Melvin Howard, "A History of Theatre in New Orleans From 1925 to 1935." (1973). LSU Historical Dissertations and Theses. 2446. https://digitalcommons.lsu.edu/gradschool_disstheses/2446 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. 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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48108 BERRY, Melvin Howard, 1933- A HISTORY OF THEATRE IN NEW ORLEANS FROM 1925 TO 1935. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1973 Speech-Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan A HISTORY OF THEATRE IN NEW ORLEANS FROM 1925 TO 1.935 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department o f Speech by Melvin Howard Berry B.S . , L ouisiana S tate U n iv ersity , 1956 M.A., Louisiana State University, 1.963 August, 1973 ACKNOWLEDGEMENTS The writer would like to express his gratitude to his graduate committee: Dr. Claude Shaver, Dr. Fcancine M erritt, Dr. .John Pennybacker, Dr. James Nardin, and especially Dr. Clinton Bradford for his sympathetic guidance and help with this study. The writer would also like to thank the staff of the Special Collections Division of the Howard Tilton Library of Tulane University in New Orleans and those persons who graciously con­ sented to share their recollections. Finally, the author would like to express his appreciation to Sr. M. Angela, 0. P.; Dr. Perry Guedry; and Wayne Berry for their generous assistance. TABLE OF CONTENTS Chapter Page ACKNOWLEDGEMENT........................................................................................ i i ABSTRACT............................................................................ iv I INTRODUCTION................................................................................... 1 I I EDUCATIONAL THEATRE.................................................................... 7 Elementary School Theatrical Programs ................................ 7 Secondary School Theatre ............................................................... 12 Private Acting Schools................................................................ 60 College and U niversity T h eatre ............................................... 76 Summary ............................... 122 I I I COMMUNITY THEATRE......................................................................... 127 Theatre Sponsored by Non-Religious Groups .......................... 127 Theatre Sponsored by Religious Groups ................................. 187 Summary ............................................................................................... 202 IV PROFESSIONAL THEATRE................................................................... 20^ V audeville ......................................................................................... 205 Legitimate Theatre........................................................................ 232 Summary ............................................................................................... 275 V CONCLUSIONS........................................................ 277 SELECTED BIBLIOGRAPHY............................................................................... 285 VITA................................................................................................................... 291 Abstract The period 1925 to 1935 was a time of great change in theatre in this country. Dramatics was becoming a legitimate course of study in secondary schools, colleges, and universities. The L ittle Theatre movement was spreading throughout the co u n try . The "talkies” were threatening the survival of vaudeville and leg iti­ mate theatre. The purpose of this study has been to trace in detail the development of these changes in non-professional and professional theatre in New Orleans between 1925 and 1935. The principal sources of information, have been the New Orleans newspapers, secondary school, college and university newspapers, yearbooks, bulletins, and catalogues. Personal interviews, correspondence, and personal scrapbooks also provided detailed information concerning theatre during the period. This study investigates the theatrical activities in the (1) educational theatre including elementary and secondary schools, colleges and universities, and private acting schools, (2) community theatre sponsored by religious and non-religious groups, and (3) professional theatre including vaudeville, stock companies, and to u rin g shows. At the beginning of the decade educational institutions at all levels were involved in various forms of theatrical activity. Historical pageants, May Day festivals, and graduation exercises Furnished most oF tin? theatrical, activity for the elementary school children. Secondary schools presented the animal senior play throughout the decade, but by 1928 expression courses intro­ duced into the New Orleans high school curriculum caused an in­ crease in the number of theatrical productions. Some of the stu­ dents active in high school theatre later became leaders in university and community theatre. University groups presented numerous one-act and three-act plays. Near the end of the decade Foreign language classes presented plays in Spanish, French, Ger­ man, and Italian and operettas became a popular form of entertainment. By 1934 most of the universities were incorporating theatre courses in the curriculum or making plans to hire faculty theatre directors. Several expression, elocution, and dramatic art schools provided instruction for persons interested in cultural improvement. One of the schools presented numerous plays and sponsored an annual Play Tournament. This contest encouraged the formation of several theatre groups and brought recognition to local playwrights. Le P e tit T heatre du Vieux Carre was the only sta b le community theatre in New Orleans between 1925 and 193 5. It was the only theatrical group to perform continuously throughout the decade. Leaders from Le Petit Theatre du Vieux Carre aided the Jewish little theatre, children's theatre, and other community and edu­ cational theatre organizations. Although most of the community theatres in the city did not survive the depression, by 193'i new experimental groups began to emerge. While theatre was flourishing in the educational institutions and community organizations, professional theatre was dying. Vaudeville, unable to survive the competition of sound films and the increase in production costs brought about by the stagehands' strike and the economic depression, was no longer part of theatre in New Orleans at the close of the 1933-1934 season. By the end of the 1929-1930 season, the only sto ck company th e a tre had closed. In 193 5 the only theatre which'housed road shows closed permanently forcing only a few large theatre and opera companies to perform in the huge municipal auditorium. By the end of the decade audiences found live