Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1963 A Historical Study of the Tulane and Crescent Theatres of New Orleans, Louisiana: 1897-1937. Sadie Faye edwards Head Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Head, Sadie Faye edwards, "A Historical Study of the Tulane and Crescent Theatres of New Orleans, Louisiana: 1897-1937." (1963). LSU Historical Dissertations and Theses. 885. https://digitalcommons.lsu.edu/gradschool_disstheses/885 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been 64—5045 microfilmed exactly as received HEAD, Sadie Faye Edwards, 1929- A HISTORICAL STUDY OF THE TULANE AND CRESCENT THEATRES OF NEW ORLEANS, LOUISIANA: 1897-1937. Louisiana State University, Ph.D., 1963 Speech—Theater University Microfilms, Inc., Ann Arbor, Michigan A HISTORICAL STUDY OF THE TULANE AID CRESCENT THEATRES OF NEW ORLEANS, LOUISIANA: 1897-1937 A Dissertation Subnit ted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial flilfUlasent of the requirements for the degree of Doctor of Philosophy in The Department of Speech hy Sadie Faye Edwards Head BeA«, Murray State College, 19f>0 M.Aa, Louisiana State University, 19$2 August, 1963 AGKNCMLEDGMEiilT The writer wishes to express her sincere appreciation to the members of the Graduate Faculty of the Speech Department and to Dr® Lewis Simpson of the Department of English, for the under­ standing, help and knowledge they have given her in writing this dissertation® Especially does she thank Dr® Claude Shaver and Dr® Clinton Bradford whose direction made the completion of this study possible® ii TABLE OF GCSJTEHTS Chapter Page Acknowledgment* «»«»•>••• ii List of Illustrations • «••••*••••••••••• iv Abstract* • •••*«••*•••*•••*•*•»••• v Introduction* 1 I The Place and the People *•••••••••••••• 8 II Beginning Period, 1897-1899. *•••.••...••• 25 H I Prosperous Period, 1899-1911 66 19 Erratic Period, 1911-1917* *•.*.«.••••..• 166 V Divergent Period, 1917-1926* ••••••••••••• 223 VI Decadent Period, 1926-1937 **....••.*«•*• 261* Conclusion* •••••*•*•••*•**•••••••« 291* Selected Bibliography •••*••*••*«***•••• 302 Autobiography ••**«»••*****•••**«•*• 305 iii LIST OF ILLUSTRATIONS Page Exterior of Tulane and Crescent before the completion of the Arcades* •••••»•• Frontpiece Floor Plan of both Theatres, « ® , 33 Interior of Tulane ,®*®,*®..,®«........... 6 9 Interior of Crescent o,®®®®®*®®®,®®®®®®, 123 iv ABSTRACT The city of New Orleans* Louisiana, has been considered one of the cultural centers of the Baited States* The mixing of the French and American cultures and traditions created an unusual and unique background which was especially favorable for the stage* New Orleans theatres became known throughout America* The purpose of this dissertation is to make a historical study of the last of these theatres, the Tulane and the Crescent* These theatres, which were built side by side in 1898 and de­ molished in 1937* span a transition period in theatrical history and are excellent examples of the changes which occurred on the American stage during that time* Their history is important not only as it pertains to New Orleans but as a part of the history of the stage in this country* The study is divided into five periods: the Beginning Period, 1897-1899* the Prosperous Period, 1899-1911; the Erratic Period, 1911-1917; the Divergent Period, 1917-1926j and the Decadent Period, 1926-1937* The major sources of material were the daily newspapers of the period,. Books of theatrical history, American history and American economics were consulted to provide an understanding of the existing conditions* The Tulane and Crescent were built by Marc Klaw and Abraham Erlanger of the Theatrical Syndicate as a link in their nation­ wide chain of theatres* For six years the theatres were managed by William Reviles; from 190k until thsir closing, the manager was Thomas Christopher Campbell* Often designated as the Dean of New Orleans theatre managers, Colonel Campbell, as he was called, became a symbol of theatre for the city and its residents. Each of the theatres was built for a specific kind of enter­ tainment for a specific audience. The Crescent was the popular theatre. It presented melodramas, comedies, musicals and minstrels at a low price. A1 Wilson, James O’Neill, A1 G. Field, Rose Melville and other such stars appeared annually on its stage. The Tulane was the fashionable theatre and its schedule of classics, operas, new shows and big stars catered to the sophisticated element of the population. Stars such as Richard Mansfield, Julia Marlowe, E. Ho Sothern, Otis Skinner, Ethel Barrymore and John Drew were frequent performers there. For thirteen prosperous years the theatres followed this plan. By 1911, however, the legitimate theatre had undergone great changes. Few companies were touring and the power of the Syndicate was crumbling. Vaudeville was providing "family entertainment." Motion pictures were gaining popularity. For six more years the Tulane and Orescent continued as "high-class" and "popular" theatres, but productions became scarce, scheduling became erratic and attendance declined. In 1917 the Crescent became a movie and vaudeville house under the auspices of the Marcus Loew circuit. The Tulane remained the sole recipient of the H a w and Erl anger shows. The Loew interests vi left, the Crescent in 1926* The theatre housed tabloid shows, bur­ lesque and motion pictures and then it closed in 1935* The Tulane continued operation until 1936, but engagements were few* The heyday of the touring companies was over. World War I and the Great Depression caused its final collapse. The few productions which toured during the 1930’ a achieved little financial success in the city. The buildings were demolished in 1937. They were the last legitimate theatres in the city. For forty years they had domi­ nated the dramatic life of New Orleans, but they had been unable to survive the theatrical, cultural and economic changes which occurred during the city1 s great period of expansion and progress. vii INTRODUCTION The history of the stage in New Orleans, Louisiana, is a long and varied one* America’s greatest actors appeared there in their most famous roles# Its theatres rivaled those of San Francisco, Philadelphia, and even New York City. For over a century this Crescent City at the mouth of the Mississippi River had what has been called a "golden age of theater.” The purpose of this study is to present, in as complete detail as is feasible, the history of the last of these famous New Orleans theatres— the Tulane and the Crescent. Their construction, by Marc KLaw and Abraham Erlanger of the so-called Theatrical Syndicate, may be said to mark the beginning of the modern theatrical era in New Orleans, Their demolition marked the close of the era, When these twin theatres were built in 18?8, New Orleans was one of the most important dramatic centers in the United States, When they were de­ molished forty years later, the city was of little significance in the theatrical picture of America, These two theatres, therefore, span a period which is important in theatrical history and are excellent examples of the changes which were being wrought on the American stage at that time, They were built during the heyday of the touring companies. They saw the rise and fall of vaudeville, the emergence of the moving picture as a major entertainment medium, the death of the "road,” the rise of the Little Theatre movement, and the accompanying death of the professional theatre outside of the major entertainment centers* For this reason a study of the Tulane and Crescent is, in lesser degree, a study of the early twentieth century stage in the United States. Aside from their importance as symbols of a changing theatre, the Tulane and Crescent are notable for two other reasons. First, they are a specific part of New Orleans stage history. Since the city was an important cultural center, the history of its professional stage is important for a complete knowledge of the development of the American theatre. As the last important theatres in New Orleans, the Tulane and Crescent are the final chapters in the long and colorful story of the city as a theatrical metropolis. The final reason for the study of the two theatres is their importance. On their stages appeared all of the important dramatic figures of the early twentieth century. In addition, they were the only two theatres in the United States which were built side- by-side, at the same time, by the same management. Known as the "twin" or Tlsister” theatres, they were, architecturally, unique % in the annals of American theatres. To discuss in detail every production, or star, which appeared at the Tulane and Crescent during their forty year history would make this study of such magnitude as to be prohibitive. Further­ more, there is no necessity for such a comprehensive work. The study will, therefore, chronicle the most important events of each year of their existence and relate these events to national and local matters as they affected the theatre. The most