1900-1910, Give My Regards To Broadway!
The first decade of the 20th Century was both boring
and transformational in the history of "our" Broadway.
The seeds of that transformation go back to 1882, and
the construction of The Madison Square Theater at 24th
Street. The Mallorys, who had built the theater, had
employed a young actor-manager from San Francisco along
with two brothers from the lower Eastside to help manage the
theater. David Belasco, who had the distinction of
appearing on stage with another unknown child, Maude
Adams, in San Francisco in 1877, was soon to become a
playwright, theater owner and builder. The two brothers
from the lower Eastside were, of course, Charles and Daniel
Frohman. The first sign of the transformation occurred
when producer Rudolf Aronson decided to build a theater
of his own. At the time, theater was concentrated
between Union Square and 24th Street.
While looking for space in the area, Aronson was
approached by a friend who had a vacant lot "way up-town",
at Broadway and 39th Street. Procuring financing from
some of the wealthiest finance wizards of the day, the
Goulds, Roosevelts, Vanderbilts and Morgans, Aronson built
a splendid theater on that site. When it opened in 1882,
the Casino was considered the finest example of Moorish
architecture outside of Spain. It was also considered
too far from the center of things to ever make a profit.
It did modestly well for the first ten years, offering
not only light operas and operettas, but New York's first
"roof garden". Aronson was ousted in 1892, when his change
of venue to vaudeville flopped. But he had, under his
management, brought some of theater's best-known stars
up-town. Lillian Russell and Marie Dressler, were among
the stars who appeared for Aronson.
Daniel Frohman had departed the Mallorys, and was
establishing a repertory company and a reputation at the
Lyceum theater on 24th Street. He had taken David Belasco
with him as the "house writer". Charles Frohman had
begun his separate career as the manager of theater
professionals and in 1893, opened his own theater, The
Empire, one block up from the Casino. In November of that
Year, Abbey's Theater opened next door to the Casino, and
the uptown migration of the theater continued. The Casino
led the way for a number of entrepreneurs to build in the
vicinity of Longacre Square; a long open promenade where
Broadway crossed 7th Ave. Following Aronson's lead, the
likes of Charles Frohman, Henry Abbey, and Oscar Hammerstein
and the Shuberts were among the investors and creators of
the new theater district.
The first decade of this century witnessed the creation of
numerous theaters in the new Longacre Square area. And,
in 1902, when the Hotel Pabst was razed to allow the Times
Building to be built on that spot, Longacre Square became
Times Square. New theaters in the area include the Victoria,
At 42nd St. and Seventh Ave., built in 1899; the Republic, on
42nd St. built in 1900; the Lyric, a few doors down and next
door to that, the New Amsterdam, both built in 1903. The
following year the Lew Fields theater was built on the same
block. There were several others built in the area from 39th
Street to 45th Street, and some enterprising individuals were progressing
even further uptown to Columbus Circle and Central
Park West.
Belasco separated from Daniel Frohman and was producing
his own shows, generally the same style of melodrama and
light comedy that was popular at the time, and Charles
Frohman had become a "star-maker". Working both in the
United States and in Europe, he had acquired the contracts
of a number of actors and actresses. He had an uncanny
ability to link certain roles to certain personalities to
maximize their appeal to the public. An example is Maude
Adams, who had grown up on stage, but had little or no
"presence". Frohman managed to talk James Barrie into
writing a script for his novel, The Little Minister,
as a vehicle for Miss Adams. Produced first in Drury
Lane, then in New York, both the play and Miss Adams
were received enthusiastically. By 1901, Miss Adams,
in her second Barrie play, Quality Street, was a
bankable box-office draw.
In 1905, Frohman again assailed Barrie to write a script
from one of his novels; an improbable play concerning
alligators and pirates, baby-sitting dogs, little boys
trapped in eternal child-hood and a character that was a
wandering spot of light. When Maude Adams stepped to the
apron and asked if the audience believed in fairies, the
theater roared. Miss Adams, the play and Frohman became
theater legends. She played the role for eight years and
although Peter Pan was not made into a full-fledged
Broadway musical until 1954, for Mary Martin , the play was
always accompanied by music and Peter always sang a song or
two, usually songs that were popular at the time.
Theater during the "Gay Nineties" was still an ensemble
production. Stars and their "hits" were still packing
their trunks, and since trucks and buses weren't available,
they boarded trains, often with the greater stars in their
own private cars, to take their shows on the road.
Traveling across country, the whistle-stops and one-night-
stands were very lucrative for performers. To insure that
his stars had lucrative routes and theaters along the way,
particularly in the smaller towns, Charles Frohman
instigated the creation of the "Syndicate". They picked
the stars, the plays, and the theaters for the entire
season. Though Erlanger controlled the Syndicate,
Frohman's influence was such that he controlled the open
time for hundreds of theaters throughout the country.
His stars, and he, made huge amounts of money.
The second sign of the transformation was the acceleration
of the argument for "realism" in theater. Two playwrights
were introduced to American theatergoers in the Nineties,
who, either encouraged the change or merely revealed that
Americans were more sophisticated than the self-appointed
arbiters of public morality. Both Henrik Ibsen and
George Bernard Shaw had plays produced by American
companies. Different styles perhaps, with different
focuses and intentions, they were thinking man's (or
woman's) plays. While at the time they each had only a
cult following, it wouldn't be long before their works
were greeted enthusiastically.
In addition, two actresses made it clear that "realism"
was the wave of future American theater. European star,
Eleonora Duse, relatively unknown in the States made her
debut at the Star Theater in a four-week engagement. Ms.
Duse believed that the art of "acting" was to reproduce
what would be, if the events on the stage were being
lived at the moment by the participants. It became
clear to audiences, colleagues and critics, that Ms.
Duse knew what she was about.
In the same year, (1893), Minnie Maddern, who had
resigned from the stage to take up the part of society
matron after marrying Harrison Grey Fiske, returned to
the stage. Mr. Fiske was owner and editor of the
Dramatic Mirror. Mrs. Fiske's chosen role was
Nora in Doll's House, which she, too,
performed without "dramatizing" the part. Like
Camille earlier in the century, the first
Ibsen productions were "purified", and they caused
little stir, but the style in which they were presented
was noted by critics and audiences alike.
The Shuberts were just beginning to make their mark.
Three brothers who ran a chain of theaters in up-state
New York, the Shuberts, Samuel, Lee, and Jacob, leased
a theater in Manhattan and were soon building others.
Gradually acquiring theaters nation-wide, they began
producing and financing the works of other "independents":
independent of the "Syndicate" that is. Joined by other
producers and a group of prominent actors, the opposition
between the Syndicate and the Independents developed into
a war of sorts until the middle of the second decade.
Now that the stage is set for the first decade of the
new millennium, let's take a look at what was transpiring
in the first decade of this New Age.
In 1900, Broadway (the Broadway we're interested in)
extended from the Star Theater on 13th Street, to the New
York Theater on 45th Street. Patrons were paying $1.50 to
$2.00 each for the best seats to see their favorite stars.
At the Casino Theater, a British production came to town.
Florodora, a play about romance and perfume on an island
in the Philippines, had a bevy of lovely ladies twirling
parasols and a string of gallant gentlemen in morning suits
singing "Tell Me Pretty Maiden" to them. The song, the play
and the girls all became instant favorites. Florodora
was a huge hit. The show ran for 553 performances and was
revived many times. All six of the "Pretty Maidens" became
the wives of millionaires within a very few years. Although
not an original cast member, 16 year old Evelyn Nesbit, the
infamous girl on a swing, became a Florodora Girl. She
went on to greater fame in 1906, when her jealous husband
shot and killed architect Stanford White, her versatile
but unfortunate lover, at a production of Mamzelle
Champagne, at the Madison Square Theater. White's
house, where the infamous red velvet trapeze was
installed, can still be seen on West 24th Street.
Perhaps the most famous Shakespearean production of the
new Century was Sarah Bernhardt's, Hamlet, in 1901,
performed in French, no less. Mlle. Bernhardt's
interpretation was less than graciously received, and at
the end of her tour she vowed never to return to America.
She kept her word too, until 1906.
In 1904, a musical opened called, Little Johnny Jones.
It was the third attempt by its author to succeed on
Broadway, however, it was a failure. Still, George M.
Cohan persevered. He took the show on tour and reworked
it several times before returning it to the Great White
Way. The second time around it was well received. The
story of an American jockey accused of miscreance in
England, Little Johnny Jones introduced two songs
to America. The first was "I'm a Yankee Doodle Boy",
the second song was called "Give My Regards To Broadway".
Along with Irving Berlin's 1940's song, "There's No
Business Like Show Business", from "Annie Get Your Gun",
"Give My Regards", is considered one of the national
anthems of the Broadway Theater. Cohan's next show, in
1906, was called, Forty-five Minutes from Broadway.
The score had some standards that are still sung today;
most notably, "Mary is a Grand Old Name". For the rest of
the decade and most of the next, Cohan, young, brash
and arrogant, assured of his own talent wrote and starred
in hit after hit. By the beginning of the next decade he
will build his own theater. (Cohan's Theater opened in
1911, on the corner of Broadway and 43rd Street with a
transfer of his hit Get-Rich-Quick Wallingford.)
>From the acceptance of Little Johnny Jones, to the
end of the next decade, the actor, singer, dancer, writer,
director, manager, George M. Cohan, truly owned Broadway.
In 1909, he opened another hit called The Man Who
Owned Broadway, and, indeed he did.
In 1905, the Casino Theater, now in the control of the
Shubert organization, was severely damaged by fire. It
was rebuilt and opened the new season with a musical
starring Eddie Foy. In it, Foy sang a small song called,
"How'd You Like to Spoon with Me?" It was written by a
20 year old unknown, Jerome Kern. Control of the Casino
passing to the Shuberts must have seemed a blessing to Mr.
Fiske. The offices and plant of the "Daily Dramatic
Mirror" was surrounded by Frohman's Empire Theater,
which had entrances on both Broadway and 40th Streets.
Fiske's offices on that corner were just one block north
of the Casino.
Fiske, and his wife posed ardent opposition to the
Syndicate. When a production of Mrs. Fiske's was
evicted from a Syndicate theater to engage a
Syndicate production, Fiske bought and renovated the
Manhattan Theater on Sixth Ave. and 33rd St. for Mrs.
Fiske. Likewise, "under pain of dismissal", Syndicate
actors were forbidden to read or buy advertising space
in the "Daily Dramatic Mirror". Maurice Barrymore, on
hearing this, posted his subscription.
1905 was also the year that almost saw the end of the
feud between the Syndicate and the Independents led by
the Shuberts. Samuel Shubert was killed in a train-wreck
in Pennsylvania. His grieving brothers were all for
withdrawing from New York theater and met with Erlanger
to discuss the possibilities. One of the points of
contention was a contract that Samuel had made with
Belasco. Erlanger, with all the tact that he was known
for, stated, "I do not honor contracts with dead men".
This so shocked and offended the Shubert brothers, that
they were, from that moment, determined to remain in New
York and destroy the Syndicate.
Notable productions during this period were L. Frank
Baum's, The Wizard of Oz, in 1903, and operettas
such as Victor Herbert's, Babes in Toyland, in
1903, and, Naughty Marietta, in 1910, and Franz
Lehar's, The Merry Widow, in 1907, and Oscar
Straus's, The Chocolate Soldier, in 1909. 1900 to
1910, was also the decade that saw the productions of
Belasco's Madame Butterfly and Girl of the
Golden West. The most memorable thing about these
is that Puccini saw a production of Madame Butterfly,
in London, and wrote his opera.
Belasco, whose life was theater, also considered theater
as life. In 1902, when he acquired a long-term lease on
an Oscar Hammerstein theater, The Republic, he changed
the theater's name to his own. When he decided to rename the
Stuyvesant Theater which he was building at the time to
The Belasco, he promptly reverted the Republic to it's original
name. The Stuyvesant, on 44th Street east of Broadway, is
still called The Belasco. He affected the collar and
dress of a cleric and lived in an apartment attached to his
offices over his theater, and while he may have been, "the
Bishop of Broadway," he certainly didn't act the part in
private. There are many lurid tales of the gothic canopied
bed and the chamber that adjoined his office. One humorous
tale involves the incredible Jean Eagels, but that's for the
next decade. Let's just say that "dramatize everything,"
seems to have been his motto.
As an author, Belasco was prone to use the stock format
he had learned as an actor in San Francisco. The Hero,
Villain, and Damsel in Distress, were the characters of
importance and any "scandalous" situations which might
arise in the telling of their story were always resolved
with the highest of proper Victorian morals intact and in
the melodrama of the day, there was always a little
scandal. In all things, "virtue" must triumph.
Imagine the furor which was created by the production
of Eugene Walter's, The Easiest Way in 1908.
In this, a woman with little talent for acting but a
genuine ability as a mistress has the misfortune to fall
in love with a newspaper man crusading for purity. The
lady in question finds that living on a "virtuous income"
is difficult and depriving, and the relationship is
hopeless. The "heroine" closes the last act with the line,
"Dress up my body and paint my face. Yes I'm going back
to Rector's to make a hit, and to hell with the rest."
Not only did it create a flood of moral indignation, it
caused some to wonder about their being seen at Rector's.
The play, despite the furor, was a hit. The play was
deadly to Rector's though. The "Place to be Seen" after
the theater suffered irreparable damage from the play.
This fore-runner of Sardi's, and the playground of the
likes of "Diamond" Jim Brady and Lillian Russell was
shunned by the majority of same people who created it's
"bon soire" atmosphere. The conception of the "bottle and
bird" dinners of Rector's after-theater crowd was
changed forever. The Party-palace never recovered.
Another important playwright of the first decade is
Clyde Fitch. Not that his plays are particularly
memorable, but Fitch was a prolific writer and
understanding the mechanics of the day, wrote plays
that were acceptable by the day's standards and with
distinctly American themes. He gave his plays intense
personal direction, often rehearsing several plays at
the same time. Fitch is regarded by some as being
responsible for the proliferation of American playwrights
in the coming years. In 1910, there were, for the first
time, more American plays than foreign plays on Broadway.
In a career spanning only twenty years, from 1889, when
he was hired by Richard Mansfield to assist with a script
for Beau Brummell, to his death in 1909, at the
age of 43, Clyde Fitch had written 33 original plays,
and 22 adaptations and dramatizations of other works. He
had at one point five different plays running simultaneously
on Broadway, and personally saw each through rehearsals.
An early workaholic, Fitch wrote constantly. There are
tales of him making appointments to answer his phone.
He worked hard but lived well with liveried house men.
When his Long Island estate became too small to house
his art and memorabilia, he bought another nearby and
aptly named it, "The Other House".
Besides the growing popularity of the operetta in
Broadway's repertoire, the other notable musical event
of the decade occurred in 1907; The Follies of 1907,
produced by Florenz Ziegfeld. While not the first
revue on Broadway, it was certainly the most lavish ever
to be produced and Ziegfeld would produce 20 more Follies
in the ensuing years. Half the budget went to gorgeous
costumes in these shows which glorified the American Girl
with huge musical production numbers. Comic sketches
and other varieties balanced the program. Others tried
to imitate the Ziegfeld Follies (as they became known
in 1911) but none were as spectacular or nearly as
successful. A Follies ticket was $2.50, making it the
most expensive show in town. While Rector's was "THE"
after-theater experience, the various "roof-gardens" which
had followed that of The Empire Theater were also rich draws.
Ziegfeld managed to enrich this experience (and himself) by
presenting his own form of cabaret entertainment following
his stage extravaganzas. One could see more "All-
American Girls" or, more of the "All American Girl," while
relaxing over a dinner and drinks after the show at the
theater's roof-garden.
Before we leave this decade, let's take a quick look at
some of the other stars of the day. John Drew is still
performing as he will for several more years. He's been
joined by his nephews, John, and Lionel and his niece,
Ethel Barrymore. Drew, who had been a rapier flexing
interpreter of Shakespeare in his earlier career, has
settled into drawing room dramas and light comedies under
the management of Frohman, and is playing opposite such
leading ladies as the ingenue Helen Hayes and his own niece.
Other important stars include Julia Marlowe, E. H. Sothern,
and Richard Mansfield.
Julia Marlowe, who has created a name for herself in
standard Broadway fodder, but who aspires to greatness
as a Shakespearean dramatist, is paired with E. H.
Sothern, son of R. H. Sothern. Sothern was also trapped in
light fare with aspirations of Shakespearean greatness.
Together the two make history both on and off the stage.
After the proper sequence of mutual divorces, they marry
and become what neither had managed to accomplish alone.
Laurette Taylor, whose life is truly food for a Belasco
melodrama, and who began her career in Belasco clap-trap,
becomes a star for her role in, The Girl in
Waiting, in 1910. James Hackett, has become a
matinee idol. Men love his swashbuckling roles, women
think he's the handsomest man in town and the tights
show off great legs. Hackett is also managing another
Hammerstein theater, also on 42nd Street, down the block
from the Republic. Mme. Modjeska is still appearing.
Billie Burke ("Are you a good witch or a bad witch?")
and Helen Hayes have begun their careers. Miss Alla
Nazimova has migrated, first from Russia, then from
Thirteenth Street theater to take her place as a
translator of Ibsen's work. In 1910, the Shubert
brothers named a theater for her, on Broadway and 43rd.
It was a short-lived alliance. The following year,
Nazimova signed with Frohman and the Syndicate, and
"The Nazimova" became simply, "The 39th Street Theater".
In 1906, New York had seen its first "moving" electrical
billboard. Some critics suggested that this "novelty"
was in part responsible for the success of Victor
Herbert's operetta,The Red Mill, which opened the
new season at Abbey's Theater on Broadway and 38th. Most
theaters being built now were more intimate houses, with
seating for 1,000 or fewer, but the New Theater, built
in 1909, at 62nd Street and Central Park West seated
2,813, and the capacity of the Hippodrome, which
stretched the entire block on Sixth Ave. between 43rd and
44th, could seat over five thousand. When it opened
with it's 4 hour premier show on April 12, 1905, it
featured 280 chorus girls, 480 soldiers, an elephant
parade, dancing horses, and a cavalry charge through a
lake. The stage and it's mechanics and tanks, were
overwhelming to theatergoers. Though the spectacle shows
were popular, the theater was soon in financial trouble.
The Hippodrome was very soon to become another Shubert
theater.
In comparison, Miss Maxine Elliot's theater, aptly named,
Maxine Elliot's Theater, opened on 39th St. in 1908,
seating 900, Nazimova's which opened in 1910, had seating
for only 699 patrons. The tiny rose and cream colored
jewel, the Comedy Theater, also built by the Shuberts on
41st St. in 1909, only had 623 seats.
In 1910 there were 40 legitimate theaters in the new
theater district around Times Square and it was only the
beginning. The heyday was yet to come for both Broadway
and Vaudeville. The next decade belonged to George M.
Cohan and as a tribute for his contribution to Broadway,
a statue in Times Square celebrates the Yankee Doodle Boy!
This first decade with its silly dramas and entertaining
musicals and spectacle can be summed up in one word,
Entertainment.
Next: 1910-1920: Over There
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