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The interaction of Los Angeles theater and society between 1895 and 1906: a case study

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The interaction of Los Angeles theater and society between 1895 and 1906: a case study

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Content THE INTERACTION OF LOS ANGELES THEATER AND SOCIETY BETWEEN 1895 AND 1906: A CASE STUDY by Alan Lambert Woods A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (Communication— Drama) August 1972 INFORMATION TO USERS This dissertation was produced from a microfilm copy o' the original docum ent. While the m ost advanced technological means to photoiraph and reproduce this docum ent have been used, th e quality is heavily dependent upon the quality of the original subm itted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the docum ent photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you com plete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication th at the photographer suspected th at the copy may have moved during exposure and thus cause a blurred image. You will find a good image of th e page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being p h o to g rap h e d th e photographer followed a definite m ethod in "sectioning" the material. It is custom ary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The m ajority of users indicate that th e textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Departm ent, giving th e catalog number, title, author and specific pages you wish reproduced. University Microfilms 300 N orth Z eeb R oad Ann Arbor, M ichigan 4S106 A Xerox Education C om pany 73-792 WOODS, Alan Lambert, 1942- THE INTERACTION OF LOS ANGELES THEATER AND SOCIETY BETWEEN 1895 AND 1906: A CASE STUDY. University of Southern California, Ph.D., 1972 Theater University Microfilms, A X ER O X C om pany, Ann Arbor, Michigan ( o j Copyright by ALAN LAMBERT WOODS 1972 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED UNIVERSITY O F SO U TH ERN CALIFORNIA THE GRADUATE SCHOOL UNIVERSITY PARK LOS A NGELES. CALIFORNIA 9 0 0 0 7 This dissertation, written by ....AjLftD...kS[Dfeer.t..WQpds.................. under the direction of A.i.?.... Dissertation Com mittee, and approved by all its members, has been presented to and accepted by The Graduate School, in partial fulfillment of requirements of the degree of D O C T O R O F P H I L O S O P H Y V Dtan D a te ....^ .* } ..} .9 .7 .2 . DISSERTATION COMMITTEE CJpirjt ____________ If? PLEASE NOTE: Some p a g e s may have i n d i s ti n c t p rin t. Filmed as r e c e iv e d . University Microfilms, A X erox Education Company TABLE OP CONTENTS CHAPTER PAGE I. THE PROBLEM....................................1 Statement of the Problem Significance of the Study Limitations.of the Study Definition of Terms Review of the Literature Urban History and Sociology Histories of California and of Los Angeles Histories of the American Theater Histories of the Los Angeles Theater Organization of the Remainder of the Study II. NATIONAL AND LOCAL CULTURAL TRENDS .... 27 Cultural Trends in Los Angeles Cultural Trends in the United States The Impact of the City The Influence of the Self- conscious, Professional Middle Class The Influence of the Search for Societal Ideals Summary III. PLAYHOUSES AND MANAGERS IN LOS ANGELES . . 98 1895 to 1903 1903 to 1906 Summary IV. GENRES OF PLAYS PERFORMED IN LOS ANGELES . 174 Introduction Genres and Their Definitions ii CHAPTER PAGE Genres of Plays Presented in Los Angeles, 1895 to 1906 Genres of Plays Performed by Permanent Los Angeles Stock Companies Summary V. THE INTERACTION OF LOS ANGELES THEATER AND SOCIETY ...................... General Relationships Melodrama, Pastoral and the Illegitimate Genres The Major Genres The Classic Genres Summary VI. SUMMARY AND CONCLUSIONS . . . . Summary Conclusions Suggestions for Further Research SELECT BIBLIOGRAPHY .................. 231 282 297 APPENDIX (Separate Volume): LOS ANGELES THEATER DAY BOOK, 1895 TO 1906 LIST OF TABLES TABLE PAGE I. Number of Weeks Los Angeles Theaters were Occupied by Performances: 1895-1906 (Performance Weeks) .... 106 II. Touring Companies in Los Angeles: 1895-1906 ............................ 108 III. Gross Receipts and Attendance: Los Angeles Theater, 1895-1901 110 IV. Performance Weeks of Touring Combinations and Stock Companies at Morosco's Burbank Theater: 1899- 1904 129 V. Performance Weeks of Touring Combinations and Stock Companies at the Grand Operahouse: 1903-1906 . 143 VI. Genres of Plays Performed in Los Angeles Theaters: 1895-1906 .... 189 VII. Genres of Plays Performed in Los Angeles Theaters with Illegitimate and Classic Genres Grouped: 1895- 1906 195 IV TABLE PAGE VIII. Productions and Performances of Different Dramatic Genres in Los Angeles Theaters: 1895-1906 ......... 198 IX. Productions and Performances of Grouped Genres in Los Angeles Theaters: 1895-1906 201 X. Plays Most Frequently Performed in Los Angeles Theaters: 1895-1906 . . . 203 XI. Genres of Plays Most Frequently Per formed in Los Angeles: 1895-1906 . . 204 XII. Long-Run Plays Presented in Los Angeles Theaters: 1895-1906 ......... 208 XIII. Genres of Long-Run Plays Presented in Los Angeles Theaters: 1895-1906 . . . 210 XIV. Genres of Plays Presented by Permanent Los Angeles Stock Companies: 1904-1906 213 XV. Genres of Plays Presented by Touring Stock Companies at the Burbank Theater in Los Angeles under the Management of Oliver Morosco: 1899-1904 216 v TABLE PAGE XVI. XVII. XVIII. Genres of Plays Presented by Touring Combinations and Stock Companies at the Grand Operahouse in Los Angeles: 1903-1906 ............................ Genres of Plays Presented by Stock Companies at the Casino and Hotchkiss Theaters in Los Angeles: 1904, 1906 ................................. Summary Percentages of Different Genres Presented in Various Los Angeles Theaters: 1895-1906 . . . . vi 219 223 226 CHAPTER I THE PROBLEM STATEMENT OF THE PROBLEM This study is concerned with an exploration of commercial theater in Los Angeles between the years 1895 and 1906 in order to determine the manner in which local theaters were related to the society which supported them. The following were accordingly established as the aims of the study: (1) To determine the nature of the social order in Los Angeles, and to distinguish cultural trends unique to the city as well as those which Los Angeles shared with the entire nation; (2) To discover the amount and variety of professional, commercial theatrical entertainment presented in Los Angeles; (3) To establish which genres of theatrical entertainment predominated upon professional Los Angeles stages, isolating factors which account for that domination; and (4) To explore the relationships between Los Angeles' urban and cultural development and its theatrical entertainment in order to determine which 2 societal factors were reflected by the theater in Los Angeles between 1895 and 1906. SIGNIFICANCE OF THE STUDY The rapid growth of the Los Angeles entertainment industry, the corresponding population growth, and the physical expansion of the city between 1895 and 1906 are not, of themselves, unusual.* The late nineteenth and early twentieth centuries in the United States were periods of accelerated growth throughout the country; such growth has been thoroughly discussed by urban 2 historians, and needs no reiteration here. Nor was Los Angeles especially unique in the numerical increase 1Los Angeles had a population of 50,000 in 1890; by 1900 it had increased to 102,000 and was 319,000 by 1910. ^The earliest work to document the period from this point of view was Arthur Meier Schlesinger, The Rise of the City, 1878-1898, Volume X in A History of American Life, ed. Arthur M. Schlesinger and Dixon Ryan Fox (New York: The Macmillan Company, 1933). See also Blake McKelvey, The Urbanization of America (New Brunswick, New Jersey: Rutgers University Press, 1963), and Stephan Thernstrom, "Urbanization, Migration, and Social Mobility in Late Nineteenth-Century America," Towards a New Past: Dissenting Essays in American History,~ed. Barton J. Bernstein (Mew York: Pantheon, 1968), pp. 158-175. Both later works thoroughly discuss Los Angeles as it exemplified changing patterns of national urbanization. 3 of professional theatrical productions available to its rapidly increasing population; the ultimately successful challenge to the Theatrical Syndicate (formed in 1896) by the Shubert Brothers, David Belasco, John Cort and others fostered a dramatic multiplication of both local stock 3 companies and touring combinations. The importance of the present study lies not in sheer numerical increase, whether of Los Angeles or of theatrical productions, but rather in examining the interaction between Los Angeles society and its theaters. .Despite the wide acceptance of the concept that theater reflects its culture, there has been no prior attempt to explain precisely how this reflection occurs. It is hypothesized here that theatrical enter tainment was a national rather than regional phenomenon during the period of purposefully commercial theater in the United States at the turn of the century. The theater accordingly was responsive not to specifically local conditions but to increasingly homogeneous national trends. The present study is significant, therefore, because it deals with theater as a socio logical entity and because it explores and identifies the specific aspects of culture which are in fact Los Angeles Times, July 17, 1898. 4 reflected in the theater. The study also attempts to examine the total range of Los Angeles' professional theatrical entertainment, as limited below, rather than single facets of the commercial theater business. The chronological framework of the study imparts a further potential significance to its findings. The period in which the American theater was dominated by the Theatrical Syndicate and other commercial managers was also the only major historical period during which the living theater successfully functioned in America as a mass entertainment medium. Shortly after the period examined herein, motion pictures began their astounding development, gradually displacing theater as entertain ment for the multitudes. The centralization of theatrical production in New York City, which culminated in the Syndicate, replaced the locally oriented stock companies of the 1870's and 1880's and, because of improved transportation facilities as well as the gathering of large populations in urban areas (a factor necessary for the existence of popular playhouses), made mass entertainment possible on a national scale for the first time in the 1890's. The connections between American theater as a mass entertainment medium and the society which patronized it can therefore be examined only during the period immediately around the turn of 5 the century. Many other growing, medium-sized cities might have served as the basis for an examination of the manner in which theater reflects its society; none, however, contained the readily identifiable and special characteristics of Los Angeles. The findings of the present study should apply equally well to any other contemporary American city once specific local variables existing in each urban area are isolated and their influences considered. LIMITATIONS OF THE STUDY The study is limited to an examination of all the professional theatrical entertainment in Los Angeles between the seasons of 1895-1896 and 1905-1906. Los Angeles by 1895 supported a wide range of entertainment, and did so well enough to make theatrical production financially rewarding. The organization of the Theatrical Syndicate in August, 1896, indicated that a fully conscious commercialism was prevalent in the 4 professional theater throughout the country. Further, ^Vera Mowry Roberts, On Stage: A History of the Theatre (New York: Harper ancTTtow, 1962), pp. 312-383. For the pervasive commercialism of the period, see Clyde Fitch, "The Play and the Public," Plays by Clyde Fitch (Memorial Edition), ed. Montrose J. Moses and Virginia Gerson (Boston: Little, Brown and Company, 1915), IV: 6 Los Angeles experienced major growth in the 1890's, and became a major metropolitan area by mid-decade. The patterns of theatrical entertainment developed and changed with the city's growth, but were firmly established by 1895. Therefore the study begins with the 1895-1896 theatrical season to avoid variables whose influence would have added additional complicating factors. The study concludes with the theatrical season of 1905-1906 due to the appearance of new factors during and after 1906. First, by that year, Los Angeles was becoming a major theatrical center and, as such, became involved in theatrical power struggles between rival managerial companies, both nationally and locally based. Such internal battles within the theatrical establishment add a further variable, and it was felt advisable to limit their influence by limiting the study's time span. The San Francisco earthquake of April 18, 1906, had an immediate impact upon the theatrical world in southern California in addition to its other xvi-xvii; A. M. Palmer, "Art vs. Commercialism," The Theatre, 1:4 (June, 1901), 12-17; and Edwin Milton Royle, "The Vaudeville Theatre," Scribner's Magazine, XXVI (October, 1899), 487. 7 ramifications. San Francisco had been the western theatrical capital; with the destruction of its theaters, many of its actors fled to Los Angeles in search of work. Touring combinations, with San Francisco no longer providing a terminus, either relied upon Los Angeles for profitable engagements or did not tour the Pacific Coast at all. The natural disaster thus created an uncontrollable confounding variable which, although of great interest to the development and growth of drama in southern California, is outside the area of primary concern. Within the arbitrarily established parameters of time, only commercial theatrical performances within the city of Los Angeles are examined in detail. There were, throughout the period, numerous amateur performances in the city. Various colleges presented annual plays, for example, frequently renting one of the major theaters for that purpose; charitable groups often mounted pageants or spectacular productions for benefit purposes. Such performances do directly reflect their society, yet they do not pertain to the problem of commercial enter tainment's connection with its culture. The study is thus limited to commercial enter tainment. Other forms of entertainment available to the people of Los Angeles are discussed only as they are 8 related to the theater, and not for their own sakes. The study's emphasis is also upon dramatic forms of theatrical entertainment: plays or musicals with identifiable characters, based— however loosely— upon a written script. Vaudeville and variety entertainments are excluded for this reason. Vaudeville has elsewhere been thoroughly explored for its societal functions.^ The prevalence of national vaudeville circuits and the standardization of individual acts within the matrix of an evening's entertainment make it a manifestly national phenomenon which could bear little relationship to local culture. The ephemeral nature of vaudeville material itself, surviving samples of which are rare and seldom provide any notion of variations introduced for specific audiences, also was a factor in the decision to exclude vaudeville. Those dramatic presentations which can be analyzed both in terms of theme and content and in terms of local societal function are therefore central to this study. Finally, the study is limited to playhouses with in the city of Los Angeles on purely arbitrary grounds. 5Cf. Albert McLean, American Vaudeville As Ritual (Louisville, Kentucky! University of Kentucky Press, 1965); Frederick E. Snyder, "Theatre in a Package," Theatre Survey, XII (May, 1971), 34-45. 9 Other cities in southern California— notably San Bernardino and San Diego— did support professional stock companies; still other cities were the sites of theaters which presented occasional performances by touring combinations, as did the Pasadena Operahouse. In none of these situations, however, was the record of activity as continuous as that of Los Angeles: theatrical per formances were far more dependent upon factors apart from the local situation. None of the other cities supported the range or quantity of commercial theater that was present in Los Angeles. It was therefore decided to exclude all theatrical activity outside Los Angeles in order to restrict the problem to a meaningful dimension. Since box office receipts were not available for most of the theaters in Los Angeles during the period under consideration, the study approaches the subject from a purely quantitative basis in order to determine how many performances of what sort of theatrical enter tainment were presented in Los Angeles. As the theatrical managers in southern California during the period were businessmen seeking profit, it was assumed that their choice of plays and productions would be those which, on the basis of past experience, the individual managers felt would attract audiences. The remarkable consistency of types of productions at the Los Angeles stock 10 theaters, coupled with newspaper references to the success or failure of individual productions,^ indicated that the frequency of any specific dramatic genre's appearance on Los Angeles stages is related to the audience acceptability of that genre. Further, an earlier study dealing with the box office receipts which are available during the period under consideration revealed that the individual productions which attracted the largest gross receipts were of the genres which, in the present study, are found to be those most frequently 7 produced. DEFINITION OF TERMS Interaction. The term "interaction" in the present study signifies the reciprocal influence exerted by both theater and its contemporaneous culture. The term connotes a dynamic and continuing process. Theater. The term "theater" as employed in this study refers to all live, professional, stage enter tainment. The spelling "theater" rather than the more ®See below, pp. 212-220. ^Alan Woods, "A Los Angeles Commercial Theater and Its Audiences in the 1890's" (unpublished paper, University of Southern California, Los Angeles, 1971). 11 usual "theatre" was taken from usage in Los Angeles during the period under consideration. The spelling "theatre" appears, however, in quotations from Q secondary sources which employed that usage. Society. As employed in the present study, the term "society" indicates an aggregation of individuals residing and/or working within the boundaries of a politically discrete area, and is used without reference to social rankings. Case study. The phrase "case study" is defined as the collection of data enabling analysis and explication of the specific phenomenon of the theater's connection with Los Angeles society. It means a limited study with potentially wider implications. Entertainment and amusement. For the purposes of the present study, the terms "entertainment" and "amusement" are used synonymously to denote activities organized for public enjoyment and diversion, and O The spelling "theater" was established by Noah Webster in his 1828 dictionary, American Dictionary of the English Language, as part of a generally successful attempt to cleanse American English of Anglicisms. Despite Webster's efforts, however, professional and academic theatrical workers have generally preferred the original spelling. The issue is fully explored in Francis Hodge, "Theat-re or Theat-er: Samuel Johnson or Noah/Merriam Webster?" Theatre Survey, IX (May, 1968), 36-44. 12 patronized for these reasons. The term "entertainment" generally connotes either a more serious or a more aesthetically complete experience than does the term "amusement." The present study, however, makes no attempt to provide standards of any sort for judging the activities which it describes; the terms are therefore considered synonymous. Individual theatrical genres are defined in Chapter IV below as part of the discussion connected with the range, type and amount of theatrical entertain ment presented in Los Angeles between 1895 and 1906, and 9 are accordingly not individually defined here. REVIEW OF THE LITERATURE The short summary of pertinent scholarship which follows is divided into four general sections. Works in the field of urban history are considered initially, followed by a brief summary of those works which discuss the histories cf southern California and Los Angeles. Following the histories, those books which describe the American theater during the period under consideration are discussed. Finally, writings which describe the development and history of the theater in Los Angeles ^See below, pp. 183-187. 13 are briefly reviewed. Since no works directly deal with the major premise of this study, the review of literature which follows is restricted to the several works which are relied upon most frequently. Scholarship of less central importance to the present study is mentioned in the documentation accompanying this section; additional works will be found in the notes accompanying the chapters for which they were utilized. Urban History and Sociology A major work in the field of urban history is Blake McKelvey's The Urbanization of America.^ Drawing upon hundreds of local histories and case studies, McKelvey has produced an eminently readable synthesis while tracing, both chronologically and in terms of distinct facets of urban existence, the process of urbanization in the United States and the impact that development had on the quality of life. His depiction of the arts, while thorough, is less satisfactory, and he fails to develop an overall theory of the effect of urbanization. Instead, he provides a concise and useful summary. ^®(New Brunswick, New Jersey: Rutgers University Press, 1963) . 14 Constance McLaughlin Green in The Rise of Urban America1- 1 - presents a far less detailed yet more readable summary of the same material. While severely limited by its lack of documentation, her book is valuable for its conciseness and for the breadth of knowledge and insight which it contains. It is especially valuable in provid ing a framework from which to approach the internal migration which supplied most of Los Angeles' major population increase. Gist and Fava's work, although a general text book,1-^ furnishes an outline both of sociological approaches to urban development and to the growth and development of the field of sociology itself. Their text gives a general overview of both the discipline and its terminology which is of material aid to the non-specialist. Wiebe's historical survey was of particular 13 value for the purposes of the present study. Less an historical text than an intellectual history, Wiebe's 1-1-(New York: Harper and Row, 1965). ^Noel P. Gist and Sylvia Fleis Fava, Urban Society, 5th rev. ed. (New York: Thomas Y. Crowell, rswr. ^Robert H. Wiebe, The Search for Order: 1877- 1920, Vol. 5, The Making of America, ed. David Donald (New York: Hill and Wang, 1967) . 15 dissection of American society between 1877 and 1920, and his isolation and identification of the factors which contributed to the collapse and subsequent restructuring of popular American mythology provided many heuristic notions. His influence will be readily perceivable throughout the present study's second chapter. The final major source in this area is James F. Short's compilation of essays by sociologists at the University of Chicago, usually considered the founders of modern sociology.^ Several of the individual essays— notably those of Ellsworth Faris and Cecil North— identified major aspects of urban life at the turn of the century which proved valuable in formulating the present study. The entire collection supplied insights into the early stages of sociological thought which made the dynamics of urban sociology comprehensible.^ l^The Social Fabric; Contributions of the Chicago School of Urban Sociology (Chicago; University of Chicago Press, 1971). ^Other sociology and urbanology works which proved of value included Paul Kramer and Frederick L. Holborn, eds., The City in American Life; A Historical Anthology (New Tork: G. P. Putnam's Sons, T970); George Arthur Dunlop, The City in the American Novel, 1789-1900 (Philadelphia; University of Pennsylvania, 1934); Nathan Glazer and Daniel Patrick Moynihan, Beyond the Melting Pot (Cambridge: Harvard University Bress, I7F3); scott Greer, Dennis L. McElrath, et al., eds., The New Urbanization (New York: St. Martin's Press, 1968); and 16 Histories of California and of Los Angeles Although many popularized histories of both Los Angeles and California exist, only a few proved of major importance for the present study. The standard historical survey of California is Robert Glass Cleland's From Wilderness to Empire; A History of California.^ This work stresses the political aspects of California's growth, but does include insightful sections on the development of Los Angeles and points out the deter mination of the city's business leaders to make it a major urban center despite its natural drawbacks. Robert M. Fogelson's The Fragmented Metropolis; Los Angeles. 1850-1930.17 is an excellent, socio logically based, history of the city. Organized by topic rather than chronologically, Fogelson's work identifies many of the basic assumptions which underlie the present study's second chapter. His interpretation of census data from the 1890, 1900 and 1910 United States Census Reports was of especial value. Anselm L. Strauss, The American City; A Sourcebook of Urban Imagery (Chicago; Aidine RublishTng company, 1968). l^Ed. Glenn S. Dumke (New York: Alfred A. Knopf, 1962). 17 (Cambridge: Harvard University Press, 1967). 17 Remi Nadeau's Los Angeles; From Mission to 18 Modern City is not particularly scholarly; the book's merit lies in the emotional involvement of the author which, although it makes many of his facts and most of his conclusions suspect, does recapture some flavor of the quality of life in early Los Angeles. Nadeau's work, in contradistinction to the somewhat bloodless style of The Fragmented Metropolis, conveys the excitement of living in the heady atmosphere of the boom town. 19 . Charles Willard's History of Los Angeles is a compilation of articles originally published in the Los Angeles Herald, the leading evening newspaper of the time. Although lacking documentation and containing countless errors of fact, Willard's History provides an invaluable contemporaneous view of social movements in Los Angeles during the 1890's, and indicates those elements in daily life considered of primary importance by a skilled observer of the scene. ^®(New York: Longmans, Green and Co., 1960). ^(Los Angeles; The Herald Publishing Company, 1901). Willard's career and impact upon Los Angeles are carefully described in Donald Ray Culton, "Charles Dwight Willard: Los Angeles City Booster and Professional Re former 1888-1914" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1971), which contains valuable material concerning political battles within Los Angeles during the period under consideration. 18 The numerous specialized studies, chiefly the work of local graduate students, which describe and analyze specific aspects of Los Angeles history and culture provided numerous bits of information which 20 . were of immense aid. In addition, files of the various Los Angeles newspapers were consulted in an effort to attain some conception of those events 21 considered newsworthy in the period. 2^As only isolated material was drawn from these studies, they will be acknowledged in the documentation for the second chapter of the present study. The following random selection is typical of the range of topics: Robert C. Catren, "A History of the Generation, Transmission, and Distribution of Electrical Energy in Southern California" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1951); June Margaret Crampton, "A History of the Los Angeles and San Pedro Railroad" (unpublished Master's thesis, University of Southern California, Los Angeles, 1929); Wallace Frank, "History of Thoroughbred Racing in California" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1964); and Jennings Randolph Hutchins, "A History of Quaker Social Thought and Action in Southern California" (unpublished Master's thesis, University of Southern California, Los Angeles, 1947). ^Other historical works which proved of value included Earl Pomeroy, In Search of the Golden West: The Tourist in Western America (New York: Alfred A. Knopf, 1957); Robert V. Hine, ed., William Andrew Spalding, Los Angeles Newspaperman: An Autobiographical Account (San Marino: The Huntington Library, 1961); Rockwell D. Hunt, California and the Californians: The American Period (Chicago: Lewis Publishing Company, 1926); and Rockwell D. Hunt and William S. Ament, Oxcart to Airplane (Los Angeles: Powell Publishing Company, 1929). 19 Histories of the American Theater A number of the standard histories of the American theater were consulted to gain a basic view of trends present in American drama during the period under 22 consideration. These works, although they often contain excellent summaries, provided little concrete information due to limitations of their coverage. Of more immediate aid were the specialized studies of 23 Grimstead, Rahill, Baker, Poggi and Wilson. 22 Included were Bernard Hewitt, Theatre U.S.A. 1665-1957 (New York: McGraw-Hill Book Company, 1959); Arthur Hornblow, A History of the Theatre in America from Its Beginnings to the Present Time,"VoT. II (Philadelphia: J. B. Lippincott Co., 1919); Glenn Hughes, A History of the American Theatre, 1700-1950 (New YorJc: Samuel French, l9sl); Arthur Hopson Quinn, A History of the American Drama from the Civil War to the Present Day (New York: Harper and Bros., 1927); and Walter J. Meserve, An Outline History of American Drama (Totowa, New Jersey: Littlefield, Adams and Co., 1$<>3. 23oavid Grimstead, Melodrama Unveiled: American Theater and Culture, 1800-1850 (Chicago: University of Chicago Press'^ 1968); Frank Rahill, The World of Melodrama (University Park, Pennsylvania, and London: Pennsylvania State University Press, 1967); Dorothy Gilliam Baker, "Monopoly in the American Theater: A Study of the Cultural Conflicts Culminating in the Syndicate and its Successors, the Shuberts" (unpublished Doctoral dissertation, New York University, New York City, 1962); Jack Poggi, Theater in America: The Impact of Economic Forces, 1870-1967 (Ithaca, New York: Cornell University Press, 1968); Garff B. Wilson, A History of American Acting (Bloomington, Indiana: IncTiana University Press, 1966). 20 The examinations of melodramatic literature by Grimstead and Rahill provided interesting points of departure in relating one of the popular genres in Los Angeles to the concerns of the larger society. Grun- stead's work offers a primarily psychological approach which gives background to the period under consideration. Rahill's book approaches the subject from both analytical and historical viewpoints and indicates the extent of the genre's popularity during the late nineteenth and early twentieth centuries. Baker's analysis of the Theatrical Syndicate provides many helpful insights into the correlation between commercial theater's business methods and the business standards of the country as a whole. All three studies deal with the interplay of theater and society, but examine isolated facets of the theater and do not attempt a wider examination of the total spectrum of theatrical entertainment available during their periods of consideration. Poggi's detailed discussion of the economic factors influencing the American theater gives much valuable information concerning the business of theatrical entertainment, and aids in the attempt to comprehend the role nationwide trends played in deter mining the range of possibilities open to local managers. And Wilson's detailed analysis and reconstruction of 21 nineteenth century acting styles not only presents fresh views, but also aided in conceptualizing events in Los Angeles in the larger continuum of historical develop ment. ^ Histories of the Los Anaeles Theater There are no published works of more than popular interest which discuss the theater in Los 2 Angeles during the period under consideration. The unpublished studies either approach the subject from viewpoints radically divergent from that of the present study, or are generalized surveys which do little more than chronicle events. John Aubrey Allen's limited thesis provides a valuable contemporaneous view of the addition, several unpublished studies pro vided individual points of view concerning the popular American theater during the period; they will be cited as material drawn from them is employed. Representative of the group are the following random titles: Lewin A. Goff, "The Popular Priced Melodrama in America, 1890- 1910. With Its Origins and Developments to 1890” (unpublished Doctoral dissertation, Western Reserve University, Cleveland, 1948); Vernon A. C. Lestrud, Jr., "An Analysis of the Moral Attitudes Toward the Theater of the Pacific Slope States from 1849 to 1899" (unpublished Doctoral dissertation, University of Oregon, Eugene, 1965). ^Typical of the published material is J. Thomas Owen, "The Theatre in Los Angeles," The Los Angeles County Museum Quarterly, I (Winter-Spring, 1962-1963), 33-3?, which provides a listing of names, dates, and some excellent photographs but seems designed for the browsing general reader. 22 theater's impact upon early twentieth century Los 2 6 Angeles; the thesis also contains numerous errors of fact, and is therefore less important for its factual data than for its assumptions, either implicit or explicit. 27 The general studies of Barnett and Tyler lack points of view and are compilations of data. That they are frequently incorrect, apparently because of their survey approach and because of a reliance upon a limited body of research material, make them of minimal value for the present study. Earnest and Schoen also proved of limited value. 28 Earnest's study was a massive undertaking, and did provide factual data for the period immediately preceding that of the present study. However, Earnest's work is 2 f i "A Study of the Theatre in Relation to the Welfare of Los Angeles" (unpublished thesis, written in connection with the Seminar in Economics, University of Southern California, Los Angeles, 1912). 27 Martha Barnett, "A Historical Sketch of the Professional Theater in the City of Los Angeles to 1911" (unpublished Master's thesis. University of Southern California, Los Angeles, 1930); Pamela Frederica Tyler, "The Los Angeles Theatre 1850-1900" (unpublished Master's thesis, University of Southern California, Los Angeles, 1942). ^®Sue Wolfer Earnest, "An Historical Study of the Growth of the Theatre in Southern California 1848-1894" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1947). 23 also a broad survey and the writer's view is that of an editor rather than that of a critical historian. Schoen's more recent work on Oliver Morosco is of limited scope,29 and is so far removed from the concerns of the present study that it provided few ideas which could be used. Several other unpublished studies, documenting specific aspects of the local theater at the turn of the century, provided helpful 30 . compilations of data; m most instances, their focus remained on the phenomena of an individual playhouse or manager, and they were therefore of limited value for 31 the broader aspects of the period. 29 Leonard Schoen, "An Historical Study of Oliver Morosco's Long Run Premiere Productions in Los Angeles 1905-1922" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1971). The present writer is, however, indebted to Dr. Schoen for many thought-provoking discussions. "^Examples of such local studies include: Ruth Miriamrose Gartler, "A Historical Study of the Mason Operahouse in Los Angeles" (unpublished Master's thesis, University of California at Los Angeles, 1966); Roy W. Sorrels, "The Los Angeles Theatre Activities of Oliver Morosco" (unpublished Master's thesis, California State College at Long Beach, 1966); and Arthur Leslie Conn, "The History of the Loring Opera House, Riverside, California" (unpublished Master's thesis, University of California at Los Angeles, 1970). ^Valuable aid was supplied to the present writer by Edward K. Kaufman, "An Historical Study of the Los Angeles Theatre 1880-1894" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1972), and Camille R. Bokar, "An Historical 24 Several collections of primary source materials were drawn upon extensively in compiling the daybook which forms the Appendix. Especially valuable were the papers of the L. E. Behymer Collection at the Henry E. Huntington Library, San Marino, California. Behymer was, for most of the period under consideration, treasurer of several theaters, publisher of much of their publicity, and also functioned as southern California's serious music impresario. His collection makes available generally complete box office records for two of the city's leading playhouses, as well as numerous other documents, clippings, contracts, and playbills. Study of the Legitimate Theatre in Los Angeles 1920-1930 and Its Relation to the National Theatrical Scene" (dissertation in progress, University of Southern California, Los Angeles, 1972). Both studies deal with many of the same historical concerns as the present investigation, although in different chronological periods and from widely differing viewpoints. •^Also important were the bound playbills of the G. A. Dobinson Collection, Los Angeles Public Library; Dobinson headed a school of elocution and dramatic art throughout the period and was occasional drama critic for the Los Angeles Times. The Frederick Warde Collection, the California Ephemera Collection, and the Theatrical Arts Ephemera Collection (all at the University of California, Los Angeles) and the Harry Maidenburg Collection at the University of Southern California all provided helpful information was differing segments of the present study. 25 ORGANIZATION OF THE REMAINDER OF THE STUDY Chapter II contains a discussion of the con tinuing urbanization of Los Angeles between 1895 and 1906, and identifies major elements in that process. Both factors which were unique to Los Angeles and those which the city shared with the entire United States at the turn of the century are isolated and described. Chapter III presents a narrative account of the theater in Los Angeles during the period under con sideration, describing the individual playhouses and their general policies of production. Detailed descriptions of the theaters which have not been thoroughly documented by earlier studies are included in this chapter. Chapter IV examines the amount, range and popularity of commercial theatrical entertainment in Los Angeles during the period under consideration. Those forms of dramatic entertainment which predominated upon the local stages are isolated, and the extent of the domination indicated. Chapter V attempts to correlate the societal factors discovered in Chapter II with the specific elements of the genres of the theatrical entertainment which, in Chapter IV, were found to be the most 26 prevalent in Los Angeles. Those aspects of the society which were most clearly reflected by the theater's offerings are postulated. Chapter VI consists of a summary and conclusions, including the implications of the present case study for the wider institution of the commercial theater in the United States between 1895 and 1906. The Appendix provides a chronological listing, or day book, of all professional theatrical productions which appeared in Los Angeles between 1895 and 1906. CHAPTER II NATIONAL AND LOCAL CULTURAL TRENDS This chapter discusses cultural trends, both national ones and those occurring in the Los Angeles area. Part I, "Cultural trends in Los Angeles," sketches the growth of that city, and indicates the source and import of Los Angeles' continued development. Part II, "Cultural trends in the United States," describes events on the national scene, indicating the form such trends took in the Los Angeles area. Part III lists specific trends on the national and local levels of sufficient import that some trace of their existence might reasonably be expected to be reflected in popular theatrical entertainment. I. CULTURAL TRENDS IN LOS ANGELES In 1895, midpoint in a decade of continued growth slowed only by the nation-wide depression, Los Angeles was the fastest growing metropolitan area in the United States;^- the city's rate of population increase Robert M. Fogelson, The Fragmented Metropolis: Los Angeles, 1850-1930 (Cambridge: Harvard University Press, 1967), p. 79: comparative table of population growth in metropolitan areas, 1850-1930. 27 had been three hundred and fifty-one percent for the decade ending in 1890, a figure largely attributable to the furious land boom of 1887-1888. The rate dropped to one hundred and three percent in the nineties, and jumped to two hundred and twelve percent in the decade ending in 1910. For thirty years, Los Angeles registered the most rapid rate of population increase for any city in the country. It was this population increase which was the central factor in the history of the city, and indeed of the southern California region as a whole. The unusual character of the migrants who created the astounding increase in population stamped Los Angeles as an emerging urban area vastly different from other growing cities. Little about Los Angeles fostered such a boom. The region lacked a natural harbor, and was thus unable to compete with either the superior natural conditions ex isting further south in San Diego or San Francisco's more sophisticated and complex mercantile establishment. The center of Los Angeles was far from the ocean, and it was only through concerted commercial efforts that a railroad line was established to the rudimentary harbor at San 2 . . Pedro. In addition to these drawbacks, the Los Angeles 2 Cf. Blanche Christie, "Phineas Banning; With Specific Reference to the Development of Transportation in 29 basin lacked an adequate water supply, a problem alleviated only with the opening of the Owens Valley acqueduct system in 1913; in July, 1905, Los Angeles had been 'ising four million gallons of water daily in excess of the amount flowing into its reservoirs. Los Angeles lacked heavy industry of any kind,- * as well as the capacity for the efficient shipping or handling of factory goods.^ The city, however, continued to grow. Apart from a healthy citrus industry— and even that was adversely affected by two drought years (1897 and 1898) 6 which made farming an uncertain venture at best — Los Southern California" (unpublished Master's thesis, University of Southern California, Los Angeles, 1932), for a history of the efforts to establish commercial transportation facilities between the harbor and the city. ^John Steven McGroarty, Los Angeles from the Mountains to the Sea (Chicago and New York: American Historical Society, 1921), p. 228; Robert C. Catren, "A History of the Generation, Transmission, and Distri bution of Electrical Energy in Southern California" (un published Doctoral dissertation, University of Southern California, Los Angeles, 1951), p. 280. ^Fogelson, 0£. cit., p. 128. C Robert Glass Cleland, From Wilderness to Empire: A History of California, ed. Glenn S. Dumke (New York: Alfred A. Knopf, 1962), p. 225. ®J. M. Guinn, A History of California and an Extended History of Los Angeles and Environs (Los Angeles: Historic Record Co., 1915), 1:369; see also Robert V. Hine, ed., William Andrew Spalding, Los 30 Angeles had little about it to attract new population except its incredible climate, which it shared with the other towns of southern California. Still Los Angeles grew, jumping from 50,000 population in 1890 to 102,000 7 in 1900; by 1906 the number of citizens had doubled g again, reaching nearly 230,000. Los Angeles' continued growth has been attributed both to the Chamber of Commerce's active and well- 9 coordinated 'boosterism' program and, more romantically, to California's status as "utopia in America."^0 Both views are correct. While the first provides the historical rationale for the growth, the second gives an indication of why the migrants came, and what sort of existence they hoped to establish in California. The Angeles Newspaperman: An Autobiographical Account (San Marino: The Huntington-Eibrary, 1 9 6 1 ), pT 145, For a discussion of the economic effects of the dry years upon the Los Angeles Herald and the Los Angeles Express. ^Remi Nadeau, Los Angeles: From Mission to Modern City (New York: Longmans, Green and Co., 1960), pT 14'/. Q Los Angeles Times, April 14, 1906. ^Fogelson, 0£. cit., pp. 70 ff. Rockwell D. Hunt, California: The State Every body Loves (San Francisco: Harr Wagner Publishing Co., 1935), p. 42. See also pp. 78-80. Hereinafter cited as California. 31 second view is of more concern here, as it provides in sight into the motivations of the individuals who made up the mass of migrants. The population of Los Angeles throughout the period under consideration was a uniquely homogeneous one. The city had an extremely low percentage of foreign-born residents: twenty-two percent of the population in 1890, eighteen percent in 1900, nineteen percent of the population in 1910 were classified by the United States Census as foreign-born white residents.^ Thus while the total population doubled between 1890 and 1900, the foreign-born population did not increase at the same rate. The same pattern exists for the growth of Negro population: blacks accounted for two and a half percent of the total population in 1890, while only two percent of the population was classified as Negro in the 1900 Census, even though Los Angeles in the latter year contained the largest black population on the West Coast Native-born whites thus constituted an over- ■^Fogelson, op. cit., p. 80. These figures include Mexican nationals, who were reclassified as non white in the 1930 Census. ^Lawrence B. DeGraaf, "The City of the Black Angels: Emergence of the Los Angeles Ghetto, 1890-1930," Pacific Historical Review. XXXIX (August, 1970), 327. 32 whelming majority, both of the Los Angeles population in 1890 and of the migrants who swelled the city's population during the following two decades. Figures compiled by the United States Census Office indicate that the majority of the native-born white population of Los Angeles came from two general areas of the United States: the East North-central region, comprising the states of Ohio, Indiana and Illinois, and the West North- central region, Iowa, Nebraska, Michigan, and 13 Wisconsin. Thus the wave of migration to Los Angeles consisted in large part of people from the farmlands of 14 the Midwest. This pattern of population origin was unique to Los Angeles; other urban centers drew the bulk of their population either from their own states, as was the case with eastern cities and San Francisco, or from 15 Middle-Atlantic and Pacific states in general. Los Angeles was therefore unusual both in its population's growth and composition. The fastest-growing urban area in the country, it drew the majority of its 13 Fogelson, o£. cit., p. 81. 14 Francis Carney, "A State of Catastrophe," The New York Review of Books, XVII (October 7, 1971), 34. See also McGroarty, op. citT, p. 405, for contemporary comment on the origin of migrants to Los Angeles. ^Fogelson, 0£. cit., p. 80 ff. 33 growth from the Midwestern regions. Although it is an exaggeration to claim, as Carney does, that the new inhabitants were predominantly Anglo-Saxon and Scots-Irish, over whelmingly Protestant and predominantly low- church. They were pietistic, narrow, rural in origin. We know them from a dozen literary portraits . . . They brought their values and their dogmas and their rigidities with them and they stamped their character indelibly on the form of southern California . . . Los Angeles was a predominantly Midwestern city. Its inhabitants, moreover, had not migrated to Los Angeles for business advancement, for health or for prospects of economic advancement, although all three of these reasons had been influential in the city's early development. Rather, as Fogelson has pointed out, the general population of Los Angeles had been attracted by 17 an almost utopian dream. They came to Los Angeles seeking paradise on earth, and promptly recreated in as close detail as possible the living conditions of the Midwestern towns, villages and cities from which they had come. Los Angeles was not, however, paradise, and the patterns of life which had functioned in Iowa, Michigan, Indiana, Illinois and Ohio did not function in Carney, loc. cit. 1 7 Fogelson, 0£. cit., pp. 134, 192, et passim. 34 southern California for a variety of reasons. The dichotomy between the utopian ideal and the harsher reality eventually resulted in the fragmentation of Los Angeles society, although the fragmentation was not apparent until well after the first World War and did not affect the social order during the period 1895-1906. It was due to the background of the inhabitants more than any other external factor that Los Angeles initially developed as a sprawling and physically dispersed metropolis, consisting of hundreds of suburban neighborhoods centered about the political and business center of the downtown city. The suburban neighborhoods were attempts to recreate the rural communities from which so many of the new residents had originally come; such subdivisions as Oneonta Park, with its property restrictions and monotonous regularity of plats,while lacking the social cohesiveness which had been present in the small towns and farming communities of the Midwest, reproduced the spatial patterns of the rural Midwest. Because of these patterns, Los Angeles did not develop high population density in the down town core, the usual pattern found in other American cities. 18Ibid., p. 254. 35 The scattering of the population in the Los Angeles region was made possible because of the develop ment of interconnecting lines of urban and interurban transport, notably the lines of the Pacific Electric 19 Company. Henry Huntington's numerous enterprises, including the closely interrelated lines of the Pacific Electric and the housing developments subdivided by the Huntington Development Company, furthered the dispersal of the population and made widespread settlements possible; such developments capitalized on the tendencies of the population, and were not of themselves responsible for the unique pattern of growth present in southern 20 California. Los Angeles was unique as an emerging urban center in two primary respects: the homogeneity of its population and the dispersed, fragmentary nature of its spatial pattern. The latter made Los Angeles the 21 prototype of the twentieth century megalopolis, while 19 Glenn S. Dumke, "The Growth of the Pacific Electric and Its Influence Upon the Development of Southern California to 1911" (unpublished Master's thesis, Occidental College, Los Angeles, 1939) , p. 111. 20 The opposing point of view is well stated by ibid., p. 114, and in Rockwell Dennis Hunt and William Sheffield Ament, Oxcart to Airplane (Los Angeles: Powell Publishing Co., 1929), p. 9i. Dennis McElrath, "Introductory: The New Urbanization," The New Urbanization, ed. Scott Greer, 36 the former was responsible for the city's reputation as a bastion of the politically conservative. Interestingly, the statistically typical Los Angeleno— white, born in the Midwest, and Protestant— comes close to the ideal 22 image of the American at the turn of the century. In other urban areas, although the native-born, white Protestant was no longer in the majority, his perceptions of both the real and ideal nature of American society were implicitly accepted as the only accurate ones. The manner in which the middle class American responded to the tensions of life in a rapidly changing United States late in the nineteenth century is therefore of im portance here. Even though Los Angeles was indeed unique in comparison with other urban areas, its uniqueness resides in its concentration of national trends rather than in any astounding deviance from such trends. An examination of national trends is therefore necessary to identify those having the greatest influence upon local cultural events in the Los Angeles area. Since earlier Dennis L. McElrath, David W. Minar and Peter Orleans (New York: St. Martin's Press, 1968), p. 12. 22 Cf. Maxwell H. Bloomfield, Alarms and Diversions; the American Mind Through American Magazines, 1900-1914 (The Hague: Mouton and Co., 1967), pp. 56-57. 37 studies indicate that the legitimate theater audience was predominantly middle class, it is that stratum of 23 society which will be emphasized. II. CULTURAL TRENDS IN THE UNITED STATES The end of the nineteenth century in the United States was a period of increasing urbanization; as many commentators have pointed out, it was the 1890 Census that first officially recognized the shift from a pre dominantly rural, agriculturally-based society to an industrialized and urban one. The growth of cities is but one factor in the period which defined the problems and issues which would dominate twentieth century America.2^ It is perhaps the most readily apparent ^Lewin A. Goff, "The Popular Priced Melodrama in America, 1890-1910. With Its Origins and Development to 1890" (unpublished Doctoral dissertation, Western Reserve University, Cleveland, 1948), p. 116; Vernon A. C. Lestrud, Jr., "An Analysis of the Moral Attitudes Toward the Theater of the Pacific Slope States from 184 9 to 1899" (unpublished Doctoral dissertation, University of Oregon, Eugene, 1965), p. 73. See also Alvin Boskoff, The Sociology of Urban Regions. 2nd ed. (New York: Appleton-Century-Crofts, 1970), p. 23, and Howard Mum- ford Jones, The Age of Energy: Varieties of American Experience, 1865-1915 (New York: The Viking Press, 1971), pp. 44-45, for discussions of the pervasiveness of middle class ideals in the late nineteenth and early twentieth centuries. 24 Henry Steele Commager, The American Mind: An Interpretation of American Thought and Character Since the i860's (New Haven: Yale University Press, T950), _ 47_----- 38 factor, and the one which excited a major portion of the comment at the time: the appearance of cities, filled as they were with immigrants and the poor, demonstrated the radical changes occurring in American culture and society. The cities thus can be seen as paradigmatic for larger changes within the society: the fruition of the Industrial Revolution, the transformation of the United States from an isolated country to a world power, and other changes were all concentrated within the city and were, accordingly, often linked with urban growth by contemporary commentators. The image of the urban area and its immediate impact upon its society is therefore examined here in the hope that this image will indicate the outlines of the changes which wracked American society at the turn of the century— changes which also affected Los Angeles, as the most rapidly growing urban area in the country, and changes which were implicitly rejected by many of the migrants to southern California. Many such changes are directly linked to the urbanization of the country; the impact of urbanization is therefore discussed under section A below, including its influence in the areas of population movement, technology, and the effect of urban residential patterns upon the social structure of individuals in urban areas. A corollary development, the influence of an expanded 39 and newly organized professional middle class, is next explored as part B below. This group's role in the increasingly self-conscious American society is also considered. Finally, part C examines the search for social and ethical guidelines, created in part by the questioning of older values which proved invalid in the urban environment. A. The Impact of the City The city was seen by many of the nineteenth century commentators as a place of danger. These views— ranging from Strong's depiction of the city as a "serious menace to our civilization" to Bartlett's despair at the 25 graft, corruption and organized sm present m cities — stem in large part from the fact that cities were filled with non-Protestant, non-American peoples whose life styles were markedly divergent from that of the rural 26 ideal. Strong's attack on the city, in fact, defines ^Josiah Strong, "Perils— The City," Our Country: Its Possible Future and Its Present Crisis (New York: ^he Bakerand Taylor Co., 1885},reprinted in The American City: A Sourcebook of Urban Imagery, ed. Anselm L. Strauss (Chicago: Aldine Publishing Co., 1968), p. 127; Dana W. Bartlett, The Better City. A Sociological Study of a Modern City (Los Angeles: The Neuner Company Press, T3b*l), p. 5l. 26 David Reimers, "Protestantism's Response to Social Change: 1890-1930," The Age of Industrialism in America: Essays in Social Structure and Cultural Values, ed. Frederic Cople Jaher (New YorKl TheFree 40 the 'serious menace' in terms of "their peculiar attraction for the immigrant" and finds that the foreign nature of city populations makes them strongholds of Roman Catholicism and intemperance, both elements of 27 danger for a predominantly Protestant civilization. The city was indicted as a place of peril and 28 menace also because of its symbolic value; the presence of the city at the end of the nineteenth century could not be ignored and made it clear (as Commager indicates) that America was no longer the unique and valuable alternative to European culture and civilization it had been considered throughout the century. The United States had become a modern, industrial nation. Its economy and therefore its politics were now involved in global patterns; its problems were akin to the problems present in Europe, and it could not continue to exist in self- congratulatory isolation, removed from the complications of European entanglements by both physical and psychical 29 separation. The mere presence of the city made these Press, 1968), p. 365. Hereinafter cited as The Age of Industrialism. ^Strong, loc. cit. 28 Noel P. Gist and Sylvia Fleis Fava, Urban Society, 5th ed. (New York: Thomas Y. Crowell Co., 1964), p. 524. 29 Commager, ££. cit., p. 41. 41 and similar conclusions unavoidable. The physical concentration of population within the restricted area of the city's limits fostered an anti-urban bias in American thought simply because social problems, whether or not they had been present prior to the urban domination of the country, were far more visible in the 30 concentrated urban setting. The image of the American city at the end of the nineteenth century was, therefore, an unpleasant one, at least in the writings which flowed from the definers of 'American civilization.' The city became labeled as a center of vice: cities are locales of demoralization, discomfort, standardization, artificiality, vulgar materialism, dishonesty, and so on through a richly invidious lexicon.31 Such views led inevitably to a vision of the city as the new Babylon, the place in which old values and institutional forms of the United States were destroyed, leaving the individual "unsheltered, unprotected, and 30 Gist and Fava, o jd. cit., p . 534; S. G. Check- land, "Toward a Definition of Urban History," The Study of Urban History, ed. H. J. Dyos (New York: St. Martin's Press, 1968), p. 349 f.; Blake McKelvey, The City in American History (London: George Allen and Unwin Ltd., 1969), p. 68. Hereinafter cited as City. Ol , Anselm L. Strauss, Images of the American City (New York: The Free Press of Glencoe, 1§<>1) , p. TTO. 42 isolated, and therefore prone to d e t e r i o r a t i o n . " ^ This dominant view of the city is precisely the one denied by Los Angeles apologists, who steadfastly maintained that theirs was a Christian city (which in this context invariably meant a predominantly Anglo- Saxon Protestant city), strongly influenced by its churches;33 a city which, because of its climate, was not concentrated into a small area and therefore lacked 34 slums and the evils of tenements. As has been demon strated above, these claims, although exaggerated, were correct and were based on the nature of the population which swelled Los Angeles during the period. Los Angeles shared with other emerging urban areas the lure of the metropolis and the positive aspects of city life frequently ignored by late nine teenth century commentators. For despite numerous despairing depictions of the evils of urban life, cities grew and were founded at a phenomenal rate throughout the nineteenth century: the country's population as a whole 32 Oscar Handlin, "The Modern City as a Field of Historical Study," The Historian and the City, ed. Oscar Handlin and John Burchard (Cambridge: M.I.T. Press, 1963), reprinted in Alexander V. Callow, Jr., ed., American Urban History (New York: Oxford University Press, r969) , p. 18. Hereinafter cited as "Modern City." 33Bartlett, loc. cit. 3^Hunt, California, p. 78. 43 increased sixteen times in the century ending in 1890, while urban population had increased one hundred and 35 thirty-nine times during the same hundred years. And although the increasing hordes of European immigrants at the end of the nineteenth century were most visible in cities, the majority of urban population growth came not from immigration, but from internal migration within the country. Life on the farm was frequently brutal and no matter how horrible city slums seemed to middle class reformers and sociologists, they often were better than 3 6 rural existence. Cities in many parts of the country effectively depopulated the countryside around them to the extent that, between 1860 and 1900, the move from rural areas to the city was twenty times as great as population movements from urban areas to the farm- 37 lands; to use Thernstrom's phrase, "the most important 35 Arthur Meier Schlesmger, "A Panoramic View: The City in American History," Mississippi Valley Historical Review, XXVII (June, 1940), 58. Hereinafter cited as "Panoramic View." 36 Wendall Bell, "The City, the Suburb, and a Theory of Social Choice," The New Urbanization, p. 163 f. 37 W. Stull Holt, "Some Consequences of the Urban Movement in American History," Pacific Historical Review, XXII (November, 1953), reprinted in Callow, 0£. cit., p. 43. See also Constance McLaughlin Green, The Rise of Urban America (New York: Harper and Row, 1956), p"I T05T 44 source of population for the burgeoning cities was not the fields of Ireland and Austria, but those of Vermont 3 8 and Iowa." Further, the growth of urban areas nationally in the United States was greater than even 39 the great population movement to the West after 1850. The city had become a fact of American life, one which exerted an enormous impact upon the style and quality of life in the United States. The purely negative factors of the presence of urban areas have already been noted: the city's crowding and con centration of people— and especially of highly visible minority groups— made social ills which hitherto had been not particularly noticeable all too apparent. The concept that hard work, industry, thrift, honesty, and consciously moral behavior led inevitably to success and that, conversely, poverty was "a proof of laziness and moral unworthiness" were directly refuted by the business O Q Stephan Thernstrom, "Urbanization, Migration, and Social Mobility in Late Nineteenth-Century America," Towards a New Past: Dissenting Essays in American History, ed. Barton J. Bernstein (New York": Pantheon, 1968), p. 159. ■^Blake McKelvey, The Urbanization of America (1860-1915) (New Brunswick, New Jersey: Rutgers University Press, 1963), p. 61. Hereinafter cited as Urbanization. 45 methods of the late nineteenth century, which in turn 40 were both a cause and a result of urban growth. The presence of cities on a large scale coincides with the appearance in American literature of the concept of chance as playing a major role in the drive of an individual for success, made most apparent in the other- 41 wise traditional novels of Horation Alger. Urban growth had made it increasingly apparent that the ideals 42 of a predominantly rural America were no longer viable. Urban growth had other equally far-reaching effects upon American society and culture. Although the development and immense population increases of cities did not create the rich technological advances of the period, those advances were necessitated by the stresses placed upon traditional technology by the presence of cities. Thus urban rapid transit, at first necessary simply to transport increasing numbers of people about the city, fostered the specialization 40 Ethel M. Albert, "Conflict and Change in American Values: A Culture-Historical Approach," Ethics, LXXIV (October, 1963), 22. 41 . Richard Weiss, "Horatio Alger, Jr., and the Response to Industrialism," The Age of Industrialism, p. 308. *^Theodore P. Greene, America's Heroes: The Changing Models of Success in American Magazines (New York: Oxford University Press, 1970), pp. 112-113. 46 within city areas into factory, business, and residential enclaves, and made the appearance of metropolises 43 possible. Increasing sophistication of transportation facilities further made possible the twentieth century development of the sprawling megalopolis— of which Los Angeles was the American prototype— through what Handlin 44 has termed "the technological destruction of distance," making the nineteenth century, core-dominated city a 45 twentieth century anachronism. The six hundred and thirty-six miles of electric railways in Los Angeles by 1907 merely indicate the scope of transportation's development.^ 6 The concentration of population within cities also affected the nature of American culture. The visibility of the poor and the concomitant realization that poverty did not necessarily result from laziness was but one of the social changes fostered by the growth of cities; awareness of the existence of, and frightful conditions within, urban slums and tenement districts 4^IlcKelvey, Urbanization, p. 84. 44Handlin, "Modern City," p. 8. 45Leon N. Moses and Harold F. Williamson, Jr., "The Location of Economic Activity in Cities," The New Urbanization, p. 115. 46Journal of Electricity, XIX (December, 1907), 5 3 1 . ------------------------ 47 resulted in such diverse movements as settlement houses, 47 the rise of the social gospel in Protestantism, and the first tentative steps toward an inclusive welfare 48 system. Other less readily apparent results of the crowding of population into areas of high density occurred, with effects as important to the development of American society as the often-studied impact of . . 49 immigrants and of ethnic settlements within cities. As indicated above, the larger proportion of population growth in urban areas came not from immigrants or from the poor, but from solidly middle class, moderately prosperous Americans who sought the city for a multiplicity of reasons. The effect upon this group was enormous. One striking trend of the late nineteenth century's middle class was the astounding number of voluntary associations formed in urban areas. Dulles' vivid description is apt: 47 Cf. Charles Howard Hopkins, The Rise of the Social Gospel in American Protestantism 1865-1915 (New Haven: Yale University Press, 1940). 4 8 Cf. Jacob A. Riis, How the Other Half Lives (New York: Charles Scribner's Sons, 1890). A Q Cf. Oscar Handlin, The Uprooted: The Epic Story of the Great Migration that Made the American People~TBoston: Little, Brown and Co., 1951); John Hig- ham. Strangers in the Land: Patterns of American Nativism, 1860-1325, rev. ed. (New York: Atheneum, 135 sy:— ------- 48 The country fairly bristled with temples, camps, clans, castles, conclaves, rulings, hives, and tents. Some of them were limited to workers in certain trades and occupations, others made up their membership from immigrant groups, and there were many Negro orders. To the older organizations were added the Ancient Arabic Order of Nobles of the Mystic Shrine, the Inde pendent Order of Good Templars, the United Order of Druids, the Tribes of Ben Hur, the Independent Order of Gophers, the Prudent Patricians of Pompeii, the Mystic Workers of the World, the Modern Woodmen of America, and the Concatenated Order of Hoo-Hoo . . . Every town had one or more lodges, their membership embraced every element in its society. Initiation ceremonies, the in duction of new members, carnivals and other fraternal social functions became more and more important.50 Lodges and such fraternal orders were seen by contemporaries as, in the extreme reactions, either the greatest national vice or the greatest safety-valve for 51 stresses produced by a puzzlingly changing society. Current sociological theory supports the latter view in discussing the breakdown of the extended kin network, an essential element of an agrarian society but impossible to preserve in an urban one. The breakdown may be consciously sought, as seems to be the case in groups Foster Rhea Dulles, America Learns to Play. A History of Popular Recreation,~T507-19T0 (New York: D. Appleton-Century Company, Inc., 1940), pp. 254-255. 51Ibid., p. 256. 49 which are vertically mobile;52 more often it appears the result of spatial mobility fostered by the greater economic opportunities available in urban areas, the lure of which scattered the extended family into the smaller familial unit often termed 'suburban familism.1^ Urbanization was thus inimical to the familiar and comfortable extended kin network. And although the growth of cities has not destroyed the family unit entirely as forecast by some early observers, a degree of adaptiveness to new demands upon the family structure was required for urban dwellers.5^ One of the most wide spread adaptations to new conditions was the appearance of the voluntary association— whether professional or fraternal— which provided viable alternatives to the disappearing extended kin network. The voluntary associations fulfilled a wide range of needs within the urban situation, among the most important of which were providing a sense of security and comfort available in 52 Gist and Fava, 0£. cit., p. 371. ^^McElrath, "The New Urbanization," pp. 11-12. 54 Gist and Fava, op. cit., p. 382; Hans Blumen- feld, "The Modern Metropolis," Cities (New York: Alfred A. Knopf, 1965), reprinted in Callow, op. cit., p. 171. 50 the often impersonal and brutal daily life in the city. They were a predominantly middle class phenomenon, creating a clearly defined social grouping which, in some instances, taught the codes of behavior demanded by the larger society. The voluntary association also functioned as an aid to social mobility, with both positive and negative aspects: some associations con ferred status (or perceived status) upon their members and therefore became necessary to the individual attempting to gain status. Other associations provided an agreeable social alternative to the competitive stress 55 of urban existence. Whatever the function of a specific voluntary association might be, the appearance of such associations on a mass scale coincided with increased urbanism. The most striking were those referred to by Dulles: the mystic fraternal and social groupings which existed primarily for social reasons, and which incorporated elaborate and sometimes fantastic regalia, rituals, and hyperbolic titles. There were other types of associ ations, however, which seemed the manifestation of similar needs and demands. The last quarter of the 55Boskoff, 0£. cit., p. 189; Gist and Fava, op. cit., pp. 385 f., 3$3, et passim. 51 nineteenth century, for example, witnessed the founding of numerous local historical societies. The original impetus for these groups has been identified as the 1876 Centennial Exposition at Philadelphia which fostered an interest in American history; local historical societies increased throughout the 1890's until, by 1900, over one hundred and fifty local historical associations existed 56 in the country. Their present value resides in the collections of materials and in the publication of numerous volumes of local history; their function during the late nineteenth century was akin to that of the fraternal and social organizations: they provided roots in an increasingly rootless age. At least one observer has attributed the same function to political involve ment, seeing it as recreational and social rather than 57 as the proof of participation in democratic processes.-" Similar growth of specialized organizations is apparent in the American academic and professional community. The American Social Science Association, a nation-wide grouping of scholars which had been founded in 1865, was the parent organization for a half-dozen 56 McKelvey, Urbanization, p. 217. ^Robert H. Wiebe, The Search for Order: 1877- 1930 (New York: Hill and Wang, 1967), p. 27. 52 more specialized associations of historians and social scientists between 1879 and 1889; the American Association for the Advancement of Science, founded in 1848, similarly split into at least thirteen professional associations during the last quarter of the century, while the Modern Language Association of 1883 spawned 58 three further groups during the same period. Similar groupings of Americans by criteria of profession rather than those of social status, location, or ethnic back ground took place in virtually all areas: medicine, law, journalism, teaching, architecture, and business had 59 professional organizations by the turn of the century. The movement parallels, and at some points is analagous to, the rise in trade unionism of the same period. The professional organizations, like the voluntary social associations, also appeared in response to the need for a new structuring of social order necessitated by the effects of urban growth. They were part of the adaptive process of individuals confronted with a new and con fusing society in which the societal structure of an agrarian culture did not and could not exist. It is 58 Arthur Meier Schlesinger, The Rise of the City, 1878-1898 (New York: The MacMillan Company, 1933), pp. 220-221. Hereinafter cited as Rise. 59 Wiebe, ojj>. cit., pp. 125-132. 53 perhaps an overstatement to see the Gilded Age as the Guilded Age, to use Harris' dramatic phrase, and to see the development of voluntary associations, clubs, lodges, and professional organizations as a voluntary withdrawal from "indiscriminate participation in American life" or "an era of association for protection" and of "sharper 60 cultural self-definition;" it is equally fallacious to attribute the rise of such groups to the urge "to be accepted as one of the crowd . . . and to be able to slip away for a time from one's humdrum daily routine into a mysterious world of pagentry and make-believe."^ Both views touch on important aspects of late nineteenth century life, but neither gives enough credence to the role of voluntary associations in providing the self- contained and self-sufficient social milieu that had earlier been the province of the rural extended kin network. Voluntary associations had appeared in Los Angeles as they did throughout the rest of the country. Such associations served the recreational and social function in a far more obvious manner in southern California than elsewhere, however. Although lodges and ®®Neil Harris, The Land of Contrasts, 1880-1901 (New York: George Braziller, 1970), p. 17. ^^Dulles, 0£. cit., p. 255. 54 professional organizations did exist locally, in Los Angeles the predominant voluntary associations were 6 2 clearly social: the Los Angeles Golf Club of 1897, the six clubs devoted to choral and orchestral music which appeared between 1890 and 1905,63 and especially the various state societies restricted to former residents 64 of a particular geographic region, all fulfilled the need for social units larger than the familial. Many of the migrants to Los Angeles had come from compact communities; when it proved difficult to reproduce the "church affairs, corn huskings, harvest fetes, and picnics" which had been the most important social outlet in the original communities,^ Los Angeles residents joined the state societies in large numbers. Unlike other urban associations, those of Los Angeles therefore 6 2 Renamed the Los Angeles Country Club in 1898; see Henry Winfred Splitter, "Los Angeles Recreation, 1846- 1900, Part II," The Historical Society of Southern California Quarterly, XLIII (June, 1961), 176. 6 3 Esther E. Larson, "The History of Music in Los Angeles" (unpublished Master's Thesis, University of Southern California, Los Angeles, 1930), pp. 11-15, et passim. Fogelson, ojo. cit., p. 196. ^Joseph Boskin, "Associations and Picnics as Stabilizing Forces in Southern California," California Historical Society Quarterly. XLIV (March, 1956), 20. 55 tended to stress the recreational aspect above all others; a State Society of Iowans lacks both the mystical rationale of the Prudent Patricians of Pompeii and the scholarly pretensions of the American Dante Society. B. The Influence of the Self-conscious Professional Middle Class Concomitant with nation-wide urbanization was the appearance of an organized and self-conscious profes sional middle class. The rise of the professional organizations makes this social ranking's emergence clear; while their organization can be attributed to the same general trends which fostered the development of other voluntary associations, such a stratum of professional, middle class citizens was a new factor in American society. Many of the reasons for the appearance of such a social ranking stem from the urbanization of the country, since the need for middle class professionals was thereby enormously increased. The major source of the new class (and it is well to recall Wiebe's warning in this respect: "the new middle class was a class only by courtesy of the historian's afterthought"^) was the tremendous increase in 6 6 Wiebe, 0£. cit., p. 111. 56 education, both compulsory and voluntary, during the 1880's and 1890's. Nationwide, the numbers of both teachers and students increased fourfold between 1890 and 1910; compulsory attendance laws had become standard by 1900, and a growing demand that public education directly reflect the needs of the industrial society brought widespread curricula changes after 1900 and an 67 increased emphasis upon vocational training. Higher education was vastly popularized by the landgrant colleges, extension courses and public lectures to such an extent that the University of Wisconsin estimated (in 1914) that over 37 0,000 people had attended public 6 8 lectures in a two-year period of time. One immediate result of this increased emphasis upon education was the sudden appearance, in the 1890's, of mass circulation magazines and newspapers. The circulation of the three best-selling magazines in 1890 was less than half a million; by 1903, McClure* s, Cosmopolitan and Munsey's (all founded in the early 1890's) sold a combined total of one million, three 67Ibid., p. 119. 6 8 Harold Underwood Faulkner, The Quest for Social Justice, 1898-1914 (New York: The Macmillan Company, 1931), p. 198. 57 69 hundred and fifty thousand. The number of daily newspapers in the United States doubled in number between 1880 and 1890 until, by the turn of the century, more than half the newspapers in the world were published in the United States. Circulation 70 figures had risen at an even higher rate. Similar increases were recorded in the volume of books sold. The passage of the international copyright law in 1891 had made it no longer profitable for American publishers to pirate foreign works, as had been 71 the practice; accordingly, the number of American authors published rose dramatically. The increased market for novels coincided with increased efficiency of production methods which lowered the price of individual copies to less than two dollars. Novels also became somewhat shorter in length, and publishers discovered that advertising methods which worked for other commercial products also sold books. The result was, although before 1898 few books sold as many as one hundred thousand copies, by the end of 1901: 69 Greene, 0£. cit,, p. 70. 70 Schlesinger, Rise, p. 185. 71Ibid., pp. 254-255. 58 David Harum had sold 520,000 copies, Richard Carvel 420,000, The Crisis 250,000, and JanTce Meredith 275,000— sales which led the Bookman fourteen years later to refer to this period as the fat years of f i c t i o n . 72 (All of these best-sellers, along with numerous other popular novels, were subsequently dramatized, most of them with great success.) The political impact of this new group of educated middle class Americans (or those aspiring to middle class status) was large, and provided much of the strength and power behind the Progressive movement which swept so many of the nation's cities during the first ten 73 years of the twentieth century. The impact upon cul tural matters was, if anything, greater, and had more lasting effects. The intelligentsia of the late nine teenth century was concentrated in cities equally as 72 Faulkner, o£. cit., pp. 259-260. ^^wiebe, 0£. cit., pp. 133, 166-167; McKelvey, Urbanization, p. 251; Samuel P. Hays, "The Politics of Reform in Municipal Government in the Progressive Era," Pacific Northwest Quarterly LV (October, 1964) , 165. The Reform movement in Los Angeles is thoroughly documented in Albert H. Clodius, "The Quest for Good Government in Los Angeles, 1890-1910" (unpublished Doctoral dissertation, Claremont Graduate School, Pomona, 1953), and in Donald Ray Culton, "Charles Dwight Willard: Los Angeles City Booster and Professional Reformer, 1888-1914" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1971). 59 much as were other segments of the population, and would-be artists were drawn to the cities from the farmlands of the Middlewestern states as were would-be tycoons and industrialists— Hamlin Garland and William Dean Howells were but two of the more successful. The writers and purveyors of culture were as self-conscious of their function as were other professionals. In extreme forms, the cultural effort led to the phenomenon Tomsich has labeled "a genteel endeavor to spread 74 culture among the middle and upper classes." The cultural efforts of Gilder, Norton, Taylor, Stoddard and others were defensive reactions to the increasing mobility— both spatial and social— which marked American 75 society in the last quarter of the nineteenth century. As this increased mobility was one of the products of urbanization, such 'genteel endeavors' were responses to the changing patterns of life forced by the growth of cities. Not all middle class cultural efforts were as defensive as those of Gilder, Norton, Taylor, Stoddard and their circle. Others attacked the problems of the 74 John Tomsich, A Genteel Endeavor: American Culture and Politics in the Gilded Age (Stanford, California: Stanford University Press, 1971), p. 194. ^Ibid., p. 24. 60 city with more positive gusto, convinced that conditions could be changed and that Progressivism's middle class base was solid, immutable, and the inevitable harbinger 7 6 of the America of the future. In Los Angeles, the voice of the confident middle class was Charles F. Lummis' magazine, The Land of Sunshine, which had begun publication in 1894. Intended as an instrument of regional propaganda, The Land of Sunshine (the title was changed in 1902 to Out West) rapidly became a mixed journal of blatantly promotional articles, fiction and poetry by western authors, and a fair number of articles dealing with the scientific and historical background of southern California and the Southwest in general. The character of the magazine's readers has been summed up as in the main educated people from the middle and upper-middle class, inquisitive about southern California and the Southwest, seeking to construct a new historical and cultural ori entation, interested in the creative arts, and responsive to a restrained promotional emphasis when balanced by substantial attention to things of the mind.77 As was the case across the country, the Los Angeles middle class was seeking knowledge of all types and 7®Higham, 0£. cit., p. 116; Wiebe, op. cit., p. 139. 77Edwin R. Bingham, Charles F. Lummis: Editor of the Southwest (San Marino: The HuntXngton Library, 175-5f, pp. 49, 187-188. 61 received it, in a sometimes bewildering and confused juxtaposition of history, science, criticism, political theory, and poetry from journals like The Land of Sunshine. Other lasting cultural changes also resulted from continued urbanization and the emergence of a professional class. Some, like the need for organized recreation, the astounding increase in popularity of spectator sports, and the appearance of totally commercialized mass enter tainment media, sprang directly from the needs of the large city and its enormous population. Other changes were fostered by the concentration of artists in large urban centers.^8 And still others developed as Americans became conscious of the benefits the estab lishment of cultural institutions would bring to a city. It was in the last quarter of the nineteenth century that Americans discovered native artists, scholars and scientists; it may be an exaggeration to refer to such figures as Simon Newcomb, J. Willard Gibbs, Charles W. Eliot, August Saint-Gaudens, Edward MacDowell and William Dean Howells as "towering" from the perspective of seventy-five years, yet these and others were perceived 78McKelvey, Urbanization, p. 183. 79 as towering by their contemporaries. American businessmen thought of themselves as Renaissance princes, while American artists were not adverse to comparing 8 0 themselves with Mantegna, Gozzoli and Cellini. The self-conscious discovery that American art both existed and equalled European art resulted in some unfortunate excesses of interior decoration and architecture. It also established the precedent of business patronage for the arts, and provided a means by which businessmen could demonstrate their public responsibility to the masses. And as Cawelti points out, it was in this period that business capital launched most of the major American cultural institutions— the museums, universities, symphony orchestras, and art schools that still dominate the American cultural scene.81 and at least one European observer hailed the American public library— there were over five thousand public libraries in 1900 with collections of more than a thousand volumes— as one of the glories of the United 79 Schlesinger, "Panoramic View," p. 31. 880liver W. Larkin, Art and Life in America, rev. ed. (New York: Holt, Rinehart and Winston, 1960), p. 295. 81 John G. Cawelti, "America on Display: The World's Fairs of 1876, 1893, 1933," The Age of Industrialism, p. 336. 63 States, and significantly added, "public libraries have become the favourite Christmas presents of 82 philanthropists, ..." Thus the period's self-consciousness, already indicated in the activities of a professional middle class increasingly aware of their educational require ments, also manifested itself in the patronage of art, in the building of museums, libraries, universities, and the endowment of varied cultural institutions. These latter activities were, of course, those of a social and financial elite, a small group which had become aware of itself through arbitri eleqantiae such 83 as Ward McAllister. Although small in number (McAllister had, after all, maintained that only four hundred people composed the social elite of New York), the world of high society received wide publicity for its extravagant balls, polo matches and yacht races, and 84 country clubs. The activities of the world of society set the standards, through their highly publicized ®2Hugo Mvinsterberg, The Americans, trans. Edwin B. Holt (Garden City, New York: Doubleday, Page and Co., 1914), pp. 452-453. 83 Wiebe, 0£. cit., p. 41. ®^Dulles, o£. cit., p. 226; Faulkner, o£. cit., p. 293. 64 social events, by which the middle class sought to live; one historian sees middle class support of the legitimate theater as a reflection of the elite's patronage of opera and although an oversimplification of the forces at work, much of the support which the drama received in Los Angeles resulted from self-conscious efforts to emulate New York, Chicago and San Francisco 8 S in cultural matters. The awareness of behavioral standards established by the social elite created the demand for, on one level, the increasing number of etiquette books published throughout the period, which 86 . provided practical guides for social intercourse ana, on the level of the mass circulation newspaper, was responsible for the appearance of such guides as 87 Dorothea Dix. The lavishness of the social elite's highly publicized social affairs was echoed in middle class Los Angeles: the account of a wedding reception held in ®^Dulles, pp. 246-247. See also Gunther Barth, "Metropolism and Urban Elites in the Far West," The Age of Industrialism, pp. 159-160, for a discussion of the influence upon social life of a striving for metropolitan status. Q C Arthur M. Schlesinger, Learning How to Behave: A Historical Study of American Etiquette Books (New York: The Macmillan Company, 1946). 87 Harris, 0£. cit., pp. 15-16. 65 the Van Nuys Hotel Cafe during June, 1904, demonstrates an effort both by the individuals involved and by the journalist to replicate similarly theatrical affairs on the East Coast: It would be impossible to imagine more artistic and elaborate effects than those achieved in the decoration of the cafe, .... The handsome room was converted into a veritable flower garden. The ceiling and walls were hidden by a netting filled with asparagus ferns, which made the room a beautiful bower of fresh, bright green. Around the center column, which was covered with magnificent American Beauties, was built a miniature lake, forming the centerpiece of the banqueting table. In the lake miniature, electric fountains played, while live ducks and ducklings swam and gold fish dived. Above the lake at the base of the rose-covered column were four bronze statues bearing incandescent lights. The table was laid out in the form of a garden, banked with carnations and ferns at the edge of the lake. At the four corners of the fern hedge, dividing the lake and table and extending to the outer edge of the table, were four miniature grottoes with sand paths and miniature borders of carnation. Each grotto was illuminated by a red incandescent light, while numerous glowing butterflies and beetles were poised delicately on flowers and moss. Along the inner edge of the table fly lights of red, white and blue twinkled in and out like a thousand fireflies darting hither and thither .... From the fern covered ceiling a perfect sea of red balloons floated aloft, while a choir of canaries in gay cadence made brave efforts to drown the Potter orchestra and the quacking of the ducks. Hovering near the balloons were scores of gay-winged butterflies. As the smaller lights spread their rays over these tinseled flutterers the effect was that of a glimpse of magic fairy land. From one small corner, hidden by ferns and blossoms, a small dynamo, built for the occasion, furnished the power for the small, incandescent 66 lights. During the dinner a fishing rod, bound with a crimson bow, from which was suspended a green marriage bell, was lowered above the head of the bride . . . Displays such as this were not unusual, though rarely reported in such close detail by local papers. It seems safe to assume that this and similarly elaborate occasions were publicized, at least partially, to establish that Los Angeles had a social world able to match that of the East Coast, and that they were a function of urban-centered awarenesses of social distinctions. The self-consciousness fostered by urban growth also had an impact upon the image of the city itself. The City Beautiful movement, given an enormous impetus by the White City at the 1893 Colombian Exposition 89 (which had also heralded the consciousness of Art) helped to spread concepts of space and monumentality which influenced public buildings for the next two decades, resulting in an architectural eclecticism for the new structures erected after the return of prosperity 88"Hymen Springs a Big Surprise," Los Angeles Herald, June 26, 1904. pQ Cawelti, o£. cit., p. 341. 67 90 following the turn of the century. It was also during this period that American culture began to pattern itself after European culture. The influence of foreign travel on business leaders, the impact of European immigrants, and the European training of many artists all . . 91 helped spread European concepts in American cities. Further, the craze for the poetry of Browning and the music of Wagner which swept cultured circles in the late nineteenth century resulted in informal musical and literary gatherings not unlike the salons of European 9 2 intellectuals. Such gatherings were possible only in the concentrated atmosphere of the city, and only with an increased awareness of the European cultural scene. One major impact of continuing urbanism upon the cultural scene of the late nineteenth century, there fore, was an increased self-awareness through con centration and proximity. American social groups gradually became aware of their existence and, through ^McKelvey, City, p. 73. 91 McKelvey, Urbanization, p. 207; Green, Urban America, p. 124. 92 . George Arthur Dunlop, The City in the American Novel, 1789-1900. A Study of American Novels Portraying Contemporary Conditions in New York, Philadelphia, and Boston (Philadelphia: University of Pennsylvania Press, 1934), p. 146. 68 the highly publicized activities of the social elite, established behavioral norms which included not only the life style but the cultural pretensions of high society. And since the social elite itself had only recently become aware of its position, power and responsibilities, all segments of the population engaged in a sometimes frantic search for a model to emulate. Thus the sudden expansion of cultural facilities and institutions, the conscious imitation of some aspects of European society, the grasping of architectural and artistic styles, all were related to the period's self-consciousness, and the awareness that separate (yet interrelated) groups composed American society rather than the homogeneous 9 3 mass hitherto posited as the glory of democracy. One of the more striking features of the period was the appearance of a professional middle class which, with its demands for improvement in all areas of life from politics and education to housing and mass entertainment, set the pace for the questioning of basic assumptions and searching for new social guidelines which occurred. All of these trends appeared, usually in exaggerated form, in Los Angeles, whose middle class was neither restrained by the presence of a socially manipulative 93 Harris, 0£. cit., p. 6. 69 aristocracy nor burdened by widespread social ills. C. The Influence of the Search for Societal Ideals An immediate result of the increasing urbanization of the United States was the appearance of an idealized countryside, enshrined in mythic proportions by the 94 'Agrarians' and Allen Tate in the 1920's, but already present in the 1890's. The main outlines of agrarian mythology have been concisely delineated by Strauss: Rural life is slow and unhurried. Men lead normal, rich lives. People are friendly and their relationships are informal, yet orderly. The agricultural population is homogeneous in custom and culture, if not in racial stock. The round of existence is stable and the community is religious, moral, honest. Men are, thus, not motivated by purely individualistic impulses. If all farmers do not love one another, at least they under stand each other and do not manipulate and exploit each other as do city-dwellers. The very physical surroundings are healthy, home like, restful, not dense with population. Not the least: the rural man is a sturdy democrat, his convictions nourished by his contact with nature itself and with the equalitarian dis cussion held around the crackerbarrel and in the meeting house.^5 This idealized view of rural life appeared exactly at the time when America's rural areas were steadily losing population to the large cities; apparently those who left 94 *Cf. Allen Tate, Essays of Four Decades (Chicago: Swallow Press, 1969). ^Strauss, ©£. cit., p. 108. / 70 the farms looked back fondly with a sense of loss, and recast the frequently crushing— both physically and psychically— existence on an isolated farm into a 96 bucolic and pastoral paradise. One result of the myth — which persisted despite the Populist movements of the period, which bore grim testimony to the rigors of farm life— was the "flood of fiction [which] sighed over the 97 lost virtues of another day;" another, less obvious, aspect was the bitter opposition by many Reformers (notably William James) to the giganticism and im personality of the big city. James and the writers he influenced— John Dewey, Jane Addams, and Robert Park— all offered as a viable alternative to the big city the creation of smaller spiritual communities within the urban setting which were essentially evocations of the 98 idealized small villages of rural America. A concurrent development, which is superficially paradoxical, was the shift in the image of the farmer. 96 Gist and Fava, op. cit., pp. 528-529; Thern- strom, op. cit., p. 170. ^wiebe, o£. cit., p. 39. ^Morton White and Lucia White, "The Intellectual Versus the City; The Outlines of a Tradition," The Intellectual Versus the City (Cambridge; Harvar3 University Press, 1962), reprinted in The City in American Life, p. 251. 71 From the midcentury 'sturdy yeoman,' the farmer became by the end of the century, in much of the popular literature, a hayseed or a rube— the guileless, 99 unsophisticated rustic. The ideal of rural life did not extend to the farmer in an urban setting. It is noteworthy that in the pastoral dramas of the period (to be discussed at greater length in the following chapters), the sturdy and strong farmer remains the ideal in a country setting. The hayseed image appears only when the farmer is shown in an urban context, and seems to have appeared as a partial explanation of why, in a period in which opportunity and advancement were inextricably interconnected with urban life, some farmers chose to remain on the family farmstead rather than seeking their fortune in the city. The hayseed image also had an additional di mension beyond that of the unsophisticated and perhaps foolish rube: the countryboy might be stupid, but he was invariably virtuous unless he was successful in the city. In that eventuality, he invariably became corrupted by his urban experiences. The contra- 9^Gist and Fava, 0£. cit., pp. 537-538. ^^Jere C. Mickel, "The Genesis of Toby," Journal of American Folklore, LXXX (October-December, 196'?), 339. 72 dictory nature of the hayseed image of the farmer juxtaposed with the romanticized view of rural life indicates the crisis in American values which occurred during the last quarter of the nineteenth century. Both views of the agrarian existence were coeval, and represented a major change from the earlier image of a predominantly rural United States. Whether as the idealized sturdy democrat or as the hayseed, the farmer could no longer function as a symbol providing values by which society could measure itself. The creation of both the agrarian myth and the hayseed image, equally simplistic and equally fallacious when compared with the reality of farm life, indicate an awareness of the invalidity of rural life remaining in the symbolic norm of American life. The rural symbol was accordingly replaced in the late nineteenth century by a thoroughly urban image and set of ideals by which society set its standard. Businessmen became the new societal models, and business ethics and methods became the guidelines for American culture. The extension of the business ethic affected all aspects of American life, and the eventual rejection of the business ideal after the turn of the century had an equally far-reaching impact. In an era of Trusts, monopolies, and big businesses constantly growing bigger and more powerful, 73 it was perhaps natural that the successful businessman should be hailed as the heroic figure of the age. Examinations of magazine literature reveal that the basic themes of the 1890's were "the romance of business and the moral responsibilities of business"^^ and the highest accolade was to term something "businesslike"— praise which extended not only to commercial matters, but to education, organized religion and charity as 102 well. Even m the morally uplifting Chautauqua, the demands of business were automatically assumed to be foremost: Professor Thomas C. Trueblood's lecture on Wendall Phillips during the 1903 Long Beach, California, Chautauqua Assembly, after describing the Abolitionist as "a model in form by actual measurement resembling the Greek Apollo" concluded that Phillips' supreme contribution to American culture lay in his ushering in "a new method of oratory, adaptable to a business age; the highest type of speaking yet produced on this continent, with his advent the ponderous style gave way 103 to higher bred conversationalism." 10^-Bloomfield, o j d . cit., p. 62. lO^Faulkner, cit., pp. 110-111. •*~^Long Beach Tribune, July 23, 1903. 74 The power of business extended into political areas as well. The National Association of Manufacturers (organized in 1895) immediately became involved with foreign trade agreements, while Andrew Carnegie saw the 1895 Venezuelan crisis (which brought the United States and Great Britain to the brink of war) as an excellent opportunity to sell more steel to the American Navy.10^ In direct confrontation of the old ideals with the new, the new won handily: William McKinley and the Republican Party, running on a platform based on business goals and aims, sharply defeated William Jennings Bryan in 1896 by the largest absolute margin of popular votes in twenty-four years, then doubled the plurality in 1900.105 Bryan, with his Midwestern support and his ties to the Populist Party, represented the Jacksonian image of the American; the increasingly urban, industrialized electorate preferred the statemanlike McKinley (who, in White's happy phrase, resembled "a bronze statue . . . determinedly 104 Ray Ginger, The Age of Excess. The United States from 1877 to 1914 (New York: The Macmillan Co., 1965) , p. 191. ^®5Harry J. Carman, Harold C. Syrett and Bernard W. Wishy, A History of the American People, 2nd ed. rev. (New York: Alfred A. Knopf, 1960), 11:257-265. looking for his pedestal."^*’). McKinley's first victory confirmed the Republican Party's emergence as the nation's majority party, indicated by the Congressional elections of 1894. Nationally, the Republicans, identified as the business party, remained unquestionably dominant until 1912, indicating that the businessman as leader was an acceptable image to a large 107 majority of the voters. The national patterns were repeated in California, both statewide and in the Los Angeles area. James E. Budd, elected governor in 1894, was the last major state officeholder elected by the Democratic Party until the 108 Progressive victory of Hiram Johnson in 1910. Californian Republicans, moreover, were closely identified with the interests of the Southern Pacific Railroad, which controlled the state to the extent that "for more than a generation the political history of the State was dominated by the 'Southern Pacific ^■^William Allen White, Masks in a Pageant (New York: The Macmillan Co., 1928), p. 153T 107 Carl N. Degler, "American Political Parties and the Rise of the City: An Interpretation," Journal of American History, LI (June, 1964), 42; Ginger, og. cit., p. 180; Greene, 0£. cit., p. 156. 1 08 Eric Falk Petersen, "The End of an Era: California's Gubernatorial Election of 1894," Pacific Historical Review, XXXVIII (May, 1969), 156. 76 Machine' more completely than by any other force or 109 combination of forces." In Los Angeles, business domination was equally strong: Los Angeles county was carried by the Republican Party, in constantly increasing majorities, in every Presidential election between 1892 and 1908. Republican control in California was more clearly allied to business interests than was the case on the national scene; again the local area proved an extreme form of nationwide trends. Although the business ethic replaced rural life as the ideal for American culture, the two shared some points of similarity. The businessman in the 1890's was not the organization-centered worker he later became, but remained strongly individualistic. Such industrial giants as Carnegie, Rockefeller and Ford insisted upon personal authority and upon maintaining quite literal personal control over their many industries, the same sort of control that Theodore Roosevelt later attempted to establish in government circles.This highly personal, highly authoritative image of the capitalist 109 Rockwell D. Hunt, The American Period (Chicago: Lewis Publishing Co., 1926), pp. 416-417. Hereinafter cited as American. ^^Guinn, 0£. cit., 1:256. ^■^Cawelti, ojd. cit., p. 349. 77 was, in broad outlines, formed by the currency of such concepts as Social Darwinism, which created a climate in which it was both natural and inevitable that strong leaders— both in business and in politics— should emerge 112 and exert control. The businessman's individualism, moreover, was an adaptation of the earlier individu alistic figure of the Jacksonian hero. The individualistic businessman unlike the in dividualistic farmer, however, had both the duty and the right to exert power over others; the earlier image of the sturdy yeoman had implicitly assumed that each man was self-sufficient and did not meddle in other men's affairs. Social and political developments in the last quarter of the nineteenth century made it clear that such an ideal was no longer practicable and that the strong man demonstrated his strength most clearly by his power over others. Thus strength of will, personal magnetism and power, and strength of character which permitted the individual to establish personal control 113 obligatory for success, were all extolled. It is not surprising that the single historical figure who 112 Ginger, ££. cit., p. 281. Ill - LXJBloomf ield, oja. cit., p. 41; Greene, 0£. cit., p. 112. 78 captured the imagination of the period was Napoleon, embodiment of the supremely powerful individual. Dozens of books, hundreds of popular magazine articles, all eulogizing the figure of Napoleon, appeared during the 114 1890's; even McKinley was compared to the French Emperor, both in appearance and in character, a comparison which materially aided the Ohio Congressman 115 in his Presidential efforts. A new hero did not appear until after the turn of the century, when Teddy Roosevelt was elevated to almost mythic status. Like Napoleon, Roosevelt was a highly individual, powerful man. Unlike the 1890's image of Napoleon, Roosevelt also symbolized Reform and an increasingly influential social consciousness. As Greene concludes, "in his person even more than in his policies Roosevelt provided the nation with a bridge between the nineteenth century 116 and the twentieth. Before the figure of Theodore Roosevelt replaced that of Napoleon as a popular symbol, an event con current with a growing disillusionment and dissatis faction with business methods and ideals, the business 114 Greene, o j d . cit., pp. 110-111. 115 Ginger, op. cit., p. 194. ^^Greene, op. cit., p. 235. 79 ethic had influenced the growing American acceptance of internationalism which culminated in the Spanish- American War of 1898, the annexations of Hawaii and Puerto Rico in the same year, and the protectorates over the Philippines, Guam and Wake Island at the turn of the century. The jingoism of the 1890‘s, influenced strongly by the mass circulation magazines and the even more widely circulated newspapers of Pulitzer, Hearst 117 and others, reflects the period's uncertainty. The Spanish-American War, in its briefness and its exhilaratingly victorious outcome, provided American society with both a sense of power and a sense of national unity otherwise lacking in an increasingly fragmented culture. The war was an almost ideal one: it was very short, it had the edifying moral purpose of freeing Cuba from Spanish oppression, it brought the United States into conflict with a European empire which was appropriately decaying and weak and therefore not capable of strong resistance, and it supplied the 117 Commager, ££. cit., pp. 46-47. Recent historical opinion places much more emphasis upon the influence of McKinley himself in creating an atmosphere favorable to imperialism. The position is summarized in Robert L. Ivie, "William McKinley: Advocate of Imperialism," Western Speech, XXXVI (Winter, 1972), 15 f. 80 country with a full complement of heroes— notably 118 Roosevelt and Dewey. And because it was in reality a very small-scale war, the majority of Americans "fought the . . . war in their frontporch rockers 11 9 instead of in the swamps and jungles of Cuba . . . . The war's impact on southern California was especially slight. Only three infantry companies (of the Seventh California Regiment) were from Los Angeles, and they did not leave the state. A single battery of artillery from southern California served in the Philippines; that was 120 the extent of the area's committment to the war. Perhaps the most important social result of the Spanish-American War, however, was its confirmation and clarification of the supremacy of the American race which was, as we have seen, synonymous with the Protestant of Anglo-Saxon origin. Whether couched in terms of 'Manifest Destiny' or a call to shoulder the 'white man's burden,' the mass of American society felt unified into an homogeneous race which would democratize 121 and Christianize the world. That the process of 118 Higham, ojj>. cit., p. 107. 119 Carman, Syrett and Wishy, op. cit., 11:294. 1 20 Guinn, 0£. cit., 1:369. 1 21 Faulkner, op. cit., pp. 310-311. 81 bringing democratic and Christian ideals to the back ward peoples of the world also involved business and commercial benefits was not in the least contradictory; Democracy, Christianity, and Business were inextricably interrelated in American thought. President McKinley justified United States control over the Philippines on four different grounds: (1) it would be cowardly to return the islands to Spain; (2) if the United States didn't take them other European powers would, and such a step would be extremely bad business; (3) the United States had a duty to provide orderly government for the Filipinos, who were unfit to rule themselves; and (4) it was America's duty to "educate the Filipinos, and 122 uplift and civilize and Christianize them." McKinley's justification combines moral, religious, and business motivations in one statement, ignoring the violent Filipino revolt against American rule as well as the fact that the Philippines had been almost entirely Roman Catholic for more than a century. The Protestant, Anglo-Saxon McKinley could not consider Asian Catholics as either capable of self-rule or as Christians. McKinley's viewpoint was not unusual; former United *22Charles S. Olcott, The Life of William McKinley (Boston and New York: Houghton Mifflin Company, T 5 T § T 7 l I : 1 1 0 - 1 1 . 82 States Senator John J. Ingalls similarly combined moral and business interests in explaining America's invasion of Cuba shortly after hostilities began: Our victory will be the triumph of the Nineteenth Century over the Middle Ages; of democracy over absolutism; of self-government over tyranny; of faith over bigotry; of civilization over barbarism. It will open new avenues for commerce, new fields for enterprise, new careers for ambition. It will abolish insularity and provincialism and admit us to the front rank in that fraternity of nations that is to complete the moral conquest of the world. And in a 1904 Chautauqua lecture, Captain Richmond Pearson Hobson— one of the numerous Naval heroes of the war— carefully defined just what was meant by such terms as "peace," "Christianity" and "brotherhood." Peace in Captain Hobson's terms meant that the United States needed more guns than any other nation since, as a Christian nation, she alone was truly interested in peace. America was a Christian nation, which Captain Hobson documented by the number of active Y.M.C.A. members in the country. His definition of brotherhood, epitomized by the United States, contained a significant qualification: 123 John J. Ingalls, America's War for Humanity . . . . (Portland, Oregon and Spokane, Washington: L.A. Gasaway, 1898), p. 20. 83 Of course, brotherhood does not mean exact likeness nor equality of ability or attain ments; it does not mean that all will ever by alike nor believe alike nor behave alike; it must mean that whatever one does affects all and whatever a larqe number do has a greater effect upon a l l . ^4 Thus the Spanish-American War and the imperi alistic adventures which followed it provided a comfortably reassuring, if only temporarily effective, sense of purpose for the American people desperately searching for new images and new models which would provide viable guidelines for everyday life. The flood of moralistic justification which surrounded and followed the war reinforced the American middle class' assumption that their values and life-styles could themselves be models for the remainder of the world. The American habit of seeing the rest of mankind in stereotypical terms was reinforced by the Spanish-American War, and permitted the American to view "the universe as an 125 elementary extension of his everyday experience ..." The acceptance of sterotypes as accurate descriptions of reality was itself a further manifestation of the domi nance of the business ethic, which persistently relied 124n^e Navy, Its Achievements and Importance," Pasadena Star, July 23, 1904. 125 Wiebe, o£. cit., p. 224. 84 upon external appearances for knowledge of internal motivations. It is for this reason that McKinley, Ingalls and Hobson (in the passages cited earlier) felt no conflict between commercial and ethical ends, and why their various audiences similarly did not consider their remarks contradictory. The period 1895 to 1906 was not one of sophisticated acceptance of other races and creeds, despite occasional self-conscious movements in that direction. As Wiebe observes, "an age in which the Supreme Court justified oppression of the Mormons because no right-thinking man could consider theirs a religion would not be remembered for its cosmopolitan 126 tolerance." The intolerance toward those of different races, religions, or even social rankings which spread throughout the American society was, on one level, a function of business goals applied to other areas of life: rich businessmen, who were demonstrably the individual Americans with the greatest personal power, were therefore the fittest to hold power, a view which extended to the entire country after the successful 126 Ibid., p. 24. An opposing viewpoint is expressed by Schlesinger, Rise, p. 416, although in this context 'cosmopolitan* seems to mean merely an awareness of the world outside the United States without actual comprehension of it. 85 prosecution of the Spanish-American War. It then followed that all those who were not as successful had failed because of personal unsuitability. If, as one observer has noted, this was the case, it was the individual's responsibility to start afresh, to "build a sound character for himself in order to properly 127 fulfill his duties to society." How well the individual succeeded was measured by external indicators of success: possessions, clothing, and other physical signs of prosperous wellbeing. All this, or course, was solidly correct in a commercial sense. Just as one judged the business tycoon by the number and produc tivity of his factories and the social elite by the lavishness and splendor of their parties, so one judged a city, state, or nation by the amount of people each contained, by the number of buildings, by the miles of paved road; in short, a quantitative ethic became the measure of equality as sheer number and bulk provided 128 „ ^ appropriately external standards. Santayana indicated that insistence upon quantity as a major value measurement was not restricted to businessmen, but was widespread: at Harvard, he wrote, the areas of study 127 Bloomfield, ojd. cit., p. 57. 128 Wiebe, op. cit., p. 40. 86 considered best and most worthy of encouragement were 129 those which attracted the greatest number of students. Another ramification of the dominant business ethic during the 1890's was an insistence upon uniformity: uniform things— be they men, factories, or cities— were easier to quantify, measure, and accordingly to comprehend. In its extreme form, this view led to the ethnocentricity discussed earlier: if the United States was the most advanced, most human, most Christian nation in the world, it followed that the world would inevitably be improved if American civilization were dominant and if the peoples in other countries were as much like 1 3 0 Americans as possible. The need to make men and things conform, to be sure, is one element of urban ization: the complexity of the social order in'a large city requires a certain degree of uniformity for the 1 2 9 George Santayana, "Materialism and Idealism in America," The Landmark: The Monthly Magazine of the English Speaking Union, I (January, 1919), reprinted in George Santayana, The Genteel Tradition, ed. Douglas L. Wilson (Cambridge: Harvard University Press, 1967), pp. 127-128. 130 Ginger, o£. cit., p. 186. 87 131 intricate urban mechanism to efficiently exist; fur ther, uniformity develops simultaneously with industrial ization, since workers in an industrialized society func tion in terms of their work roles rather than as indivi- 132 duals. Yet although conformity is one aspect of an industrial and urban culture, it need not reach the sta tus of a positive cultural value, as it did in late nine teenth century America. That the cult of uniformity be came as important as it did further indicates the impor tance of the business ehtic in shaping American percep tions of the world and of positive social values in the period under consideration; as were the stress upon quan tification, the emphasis on external and readily per ceivable indicators of status and power, and the insis tence upon commercial goals as equal in validity to those of religion and ethics, the demand for uniformity was a manifestation of a shift in American values from the rural to the business mode. Despite its pervasiveness, however, the business ethic proved unable to completely replace earlier American values: the distance between the commercial ideal of restrained, orderly exercise of power and the crushing realities of the often rapacious activities of 131Ralph E. Turner, "The Industrial City: Center of Cultural Change," The Cultural Approach to History, ed. Caroline F. Ware (New YorJcl Columbia University Press, 1940), p. 238. ^ 2Handlin, "Modern City," p. 15. 88 big business was too great and too noticeably apparent. And although the Spanish-American War had been a thrilling and satisfying interlude, it proved only an interlude. The transitory nature of the enthusiasm engendered by the war is revealed in the history of the "Naval Victory" Arch in New York, erected for the triumphal return of the hero of Manila Bay. Built of wood and plaster, the arch was planned as a temporary model for a permanent marble arch in Dewey's honor to be constructed with funds raised through popular sub scription. But interest in Dewey and his arch faded quickly, and in December of 1900 the arch was declared 133 a public menace and demolished. The sense of national unity accompanying the war disappeared as quickly, and the period's dominant feelings of dis organization and lack of control reasserted t h e m s e l v e s . 134 The Spanish-American War coincided with a return to prosperity, breaking five years of economic depression in 1897. The depression of the nineties had affected virtually all sectors of American life, and was 133 Mark Sullivan, Our Times: The United States, 1900-1925 (New York: Charles Scribner's Sons, 1926), 1:338-340. 134 Stow Persons, American Minds: A History of Ideas (New York: Holt, Rinehart and Winston^ 1958), P 7 ~ Z T L . 89 especially strong in the cities: one historian has estimated that the real earnings of the working class 135 fell eighteen percent between 1892 and 1894, and the middle nineties were marked by violent strikes, riots, 136 and widespread social disorder. The effects of the depression were relatively mild in an expanding Los Angeles; figures of city assessments and property value show a steady increase throughout the nineties, with only a minor and temporary drop during the fiscal year 1 3 7 1897-98. The rate of growth in southern California slowed during the 189 0's but did not stop entirely, as was the case in many other ruban areas across the country. The burst of enthusiasm and energy which surrounded the United States' expansionistic adventures at the turn of the century provided only a temporary 1 3 8 balm for underlying problems. The problems of rapid 135 Charles Hoffman, "The Depression of the Nine ties," Journal of Economic History, XVI (June, 1956), 151. 1 36 Commager, 0£. cit., p. 50; Ginger, 0£. cit., p. 158; Strauss, 0£. cit., p. 170; Higham, 0£. cit., p. 68. 137 Guinn, op. cit., 1:254-255. l-*®An opposing viewpoint is presented with vigor by Jones, op. cit., in which the period's problems are characterized as stemming from a constantly expanding and energetic flow of inventions, concepts, and social change. Jones' view is far more positive than the one summarized here. urbanization and industrialization remained, and reaction against the methods and ethics of big business began 139 shortly after the end of the nineteenth century. The few years around 1900 saw the concentration of many of the earlier trends: the increasing self-conscious ness of society came to a peak with the phenomenon of fin-ds-siecle-ism, the transition from the nineteenth to the twentieth century being perceived as ending an important historical epoch. For many, the close of the nineteenth century meant the completion of the period of greatest growth and social advances in the history of mankind; for others, it implied a new beginning to a period in which the social ills of the past could be 140 rectified. That both views of the importance of the century's end existed simultaneously indicates the confusion of the period, the sense of rootlessness and lack of tradition which the business ethic, with its emphasis upon external and material factors, did not ease. As one historian has stated, the United States was "a country of men in flight, running over unmarked fields without traditions to guide them or visions to serve as beacons, . . . with no goal but wealth, and of 139 Faulkner, o£. cit., p. 81. 140 Schlesinger, Rise, p. 421. 91 141 wealth there is never enough." The rootlessness and confusion of a chaotic social order manifested themselves in numerous ways. Xenophobia and chauvinistic mistrust of immigrants increased markedly across the country after the turn of the century, resulting in the drive for literacy tests, which implicitly discriminated against non-English 142 speaking peoples, and, on the West Coast, in the 143 formation of the Asiatic Exclusion League m 1905. Aimed primarily at Japanese immigrants, California's attempts to restrict all aliens were only the most apparent (and typically the most extreme) manifestations 144 of a nationwide xenophobia. A steady increase in the crime rate— accompanied by an equally steady increase in the number of uniformed policemen— further reflected the 145 confusion of urban areas. Awareness of social chaos also fostered a widespread mistrust of monolithic institutions— whether governments, churches, or business 14 1 Ginger, op. cit., p. 81. 142 Schlesinger, Rise, p. 421. 1 4 3 Hunt, American, p. 425. 144 Faulkner, 0£. cit., p. 16. 1 4 5 McKelvey, Urbanization, p. 93. 92 monopolies— which had great impact as the movement for Progressive Reform gathered momentum. The reaction against big business seems attributable, at least in part, to the practices of big business itself: the centralizing trusts and companies growing into gigantic corporations did not result in larger profits for individual investors or in increased efficiency of production, or in any improvement of the products involved.146 The monoliths had become too large to be managed by an individual tycoon keeping close personal control over day-by-day operations. The companies responded after 1900 by massive reorganizations, creating the centralized administrative bureaucracies . . 147 that later came to epitomize American efficiency. Despite changes, however, business no longer held the cultural power it had before the turn of the century. Even politically, business' control was waning under the determined onslaughts of Theodore Roosevelt and the Progressive movement. Progressives learned to ask basic questions, which reached the widest audience in Ida M. Tarbell's articles on Rockefeller's Standard Oil 14®Faulkner, 0£. cit., p. 35. 147 Wiebe, 0£. cit., p. 181. 93 148 Trust: with so much power concentrated in industrial behemoths, who should control them? State control seemed dangerously socialistic, but control by the population seemed impossible, and control by a few business leaders 149 had already created a potentially menacing oligarchy. The questions were not answered, although the beginnings of possible solutions were outlined in the programs adumbrated by Progressives and by the regulatory laws and agencies established by the Federal Government during the first ten years of the century. Another function of Progressivism was the disappearance of the heroic image of the businessman, a change reflected in popular magazines as the businessman hero was replaced by heroic 151 politicians, clergymen, and government bureaucrats. American society at the turn of the century, therefore, was both complex and contradictory; the image 148 Ida M. Tarbell, "The History of the Standard Oil Company," McClure's XX (1902-03), 3-6, 115-128, 248-260, 390-403, 493-508, 606-621; XXI (1903), 73-78, 202-215, 312-327, XXII (1903-04), 127-140, 294-306, 435-448, 492-504, 638-652; XXIII (1904), 186-203, 532- 548, 660-672. See also Lincoln Stefens, "The Shame of Minneapolis," McClure1s, XX (January, 1903), 227-239. 149 Bloomfield, 0£. cit., pp. 17, 39. 150 Hopkins, oj>. cit., p. 203. 151 Greene, o£. cit., p. 274. 94 of the American as the individualistic, self-reliant yeoman collapsed under the pressure of urbanization and industrialization, leaving a trace only in the creation of an agrarian myth which saw country life through a nostalgic, romantic haze. Commercial and business ethics were seen throughout the first part of the period as satisfactory models for emulation, yet ultimately proved inadequate. A new trend immediately after the turn of the century was Progressivism, again stressing the individual in contradistinction to the monolithic institution, yet that also would prove unsatisfactory. Ginger has epigrammatically summed up the resulting confusions of the period in a passage which indicates society's diversity: The American mind, then, was like my grand mother's attic, crammed with junk: an old four-poster Victorian code of behavior, educational furniture from Louis Quatorze to chic moderne, ethics carved by cave men. It held everything from baby curls to bowie knives. The baby curl might even be knotted daintily about the bloody knife. III. SUMMARY In the preceding sections, cultural trends of the United States in general and of the Los Angeles area in ^-^Ginger, Q£# cit., p. 292. 95 particular have been examined. Because of the peculiar nature of the population growth in Los Angeles, it was discovered that trends of the emerging national middle class were intensified in southern California; accordingly , national changes were explored in order to identify those which were both intense enough and pervasive enough to be reflected in the popular enter tainment form intended primarily for members of the social ranking under consideration. Three major factors were identified and discussed in Part II above. They were (1) the effect upon the social order of the continuing urbanization of the United States in the last quarter of the nineteenth century; (2) the emergence of a middle class, newly professional and newly self-conscious about themselves and their society; and (3) the search— which affected all portions of American society— for new ideals and guidelines by which to organize the increasingly chaotic patterns of daily life. Each of these factors had wide-ranging impact, and were frequently noted by contemporary writers. If theater does in fact reflect the cultural movements of its society in any manner, then it can be reasonably expected that facets of these three factors will be apparent in the theatrical entertainment offered in Los Angeles. Further, since Los Angeles was found to 96 possess national trends in an exaggerated and frequently extreme form, the local theater might be expected to similarly reflect national theatrical trends in an exaggerated manner. Specific trends adverted to above are listed below; each is a cultural reaction to the three major factors previously identified as being of major importance in American society, and each should, if the period's theater at all reflects societal movements, find some expression in the drama between 1895 and 1906: A. Urbanization. 1. The image of the city as menacing, dangerous, and occasionally un-American. 2. Fascination with— in either positive or negative ways— technological change. 3. Acceptance of the importance of chance or luck in determining individual success or failure. 4. Acceptance of organized social and recreational activities— reflected in voluntary associations and organized sport— as the extended kin network is replaced by the nuclear familial unit. B. Self-conscious middle class. 1. Demand for, and fascination with, 97 increased education. 2. Increase in mass culture, as reflected in magazines, books, and newspapers. 3. Search for knowledge of all kinds, in all possible areas. 4. Self-conscious demand for definition: of social groups, of cultural affairs, of art. C. Search for societal ideals. 1. Appearance of a romanticized agrarian myth, with concomitant changes in the image of the farmer. 2. Appearance of business ethic, with stress on the following aspects: a. Emphasis of power, both personal and institutional. b. Emphasis upon quantification and uniformity. c. Stress upon external characteristics. 3. Imperialistic tendencies, with concurrent acceptance of stereotypical views of the world. 4. Reaction against the business ethic through the Progressive movement. CHAPTER III PLAYHOUSES AND THEATRICAL MANAGERS IN LOS ANGELES This chapter presents a narrative account of theatrical entertainment in Los Angeles between 1895 and 1906, discussing the theater buildings and the individuals who managed them. The extent to which each theater was dependent upon sources outside Los Angeles for productions is indicated. Part I describes events at the Los Angeles and Burbank Theaters between 1895, the starting point of this inquiry, and the closing of the Los Angeles Theater on June 6, 1903. Part II por trays events at the several theaters in Los Angeles after the opening of the Mason Operahouse in June 1903, and the Grand Operahouse's return to use as a legitimate playhouse. The rapid increase of both productions and the number of theaters during and after 1904 is included in this section. Minor theaters and buildings oc casionally used for theatrical purposes are discussed where chronologically appropriate. 98 99 I. 1895 TO 1903 In 1895 Los Angeles, then a relatively small urban center, supported three major playhouses.^" The Los Angeles Theater, managed by Henry Clay Wyatt, who was co-lessee with Charles Modini-Wood, had opened in 1888. Located on South Spring Street between Second and Third Streets, the Los Angeles Theater was in 1895 the major touring house. It provided Los Angeles with expensive touring combinations, most of which played for two- or three-night stands, with prices ranging from twenty-five cents for the gallery to one dollar for ground floor seats. An occasional touring company had higher prices: in 1895, the Marie Tavery Grand Opera Company in February, the engagement of Frederick Warde and Louis James in a Shakespearian repertory, and Daniel Frohman's Lyceum Theater Company all charged one and a Data employed in establishing the day book of performances in Los Angeles between 1895 and 1906 (Appendix), upon which much of the present chapter is based, were drawn from an examination of materials in the L. E. Behymer Collection, Henry E. Huntington Library, San Marino, California; the G. A. Dobinson Collection, the Los Angeles Public Library; and files of the Los Angeles Times. Los Angeles Daily Herald, Los Angeles Evening Record. and Los Angeles Express. Only specific items and articles from these several sources will be cited in the present chapter. 100 half dollars as the top price. The Los Angeles Theater had opened with a seating capacity of twelve hundred and twenty, but was enlarged in 1893 by the addition of one 2 hundred seats. The Orpheum Theater was located near the Los Angeles Theater at 108-112 South Main Street. Until December 31, 1894, the Orpheum had been the Grand Operahouse, first major theatrical structure in Los Angeles and original home of touring combinations in the city. With a seating capacity of nearly fifteen hundred, the Grand Operahouse was potentially more profitable than the Los Angeles Theater, but its age and various managerial manipulations had combined in 2Los Angeles Evening Express, January 12, 1893, cited in Sue Wolfer Earnest, "An Historical Study of the Growth of the Theatre in Southern California 1848-1894" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1947), 11:412-14. Complete discussions of the Los Angeles Theater are also available in Edward K. Kaufman, "An Historical Study of the Development of Theatrical Activity in Los Angeles, 1880-1895" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1972); Pamela Frederica Tyler, "The Los Angeles Theatre 1850- 1900" (unpublished Master's thesis, University of Southern California, Los Angeles, 1942) and Martha Barnett, "A Historical Sketch of the Professional Theater in the City of Los Angeles to 1911" (unpublished Master's thesis, University of Southern California, Los Angeles, 1930). The early career of H. C. Wyatt is fully described in all of these sources as well as in Ruth Miriamrose Gartler, "A Historical Study of the Mason Operahouse in Los Angeles" (unpublished Master's thesis, University of California at Los Angeles, 1966) . 101 such a way that the Grand Operahouse had shown little profit in 1894; as the Orpheum, the Los Angeles outlet for the rapidly growing Orpheum vaudeville circuit, the old playhouse remained in operation until 1903 with 3 performances every day of the year. The third playhouse operating in Los Angeles in 1895 was the Burbank Theater, four blocks south of the Orpheum at 550 South Main Street. The Burbank Theater had opened in November, 1893, and had been from the beginning a popular-priced theater: its attractions were generally touring stock companies, although occasional attempts to establish permanent resident stock troupes were made. The Burbank also housed occasional touring combinations of the cheaper variety, although few of these reached Los Angeles prior to 1898. The Burbank's prices in 1895 ranged from fifteen cents for the gallery to fifty cents for the ground floor, 4 with seventy-five cents charged for box seats. •^The struggles of Los Angeles managers to obtain the productions of Al Hayman, the San Francisco producer who in 1896 became one of the founders of the Theatrical Syndicate, are amply documented in Kaufman, o£. cit. 4 Descriptions of the Burbank and its attractions prior to 1895 are documented in Earnest, op. cit., Kauf man, op. cit., Tyler, ojd. cit., Barnett, op. cit., as well as irTTfoy W. Sorrels, "The Los Angeles Theatre Activities of Oliver Morosco" (unpublished Master's the sis, California State College at Long Beach, 1966). 102 The Los Angeles Theater The history of the Los Angeles Theater is, for the major portion of the period under consideration, the history of the Theatrical Syndicate. Although the Los Angeles Theater was managed by Henry Clay Wyatt, who ultimately controlled most of the major theaters in southern California, Wyatt was for all intents and purposes totally dependent upon the touring combinations sent into southern California by other managers, first those in San Francisco and then, after the formation of the Theatrical Syndicate in August, 1896, by those booked from the New York firm of Klaw and Erlanger. The methods, policies, and various disputes involving the Theatrical Syndicate have been examined in detail by a number of commentators; the Syndicate is therefore treated here only as it influenced the range and amount of theatrical entertainment made available for per- 5 formance at Wyatt's theater. See Monroe Lippman, "The History of the Theatrical Syndicate: Its Effect Upon the Theatre in America" (unpublished Doctoral dissertation, University of Michigan, Ann Arbor, 1937), Cecile A. Rukgaber, "The Theatrical Syndicate and Its Effect Upon the American Theatre" (unpublished Master's thesis, University of Wyoming, Laramie, 1955), and Steve Travis, "The Rise and Fall of the Theatrical Syndicate," Educational Theatre Journal, X (March, 1958) , 35-40, for thorough accounts of the Theatrical Syndicate. Dorothy Gilliam Baker, "Monopoly in the American Theater: A Study of 103 The Los Angeles Theater's offerings for the years 1895 through 1897 reveal no clear managerial policy. With the exception of an occasional performance by local amateur groups who rented the playhouse for benefit performances, all of the theatrical productions offered on its stage were touring combinations, and none charged prices lower than the standard price scale of twenty-five cents to one dollar, with an occasional one dollar and fifty cents top price. The touring com binations were primarily what would be termed second or third companies: recent New York successes, traveling without the famous Eastern stars who had originated parts in the plays. Such was the case with the Charles Frohman production of The Girl Left Behind Me, David Belasco and Franklin Fyles' romantic drama of life on a frontier military post which played seven performances in April, 1895 and with the Klaw and Erlanger 'New York Casino Production' of In Gay New York, booked for a week in December, 1897. Some major stars did play at the Los Angeles the Cultural Conflicts Culminating in the Syndicate and its Successors, the Shuberts" (unpublished Doctoral dissertation, New York University, New York, 1962), also examines the Syndicate in the process of exploring the monopolistic tendencies of American theater and society at the turn of the century. 104 Theater. Frederick Warde and Louis James, both together and singly, brought Shakespearian repertory to Los Angeles at least once a year; William Gillette appeared in 1895 with his farce, Too Much Johnson; the Bostonians brought their comic operas in 1895; James O'Neill, Richard Mansfield, John Drew and Julia Marlowe played engagements in 18 96, while 1897 engagements were headed by Denman Thompson, Madame Modjeska, James A. Herne, Fanny Davenport, Otis Skinner, DeWolf Hopper, Mrs. Leslie Carter and William H. Crane. The Los Angeles Theater also housed touring companies based in San Francisco throughout its career as Los Angeles' major road-company theater. Emily Bancker in Our Flat, Gustave Frohman's stock company in Jane, L. R. Stockwell and Rose Coghlan in Pinero's The Magistrate, all in 1895; William A. Brady's The Strange Adventures of Miss Brown, the Frawley Stock Company, and the Corinne Extravaganza Company in 1896; the Columbia Opera Company and Smythe and Rice's Comedy Company, both in 1897; all were touring combinations which originated on the Pacific Coast. The Los Angeles Theater, in addition, provided a stage for grand opera, ministrels, 6 and public lectures. ^As John Steven McGroarty, Los Angeles: From the 105 The dependence of the Los Angeles Theater upon the Theatrical Syndicate was made clear by the changes in booking patterns which followed Charles Frohman's announcement on October 17, 1897, that henceforth Syndicate companies would no longer play the Pacific 7 Coast. Frohman complained that receipts were not large enough in San Francisco to merit sending companies across the country; although his announcement did not mention Los Angeles specifically, the southern California area was effectively boycotted as well. The effect upon the Los Angeles Theater of the loss of most Syndicate productions— a few still readied California despite Frohman's proclamations— is apparent in Table I. Although the number of weeks the Los Angeles Theater was actually occupied rose the year immediately following Mountains to the Sea (Chicago and New York: The American Historical Society, 1921), p. 380, points out, the American premiere of Puccini's La Boheme took place at the Los Angeles Theater on October 14, 1897. The opera was repeated at the matinee on October 16th, and was performed at both matinee and evening performances on October 27th. ^Los Angeles Times, October 17, 1897; "Frohman Boycotts 'Frisco,'" New York Dramatic Mirror, XXXVIII (October 30,T59?) , 17; Baker, o£. cit., p. 232. 106 T o t a l \n r . h- ' r» IA r>- . A - tA 't> IA ’ P » -V m K N t' . Si ' P r- O < t ) r-trv 'D O' 00 O' IA I'*' V O A| A * H t t o r i urn t 1 1 1 1 1 1 1 1 1 tO Now P o n p l n ’ n T h e n t o r 1 1 1 l 1 l 1 1 1 t 1 1 1 1 1 P> •o 0 o • A n /;o Luo t 1 1 1 7 k T h e n 10 r 1 I 1 1 VO t rTv [3 y i l o t c h k I n n T h e n t.rr 1 1 I 1 1 1 I l 1 1 1 1 1 O - t 0; m n. ri Bn I n n c o T h e n tor* 1 1 1 1 1 l 1 I 1 AJ IA AJ IA n n 0« t > K ■ > C a n Lno T h e n t0 r 1 1 t 1 1 1 f l 1 1 r-ktl ' 0 1 1 1 f-1 (>; 1-1 H r-j F < . i* ( J r o m l O p e r u h o u n e 1 1 1 1 ' O . W <A A) IA AJ I A fj i» a ► J 1-1 0 i l a n o n O p e r a h o u n r 1 1 1 I 1 1 S . I m . - t • O Al fA fA < LCS ■2 fO M H a z a rd ' n i ’a v L l i o n o • I'M 0 aj • k M • k'J AJ 0 - Aj - V m A! 1 f 0 1 Burbank Than tor »7\ •O 'A >A -+ r- - t ■ t »A O -* AJ ir\ • A AJ IA OJ tA AJ IA AJ IA L o b A n f : o l o 3 Theater u \ aJ - W j Al >A V m .+ 'A fry <\J 'A AJ AJ <\J ON 01 AJ 1 1 Year » a r-o » «— ' O rfi '7\ •0 -O < - a rO ON •T\ 'O O O cn O 'Tn AJ 0 on fA O O O On IA O O' v O O Totals 238r 573 13sr 105? 171? <*7? 122 O S 7 ; 1335? 107 Frohman's announcement, the years 1899 through 1901 show a steady decline. Since many Syndicate companies were already on tour in the fall of 1897, they con tinued to tour; Frohman's boycott also did not include major stars and companies which had always drawn well: both Henry Miller and William Gillette played at the Los Angeles Theater under Frohman's management in the fall of 1898, while Klaw and Erlanger presented the popular Bostonians in March, 1900. John Drew in May, 1900, and Henry Miller in June, 1900, and again in 1901 also performed in Los Angeles. No other productions during these years, however, bore the banner of members of the Theatrical Syndicate. It was not until the summer of 1901 that Frohman productions began to frequently appear at the Los Angeles Theater, and even then the productions were those featuring major stars, including Henry Miller, Blanche Bates in Under Two Flags, Frank Daniels, William H. Crane, and the Bostonians. A partial explanation for the continued rise in the number of weeks the Los Angeles Theater was occupied is shown in Table II, "Touring Companies in Los Angeles, 1895-1906." After a peak of forty-four companies for which standard admission prices (i.e., top price of either one dollar or one dollar and fifty cents) were charged in 1896, the number of such 108 TOURING COMPANIES TABLE II IN LOS ANGELES, 1895-1906 Year Standard priced Popular^ priced Popular priced Stock Companies 1895 31 1 5 1896 44 4 8 1897 33 5 (5) 5 1898 31 (1) 12 (4) 4 1899 27 16 (7) 3 1900 20 16 (?) 7 1901 28 17 (3) 6 1902 36 20 (1) 10 1903 29 14 8 1904 42 (3) 38 8 1905 46 (1) 24 1 1906 30 21 5 Totals 387 (4) 188 (27) 70 a Numbers in parentheses refer to those standard-priced tour ing companies booked into ordinarily popular-priced playhouses; thus of the three hundred and eighty-seven standard-priced touring com panies between 1895 and 1906, four played in popular-priced theaters. ^Numbers in parentheses refer to those popular-priced tour ing companies booked into ordinarily standard-priced playhouses; thus of the one hundred and eighty-eight popular-priced companies between 1895 and 1906, twenty-seven played in standard-priced theaters. q Does not include the permanent organizations established in 1904 at the Belasco and Burbank Theaters. 109 companies declined to a low of twenty in 1900. It was, of course, such touring companies which were the province of the Theatrical Syndicate. Further, popular- priced touring companies (i.e., with a top price of either fifty or seventy-five cents) were booked into the Los Angeles Theater with increasing frequency beginning in 1897: five in that year, four in 1898, and seven in each of the two following years. The number of popular-priced companies which played the Los Angeles Theater began to decline rapidly in 1901, concurrent with the return of Frohman and Klaw-Erlanger productions to that playhouse. The greater number of popular-priced companies, the decline in Syndicate attractions, and the general economic slump of 1897 all combined to depress business at Wyatt's theater, as revealed in Table III, "Gross Receipts and Attendance at the Los Angeles Theater, 1895-1901"(the years for which complete figures were available). Again, a steady downward trend in gross income beginning in 1897 is apparent. That the total attendance figures do not begin to slip until the following year— the year in which the Los Angeles Theater was occupied more weeks than any other during the period under consideration— indicates that the audience was not coming in as large numbers to the popular-priced touring companies. Business was so bad during the five-week 110 TABLE III GROSS RECEIPTS AND ATTENDANCE AT THE LOS ANGELES THEATER, 1895-1901 Year Gross Receipts Total Attendance 1895 $84,642.25 103,619 1896 95,639.30 112,696 1897 87,444.38 120,443 1898 71,695.45 96,470 1899 84,858.20 116,767 1900 71,595.45 113,045 1901 77,081.95 97,815 Ill engagement of Carl Marten's Opera Company during June and July of 1898, for example, that the troupe grossed more than one hundred dollars for only eight out of thirty-two performances; prices were scaled from twenty- five to seventy-five cents. Two of the eight per formances— and the only ones to gross more than one hundred and fifty dollars— were charitable benefits. Wyatt's response to the lack of Syndicate productions was, as has been indicated, to book popular- priced touring companies, a managerial policy which had begun with the presentation of the Grau Comic Opera Company in January, 1897, and the Columbia Opera Company that June. Other popular-priced companies followed, generally either comic opera or vaudeville farce troupes, with occasional minstrels and variety programs. The top price fell further in 1898 to fifty cents for Samuel Mott's Refined Vaudeville, and Wyatt announced that popular-priced companies would thereafter occupy the Los Angeles Theater the majority of the time since he 8 could not obtain higher-priced touring combinations. Such was not, of course, the case: The price scale at the Los Angeles Theater remained at the one dollar (or one and a half dollars) top for the majority of its g Los Angeles Times, November 20, 1898. 112 presentations. The major portion of the popular-priced touring companies continued to appear at the Burbank Theater. By 1902, a sufficient number of major companies were including Los Angeles on their itinerary to permit Wyatt to return to high prices: only a single attraction, a road company of the Weber and Fields burlesque Fiddle- Dee-Dee, performed at less than standard prices in 1902. By the time the Los Angeles Theater closed its doors as a legitimate playhouse in June, 1903, Wyatt had become the booker for Syndicate productions in all of southern 9 California, and the Frohman boycott had been forgotten. The Burbank Theater While the Los Angeles Theater was struggling both to obtain standard-priced productions and then to obtain enough of them to remain open profitably, the Burbank Theater was struggling to remain open. Between 1895 and 1899 the Burbank was controlled by seven different managements, and frequently was closed for several months at a time. As the playhouse which consistently main tained popular prices throughout the period under ^According to the Los Angeles Times Annual Mid- Winter Number, January 1, 1903, p. 79, Wyatt personally controlled six major theaters in southern California at that time. 113 consideration, the Burbank Theater was filled with both a different kind of presentation and, from all accounts, a different sort of audience. It was generally occupied a greater number of weeks than its counterpart, as revealed in Table I, although no great consistency is observable in the yearly figures. The fairly constant turnover of managements at the Burbank Theater through 1899 indicates that the popular-priced playhouse was not supported by a large enough regular audience to provide steady financial profits. The Burbank Theater was managed at the beginning of 1895 by Fred A. Cooper, a stock company director active in Los Angeles theater since his 1892 attempt to run popular-priced stock at Hazard's Pavilion, a large convention hall used sporadically throughout its existence for theatrical presentations. Cooper was one of the original managers of the Burbank; in 1895, the Cooper Stock Company played throughout January in support of the emotional actress Jeffreys Lewis. They were followed in February by Dailey's Stock Company, which played a fifteen-week season dominated by melo drama. 'Fred A. Cooper's New Stock Company' opened in May, supporting a series of touring actors in melodrama, farce and comedy. After a four-week season of farce offered by the Gustave Frohman Company, another of the 114 touring stock companies playing the Pacific Coast, the Burbank Theater offered the Frawley Company from San Francisco's Columbia Theater for eleven weeks of legitimate comedy and drama which ranged from Pinero's Sweet Lavender to De Mille and Belasco's The Senator. The Frawley Company, headed in 1895 by T. Daniel Frawley and Blanche Bates— who shortly became a major star for David Belasco— returned for two seasons each year through 1900. With these and similar traveling stock companies, the Burbank Theater remained occupied until June 6, 1896, offering its patrons a mixed fare of melodrama, comedy, farce, pastoral drama, and an occasional drama. In 1896 the Burbank offered six weeks of comic opera by the Carleton Opera Company. Throughout Cooper's management, the Burbank Theater's bill usually ran from Sunday through Saturday, with a matinee on Saturday. The bill occasionally changed in midweek, but only rarely. Only the single engagement of comic opera regularly changed the bill more than once a week. The Burbank Theater closed on June 6, 1896, with the final performance of Bartley Campbell's melodrama, Mv Partner. The playhouse did not reopen until August 16, under new management. Edward Malim's management was not successful; it lasted only fifteen weeks, slowly collapsing during a season of comic opera in which, 115 according to newspaper accounts, performances frequently were not given as scheduled. Malin's control of the Burbank Theater ended either with the performance on November 21 or 28, 1896;10 the theater remained closed until Christmas Day, when it reopened under the manage ment of A. Y. Pearson. Before reopening the theater, Pearson had it redecorated, although no structural changes appear to have been made in either the auditorium or the back stage facilities; perspective painting was added to the proscenium wall, frescos were added to the walls and ceiling of the auditorium, orchestra seats were re- 11 upholstered, and a new drop curtain provided. Pearson installed a stock company, and began an eleven- week season of melodrama which opened with Land of the Midnight Sun. Pearson then sent his stock company on tour and began a season of farce with the comedian Harry The L. E. Behymer Collection contains a play bill listing Olivette, H. M. £. Pinafore and Billie Taylor as playing November 23-247 25, and 26-28 respectively; issues of the Los Angeles Times for those dates contain neither advertisements for theBurbank Theater nor reviews of performances. Los Angeles Times, December 26, 1896. 116 12 Corson Clarke. After five weeks of mixed farce and comedy, Pearson mounted a series of spectacular melo dramas, including versions of Around the World in 80 Days and The Black Crook, engaging the Kiralfy International Ballet for both productions to perform a series of 13 "Spectacular Living Pictures" between acts. The Burbank then returned to straight melodrama with the actress Katie Putnam and a new stock company. On June 4, 1897, following a performance of Erma The Elf/ the Burbank Theater was gutted by fire; Pearson attempted to attract audiences to Hazard's Pavilion by starring Miss Putnam in The Old Lime Kiln, but the production lasted only one performance. Although newspaper accounts immediately following the fire spoke of more than twelve thousand dollars' damage and described the intensity and magnitude of the 14 blaze in vivid terms, apparently only the auditorium's According to entries in the daybook appended to Arthur Leslie Conn, "The History of the Loring Opera House, Riverside, California" (unpublished Master's thesis, University of California at Los Angeles, 1970), Pearson's melodrama company spent much of March, 1897, in Riverside performing the same plays seen earlier at the Burbank Theater. ^Playbill, Behymer Collection. 14 Los Angeles Times, June 5, 1897. The fire and subsequent reconstruction of the Burbank Theater are 117 interior was affected; the playhouse reopened two months later. Indeed, the account published in the Los Angeles Times on August 1, 1897, leaves the impression that the building sustained no structural damage whatsoever: The carpenters have completed their labors at the Burbank and the decorator's scaffoldings have been removed, so that one may appreciate the beauties of their art. High above the proscenium- arch a balustrade reaches across from side to side, and above this and between the clouds oceans of blue stretch far off into space. Vagrant wisps of vines and flowers fall carelessly over the railing turning themselves in and out of the openings. Immediately on either side of the arch are allegorical figures— that on the right being of "Callippe," [sic] representing music, on the left, of "Polyhemia," the personification of art. Still farther over on each side are high car- tellas supported by innumerable pink and white cupids wreathed round and about with chains of roses. The inside of the proscenium arch is appro priately decorated with antique trophys [sic] of arms. All of the decorations are of the Italian Baroci [sic] style of the fifteenth century, being especially adapted for theatrical work, and is much richer than that of the Renaissance, which was the style of decoration destroyed by the fire. The house is now practically ready for the opening, which will occur on August 9. But to look at it in its present beautiful state, one can hardly realize that on the morning of June 5 treated here at length because neither Leonard Schoen, "A Historical Study of Oliver Morosco's Long-Run Premiere Productions in Los Angeles, 1905-1922" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1970) nor Sorrels, op. cit., mention either event or the frequent re decorations of the Burbank prior to 1900 in their studies. 118 last the interior was simply a mass of blackened and burned debris. Over a hundred additional chairs have been placed in the balcony, making this part of the house more spacious and comfortable than before. The proscenium arch has been altered so as to form a sounding-board, thus greatly improving the acoustic properties of the house. Additions and improvements have been made in the lighting of both house and stage, and no longer will the dark shadows fill unbidden the nooks and corners or flit ghost-like across the boards, but light, clear and brilliant, will be the order of the day— the electric light being most thorough and complete. The new drop curtain is a fine effect in draperies, representing voluminous folds of plush of blue and gold, with a lining of pink satin— a masterpiece of the scenic artist's skill. The interior arrangement of the Burbank seems to have been left unchanged, with the exceptions of the altered proscenium arch and the additional chairs in the balcony; a later reference mentions that the row of loges on the ground floor had been removed so that unbroken rows of orchestra chairs stretched from the "musician's rail to 15 the foyer." Pearson's rebuilt Burbank Theater opened with seven weeks of stirring melodrama; the playbill for the second week is typical of the genre: A Tribute to Women I Initial production here of the Ideal Comedy-Drama by Lincoln J. Carter, "THE DEFENDER." 15Los Angeles Times, August 10, 1897. 119 A Play of Heartfelt Interest, Depicting the Sublime Love, Devotion, and Self-Sacrifice of the Wife and Mother to All She Holds Dearest to Her— Husband, Child, Home— A Play for the People! A Play Appealing to Eyes, Head, Heart After the melodramas, the Burbank Theater offered the Broadway Theater Company late in September, 1897, in a season which began with rather more respectable fare: Bronson Howard's Young Mrs. Winthrop, Gillette's Civil War romance Held By the Enemy. and Royle's comedy. Friends. In November, however, the Broadway Theater Company began featuring melodramas, turning to The Two Orphans. The Banker's Daughter, and similar plays. The Burbank Theatre also began advertising the addition of spectacular features: for Grover's Lost in New York, the attractions included an "Enormous Tank of over 45,000 Gallons of Water" for a scene in which the stage was "Converted Into a Vast River." The performance was made more exciting by the special engagement of "Dana Thompson, Champion High Diver of the World, Who Will Dive from the Ceiling of the Theater into only Four 17 Feet of Water." Such spectacular augmentations did not apparently attract large audiences, however, and Pearson sold his interest in the Burbank Theater to 1 g Playbill, Behymer Collection. ^Playbill, Behymer Collection. 120 John C. Fisher of San Diego, who assumed control on January 2, 1898. A. Y. Pearson had actively managed the Burbank for over a year; the frequent changes of policy under his management indicate that the popular-priced play house did not attract a steady audience in large enough numbers to support any consistent program of plays. The constant return to spectacular melodrama after short seasons of farce, comedy, and drama implies that it was the former genre of drama which was most likely to appeal to a large audience. Even with melodrama, how ever, the Burbank Theater was not overwhelmingly success ful. Even though Los Angeles was rapidly increasing its population throughout the middle of the 1890's, it did not provide enough regular theatergoers to fully support a year-round popular-priced theater. John Fisher's management of the Burbank Theater followed his successful career as a theater manager in 18 San Diego; initially, he made no changes in the Burbank Theater's policies. The Shaw Stock Company, which had begun an engagement the week before Fisher took control, presented five weeks of melodramas and 18 " Earnest, op. cit., 11:495-502, provides a description of Fisher's Operahouse and a summary of Fisher's theatrical activities in San Diego. 121 pastoral plays, and were followed by the Elleford Stock Company with seven weeks of similar fare. However, on March 13, 1898, Fisher closed the Burbank Theater for two weeks, ostensibly for renovation and repair, while announcing a new managerial policy: Manager Fisher wishes to call the public's attention to the fact that he is endeavoring to raise the standard of attractions, and will hereafter present at popular prices the best obtainable of the late eastern successes. Bright sparkling comedy is the thing to drive away dull care, and the main object in attending the theater is to obtain enjoyment and to secure this comedy should be the bill. An elaborate stage effect will be given each production.I® Accordingly, Fisher reopened the Burbank Theater on March 28 with the Belasco-Thall Stock Company of San Francisco, a troupe managed by Frederic Belasco and possessing a high reputation. The first play performed under the new policy, David Belasco and Franklin Fyle's The Girl I_ Left Behind Me, although hardly the "bright sparkling comedy" promised, clearly was intended to appeal to a different audience than had the plays offered by the Shaw or Elleford Companies. The Belasco- Fyle's romance also had the benefit of being topical: the Maine explosion occurred scarcely five weeks earlier, and reviews of the Burbank Theater's reopening l^Los Angeles Times, March 13, 1898. 122 approvingly mentioned the patriotic fervor with which 20 the military drama was greeted. For the next few weeks the Belasco-Thall company did present the promised comedy: Gillette's Too Much Johnson, Mrs. Pacheco's Incog, and Charley's Aunt were among the plays presented, along with Francis Powers' one-act Chinese drama, The First Born, the first production to play two full weeks in Los Angeles. Fisher also demonstrated a keen eye for the topical: the week following Dewey's victory in Manila Harbor the Burbank Theater presented Haworth's The Ensign, a naval play set in Havana Harbor. Two weeks later, on May 23rd, the proffered play was The White Squadron, described as "The 21 Great Naval, Romantic, and Spectacular Production." Early in June, 1898, the Burbank Theater's manager experimented with higher prices and a major star: Modjeska appeared at the popular-priced playhouse in productions of Mary Stuart, Magda, Adrienne Lecouvrer and Camille. Prices were scaled from twenty-five cents to one dollar and fifty cents for the actress' two-week engagement. Modjeska was supported by the Belasco-Thall Company, who continued in farce after two weeks of the 20Ibid., April 5, 1898. 21 Playbill, Behymer Collection. 123 more refined material. And despite the promises of the manager, on July 10th the Burbank Theater returned to melodrama: the bill was the Belasco-Thall Company in East Lynne, followed shortly by Uncle Tom's Cabin. A new company, the Bacon Stock Company, opened on June 31st with Clay M. Greene's Under the Polar Star, another spectacular melodrama, and the Los Angeles Times on the same day observed: Having tried for a number of weeks the experiment of putting on standard plays at the Burbank, and having found it the reverse of financial success, Manager Fisher has decided to appeal to the popular taste with something more spectacular and highly-spiced. The audiences who so thoroughly enjoyed Lester Lonergan's exquisitely finished work in "A Social Highwayman," and who have appreciated the finished comedy of Frank Bacon in "Gloriana" and of L. R. Stockwell in "The Gay Parisians," have been distinguished more for quality than for quantity. It is quantity that pays, and quantity is always the chief characteristic of the houses that assemble to greet a spectacular melodrama. Fisher announced two weeks later his departure from the Burbank Theater's management; he assumed control of Madame Modjeska's tours, and eventually became active as 22 a producer in New York. His last weeks at the Burbank 22 Perhaps his most successful venture was the musical Floradora, which opened in New York on November 10, 1900, and ran continuously (both on tour and in New York) throughout the decade. Burns Mantle and Garrison P. Sherwood, eds., The Best Plays of 1899-1909 and the 124 Theater were not, from all indications, successful: the Bacon Company's production of Captain Swift attempted to attract larger audiences by including coupons in the newspaper advertisements which permitted each lady who purchased a seat to obtain one free. The playhouse was again closed for redecoration on September 4, 1898. The lease and management of the Burbank Theater was assumed by C. A. Shaw, a local businessman, and Joseph Petrich, originally manager of the Los Angeles Orpheum. That the Burbank Theater had difficulties with its acoustics is indicated by the announcement of yet another new sounding board on the proscenium arch; once again the newspapers announced that the "acoustics of the building [have become] a thing to wonder at and admire." Under the managerial control of Shaw (Petrich withdrew after two weeks), the Burbank became, at least initially, the local outlet for popular-priced touring companies: Mr. and Mrs. Sidney Drew and company opened with light comedy, followed by the Pacheco Comedy Company, and then by Californian tragedienne Nance O'Neil in a week of emotional drama. year book of the drama in America (Philadelphia: The Blakiston Company, 19447T p. 37y. 23 Los Angeles Times, October 2, 1898. 125 The Grau Opera Company next opened a season of mixed comic and grand opera. The Grau Company had previously played at the Los Angeles Theater; the fact that they were now at the Burbank Theater with no advance in prices was stressed on all their playbills, which did not mention that their top price at the Los Angeles Theater had been seventy-five cents rather than the more usual dollar. The Grau organization occasionally mixed comic and grand opera in performance as well as in their repertory, prompting the Los Angeles Times critic to remark with apparent bewilderment: Just why the world famous sextette from "Lucia di Lammermoor" should be interpolated as a finale to "Fra Diavolo" is not apparent, but the sextette itself is so beautiful that all sense of in congruity is lost in the delight of its marvelous harmonies .... It was easily the best thing in the opera.24 Shaw's attempts to improve the program at the Burbank Theater received comment in the newspapers late in 1898, one writer observing that the manager had finally convinced the theatergoing public "that the Burbank is no longer given over to the production of 25 mediocre plays by fourth-class companies . . . ." Shortly after this journalistic comment, however, the 24Ibid., November 14, 1898. 2^Ibid., November 20, 1898. 126 Burbank Theater was occupied by a decidedly fourth-rate company, the Henderson Stock Company, who opened on December 6th with The Crust of Society and abruptly closed two weeks later. Early in January, 1899, a benefit performance was announced for members of the 26 "stranded, defunct" Henderson Company. Meanwhile, the Burbank Theater was occupied by the Lincoln J. Carter 27 Company in a series of spectacular melodramas. After a series of popular-priced touring com binations and engagements of emotional actresses— Nance O'Neil returned for a three-week engagement in January, 1899, and Janet Waldorf appeared for two weeks in February— the Burbank Theater was again turned over to comic and light opera with the Wakefield-Andrews troupe. Their seven-week season ended April 30th, after playing to increasingly smaller audiences, and Shaw relinquished the lease. The Burbank Theater remained closed for four months. Its lease was sought 2^Ibid., January 13, 1899. 27 The Carter Company opened at Hazard's Pavilion under Shaw's management on December 5th. The bad business done by the Henderson company as well as the chilliness of the cavernous Pavilion apparently per suaded the manager to close the Hendersons after an attempt to run the Carter production of Under The Dome at the Burbank Theater on a double bill with the Henderson production of The Ironmaster. 127 by both H. C. Wyatt of the Los Angeles Theater, and Oliver Morosco, a San Francisco manager. After some months, the latter gained control of the Burbank Theater and the playhouse reopened on September 3, 1899, with the Frawley Stock Company's production of Sardou's Madame Sans Gens. Morosco was to retain control of the Burbank Theater until its conversion into a film 28 theater in 1916. Morosco kept the Burbank Theater open con tinuously from September 3, 1899, until July 7, 1900. He presented a series of stock companies— the Frawley Company, James Neill and the Neill Company, Dailey’s Stock Company— in a varied program with heavy emphasis upon drama and comedy and only an occasional melodrama. He also presented popular-priced touring combinations, primarily in farce and vaudeville plays, and the emotional actress Nance O'Neil. During April, 1900, Morosco also made his first venture into a company under his own control with the Morosco Opera Company. The Burbank Theater closed on July 7, 1900, with the announcement that Morosco was leaving Los Angeles to 2®Schoen, o£. cit., pp. 289-290. Schoen's study also contains detailed accounts of Morosco*s career and describes his policies regarding original plays at the Burbank Theater. 128 29 engage Eastern actors for his own stock company. The Burbank Theater reopened on July 29, 1900, with the Neill Company in a season of comedy and drama. Morosco's own troupe, the Oliver-Leslie Company (Leslie Morosco, the manager's brother and a popular comedian, was co-proprietor and leading actor of the new aggregation) opened at the Burbank Theater on September 9, 1900. Their twelve-week season relied heavily, as had that of the Neill troupe, upon comedy, romantic plays, and farce. They were followed by a season of popular- priced touring combinations lasting until the return of the Frawley Company in February, 1901. Morosco's policies at the Burbank Theater re mained relatively constant from the time he assumed management in September, 1899, to the establishment of the permanent Burbank Theater Stock Company in November, 1904: he relied heavily upon semi-permanent traveling stock companies like those of T. Daniel Frawley, James Neill, and Ralph Cummings (all of which played several engagements during these five years), interspersing stock seasons with engagements of popular-priced touring combinations. As Table IV indicates, the nearly five full years that Morosco controlled the Burbank Theater 29 Sorrels, 0£. cit., p. 47. 129 TABLE IV PERFORMANCE WEEKS OF TOURING COMBINATIONS AND STOCK COMPANIES AT MOROSCO'S BURBANK THEATER, 1899-190/f Year Touring Combinations Stock Companies Totals 1899® 7 10 17 1900 13 36 49 1901 15 37 52 1902 21 31 52 1903 7 45 52 1904b 7 37 44 Totals 70 196 266 £ Oliver Morosco assumed the management of the Burbank Theater on September 3i 1899# bThe permanent Burbank Theater Stock Company opened November 6| 190if, thus playing eight weeks In 1904* Its performance weeks are not Included here. 130 before his permanent company opened were dominated by 30 the traveling stock company. By 1903, Morosco's association with Neill and Frawley was definite enough to form a holding company: the Morosco-Neill Company was announced on January 9, 1903, for the purpose of managing the affairs of the Neill Company, the Neill- Morosco Company, the Neill-Frawley Company, and the Frawley Company, all of which were touring or- 31 ganizations. After 1900, the Burbank Theater was closed only once, when it was redecorated and the seating capacity slightly increased. There were, however, no structural changes in the interior of the building, nor were any changes made to the facilities 32 of the stage. 30 The genres of plays produced by these stock companies and the frequency of their presentation will be discussed below in Chapter IV. •^Los Angeles Times, January 9, 1903. Charles Astor Parker, secretary-treasurer of the new firm, was dismissed the following December and brought suit against the company. His action revealed that the company had been capitalized for $5000.00. Neill and Morosco invested $1900.00 apiece, Parker's share was $1000.00, and the two other directors, Edwin Neill and Robert Morris, Jr., invested $100.00 each. See the Los Angeles Times, December 19, 1903. ^Ibid., November 16, 1903. 131 Hazard1s Pavilion Although the Los Angeles and Burbank Theaters provided the overwhelming majority of the professional theatrical entertainment in Los Angeles between 1895 and 1903, occasional performances were given at the enormous Hazard's Pavilion, in addition to the concerts, circuses, and conventions held in that hall. Hazard's Pavilion had opened in 1887, with a seating capacity of over four thousand; because of its enormous size and poor acoustics, it was only rarely used for dramatic per formances, and then only when none of the regular theaters were free. In 1895, 1897, and 1902, for example, Hazard's housed no dramatic presentations. Its sole use in 1896 was the two performances on March 21st of a spectacular version of Uncle Tom's Cabin, while in 1898 Lincoln J. Carter's Melodrama Company occupied Hazard's for nearly two weeks under the management of the Burbank's current manager, C. A. Shaw, since the Burbank Theater was already occupied. In 1899, the King Yung Fee Chinese Theater Company presented six performances of Chinese opera at Hazard's as part of the entertainment 33 Henry A. Sutherland, "Requiem for the Los Angeles Philharmonic Auditorium," Southern California Quarterly, XLVIII (September, 1965) , 309-31TFI 132 offered to the National Educational Association, then holding its national convention in Los Angeles; at the end of the same year, H. C. Wyatt presented the vaude ville play The Hottest Coon in Dixie at Hazard's Pavilion, the Los Angeles Theater being occupied. In 1900 Hazard's was used for three performances by Maurice Grau's Metropolitan Opera Company; the demand for tickets to hear Nellie Melba sold the full capacity of the Pavilion for her performance of La Boheme. Another version of Uncle Tom's Cabin followed the grand opera, and 1900 was closed by a short season of minstrels. Similarly, the Sembrich Opera Company presented a single performance of Don Pasquale at the enormous building on April 11, 1901, and the Grau Metropolitan Opera troupe returned for three additional performances in November of the same year. Hazard's Pavilion did not house another theatrical performance until December 25, 1902, when it was booked for Stetson's Uncle Tom's Cabin; again, both the Los Angeles and Burbank Theaters were occupied. The Minor Theaters Minor playhouses appeared and disappeared with great frequency between 1895 and 1903; most of them were devoted to vaudeville and, occasionally, to moving 133 pictures. The first of these was Talley's Photographic Parler, which advertised in the Los Angeles Times for July 25, 18 96, that Vitascope pictures of the Corbett- Courtney prizefight were showing twice daily. Located in the Turnverein Hall at 321 South Spring Street, Talley's Photographic Parler advertised only briefly, and no further mention was made of the enterprise in the city's press. The number of minor theaters increased dramatically after the turn of the century. The Unique Theater at 456 South Spring Street opened August 31, 1900, playing continuous vaudeville (six performances a day) and charging ten cents per admission. The Unique initially seated approximately two hundred and fifty patrons, and remained open until at least the end of 1902.^ The Chutes amusement park located on Washington Boulevard at Main Street, included a canvas playhouse which opened in March, 1901, with vaudeville. The Chutes Park was occasionally used for spectacular theatrical performances, as it was for the two-week run of H. M. S. Pinafore during October, 1901, which ^ The Musical Herald, November 26, 1901. The last mention of the Unique Theater in the local news papers is during November, 1902; it reappeared in November, 1903, but was then located at 629 South Broadway. 134 featured "A Fully Rigged Man-of-War in the Lake, the Opera Enacted on its Deck."35 The canvas theater at the Chutes was replaced by a more permanent structure seating fourteen hundred, which opened December 29, 1901, with a vaudeville policy. The Chutes Theater ventured into drama only once, with the engagement of the Lyric Stock Company in two weeks of "burlesque extravaganza" in July, 1902.35 It thereafter reverted to variety and vaudeville entertainment. Los Angeles' second moving picture theater opened during April, 1902: the Electric Theater, managed by the same Mr. Talley who had earlier operated Talley's Photographic Parler, was located at 262 South Main Street, and featured an hour-long performance for ten 37 cents with five showings a day. And the Cineograph Theater, devoted to vaudeville and motion pictures, with the former changed weekly and the latter daily, opened on September 2nd of the same year. Located on Court Street between Spring and Main, the Cineograph seated twelve hundred and also charged ten cents admission. Both theaters advertised sporadically throughout the 3^Los Angeles Times, October 6, 1901. 3 5lb id., December 30, 1901; July 6, 1902. ^Ibid., May 11, 1902. 135 spring of 1903. II. 1903 TO 1906 The Mason Operahouse In 1902 John Mason, a member of an old and wealthy Los Angeles family, undertook to build a new theater and entered into negotiations with H. C. Wyatt for the proposed playhouse's management. The new building was to be lavish, and Mason eventually spent 38 $163,357.00 in construction costs. The impetus for building the theater was similar to Ozra Child's decision to finance the Grand Operahouse in 1884: Los Angeles needed a modern, splendid theater to reinforce 39 her claims to cosmopolitan status. The aging Los Angeles Theater was cramped, limited in dressing room space, and frequent comments were made about chilly 40 draughts blowing across the audience from the stage. The staff of the Los Angeles Theater was also occasion ally lax in their duty, as a review of the romantic play 38 Boyle Workman, The City That Grew, as told to Caroline Walker (Los Angeles: The Southland Publishing Company, 1936), p. 355. 39 See Kaufman, op. cit. ^ Los Angeles Evening Record, December 17, 1902. 136 Strathmore noted: There are stirring scenes and strong climaxes. These were marred last evening by an unaccountable mixup behind the scenes, by which the curtain was thrice lowered at the wrong time. Thrice it interposed a temporary barrier between the principal dramatis personae and the audience at a critical moment, and the last time it caught Lord Strathmore (as impersonated by Mr. [Alex] Frank) in the region of the medulla oblongata with a thud that was distinctly dull and more or less sickening. Somebody blundered egregriously, and somebody probably had the riot act read to him, as he deserved.41 When finally built (its construction was delayed by a series of strikes in the steel mills of San Francisco), the Mason Operahouse was indeed a splendid building. It was a big playhouse, with a seating capacity of approximately eighteen hundred, and a well-equipped stage large enough for the massive scenery of touring spectacles.43 Los Angeles was kept fully informed of the theater's progress during the building process, being notified of such diverse facts as the size and weight of the iron girders which com prised the proscenium arch, the materials used in every part of the theater, and the number and beauty of stock settings painted in Chicago.43 The most prominent 41Los Angeles Times, March 30, 1903. 43A full description is given, in exhaustive de tail, in Gartler, oja. cit., pp. 8-36. 43Los Angeles Daily Herald, November 20, 1902? 137 feature of the new playhouse, however, was its enormous foyer, running the full width of the building on the Broadway side. The foyer was the crowning touch of the theater, marking it as a society structure, one in which the audience took on an importance of their own. The foyer was arranged without steps leading up to the dress circle, substituting slightly inclined ramps to permit more stately promenades. A contemporary account gives a hint of the lavish decorations: From the main entrance the promenade foyer will be entered, moulded [sic] after a Pompeian court, supported by twenty columns at the sides that will be thirty feet high. From these columns and walls will be the inclines to the dress circle and the front floor. In the ceiling of thie court will be a rose trellis, through which, separated by five feet of space, rose vines will climb. Under the inclines, to the right, will be the ladies' parlor, boudoir and checkrooms; to the left will be the gentlemen's checkroom and smoking rooms.^4 The Mason Operahouse opened on June 18, 1903, with a touring company of Justin McCarthy's romance, If I Were King, headed by E. H. Sothern. Newspaper coverage of the opening, however, tended to ignore the play (after a few words of perfunctory praise) and instead stressed the brilliance of the occasion, the beauty of the female Los Angeles Times, March 22, 1903. ^Clipping, Behymer Collection, Press Clippings, Volume 11. 138 patrons, and compared Los Angeles in glowing terms 45 with the social life of Pans, London, and New York. Performances at the Mason Operahouse quickly took on a social, rather than theatrical, significance, as one of the participants observed: First nights at the Mason were brilliant occasions, usually preceded by dinners at the Van Nuys [Hotel] or Levy's [Restaurant] or private homes, and followed by supper at Levy's or the Alexandria Hotel. Many of the patrons engaged the same seats for the entire season of first nights, and as the seasons followed one another, first nights became one of the intimate social occasions. One knew just where to look to find one's friends. The spacious foyer of the theater was the first of its kind in the city. Between acts the men and women, in formal evening attire, met in the foyer for conversation and dis cussion of the play, giving the long salon the glamor of a brilliant reception.46 Despite the increased social significance of the Mason Operahouse, policies changed little in terms of its management. As indicated in Table I, the Mason Opera- house was occupied approximately the same number of weeks per year as had been the Los Angeles Theater; Table II demonstrates that the total number of standard- priced touring companies visiting Los Angeles did in fact increase after the Mason Operahouse opened, jumping 45 Los Angeles Times, June 19, 1903; Los Angeles Daily Herald, June 1$, 1903. 46 Workman, loc. cit. 139 from twenty-nine in 1903 to forty-two and forty-six in 1904 and 1905 respectively (the decrease to thirty such companies in 1906 is attributable, in part, to the San Francisco earthquake: the temporary loss of profitable playing time in San Francisco made the Pacific Coast less desirable for elaborate and expensive productions which had earlier relied upon at least two months in San Francisco to provide a financial cushion before touring to other cities in the west). According to figures assembled by Poggi, the number of touring companies reached a peak in 1904, beginning a steady decline in 1905.^ That Los Angeles experienced the commencement of the decline a year later than its occurrence on the national scene may be attributable to the newness of the Mason Operahouse (and the increased potential for profit in a rapidly growing Los Angeles), or may simply be a statistically meaningless variation in numbers. Those productions which did play at the Mason Operahouse remained of the same type and origin as those which earlier appeared at the Los Angeles Theater: touring companies managed by the Theatrical Syndicate, the major portion of them second and third 47 Jack Poggi, Theater in America; The Impact of Economic Forces, 1870-1967 (Ithica, New York: Cornell University Press, 1968), pp. 30-31. 140 companies, with a goodly number of major stars also visiting southern California. The price range at the Mason Operahouse increased somewhat: the usual scale ran from fifty cents to one dollar and fifty cents, with an occasional two-dollar top price charged for major attractions (Anna Held in Mam1zelle Napoleon, Mary Mannering in Harriet1s Honeymoon, Maude Adams in The Little Minister. Maxine Elliott in Her Own Wav are a few random examples of such productions which were presented at the Mason Operahouse in 1904). The top price was only rarely raised to two dollars and fifty cents (as it was for Richard Mansfield in 1905), and occasionally was lowered to one dollar for less glittering attractions (the Silbert Yiddish Opera Company— surely a strange booking for Anglo-Saxon Los Angeles at any price— in 1906, Sam Shubert's musical production A Chinese Honeymoon and Ben Hendricks in the genre play, Erik of Sweden, both in 1904). The Grand Operahouse After the opening of the Mason Operahouse, H. C. Wyatt leased the old Los Angeles Theater to the Orpheum circuit on the condition that the Orpheum Theater on Main Street (originally the Grand Operahouse) would 141 4 8 not remain open as a vaudeville theater. The Main Street Orpehum continued to play vaudeville during the summer of 1903 while the Los Angeles Theater was re modeled as a vaudeville house. Modifications were extensive: the interior of the structure was almost entirely rebuilt: When the workmen finished tearing down the old house, little was left but a shell. So the theater is new, and in fact a new house. The eight boxes on the main floor have been replaced by twelve new boxes and two loges .... The old balcony and gallery were entirely removed, and have been replaced by new ones to give better results in the matter of seeing and hearing. The seating capacity has at the same time been increased. The stage has been remodeled also, and additional lighting facilities have been put in . . . . A new feature of the theater is the row of mezzanine boxes placed in the front part of the balcony. New seats have been put in the entire building. The main floor now seats 562, with 48 additional in the boxes. The balcony seats 353, with 52 in the boxes. The gallery seats 550, giving the house a total seating capacity of 1601.49 The new Orpheum Theater opened, after nearly four months of reconstruction, on September 7, 1903. The building formerly occupied by the vaudeville circuit as the Los Angeles Orpheum saw its final vaudeville performance on September 5th; the following afternoon, the former Orpheum reopened as the Grand Operahouse with a matinee 48 Los Angeles Times, June 9, 1903. 4^Ibid., September 6, 1903. 142 performance of Raleigh and Hicks' racing melodrama, Sporting Life. as performed by the Walter Sanford Company of Players. The Grand Operahouse was managed by Clarence Drown, manager of the Orpheum, but bookings were controlled by the Stair and Havlin Circuit. It remained open year-round through 1906, with performances scheduled Sunday through Saturday, matinees on Sunday, Tuesday and Saturday. The standard price scale at the Grand Operahouse remained ten cents through fifty cents, with seventy-five cents charged for box seats. As indicated by Table V, the Grand Operahouse was occupied by stock companies and popular-priced touring combina tions in fairly equal proportions; with the establishment of permanent stock companies at the Burbank and Belasco Theaters, the Grand Operahouse provided the only major stage in Los Angeles for the touring companies which had previously played at the Burbank Theater. The Grand also had the equivalent of a permanent stock company: the Ulrich Company spent the summer months of 1904, 1905 and 1906 at the playhouse. Thus the stock company figures for those years refer to the unbroken engagement of one company. The fall and winter months at the Grand Opera- house were generally billed as 'Combination Season'; it was then that the popular-priced companies visited the theater. 143 TABLE V PERFORMANCE WEEKS OF TOURING COMBINATIONS AND STOCK COMPANIES AT THE GRAND OPERAHOUSE, 1903-1906® Year Touring Combinations Stock Companies Totals 1903 8 8 16 1901* 32* 19 5l£ 1905 27 25 52 1906 22 30 52 Totals 89* 82 17l£ £ The Grand Operahouse opened September 7, 1903* 144 The Grand Operahouse was also used in 1904 and 1905 as part of the effort to break the power of the Theatrical Syndicate. Stair and Havlin briefly placed their chain of theaters at the disposal of the Inde pendent Booking Agency; the move appears to have been prompted by the efforts of the Syndicate to invade the popular-rpiced field which was Stair and Havlin's chief 50 area of concentration. As a result, Minnie Maddern Fiske played four performances at the Grand Operahouse in April, 1904 (her repertory included two Ibsen plays, Hedda Gabler and A Doll's House), Isabel Irving followed in May with Churchill's The Crisis, and David Belasco presented Blanche Bates in The Darling of the Gods during January, 1905. Prices for Mrs. Fiske and Miss Bates ranged from fifty cents to two dollars, while The Crisis production's ticket prices were scaled from fifty cents to one dollar and fifty cents. The arrange ment of the Independent Booking Agency with the Stair and Havlin did not survive the Syndicate's offer not to com pete in the popular-priced field, however; when Mrs. Fiske returned to Los Angeles in June, 1905, with her production of Leah Kleschna, she was forced to perform at Hazard's Pavilion (renamed the Temple Auditorium; see ^Baker, o£. cit., p. 464. 145 below). The Burbank and Belasco Theaters With standard-priced touring companies booked into the Mason Operahouse and the popular-priced combinations at the Grand Operahouse, changes in policy were clearly demanded at the Burbank Theater. As noted in Table IV, the number of popular-priced touring combinations at that playhouse fell sharply in 1903; Morosco's response to competition was to increase emphasis upon the stock company, and it was during 1903, as previously discussed, that Morosco formed associations with a number of stock companies along the entire Pacific Coast. The major change in policy at the Burbank Theater, the establishment of a permanent stock company, came in answer to the competition from a new theatrical venture 51 in Los Angeles, the Belasco Theater. Schoen, o£. cit., pp. 29-30, maintains that the Belasco Theater "did not present a major threat to Morosco's supremacy in theatrical enterprises in Los Angeles. The Burbank Theatre was so well suited for theatrical productions that it suffered no loss of patronage as a result of the reported grandeur of the Belasco Theatre." The present study holds that there was, on the contrary, enormous rivalry between the two manage ments for much the same audience and that it was pre cisely because Morosco's "supremacy," at least in terms of popular-priced stock companies, was strongly threatened when the Belasco Theater opened that the permanent Burbank Theater Stock Company was formed. 146 Frederic Belasco, brother of the New York producer-director, had long been active in San Francisco as a director and producer; touring companies under his control had frequently performed at the Burbank Theater, and the Belasco-Thall Company played a lengthy engage ment at the local popular-priced playhouse in 1898. In 1903, Belasco began construction of a new theater at 339 South Main Street, two blocks north of the Burbank Theater. The new playhouse, the Belasco Theater, officially opened on August 29, 1904. It was occupied by a permanent stock company, the first in Los Angeles to last more than a few months, with performances scheduled Monday through Sunday evenings and matinees on Thursday and Saturday. Its prices (twenty-five, thirty- five, and fifty cents; seventy-five cents for box seats) were comparable to those of the Burbank Theater (fifteen to fifty cents, with the same price for box seats), Manager John Blackwood promised good plays with a weekly change of bill, and had the advantage of the famed Belasco reputation for excellent and realistic settings. In addition, the Belasco Theater was newer than the Burbank Theater, and also seems to have been a more 52 attractive playhouse. The Burbank Theater was large, C O -^Both theaters were, in 1972, still standing. The Belasco is now named the New Follies, and operates as 147 with a seating capacity of approximately two thousand; it was also ten years old and, despite redecorations and rebuilding of the interior following the 1897 fire, must have shown signs of age. The acoustics of the Burbank Theater also were not perfect; new sounding boards installed on the proscenium wall in 1897 and 1898 imply that constant efforts were necessary to improve the quality of sound in the playhouse. The Burbank Theater also featured throughout the period under discussion an old-fashioned advertising curtain which had become, by 1904, an accepted if not altogether acceptable feature of the theater. The Belasco Theater, by contrast, was much smaller. Its seating capacity was under thirteen hundred, and accounts of the new theater make pointed reference to the condition of the Burbank Theater: As a playhouse nothing more pretty nor more cozy than the new Belasco can be imagined. Decorators are putting the finishing touches on one of the most tasteful mural schemes ever presented to a discriminating public, and when the house opens for the patrons next Monday evening it will afford a luxurious frame for the fashion and beauty confidently expected to grace the occasion. Throughout the interior there has been a conscientious adherence to a chaste color scheme in green of various shades, white and gold— not a combination burlesque and sexploitation cinema theater; the Burbank retains its original name, and also houses sexploitation films. 148 Dutch metal nor bronze that will quickly tarnish, but the pure leaf that will remain undimmed. Seats covered with green leather are of the most comfortable patterns and ample room is afforded the sitters. The six boxes on each side are draped in plush curtains bearing the initial B, which letter will form the only adornment of the drop curtain of the stage. Let it be noted here there will be no advertising curtain in the Belasco. In the arrangement of the stage the more modern ideas are adopted. One of them is the provision of ample room. It is the highest stage in the city. So assiduously have the scene painters been at work that they have completed the scenery for the opening pro duction and are now working on the canvas for the second. Neither the fire test nor the acid test could have any effect upon the fine asbestos curtain which has been installed for protection. From the stage there are five exits, from the lower part of the auditorium are six and from the balcony are four. On each side of the theater, on the ground, is a court five feet wide which may be utilized as a promenade by patrons for pleasure and afford excellent emergency out lets. These courts are reserved from the lot owned by the theater company and no subsequent building operations can cut them off. From an alley and on the ground level the main stage door is wide enough to admit a wagon or an automobile needed in a play. Neither here nor at any of the other points of exit can any obstacle interfere with the hasty exit of patrons in the event of a panic from any cause. Frederick [sic] Belasco is present every day doing what may be necessary to facilitate the work of the contractors, who say they will have everything in perfect order before the hour for admitting the public. The new theater is on Main Street, just north of the Van Nuys Hotel . . . . The seating capacity of the house is 1,200. This theater is designed to be the permanent home of a first-class dramatic stock company and to appeal to the highest culture and intelligence 149 53 of the community. Fred Belasco has made good his boast to give the city its most comfortable theater as far as seats are concerned. The chairs, dark wood and upholstered generously in green leather, are roomy, set far apart, and delightfully restful. They are almost conducive to slumber. There are 1280 seats in the Belasco, and the line of sight from every one is perfect. One enters the house proper through a vestibule finished in red burlap and stained pine with a dark-green ceiling, heavily cross beamed. The floor is tiling in small mosaic patterns. It is small and compact, but large enough to accommodate a well-ordered crowd on its way in to see one of the Belasco productions. Pictures of the company will adorn the walls of the lobby. Inside, the little theater is a blaze of glory. Twenty-two hundred lights flash over the art scheme of green and cream and gold in which the walls and ceiling are elaborated. There are 500 lights in the proscenium arch, each globe set in the corolla of a flower, surrounded by stucco work in cream and gold. The box lights and all the chandeliers are screened in cut glass globes. The whole is one of richness and beauty.54 The new Belasco Theater . . . will introduce many new playhouse features to Los Angeles audiences. The best in stage furnishings, house lighting and decoration are also to be offered to local amusement lovers. To begin with, Mr. Belasco, in accordance with the original Bayreuth idea, copied much in eastern theaters, has concealed his orchestra. The musicians are sunk out of sight, below the theater floor, and the only sign of their presence is to be the melody which will float 53los Angeles Evening Express, August 27, 1904. Interior of New Playhouse a Marvel of Magnificence," Los Angeles Examiner, August 29, 1904. 150 up from the pit. A brand new system of electric switching, with a set of dimmer banks unlike any other in the United States, patented by the Belascos and their inventor, stands at the right of the proscenium. This switchboard is called one of the most complete in the West, and another first class theater here, whose electrician saw the workings, is now about to install a similar one. ^ The Belasco Theater competed with the Burbank Theater in more ways than simply its physical appearance. Morosco had installed the Oliver Morosco Company with much fanfare on June 27, 1904; the company included Amelia Gardner, a highly popular leading lady; William Desmond, a handsome and appropriately muscled leading man who had first appeared in Los Angeles the preceding fall during the Grand Operahouse's initial season of stirring melodrama; Harry Mestayer, a character juvenile responsible for virtually all of the early performances of Ibsen in Los Angeles; and Thomas Oberle, an extremely popular 'heavy' actor. The Oliver Morosco Company played at the Burbank Theater for four months, and were idle only when David Belasco's production of Du Barry (with Mrs. Leslie Carter in the title role) was presented at road company prices for one week. The Oliver Morosco Company presented a wide range of plays, most of them ^ Los Angeles Times, August 28, 1904. 151 new to Los Angeles audiences, covering such diverse genres as Irish melodrama (Robert Emmett, which played the week of September 4th), modern drama (Ibsen's Ghosts was given a special matinee performance on August 18th) and sentimental comedy (H. V. Esmond's When We Were Twenty-One, week of October 9th). Often the choice of the weekly bill seemed determined by the Belasco Theater's recent or forthcoming plays rather than by any other consideration: the production of Esmond's When We Were Twenty-One was billed as "The Real H. V. Esomnd Success" and followed the Belasco Theater Stock Company's production of Esmond's pastoral comedy One Summer's Day by two weeks, while a production of The Cavalier was billed as being "Interpreted by the Only Real Stock Company in Los Angeles." Two weeks after that statement, however, came the announcement that the Oliver Morosco Company was leaving Los Angeles for an engagement in San Francisco, and would there be dis banded. The Burbank Theater was occupied for the following two weeks (October 23 through November 5, 1904) by a young romantic actor, White Whittlesey, heading a company controlled by Belasco and Mayer, proprietors of the Belasco Theater; the engagement had been contracted prior to the opening of the Belasco Theater. The new Burbank Theater Stock Company, headed by the San 152 Francisco comedian L. R. Stockwell, opened November 6, 1904, for a season of unrelieved farce and melodrama. Comment in the local newspapers made it clear enough why the Oliver Morosco Company, playing a generally good quality of drama and, from all indications, performing the plays well, was disbanded in favor of an aggregation specializing in broad farce and stirring melodrama: the profit motive. The journalistic notices, while agreeing that the kind of plays and the actors in the Burbank Theater Stock Company were of much lesser caliber than those of the Oliver Morosco Company, also all agreed that business was much better at the Burbank Theater following the change. A reporter for the Los Angeles Examiner of November 14, 1906, articulated the general tone of these comments: Personally, I am grieved to see this sort of thing received with such favor in the theater that— advertising curtain, lemon drops and such— has been the temple of dramatic art in Los Angeles. If the management has tired of giving us $1.50 performances for 50 cents and has seen fit to remove the old company to a city which rewards him by filling his house every night; if the Los Angeles public prefers "My Friend From India" and other farces of this ilk pre sented by a company that can play farces acceptably— well, one may be captious and cranky about it, but can one blame the manage ment?^ 56 . . Similar comments were voiced in the Los Angeles Times, November 20, 1904, and the Los Angeles Evening Express, November 12, 1904. 153 Morosco's initial reaction to the appearance of the Belasco Theater and the presence of the Belascos in Los Angeles on a permanent basis, therefore, was an attempt to present plays of good enough quality with good stock actors to provide competition and to maintain his position as the controller of popular-priced drama in the city. That attempt being unsuccessful, he then turned to farce and melodrama in an effort to attract the 'down town' audience. He also lowered gallery ticket prices from fifteen to ten cents, making the Burbank Theater's gallery less expensive than that of the Belasco and the same price as at the Grand Operahouse. Nor were these moves by Morosco made in an atmosphere of cooperation. Only occasional indications of animosity between the managements of the Burbank and Belasco Theaters surfaced in the newspapers, but strongly enough to imply deeper feelings. The most obvious level of competition was the booking of similar plays: the Burbank Theater production of Mizpah, a romantic play with a plot taken from the Old Testament popular enough to become the first production by the Burbank Theater Stock Company to run two consecutive weeks, was produced one week before the Belasco Theater Stock Company presented Parsifal, which also ran two weeks. The latter play, based on the Wagnerian opera, was equally romantic 154 in nature, and was more religious if anything. The production of Parsifal, which opened March 20, 1905, was the Belasco Theater's response to the widely heralded appearance of the Conreid Metropolitan Opera Company, which was to present the Wagner version of Parsifal at the Temple Auditorium (Hazard's Pavilion) on April 17th and 18th of the same year. When the Belasco Theater marked its first anniversary in 1905 with a massive production of Bulwer-Lytton's Richelieu, the Burbank Theater simultaneously presented an equally massive production of lf_ I_ Were King. Similarly, when the Burbank Theater produced Morosco and Cottrell's The Judge and the Jury for an unprecendented three weeks after its November 12, 1905, opening, the Belasco Theater produced Clyde Fitch's The Cowboy and the Lady on November 13th. Although the latter play is a comedy and the former a drama, the two have similar settings and quite similar titles. The rivalry between the two managements included the hiring away of each other's leading performers. When the Oliver Morosco Company's imminent dissolution was announced, the Belasco Theater manager immediately signed Amelia Gardner and Thomas Oberle, the leading lady and 'heavy' actor with the Morosco troupe, to long term contracts. Morosco countered by hiring Amelia 155 Block, then leading lady at the Belasco Theater, and Oza Waldrop, the Belasco Theater's popular ingenue. Miss Gardner, Oberle, and Miss Waldrop made their first appearances at their respective new theaters simul taneously during the week of November 20, 1905, Morosco having sent Miss Block to one of his San Francisco com panies. In discussing the changes in personnel at the Belasco Theater, E. D. Price, general manager for Belasco and Mayer, denied (at least for publication) any friction between stock companies: This recent talk about a theater war in Los Angeles is all rubbish. Our firm goes along quietly and attends to its own affairs. It has no entangle ments. Its relations with other managements are entirely agreeable. There was a small cloud visible when some controversy was threatened over the time which we hold at the Burbank Theater for our road attractions, but this has entirely disappeared from the horizon.57 The friction, however, remained,and the Belasco Theater company brought suit against Morosco claiming breach of contract concerning bookings at the Burbank Theater. The 58 suit was settled out of court. Further changes in the personnel of the stock companies followed, with the Belasco Theater hiring William Bernard, the character actor at the Burbank Theater specializing in heavy roles, to replace 57Los Angeles Examiner, October 24, 1905. 58 Los Angeles Daily Herald, September 9, 1905. 156 Oberle, who had contracted tuberculosis and was to 59 recuperate in Arizona for a year. The illfeeling between the two companies again resulted in lawsuits during February, 1906, when Morosco sought an injunction to halt the Belasco Theater production of Francis Hodgson Burnett's The Little Prin cess. Both Belasco and Morosco, it turned out, had contracts for stock performances of the play. Belasco's had been obtained from Alice Kauser, while Morosco's was from Mrs. H. C. DeMille. Both agents had the right to make contracts. Morosco apparently had been planning a major production of the play at the Burbank Theater, but the Belasco Theater production was hurried into per formance well before Morosco could present his version. The injunction was denied; Morosco retaliated, however, by producing the popular farce The Man From Mexico during the same week. The farce had been extremely successful when presented in January, 1905, at the Belasco Theater, and that theater's management had planned to repeat it later in 1906. Again, duplicate 59 Los Angeles Evening Express, October 7, 1905. 157 contracts had been issued by different agents.^ The 'theater war' between the Belasco and Burbank Theater managements continued throughout 1906, and ended only in 1909 when Frederic Belasco and Oliver Morosco joined forces in establishing a chain of theaters in the western United States. The joint statement made by the two producers implied that neither had received as large benefits from the continued competition as hoped: We have been business competitors long enough to come to the conclusion that there is more money in an alliance between us than there is 60 "Little Princess Has No Home," Los Angeles Examiner, February 11, 1906; "Morosco Denied an In junction," ibid., February 12, 1906; "No Sign of Peace Between Warring Theaters," ibid., February 14, 1906. The entire brouhaha revealed some interesting facts concerning the economics of Los Angeles stock company production. Royalties for The Little Princess were, according to affidavits filed by the Belasco Theater's attorneys, $225 for one week in San Francisco at Belasco's Alcazar Theater and $200 for one week at the Los Angeles Belasco Theater. The Belasco Theater's staff claimed that the company numbered fifty people drawing salaries of about $3000, that special scenery had cost $1000, and that advertising costs were $400. Box office receipts for the week were expected to be between $5000 and $6000. It was on the basis of these figures that Morosco's request for an injunction was denied. The expected receipts may be inflated; the Los Angeles Times for December 4, 1905, had listed receipts at the Burbank Theater for the third week of The Judge and the Jury of $57 00 as "largest ever recorded at the Burbank," and that playhouse, although charging a slightly lower price scale for tickets, was at least seven hundred seats larger than the Belasco Theater. 158 in rivalry. Under the new agreement not only will we be enabled to produce plays which our rivalry prevented, but we will be able, because of the chain of theaters we will control, to give the Western public plays that would be beyond the reach of the average single manager. While the Belasco and Burbank Theaters were battling for supremacy in the field of popular-priced stock companies, numerous other theatrical ventures were begun in Los Angeles between 1903 and 1906. Most were unsuccessful; many others, theaters and companies which specialized in inexpensive vaudeville or bur lesque, are difficult to follow through the newspapers of the day since they rarely advertised and were even more rarely reviewed, relying instead upon an apparently stable neighborhood clientele. The increase in business at the legitimate playhouses alone (i.e., those theaters performing plays, either with local stock companies or with touring combinations, on a regular basis and considered important enough to receive both regular reviews and news coverage from the daily papers), as shown in Table I, is dramatic after 1903: the total performance weeks in Los Angeles doubled between 1903 and 1904, remained relatively stable in 1905, and then increased nearly twenty percent in 1906, jumping from ®^The Rounder, II, No. 46 (November 6, 1909), 2, cited in Schoen, o jd . cit., p . 79. 159 95-1/2 to 198, 195-1/2 and 246 total performance weeks, respectively. Much of the increase was due, of course, to the presence in 1904 of three year-round stock theaters— the Grand Operahouse, the Burbank Theater, and the Casino Theater— while in 1903 only the Burbank Theater had operated the entire year. The Casino and Hotchkiss Theaters The major theatrical enterprise in 1903 was the construction of Waldeck's Casino Theater. The Casino Theater, at 344 South Spring Street on a lot adjoining the Belasco Theater's site, was a small playhouse seating approximately eleven hundred. Waldeck (who was the treasurer and assistant manager of the Los Angeles Orpheum), originally planned to operate the Casino as a vaudeville theater at prices of ten, twenty and thirty cents, and to open a waxworks museum in conjunction with the playhouse. Waldeck's Casino Theater eventually 62 opened on December 21, 1903, after numerous delays. The playhouse opened not with vaudeville, but with Weber and Fields burlesques; Waldeck obtained the exclusive ®^A photograph of the theater on opening night taken from the stage, shows an intimate playhouse with the usual two balconies, filled with a prosperous looking and well-dressed audience. Harry Maidenberg Collection, Vol. II, Department of Special Collections, University of Southern California. 160 Los Angeles rights for the Weber and Fields musical comedies and presented them at popular prices: twenty- five to fifty cents, seventy-five cents for box seats, with a weekly change of bill on Monday and two matinees a week.®'* The Casino Theater thus began what was to prove a checkered career, so uncertain that by 1905 the newspapers were discussing the "hoodoo of the Casino" in familiar terms. The original season of Weber and Fields burlesques ran nineteen weeks with every outward indication of success: several of the plays ran two weeks, and the Casino Theater production of Fiddle-Dee- Dee was the first in the history of the Los Angeles theater to play three consecutive weeks. Advertisements advised the public to book seats well in advance, claiming that the playhouse was constantly sold out. On May 1, 1904, however, the burlesque season came to an abrupt end, Waldeck withdrew from the management of the theater he had built, and the Casino passed into the control of the unlikely combination of H. C. Wyatt and Oliver Morosco. The combination of Wyatt and Morosco was especially unlikely since the battle between the Theatrical Syndicate and the Independent Booking Agency was then at its height nationally. Wyatt was the 63l o s Angeles Times, December 16, 1903. 161 southern California representative of the Syndicate and controlled seven theaters in the area in addition to the Mason Operahouse. Morosco, by contrast, was strongly identified with the Independents and had, on February 20, 1904, joined with H. W. Bishop of San Francisco and J. P. Howe of Seattle to form the Pacific Coast Inde pendent Managers' Association, pledged to book only independent productions in the fourteen theaters controlled by the three managers in defiance of the 64 Syndicate's monopolistic grasp. Neither Wyatt nor Morosco seemed willing to pass up the opportunity for a profit, however, and they jointly purchased the lease of the Casino Theater. Morosco also gained control of the burlesque company which had performed the Weber and Fields season, and sent it on tour. The new management reopened the Casino Theater, at the same price scale, on May 16, 1904, with the Olympia Comic Opera Company, a troupe based in New Orleans which had performed success fully at the Mason Operahouse the preceding fall. Waldeck's failure at the Casino Theater was apparently a matter of overhead rather than one of unsuccessful productions; according to the Los Angeles 64 Baker, o£. cit., p. 485. 162 Times, which described the matter in close detail on May 1, 1904, the playhouse had cost twice the original construction estimates of $25,000 so that although the Weber and Fields burlesques were highly successful, they did not bring in enough profit to do more than make payments on the building's original cost. Little money was left over for distribution to the shareholders who had financed the construction and they, wanting a more rapid return for their money, turned to the area's prominently successful managers for greater profit. His ouster crushed Waldeck; despondent and distraught over his failure at the Casino Theater, he disappeared on May 1st, was found the following day unconscious in an uninhabited area near Santa Monica, 65 and died five days later. The Olympia Comic Opera Company played an extended season of twenty-six weeks at the Casino Theater, occupying the house until November. Three weeks of popular-priced touring companies followed, interspersed with two weeks in which the playhouse was empty. Then, 65lqs Angeles Times, May 2, 1904; Harris Newmark, Sixty Years in Southern California 1853-1913, ed. Maurice it. and Marco-R. Newmark, 4th ed., rev. W. W. Robinson (Los Angeles: Zeitlin and Ver Brugge, 1970), p. 682. 163 on December 18, 1904, came an announcement that the Casino Theater was to be occupied for "an extended season of vaudeville under the management of C. W. Alisky of San Francisco."66 Prices were even lower than those originally proposed by Waldeck over a year earlier: ten and twenty cents for performances every night of the week, with three matinees weekly. This policy displeased the owners, who wanted both high profits and high-class entertainment in their playhouse, and they attempted to evict Wyatt and Morosco. The last two weeks in February, 1905, were especially dramatic at the Casino Theater: the regular vaudeville performances continued with the added attraction of a loaded cannon placed in the lobby and ostentatiously armed guards posted at all entrances and exits, ostensibly to prevent the forcible eviction of the Wyatt-Morosco forces. On March 4, Wyatt and Morosco dissolved their partnership, relinquished (without, to the intense disappoinment of many of their regular patrons, firing a shot) control of the Casino, and the theater reopened eight days later under the management of C. W. Morganstern, the manager of another popular- priced vaudeville theater in Los Angeles, the Broadway 66 Los Angeles Times, December 18, 1904. 164 Theater. Morganstern continued the policy of inexpensive vaudeville. The Casino Theater's bad luck did not change with its third manager in as many years. The theater and its site were purchased in March, 1905, by Mrs. Mary Hotchkiss who, it was announced, intended to build a 68 . large and elaborate new theater on the site; the proposed theater never materialized. Morganstern, with a policy of inexpensive vaudeville, ran into the same difficulties as had Waldeck and the Wyatt-Morosco manage ments before him: profits were too low. The new manager was backed by Mrs. Emma Summers, the fabulously wealthy and colorful "Oil Queen" of southern California; when Morganstern1s programs proved too expensive— one account noted that his weekly gross receipts were $1200, while weekly expenses were between $1400 and $1500— Mrs. Summers took personal command of the Casino's box office and payroll, trimmed six hundred dollars from weekly expenses and even briefly acted as ticket-taker ! 69 to save salaries. 67Ibid., February 12, 1905; February 14, 1905; February 1$, 1905; March 4, 1905; March 12, 1905. ^9Los Angeles Examiner, March 20, 1905. ®^Ibid., July 11, 1905; Los Angeles Times, July 15, 1905. 165 The Casino Theater continued as a popular-priced vaudeville house through the rest of 1905, with occasional bills of mixed vaudeville, musical farce, travesty and burlesque. The theater again changed hands in January, 1906: Mrs. Hotchkiss renamed the playhouse the Hotchkiss Theater and leased it to T. Jeff White, who opened the theater on January 28th with the Olympia Comic Opera Company once again. The Olympia Company occupied the Hotchkiss for seventeen weeks, alternating comic opera with musical comedy. Weber and Fields burlesque returned on May 28, 1906, with a company headed by German-dialect comedians Kolb and Dill; their season directly competed with the Harry James Kings and Queens of Burlesque at the Mason Operahouse, also playing Weber and Fields burlesques at popular prices. Both companies suffered from the competition: the James company lasted only seven weeks, while the Hotchkiss Theater burlesque season ran ten weeks. The Hotchkiss returned to popular-priced vaudeville for two weeks, then reopened under the management of C. F. Hamilton as a popular-priced stock theater with the Howard and Hamilton Stock Company. The stock season, at prices and with plays comparable to those at the Burbank and Belas co Theaters, lasted sixteen weeks before closing December 1, 1906. The Hotchkiss remained dark for the 166 remaining weeks of 1906 amid reports that it would shortly be renamed the Tivoli Theater and open with comic opera and musical comedy. The Auditorium and Hazard’s PaviTion The final major theater construction in Los Angeles during the first six years of the twentieth century was the Auditorium, which opened on November 8, 1906. Built on the site of Hazard's Pavilion, the Auditorium had little impact during the period of the present study: it housed a season of opera presented by the Lambardi Grand Opera Company which provided the first major opera season in Los Angeles since 1900, and began a season of popular-priced stock performances. The Auditorium's period of major importance came two decades later when, as the Philharmonic Auditorium, it housed the Los Angeles Philharmonic Orchestra and became the home of most large touring companies to play in the 70 area. Hazard's Pavilion had continued its career as a large all-purpose hall throughout 1903 and most of 1904, ^®This aspect of the Auditorium's history is dis cussed in detail in Camille R. Bokar, "An Historical Study of the Legitimate Theater in Los Angeles 1920-1930 and Its Relation to the National Theatrical Scene" (dis sertation in progress, University of Southern California, Los Angeles, 1972). 167 providing space for assorted prize fights, band con certs, conventions, and lectures. Its only use for theatrical purposes in 1903 was the engagement of Stetson's Uncle Tom's Cabin the first week in January; in 1904 the structure was acquired by the newly or ganized Temple Baptist Church, whose lease began October 23rd. The Church immediately changed the building's name to the Temple Auditorium and used it for religious services on Sunday, but continued to sublet it 71 for other purposes other days in the week. The first theatrical venture in the renamed building, which was otherwise unaltered, was the week-long engagement of the Ben Greet Players in the medieval morality play Everyman, which opened October 31st, surely an appropri ate bill for a church-owned auditorium. In 1905, the Greet Players returned to the Temple Auditorium for two weeks, presenting Everyman and five Shakespearian plays, among which was an uncut and complete Hamlet; the latter was performed in two parts, beginning at two o'clock in the afternoon and continuing to midnight after a three- hour dinner break. Conreid's Metropolitan Opera Company performed Parsifal and Lucia di Lammermoor for single performances during April, and Mrs. Fiske's production 71 Los Angeles Examiner, October 7, 1905. 168 of Leah Kleschna occupied the building for three performances in June. Shortly after Mrs. Fiske's engagement ended, demolition of Hazard's Pavilion began. The new building, which was not completed until the fall of 1906, was in two units: a nine-story office building with its main frontage on Fifth Street, connected to the Auditorium, with frontage on Olive Street. The Auditorium housed religious services on Sunday, and was to be occupied by theatrical presentations the remainder of the week under the management of Sparks Berry. A large hall, the Auditorium had a total seating capacity of twenty-six hundred so that it, like the Pavilion, could house 72 concerts, conventions, and similar events. For theatrical performances, the seating was decreased to eighteen hundred and Berry contracted to present the Shuberts' touring companies between seasons of stock 73 companies. The Auditorium, billed as "The Theater Beautiful," opened as a stock theater with the Ferris Stock Company production of The Great Ruby on December 25, 1906. Its prices were the same as those 72 Sutherland, op. cit., pp. 319-321. 73 Los Angeles Daily Herald, January 26, 1906. 169 at the Burbank Theater: ten cents to fifty cents. Eight performances a week were scheduled with the bill changing on Monday. The Minor Theaters Los Angeles also supported a constantly fluc tuating number of minor theaters, most of which were devoted to inexpensive vaudeville, or mixtures of vaude ville, motion pictures, and musical travesty. Four such theaters were in operation for most of 1903 and 1904, six were generally open throughout 1905, and the number in 1906 increased to seven. Occasional seasons of stock were presented at some of these theaters: the Angelus Theater at 321 South Spring Street (in the Turnverein Building) opened as a stock theater in July, 1905, and remained open barely six weeks. An intimate theater seating six hundred and fifty, the Angelus had earlier proven unsuccessful as an inexpensive vaude ville playhouse and had its career in that field cut short when the Los Angeles Lighting Company turned off all electric power in the playhouse in the middle of a performance on June 10, 1905, because of nonpayment of bills.^ The Angelus Theater seemed as unlucky as the "Theater's Lights Suddenly Dimmed," ibid., June 11, 1905. 170 Casino/Hotchkiss Theater: between October, 1905, and December, 1906, the little playhouse's name was changed four times (Welch's Star Theater, the Hecla Theater, the Dizzy Theater, and the Gaiety Theater), and its policy varied between vaudeville, travesty and burlesque. Most of the other minor theaters were local representatives of larger chains. The Novelty Theater, located at 521 South Main Street across from the Burbank Theater and which opened October 22, 1905, formed part of Theodore Rothschild's Novelty Theater circuit of thirty theaters; the Graumann vaudeville circuit controlled the Broadway Theater at 554 South Broadway, which opened in January, 1903, and remained open through November, 1905; the Sullivan and Considine circuit gained booking control of the Empire Theater (Third Street between Main and Los Angeles Streets, opened June 25, 1905), Fischer's Theater (First Street, between Main and Los Angeles, opened May 7, 1905), and the Casino Theater during the period of its management by C. A. Morganstern. By the end of 1906, several of these minor theaters began to take over the function of popular-priced touring companies: the New People's Theater, which had opened August 5, 1906, when the Novelty Theater changed managements and names, presented a season of melodramatic stock in the fall of 171 1906, then a season of touring minstrels and Stetson's Uncle Tom's Cabin. Aside from the occasional attempts at regular stock seasons such as those at the Angelus Theater in 1905 and the New People's Theater in 1906, the minor Los Angeles theaters made no attempt to capture a wide audience, seemingly being content to rely upon regular patrons or, since their performances rarely ran more than an hour, to attract casual customers, the 'drop in' «. * 75 trade. SUMMARY Los Angeles theater between 1895 and 1906 reflected the city's population growth in the quantity and variety of of theatrical entertainment available. The three theaters of 1895 each served a clearly differentiated clientele: the Los Angeles Theater, with its high-priced touring companies, attracted the society audience and catered to Los Angeles' aspirations to be considered a major urban center. The Burbank Theater, ^"Cheap Theater Boom," Los Angeles Graphic, July 22, 1905; Clipping, Behymer Collection, Press Clippings, Volume 14. The Los Angeles Evening Record's daily listing of theaters between 1903 and 1906 provided much of the information concerning minor playhouses, which ordinarily neither advertised nor were reviewed. 172 with its combination of popular-priced touring combina tions and inexpensive stock, appealed to a steady audience seeking entertainment, while the Orpheum's vaudeville programs provided simple, wholesome, and reliable amusement. By 1906, the number of theaters had increased to five major theaters operating year-round, one playhouse which divided its playing time between inexpensive vaudeville and attempts to compete with the major theaters, and an unstable number of minor houses. Of the major theaters, the Mason Operahouse, the Grand Operahouse and the Orpheum Theater filled much the same functions as had their 1895 counterparts: the Mason Operahouse, with its large foyer and luxurious fittings, provided a social showplace for gatherings which were, on many occasions, only peripherally interested in the standard-priced touring companies appearing on the stage. The Grand Operahouse offered lengthy seasons of spectacular melodrama, interspersed with popular-priced touring companies which appealed to those seeking a diet of undemanding and satisfying entertianment, while the Orpheum Theater's vaudeville remained as amusing and wholesome as it had been in 1895. The two major stock companies at the Belasco and Burbank Theaters offered a mixed bill of legitimate theater at prices between the expensive tickets at the Mason 173 Operahouse and the inexpensive seats at the Grand Operahouse; the appeal of the stock companies was to the middle class segment of the Los Angeles population which was, as we have seen in the preceding chapter, an increasingly important and influential portion of the city's social fabric. The minor theaters presented fare which was, from all indications, similar to that of the Orpheum Theater but which was much less expensive, often a great deal gamier, and generally of shorter duration and was therefore designed for those with an idle hour or two to spend on simple amusement. CHAPTER IV GENRES OF PLAYS PERFORMED IN LOS ANGELES I. INTRODUCTION During the period 1895 through 1906 the legitimate theater in Los Angeles increased, as we have seen, in proportions approximating the city's population growth; the population in 1906 was more than four times as large as it had been in 1895, while the city supported twice as many major theaters, as well as five times as many minor playhouses, by 1906 as it had in 1895. It seems misleading to discuss the increase in theatrical entertainment in terms of growing sophistication as, for example, Tyler does: And so they came and went. Almost every year one of the aforementioned stars and matinee idols would come either with a single play or a large repertoire. The audience never tired of them. Loyal and eager and enthusiastic this Los Angeles audience, by now [1900] it had become as sophisticated and discerning as any group of New York first-night critics. It partonized and supported the theatre until the motion picture slowly began to squirm out of its swaddling clothes, rise up and give a lusty cry for recognition.1 ^Pamela Frederica Tyler,"The Los Angeles Theatre 174 175 The increase in Los Angeles audiences and their patronage of the drama was purely quantitative: there simply were many more Los Angelenos in 1906 than there had been in 1895. Consequently, greater patronage of the theater existed. The preceding chapter discussed Los Angeles' theaters and the numerous changes each playhouse under went during the period, but did not describe, apart from an occasional indication of the general type of drama presented in the several houses which attempted to present a uniform program, the range of plays presented upon the Los Angeles stages. The genres of plays performed, the frequency with which they were presented, and what can be discerned about their relative popularity are the topics of the present chapter. Part II, "Genres of Plays Presented in Los Angeles," discusses the genres of all the plays professionally performed in Los Angeles between 1895 and 1906,2 the frequency of each genre's 1850-1900" (unpublished Master's thesis, University of Southern California, Los Angeles, 1942), p. 82. This viewpoint is a common one, and was frequently expressed in the journalism of the period. ^Within the limitations established for the present study; see above, pp. 7-12. 17 6 production, and those individual plays which were most frequently performed. In addition, the plays performed for lengthy engagements are also discussed, as are yearly fluctuations in the number of each type of play presented. Part III, "Genres of Plays presented by Permanent Los Angeles Stock Companies," gives a more detailed description of the plays performed at the Belasco and Burbank Theaters, with contrasting infor mation drawn from the performances of the Ulrich Stock Company at the Grand Operahouse after 1903 and the policies at the Casino Theater in 1904 and the Hotchkiss Theater in 1906. The Belasco and Burbank Theaters are emphasized because they possessed continuity not only of performers and production policies, but also of audiences. Further, from all available evidence, the stock theaters' regular audience was for the most part composed of members of the middle class both economically and in terms of social rankings. Los Angeles was during the period under consideration a city dominated, atypically, by a middle class population, as argued in Chapter 11:^ the dramas presented at the most middle class of the 3 See above, pp. 68-72 177 playhouses in Los Angeles should prove most representative of Los Angeles theater. Part IV of the present chapter provides a brief summary of the material contained in the preceding sections. Genres and Their Definitions Throughout the present chapter, the over nine hundred plays performed in Los Angeles between 1895 and 1906 are discussed in terms of their 'genres.' The word is employed here essentially in the Random House Dictio nary of the English Language definition: "a class or category of artistic endeavor having a particular form., A content, technique, or the like." The 'genres' dis cussed below are, accordingly, classes or categories of theatrical presentation and are delineated by the form and content of individual plays rather than by modes of presentation. Contemporaneous criticism and discussions of specific productions indicate a uniformity of presentation throughout the period for all types of theatrical entertainment: there existed, in short, a pervasive style at the turn of the century, and it would 4jess Stein, ed., The Random House Dictionary of the English Language (The Unabridged Edition) (New York: Random House, 1967), p. 591. 178 therefore be futile to attempt to distinguish categories of drama by the manner of their performances. The genres employed were derived from a contemplation of the terms used in Los Angeles between 18 95 and 1906. Each play performed during the period under consideration was assigned a specific genre on the basis of contemporary comments: descriptions of the play given on the playbill, the designation accompanying the play in advertisements, and the comments made by news paper writers when discussing individual plays either in columns of criticism or in feature stories. The genres, or categories, into which the plays performed in Los Angeles are divided thus came from contemporaneous perceptions of the plays. In this manner, fifteen major classifications were developed. These fifteen genres are, perforce, somewhat arbitrary; scores of descriptive phrases were employed to describe different plays, far too many for the methods of quantification utilized here. The difficulties inherent in attempting to categorize artistic endeavors (however commercially oriented they might be) further make the genres used below arbitrary; the classifications developed are, accordingly, only rough approximations, and lines of division between genres are frequently imprecise. For this reason, similar genres are 179 frequently considered as groups rather than as individual categories. That differences did exist among the different genres (and were perceived as existing by contemporaneous observers) is apparent from numerous comments in the newspapers of the day. The distinction between genres is especially clear when the stock theaters— which tended to remain relatively consistent in the types of plays they presented^— performed genres other than their usual. When, for example, the Belasco Theater Stock Company, ordinarily identified with romantic and comedic plays, presented the melodramatic Lost River in 1905, one newspaper noted: It is worth the price of admission to see the courteous and gallant Belasco company handle this blood-curdler. Even the most critical cannot accuse Manager Blackwood's players of losing their dignity, of their own free will at least.® Each of the fifteen genres is defined below. Both the definitions and the assignment to genres of each play performed professionally in Los Angeles between 1895 and 1906 are based upon contemporaneous descriptions of the plays rather than from any contemplation of the drama's aesthetic nature. As a result of this process, ^See below, pp. 211-220. ®Los Angeles Evening Express, April 11, 1905. 180 some plays are classified differently than in earlier studies. Uncle Tom's Cabin, East Lynne, and The Two Orphans are all described by Earnest as 'dramas' when 7 included in her chart, "Most Popular Plays," yet are listed as 'melodramas' on the similar tabulation in the present study. All three of these plays were advertised and discussed as melodramas between 1895 and 1906; scenes such as Eliza crossing the ice in Uncle Tom's Cabin, the racing scene in East Lynne, and the snowstorm in The Two Orphans received major stress in performances of these plays during the period under consideration. Accordingly they were classified as melodramas by the criteria listed below. Similarly, many of the plays described in the present study as 'romances' (as are The Girl 1^ Left Behind Me and The Heart of Maryland, both highly successful Belasco dramas) often are referred to by authorities g (in these instances, Hornblow and Quinn respectively) 7 Sue Wolfer Earnest, "An Historical Study of the Growth of the Theatre in Southern California 1848-1894" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1947), 111:7-9, "Chart Number Three: Most Popular Plays." ^Arthur Hornblow, A History of the Theatre in America From Its Beginnings to thePresent Time (PhTTa- delphia: 37 B. Lippincott Company, 1919), 177794; Arthur Hobson Quin, A History of the American Drama From the Civil War to the Present Day (New York and London: Harper & Brothers Publishers, 1§27), 1:276. 181 as 'melodramas.' These Belasco plays are certainly melodramatic according to modern standards, with their semi-operatic styles and thrilling incidents, whether the Indian attack in the former play or the highly popular sequence in The Heart of Maryland in which the heroine silences an alarm bell by swinging on the clapper. Audiences and critics in Los Angeles between 1895 and 1906 did not view these (and similar plays) as melodramatic however; the plays were perceived as highly moving love stories filled with adventure, and as realistic character studies. Contemporaneous commentators drew a careful distinction between The Heart of Maryland and The Queen of the Highbinders (one of Theodore Kremer's stirring melodramas) or Uncle Tom's Cabin, and did so on the basis of the criteria elaborated below. Descriptions of the plays, and definitions of the fifteen genres employed here, were taken from contemporary discussion rather than from any contem plation of an individual drama's merit in absolute terms for the simple reason that in referring to the forms of drama most acceptable in Los Angeles at the turn of the century, that audience's perceptions of the plays were felt of more importance and interest than the views of later critics and historians. Critical classification of any period's drama by such criteria as literary merit 182 or aesthetic achievement is both valid and necessary when considering the potential survival of any artistic endeavor, but has little correspondence with the products of a totally commercial theater or the manner in which those products were perceived by their original audiences. It is not the purpose of the present study to establish any critical or aesthetic value for the plays performed in Los Angeles between 1895 and 1906, but rather to examine those plays in terms of the social order which patronized them; therefore the way in which the plays were viewed during the period is of paramount importance, even if such views may be considered naive or fallacious by a later, more demanding, age. A modern audience might well consider Boker's Francesca da Rimini (1855) melodramatic clap-trap; audiences at the Los Angeles Theater who attended Louis James and Frederick Warde's performances of the play in both 1895 and 1903 found it the height of tragic passion. It is the latter view of the play which is considered here rather than the former. The fifteen genres defined immediately below are divided into three groups: Legitimate Genres, Classic Genres, and Illegitimate Genres. In the discussion forming Part II, the genres are, for purposes of comparison, occasionally grouped into these general 183 classifications; the implications and validity of such groupings are discussed in Part IV below. Legitimate Genres The seven genres grouped as 'Legitimate' are those in which a unified story is told, with all elements of presentation ostensibly contributing to the theatrical rendition of that story. Melodrama includes those plays in which characters exert no control over their own actions but are instead victims of external forces, whether of nature, destiny, or the machinations of a readily identifiable villain. Plays of this genre place special emphasis upon elaborate and realistic scenic effects, frequently advertising the various effects to be expected. Romance, as a theatrical genre between 1895 and 1906, encompasses serious plays in which the plot revolves about the complications and intrigues of an idealistic love story. Romantic plays ordinarily take place in exotic locales, and often deal with historical subjects. Plays of this genre generally stress form rather than content and are preoccupied with adventure. Comedy describes plays with humorous plots and characters, in which the central figures triumph over various forms of adversity. Plays classified as comedy 184 during the period under consideration tend to emphasize character, and generally juxtapose strongly individual istic figures against the necessity of conforming to societal norms. Drama is the classification for serious plays which attempt, usually in a realistic manner, to describe contemporaneous social problems through character rather than plot. Plays of this genre are most often set in large cities close to the time of performance. Farce describes plays of a comedic nature in which emphasis is on situation and incident rather than on character. Characters in this genre most frequently are stereotypical, and plots are generally highly improbable from any criteria of realism. Comic opera denotes musical presentations of a comedic nature which contain both spoken dialogue and wholly sung sequences. The musical portions of these plays generally exceed the spoken dialogue, and the plays are characteristically set in exotic or fantastic locales. Pastoral refers to plays (often melodramatic in construction and plot) which are set in rural locations and which celebrate the virtues and benefits of an agrarian existence, usually in contradistinction to 185 urban life. Classic Genres Four categories were developed to include plays of a 'classic1 nature. Most performances in these genres were offered by touring stars (i.e., Modjeska, Richard Mansfield, Louis James, Frederick Warde, Nance O'Neil and others) during brief seasons of classical repertory. Only rarely were plays in these four classifications presented by the resident stock companies; there were no performances in these genres by touring combinations apart from those offered by major stars (or operatic companies). Opera specifies wholly sung presentations of a serious nature; between 1895 and 1906 in Los Angeles, opera was invariably performed in the language of its composition and was not translated into English. Shakespeare is the category including all plays by that playwright presented professionally in Los Angeles between 1895 and 1906. Period Drama includes all serious plays written prior to 1850, as well as verse plays written after that date which were considered tragic by contemporaneous observers. Period Comedy includes all comic plays written 186 prior to 1850 and performed in period costumes. Illegitimate Genres The following four genres are similar in that they do not possess unified plots, but instead rely upon interpolated features unrelated to the central story for their appeal. Criticism of the period tends to treat individual examples of each of these genres in a pejo rative manner. Vaudeville drama includes all plays which, in performance, contain specialty acts totally extraneous to the central plots. Such acts often include some, or all, of the following: songs and musical interludes, acrobatic acts, scenic displays, live animals, motion pictures, prize fights, dance routines, and comic monologues. Extravaganza refers to those plays which, although they do contain a unified story, rely heavily upon lavish scenery and large casts for their appeal. The extrava ganza is most often an elaborate form of musical comedy (and is, chronologically, a forerunner of that genre), and is primarily visual in its appeal. Musical comedy, as a theatrical genre between 1895 and 1906, includes comedic plays of extremely loose plot construction which contain songs and chorus 187 routines only occasionally connected with the central story. Its appeal is primarily visual, its characters most frequently stereotypical; the genre is similar to that of the extravaganza, differing only in that musical comedy tends to be more farcical in nature than the extravaganza, and appears in increasing numbers only after 1900. Burlesque is a specialized genre consisting of parodies of successful plays. Most frequently identified with the German-dialect comedy team of Weber and Fields (newspaper coverage refers often to plays of this genre as "Weberfields burlesques"), the burlesque usually features slapstick comedians, musical numbers, and rarely has a fixed content: individual portions of the presentation usually change from performance to per formance. II. GENRES OF PLAYS PRESENTED IN LOS ANGELES THEATERS: 1895-1906 Total Figures for All Plays Between 1895 and 1906 a wide range of plays were presented in Los Angeles. Nine hundred and twenty-three different plays were performed in a total of eighteen hundred and twenty-seven professional productions for ten 188 thousand, nine hundred and one performances. Although fifteen distinct genres were included in the over nine hundred plays presented, over fifty percent of the number of plays, number of productions, and number of performances were of four major types: melodrama, romance, comedy, and drama. The numerical totals for plays, productions, performances, and the percentages for each, are presented in Table VI, arranged in 9 descending order by number of plays xn each genre. Cumulative percentages for each category are also included. As Table VI indicates, the genre of melodrama dominated the total number of plays performed in Los Angeles by a margin of nearly two-to-one, comprising twenty-two percent of the total. When the number of performances of individual plays is considered, melodrama again accounts for twenty-two percent of the total; the share of the total number of productions for the genre, however, drops to sixteen percent. It still represents the greatest percentage of any genre in this category, but an appreciable decline in numbers is visible. The reason for this drop rests in the repertory of the Grand o For purposes of comparison, the same order is maintained in the other tables contained in the present chapter. Percentages in all tables often do not equal 100% due to the use of only two decimal points. .lelodraaa 204 22,10 22.10® 3->3 13.04 . - - a 1 1 ,C u 795: 22.55 . . , . a i-c.pp .Jounce 101 1 0 .'4 35 . O ii 204 11.17 77.21 •LP" 1 3 . 51c 5 -.77 Jojedy ;V 10. "3 ^5.?T 354 13 • ;1 0 91.11 1 5‘‘9 I 9 . r 30.25 Crana 88 v. 55 55* 170 -.50 50.91 1 00 ? 7.27 P0 .?! V audeville Drarna 33 ' " I ' 32,50 125 c.7 5 57.19 ”95 6 .c3 66.39 Conic Opera 74 :.'ja 70.51 135 ^ 0 5 66.17 756 6.79 73.23 Parce uo 7.15 7 7 .4 3 104 P • 0 ' '1.77 757 ' . ’9 50.22 P asto ral 37 c ^ i ~S • 120 5.57 7 c .93 "71 ■ ’.07 £7.29 M usical Conedy ** 9.76 *40 :-9 5 .7c c-2.21 JCO 3.76 70.95 Opera 30 5 .2 5 ■ /I ,85 115 ,2 - - j o . 50 22C 2.02 92.97 Shakespeare 20 2.1? >3.02 102 5.5c 79.06 205 1 . C O 99.65 2xtrava»anza 20 2.17 7 r * > 7 28 1.92 75.50 198 1.36 96.21 Period drana 13 1. 35 37.94 so 2 .7 9 76.29 107 .93 97.19 3urlescue 14 1 .52 "-*9,48 25 1.21 79.50 271 2.9? 99.63 Period co:a»dy 5 .59 10 C.CC 5 .50 100.00 35 .32 100.00 T otals .33 100.00 1 ;2? 100.00 10,901 100.00 "C urulative Percentage" in d ic a te s the accumulated per cents in each category. Thus helodrama and Ponaace combined famish 53.09 yen cent of the to t a l number of p lay s, 37.21 per cent of the to t a l p ro d u ctio n s, and 36.09 per cent of the to t a l perform ances. I t can th e re fo re be seen th a t Melodrama, p.onance, comedy and Drama account fo r over h a lf toe th e a tr ic a l entertainm ent offered in Los Angeles th e a te rs between 1695 and 1?06. 189 190 Operahouse after 1903 (to be discussed in detail in Part III below): overwhelmingly melodramatic, the Grand Operahouse's presentations generally played for one week engagements consisting of ten performances. This was the greatest number of weekly performances given in any Los Angeles playhouse and accounts for both the large number of plays (two hundred and four) and of per formances (twenty-four hundred and fifty-eight) for this particular genre. The melodramatic plays were rarely repeated: two hundred and four different plays assigned to this genre were given only two hundred and ninety- three productions, while comparable figures for other genres indicate many more repetitions of the same plays: one hundred and one different romances, for example, received two hundred and four productions, ninety-nine different comedies were performed in a total of two hundred and fifty-four productions, while eighty-eight dramas were given one hundred and seventy productions. Of all the genres described in Table VI, only vaude ville plays, musical plays, extravaganzas and burlesques— the four illegitimate genres which frequently overlap, as already indicated— demonstrate a comparable relationship between the number of plays in that classification and the number of productions which those plays received. Plays classified as melodramas according to the 191 criteria used in this study were among the most frequently performed in Los Angeles between 1895 and 1906 in terms of the actual number of plays, the number of productions of those plays, and the total number of performances. Melodramas were clearly the most successful genre of theatre performed during the period under consideration, even though individual plays received relatively few repetitions. Second in frequency of performance are the genres of romance and comedy; as indicated in Table VI, these two genres are extremely close both in number of plays and number of performances. More productions for slightly fewer plays may be noted for the genre of comedy, which may well be a function of the nature of those performances. The romantic plays of the period stressed story or plot, while the comedies as a whole stressed performance, a factor which allows more repetition of familiar plays. Drama was the fourth major genre in terms of frequency of presentation. With this genre, however, percentages fall below ten percent of the total for all three categories examined; the remaining genres, accordingly, can be categorized as less popular than the four major ones. Productions of vaude ville plays, comic operas, farces, and pastoral dramas were numerous, indicating that examples of these genres were frequently offered in Los Angeles playhouses but 192 only occasionally formed the major portion of a given theater's repertory. Comic opera remains an exception to this generalization: as noted earlier, comic opera was usually performed in a concentrated (and often lengthy) season and, as was the case at the Burbank Theater in 1896 and 1899, the Casino Theater in 1904 and the Hotchkiss Theater in 1906, often was the harbinger of a management's impending failure.1^ Pastoral plays remained popular throughout the period, as evidenced by the proportionately higher number of productions and performances tallied by the relatively small number of plays. All four of these genres— vaudeville plays, comic opera, farce, and pastoral— remained within the five to ten percent range in each of the categories. The remaining six genres, all well below five percent of the total number of plays and of performances, included the specialized classifications of musical play, extravaganza and burlesque as well as opera, plays from the Shakespearian canon, period drama and period comedy. The small percentages of musical plays, extravaganzas and burlesques are, in large part, due to the time span of the present investigation. Both musical comedies and burlesques were popular after 1900, but few examples of 10See above, pp. 114, 125-127, 158-164. 193 these genres appeared before that date. Extravaganzas, by contrast, were performed with greater frequency prior to 1900; after that date, many of their features (lavish scenery, large casts, spectacular musical numbers) were incorporated into the genres of musical comedy and burlesque.11 Individual works from the genres of opera, period drama, Shakespearian plays, and period comedy were performed only occasionally, and rarely for continued engagements. As indicated by the much greater number of productions in relation to specific works and number of performances for opera, Shakespearian plays, and period drama, individual plays from these three genres tended to receive many different productions, while the number of performances and of plays remained proportionately stable. Performances of period comedy were so rare in Los Angeles between 1895 and 1906 as to make the genre of little importance in discussing audience acceptance. Genres Considered in Groups During the entire period under consideration, Los Angeles theatergoers were offered a preponderance of 1 Yearly totals for each of the genres are described below, in the discussion accompanying Table VIII. 194 light entertainment. Melodramas clearly dominate the statistics, followed closely by romance and comedy, genres which may have been of a greater aesthetic quality than melodrama, but which made only minimal demands upon their audiences. Only the genre of drama, as defined by the criteria used in this study, encompassed plays which attempted serious discussion of social and societal problems of the day: this genre accounted for less than ten percent of the theatrical fare presented. The preference for light entertainment— on the part of managers, at least— becomes more pronounced when the illegitimate forms— vaudeville plays, musical comedies, extravaganzas and burlesques— are grouped. Each of these genres included a mixture of often disparate elements: vaudeville acts interpolated into the per formance of comedies, songs and dances (often of only peripheral connection with the main plot) included as part of the performances of the musicals, lavish scenic displays which were the outstanding feature of extrava ganzas, and the low comedy antics of dialect comedians— exemplified by the team of Weber and Fields— which provided the chief attraction of the burlesques. As shown by Table VII, when these four genres are combined the resulting totals become second only to melodrama in the categories of number of plays and number of TABLE VII GENRES OF PLA7S PERFORMED IN LOS ANGELES THEATERS Y/ITH ILLEGITIMATE AMD CLASSIC GELRES GROUPED: 1895-1906 Genre Lumber of Plays Percentage of Total Plays Lumber of Productions Percentage of Total Productions Lumber of Performances Percentage of Total Performances Melodrama 204 22.10 29" 16.04 2458 22.55 Illegitimate8 161 19.43 241 13.14 1564 14.34 Romance 101 10.94 204 11.17 1477 13.54 Comedy O Q y y 10.73 254 13.90 1544 14.16 Drama 88 8.95 170 9.30 1009 9.26 Comic Opera 74 8.02 165 9.03 756 b.94 Classicb 73 7.90 276 15.01 567 5.20 Farce 66 7.15 104 5.69 756 6.94 Pastoral 57 6.18 120 6.57 771 7.07 Totals 923 1827 10,901 0 Totals for the genres "vaudeville drama," "musical comedy," "extravaganza" and "burlesque" as reported in Table VI, above. b ! Totals for the genres "opera," "Shakespeare," "period drama" and "period comedy" as reported in Table VI, above. , 196 performances; as was also the case with melodrama, the number of productions reflects a markedly smaller proportion of plays receiving duplicate productions than is present for the other genres. For purposes of comparison, those genres described above as 'Classic' (i.e., opera, Shakespearian plays, period drama and period comedy) were also combined, with results incorporated in Table VII. Even combined, plays of these genres remain a minor proportion of the theatrical entertainment presented in Los Angeles: together, the Classic genres provided almost eight percent of the total number of plays, but only five percent of the total number of performances. That productions of plays in these classifications include fifteen percent of the total number of productions presented in Los Angeles between 1895 and 1906 confirms the conclusion presented above: a small number of individual plays in these categories received many productions, but with few actual performances. In fact, each of the two hundred and seventy-six productions given of plays in the Classic genres averaged only two performances apiece. Productions of Plays in Los Angeles on a Yearly Basis Consideration of the individual genres on a 197 yearly basis, as summarized in Table VIII, reveals a far more chaotic pattern, both in terms of productions of plays classified in specific genres and in the number of performances presented of each genre. Most of the individual genres vary widely from year to year; this effect is most certainly a result of the reliance of Los Angeles theater managers, for most of the period under consideration, upon outside production sources. Most of the shifts visible in Table VIII accordingly reveal the availability (or lack thereof) of touring combinations and stock companies, since it was not until after 1903 that permanent resident companies were established in Los Angeles. Interestingly, the Theatrical Syndicate's 12 boycott of the Pacific Coast which, as discussed above, dramatically decreased the number of productions that toured to Los Angeles between 1899 and 1901, had no discernable effect upon the genres of plays presented in Los Angeles. The percentages of productions in 1899 classified as melodrama, romance and comedy are all appreciably lower than comparable figures for 1898; the percentages of melodramas remain low until the opening of the Grand Operahouse in 1903. The percentages of ■^See above, pp. 105-112. TABLE VIII PRODUCTIONS AND PERFORMANCES OP DIFFERENT DRAMATIC QQ1RES IS LOS ANGELES THEATD?S: 1895-1906 596 1 c97 li e . U'" 1 -or : -Cl i-ji i-:_ V-05 n o ; Totals perf 55** 25.20 20.0? 7.0' 15.72 7.0 199 romance and comedy, however, increase again in 1900 and continue to increase through the period of the Syndicate's boycott. The percentages of productions assigned to the category of drama actually increase during these years. This finding implies that Syndicate productions were not predominantly of any specific genre or type of theater, but rather represented the range of entertainment being presented. Accordingly, the Syndicate boycott of the Pacific Coast had little effect upon the type of theatrical entertainment presented in Los Angeles although it did affect, as we have seen, the quantity of plays presented; the boycott's effect upon the quality of productions is quite a different matter, and lies outside the scope of the present investigation. Certain crude effects are apparent in the welter of data presented in Table VIII. The growing popularity of romantic plays, for example, is manifested in the generally steady increase of that genre's share of both productions and performances. The drop in productions and performances apparent in 1904 for romantic plays may be a result of the rivalry between the Belasco and Burbank Theaters: both stock companies (founded in that year) initially concentrated upon comedy and farce, as reflected in the rise in productions for those genres 13 in 1904. Overall, the pattern of production in Los Angeles theaters between 1895 and 1906 remains chaotic. When the fifteen separate genres are grouped into four major categories, however, a far more stable pattern emerges, as is demonstrated in Table IX. In addition to the groupings 'Illegitimate' and 'Classic' previously employed in Table VII above, the four major genres (those of melo drama, romance, comedy, and drama) which were shown to provide more than half the theatrical entertainment during the entire period, were grouped together under the rubric 'Major.' The remaining three legitimate genres (comic opera, farce, and pastoral) were grouped and designated, for purposes of discussion, 'Minor.' The data for four years, at three-year intervals, were examined in this manner. As Table IX indicates, the results provide a far more stable picture of theatrical entertainment in Los Angeles: although fluctuation re mains, it is much less extreme. The popularity of the lighter forms of entertainment is confirmed: the major genres generally make up more than half the total productions and performances during the four years sampled. ^See above, pp. 14 5-158. 4 DOC' prod. % perf. % trod. % % nerf. "Major"a 4b 1+7.42 512 40.52 -5 -.-.-.l 552 55.i5 "2 54.5: 3 "Illegitimate"0 17 17.52 3 4 • o "Minor"0 20 20..; 3 1 ^ • ' i # “ 3 ' ^ = •; ^ ~ ~ ^ 5 • ^ 3 5 ~ . 2 • " V "Classic"^ U 1 4.45 25 4,.o 1 : 12.50 -i ~.C1 5 - . !3 " i .32 Totals ?7 7^, 7 12" ; ' ::: ' -i 1304 Octal, i; )3_i --Z-. "Major" 114 50.44 320 52.35 ?2o 50,41 5453 53.51 "Illegitimate" 50 21.73 i+i ; • 23.33 "41 13.1- 1 554 1 4.34 "iinor" 45 20.00 553 21.7c 35-' 21 .27 2253 20. 5 "Classic" 1c 7.o2 35 2.04 275 15.01 55" 5.20 Totals 230 175o 1 O'7 i o , ;-c i a Combines totals of the genres " m e l o d r a m a " r o m a n c e , " "comedy" and "drama, ' as reported ir. Table VIII. bCombines totals of the genres "vaudeville drama," "musical comedy," "extravaganza" and "burlesque" as reported in Table VIII. Q Combines totals of the genres "conic opera," "farce" and "pastoral" as reported in Table VIII. ^Combines totals of the genres "opera," "Shakespeare," "period drama " and "period comedy" as reported in Table VIII. 201 202 Genres of Plays Most Frequently Performed The dominance of melodrama and the four 'Illegitimate1 genres of amusement were indicated in the discussion of data pertaining to the total number of plays, performances and productions in Los Angeles between 1895 and 1906. A somewhat different view emerges when specific plays most frequently performed over the eleven-year period are considered. As listed in Table X and summarized by genre in Table XI, the plays performed thirty or more times during the period show certain significant variations from the pattern previously discussed. Although the most frequently performed play was the venerable melodrama Uncle Tom's Cabin, melodramas in total comprised only four of the sixty-six plays listed and less than ten percent of the total perfor mances. Many of the genres— the 'Illegitimate' and 'Classic' groups, considered singly— retain the same approximate proportion of plays and of performances as seen when all plays were considered. There is, however, a marked increase in the number of romantic plays in comparison to the overall data: over twenty-seven percent, both of plays and of performances, of the most- frequently performed plays were those classified as romantic, a doubling of the comparable figures for all 203 TABLE X P U Y S HOST FREQUENTLY PERFORMED IN LOS ANGELES THEATERS* 1895-1906 Humber of Performances Nufflbvr of Productions Tltlft Author Genre 70 10 Undo Tom's Cabin [various J Melodrama 63 4 Old Heidelberg Meyer-Foerater Romance 61 4 Fiddle-Dee-Dee E, Snlth/Stromberg Burleeque 60 11 The Mikado Sullivan Comic Opera 58 7 East Lynne (various J Melodrama 57 7 Tha Matt Froa Mexico Du Souchet Farce 54 9 Trilby Potter Drama 51 12 Caailla Dumas Romance 51 7 Tha Christian Caine Drama 51 6 Tha Two Orphans D'Ennery Melodrama 50 6 Yon Yonson [various J Vaudeville Drama 49 6 Tha Girl I Laft Bshlnd Ha Belasco/Fyles Romance 47 5 Zaza Belaaco Drama 45 1 Tha Halfbrsad Cottrell/Morosco Romance 44 6 Honta Cristo Dumas Romance 44 7 Tha Prisoner of Zands Rose Romance 44 8 Said Pasha Stahl Comic Opera 42 Tha Ensign Haworth Melodrama 42 5 Tennessee's Pardner Harte Pastoral 42 5 Under Two Flags Totter Romance 41 3 If I Ware King McCarthy Romance 41 5 Janice Meredith Rose Romance 41 7 La Haecotte Audran Comic Opera 40 2 Hoity-Tblty E. Snith/Strorabsrg Durleoque 40 7 Madame Sans Gen* SardouAloreau Comedy 39 9 The Chimes of Normandy Planquette Comic Opera 39 10 Fra Dlavolo Auber Conic Opera 39 6 Quo Vadie Strange Romance 39 6 Sapho Fitch Drama 39 5 The Telephono Girl Morton/Kerker Muolcsl Comedy 38 5 Charley's Aunt B. Thomas Comedy 38 2 The Judge and the Jury Cottrell/Morosco Drama 38 6 Rip Van Winkle Bouclcault Pastoral 38 5 What Happened to Jones? Broadhurst Comedy 37 11 The Bohemian Girl Balfe Opera 37 5 My Friend Fros India Dii Souchet Farce 37 3 Pousco Cafe E. Smith/Stronberg Burlesque 37 5 Why Smith Loft Home Broadhurst Farce 36 5 A Bachelor's Romanos Morton Drama 36 5 Jane Letocq Comedy 36 3 Mlzpah Wilcox/Searell* Romance 36 5 Secret Service Gillette Romance 36 7 A Texas Steer Hoyt Vaudeville Drasa 36 3 When Knighthood was In Flower Kester Romance 35 6 Held By the Enemy Oillett# Romance 35 12 Romeo and Juliet Shakespeare Shakespeare 34 6 Barbara Frietchle Fitch Romance 34 6 H.M.S. Pinafore Sullivan Comic Opera 33 6 All the Comforts of Hons Gillette Comedy 33 5 The Belle of Now Tork Morton/Kerker Musical Comedy 33 6 A Contented Woman Hoyt Vaudeville Drama 33 5 The Lottery of Love Daly Comedy 33 6 Shore-Aeres Heme Pastoral 32 5 The Arabian Nights Orundy Farce 32 2 Buster Brown Newman/G* Smith Musical Comedy 32 10 Cavalleria Rustlcana Mascagni Opera 32 6 Olivette Audran Comic Opera 32 5 Pudd'nhead Wilson Mayo Pastoral 31 2 1.0.0. Bruasie Musical Comedy 31 3 The Little Minister Barrie Comedy 31 k Old Jed Prouty Oolden Pastoral 30 3 The Heart of Maryland Belaaco Romance 30 6 In the Palace of the King Stoddard Romance 30 3 Mrs* Dane's Defense Jones Drama 30 6 Shenandoah Howard Romance 30 2 Sis Hopkins [unknownJ Pastoral TABLE XI GENRES OF PLATS MOST FREQUENTLY PERFORMED IN LOS ANGELES: 1895-1906 Genre Number of Plays Percentage of Total Number of Performances Percentage of Total Melodrama if 6.66 221 8.36 Romance 18 27.27 726 27.if8 Comedy 7 10.66 249 9.if2 Drama 7 10,66 295 11.17 Vaudeville Drama 3 4.55 119 if.50 Comic Opera 7 10.66 286 10.83 Farce k 6.66 163 6.17 Pastoral 6 9.09 206 7.80 Musical Comedy i f 6.66 135 5.11 Opera 2 3.03 69 2.61 Shakespeare 1 1.52 35 1.32 Burlesque 3 if.55 138 if.84 Totals 66 2642 204 205 plays, productions, and performances as reported in Table VI. The comparatively small number of individual plays in the 'Illegitimate' group— four musicals, three burlesques and vaudeville plays, and no extravaganzas— as well as the small number of melodramas merely confirms that plays of these types were infrequently repeated. The astounding number of romantic plays, however, indicates the importance of the moderately-priced stock companies to the Los Angeles theater; the repertories of the stock companies are accordingly treated below. III. GENRES OF PLAYS PERFORMED BY PERMANENT LOS ANGELES STOCK COMPANIES The growth of the stock theaters in Los Angeles was described earlier, and their primary appeal to the middle class segment of the Los Angeles audience was 14 also indicated. It was maintained that the stock theaters, and most particularly the Belasco and Burbank Theaters, provided a steady diet of entertainment for the most typical portion of Los Angeles' populace; they were, as has been discussed, the most manifestly middle ^See above, pp. 171-173. 206 class playhouses in the middle class city Los Angeles was at the turn of the century. In conjunction with stock company seasons at the Grand Operahouse, the companies at the Belasco and Burbank Theaters supplied continuity and stability within the range of theatrical entertain ment presented in Los Angeles. The Burbank Theater remained open every week in the year after 1900, and after a week of repainting in November, 1902, did not close its doors for a single evening through the remainder of the period. Similarly, both the Grand Operahouse, following its opening as a popular-priced theater in 1903, and the Belasco Theater, after its opening in 1904, presented plays virtually without break. These three theaters, together with the attempts to present stock seasons at the Casino Theater in 1904 and at the Hotchkiss Theater in 1906, offered the bulk of plays presented in Los Angeles. The stock theaters ordinarily presented a different play weekly, with occasional longer runs of exceedingly popular (and profitable) bills. This policy made the stock companies in general rely heavily upon the revivals of popular plays? despite attempts— well advertised and widely praised— at both the Belasco and Burbank Theaters to present only plays new to Los Angeles, these theaters were forced, due to the constant 207 need for a new bill, to repeat plays previously seen. It is, in fact, stock theater performances which account for most of the performances listed in Table X. Even Uncle Tom*s Cabin, often performed by traveling "Tom Shows, was given four separate productions by Los Angeles stock companies, which accounted for a total of thirty-six of its seventy performances between 1895 and 1906. The preponderance of romantic plays shown by Table X, therefore, reflects the influence of the repertories offered by the permanently resident stock companies in Los Angeles. That romantic plays were favored by the stock companies is further indicated by Table XII, "Long Run Plays Presented in Los Angeles Theaters: 1895-1906." These are the plays which tallied consecutive runs of two weeks or longer; all but three of the thirty-four plays which attracted audiences for this period of time were presented by stock companies. It is also significant, in terms of the growth of Los Angeles and the concurrent growth of the Los Angeles theater audi ence, that the majority of long-run plays opened in 1905 l^See Harry Birdoff, The World's Greatest Hit: Uncle Tom's Cabin (New York: S. F. Vanni, 1047), for a thorough history of the play's stage career. TABLE XII 208 LONG-RUN PUTS PRESENTED IN LOS ANGELES THEATERS: 1895-1906 Length of Run Title Genre Date 5 weeks 3 weeks 2 weeks The Halfbreed Romance July 1906 Fiddle-Dee-Dee Burlesque Jan. 1904 The Judge and the Jury Drama Nov. 1905 I.O.U. Musical Comedy May 1906 The First Born Drama Apr. 1898 A Gilded Fool Comedy Feb. 1899 Hoity-Toity Burlesque Feb. 1904 Twirly-Whirly Burlesque Mar. 1904 Barbara Fidgety Burlesque Mar. 1904 The Wizard of the Nile Comic Opera Sep. 1904 Old Heidelberg Romance Jan. 1905 Sis Hopkins Pastoral Jan. 1905 Mlzpah Romance Mar. 1905 Parsifal Romance Mar. 1905 If I Were King Romance Sep. 1905 Ben Hur Romance Nov. 1905 Buster Brown Musical Comedy Dec. 1905 When Knighthood was in Flower Romance Jan. 1906 The Rounders Comic Opera Feb. 1906 The Lily and the Prince Romance May 1906 The Little Trouper Comic Opera May 1906 The Heart of Maryland Romance June 1906 Secret Service Sam Melodrama June 1906 The Beauty Shop Farce June 1906 Roly-Poly Burlesque July 1906 A Trip to the Catskills Vaudeville Drama July 1906 Mrs. Dane's Defense Drama Aug. 1906 How Baxter Butted In Vaudeville Drama Aug. 1906 Trilby Drama Sep. 1906 Janice Meredith Romance Sep. 1906 Sherlock Holmes Romance Oct. 1906 The Man From Mexico Farce Oct. 1906 A Crazy Idea Farce Oct. 1906 Old Heidelberg Romance Dec. 1906 S Unless otherwise indicated, all productions are by stock companies, either permanent or playing extended seasons. ^Produced with one-act comedies, performed one week each. 'Touring production. Second two-week run. 209 and after; only two plays prior to 1904 ran two weeks, while the five productions during the latter year which remained open two weeks (or, in the case of Fiddle-Dee- Dee, three weeks) were either burlesques or comic operas. The two-week engagement of Old Heidelberg, a romantic play which was the only production to receive two separate extended runs during the period, in January of 1905 was the first extended run given by a permanent stock company. Such runs became increasingly frequent throughout 1905 and 1906, culminating in the unprecedented five-week engagement of Cottrell and Morosco's romantic play The Halfbreed in the summer of 1906.16 That romantic plays comprised a high per centage of the long-run plays is obvious by the numbers of them which appear on Table XII; the precise breakdown of the long-run plays by genres is given in Table XIII, Leonard Schoen, "A Historical Study of Oliver Morosco's Long-Run Premiere Productions in Los Angeles, 1905-1922" (unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1971), pp. 45-54, provides a full description of the play and its production, terming the play a "melodrama." The play is later listed (p. 419) as a drama; both are modern labels. The Halfbreed is certainly melodramatic by any judgment, but was both billed and received as a romantic play in 1906, and is accordingly so classified by the present study. TABLE XIII GENRES OF LONG-RUN PLAYS PRESENTED IN LOS ANGELES THEATERS: 1895-1906 Genres Number of Productions Percentage of Total Length of Runs in Weeks Percentage of Total Melodrama 1 2.9b 2 2.70 Romance 12 35.29 27 36.49 Comedy 1 2.94 2 2.70 Drama 4 11.76 9 12.16 Vaudeville Drama 2 5.88 4 5.41 Comic Opera 3 8.82 6 8.11 Farce 3 8.82 6 8.11 Pastoral 1 2.94 2 2.70 Musical Comedy 2 5.88 5 6.76 Burlesque 5 14.71 11 14.86 Totals 3b 74 NJ o 211 "Genres of Long Run Plays Presented in Los Angeles Theaters: 1895-1906." As Table XIII indicates, over thirty-five percent of the total long-run plays presented were romances; dramas comprised nearly twelve percent of the total, while burlesques accounted for close to fifteen percent. Other genres are present, but in much smaller numbers: farce and comic opera at close to nine percent, musical farce and vaudeville plays at nearly six percent of the total. Melodrama, comedy, and pastoral all provide only single plays to the listing. To some extent, these figures can be misleading. They do reflect the number and types of plays which attracted a large enough audience to play more than one week; a factor which, in discussing the resident stock companies, is an important one inasmuch as both the Burbank and Belasco Theaters relied upon a steady, regular audience who returned week after week and who, in the absence of regular season tickets, tended to purchase the same seats (or seats in the same general location) for the same nightly performances each week. For a play to be extended an additional week, therefore, implies that a much larger audience was attracted, one large enough to merit losing for one week the patronage of the regular and faithful patrons of the stock 212 theaters. The small number of plays which in fact ran two weeks or more (nineteen plays in 1906, the most active year, but one in which two hundred and forty-eight productions played in Los Angeles) make any conclusions based on Tables XII and XIII tentative at best. The higher proportion of the more serious genres— romantic plays and those classified as drama— noted in Table XI was repeated in Table XIII; in both instances, however, it is these genres which would be more apt to be repeated. As discussed earlier, plays of the various genres grouped together as 'Illegitimate' as well as melodramatic plays were not often repeated and accordingly would not appear in lists which require repetition, such as those in Tables XI and XII. Genres of Plays Performed at the Belasco and Burbank Theaters The resident stock companies did, however, rely more upon legitimate forms of theater for their repertories: romance, comedy and drama predominated upon the stages of the Belasco and Burbank Theaters, as indicated by Table XIV, "Genres of Plays Presented by Permanent Los Angeles Stock Companies: 1904-1906." The two resident stock companies presented comparable numbers of romantic plays, pastoral dramas, dramas, and TABLE XIV GENRES OF PLATS PRESENTED BY PERMANENT LOS ANGELES STOCK COMPANIES: 190if-1906 Belasco Theater Stock Company Burbank Theater Stock Company Genre Number of Productions Percentage of Total Number of Productions Percentage of Total Combined Total Percentage of Total Melodrama if 3,k& 22 22.00 26 12.09 Romance 31 26.96 27 27.00 58 26.97 Comedy 38 33,0k 12 12.00 50 23.21 Drama 17 1if.78 13 13.00 30 13.91 Vaudeville Drama 2 1.7A 3 3.00 5 2.32 Farce 1 i f 12.17 8 8.00 22 10.23 Pastoral 7 6.09 12 12.00 19 8.83 Musical Comedy 0 0.00 1 1.00 1 0.if6 Shakespeare 0 0.00 2 2.00 2 0.93 Period Drama 1 0.87 0 0.00 1 0. i f 6 Period Comedy 1 0.87 0 0.00 1 0,if6 Totals 115 100 215 214 vaudeville plays; the major difference between the repertories of the two theaters lies in the amount of melodrama, comedy and farce presented. The Belasco Theater Stock Company performed many more comedies than did the Burbank Stock Company: a full third of the productions at the Belasco Theater were comedy, while an additional twelve percent were of the farce genre. These two classifications, together with romance (nearly twenty-seven percent) and drama (almost fifteen percent), accounted for close to eighty-seven percent of the repertory at the Belasco Theater. By contrast, the same four genres total sixty percent of the Burbank Theater's repertory, with the differing percentage almost entirely made up by melodrama. Morosco's stock company performed fewer comedies and more melodramas than their competitors at the Belasco Theater. The percentages of romantic plays and dramas performed at the Burbank Theater, however, are roughly the same as at the Belasco Theater. Thus it can be seen that the two resident stock companies in Los Angeles, even though they attracted much the same audience, appealed to different facets of that audience. The Belasco Theater's heavy emphasis upon comedy and farce, and the Burbank Theater's greater reliance upon melodrama indicate that the managements of 215 both stock companies stressed genres of theater not often performed by their competitors. Of the two stock company repertories, that at the Burbank Theater was more clearly a reaction to increased competition. An examination of the plays presented by traveling stock companies at the Burbank Theater prior to the establish ment of the Burbank Theater Stock Company, as reported in Table XV, shows a far more balanced repertory than that of the Burbank Theater Stock Company. Almost equal emphasis was placed upon the genres of romance, comedy and drama, while melodramatic plays occupied the Burbank Theater stage to a significantly lesser extent before 1904 than after. It is equally significant that the number of comedies presented at the Burbank Theater under Oliver Morosco's management was, during the five-year period before the Belasco Theater opened, over twenty-eight percent of the total plays performed and further that in 1904, the year that the Belasco and Burbank Theater Stock Comapnies began operations, comedies presented by touring stock companies comprised over forty-three percent of the total plays to appear on the stage of the Burbank Theater. In fact, the total number of comedies performed at the Burbank Theater between November, 1904, and the end of 1906 is smaller than the number which TABLE XV GEtfRES OF PLATS PRESENTED BY TOURING STOCK COMPAHISS AT THE BURBANK THEATER 117 LOS 7.I7GSLZ7S 77I7DFF. 077S 7-0.7.0--7 „F~7 CF ClI/TZF. . . ; ~2C3C0: 1u?9~ T ,'04 Genre 1099s 1300 1901 1902 1903 1904'3 Totals Percentage of Total i-ieio drama 3 3 3 5 o 3 23 11.50 Romance 2 6 10 9 18 4 49 24.50 Comedy 3 10 12 6 10 16 57 23.50 Drama 3 a 3 7 11 10 47 23.50 Vaudeville Drama 0 0 1 0 1 1 3 1.50 COnic Opera 0 5 0 0 0 0 5 2 .5 0 Farce 0 3 1 1 0 1 6 3 .0 0 Pastoral 0 2 2 2 1 2 9 4.5 0 Shakespeare 0 1 0 0 0 0 1 .50 Totals 11 3S 37 30 47 37 200 a011ver Morosco assumed the management of the Burbank Theater on Septenber 3, 1899. b These figures do not include plays perforned by the permanent Burbank Theater Stock Company, which opened November 6, 1904; see Table XIV. 216 217 played there during the first ten months of 1904. Similarly, the percentage of melodramas which appeared at the Burbank Theater increased nearly one hundred percent after the opening of the Belasco Theater. It can only be concluded that Oliver Morosco at the Burbank Theater did not believe his audience large enough to permit direct competition with John Blackwood's Belasco Theater attractions; the repertories of the two resident stock companies are accordingly somewhat similar, but twisted to appeal to slightly different aspects of the same general audience. Genres of Plays Presented at the Grand Operahouse How similar the fare at the two resident stock company theaters was becomes apparent when it is compared with the overall figures for Los Angeles, discussed earlier and reported in Tables VI and VIII. Only the percentages of melodrama and comedy at the Burbank Theater are comparable to the total figures; the percent of melodrama presented at the Belasco Theater is sharply smaller while the percentages of romance, comedy and drama presented at both stock houses are appreciably larger than the percentages of these genres performed in all Los Angeles theaters throughout the entire period. 218 The similarity between the Belasco and Burbank Theaters is even more marked when the Grand Operahouse, which 17 (as described earlier) housed popular-priced touring combinations in conjunction with the lengthy seasons of the Ulrich Stock Company during the last three and a half years of the period under consideration, is examined in terms of the plays which appeared on its stage. The genres of plays presented at the Grand Operahouse, summarized in Table XVI, were dominated by melodramatic pieces: forty-six percent of the plays performed by touring combinations were melodramas, while ninety-one percent of the stock company presentations were classified as melodrama. Other genres performed by stock companies at the Grand Operahouse are, perforce, expressed by percentages so low as to be insignificant. Touring combinations at the Grand Operahouse between 1903 and 1906 also presented markedly higher percentages of pastoral and vaudeville plays than appeared at either the Belasco or Burbank Theaters or, for that matter, in the totals for all Los Angeles theaters between 1895 and 1906. On the basis of the genres of plays presented at the Grand Operahouse, it is clear that its management ^See above, pp. 139-145. TABLE XVT GENRES OF PLATS PRESENTED BT TOURING COMBINATIONS AND STOCK COMPANIES AT THE GRAND OPERAHOUSE IN LOS ANGELES: 1903-1906 Touring Combinations Stock Conran.ies 1 ?03a 1904 1905 1906 Totals Percent age of Total 1 ?93a 1 904 1905 ,906 Totals Percent age of Total Combined Totals Combined Percent ages Melodrama 3 19 13 3 43 46.24 5 19 23 25 75 91.46 113 53.00 Romance 1 1 0 0 2 2.15 0 0 2 2 4 4.53 6 3.43 Comedy 0 0 1 1 2 2.15 0 0 0 0 0 0 2 1.14 Drama0 0 3 1 0 4 a . 30 0 0 0 0 0 0 4 2.23 Vaudeville Drama 2 3 2 7 14 1 5.05 0 0 0 2 2 2.45 16 9.14 Cornic Opera 0 0 0 2 2 2.15 0 0 0 0 0 n 2 1.14 Pasco^al 2 7 7 2 13 19.34 0 0 0 1 1 1.21 1 ' 10.55 IlujS’ i.cal Jcncdy 0 2 2 “ t 5 3.30 - 0 0 p 0 A. 57 TcwS—s 3 35 26 pr. '5 ICO.03 1 0 i 5 7 ‘2 1/O .CO 1 09 1 10.00 The Grand Operahouse opened as a legitimate playhouse on Ssrte-.ber ?, 1 '05. UA11 four dra .as presented at the Grand Operahouse be freer 1/03 and 10 3 fere standard-priced tourir.r conoin?tnon~ booked into the theater ir. defiance of the Theatrical Syndicate by the Independent looking Agency. Phis aspect of the Grand Operahouse's history is discussed in Chapter III, above. 219 220 intended to reach an audience quite different from that attracted to the Belasco or Burbank Theaters; the heavy— and in terms of the stock company presentations, almost exclusive— emphasis upon melodrama, pastoral and vaudeville play marked the Grand Operahouse as a specialized theater with a specialized audience. Obviously the theater was successful in attracting a large number of patrons. Of all the theaters in Los Angeles, the Grand Operahouse consistently presented the greatest number of performances weekly, and only three of the plays presented at the Grand were performed more than one week. Two of these were touring combinations, while only one was a stock company production. The Grand Operahouse, more than the other popular-priced Los Angeles theaters, relied upon a steady audience to such an extent that its management was extremely cautious about extending the run of productions beyond a single week. Without access to financial records, there is no way of discerning the ticket sales of Sis Hopkins, Buster Brown. or Secret Service Sam. Certainly the first two— both touring combinations— could have been extended in the absence of suitable new productions rather than because of any increased profit. Gross receipts from the Los Angeles Theater, the one playhouse 221 in the city for which relatively complete box office statements are available, indicate that the theater was frequently kept open simply to have it occupied, since many performances grossed such small amounts as to make any profit whatsoever highly unlikely. Whether similar policies were followed at other theaters after 1900 is, of course, problematical, but the possibility must be considered. When compared with Table VI, Table XVI also reveals that the preponderance of melodrama presented in Los Angeles between 1895 and 1906 is in fact due to the policies at the Grand Operahouse between 1903 and 1906: of the two hundred and ninety-three productions classified as 'melodramas' which were performed in Los Angeles during the entire period, one hundred and eighteen (over forty percent) played at the Grand Operahouse between 1903 and 1906. The Grand Operahouse's repertory thus weights the total figures heavily in favor of the genres it included. When the melodramas performed at the Grand Operahouse are removed from the total number of productions in this genre, the percentage of melo dramas for the entire period falls to slightly more than ten percent, leaving romance and comedy as the pre dominant genres. Interestingly, these were the genres most often presented at the Belasco and Burbank Theaters. 222 Genres of Plays Presented at the Casino and Hotchkiss Theaters Unlike the resident stock company theaters, which presented a wide range of different genres with several emphases, the Grand Operahouse produced a highly specialized repertory. Similar specialization is apparent at the Casino/Hotchkiss Theater which, under different managements as well as names, functioned as a stock playhouse in the years 1904 and 1906. The genres of plays presented at this playhouse, summarized in Table XVII, are generally as limited as those presented at the Grand Operahouse. Only light entertainment of a musical nature was performed at the Casino Theater in 1904: forty-four percent of its productions were comic operas, thirty percent burlesques, with the remaining twenty-five percent divided between musical plays and extravaganzas. In 1904 all of the comic operas performed in Los Angeles were presented at the Casino Theater, while nearly eighty-five percent of the burlesques, fifty-seven percent of the extravaganzas, and close to thirty percent of the musical comedies were also performed at this theater. When the Hotchkiss Theater opened in 1906, renamed and under new management, it initially followed TA3II XVII Vj.ij.jp ,-S 1 ? — i*»J -~’X' ^ - 1. 1) _ jI o . . . . . . . . 'v U iir.i., X.X) .• _ • _.1 _ j r . . \ i o o _'.i_..■._ _jTcj u-.i C • i ■. * | "OX j 1 O 0 o ^ Casino Theater Productions ■ (19C4) Percentage of Total Hotchkiss T: Productions '.eater (1906) Percentage of Total Total Percentage Melodrama 0 C 2 •3.o6 2 3.33 Comedy 0 0 1 3.33 1 1.51 Vaudeville Drama 0 0 3 O O • O 3 i.55 Comic Opera 15 44.44 10 33.33 25 39.39 Farce 0 0 0 20.00 5 9.09 Musical Comedy 5 13.39 4 13.33 0 13.63 Opera 0 0 1 3.33 1 1.51 Xxtravaganza k 11.11 0 0 4 6.66 Burlesque 11 30.56 3 10.00 14 21 .21 Totals 36 30 00 a The Casino Theater functioned as a legitimate playhouse for 46J weeks in 1904. Pechrister.ed the Hotchkiss Theater in 1905, it functioned as a legitimate playhouse 40 weeks- in that year. The remainder of 1904 and 1906, as well a s 1905, the playhouse presented popular-priced vaudeville; see Table I. 223 224 managerial policies similar to those which had prevailed at the Casino Theater two years earlier. The figures for the entire year of 1906 show major emphasis upon comic opera, with a third of the productions being classified in that genre. The Hotchkiss Theater housed three different stock companies during 1906, each with 18 a distinct and highly specialized repertory. The Olympia Comic Opera Company opened the refurbished playhouse, and its engagement during the first five months of the year offered only comic opera, musical plays, and a solitary opera. The Kolb and Dill Burlesque Company presented burlesques and farces during the summer, while the Howard and Hamilton Stock Company, which occupied the Hotchkiss Theater for sixteen weeks in the fall of 1906, performed plays of the other genres which appear on Table XVII. That the Hotchkiss Theater provided a specialized repertory is apparent when the genres of plays presented upon its stage are compared with the productions in all of Los Angeles for 1906. Over fifty-two percent of the comic operas performed in Los Angeles, forty percent of the musical plays, and nearly forty-three percent of the burlesques offered Los Angeles audiences in 1906 appeared at the Hotchkiss ■*"®See above, pp. 164-167. 225 Theater. The Casino and Hotchkiss Theaters, like the Grand Operahouse, presented a highly specialized repertory and attempted a wide range of theatrical entertainment only in the unsuccessful sixteen-week season of the Howard and Hamilton Stock Company late in 1906. IV. SUMMARY For ease of comparison, selected data from the tables presented in this chapter are summarized in Table XVIII, which contains percentages for each of the theatrical genres discussed earlier. Columns have been numbered to facilitate discussion; the amount and type of data from which the percentages derive are indicated on the table's final lines. Of all the genres, clearly those of romance, comedy, melodrama and drama were most frequently per formed in Los Angeles. These four genres dominate when all productions presented in Los Angeles are considered (column 1) as well as when the repertories of the city's resident stock companies (column 4) and touring stock companies (column 5) are included. The presence of melodrama as a dominant genre, however, is due primarily to the influence of one theater, the Grand Operahouse. When productions at this playhouse are considered 226 s r > S I O ' 00 t o o to t o o M P H a a m 9 9 f.tocU a t C m ; i n o / l i n t . r h k i r ; n (Tobin XV M) T'mipI n r OoniviM b'n t a t . ( J r n n f i (T a b In X V ! ) Knrn.flnnt '•o a t fim no ( Tob 1 o XVI ) T o u r i n r Stncl'. i r \ n t H n r b n n b ( T a b ! o X V ) li n n t . d n j i f . • ■ » otocl. Ooupatii.or; ( T a b l e XIV) I.onq-Run Playn (Table XI It) Mont Frequently el Performed l’layn W (Table XI) Total Productiono — Prenented ~ (Table VI) Genre u s « - i a it s <■£> _ *•> i f \ i a N ) r ) ‘ ( i a v n c\J o ' . p i • • • • • a v r ' K \ f ' ..-t ' f ’ o k \ r - r ' , \ r O « - O •ri I A *-• n j O -i e l i a O c > C"» o o O o o f I A It \ it'. 1 A t r \ ( ) K \ I A • • • f - ■ > r\ I n j r r s OJ n j ' A i O < y A — <\J 'A 'A * o r ''' f \ J rA nj o . » • • • • ♦M I A I A n | «, ' O '»> * ■ f \ l o ) *- 1 » ("v CO ' o — O ' o I - 1 r - r— ■ t — — c * - A- • • • • • • • • (\J ' r > •A nj n . | t r \ ' n o r\| ' ('i t o a - • o » o I A ' (> ' a C T ' * a > A LA ' o A l ' o ■ a I A ■ o ’ 0 o O I A I A • • • • 1 o A - <\J o o o <’ V ’ n » A - O O A - o o f A ' A O ' A - ' O ! T n <j o r g O T — i ' T \ f A A - O ' o I A A - OJ I A -J- C N • • • • • • • ' O f A O n * n 'A I A ' O C A ' 0 I A *■ — rvj r t n © <0 (0 11 © N n (0 © t- o u U (rt rH © CO (0 C 0 P © « /-I P * H © n 3 Of © •H o (0 f— i O * (0 O' u t> >> > P C 0 (0 s w T J fl © u © O o < 0 © «0 O © o © d 'O •f-l o •H f . •rJ rH r— t f l n c tf f? w W © I, U © O o (0 o « 0 © ;5 Pi X © 0 3 T . ) > ro £ r« 0< O C O P-4 m o O O O -i o X f < D n o C O T O o •H O O O ! Pi > » f H t v (\l CO t i • P & 4-4 O * 4 0 ) £ > 227 separately (columns 6 and 7), it is clear that the major emphasis here was upon melodrama. By contrast, the other resident stock theaters in Los Angeles, the Belasco and Burbank Theaters, were occupied approximately twice as often by romance and comedy as by melodrama (column 4), a pattern which also exists for touring stock companies which performed at the Burbank Theater prior to that playhouse's acquiring a permanent company (column 5). The percentages of genres presented indicate, in a rough manner, the respective popularity of each genre; the theater was a totally commercial business 1 Q during the years under consideration, and it would be unlikely for any local manager to constantly and doggedly present productions for which there was no audience. Los Angeles was, of course, rapidly expanding during this period: the appearance of specialized theaters after 1903 (the Grand Operahouse and, less successfully, the Casino and Hotchkiss Theater ventures) are almost certainly concomitants of increased population. The relatively low percentages of melodrama (in which the Grand Operahouse specialized) and the various genres of musical entertainment which were featured at the Casino/ ^■^See above, pp. 171-173. 228 Hotchkiss Theater prior to 1903 is indicated by columns 2, 3 and 5 and in greater detail by Table VIII. The consistent success of the Grand Operahouse after 1903 implies that Los Angeles had a large enough population to support a theater totally devoted to melodrama, while the equally consistent failures of the several attempts to maintain a theater with a policy of comic opera, burlesque, and musical comedy suggests the city was not yet diversified enough to support a play house like San Francisco's Tivoli Theater or the Weber and Fields Music Hall in New York City. Although frequency of presentation for the different genres should approximate each genre's relative acceptability to the audience, interesting variations occur in the two measures which directly reflect the popularity of specific plays: those plays most frequently performed (column 2) , and those plays which played for two or more weeks (column 3). These data show that romantic plays, by a wide margin, dominate and that only plays classified as 'drama' appear in both measures with proportional similarity. Melodrama is of negligible importance to either list, while comedy appears in large proportion only in column 2, 'most frequently performed plays.' The genre of burlesque appears in the list of long-run plays with a much larger 229 percentage than might be expected, were it not for the dominance of that genre at the Casino/Hotchkiss Theater (column 8) where several burlesques— whose content varied from week to week— enjoyed extended runs. It is accordingly the genres of melodrama, romance, comedy and drama which must be most carefully examined in any attempt to correlate the theater and society of Los Angeles between 1895 and 1906. These were the genres which comprised the bulk of theatrical entertainment in Los Angeles, and the ones which dominated the repertories of the major theaters in the city. Of these four genres, that of romance proved the dominant genre at the popular-priced stock theaters; since these theaters were the ones which most clearly appealed to the societal features which make Los Angeles socially unique during the period under consideration, the genre of romance should provide the most definitive connections between theater and society. The other genres must also be considered, but not in as close detail; the incidence of opera, the plays of Shakespeare, period drama and period comedy is so slight as to be interesting only as these genres reveal occasional efforts to promote 'culture' in rapidly-expanding and self-conscious Los Angeles. Farce, which appears in consistently small percentages in all columns of Table XVIII, can— for the 230 purposes of theorizing— be considered a variant form of comedy. Similarly, plays of the pastoral type, significantly present in large proportions only at the Grand Operahouse, can be considered variants of melo drama, as indeed many of them were. The remaining genres— vaudeville drama, comic opera, musical plays, extravaganza, and burlesque— are of significance only when considered jointly in the manner utilized for Table IX; these five genres can be grouped since they are facets of a single type of entertainment, that of lightly structured, frequently musical amusement which emphasized humor and visual spectacle. It is to these various classes of theater, as well as the four genres which dominated the Los Angeles stage, that the next chapter will look in exploring the relationship between the society and theater of Los Angeles. CHAPTER V THE INTERACTION OF LOS ANGELES THEATER AND SOCIETY Investigation of cultural and historical trends in Los Angeles and the country between 1895 and 1906 revealed that three major societal movements were apparent during the late nineteenth and early twentieth centuries. As noted earlierthey were 1) the increasing urbanization of the country, with all its ramifications in various areas; 2) the emergence of a self-consicous middle class; and 3) the search for new societal ideals and symbols to provide definition for individuals bewildered by the growing complexities of an industrialized and fragmented society. The first of these movements was seen as the most important, since urbanization, through its concentrating effect, made the other two highly visible. All these national trends were characterized as being heightened and concentrated in southern California in general, and in Los Angeles in •*-See above, pp. 96-97. 231 232 particular. Theatrical entertainment in Los Angeles similarly proved characteristically typical of the national theater. The pervasive commercialism of theatrical managers on a nationwide scale was repeated in Los Angeles: H. C. Wyatt, Oliver Morosco and L. E. Behymer, the three major local impresarios, all attempted (with varying degrees of success) to replicate the combines and circuits of Hayman and Frohman, Klaw and Erlanger, and Nixon and Zimmerman. The financial and managerial facets of theater in Los Angeles were not the only aspects of local theater which repeated national trends: in establishing resident stock companies, in the increasingly specialized repertories of certain theaters, and in the nature of the plays presented in Los Angeles, that city's theatrical fare was virtually a microcosmic version of the American theater between 1895 and 1906. The discussion of the interaction between Los Angeles theater and society following is divided into five sections. Part I, "General Relationships,” examines some general trends of Los Angeles theatrical activity apart from the effects of the fifteen theatrical genres discussed in detail in the preceding chapter. Part II, "Melodrama, Pastoral, and the Illegitimate Genres," contains discussion of the ways in which the 233 genres of melodrama, pastoral, vaudeville drama, musical comedy, extravaganza and burlesque are related to Los Angeles society, and also discusses those aspects of the genre of comic opera which are similar to the societal function of the other genres in this section. Part III, "The Major Genres," analyzes the relationships between society and the genres of romance, comedy, farce, and drama. Part IV, "Classic Genres," treats the theatrical genres of opera, Shakespeare, period drama and period comedy (as those genres were defined in the preceding chapter), as well as those aspects of the genre of comic opera which exhibits analagous functions. Part V provides a brief summary of the material contained in the present chapter. I. GENERAL RELATIONSHIPS As has been demonstrated, plays presented for the theatergoing public in Los Angeles fall into several broad categories, with major emphasis upon light amuse ment which, seemingly, made few demands either socially or intellectually upon its watchers. At least super ficially, then, the period's theater was predominantly a time consuming— rather than aesthetically or 2 See above, pp. 193-197. 234 artistically fulfilling— activity. Some general relationships are noticeable, however, between the theatrical entertainment provided in Los Angeles and its society regardless of the specific type of dramatic genre, the type of production— i.e., touring combination or resident stock— presented at specific playhouses, or the tendency for individual theaters to present specialized repertories. Perhaps the most striking characteristic of the over eighteen hundred productions presented in Los Angeles between 1895 and 1906 is the almost total absence of drama other than American and British. Plays of German origin, for example, were presented only during repertory seasons of traveling stars like Madame Modjeska, who included Schiller's Mary Stuart in her repertory, or Nance O'Neil, who performed Sudermann's Magda. French plays were presented with greater frequency, but were most often performed in heavily adapted versions which, as was the case with Gillette's Mr. Wilkinson's Widows (based on Bisson's Feu Toupinel), often not only translated the dialogue but either Anglicized or Americanized the plot as well, changing both setting and characters. Only one Spanish play (Eschegaray's Mariana, presented for a single performance in 1905 by Margaret Anglin) was offered in Los Angeles 235 during the eleven years covered by the present study, 3 while no plays of Italian origin were presented. With these few exceptions, theater in Los Angeles reflected that city's Anglo-Saxon population faithfully and monolithically. It is tempting to link this domination of theatrical amusement by Anglo- American plays to the period's growing xenophobia and to the swell of patriotism engendered by the Spanish- American War, but it would be more accurate to look to the theater's commercialism for any explanation. In most instances, the few continental European plays acted in Los Angeles formed part of a major star's repertory (or had been originally translated for a major star, as was Meyer-Foerster's Old Heidelberg, translated for Richard Mansfield yet never performed by him in southern California); these were the actors most concerned with the quality and overtones of their roles and who, in addition, possessed either the financial resources to themselves underwrite the translation of plays or provided enough profit for commercial managers to merit the additional costs involved. Since the theater was a O JOpera, of course, is a different matter; here the repertory was almost exclusively non-Anglo-Saxon. 236 commercial business organized to show a profit, managers tended to save whatever expenses possible and would not willingly incur the expense of translating an unsure product when more dependable plays were readily available. Certainly Charles Frohman's reliance upon English plays, which provided most of the repertory for his Empire Theater Company, came not from the superiority of the plays or from any Anglomania, but from the commercially valid viewpoint that such plays had already proven their 4 drawing power, thereby reducing the risk of failure. The small number of non-Anglo-Saxon plays presented in Los Angeles, therefore, resulted from the theater's commercialism rather than from the growing patriotism of the American public, and reveals the theatrical managers' affinities with monopolistic tendencies in other realms 5 of business. ^Norman Hapgood, The Stage in America 1897-1900 (New York: The Macmillan Company, T1T01) , p. 33. C Dorothy Gilliam Baker, "Monopoly in the American Theater: A Study of the Cultural Conflicts Culminating in the Syndicate and its Successors, the Shuberts" (unpublished Doctoral dissertation, New York University, New York, 1962), pp. 579, concludes that monopolistic patterns in the theater paralleled those in other areas of business; she also maintains, less convincingly, that monopoly appeared in the theater before it became a force in the general business community. 237 The rise of the business ethic in the middle 1890's as a tentative and temporary replacement for the image of the American yeoman hero also affected theater in Los Angeles. The most obvious influence was organizational: the influence of the Theatrical Syndicate and the various attempts made to battle that monopoly, efforts of independent managers both in Los Angeles and elsewhere to establish miniature circuits in emulation of the Syndicate's success if not in actual competition, the involvement of local capitalists with theatrical ventures, all show an awareness that large profits were potentially available from the theater if it were placed on a sound, business-like financial basis. The businessman as hero, a manifestation of the business ethic in the popular medium of magazines, did not appear in the theater in Los Angeles to any appreciable extent; when the employment of characters was at all of concern to plays (most frequently in the genres of comedy and drama), businessmen were rarely seen as heroic. In Clyde Fitch's The Climbers, for example, Richard Sterling's business background is insisted upon, but is emphasized only to make his dishonesty and unfaithfulness clearer. Unlike other forms of popular culture, the theater in Los Angeles retained the anti-businessman, anti-urban bias which 238 marked American literature before the turn of the century. One aspect of the business ethic did affect the Los Angeles theater to a marked degree. Along with other areas of American society, the theater began to stress external characteristics of individual productions, and both quantification and uniformity became theatrical as well as societal values. The effect of uniformity upon vaudeville has been thoroughly discussed by Snyder;6 in his studies, uniformity and regularity are seen as concomitants of industrialization and urbanization. In the genres of theater discussed for the present investigation, the effect of quantifi cation and uniformity is less rigid, but is nonetheless visible, chiefly in an increasing emphasis throughout the period upon the cost and size of productions. In 1902, for example, a touring production of Uncle Tom's Cabin at the Los Angeles Theater was billed as 7 including "50 People on Stage!" That same year, the ®See Frederick E. Snyder, "American Vaudeville— Theatre in a Package; The Origins of Mass Entertainment" (unpublished Doctoral dissertation, Yale University, New Haven, 197 0); idem, "Theatre in a Package," Theatre Survey, XII (May, I5TT), 34-45. 7 These and other descriptive phrases quoted m the present chapter were taken from playbills in the L. E. Behymer Collection, Henry E. Huntington Library, and the G. A. Dobinson Collection, Los Angeles Public Library, unless otherwise cited. 239 musical comedy The Belle of New York enticed customers by billing itself as "The World's Biggest Musical Comedy," while in 1904 the touring production of The Silver Slipper at the Mason Operahouse was described as "Fisher's Stupendous $50,000 Production." Mam'zelle Napoleon claimed attention not only for its star, Anna Held, but because its production cost was purportedly $150,000 and because it included thirteen "A La Mode Girls" and "A Military Band" on stage (Mason Operahouse, 1904). And the English pantomime The Sleeping Beauty and the Beast (Mason Operahouse, 1906) advertised that it contained "100 People in the Brilliant Ensemble" and was graced by "Three Carloads of Scenery." In each of these represen tative instances, the number of persons involved in the production, its cost, or the amount of its scenery was the primary feature listed in the playbills and in the newspaper advertisements; rarely was any mention made of the nature of the production or its relative quality, the cost or size clearly being considered adequate to attract large crowds. This emphasis upon size was, of course, most apparent in touring combinations, especially musical comedies, extravaganzas, and the other genres which stressed the lavish splendor of their physical productions. Emphasis upon size also extended to the 240 more traditional genres; thus Clyde Pitch's Captain Jinx of the Horse Marines (Los Angeles Theater, 1902) advertised "40 People in the Organization" even though the play's playbill lists only twenty-five speaking parts. There may well have been forty persons in the organization once all the non-performing personnel were included. Similarly, the Burbank Theater Stock Company advertised its 1905 productions of If I Were King and The Judge and the Jury in terms of their elaborate scenery and the numbers of extras on stage: If 1 Were King included "140 People on Stage," and was topped two months later by the "Mob of 200 People" (led by Oliver Morosco himself) which swarmed onstage for one scene of The Judge and the Jury. In general terms, therefore, theater in Los Angeles considered as a whole demonstrated only a tenuous relationship with its society, reflecting the more superficial aspects of a changing American social order; the rise of the business ethic, amply documented in other cultural areas, affected the theater only in an emphasis upon size and quantification. When the Los Angeles theater is considered in terms of the individual genres identified and discussed in the preceding chapter, more definitive relationships appear within the matrix of the mass entertainment medium whose primary function 241 was the consumption of time. II. MELODRAMA, PASTORAL, AND THE ILLEGITIMATE GENRES The time-consumption aspect of commercial theater during the late nineteenth century provides a partial explanation for the popularity of melodrama and 8 the various illegitimate genres discussed earlier. These genres received markedly fewer repeat productions than other genres, a factor which differentiated them from the other forms of theatrical entertainment presented in southern California between 1895 and 1906. The primary reason for this singular lack of repetition lies in the need which these genres fulfilled; they filled vacant hours with seemingly purposeful activity and provided amusement of a readily available and non demanding nature. Of all the genres of drama discussed in the preceding chapters, these were the most ephemeral, and were the ones most frequently dismissed by critics— both in turn-of-the-century Los Angeles and later— as lacking any artistic or dramatic merit. Individual examples of the genres certainly are not lasting masterpieces of the drama, and have little ®See above, pp.190-192. 242 importance apart from their status as a form of popular amusement. Yet it has been convincingly argued by both Arendt and Kaplan that such mass forms, while not artistically important, are socially necessary and fulfill a biological rather than aesthetic need. As Arendt puts it: The commodities the entertainment industry offers are not "things"— cultural objects whose excellence is measured by their ability to withstand the life process and to become permanent appurtenances of the world— and they should not be judged according to these standards; nor are they values which exist to be used and exchanged; they are rather consumer goods destined to be used up, as are any other consumer goods. Panis et circenses truly belong together; both are necessary for life, for its preservation and recuperation, and both vanish in the course of the life process— that is, both must constantly be produced anew, lest this process cease entirely. The standards by which both should be judged are indeed freshness and novelty . . . .9 From this viewpoint, the melodrama and the illegitimate genres fulfilled a valid need in turn-of-the-century theater, both in Los Angeles and in the rest of the United States. The individual plays were seldom repeated; such repetition would have been antithetical to the very nature of these genres' appeal, which was q Hannah Arendt, "Society and Culture," Culture For the Millions? ed. Norman Jacobs (Princeton, New Jersey: D. Van Nostrand Company, 1961), p. 47. 243 the newness and novelty of an individual play's plot and a predictable familiarity of character and general outline.^ The plays were, as Owen David has fully described, written according to an inviolable pattern and with a standard set of characters.^ The standardization and uniformity of the popular melodrama, visible also in the musical comedy and extravaganza, further reveal the impact of the business ethic upon these genres of theater and make the theater's overall commercialism and concern for the consumer readily apparent. The vaudeville performer Edwin Milton Royle put the case for mass amusement clearly when he said, in writing about vaudeville circuits, The vaudeville theatre belongs to the era of the department store and the short story. It may be a kind of lunchcounter art, but then art is so vague and lunch is so r e a l . 1 2 l^See Abraham Kaplan, "The Aesthetics of the Popular Arts," Journal of Aesthetics (Spring, 1966), reprinted in James B. HaXl and Barry Ulanov, eds.. Modern Culture and the Arts (New York: McGraw-Hill Book Company, 1967), p. 68, for a discussion of this point. l^As cited by Frank Rahill, The World of Melodrama (University Park, Pennsylvania, and London: The Pennsylvania State University Press, 1967), p. 277. 12 Edwin Milton Royle, "The Vaudeville Theatre," Scribner's Magazine, XXVI (October, 1899), 495. 244 The melodrama and the four genres of theater designated as 'illegitimate' in the preceding chapter were all eminently 'lunchcounter art' designed for immediate consumption, and were intended primarily as means to occupy vacant time. The growth of these genres, both in Los Angeles and nationwide, was con comitant with rapid urban expansion and it is safe to maintain with Henneke that the astounding increase in theatergoing during the nineteenth century had little to do with the theatrical art per se but indicated the major source of amusement available to many city 13 residents. The drop in theater attendance after 1910 is not directly a function of the emergence of cinema as a mass medium (although the early film, as Rahill points out, did replace the popular melodrama of the sort which, in Los Angeles, occupied the Grand Opera- house)^ but rather reflects the increasing diversity of amusement available in metropolitan centers. The relationship of the melodrama, burlesque, extravaganza, vaudeville play and musical comedy with 13Ben Graf Henneke, "The Playgoer in America (1752-1952)" (unpublished Doctoral dissertation, University of Illinois, Urbana, 1956), p. 198. ^Rahill, 0£. cit., pp. 297-305. 245 the social order in Los Angeles between 1895 and 1906 was thus primarily a passive one. These genres of theater were both intended and received as non-serious, transitory ways for otherwise unoccupied hours to be filled with entertainment which— either sensational, as were the majority of the melodramas, or frivolous as were the four illegitimate genres— had little lasting effect on the people who made up their audiences. These forms of theater offered no challenge to their viewers, did not question basic values, and certainly did not present serious discussion of the period's social or moral questions. On the most immediate level, therefore, these genres of theatrical entertainment were almost exclusively impermanent forms of amusement having little connection with society other than the purely diversionary. Even as purely diversionary entertainment, however, the five genres of theater under discussion contain connections with the social and cultural world between 1895 and 1906. The manner in which the melodrama (in its earlier manifestations) carefully reflected and reinforced concepts of nature, the power of intuitive feelings, images of the rural order, and the ideal vision of the American female has been carefully and thoroughly discussed by Grimstead, who states that melodrama 246 successfully "... strove to safeguard accepted norms against a rationalistic and skeptical tradition that had in many instances challenged social and theological convictions."^ The melodrama and the four illegitimate genres together reinforced societal ideals so pervasive and so widely held as to be unchallenged, and were not unusual in this respect. The passive and non challenging mass media implicitly accept society's underlying assumptions, since it is the faithful reflec tion of commonly-held views which permits such media to satisfactorily consume leisure time. It is, of course, debatable to what extent these forms of amusement were completely passive: did the melodrama, burlesque, extravaganza, vaudeville play and musical comedy between 1895 and 1906 merely reflect the views of their audiences, or did these plays shape and mold such views, fostering a heightened reality which otherwise could not have existed? The question is unanswerable; it is at least certain that these forms of entertainment were perceived as showing a realistic picture of an ideal world which, if it did not exist in actuality, was a true picture of the world which should exist. The point l^David Grimstead, Melodrama Unveiled: American Theater and Culture, 1800-1850 (Chicago and London: The University of Chicago Press, 1968), p. 219. 247 is perhaps clearest when viewing the melodrama, with its virtuous heroines, manly heroes, and satanic villains; this genre, which commonly described the city as an inevitably corrupting and destructive place while promoting rural life as invariably pure and virtuous, was most popular in the cities. The heroines of melo drama were obstinately pure, so much so that the slightest hint of scandal sufficed to condemn the heroine to death by the final curtain, usually repentant but still besmirched; the pure and chaste female became the chief glory and steadying influence of American civilization, while the family and home were ween as the only institutions in which true happiness was possible. All these idealized views of family and social life, which bore little correspondence with the reality of American urban existence even in so self-consciously paradisiacal a place as Los Angeles, were heartily supported and vigorously cheered by audiences whose everyday life was vastly different from that portrayed on the stages of the melodrama theaters. Yet, as Stephan Crane showed in his 1896 novel Maggie, The Child of the Streets, such images were hailed as "transcendent realism,"16 that is, a perception of a 16As cited by ibid., p. 233. The hyperbolic 248 reality which transcends the sordid actuality of quotidian life. Daily life in urban’Los Angeles did not approach the ideal reality pictured at the Grand Operahouse; shop girls did not struggle to maintain their purity, virtue was not rewarded with unexpected inheritance, and evid- doers were not inevitably punished by a just Providence. The quality of daily life in the 1890's, however, had a melodramatic overlay which corresponds closely to the spirit of the melodramatic plays which attracted large and enthusiastic audiences. Even if the morals of individual city-dwellers did not attain the exalted heights of the theater's heroes and heroines, their language tended to employ the same hyperbole. An 1898 article describing the pitfalls awaiting the talented girl who ventures into the city to make her fortune merits lengthy quotation not only for its reference to the theater (in itself revealing a widely-held view of drama), but because the situation it describes is melodramatic in outline, and the language it employs is style of expression which pervaded the period is admirably discussed in Howard Mumford Jones, The Age of Energy; Varieties of American Experience. 1865-1915 (New York: Viking Press, 1971), pp. 108-112. 249 that of the popular melodrama. The assumptions of the author are those of the melodrama audience: the only recourse for sin is death. The article warns of the wiles of evil city men (the two adjectives are synonymous), and gives a step-by-step guide for seduction beginning with the cad's casual hint at possible matrimony: She fondly imagines that he loves her, and she is weary of the endless struggle and the bitter disillusions of her Bohemian existence, and longs for the sweet repose of a home. She is ready to fling the dream of glory back into the night from whence it sprang and live only for him. When he has brought her to this point he invites her to accompany him to the theatre. He has done so often before. Then there is the usual elegant supper, finished off with a glass of champagne. On the way to the car he remembers a bit of pressing business that ought to be attended to at once, and begs her to stop with him just for a moment. "The man is busy, but will be called. Just step into the reception room," the porter says; and without a shadow of suspicion she walks into the trap that has been set for her. The door is shut, and she is told that she is in a private assignation-house. To resist were folly; to cry out, worse than vain, for there is no one to hear. If she is sensitive and high-souled she flings her polluted body into the river the next day, and nobody charges that man with her murder. If she is "of the earth, earthy," she becomes his mistress, and, in time, joins the great army of lost women, and nobody charges that man with the murder of her s o u l . 17 Emilie Ruck DeSchell, "Is Feminie Bohemiamsm A Failure?" The Arena, XX (July, 1898), 74-75. 250 The passage is revealing not only for its reiteration of the ideals and themes of melodrama— the city is evil, theater leads to corruption, men cannot be trusted, home is a safe refuge, women are both pure and totally passive and therefore cannot defend themselves— but also because it appeared in The Arena, a popular magazine with no theatrical connections or interest intended for a middle class reading public with higher cultural standards than those generally imputed to the habitual supporters of melodrama. An examination of newspaper articles reveals an equally close correspondence, both in language and in incident, between daily life and the theatrical genre of melodrama. A report of a convicted murderer's reconciliation with the prison chaplain just before hanging, for example, both reports another minister's words and the scene which follows in terms as vivid as any dialogue written by Theodore Kremer or Owen Davis: "Durrant," replied Mr. Rader, with suppressed indignation, "you will have to take that back and immediately. I give you my word as a man I had not the slightest idea that Chaplain Drahms was anywhere near. It is true he escorted me here, but I thought he had gone downstairs. This must be settled immediately." Durrant wilted, and with the reaction came more tears and words of apology. Mr. Rader insisted that Durrant was wronging Chaplain Drahms, and told him he should make his peace with him, saying that he would remain if he 251 could call Drahms in and Durrant would do what was right; that Drahms had no wish but for the kindest ministrations to him. Durrant promised, Drahms was called into the cell, and Mr. Rader led the one to the other, and a tableau of reconciliation was the unusual scene in the still chamber of death.1® The Los Angeles press of the period is filled with similarly treated news items, especially those dealing with love complications or suicides; one such account begins, "Driven to desperation by the unfaithfulness of her husband and the heartlessness of her mother, Mrs. Mary Emerson ended her life by jumping into the lake at Westlake Park."19 Mrs. Emerson was unusual; most unhappy wives of the period dispatched themselves with carbolic acid, the effects of which were generally described in clinical detail. It is true that the period's journalism, by its nature, tended to stress the sensational elements in the news. However, the Los Angeles Times (from which these samples were extracted) was not a "yellow press" journal like the Eastern newspapers of Hearst and Pulitzer, but attempted a dignified presentation of news suitable for a city with the aspirations of Los Angeles at the turn of the century. 18 Los Angeles Times, January 6, 1898. 19Ibid., May 13, 1896. 252 Melodrama was thus closely interrelated with its society, even if the causality of that relationship cannot be determined with accuracy: the theatrical genre shared not only basic assumptions of the nature and quality of life with its society, but also the means by which those assumptions were expressed and the mode of life shaped by those assumptions. The constant repetition of the melodramatic ideals in play after play, week after week, had the effect of reinforcement, confirming the audience's acceptance of the validity of such ideals. The genre of pastoral was characterized earlier as a variant form, in some of its aspects, of 20 melodrama. Like the melodrama, the pastoral play emphasized the influence of external controls and reinforced the values and ideals held by the mass audience. Even more than the melodrama, the pastoral play implicitly denied the uncertainty of the late nineteenth century and dismissed, without consideration, the stresses and tensions of urbanized, industrialized existence. In one sense, the message of such plays as Sag Harbor. The Old Homestead. and 'Wav Down East was both negative and reactionary. Only on the farm, on 20 See above, p. 230. 253 the old homestead itself surrounded by the extended kin network, could an individual find true happiness and self-fulfillment. In all of these plays, even the slightest connection with the city tainted the individual, causing either eventual destruction or, in rarer instances, lengthy suffering redeemed only by supreme effort and sacrifice. The pastoral drama provides the clearest instance of theater in Los Angeles actively interacting with society: in the development of the genre, the creation of the agrarian myth is visible, the poeticized, romanticized dream of an ideal life in the country, somehow purer and less corrupting than urban life. The pastoral drama, in conjunction with the many novels containing similar themes, was the primary agent which transformed the sturdily individualistic yeoman of the mid-nineteenth century into kindly Uncle Joshua or Old Jed Prouty, to list only two of the "b'gosh" drama's rustic sages who appeared on Los Angeles stages between 1895 and 1906. Many of the pastoral plays posessed these elements only by implication; certainly the appeal of Iii Old Kentucky, Dazey's popular touring production which performed six separate engagements in Los Angeles during the period under consideration, was due as much to its well- 254 advertised pickaninny brass band and thoroughbred race horses as to its articulation of a changing image of agrarian life. Similarly, the popular Sis Hopkins owed a great deal to its star, Rose Melville, and her characterization in the title role, an aspect of the play's attraction akin to vaudeville plays like Hans Hanson and The Irish Artist and for which the play's rural setting was secondary. Many of the pastoral plays, therefore, owed their popularity to elements other than their country settings, elements which were most often melodramatic and which functioned societally in ways similar to the melodramas discussed above. The four illegitimate genres shared with melo drama and pastoral the time-consuming function of the mass entertainment medium. They also reinforced widely- held assumptions and, to a greater extent than the melodrama, fostered the stereotypical view of the world which was so marked in late nineteenth century America and which reached its height in the burst of patriotic 21 jingoism that accompanied the Spanish-American War. Melodrama supported basic assumptions concerning the nature of morality and the ideal life; the illegitimate genres, by contrast, reinforced the categorization of 21 See above, pp. 78-85. 255 peoples into carefully stereotyped molds, and did so at a point in American cultural history when such molds afforded comfortable and acceptable reassurances that at least some areas of existence remained comprehensible. The illegitimate genres, as was the case with melodrama, relied upon stereotypes for much of their appeal and popularity. Whether the attraction was the German dialect team of Weber and Fields (or any of their countless imitators, such as the team of Kolb and Dill which also played in Los Angeles), the Irish caricatures offered by Peter F. Dailey and Chauncey Olcott, the black-face "coon" songs of May Irwin and Eddie Foy, or the comic Jew presented by David Warfield in his pre-Belasco career, the illegitimate genres of theater in Los Angeles between 1895 and 1906 presented images of individual peoples which focused upon readily recognizable, external characteristics which were accepted as realistic regardless of their connection 22 with reality. Such stock characterizations of ethnic groups, as well as stereotyped characters such as old maids, 22 Carl Wittke, "The Immigrant Theme on the American Stage," The Mississippi Valley Historical Review, XXXIX (September, 1952), 232, discusses the reactions to such stage caricatures by the peoples who were so inaccurately represented. a 256 Yankees, comic servants and others were not, of course, restricted to the illegitimate forms nor to the time period of the present investigation; they were present throughout the nineteenth century (and remain part of modern entertainment) in all genres of theatrical amusement. However, they were particularly suitable for the loose structure and emphasis upon frivolous amusement present in the illegitimate forms since the performers— like Ben Hendricks in his annual tours of Yon Yonson— specialized in a particular type of caricature affording instant recognition. The star performer was thus permitted to present his specialty act without the need to somehow relate it to the play's central plot. These stereotyped figures, like the ideals espoused by melodrama, created a transcendent reality which, although hideously inaccurate, was perceived as a faithful representation of national and ethnic types. The ethnocentric period which accepted William McKinley's reasons for retaining control over the Philippines and which eagerly proclaimed the moral, physical, mental and racial superiority of the American people over all other populations in the world was more than willing to accept the humorous schematization of peoples which the illegitimate genres of theater offered. The organization of the illegitimate genres. 257 with their open form and lack of controlled structure, encouraged the use of stereotypes as a type of dramatic shorthand which provided greater opportunity for the specialty acts and extraneous features which were the primary attraction. The genre of comic opera was as frivolous a theatrical form as the illegitimate genres and equally time consuming in at least one portion of its appeal. Comic opera frequently, as at the Hotchkiss Theater in 1906, became virtually interchangeable (if not synonymous) with musical comedy. This appeal of the genre, stressing the numerous pretty chorus girls, the lively dances and lilting music along with lavish scenery and splendid costumes, allies it closely with the societal functions of the illegitimate genres. Such comic operas as A Gaiety Girl, The Gutta Percha Girl, Red Feather and King Dodo offered little more than light amusement, filling time effortlessly with color, spectacle, and entertaining— if improbable— stories of little lasting interest. Some comic operas possessed greater importance along with more permanent value; they are discussed under Part IV below. The theatrical genres of melodrama, burlesque, extravaganza, musical comedy and vaudeville drama are thus related to Los Angeles society between 1895 and 1906 258 in a predominantly passive manner, as are the genres of pastoral and comic opera in some of their aspects. These genres reinforced stereotyped views of the world, of the nature— both ideal and real— of the social order, and of the role and function of individuals within that order. While these theatrical genres, most particularly that of melodrama, helped shape the manner in which life was perceived, they did not answer the frustration and chaos of life at the turn of the century in the United States; rather they ignored the problems of society, repeating and reiterating endlessly basic societal assumptions which were in many areas of American life increasingly being revealed as inadequate and no longer valid. In a very real sense, therefore, these genres represent a conservative tendency in popular amusement, revealing only the concentration of population caused by urbanization and none of the other problems which accompanied the growth of cities. One would not guess, as is argued by Schlesinger, "that industrialism and the growth of cities were thrusting 23 forward acute problems to plague society" merely from a contemplation of these genres of the drama. By 2*5 Arthur Merer Schlesinger, The Rise of the City, 1878-1898 (New York: The Macmillan Company, 1933), p. 295. 259 reinforcing and supporting slightly tarnished ideals, the Los Angeles theaters which presented plays from these genres were able to appeal to an increasingly large mass audience which demanded only that time be occupied, an audience willing to consume the drama's latest offerings so long as those offerings did not question the homogeneity still praised as the greatest virtue and strength of American life. The presence of large cities, which made theater possible as a mass medium, also made manifest the divisiveness and heterogeneity of American life which the mass media steadfastly ignored. As Los Angeles itself was, during the period under consideration, an atypically homogeneous city, it is not surprising that these genres of theater should have been popular: they supported concepts which were, in Los Angeles even more than in the rest of the country, accepted as essential truths in spite of insistent evidence to the contrary. III. THE MAJOR GENRES The genres of theater presented in Los Angeles discussed above were characterized as passive in their appeal and in their interplay with society; the genres discussed in this section, while not "active" in any 260 sense which the earlier use of "passive" might imply, did not function simply as time consuming activities, although the consumption of time remained a large part of their attraction. Unlike the melodrama and the illegitimate genres, the genres of romance, comedy and drama served a more positive function, revealing attempts to either accept the tensions of the 1890's or to provide social ideals to replace those which no longer provided viable means of coping with American society. The genre of romance dominated Los Angeles theatrical activity when long-run plays, frequently performed plays, and plays presented by resident stock companies were examined in the preceding chapter. It was maintained there that romantic plays were demonstrably most popular with the most typically middle class segment of the theatergoing audience in Los Angeles, itself a city dominated by that particular social ranking. Plays of this genre, accordingly, should most clearly reveal the sort of interaction possible between theater and society, as well as the range and amount of that interrelationship. It is important to note that romanticism (as defined in terms of the present investigation) in the theater, which appeared at the end of the nineteenth 261 century, closely followed an enormous increase in popular romantic historical fiction, the course of which 24 Faulkner traces from 1898 through 1904. The romantic historical novel was thus contemporaneous with the increase of romantic drama in Los Angeles, as indicated in Table VIII above. The popularity of the romantic genre both in drama and in fiction is closely related to the self-conscious middle class, who comprised the major portion of the audience for both forms, as well as to the search for societal goals previously discussed. The romance offered not only exciting incident and stirring plot to consume time, as did the melodrama, but also presented an image of an ideal world of somewhat more sophistication than was present in the melodrama and the illegitimate genres discussed above. While the melodrama celebrated the sanctity of women and the inevitable rewards obtained by virtuous behavior in the face of heinous crimes and temptations, the romance included all of these themes (which has permitted it to be labeled 'two-dollar melodrama' by 25 some observers) a.nd placed them on a more ^Harold Underwood Faulkner, The Quest For Social Justice, 1898-1914 (New York: The Macmillan Company, 1931), p. 261. 25Cf. Lewin A. Goff, "The Popular Priced 262 illusionistic plane. The romance was removed from the realism, transcendent though it may have been, which was the primary feature of melodrama. Instead, the romance was invariably set in an exotic location, generally one which approached mythic proportions. Thus the numerous Civil War plays— ranging from Secret Service to The Heart of Maryland— transformed that bitter conflict into sweeping adventure filled with dashing heroes and even more dashing heroines; the romance of cape and sword, typified by The Prisoner of Zenda, brought the color and excitement of European court life to republican America, while the Biblical romances turned the religious experience of the New Testament into exotic love stories in which ancient Palestine matched Ruritania for color and thrills. By simplifying complex historical events in the confines of stirring love stories, the theatrical genre of romance both reduced history to comfortable, readily comprehensible proportions and simultaneously 26 elevated them to myth-like proportions. Cottrell and Melodrama in America 1890 to 1910. With Its Origins and Development to 1890" (unpublished Doctoral dissertation, Western Reserve University, Cleveland, 1948), p. 416. 2®See Alan S. Downer, Fifty Years of American Drama: 1900-1950 (Chicago: Henry Regnery Company, 1951), pp. 7-8, for the view that the romances of the period (which he terms 'theatrical') deal solely with stereo types. 263 Morosco's The Halfbreed, for example, stripped the complexities from racial tensions in the frontier Old West, and in the process supported the myth of the strong and silent frontiersman. The genre of romance dealt with archetypal characters and situations, lifted above the stereotypical by the strength and color of their settings and treatment. The key to the popularity of the romance can also be found in the escapist appeal of the genre; the romance posited a world not only free from the tensions of contemporaneous urban life, but also far removed from the realistic portrayal of American life that was the strength of the melodrama. The heroes and heroines of the romance were governed by the same moral code which informed the actions of their melodramatic counterparts; there is little difference between the passion of Kate Kennion, who in Belasco's The Girl ! E Left Behind Me has fallen in. love with one man while locked in a loveless betrothal to another one, and that of Mary Brandon, the tainted heroine of Bartley Campbell's melodramatic My Partner who is caught in a similar situation. When Kate Kennion explains why she was not free to accept an offer of marriage from Edgar Hawksworth, she does so in 27 terms of her personal concept of honor; Mary Brandon's 27 David Belasco, The Heart of Maryland &_ Other 264 explanation of the purifying effects of Joe Saunders' love is expressed in much the same terms and shows the 28 same underlying assumptions. The difference between the plays, apart from any consideration of intrinsic merit, resides not in the moral assumptions basic to the characters, but in their settings: Kate Kennion moves in the colorfully exotic world of a Plains Country Cavalry Post, surrounded by gallant soldiers (so gallant they refuse to disrupt a dress ball to announce an imminent attack by thousands of bloodthirsty Indians), while Mary Brandon lives more prosaically in a mining town full of dirty prospectors and evil merchants. The action of My^ Partner is realistic, in Crane's transcendent sense, while that in The Girl I Left Behind Me, although naturalistic in Belasco's carefully detailed production, is far removed from the actuality of life in the Far West. Belasco's play thus creates a romantic world so distant from the sordidness of urban existence as to constitute an escape from it. Plays, ed. Glenn Hughes and George Savage, Vol. XVIII in Barrett H. Clark, ed., America's Lost Plays (Princeton University Press, 1941), pp. 127-128. 28 Bartley Campbell, The White Slave £ Other Plays, ed. Napier Wilt, Vol. XIX in Barrett H. Clark, ed., America's Lost Plays (Princeton, New Jersey: Princeton University Press, 1941), pp. 93-94. 265 The romantic plays were also closely connected with the self-conscious seekings of the Los Angeles middle class for knowledge and for any sort of social definition. Many of them had historical settings and, although there were numerous romantic plays placed in England (or, in the case of Old Heidelberg, Germany), many dramatized events from American history: the Civil War provided many plots, as did the Revolutionary War, and there were a few which turned the Far West into a strangely foreign locale in the manner of The Girl I_ Left Behind Me. There was, as noted earlier, a growing 29 . interest in American history; the exuberant nationalism fostered by the Spanish-American War included the con comitant discovery that the United States had a history every bit as long and as stirring as that of the European countries, a fact celebrated by plays like Janice Meredith, Held By the Enemy. Barbara Frietchie, Cumberland 161. For Fair Virginia, and many others. The codes of behavior implicitly assumed by the romantic plays can also be said to have provided a sense of definition which the period lacked. Personal loyalty to country, steadfast devotion to duty, defiance of inequity and evil: these themes (which the romance 29 See above, pp. 50-53. 266 shared with the melodrama) were standard ones of the romantic genre. The princes, kings, dukes, princesses, generals, and rebels of the romance all defied society and convention for the higher nobility of honor, whether expressed in Mary Tudor's defiance of her father in When Knighthood Was in Flower, Villon's loyalty to the weak Louis in If I Were King, or Yo-San's rebellion against heaven itself for the sake of love in The Dariinq of the Gods. If* as Rovit maintains, the image of the lone individual in opposition to the cosmos is a 30 peculiarly American theme, the romantic drama of the turn of the century seized this image, domesticated it, and transformed it into a code of behavior which, by virtue of its exotic surroundings, seemed valid. Since the plays carefully removed their characters from a realistic setting, placing them instead in a realm of sheer illusion, the forces which motivated the characters' actions retained a semblance of validity which would otherwise have been lacking and, furthermore, reinforced the assumptions held by the audience without straining verisimilitude. The code of behavior assumed 30 Earl H. Rovit, "American Literature and 'The American Experience,'" American Quarterly, XIII (Summer, 1961), 118. 267 correct by the romantic plays thus provided a model of action for their middle class audiences, self-conscious of their positions and unsure of their roles in a complex society. That this code was no more applicable to urban life than the closely similar one of the melodrama was masked by the plays' settings and illusionistic romantic world. The genre of romance, therefore, not only offered escape from the unpleasant realities of the urban situation through fanciful settings, but provided the appearance of conveying knowledge about history and strange peoples while at the same time reassuring audi ences that historical figures and foreign populations were guided by the same moral and ethical presuppositions as were the Los Angeles middle class. In a far more direct manner than the melodrama and the illegitimate genres, the romantic play supplied concrete proof of the superiority of American civilization while simul taneously implying that current stresses were transitory. Like the other genres discussed above, however, that of romance reflected society instead of directing or shaping it. The relationship of the romantic play to Los Angeles society between 1895 and 1906 was more complex and sophisticated than that of the genres discussed earlier, yet like them, the genre of romance confirmed 268 and reinforced standards which had existed prior to the country's urbanization even while giving the appearance of providing new ones. In a very real sense, therefore, the genre of romance may be seen as the last attempt of an outmoded value system to assert itself. The flood of historical romantic fiction disappeared shortly after Ol 1904, while the theatrical version of the same move- 32 ment did not last past 1906 as a popular genre. It may accordingly be seen as a manifestation of the last energetic movement, expressed politically by the Populist Movement, to recapture the rapidly fading ideals and values of a predominantly agricultural United States. While the genre of romance portrayed illusionistic situations, the genres of comedy, drama, and farce tended to deal with solid reality. Plays in these genres generally employed urban settings, placing their central figures against a social background and contrasting the actions of the characters against the accepted norm of society. In both comedy and farce, in most cases, the central characters' efforts to 31 Faulkner, loc. cit. 32 Arthur Hobson Quinn, A History of the American Drama From the Civil War to the Present Day (New York: Harper & Brothers Publishers, 1927), 1:200-211. 269 manipulate social standards provided the plays' humor as the plots became more and more complicated before the final resolution. Thus The Man From Mexico, Du Souchet's popular farce, showed the hero's frantic attempts to convince his family that his absence from home, due to a weekend in jail, was actually a result of a sudden trip to Mexico; My Friend From India used the device of an uninvited guest disguised as an Indian mystic to explain his presence, while the motif of the disguised character is repeated in Charley's Aunt, Madame Sans Gens and What Happened to Jones? All of these plays, and most of those classified as either comedy or farce in the present investigation, accepted without question the values of an urban social order and derived comedic effect from unsuccessful attempts to either avoid or control the rules of society. As a result, plays of these genres are most useful in determining what the rules of society were; rarely do the plays comment, either implicitly or explicitly upon the validity of those rules. All the comedies and farces under examination assume that middle class existence is both acceptable and worth emulation, revealing the per vasiveness of that social ranking in the theatergoing public; further, the plays mock those individuals with pretensions to culture or aspirations to upper-class 270 status, indicating the self-righteous equalitarianism of the period. Again, therefore, the interrelationship between society and the genres of comedy and farce is a passive one: the plays reveal the concerns of the period, but in a superficial manner. With the genre of drama, however, a more active relationship is indicated. Many of the plays assigned to this rubric are, to a later historical epoch, either melodramatic or romantic; certainly Trilby would now be classified as the former, while Zaza seems more romantic than dramatic. These two plays were perceived during the period under consideration, however, as dealing with searching social questions in the same manner, and to the same degree, as the problem plays of Pinero and Jones, the dramas of Ibsen, or the society plays of Fitch and H. C. De Mille. The genre of drama between 1895 and 1906, as defined for the purposes of the present investigation, was the only theatrical form which attempted to analyze and to distinguish the problems of the period, even if those problems were as shallow as the ones portrayed in Trilby and Zaza. The more serious plays of this sort were the least popular: Zangwell's The Children of the Ghetto, a serious attempt to probe the influence of urban slums upon their inhabitants, Ibsen's A Doll's House, Pinero's The Second Mrs. 271 Tanqueray, William De Mille's Strongheart, which examined the effects of racial prejudice, all received less than fifteen performances in Los Angeles. Those dramas which were most popular, as indicated by Table X, generally deal with the problems of love, as do Trilby, Sapho. Zaza, and A Bacholor1s Romance, which face the intricacies of human emotion with more realism and show its effects more truthfully than do the genres of melodrama and romance. Of the popular plays classified as drama, only Caine's The Christian and Jones' Mrs. Dane's Defense attempt more serious social problems; they still retain strong love stories for popular appeal. It is only in the genre of drama that several of the societal aspects isolated in Chapter II above appear, and then only in a few individual examples of the genre. The rise of Progressivism, for example, is mirrored in Klein's The Lion and the Mouse, a thinly veiled attack on John D. Rockefeller perhaps prompted 33 by Ida Tarbell's muckraking articles in McClure's, but which is an optimistic view of monopolistic power with a happy ending, unlike other forms of Progressive literature. One observer has suggested that muckraking 33 See above, p. 92-93. 272 drama is more a result of the growing demand for a truly American drama after 1898 than because playwrights 34 perceived need for actual reform; the scarcity of such concerns even in the serious drama tends to support such a view, since the genre of drama dealt more consistently with such social problems as marriage, divorce, the role of women, and the efforts of in dividuals to better themselves in a hostile setting than with the larger issues of the day. As indicated in O C the discussion accompanying Table VI, the genre of drama as a whole did not dominate the theatrical fare presented in Los Angeles, and when the few samples of the genre which took as their subject matter serious examination of major social problems are considered, the numbers fall to an insignificant level. IV. THE CLASSIC GENRES The genres of opera, period drama, Shakespeare and period comedy were combined in the preceding chapter under the general heading of 'Classic' genres, and proved of minor importance when overall Los Angeles 34 Maxwell Bloomfield, "Muckraking and the American Stage: The Emergence of Realism, 1905-1917," South Atlantic Quarterly, LXVI (Spring, 1967), 166. ^See above, pp. 187-192. 273 theatrical production figures were considered. Los Angeles performances of these genres were dependent upon touring stars or, in the case of opera, touring companies; only Shakespearian plays were presented each year during the period under consideration, while the other three genres often were not represented for extended periods of time.3* * The variation even for the Shakespearian plays is wide (twelve percent of all productions in 1899, two and a half percent the following year). Presentation of individual works from these genres was thus so uneven as to make any generalization concerning them tenuous at best. Two general factors are apparent, however, when the Classic genres are correlated with Los Angeles society between 1895 and 1906. The Classic genres were considered by contem poraries as proof that Los Angeles was a cosmopolitan, sophisticated metropolis; performances of opera were especially seen in this light, and productions of the Classic genres generally were social, rather than theatrical, occasions.37 This aspect of productions from the four Classic genres is particularly noticeable 36 See below, pp. 198. 37See above, pp. 137-140. 274 in performances at the Mason Operahouse after 1903, where the playhouse itself had a social function. The Mason Operahouse, it will be recalled, had been care fully designed with a large foyer and relatively slight inclines rather than stairways, features hailed at the time of its opening as providing a fitting setting for 38 the high society of Los Angeles. The presence of the Mason Operahouse supplied concrete evidence of the city's distinction and ability to match the glittering (and well reported) society events of the East Coast and San Francisco; similarly, performances of the Classic genres were pointed to with pride as demonstrating Los Angeles' artistic maturity. Continued, even if sporadic, support for the Classic genres can thus be seen as an expression of the self-consciousness of middle class Los Angeles, seeking ways in which to provide cultural and artistic self definition. To some extent, the same function was performed by individual works in the genre of comic opera. Comic opera was discussed above in Part II as a time consuming activity; some of the comic operas, however, also bestowed artistic status upon the city which patronized them. The Bostonians, with their 38 See above, p. 136. 275 regular visits performing such operettas as Robin Hood, The Serenade, Rob Roy and Prince Ananias, were satis fying from an entertainment viewpoint as well as from the cosmopolitan status their visits conferred upon the city. Similarly, the appearance of such works as The Chimes of Normandy, works from the Gilbert and Sullivan canon, and Olivette provided cultural uplift in addition to amusement. These and other comic operas were close enough to the richness of opera itself to confer some of the same benefits, but were also enough akin to musical comedy and extravaganza to contain a dual appeal. Although they made satisfactory cultural self definition possible, plays from the Classic genres seem to have been performed as much like popular contem poraneous plays as possible. Although evidence in this area is scanty— Los Angeles journalists tend to rave about the dignity of actors' conceptions of Shakespearian characters, providing little discussion of what the performances entailed— some information suggests that most of Shakespeare and works from the genre designated 'period drama' in the present investigation were per formed as romantic plays, and were reduced in per formance to experiences more akin to Old Heidelberg 276 than to the Shakespearian productions of Edwin Booth. Wholesale rearrangements of Shakespeare's plays are not, of course, anything peculiar to American theater between 1895 and 1906; each epoch adapts the Elizabethan plays to its own taste and predilections. That Shakespeare's plays were heavily adapted for presentation in Los Angeles is not unusual, but the manner in which they were adapted reveals an attempt to transform the Shakespearian tragedies into romantic plays. When Richard Mansfield performed Richard III during his 1905 engagement at the Mason Operahouse, for example, the playbill contained the following notice to the audience: Note: In Mr. Mansfield's version of Richard III, the long opening speech commencing "Now is the winter of our discontent" is omitted as delaying the action of the play and because everything said in the speech is afterwards repeated by Richard. 9 While everything in the speech is indeed later repeated by Richard during the course of the play, the speech's omission removes the one clear statement of Richard's motivations before his machinations begin, leaving a consummate melodramatic villain who acts from sheer malice. Similarly, Frederick Warde's version of 39 Playbill, L. E. Behymer Collection, Henry E. Huntington Library. in King Lear, performed during three separate Los Angeles engagements by the traveling tragedian, compressed the play heavily, combining scenes to permit lavish stage 40 settings. Warde's promptbook contains predictable changes in words (all mention of Edmund's bastardy is carefully excised, Kent calls Oswald a knave but not a whoreson, and so forth), and includes a note describing a sentimental addition to the play: In the text of the play the Fool does not appear till the third scene of the first act; but in my performances, I have had the Fool present in the opening scene, a grieved but silent spectator of the folly of the King in the disposition of his realm. At the close of the scene, the Fool shows his sympathy for Cordelia by furtively kissing the hem of his robe, as he sorrowfully follows his master from the throne room.4! As was the case with Mansfield's emendation of Richard III, Warde's addition of the Fool to the first scene of King Lear does not violently change the play (Warde's rearrangement of the storm scene, due to scenic require ments, was more drastic) but instead provides a different tone, in the latter instance supplying a 40 See Theodore J. Shank, "Shakespeare and Nine teenth Century Realism," Theatre Survey, IV (1963), 59-75, for a discussion of contemporaneous changes due to the demands of scenery. 4Promptbook, King Lear, Frederick Warde Collection 669, University of California at Los Angeles. Handwritten note verso first p. of text, unnumbered. 278 sentimental, sympathetic figure on stage to balance Kent's stronger reaction. A greater change was made in 1895 by Laurence Marston, who seemingly managed to remove Antony entirely from Antony and Cleopatra; Lillian Lewis acted "Shakespeare's Cleopatra" in that year at the Los Angeles Theater to large audiences without, according to the playbill, an actor playing Antony. In short, Los Angeles performances of Shakes pearian plays may well have transformed them into melodramatic, romantic tragedies more closely analgous to the popular theater than is apparent on the surface. Materials examined for the present investigation imply that such was the case, although only the implication can be stated without further study. If the Shakes pearian and period genres were performed in the spirit of the popular theatrical forms as weel as with textual changes to force them more perfectly into structures acceptable to the audiences who enjoyed The Girl I Left Behind Me and The Prisoner of Zenda. their societal function would then have been that of the romantic genre discussed above. It is perhaps significant that the two productions of the Classic genres to appear in Table X, "Plays Most Frequently Performed in Los Angeles, 1895- 1906," are Romeo and Juliet and Cavalleria Rusticana, 279 both markedly romantic examples of their respective genres. V. SUMMARY Theater in Los Angeles between 1895 and 1906 functioned primarily as a time-consuming activity. Only a very small proportion of the genre designated 'drama1 in terms of the present investigation made any attempt to discuss major problems confronting American society at the turn of the century. Although several broad aspects of the increasingly urban society were reflected in the theater of the day, most of the theatrical ac tivity in Los Angeles reinforced concepts and social ideals which contemporaneous events were proving invalid; the theater did not offer new guidelines for the frag mented and confused society it provided amusement for, nor did it reveal the confusion and uncertainty of the middle class, the segment of the population which dominated in Los Angeles and which formed the major portion of theater audiences. The Los Angeles theater affirmed the southern Californian middle class' sense of importance and supported the complacent assumption, held in Los Angeles as throughout the country, that Amercian culture— which, as has been discussed, usually 280 explicitly denoted Protestant Anglo-Saxon concepts of culture— was the most advanced and potentially per- fectable form of civilization in the world. The two genres of theater which were most popular in Los Angeles, melodrama and romance, both offered idealized views of the American social order. The melodrama presented a transcendent view of reality that was perceived as accurate by its audiences, but which had little correspondence with urban actuality. The genre of romance, by contrast, dealt with arche typal themes in an illusionistic manner. Both melodrama and romance, however, supported out-moded moral and cultural value systems which did not survive the first decade of the twentieth century. The Los Angeles theater, moreover, did not reflect contemporaneous sociological trends, such as the breakdown of the extended kin network and the regrouping of smaller familial unit, but rather reflected the reactionary view that the pastoral, agrarian existence was superior to the more frenetic urban life. Other social trends were reflected in the theatrical fare presented to the Los Angeles population, but only in generalized, non-specific ways. Overall, the Los Angeles theater was a passive, rather than active, and conservative, rather than innovative, 281 reflection of the society which patronized it. CHAPTER VI SUMMARY AND CONCLUSIONS SUMMARY The present study attempted to answer four separate, although interrelated questions, sketched in Chapter I above.^ Each of the questions is recapitulated below, followed by a short summary of the findings of the investigation applicable to that portion of the problem. 1. What was the nature of the social order in Los Angeles between 1895 and 1906, and what were national patterns which were either reflected in that city or did not have local impact? This question provided the basis for Chapter II of the present investigation; it was determined that Los Angeles population trends represented extreme forms of national movements. The late nineteenth and early twentieth centuries in the United States proved a period dominated by the ideals and standards of an expanding, newly self-conscious middle class; atypically, that social ranking not only dominated the cultural ^"See above, p. 1. 282 283 aspects of Los Angeles society but the population growth of southern California as well, exerting numerical as well as social control. Los Angeles showed, along with the remainder of the country, the strains and tensions of urbanization. Nationwide, the concentrating effects of growing metropolises produced dichotomous stresses between the actuality of urban life and the ideal agrarian existence which had been the mythic self-image of American life. The diversity and heterogeneity of the country, manifested in crowded city neighborhoods and exacerbated by the presence of constantly increasing hordes of immigrants made highly visible in all their foreignness and strange ness by the concentrating effects of the city, explicitly denied the validity of rurally oriented standards and codes of behavior. The Los Angeles response, visible both in the nature of the city's population and in the physical dispersion of the urban area, was to deny the importance of these developments and to insist instead upon the essential homogeneity of the American personality. Los Angeles thus accomplished in fact what other Americans accepted as utopian goals. The xeno phobia and ethnocentricity of the United States, both revealed and increased by the Spanish-American War and 284 imperialistic adventures under the Presidencies of McKinley and Roosevelt, was translated in Los Angeles into societal presuppositions which assumed the goals of an Anglo-Saxon middle class were valid for the country as a whole, if not for the world as an entirety. Los Angeles also shared with the entire country a search, sometimes frantic and always frenetic, for new myths and new ideals to replace the outmoded ones of a predominantly agricultural United States. Four separate developments were traced as stemming from this search: the creation of an idealized and romanticized view of agrarian life; the acdeptance of a business ethic, with its concomitant emphases upon power, quantification, uniformity and external characteristics; imperialistic tendencies, which stressed stereotypical views of the world and of society; and the appearance toward the end of the period under discussion of Reform and Progressive movements. All these national trends were demonstrated as having specific manifestations in Los Angeles and southern California, along with smaller movements which stemmed from the three major national trends: the urbanization of the country, the appearance of a self consciously active middle class, and the search for 285 societal ideals. It was posited that Los Angeles, be cause of the unusual nature of its population, carried all of these national societal patterns to extreme forms, and that the history of Los Angeles between 1895 and 1906 therefore reveals national concerns in an unusually direct manner. 2. What were the amount and variety of professional, commercial theatrical entertainments presented in Los Angeles? The history of Los Angeles theatrical presentations was discussed in Chapter III above, which surveyed the playhouses, managers, and the repertories available to Los Angeles audiences between 1895 and 1906. It was demonstrated that the population increase of the city, which doubled in size every five years, was matched by an increase in the number of theaters. It was further discovered that the Los Angeles theaters tended to maintain specialized repertories, appealing to different segments of the population. In 1895, the city supported three major playhouses and only occasionally minor theaters offering inexpensive vaudeville. The Los Angeles Theater, managed by H. C. Wyatt, provided the local stage for touring attractions, and became the southern California locus for productions under the aegis of the Theatrical Syndicate, while the Burbank Theater, under the control 286 of a succession of managers until acquired by Oliver Morosco in 1899, supplied popular-priced touring companies interspersed with seasons of stock companies. The third major theater of 1895 was the Orpheum, presenting vaudeville of consistent quality at inexpensive ticket prices. In 19 03 the number and programs of theaters in Los Angeles began an expansion which lasted through 1906, fostered as much by steadily increasing population as by internecine struggles between the Theatrical Syndicate and groups of dissident performers and managers attempting to break the Syndicate's monopolistic power. By 1906, Los Angeles audiences possessed a wide choice of theatrical fare at a large number of theaters. The Mason Operahouse, which had opened in 1903, housed the major touring combinations which traveled to Los Angeles. The Grand Operahouse, also opening in 1903, presented popular-priced touring companies inter spersed with lengthy seasons of spectacular melodrama, while the Orpheum continued, in a different location, to provide vaudeville. In addition, the city patronized two resident stock playhouses, the Belasco Theater (which had opened in 1904), and Morosco's Burbank Theater. The Casino Theater operated throughout 1904 287 with a program of musical comedy and burlesque and in 1906 (renamed the Hotchkiss Theater) with comic opera, musical comedy, and a brief season of resident stock. Los Angelenos also supported at the close of the period under consideration a constantly fluctuating number of minor theaters which presented mixed programs of vaude ville, farce, burlesque, and motion pictures. The development of theatrical entertainment in Los Angeles between 1895 and 1906 was quantitative rather than qualitative: the greater number of playhouses at the end of the period reflects the city's larger population, and the increased specialization of repertory at specific theaters provided no departure in the range of entertainment offered, but merely extended the amount available. 3. Which genres of theatrical entertainment dominated the professional Los Angeles theater, and which factors accounted for that domination? The genres of plays performed in Los Angeles between 1895 and 1906 were described and analyzed in Chapter IV, which dealt in a quantitative manner with all of the professional, commercial performances in the city's major playhouses (as defined in Chapter I). Fifteen separate genres of drama were defined and identified as consistently appearing on the stages of Los Angeles theaters; those 288 of melodrama, romance, comedy, and drama were discovered to predominate. These four genres, designated the 'major genres' for purposes of discussion, accounted for over fifty percent of the total number of plays presented, of productions presented, and of performances given. The high figures for the genre of melodrama, the single form most frequently offered, were the result of the repertory at the Grand Operahouse, which presented plays from this genre almost exclusively between 1903 and 1906. When the repertories for the resident stock companies supported by Los Angeles were examined, the genre of romance was revealed as the single most per vasive form of theater offered in the city. Romance also dominated when the plays most frequently performed and plays presented for engagements of two weeks— a long-run for the period— or more were examined. The two genres of melodrama and romance, and to a lesser extent those of comedy and drama, were accordingly posited as those most acceptable to Los Angeles theater audiences; since the theater was a totally commercial enterprise, it was assumed that the genres of theater most frequently produced were also the genres which provided the highest profits, an assumption supported by earlier studies of both the national and local 289 theatrical businesses. The other genres of theater presented in Los Angeles proved of less importance. Those grouped as 'illegitimate genres' included musical comedy, burlesque, extravaganza, and vaudeville drama; the 'minor genres' included comic opera, farce and pastoral. These two groups of genres, clustered for discussion purposes, showed a relative consistency of performance throughout the period, each generally accounting for twenty percent of the total performances and productions in the city. The genres of Shakespeare, period drama, opera, and period comedy, grouped and discussed under the rubric of 'classic genres,' demonstrated little stability, fluctuating widely in their percentages of total productions and performances. Further, the classic genres were of peripheral importance in terms of the overall theatrical production in Los Angeles, never supplying more than nine percent of the total performances. 4. Which societal factors present in Los Angeles between 1895 and 1906 were reflected by the Los Angeles theater? Chapter V discussed the relationship between Los Angeles society and its theater, correlating the conclusions of the three preceding chapters. It was 290 discovered that Los Angeles theater overwhelmingly fulfilled a time consuming function: theatrical entertainment in general served to occupy time effort lessly and amusingly, and was the primary means of consuming leisure time in the absence of other forms of mass media. As a mass entertainment medium, the theater in Los Angeles did reflect several broad aspects of its society. Although each genre of theater was shown to reflect slightly different elements of the society's concerns, in general the Los Angeles theater tended to reinforce and confirm not the confusion and fragmentation of the society, but rather the older ideal of a homo geneous and uniform American culture. The period's xenophobia and ethnocentricity was reflected in stereo typical characterizations, while the business ethic received its theatrical reverberation through an increased emphasis upon size and bulk as positive values. The creation of an agrarian myth was especially notable in theatrical entertainment, particularly in the genre of the pastoral play celebrating the strength and purity of rural existence. The two genres of theatrical entertainment which were the most dominant, those of melodrama and romance, both responded to the confusion of late nineteenth 291 century America by providing escapes from the harshness of contemporary life. The melodrama, with its trans cendent reality, denied the permanence and actuality of urban existence, while the romance provided through its illusionistic treatment of commonly-shared archetypes a confirmation of the assumption that the ideals and goals of the middle class were both valid and universal. Both melodrama and romance therefore implicitly suggested that the tensions of the period were only temporary, and neither offered formulations of the new societal ideals which were taking shape contemporaneously. The Los Angeles theater did not reflect social trends of its day, but instead reinforced the reactionary view that a pastoral, agrarian existence was superior to more frantic urban life. Current social trends were reflected in the theatrical fare presented to Los Angeles only in generalized, non-specific ways. Overall, the Los Angeles theater was a passive, rather than active, and conservative, rather than innovative, reflection of the society which patronized it. CONCLUSIONS Specific conclusions concerning the nature of the relationship between Los Angeles theater and society have already been given, both in Chapter V and in the 292 short summary immediately above. The Los Angeles theater was found to be a mass entertainment medium, passively supporting widely-held assumptions about the nature of the city's social order at a time when those same assumptions were in the process of changing. Socio logical developments between 1895 and 1906 explicitly denied the validity of the behavioral codes and societal norms which the theater affirmed. The confusion, disorganization, and fragmentation of American society found no expression in Los Angeles theatrical enter tainment. From the evidence gathered by the present case study, the following conclusions concerning the relation ships between theater and Los Angeles society can be hypothesized: The Los Angeles theater between 1895 and 1906 was predominantly a mass entertainment medium organized on a commercial basis; as such, it constituted a cultural phenomenon with criteria and values distinct from a consideration of drama as an art form with artistic or aesthetic purposes. It is therefore invalid to judge the commercial theater by standards other than popularity or acceptance by its audience. This does not claim that productions presented in Los Angeles were not individu ally artistic, nor that aesthetic criteria have no 293 bearing upon an examination of the period's plays as literature. Theater was presented in Los Angeles for commercial ends, and must be considered in that light when approached in an historical study. It follows, therefore, that the theater's relationship with Los Angeles society had to be passive or reflective rather than active and dynamic. If the theater's major function was the consumption of time in a pleasurable and non-demanding manner, it could not question the basic assumptions of its audiences, for to do so would be to raise issues antithetical to the theater's commercial purposes. Moreover, the societal assumptions mirrored in Los Angeles theater tended to be conservative or even out-moded ones, since these were the assumptions most likely to be acceptable to 2 the widest possible number of potential patrons. In this respect the theater accurately reflected the atypi cal nature of Los Angeles between 1895 and 1906: Los Angeles itself represented an unconscious attempt by 2 This conclusion does not imply that the Los Angeles audience was, in absolute terms, a conservative entity; the Los Angeles theater's conservatism stems from its inability and unwillingness to offend any segment of its audience rather than from any consideration of the audience's prejudices. 294 its inhabitants to deny the existence of the stresses and tensions made apparent by the national society's changing goals and beliefs. Because of its passive reflection of Los Angeles society, theater in that city reveals little about local culture not available from other sources, usually in a far more direct manner. The presuppositions of the social ranking which dominated Los Angeles are clearer and more readily identifiable in publications like 3 The Land of Sunshine, as discussed above, than in the repertories of the Belasco or Burbank Theaters; the theater confirms the views presented by the magazine, but neither clarifies nor develops those views. Los Angeles theatrical entertainment can reveal the basic elements which informed the city's cultural limits, but sheds little light on the interesting historical problem of how those limits changed, when they changed, or in which directions changes led. Los Angeles theater between 1895 and 1906, therefore, shows little of the dynamic energy characteristic of the period and provides an essentially distorted impression of the city and the concerns of its inhabitants. ■*See above, pp. 58-62. 295 The danger of vigorously attempting to see the largest and most grandiose of implications possible, of finding too many traces of the macrocosm within tho microcosm, always exists, and is greatest when con cluding a restricted study dealing with a severely limited topic. There has accordingly been no attempt in the present study to generalize its conclusions beyond the commercial American theater in Los Angeles at the turn of the century. As a case study, the present one should have wider implications than those drawn here; such implications might include speculation con cerning the nature of theater's relationship with society in absolute terms, as well as speculations on the purpose and function of the mass entertainment media. Speculation of this order, however, clearly lies outside the province of a case study. SUGGESTIONS FOR FURTHER RESEARCH Further research is required to test the applicability of the present case study's conclusions to the wider phenomenon of the commercial American theater at the turn of the century and to determine if the passivity of the Los Angeles theater was a purely local manifestation of the way in which theater and 296 society interact. Additional research might be under taken to determine if the trends apparent in Los Angeles between 1895 and 1906 continued after the latter date, and at what point changes occurred in southern California's amusement industry. The impact of the cinema industry, although alluded to in the present study, falls outside the chronological framework employed herein; to assess the reciprocal influences and interactions between the motion picture and the theater in southern California would be a valuable addition to the body of knowledge currently in existence. SELECT BIBLIOGRAPHY 297 A. BOOKS Bartlett, Dana W. The Better City. A Sociological Study of a Modern City. Los Angeles: The Neuner Company Press, 1907. Belasco, David. The Heart of Maryland & Other Plavs. ed. Glenn Hughes and George Savage. Vol. XVIII in America1s Lost Plays, ed. Barrett H. Clark. Princeton, New Jersey: Princeton University Press, 1941. Bernheim, Alfred L. The Business of the Theatre: An Economic History £ b a Amer.igiUi I h ea tX fi, 115.Q rl9.32. New York: Actors' Equity Association, 1932. Rpt. New York: Benjamin Blom, 1964. Bingham, Edwin R. Charles F. Lummis: Editor of the Southwest. 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"Conflict and Change in American Values: A Culture-Historical Approach,” Ethics, LXXIV (October, 1963) , 19-33. 305 Arendt, Hannah. "Society and Culture," Culture For the Millions? ed. Norman Jacobs. Princeton, New Jersey D. Van Nostrand Company, 1961. Pp. 43-52. Ballowe, James C. "The Last Puritan and the Failure in American Culture," American Quarterly, XVIII (Summer, 1966), 123-135. Barth, Gunther. "Metropolism and Urban Elites in the Far West," The Age of Industrialism in America. Essays in Social Structure and Cultural Values, ed. Frederic Cople Jaher. New York: The Free Press 1968. Pp. 158-187. Bell, Wendall. "The City, the Suburb, and a Theory of Social Choice," The New Urbanization, ed. Scott Greer, Dennis L. McElrath, David W. Minar, and Peter Orleans. New York: St. Martin's Press, 1968. Pp. 132-168. Bloomfield, Maxwell. "Muckraking and the American Stage The Emergence of Realism, 1905-1917," South Atlantic Quarterly, LXVI (Spring, 1967) , 165-178. Blumenfeld, Hans. "The Modern Metropolis," Cities. New York: Alfred A. Knopf, 1965. Pp. 40-57. Rpt. American Urban History, ed. Alexander V. Callow, Jr. New York: Oxford University Press, 1969. Pp. 166-177. Blunter, Herbert. "Moulding of Mass Behavior Through the Motion Picture," Publications of the American Sociological Society, XXIX [August, 1935), 115-127. Boskin, Joseph. "Associations and Picnics as Stabilizing Forces in Southern California," California Historical Society Quarterly, XLIV (March, 1956), 17-26. Briggs, Asa. "Forward," The Study of Urban History, ed. H. J. Dyos. New York: St. Martin1s Press, 1968. Pp. v-xi. Carney, Francis. "A State of Catastrophe," The New York Review of Books, XVII (October 7, 1971), 30-36. 306 Cawelti, John G. "America on Display: The World's Fairs of 1876, 1893, 1933," The Age of Industrialism in America. Essays in Social Structure and Cultural Values, ed. Frederic Cople Jaher. New York: The Free Press, 1968. Pp. 317-363. Checkland, S. G. "Toward a Definition of Urban History," The Study of Urban History, ed. H. J. Dyos. New York: St. Martin's Press, 1968. Pp. 343-361. Corbin, John. "How the Other Half Laughs," Harper's New Monthly Magazine, LXCVIII (December, 1898),30-48. Cross, Robert D. "The Church and the City," The City in American Life: A Historical Anthology, ed.Paul Kramer and Frederick L. Holborn. New York: G. P. Putnam's Sons, 1970. Pp. 255-277. Darrow, Clarence S. "Realism in Literature and Art," The Arena, IX (December, 1893), 98-109, 111-113. Degler, Carl N. "American Political Parties and the Rise of the City: An Interpretation," Journal of American History, LI (June, 1964), 41-59. De Graaf, Lawrence B. "The City of Black Angels: Emergence of the Los Angeles Ghetto, 1890-1930," Pacific Historical Review, XXXIX (August, 1970), 323-352. DeSchell, Emilie Ruck. "Is Feminine Boheminaism A Failure?" The Arena, XX (July, 1898), 68-75. Dorson, Richard M. "The Yankee on Stage— a Fold Hero of American Drama," New England Quarterly, XIII (Sep tember, 1940), 467-493. Dyos, H. J. "Agenda For Urban Historians," The Study of Urban History, ed. H. J. Dyos. New York: St. Martin's Press, 1968. Pp. 1-46. Faris, Ellsworth. "The Nature of Human Nature," The Urban Community, ed. Ernest W. Burgess. Chicago: The University of Chicago Press, 1926. Pp. 21-37. 307 Fitch, Clyde. "The Play and The Public," Plays By Clyde Fitch (Memorial Edition). ed. Montrose J. Moses and Virginia Gerson. Boston: Little, Brown and Company, 1915. IV: xv-xlviii. Goff, Lewin. "The Owen Davis-Al Woods Melodrama Factory," Educational Theatre Journal, XI (October, 1959), 200-207. Glazer, Nathan, and Daniel Patrick Moynihan. "Beyond The Melting Pot," The City in American Life: A Historical Anthology, ed. Paul Kramer and Frederick L. Holborn. New York: G. P. Putnam's Sons, 1970. Pp. 294-311. Grimstead, David. "Uncle Tom From Page To Stage: Limitations of Nineteenth-Century Drama," Quarterly Journal of Speech, LVI (October, 1970), 235-244. Handlin, Oscar. "Comments on Mass and Popular Culture," Culture For the Millions? ed. Norman Jacobs. Princeton, New Jersey: D. Van Nostrand Company, 1961. Pp. 63-70. _______ . "The Modern City as a Field of Historical Study," The Historian and the City. ed. Oscar Handlin and John Burchard. Cambridge, Massachusetts: The M.I.T. Press, 1963. Pp. 1-26. Hays, Samuel P. "The Politics of Reform in Municipal Government in the Progressive Era," Pacific Northwest Quarterly, LV (October, 1964), 157-16$. Hodge, Francis. "Theat-re or Theat-er: Samuel Johnson or Noah/Merriam Webster?" Theatre Survey, IX (May, 1968), 36-44. Hoffman, Charles. "The Depression of the Nineties," Journal of Economic History, XVI (June, 1956), 137-164. Holt, W. Stull. "Some Consequences of the Urban Movement in American History," Pacific Historical Review, XXII (November, 1953), 337-351. 308 Ivie, Robert L. "William McKinley: Advocate of Imperialism," Western Speech, XXXVI (Winter, 1972), 15-23. Kaplan, Abraham. "The Aesthetics of the Popular Arts," Journal of Aesthetics (Spring, 1966). Rpt. Modern Culture and tfiie Arts, ed. James B. Hall and Barry Ulanov. New York: McGraw-Hill Book Company, 1967. Pp. 62-78. King, Ervin. "Boys' Thrills in Los Angeles of the '70's and 80's," Quarterly Publication of the Historical Society of Southern California, XXX (December, 1948), 303-316. Lazarfeld, Paul F. "Mass Culture Today," Culture For the Millions? ed. Norman Jacobs. Princeton, New Jersey: D. Van Nostrand Company, 1961. Pp. ix-xxv. McElrath, Dennis. "Introductory: The New Urbanization," The New Urbanization, ed. Scott Greer, Dennis L. McElrath, David W. Minar and Peter Orleans. New York: St. Martin's Press, 1968. Pp. 3-12. Malraux, Andre. "Art, Popular Art, and the Illusion of the Folk." trans. William Barrett. The New Partisan Reader, 1945-1953. ed. William Phillips and Philip Rahv. New York: Harcourt, Brace & World, 1953. Pp. 438-446. Marshall, Leon S. "The English and American Industrial City of the Nineteenth Century," Western Pennsylvania Historical Magazine, XX (September, 1937), 16^-180. Marx, Leo. "The Machine in the Garden," The New England Quarterly, XXIX (March, 1956), 27-42. Mickel, Jere C. "The Genesis of Toby: A Folk Hero of the American Theater," Journal of American Folklore, LXXX (October-December, 1967), 334-340. Moses, Leon N., and Harold F. Williamson, Jr. "The Location of Economic Activity in Cities," The New Urbanization, ed. Scott Greer, Dennis L. McElrath, David W. Minar and Peter Orleans. New York: St. Martin's Press, 1968. Pp. 113-131. 309 North, Cecil C. "The City as a Community: An Introduction to a Research Product," The Social Fabric: Contributions of the Chicago School of Urban Sociology, ed. James F. Short. Chicago: The University of Chicago Press, 1971. Pp. 103-108. Palmer, A. M. "Art vs. Commercialism," The Theatre, I (June, 1901), 12-17. Petersen, Eric Falk. "The End of an Era: California's Gubernatorial Election of 1894," Pacific Historical Review. XXXVIII (May, 1969), 141-156. Reimers, David. "Protestantism's Response to Social Change," The Age of Industrialism in America. Essays in Social Structure and Cultural Values, ed. Frederic Cople Jaher. New York: The Free Press, 1968. Pp. 364-383. Rovit, Earl H. "American Literature and 'The American Experience,'" American Quarterly, XIII (Summer, 1961), 115-125. Royle, Edwin Milton. "The Vaudeville Theatre," Scribner's Magazine, XXVI (October, 1899), 485-495. Schlesinger, Arthur Meier. "A Panoramic View: The City in American History," Mississippi Valley Historical Review, XXVII (June, 1940) , 43-66. Shank, Theodore J. "Shakespeare and Nineteenth-Century Realism," Theatre Survey, IV (1963), 59-75. Shils, Edward. "Mass Society and Its Culture," Culture For the Millions? ed. Norman Jacobs. Princeton, New Jersey: D. Van Nostrand Company, 1961. Pp. 1-27. Snyder, Frederick E. "Theatre in a Package," Theatre Survey. XII (May, 1971), 34-45. Splitter, Henry Winfred. "Health in Southern California, 1850-1900," Journal of the West, VIII (October, 1969), 526-558. ________ . "Literature in Los Angeles Before 1900," Journal of the West, V (January, 1966) 91-104. 310 _____ . "Los Angeles Recreation, 1946-1900," The Historical Society of Southern California Quarterly, XLIII (March, 1961), 35-68; (June, 1961), 1 6 6 - 1 3 9 . Strong, Josiah. "Perils— The City," Our Country; Its Possible Future and Its Present Crisis. New York: The Baker and Taylor Co., 1885. Pp. 128-144. Rpt. Sutherland, Henry A. "Requiem for the Los Angeles Philharmonic Auditorium," Southern California Quarterly, XLVII (September, 1965), 303-331. Thernstrom, Stephan. "Urbanization, Migration, and Social Mobility in Late Nineteenth-Century America," Towards a New Past; Dissenting Essays in American History, ed. Barton J. Bernstein. New York; Pantheon Books, 1968. Pp. 158-175. Travis, Steve. "The Rise and Fall of the Theatrical Syndicate," Educational Theatre Journal. X (March, 1958), 35-40. Turner, Ralph E. "The Industrial City: Center of Cultural Change," The Cultural Approach to History, ed. Caroline F. Ware. New York: Columbia University Press, 1940. Pp. 228-242. Wardle, Irving. "Holding Up the Mirror," 20th Century, CLXXIII (Autumn, 1964), 34-43. Wasserstrom, William "The Lily and the Prairie Flower," American Quarterly, IX (Winter, 1957), 398-411. Weiss, Richard. "Horatio Alger, Jr., and the Response to Industrialism," The Age of Industrialism in America. Essays in Social Structure and Cultural Values, ed. Frederic Cople Jaher. New York: The Free Press, 1968. Pp. 304-316. White, Morton and Lucia. "The Outlines of a Tradition," The Intellectual Versus the City. Cambridge, Massachusetts: Harvard University Press, 1962. Rpt. The City in American Life: A Historical Anthology. ed. Paul Kramer and Frederick L.Holborn. New York: G. P. Putnam's Sons, 1970. Pp. 243-254. Wilson, Garff B. "Richard Mansfield: Actor of the Transition," Educational Theatre Journal, XIV (March, 1962)7 "3'5-4'3. 311 Winther, Oscar 0. "The Rise of Metropolitan Los Angeles, 1870-1900," Huntington Library Quarterly, X (August, 1947), 391-405. Wittke, Carl. "The Immigrant Theme on the American Stage," The Mississippi Valley Historical Review, XXXIX (September, , 311-331! C. UNPUBLISHED MATERIALS Allen, John Aubrey. "A Study of the Theatre in Relation to the Welfare of Los Angeles." Unpublished thesis, written in connection with The Seminar in Economics, University of Southern California, Los Angeles, 1912. Appell, Louise Colton. "A Historical Folk-Survey of Southern California: A Narrative of the Peopling of the Southland." Unpublished Master's thesis, University of Southern California, Los Angeles, 1927. Baker, Dorothy Gilliam. "Monopoly in the American Theater: A Study of the Cultural Conflicts Culminating in the Syndicate and its Successors, the Shuberts." Unpublished Doctoral dissertation, New York University, New York City, 1962. Barnett, Martha. "A Historical Sketch of the Professional Theater in the City of Los Angeles to 1911." Unpublished Master's thesis, University of Southern California, Los Angeles, 1930. Bokar, Camille R. "An Historical Sketch of the Legitimate Theatre in Los Angeles, 1920-1930, and Its Relation to the National Theatrical Scene." Unpublished ms.. University of Southern California, Los Angeles, 1972. Brady, Donald Vincent. "History of El Paso Theatre: 1881 to 1905." Unpublished Doctoral dissertation, Tulane University, New Orleans, 1965. Brode, Alverda June. "The History of the University Section Los Angeles." Unpublished Master's thesis, University of Southern California, Los Angeles, 1922. 312 Catren, Robert C. "A History of the Generation, Transmission, and Distribution of Electrical Energy in Southern California." Unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1951. Christie, Blanche. "Phineas Banning, With Special Reference to the Development of Transportation in Southern California." Unpublished Master's thesis, University of Southern California, Los Angeles, 1932. Clodius, Albert H. "The Quest For Good Government in Los Angeles 1890-1910." Unpublished Doctoral dissertation, The Claremont Graduate School, Pomona, 1953. Conn, Arthur Leslie. "The History of the Loring Opera House, Riverside, California." Unpublished Master's thesis, University of California at Los Angeles, 1970. Crampton, June Margaret. "A History of the Los Angeles and San Pedro Railroad." Unpublished Master's thesis. University of Southern California, Los Angeles, 1929. Culton, Donald Ray. "Charles Dwight Willard: Los Angeles City Booster and Professional Reformer 1888-1914." Unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1971. Dumke, Glenn S. "The Growth of the Pacific Electric and Its Influence Upon the Development of Southern California to 1911." Unpublished Master's thesis, Occidental College, Los Angeles, 1939. Earnest, Sue Wolfer. "An Historical Study of the Growth of the Theatre in Southern California 1848- 1894." Unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1947. Estes, Richard G. "The Development of Thoroughbred Horse Racing in Southern California." Unpublished Master's thesis. University of Southern California, Los Angeles, 1949. 313 Frank, Wallace. "History of Thoroughbred Racing in California." Unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1964. Gartler, Ruth Miriamrose. "A Hostorical Study of the Mason Operahouse in Los Angeles." Unpublished Master's thesis, University of California at Los Angeles, 1966. Goff, Lewin A. "The Popular Priced Melodrama in American 1890 to 1910. With Its Origins and Development to 1890." Unpublished Doctoral dissertation, Western Reserve University, Cleveland, 1948. Harkness, Elisabeth Jane. "A History of the Presbytery of Los Angeles 18 50-1928." Unpublished Master's thesis, University of Southern California, Los Angeles, 1929. Henneke, Ben Graf. "The Playgoer in America (1752-1952)." Unpublished Doctoral dissertation, University of Illinois, Urbana, 1956. Hutchins, Jennings Randolph. "A History of Quaker Social Thought and Action in Southern California." Un published Master's thesis, University of Southern California, Los Angeles, 1947. Kaufman, Edward K. "An Historical Study of the Los Angeles Theatre 1880-1894.” Unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1972. Larson, Esther E. "The History of Music in Los Angeles." Unpublished Master's thesis, University of Southern California, Los Angeles, 1930. Lestrud, Vernon A. C., Jr. "An Analysis of the Moral Attitudes Toward the Theater of the Pacific Slope States From 1849 to 1899." Unpublished Doctoral dissertation, University of Oregon, Eugene, 1965. Lippman, Monroe. "The History of the Theatrical Syndicate: Its Effect Upon the Theatre in America." Unpublished Doctoral dissertation, University of Michigan, Ann Arbor, 1937. 314 Murphy, Janice K. "A History of Local Steam Railroads of Los Angeles 1870-1900." Unpublished Master's thesis, University of Southern California, Los Angeles, 1936. Nardin, James Thompson. "A Study in Popular American Farce, 1865-1914." Unpublished Doctoral dissertation, University of Chicago, 194 9. Rukgaber, Cecile A. "The Theatrical Syndicate and Its Effect Upon the American Theatre." Unpublished Master's thesis, University of Wyoming, Laramie, 1955. Schoen, Leonard. "An Historical Study of Oliver Morosco's Long-Run Premiere Productions in Los Angeles 1905-1922." Unpublished Doctoral dissertation, University of Southern California, Los Angeles, 1971. Slout, William Lawrence. "The Repertoire Tent Show from Its Beginning to 1920." Unpublished Doctoral dissertation, University of California at Los Angeles, 1970. Sorrels, Roy W. "The Los Angeles Theatre Activities of Oliver Morosco." Unpublished Master's thesis, California State College at Long Beach, 1966. Snyder, Frederick E. "American Vaudeville— Theatre in a Package; The Origins of Mass Entertainment." Unpublished Doctoral dissertation, Yale University, New Haven, 1970. Tyler, Pamela Frederica. "The Los Angeles Theatre 1850-1900." Unpublished Master's thesis. University of Southern California, Los Angeles, 1942. Wolf, Jerome. "The Los Angeles Times, Labor, and the Open Shop, 1890-1910." Unpublished Master's thesis, University of Southern California, Los Angeles, 1961. 315 Woods, Alan. "A Los Angeles Commercial Theater and Its Audiences in the 1890's." Unpublished paper, University of Southern California, Los Angeles, 1971. C. NEWSPAPERS Long Beach Tribune, July, 1903; July, 1904; July, 1905. Los Angeles Daily Herald, November, 1902-January, 1906. Los Angeles Evening Express, March, 1901-December, 1906. Los Angeles Evening Record, December, 1902-December, 1906. Los Angeles Examiner, August, 1904-February, 1906. Los Angeles Graphic, September, 1904-November, 1905. Los Angeles Times, January, 1895-December, 1906. E. MANUSCRIPT COLLECTIONS L. E. Behymer Collection, Henry E. Huntington Library, San Marino, California. California Ephemera Collection 200, University of Cali fornia at Los Angeles, Department of Special Collections. George A. Dobinson Collection, Los Angeles Public Library. Harry C. Maidenburg Collection, University of Southern California, Los Angeles, Department of Special Collections. William A. Spalding Papers, Henry E. Huntington Library, San Marino, California. Theatre Arts Ephemera Collection 975, University of California at Los Angeles, Department of Special Collections. Frederick Warde Promptbooks, Collection 669, University of California at Los Angeles, Department of Special Collections. THE INTERACTION OF LOS ANGELES THEATER AND SOCIETY BETWEEN 1895 AND 1906: A CASE STUDY APPENDIX by Alan Lambert Woods A Dissertation Presented to the FACULTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (Communication— Drama) August 1972 LOS ANGELES THEATER DAY BOOK, 1895 TO 1906 The Day Book lists all professional theatrical entertainment, within the parameters established for the present study, presented in Los Angeles between 1895 and 1906. Productions are listed chronologically rather than by theater to permit comparison of the theatrical fare offered in any particular week. Each entry in the Day Book lists several different pieces of information about the productions. The playhouse at which the production played is given after the week in which the play was offered. The leading actor or company is then listed, followed by the title of the play, the author, the genre, the days of performance, and the number of performances. Finally, the type of production— i.e., touring combination, stock company, and so forth— is given. The following abbreviations are used to denote the genres of theater identified and defined in the present study: M - Melodrama MC - Musical Comedy R - Romance O - Opera C - Comedy S - Shakespeare 2 D - Drama E - Extravaganza V - Vaudeville pd - Period Drama Drama b - Burlesque CO - Comic Opera PC - Period Comedy F - Farce P - Pastoral Similarly, the following definitions are employed to indicate the type of production each play received; TC - Touring Combination RS - Resident Stock Company TS - Touring Stock Company week: December 30, 1894 week: January 6, 1895 Burbank Theater Cooper Stock Company CINDERELLA, OR, THE LITTLE GLASS SLIPPER E Sun-Sat, mat. Tues. 8 p. RS week: January 13, 1895 Burbank Theater Jeffreys Lewis and the Cooper Stock Company FORGET-ME-NOT Herman Merivale C Sun-Sat. 7 p. RS Los Angeles Theater Sadie Martinot THE PASSPORT V Tues-Sat, mat. Sat. 6 p. TC week: January 20, 1895 Los Angeles Theater Marie Tavery Opera Company RIGOLETTO Verdi O Mon. 1 j IL TROVATORE Verdi 0 Tues. 1 p. 1 PAGLIACCI Leoncavallo 0 CAVALLERIA RUSTICANA Mascagni 0 mat. Wed. 1 d . CARMEN Bizet 0 Wed. 1 p. FAUST Gounod 0 Thurs. 1 i MARTHA Flotow O Fri. 1 p THE BOHEMIAN GIRL Balfe 0 mat. Sat. 1 p. TANNHAUSER Wagner O Sat. 1 p. TC Burbank Theater Jeffreys Lewis and the Cooper Stock Company LA BELLE RUSSE David Belasco D Sun-Sat. 7 p. RS Burbank Theater Jeffreys Lewis and the . Cooper Stock Company EAST LYNNE M Sun-Sat. 7 p. RS u> week: January 27, 1895 week: February 3, 1895 Burbank Theater Los Angeles Theater Burbank Theater Jeffreys Lewis and the Cooper Stock Company LED ASTRAY Dion Boucicault M Sun-Sat, mat. Sat. 8 p. RS THE BROWNIES IN FAIRYLAND Palmer Cox E Thurs-Sat. 4 p. TC Dailey's Stock Company A NIGHT OFF Augustin Daly C Sun-Sat, mat. Sat. 8 p. TS week: February 10, 1895 week: February 17, 1895 Burbank Theater Los Angeles Theater Burbank Theater Dailey's Stock Company THE GALLEY SLAVE Bartley Campbell M Sun-Sat, mat. Sat. 8 p. TS Royal Opera Company KING SOLOMON Negrescon and Bloom 0 Thurs-Sat, mat. Sat. 4 p. TC Dailey's Stock Company WAGES OF SIN Frank Harvey M Sun-Sat, mats. Fri., Sat. 9 p. TS week: February 23, 1895 Los Angeles Theater Burbank Theater Nellie McHenry A NIGHT AT THE CIRCUS V Thurs-Sat, mat. Sat. TC 4 p. Dailey's Stock Company THE PULSE OF NEW YORK M Sun-Sat, mat. Sat. 8 p. TS week: March 3, 1895 week: March 10, 1895 Los Angeles Theater Calhoun Opera Company AMORITA CO Wed-Fri. 3 p. THE BLACK HUSSAR CO Sat, mat. Sat. 2 p. TC Burbank Theater Dailey's Stock Company WOMAN AGAINST WOMAN Frank Harvey M Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Dailey's Stock Company ROSEDALE Lester Wallack D Sun-Sat, mat. Sat. 8 p. TS week: March 17, 1895 Burbank Theater Dailey's Stock Company CONFUSION Nat Goodwin C Sun-Sat, mat. Sat. 8 p. TS 1 p. OTHELLO Shakespeare Fri. 1 p. RICHARD III Shakespeare Sat. 1 p. TC Los Angeles Theater Frederick Warde and Louis James HENRY IV Shakespeare Mon-Wed. 3 p. FRANCESCA DA RIMINI Boker PD Wed. mat. 1 p. JULIUS CAESAR Shakespeare Thurs. Ol week: March 24, 1895 Los Angeles Theater Marie Burroughs JUDAH Henry Arthur Jones D Wed-Fri. 3 p. THE PROFLIGATE D Sat. 1 p. TC week: March 31, 1895 Los Angeles Theater J.K. Emmett FRITZ IN A MADHOUSE V Mon-Wed. 3 p. TC THE FENCING MASTER DeKoven and Smith CO Thurs-Sat, mat. Sat. 4 p. TC week: April 7, 1895 Los Angeles Theater Emily Bancker OUR FLAT V Sat. 1 p. TC Burbank Theater Dailey's Stock Company TAKEN FROM LIFE M Sun-Sat, mat. Sat. 8 TS Burbank Theater Dailey's Stock Company CORNER GROCERY Daniel Sully P Sun-Sat, mat. Sat. 8 TS Burbank Theater Dailey's Stock Company HUMBUG F Sun-Sat, mat. Sat. 8 p week: April 14, 1895 Los Angeles Theater OUR FLAT V Sun. 1 p. TC Charles Frohman Company THE GIRL I LEFT BEHIND ME Belasco and Fyle R Tues-Sat, mats. Wed, Sat. 7 p. TC week: April 21, 1895 Los Angeles Theater Emily Bancker OUR FLAT V Sun-Wed. 3 p. TC week: April 28, 1895 Los Angeles Theater Peter F. Dailey A COUNTRY SPORT John J. McNally V Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Dailey's Stock Company FIELD OF HONOR; OR, THE BLUE AND THE GREY M Sun-Sat, mats. Mon, Wed, Sat. 10 p. TS Burbank Theater Fred A. Cooper's New Stock Company THE PRINCE AND THE PAUPER F Sun-Sat, mat. Sat. 8 p. RS Burbank Theater Cooper's New Stock Company THE FRENCH SPY V Sun-Sat, mat. Sat. 8 p. RS week: May 5, 1895 week: May 12, 1895 Burbank Theater Burbank Theater Edgar Selden and the Cooper Company WILL O'THE WISP Edgar Selden V Sun-Sat, mat. Sat. 8 p. RS Edgar Selden and the Cooper Company MCKENNA'S FLIRTATION V Sun-Sat, mat. Sat. 8 p. RS week: May 19, 1895 Los Angeles Theater THE AMERICAN GIRL H. Grattan Donnelly V Wed-Thurs, mat. Thurs, TC 3 p. Burbank Theater Joseph Dowling, Myra Davis, and the Cooper Stock Company in THE LIFE GUARD Edwin Locke M Sun-Sat, mat. Sat. 8 p. RS week: May 25, 1895 Los Angeles Theater THE AMERICAN GIRL H. Grattan Donnelly V Tues-Thurs, mat. Thurs. 4 p. TC Burbank Theater Dowling, Davis, and the Cooper Stock Company THE RED SPIDER M Sun-Sat, mat. Sat. 8 p. RS week: June 2, 1895 Burbank Theater Dowling, Davis, and the Cooper Stock Company CAPT. HERNE, U.S.A. Margaret Barrett Smith M Sun-Sat, mat. Sat. 8 p. RS 00 week: June 9, 1895 Los Angeles Theater Burbank Theater ALABAMA Augustus Thomas P Thurs-Sat, mat. 4 p. TC Sat. Joseph Dowling, Myra Davis, and the Cooper Stock Company in THE BELLE OF CARBINE RIVER M Sun-Sat, mat. Sat. 8 p. RS week: June 16, 1895 Los Angeles Theater Burbank Theater Denman Thompson Rose Stillman and the Cooper Stock Company THE OLD HOMESTEAD THE CLEMENCEAU CASE Denman Thompson M Sun-Sat, mat. Sat. 8 p. P Mon-Thurs, mat. Wed. RS 5 p. TC week: June 23, 1895 Burbank Theater R.L. Scott and the Cooper Stock Company CHIP O'THE OLD BLOCK V Sun-Sat, mat. Sat. 8 p. RS week: June 30, 1895 Burbank Theater Rose Stillman, R.L. Scott, and the Cooper Stock Company MUGG'S LANDING M Sun-Sat, mat. Sat. 8 p. RS week: July 7, 1895 Burbank Theater R.L. Scott, Rose Stillman, and the Cooper Stock Company A COLD DAY V Sun-Sat, mat. Sat. 8 p. RS week: July 14, 1895 Burbank Theater Rose Stillman and the Cooper Stock Company THE SUNNY SOUTH Fred A. Cooper M Sun-Sat, mat. Sat. 8 p. RS week: July 21, 1895 Burbank Theater The Cooper Stock Company THE STRANGLERS OF PARIS David Belasco M Sun-Sat, mat. Sat. 8 p. RS week: July 28, 1895 Burbank Theater The Cooper Stock Company THE BLACK FLAG H. Pettit M Sun-Sat, mat. Sat. 8 p. RS week: August 8, 1895 Los Angeles Theater The Lyceum Theater Company THE CASE OF REBELLIOUS SUSAN Henry Jones C Wed, mat. Sat. 2 p. AN IDEAL HUSBAND Oscar Wilde C Thurs. 1 p. THE AMAZONS Arthur Wing Pinero R Fri. 1 p. THE WIFE Belasco and DeMille C Sat. 1 p. TC week: August 11, 1895 Los Angeles Theater Burbank Theater Burbank Theater Ethel Brandon and the Cooper Stock Company THE SHADOWS OF A GREAT CITY Shuvell and Jefferson M Sun-Sat, mat. Sat. 8 p. RS Hoyt's Theater Company A BLACK SHEEP Charles Hoyt V Tues-Sat, mat. Sat. 6 p. TC Ethel Brandon and the Cooper Stock Company THE OCTAROON Dion Boucicault M Sun-Sat, mat. Sat. 8 p. RS m week: August 18, 1895 Los Angeles Theater Burbank Theater William Gillette TOO MUCH JOHNSON William Gillette F Thurs-Sat, mat. Sat. 4 p. TC Ethel Brandon and the Cooper Stock THE FROTH OF SOCIETY M Sun-Sat, mat. Sat. 8 p. RS Company week: August 25, 1895 Los Angeles Theater Burbank Theater Gustave Frohman Company JANE Nichols and Letocq C Mon-Wed. 3 p. TS Ethel Brandon and the Cooper Stock EDITH'S BURGLAR Bronson Howard M Sun-Sat, mat. Sat. 8 p. RS Company week: September 1, 1895 week: September 8, 1895 Burbank Theater Los Angeles Theater Burbank Theater Gustave Frohman Company JANE Nichols and Letocq C Sun-Sat, mat. Sat. 8 p. TS C.M. Wood Opera Company Gustave Frohman Company LA MASCOTTE THE COLONEL'S WIVES Andron CO Sedley Brown Fri-Sat. 2 p. F Sun-Sat, mat. Sat. TC 8 p. TS week: September 15, 1895 Burbank Theater Gustave Frohman Company JANE C Mon-Wed., 4 p. THE COLONEL'S WIVES F Thurs-Sat, mat. Sat. 4 p. TS week: September 22, 1895 Burbank Theater Gustave Frohman Company THE MINISTER Sedley Brown F Sun-Sat, mat. Sat. 8 p. TS week: September 29, 1895 Los Angeles Theater Sherman Company PHANTASMA E Thurs-Sat, mat. Sat. 4 p. TC week: October 6, 1895 Los Angeles Theater Pauline Hall Opera Company DORCAS CO Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater The Frawley Company THE SENATOR David Lloyd C Mon-Sun, mat. Sat. 8 p. TS week: October 13, 1895 Los Angeles Theater Burbank Theater L.R. Stockwell MASKS AND FACES Taylor and Reade C THE MAGISTRATE Arthur Wing Pinero C Wed-Sat, mat. Sat. 5 p. TC The Frawley Company ALL THE COMFORTS OF HOME William Gillette C Mon-Sun, mat. Sat. 8 p. TS week: October 20, 1895 Los Angeles Theater Burbank Theater Wilton Lackaye in TRILBY Potter D The Frawley Company, SWEET LAVENDER Pinero C Thurs-Sat, mat. Sat. 4 p. TC Mon-Sun, mat. Sat. 8 p. TS week: October 27, 1895 Los Angeles Theater ERMINIE CO Fri-Sat. 2 p. TC Burbank Theater The Frawley Company, THE ENSIGN Haworth D Mon-Sun, mat. Sat. 8 p. TS week: November 3, 1895 Los Angeles Theater Canary and Lederer's Company THE PASSING SHOW Ludwig Englander V Tues-Sat, mat. Sat. 6 p. TC Burbank Theater The Frawley Company NANCY & CO. Augustin Daly C Mon-Sun, mat. Sat. 8 p. TS week: November 10, 1895 Los Angeles Theater Burbank Theater A FOOL FOR LUCK V Mon-Tues. 2 p. TC The Bostonians ROBIN HOOD DeKoven and Smith CO Wed, Fri, mat. Sat. 3 p. PRINCE ANANIAS Herbert CO Thurs, Sat. 2 p. TC The Frawley Company MOTHS M Mon-Sun, mat. Sat. 8 p. TS u> week: November 17, 1895 Los Angeles Theater Charles Frohman Company CHARLEY'S AUNT Brandon Thomas C Thurs-Sat, mat. Sat. 4 p. TC week: November 24, 1895 Los Angeles Theater Jacob Litt's Company THE WAR OF WEALTH C.T. Dazey M Wed-Sat, mats. Thurs, Sat. 6 p. TC week: December 1, 1895 Burbank Theater The Frawley Company THE WESTERNER Edward A. Rose M Mon-Sun, mat. Sat. 8 p. TS Burbank Theater The Frawley Company THE ARABIAN NIGHTS Sidney Grundy F Mon-Sun, mat. Sat. 8 p. TS Burbank Theater The Frawley Company THE JILT Dion Boucicault M Mon-Sun, mat. Sat. 8 p. TS week: December 8, 1895 Burbank Theater The Frawley Company YOUNG MRS. WINTHROP Bronson Howard C Mon-Thurs. 4 p. CAPTAIN SWIFT C. Haddon Chambers D Fri-Sun, mat. Sat. 4 p. TS week: December 15, 1895 Los Angeles Theater DeWolf Hopper WANG Goodwin and Morse CO Tues-Thurs. 3 p. DR. SYNTAX Goodwin and Morse CO Fri-Sat, mat. Sat. 3 p. TC week: December 22, 1895 Los Angeles Theater Lillian Lewis CLEOPATRA Shakespeare Wed-Sat, mat. Sat. 5 p. TC week: December 28, 1895 Los Angeles Theater Rice1s Surprise Party 1492 E.E. Rice E Mon-Sat, mats. Wed, Sat. 8 p. TC Burbank Theater The Frawley Company THE LOST PARADISE Henry De Milie D Mon-Sat, mat. Sat. 7 p. TS Burbank Theater E.J. Holden's Excelsior Company YOUTH E Sun-Sat, mats. Wed, Sat. 9 p. TC Burbank Theater Milton and Dollie Nobles FROM SIRE TO SON Milton Nobles M Mon-Sat, mat. Sat. week: January 5, 1896 Los Angeles Theater Robert Downing INGOMAR THE BARBARIAN Marie Lovell PD Mon. 1 p. HELENA Sardou PD Tues, Thurs. 2 p. JULIUS CAESAR Shakespeare mat. Wed. 1 p. THE GLADIATOR Saumet PD Wed. 1 p. TC May Irwin THE WIDOW JONES McNally V Fri-Sat, mat. Sat. 3 p. TC week: January 12, 1896 Los Angeles Theater Fanny Rice AT THE FRENCH BALL V Sun-Tues. 3 p. TC Jacob Litt's Company IN OLD KENTUCKY C.T. Dazey P Wed-Sat, mat. Sat. 5 p. TC Burbank Theater Milton and Dollie Nobles FOR REVENUE ONLY, OR, A THIRD PARTY MOVEMENT F Mon-Sat, mat. Sat. 7 p. TS Burbank Theater Milton and Dollie Nobles THE PHOENIX Milton Nobles M Mon-Sat, mat. Sat. week: January 19, 1896 Los Angeles Theater Kimball Opera Comique Organization HENDRICK HUDSON, JR. Gill and Frazier E Mon-Wed, mat. Wed. 4 p. TC Louis James HAMLET Shakespeare Thurs. 1 p. MACBETH Shakespeare Fri. 1 p. ROMEO AND JULIET Shakespeare mat. Sat. 1 p. OTHELLO Shakespeare Sat. 1 p. TC week: January 26, 1896 Los Angeles Theater Marie Tavery Grand Opera Company AIDA Verdi O Mon. 1 p. CARMEN Bizet O Tues. 1 p. THE BOHEMIAN GIRL Balfe 0 mat. Wed. 1 p. LES HUGUENOTS Meyerbeer O Wed. 1 FAUST Gounod O Thurs. 1 p. LOHENGRIN Wagner O Fri. 1 p. MIGNON Thomas 0 mat. Sat. 1 p. IL TROVATORE Verdi 0 Sat. 1 p. TC Burbank Theater Milton and Dollie Nobles A SON OF THESPIS Milton Nobles P Mon-Sat, mat. Sat. 7 p. TS Burbank Theater Milton and Dollie Nobles LOVE AND LAW Milton Nobles C Mon-Sat, mat. Sat. 7 p. TS week: February 2, 1896 Burbank Theater Milton and Dollie Nobles A MAN OF THE PEOPLE Nobles M Mon-Sat, mat. Sat. 7 p. TS week: February 16, 1896 Los Angeles Theater Frederick Warde THE MOUNTEBANK D'Ennery PD Mon,Sat. 2 VIRGINIUS Knowles PD Tues. 1 p. KING LEAR Shakespeare Wed, Fri. 2 p. THE LION'S MOUTH Carleton PD Thurs. 1 JULIUS CAESAR Shakespeare mat Sat. 1 p week: February 23, 1896 Los Angeles Theater John L. Sullivan, THE WICKLOW POSTMAN Price V Mon-Tues. 2 p. TC Thomas Keene, LOUIS XI PD Wed. 1 p. RICHARD III Cibber S Thurs. 1 p. TC TRILBY Paul M. Potter D Fri-Sat, mat. Sat. 3 p. TC week: February 9, 1896 Burbank Theater May Nannary and the Dailey Stock Company QUEENA Tillotson D Mon-Sat, mat. Sat. 7 p. TS Burbank Theater May Nannary and the Dailey Stock Company WIFE FOR WIFE J.A. Stevens M Mon-Sat, mat. Sat. 7 p. TS Burbank Theater May Nannary and the Dailey Stock Company THE FIRE PATROL James W. Harkins M Mon-Sat, mat. Sat. 7 p. TS o o week: March 1, 1896 Los Angeles Theater Ezra Kendall A PAIR OF KIDS Ezra Kendall V Fri-Sat, mat. Sat. 3 p. TC week: March 8, 1896 Los Angeles Theater Katie Putnam THE OLD LIME KILN C.T. Dazey P Mon-Wed. 3 p. TC American Extravaganza Company SINBAD E Thurs-Sun, mat. Sat. 5 p. TC Burbank Theater May Nannary and the Dailey Stock Company THE POWER OF THE PRESS Pitou and Jessup M Mon-Sun, mat. Sat. 8 o. TS Burbank Theater May Nannary and the Dailey Stock Company BABY C Mon-Sat, mat. Sat. 7 p. TS VO week: March 15, 1896 Los Angeles Theater Nellie McHenry THE BICYCLE GIRL Louis Harrison V Mon-Wed, 3 p. TC James O'Neill MONTE CRISTO PD Thurs, Sat. 2 p. VIRGINIUS Knowles PD Fri. 1 p. TC week: March 22, 1896 Los Angeles Theater Louis Morrison's Company FAUST E Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater May Nannary and the Dailey Stock Company LYNWOOD M Sun. 1 p. TS Carleton Opera Company FRA DIAVOLO Auber CO Mon, Thurs, mat. Wed. 3 p. THE BOHEMIAN GIRL Balfe 0 Tues, Wed, mat. Sat. 3 p. THE MIKADO Sullivan CO Fri, Sat. 2 p. TS Burbank Theater Carleton Opera Company THE MIKADO CO Sun, mat. Wed. 2 p. THE LILY OF KILLARNEY Benedict CO Mon-Wed, Sat, mat. Sat. 5 p. THE CHARITY GIRLS CO; THE BOHEMIAN GIRL O Thurs. 1 p. THE CHARITY GIRLS CO; FRA DIAVOLO CO Fri. 1 p. TS NJ o week: March 29, 1896 Los Angeles Theater Hoyt & McKee's Comedy Co. A MILK WHITE FLAG Hoyt V Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Carleton Opera Company THE CHARITY GIRLS; FRA DIAVOLO CO Sun. 1 p. TS Hazard's Pavilion Cook Sisters' Production UNCLE TOM'S CABIN M Sat, mat. Sat. * 2 p. TC week: April 5, 1896 Los Angeles Theater Edwin Milton Royle CAPT. IMPUDENCE Royle F Tues-Thurs. 3 p. FRIENDS Royle C Fri-Sat, mat. Sat. 3 p. Burbank Theater Carleton Opera Company NANON, OR THE HOSTESS OF THE GOLDEN LAMB Genee CO TC Sun-Sat, mats. Wed, Sat. 9 p. TS week: April 12, 1896 Los Angeles Theater Roland Reed and Company THE POLITICIAN Lloyd and Rosenfeld C Thurs. 1 p. THE WOMAN HATER Lloyd C Fri, mat. Sat. 2 p. LEND ME YOUR WIFE Boucicault & Rosenfeld F Sat. 1 p. Burbank Theater Carleton Opera Company THE CHARITY GIRLS: H.M.S. PINAFORE CO Mon-Wed, mats. Wed, Sat, Sat. 5 p. THE MIKADO CO Thurs. 1 p. FRA DIAVOLO CO Fri. 1 p. TS week: April 19, 1896 week: April 26, 1896 Los Angeles Theater Burbank Theater Los Angeles Theater Peter F. Dailey THE NIGHT CLERK John J. McNally V Tues-Sat, mat. Sat. 6 p. TC Carleton Opera Company THE BOHEMIAN GIRL Mon, mat. Thurs. 2 p. THE MIKADO Tues, Fri. 2 p. FRA DIAVOLO mat. Tues, Sat. 2 P. NANON Wed. 1 p. H.M.S. PINAFORE Thurs. 1 p. TS Frank Mayo PUDD'NHEAD WILSON Mayo P Mon-Wed, mat. Wed, 4 p. TC week: May 3, 1896 Los Angeles Theater Richard Mansfield RODION THE STUDENT Meltzer D Thurs. 1 p. A PARISIAN ROMANCE Feuillet D Fri. 1 p. BEAU BRUMMELL Clyde Fitch R mat. Sat. 1 p. PRINCE KARL A. Gunther R Sat. 1 p. TC Burbank Theater Davis-Moulton Musical Comedy Company NIOBE Harry Paulton F Sun-Sat, mat. Sat. 8 p. TS to r o week: May 10, 1896 Los Angeles Theater Hoyt-McKee Company A TRIP TO CHINATOWN Charles Hoyt V Thur-Sat, mat. Sat. 4 p. TC Burbank Theater Davis-Moulton Musical Comedy Company THE GIRL-UP-TO-DATE F Sun-Sat, mat. Sat. 8 p. TS week: May 17, 1896 Los Angeles Theater Eddie Foy THE STRANGE ADVENTURES OF MISS BROWN Buchanan and Marlowe F Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Davis-Moulton Comedy Company THE ACTOR Lonergan C THE LORDS OF CREATION C Sun-Sat, mat. Sat. 8 p. TS week: May 24, 1896 Burbank Theater Davis-Moulton Comedy Company TURNED-UP! Mr. Melford F Sun-Sat, mat. Sat. 8 p. TS week: May 31, 1896 Burbank Theater Davis-Moulton Comedy Company MY PARTNER Bartley Campbell M Sun-Sat, mat. Sat. 8 p. TS week: June 7, 1896: no performances week: June 14, 1896: no performances week: June 21, 1896: no performances t o CJ week: June 28, 1896 week: July 5, 1896: no performances Los Angeles Theater week: July 12, 1896: no performances John Drew week: July 26, 1896: no performances CHRISTOPHER, JR. Madeline Ryley C Tues-Thurs. 3 p. THE SQUIRE OF DAMES R.C. Carton C Fri-Sat, mat. Sat. 3 p. TC week: August 2, 1896 week: August 9, 1896: no performances Los Angeles Theater L.R. Stockwell's Company of Players CARMEN Doran and Revel R Tues-Thurs, 3 p. THE MERCHANT OF VENICE Shakespeare Fri-Sat, mat. Sat. 3 p. TS week: August 16, 1896 Burbank Theater Edward Sheridan & Company ONE OF THE BRAVEST E.E. Price V Sun-Sat, mat. Sat. 8 p. TS week: August 23, 1896 Los Angeles Theater Empire Theater Company THE MASQUERADERS Jones C Tues, Wed, mat. Sat. 3 p. BOHEMIA Fitch C Thurs, Sat. 2 p. THE BENEFIT OF THE DOUBT Pinero C mat. Sat. 1 p. TC Burbank Theater Edward Sheridan & Company KILLARNEY Con T. Murphy F Sun-Sat, mat. Sat. 8 p. TS NJ week: August 30, 1896 Los Angeles Theater Cauncey Olcott MAVOUREEN Jessup & Townsend V Tues, Sat 2 p. THE IRISH ARTIST Pitou & Jessup V Wed, Fri. 2 p. THE MINSTREL OF CLARE Marsden V Thurs, mat. Sat. 2 p. TC week: September 6, 1896 Los Angeles Theater Hoyt's Theater Company THE GAY PARISIANS Feydeau and Desvalliere C Mon-Wed. 3 p. TC week: September 13, 1896 Los Angeles Theater Hinrich's Italian & English Grand Opera LUCIA DI LAMMERMOOR Donizetti 0 Mon. 1 RIGOLETTO Verdi 0 Tues. 1 p. THE BOHEMIAN GIRL Balfe 0 mat. Wed. 1 ERNANI Verdi 0 Wed. 1 p. FAUST Gounod O Thurs. 1 p. IL TROVATORE Verdi O Fri. 1 p. ROMEO AND JULIET Gounod 0 mat. Sat. 1 LA TRAVIATA Verdi 0 Sat. 1 p. TC Burbank Theater Grover's Alcazar Comedians EVERYBODY'S FRIEND: LITTLE JOHN L. V Sun-Wed. 4 p. MY SON-IN-LAW V Thurs-Sat, mat. Sat. 4 p. TS Burbank Theater Grover's Alcazar Company DAUGHTER FOR DAUGHTER V Mon-Tues, mat. Wed. 3 p. CAD, THE TOMBOY M Wed-Sun, mat. Sat. 5 p. TS Burbank Theater Grover's Ideal Company THE WOLVES OF NEW YORK, OR, LITTLE RED RIDING HOOD IN REAL LIFE Leonard Grover M Mon-Sat, mat. Sat. 7 p. TS t o ui week: September 20, 1896 Los Angeles Theater Steve Brodie ON THE BOWERY R.N. Stephens M Thurs-Sat, mat. Sat. 4 p. TC week: September 27, 1896 Los Angeles Theater Kathryn Kidder MADAME SANS GENS Sardou-Moreau-Meltzer Tues-Sat, mat. Sat. 7 p. TC week: October 4, 1896 Los Angeles Theater The Frawley Company THE GREAT UNKNOWN Daly C Tues-Thurs. 3 p. THE CHARITY BALL Belasco and DeMille C Fri-Sun, mat. Sat. 4 p. TS Burbank Theater Grover's Comedy Company THE NEW PRIVATE SECRETARY: JOE'S GIRLS F Mon-Thurs. 4 p. OUR BOARDING HOUSE Leonard Grover M Fri-Sun, mat. Sat. 4 p. TS Burbank Theater Roscian Dramatic Company HAZEL KIRKE Mackaye M Mon-Wed, mat. Sat. 4 p. RANCH 10 Meredith M Thurs-Sat, 3 p. TS Burbank Theater The Ideal Opera Company OLIVETTE Andron CO Sun-Wed, mat. Wed. 5 p. THE CHIMES OF NORMANDY Planquette CO Thurs-Sat, mat. Sat. 4 p. TS week: October 11, 1896 Los Angeles Theater The Frawley Company THE TWO ESCUTCHEONS Rosenfeld C Mon-Thurs. 4 p. THE WIFE Belasco and DeMille C Fri-Sun, mat. Sat. 4 p. TS week: October 18, 1896 Los Angeles Theater The Frawley Company HIS WIFE'S FATHER Morton C Mon-Wed. 3 p. THE HIGHEST BIDDER Morton & Reece C Thurs-Fri. 2 p. THE SENATOR David Lloyd C Sat, mat. Sat. 2 p. TS week: October 25, 1896 Los Angeles Theater James K. Hackett and Isabel Irving THE PRISONER OF ZENDA Edward Rose R Mon-Thurs, mat. Wed. 5 p. TC Burbank Theater The Ideal Opera Company LA MASCOTTE Andron CO Mon-Wed, mat. Wed. 4 p. THE BEGGAR STUDENT Milloecker Thurs-Sun, mat. Sat. 5 p. TS Burbank Theater William L. Roberts FAUST PD Thurs-Sat. 3 p. TC Burbank Theater William L. Roberts FAUST PD Sun-Wed. 4 p. DON CAESAR DE BAZAN R Thurs-Sat, mat. Sat. 4 p. TC week: November 1, 1896 week: November 8, 1896 Los Angeles Theater Burbank Theater Burbank Theater Clement Bainbridge Company ALABAMA Thomas P Mon-Wed. 3 p. TC Della Fox Comic Opera Company THE LITTLE TROUPER Furst CO Fri, mat. Sat. 2 p. FLEUR-DE-LIS Furst CO Sat. 1 p. TC The Broadway Comedians TOWN TOPICS V Sun-Sat, mats. Wed, Sat. 9 p. TC Ideal Opera Company MADAME FAVART Offenbach CO Sun-Sat, mat. Sat. 8 p. TS week: November 15, 1896 Los Angeles Theater Julia Marlowe Taber and Robert Taber ROMEO AND JULIET Shakespeare Mon. 1 p. TWELFTH NIGHT Shakespeare Tues. 1 p. AS YOU LIKE IT Shakespeare mat. Wed. 1 p. MUCH ADO ABOUT NOTHING S Wed. 1 p. TC Burbank Theater Ideal Opera Company GIROFLE-GIROFLA Lecoq CO Thurs-Sat, mat. Sat. 4 p. TS week: November 22, 1896 Los Angeles Theater Corinne Extravaganza Company HENDRICK HUDSON,. JR. Gill and Frazier E Thurs-Sat, mats. Thurs, Sat. 5 p. TC week: November 29, 1896 no performances week: December 6, 1896 Los Angeles Theater Sydney R. Ellis Company DARKEST RUSSIA H. Grattan Donnelly M Mon-Sat, mat. Sat. 7 p. TC KJ 00 week: December 13, 1896 week: December 20, 1896 Los Angeles Theater Katie Emmett THE WAIFS OF NEW YORK M Mon-Wed. 3 p. TC Wilton Lackaye DR. BELGRAFF Klein D Thurs, Sat. 2 p. CAPTAIN BOB C Fri, mat. Sat. 2 p. TC Los Angeles Theater Aiden Benedict Company FABIO ROMANI M Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater A.Y. Pearson Company LAND OF THE MIDNIGHT SUN Edwin Barbour M Fri-Sun, mats. Fri, Sun. 5 p. RS week: December 27, 1896 Los Angeles Theater Burbank Theater William A. Brady's Product A.Y. Pearson Company HUMANITY Sutton Vane P Mon-Sat, THE WHITE SQUADRON M Mon-Sun, mats. Sat, mats. Fri, Sat. 8 p. TC Sun. 9 p. RS week: January 3, 1897 Los Angeles Theater Jefferson, Klaw & Erlanger Production PALMER COX'S BROWNIES Cox and Douglas E Tues-Sat, mats. Wed, Sat. 7 p. TC Burbank Theater A.Y. Pearson Company THE POLICE PATROL Marble M Mon-Sun, mats. Sat, Sun. 9 p. RS N) ID week: January 10, 1897 Los Angeles Theater Julius Grau Opera Company THE BEGGAR STUDENT Milloecker CO Mon, mat. Wed. 2 p. FRA DIAVOLO Auber CO Tues. 1 p. PAUL JONES Planquette CO Wed, mat. Sat. 2 p. TAR AND TARTER CO Thurs. 1 p. SHIP AHOY CO Fri. 1 p. THE MIKADO Sullivan CO Sat. 1 p. TS week: January 17, 1897 Los Angeles Theater Julius Grau Opera Company THE BLACK HUSSAR Milloecker CO Mon. 1 p. THE BOHEMIAN GIRL Balfe O Tues, mat. Sat. 2 p. THE MIKADO Sullivan CO mat. Wed. 1 p. TAR AND TARTER CO Wed. 1 p. FRA DIAVOLO Auber CO Thurs. 1 p. THE MERRY WAR CO Fri. 1 p. ERMINIE CO Sat. 1 p. TS Burbank Theater A.Y. Pearson Company SHE Haggard R Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater A.Y. Pearson Company THE MIDNIGHT ALARM M Mon-Sun, mats. Sat, Sun. 9 p. RS u> o week: January 24, 1897 Los Angeles Theater Denman Thompson THE OLD HOMESTEAD Denman Thompson P Mon-Sat, mat. Sat. 7 p. TC Burbank Theater A.Y. Pearson Company UNCLE TOM'S CABIN M Mon-Sun, mats. Sat, Sun. 9 p. RS week: January 31, 1897 Burbank Theater A.Y. Pearson Company MR. BARNES OF NEW YORK A.C. Gunther C Mon-Sun, mats. Sat, Sun. 9 p. RS week: February 7, 189 7 Los Angeles Theater Modjeska MAGDA Sudermann D Wed. 1 p. TC Bauvier Company MACBETH Shakespeare Sat. 1 p. TC Burbank Theater A.Y. Pearson Company THE RUNAWAY WIFE Maeder D Mon-Sun, mats. Sat, Sun. 9 p. RS week: February 14, 1897 Los Angeles Theater Burbank Theater Fanny Rice AT THE FRENCH BALL V Mon-Tues, mat. Wed. 3 p. A FLOWER GIRL OF PARIS V Wed. 1 p. TC A.Y. Pearson Company A FAIR REBEL Mawsor M Mon-Sun, mats. Sat, Sun. 9 p. RS u> week: February 21, 1897 Los Angeles Theater Charles Hopper and his Comedy Company CHIMMIE FADDEN Townsend V Thurs-Sat, mat. Sat. 4 p. TC week: February 28, 1897 Los Angeles Theater Louis James SPARTACUS Bird PD Tues, Fri, mat. Sat. 3 p. ROMEO AND JULIET Shakespeare mat. Wed. 1 p. OTHELLO! Shakespeare Wed. 1 p. HAMLET Shakespeare Thurs. 1 p. JULIUS CAESAR Shakespeare Sat. 1 p. TC week: March 7, 1897 Los Angeles Theater The Broadway Comedians TOWN TOPICS V Mon-Sat, mat. Sat. 7 p. TC Burbank Theater A.Y. Pearson Company JIM THE PENMAN Sir Charles Young M Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater A.Y. Pearson Company MICHAEL STROGOFF Bryon M Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater A.Y. Pearson Company MONTE CRISTO Dumas R Mon-Sun, mats. Sat, Sun. 9 p. RS u> to week: March 14, 189 7 week: March 21, 1897 Los Angeles Theater James A. Herne SHORE-ACRES James A. Herne P Mon-Sat, mat. Sat. 7 p. TC Burbank Theater Harry Corson Clarke and the Pearson Stock Company A MATRIMONIAL MAZE Craven F Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater Harry Corson Clarke and the Pearson Stock Company ALL THE COMFORTS OF HOME Gillette C Mon-Sun, mats. Sat, Sun. 9 p. RS week: March 28, 189 7 Los Angeles Theater Hoyt's Theater Company THE FOUNDLING Lestocg and Robson V CHUMS Frost V Tues-Wed. 2 p. TC Georgia Cayvan and Her Company SQUIRE KATE Buchanan R Thurs. 1 p. MARY PENNINGTON, SPINSTER Walkes C Fri, mat. Sat. 2 p. GOBLIN CASTLE Brisland C Sat. 1 p. TC week: April 4, 1897 Los Angeles Theater Fanny Davenport and Melbourne MacDowell GISMONDA Sardou D Tues-Fri, mat. Sat. 5 p. LA TOSCA Sardou D Sat. 1 p. TC Burbank Theater Harry Corson Clarke and the Pearson Stock Company THE PLUNGER Oliver Doud Bryon M Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater Harry C. Clarke and the Pearson Company THE GALLEY SLAVE Campbell M Mon-Sun, mats. Sat, Sun. 9 p. RS CO CO week: April 11, 1897 Los Angeles Theater Burbank Theater Mr. and Mrs. Russ Whytal FOR FAIR VIRGINIA Russ Whytal R Thurs-Sat, mat. Sat. 4 p. TC Harry Corson Clarke and the Pearson Stock Company THE THREE HATS Hennequin F ONE TOUCH OF NATURE Webster F Mon-Sat, mat. Sat. 7 p. RS week: April 18, 1897 Los Angeles Theater Burbank Theater Burton Coleman Company Grace Plaisted and the Pearson Stock Co. SI PERKINS THE GUTTA PERCHA GIRL P Tues-Sat. 5 p. TC CO Mon-Sun, mat. Sat. 8 p. RS week: April 25, 1897 Los Angeles Theater Otis Skinner HIS GRACE DE GRAMMONT Fitch R Thurs. 1 p. THE MERCHANT OF VENICE Shakespeare Fri. 1 p. THE LADY OF LYONS Bulwer-Lytton PD mat. Sat. 1 p. RICHARD III Shakespeare Sat. 1 p. TC Burbank Theater Kiralfy Ballet and the Clyde Pearson Stock Company OUR BOYS H.J. Byron C Mon-Sun, mat. Sat. 8 p. RS week: May 2, 1897 Burbank Theater Kiralfy Ballet and the Pearson Stock Company AROUND THE WORLD IN 80 M Mon-Sun, mat. Sat. 8 p. RS DAYS u> week: May 9, 1897 Los Angeles Theater Otis Skinner HAMLET Shakespeare Mon. 1 p. HIS GRACE DE GRAMMONT Clyde Fitch R Tues, mat. Wed. 2 p. THE LADY OF LYONS Bulwer-Lytton PD Thurs. 1 p. A SOLDIER OF FORTUNE R Fri. 1 p. RICHARD III Shakespeare Sat. 1 p. TC week: May 16, 1897 Los Angeles Theater DeWolf Hopper and his company EL CAPITAN Sousa CO Fri-Sat, mat. Sat. 3 p. TC week: May 23, 1897 Los Angeles Theater E.E. Rice's Production EXCELSIOR, JR. Tracey and Sloan E Wed-Sun, mat. Sat. 6 p. TC Burbank Theater Kiralfy Ballet and the Pearson Company THE BLACK CROOK Charles M. Barras M Mon-Sun, mat. Sat. 8 p. RS Burbank Theater Katie Putnam and a new company FANCHON THE CRICKETT M Mon-Sat, mat. Sat. 7 p. RS Burbank Theater Katie Putnam and Company LOVE FINDS A WAY M Mon-Sun, mat. Sat. 8 p. RS OJ week: May 30, 189 7 Burbank Theater Katie Putnam and company ERMA THE ELF C.T. Dazey M Mon-Thurs. 4 p. RS Hazard1s Pavilion Katie Putnam and company ERMA THE ELF C.T. Dazey M Fri-Sat. 2 p. RS week: June 6, 1897 Los Angeles Theater Buckman-Keogh Farce Company A WIFE WANTED V Mon-Wed. 3 p. TC Hazard1s Pavilion Katie Putnam and Company THE OLD LIME KILN Dazey P Thurs. 1 p. RS La Fiesta Park Lewis Buckley Company FAUST E Sat. 1 p. TS week: June 13, 189 7 La Fiesta Park Lewis Buckley Company FAUST E Tues, Thurs, Sat. 3 p. TS week: June 20, 1897 La Fiesta Park Lewis Buckley Company FAUST E Mon-Tues, Thurs, Sat. 4 p. TS week: June 27, 1897 Los Angeles Theater Columbia Opera Company SAID PASHA Stahl CO Mon-Wed. 3 p. OLIVETTE Andron CO Thurs-Sat, mat. Sat. 4 p. TS CO G\ week: July 4, 1897 Los Angeles Theater Columbia Opera Company LA MASCOTTE Andron CO Mon-Tues. 2 p. THE BOHEMIAN GIRL Balfe 0 mat. Wed. 1 p. THE CHIMES OF NORMANDY Planquette CO Wed-Thurs. 2 p. THE MIKADO Sullivan CO Fri-Sat, mat. Sat. 3 p. TS week: July 11, 1897 Los Angeles Theater Columbia Opera Company GIROFLE-GIROELA Lecocq CO Mon. 1 p. THE PIRATES OF PENZANCE CO Tues. 1 p. LA MASCOTTE Andron CO mat. Wed. 1 p. SAID PASHA Stahl CO Wed. 1 p. FRA DIAVOLO Auber CO Thurs. 1 p. THE MIKADO Sullivan CO Fri. 1 p. THE CHIMES OF NORMANDY Planquette CO mat. Sat. 1 p. THE BOHEMIAN GIRL Balfe 0 Sat. 1 p. TS week: July 25, 1897 no performances La Fiesta Park Lewis Buckley Company FAUST-UP-TO-DATE E Mon. 1 P- TS week: July 18, 1897 Los Angeles Theater Lyceum Theater Stock Company THE PRISONER OF ZENDA Rose R Wed, mat. Sat. 2 p. THE MAYFLOWER Louis N. Parker R Thurs, Sat. 2 p. THE FIRST GENTLEMAN OF EUROPE Francis Hodgson Burnett R Fri. 1 p. THE LATE MR. COSTELLO Sydney Grundy C Sat. 1 p. TC week: August 1, 1897 Los Angeles Theater THE TWELVE TEMPTATIONS E Thurs-Sat, mat. Sat. 4 p. TC week: August 8, 1897 week: August 15, 1897 Burbank Theater Carter Melodrama Company THE FAST MAIL Lincoln J. Carter M Mon-Sun, mat. Sat. 8 p. TS Los Angeles Theater John Drew ROSEMARY— THAT'S FOR REMEMBRANCE Parker and Carson Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Carter Melodrama Company THE DEFENDER Lincoln J. Carter M Mon-Sun, mat. Sat. 8 p. TS week: August 22, 189 7 Burbank Theater Carter Melodrama Company THE TORNADO Lincoln J. Carter M Mon-Sun, mat. Sat. 8 p. TS week: August 29, 1897 Burbank Theater Carter Melodrama Company A BOWERY GIRL Ada Lee Bascom M Mon-Sun, mat. Sat. 8 p. TS week: September 5, 1897 Burbank Theater Carter Melodrama Company THE HEART OF CHICAGO Lincoln J. Carter M Mon-Sun, mat. Sat. 8 p. TS week: September 12, 1897 Los Angeles Theater Burbank Theater Mrs. Leslie Carter THE HEART OF MARYLAND David Belasco R Mon-Sat, mat. Sat. 7 p. TC Carter Melodrama Company THE INSIDE TRACK Oliver Doud Byron M Mon-Sun, mat. Sat. 8 p. TS U> 00 week: September 19, 1897 Burbank Theater Carter Melodrama Company THE WORLD J.Z. Little M Mon-Sun, mat. Sat. 8 p. TS week: October 3, 1897 Los Angeles Theater William H. Crane A VIRGINIA COURTSHIP Presbrey C Wed-Thurs, mat. Sat. 3 p. A FOOL OF FORTUNE Morton C Fri-Sat. 2 p. TC week: October 10, 1897 Los Angeles Theater Italian Grand Opera Company LA GIOCONDA Ponchielli 0 Tues. 1 p. THE MASKED BALL Verdi 0 Wed. 1 p. LA BOHEME Puccini 0 Thurs, mat. Sat. 2 p. ERNANI Verdi O Fri. 1 p. IL TROVATORE Verdi 0 Sat. 1 p. TC week: September 26, 1897 Burbank Theater Broadway Theater Company YOUNG MRS. WINTHROP Bronson Howard C Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Broadway Theater Company MOTHS M Mon-Thurs. 4 p. ARABIAN NIGHTS Grundy F Fri-Sun, mat. Sat. 4 p. TS Burbank Theater Broadway Theater Company THE DISTRICT ATTORNEY Charles Klein and Harrison Grey Fiske D Mon-Sun, mat. Sat. 8 p. TS OJ V© week: October 17, 1897 Los Angeles Theater Italian Grand Opera Company OTELLO Verdi 0 Mon. 1 p. RIGOLETTO Verdi 0 Tues. 1 p. IL TROVATORE Verdi O mat. Wed. 1 p. CAVALLERIA RUSTICANA Mascagni; I PAGLI- ACCI Leoncavallo 0 Wed. 1 p. TC Smyth and Rice Comedy Company MY FRIEND FROM INDIA H.A. Du Souchet F Thurs-Sat, mat. Sat. 4 p. TC week: October 24, 1897 Los Angeles Theater Italian Grand Opera Company FAUST Gounod O Tues. 1 p. LA BOHEME Puccini O Wed, mat. Wed. 2 p. LUCIA DI LAMMERMOOR Donizetti O Thurs. 1 p. LA FAVORITA Donizetti 0 Fri. 1 p. LA TRAVIATA Verdi 0 mat. Sat. 1 p. IL TROVATORE Verdi 0 Sat. 1 p. TC Burbank Theater Broadway Theater Company THE GRAY MARE Simms and Raleigh C Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Broadway Theater Company HELD BY THE ENEMY William Gillette R Mon-Sun., mat. Sat. 8 p. TS O week: October 31, 1897 Los Angeles Theater Charles Frohman Company UNDER THE RED ROBE Edward Rose R Wed-Sat, mat. Sat. 5 p. TC week: November 7, 1897 Los Angeles Theater Jacob Litt Production IN OLD KENTUCKY C.T. Dazey P Mon-Tues. 2 p. TC Corinne Extravaganza Company AMERICAN BEAUTY E Thurs-Sat, mat. Sat. 4 p. TC week: November 14, 1897 Los Angeles Theater Grau Comic Opera Company BOCCACCIO Von Suppe CO Mon. 1 p. FRA DIAVOLO Auber CO Tues. 1 p; THE CHIMES OF NORMANDY Planquette mat. Wed. 1 p; THE GRAND DUCHESS CO Wed. 1 p; MARTHA Flotow 0 Thurs. 1 p; FANITIZIA CO Fri. 1 p. THE BOHEMIAN GIRL Balfe O mat. Sat. 1 p. INDEANA CO Sat. 1 p. TS Burbank Theater Broadway Theater Company ALL THE COMFORTS OF HOME William Gillette C Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Broadway Theater Company FRIENDS Edwin Milton Royle C Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Broadway Theater Company THE TWO ORPHANS D'Ennery M Mon-Sun, mat. Sat. 8 p. TS week: November 21, 1897 Los Angeles Theater Arthur Aiston Company TENNESSEE'S PARDNER Harte P Wed-Sat, mat. Sat. 4 p. TC week: November 28, 1897 Los Angeles Theater Frank Lane and Company A TRIP TO CHINATOWN Hoyt V Mon-Wed. 3 p. TC week: December 5, 1897 Los Angeles Theater Madame Sofia Scalchi and Company MARTHA Flotow 0 Thurs. 1 p. FAUST Guonod 0 Fri. 1 p. TC Johns on's Comp any UNCLE TOM'S CABIN M Sat, mat. Sat. 2 p. TC Burbank Theater Broadway Theater Company THE BANKER'S DAUGHTER Howard M Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Leonard Grover's Company LOST IN NEW YORK Grover M Mon-Sun, mat. Sat. 8 p. TC Burbank Theater Pettit's Spectacular Production HANDS ACROSS THE SEA Henry Pettit M Mon-Sun, mat. Sat. 8 p. TC NJ week: December 12, 1897 Los Angeles Theater The New York Casino Company IN GAY NEW YORK Hugh Morton and Gustave Kerker MC Mon-Sat, mats. Wed, Sat. 8 p. TC week: December 19, 1897 Los Angeles Theater Ben Hendricks OLE OLESON V Sun-Mon. 2 p. TC week: December 26, 1897 Los Angeles Theater Louis James A CAVALIER OF FRANCE Espy Williams R Mon, mat. Wed. 2 p. SPARTACUS Bird PD Tues. 1 p. JULIUS CAESAR Shakespeare Wed. 1 p. TC Thomas W. Riley's Production A MILK WHITE FLAG Hoyt V Fri-Sat, mat. Sat. 3 p. TC Burbank Theater ACROSS THE POTOMAC Augustus Pitou and Edward Alfriend M Mon-Sun, mat. Sat. 8 p. TC Burbank Theater Ulrich Stock Company A CELESTIAL MAIDEN Charles Ulrich M Mon-Sun, mat. Sat. 8 p. TC Burbank Theater Sam T. Shaw and the Shaw Company THE WESTERNER Rose M Mon-Thurs. 4 p. SHADOWS OF A GREAT CITY Shuvell and Jefferson M Fri-Sun, mat. Sat. 4 p. TS G O week: January 2, 1898 Los Angeles Theater Louis James OTHELLO Shakespeare Sun. 1 p. TC week: January 9, 189 8 Los Angeles Theater Calhoun Opera Company THE GRAND DUCHESS CO Mon, mat. Wed. 2 p. AMORITA CO Tues. 1 p. THE BLACK HUSSAR Milloecker CO Wed. 1 p. TC Matthews and Bulgar AT GAY CONEY ISLAND L.C. Tees V Thurs-Sat, mat. Sat. 4 p. TC week: January 16, 1898 Los Angeles Theater Stuart Robson THE JUCKLINS Thomas P Thurs. 1 p. THE HENRIETTA Howard C Fri, mat. Sat. 2 p. A FOOL AND HIS FRIENDS Rosenfeld C Sat. 1 p. TC Burbank Theater Sam T. Shaw and the Shaw Company FROM SIRE TO SON Milton Nobles M Mon-Thurs. 4 p. A KENTUCKY GIRL M Fri-Sun, mat. Sat. 4 p. TS Burbank Theater Sam T. Shaw and the Shaw Company RIP VAN WINKLE Boucicault P Mon-Thurs. 4 p. OLD FARMER STEBBINS P Fri-Sun, mat. Sat. 4 p. TS Burbank Theater Sam T. Shaw and the Shaw Company THE PHOENIX Milton Nobles M Mon-Thurs. 4 p. THE PAVEMENTS OF PARIS M Fri-Sun, mat. Sat. 4 p. TS week: January 23, 1898 Los Angeles Theater Willie Collier THE MAN FROM MEXICO Du Souchet F Mon-Wed, mat. Wed. 4 p. TC Nellie McHenry A NIGHT IN NEW YORK V Thurs-Sat, mat. Sat. 4 p. TC week: January 30, 189 8 Los Angeles Theater Marie Dressier COURTED INTO COURT John J. McNally V Fri-Sun, mat. Sat. 4 p. TC week: February 6, 1898 Los Angeles Theater The Bostonians THE SERENADE Victor Herbert CO Mon-Wed. 3 p. ROBIN HOOD DeKoven and Smith CO mat. Wed, Thurs. 2 p. TC Burbank Theater Sam T. Shaw and the Shaw Company FORGIVEN M Mon-Thurs. 4 p. IN MIZZOURI Thomas P Fri-Sun, mat. Sat. 4 p. TS Burbank Theater The Elleford Company THE STOWAWAY Thomas Craven M Mon-Sun, mat. Sat. 8 p. TS Burbank Theater The Elleford Company KIDNAPPED Higgins M Mon-Sun, mat. Sat. 8 p. TS U1 week: February 13, 1898 week: February 20, 1898 Burbank Theater Los Angeles Theater Burbank Theater The Elleford Company THE LOST PARADISE De Milie D Mon-Wed. 3 p. MRS. PARTINGTON AND HER SON IKE F Thurs-Sun, mat. Sat. 5 p. TS E.E. Rice's Company THE GIRL FROM PARIS Cary11 MC Tues-Sat, mat. Sat. 7 p. TC The Elleford Company THE BLUE AND THE GRAY R Mon-Wed. 3 p. NEW YORK DAY BY DAY M Thurs-Sun, mat. Sat. 5 p. TS week: February 27, 1898 Los Angeles Theater Janet Waldorf INGOMAR THE BARBARIAN Lovell PD Thurs, Sat. 2 p. THE HUNCHBACK Knowles PD Fri, mat. Sat. 2 p. TC Burbank Theater The Elleford Company THE RUNAWAY WIFE~ Maeder D Mon-Wed, mat. Sat. 4 p. THE FIRE PATROL Harkins M Thurs-Sun. 4 p. TS week: March 6, 1898 Burbank Theater The Elleford Company MRS. PARTINGTON AND HER SON IKE F Mon-Tues. 2 p. THE LOST PARADISE De Mille D Wed. 1 p. TEN NIGHTS IN A BAR ROOM Arthur M Thurs-Sun, mat. Sat. 5 p. TS week: March 13, 1898 Los Angeles Theater Marie Wainwright SHALL WE FORGIVE HER? M Mon-Wed. 3 p. TC week: March 20, 1898 Los Angeles Theater Anna Held, THE GAY DECEIVER F Tues-Wed, mat. Wed. 3 p. TC James A. Herne SHORE-ACRES Herne P Thurs-Sat, mat. Sat. 4 p. TC £ week: March 27, 1898 Los Angeles Theater Miller and Kennedy's 1492 Barnett and Pfleuger E Tues-Wed. 2 p. TC THE MYSTERIOUS MR. BUGLE Ryley C Thurs-Sat, mat. Sat. 4 p. TC week: April 3, 189 8 Burbank Theater Belasco-Thall Stock Company TOO MUCH JOHNSON William Gillette F Mon-Sun, mat. Sat. 8 p. TS week: April 17, 1898 Los Angeles Theater James J. Corbett A NAVAL CADET Charles T. Vincent M Mon-Wed, mat. Wed. 4 p. TC Burbank Theater Belasco-Thall Stock Company THE GIRL I LEFT BEHIND ME Belasco and Fyle R Mon-Sun, mats. Wed, Sat. 9 p. TS week: April 10, 1898 Burbank Theater Belasco-Thall Stock Company INCOG Pacheco V Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Belasco-Thall Stock Company LOST FOR A DAY F THE FIRST BORN Francis Poers D Mon-Sun, mat. Sat. 8 p. TS week: April 24, 189 8 Los Angeles Theater Melba and the Damrosch-Ellis Opera Company THE BARBER OF SEVILLE Rossini O Mon. 1 p. LA TRAVIATA Verdi O Wed. 1 p. TC Hoyt and McKee's Own Company A STRANGER IN NEW YORK Hoyt V Thurs-Sat, mat. Sat. 4 p. TC week: May 1, 1898 Los Angeles Theater Marie Janson THE NANCY HAWKS C Tues-Sat, mat. Sat. 6 p. TC week: May 8, 189 8 Los Angeles Theater Ferris Hartmann THE PURSER V Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Belasco-Thall Stock Company THE FIRST BORN (second week) IN IDAHO C Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Belasco-Thall Stock Company CHARLEY'S AUNT Brandon Thomas C Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Belasco-Thall Stock Company THE ENSIGN William Haworth D Mon-Sun, mat. Sat. 8 p. TS 00 week: May 15, 189 8 Los Angeles Theater Katie Putnam A TEXAS STEER Charles Hoyt V Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Belasco-Thall Company THE NOMINEE Mark Melford C Mon-Sun, mat. Sat. 8 p. TS week: May 22, 1898 Burbank Theater Belasco-Thall Company THE WHITE SQUADRON M Mon-Sun, mat. Sat. 8 p. TS week: May 29, 189 8 Burbank Theater Belasco-Thall Company JANE Letocq C Mon-Sun, mat. Sat. 8 p. TS week: June 5, 189 8 Burbank Theater Belasco-Thall Company OLD GLORY M Mon-Sun, mat. Sat. 8 p. TS V O I week: June 12, 1898 Los Angeles Theater Carl Marten's Opera Company IL TROVATORE Verdi O Mon-Sat, mat. Sat. 7 p. TS week: June 19, 189 8 Los Angeles Theater Carl Marten's Opera Company THE PIRATES OF PENZANCE Sullivan CO Mon-Sat, mat. Sat. 7 p. TS Burbank Theater Modjeska and the Belasco-Thall Company MARY STUART Schiller PD Mon-Wed. 3 p. MAGDA Sudermann D Thurs-Sat, mat. Sat. 4 p. TS Burbank Theater Modjeska and the Belasco-Thall Company ADRIENNE LECOUVRIR Scribe R Mon, Thurs. 2 p. MARY STUART Schiller PD Wed. 1 p• CAMILLE Dumas R Thurs-Sat, mat. Sat. 4 p. TS ui o week: June 26, 189 8 Los Angeles Theater Burbank Theater Carl Marten's Opera Company FAUST Gounod 0 Mon-Sat, mat. Sat. 7 p. TS Belasco-Thall Company A SOCIAL HIGHWAYMAN Mary Stone R Mon-Wed, Fri-Sun, mat. Sat. 7 p. TS Modjeska in MARY STUART Schiller PD Thurs. 1 p. TS week: July 3, 189 8 Los Angeles Theater Carl Marten's Opera Company THE MIKADO Sullivan CO Mon-Wed, mat. Mon. 4 p. LA MASCOTTE Andron CO Thurs-Sat, mat. Sat. 4 p. TS Burbank Theater Belasco-Thall Company GLORIANA Letocq C Mon-Wed, Fri-Sun, mats. Mon, Sat. 8 p. TS Mrs. Emma Childs' Grounds Modjeska AS YOU LIKE IT Shakespeare Thurs. 1 p. Red Cross Society Benefit week: July 10, 189 8 Los Angeles Theater Carl Marten's Opera Company FAUST Gounod O Sat. 1 p. TS Burbank Theater Belasco-Thall Company EAST LYNNE M Mon-Sun, mat. Sat. 8 p. TS week: July 17, 1898 Burbank Theater Belasco-Thall Company THE GAY PARISIANS Feydeau and Desvalliere F Mon-Sun, mat. Sat. 8 p. TS Los Angeles Theater Carl Marten1s Opera Company THE PRIVATEER CO Mon-Sat, mat. Sat. 7 p. TS week: July 24, 1898 Burbank Theater Belasco-Thall Company UNCLE TOM'S CABIN M Mon-S un, mat. S at. 8 p. TS week: August 14, 189 8 Burbank Theater The Bacon Company TURNED UP Melford F Mon-Sun, mat. Sat. 8 p. TS week: July 31, 1898 Burbank Theater The Bacon Company UNDER THE POLAR STAR Greene M Mon-Sun, mat. Sat. 8 p. TS week: August 21, 1898 Burbank Theater The Bacon Company A PRISONER OF WAR Kremer M Mon-Sun, mat. Sat. 8 p. TS week: August 7, 1898 Burbank Theater The Bacon Company ALABAMA Thomas P Mon-Sun, mat. Sat. 8 p. TS week: August 28, 1898 Burbank Theater The Bacon Company CAPTAIN SWIFT Chambers D Mon-Sun, mat. Sat. 8 p. TS week: September 4, 1898: no performances U 1 N) week: September 11, 189 8 Los Angeles Theater Henry Miller and Company HEARTSEASE Klein and Clarke R Mon, Wed, mat. Wed. 3 p. THE MASTER Ogilvie C Tues. 1 p. A MARRIAGE OF CONVENIENCE Grundy C Thurs. 1 p. TC The Frawley Stock Company NUMBER NINE M Fri, mat. Sat. 2 p. THE LAST 24 HOURS F Sat. 1 p. TS week: September 25, 1898: no performances week: October 2, 1898 Los Angeles Theater Harry Corson Clarke WHAT HAPPENED TO JONES? George Broadhurst C Thurs-Sat, mat. Sat. 4 p. TC week: September 18, 1898 Los Angeles Theater The Frawley Stock Company THE LAST 24 HOURS F Sun. 1 p. THE LAST WORD Augustin Daly C Mon-Tues. 2 p. THE RAJAH Young C Wed, mat. Sat. 2 p. AN ENEMY TO THE KING R.N. Stevens R Thurs, Fri, Sat. 3 p. TS Burbank Theater Mr. and Mrs. Sidney Drew and Company WHEN TWO HEARTS ARE WON Lee C THE BUTTERFLIES H.C. Carleton D Mon-Sun, mats. Wed, Sat. 9 p. TC ui OJ week: October 9, 189 8 Burbank Theater Pacheco Comedy Company THE LEADING MAN Mrs. Romauldo Pacheco C Mon-Sun, mats. Wed, Sat. 9 p. TC week: October 16, 1898 Burbank Theater Pacheco Comedy Company WILDER'S WIVES Mrs. Romauldo Pacheco C Mon-Sun, mats. Wed, Sat. 9 p. TC week: October 23, 1898 Burbank Theater Nance O'Neil THE JEWESS Mosenthal PD Mon, Fri. 2 p; CAMILLE Dumas R Tues, mat Wed. 2 p. TRUE TO LIFE M Wed, Sun. 2 p; INGOMAR THE BARBARIAN Lovill PD Thurs, mat. Sat. 2 p; OLIVER TWIST D Sat. 1 p. TC week: October 30, 1898 Los Angeles Theater Matthews & Bulger BY THE SAD SEA WAVES V Thurs-Sun, mat. Sat. 5 p. TC Burbank Theater Josey Marvin Company THE SIGNAL OF LIBERTY M Mon-Sun, mats. Wed, Sat. 9 p. TC week: November 6, 1898 Los Angeles Theater Miller & Forman, AT GAY CONEY ISLAND V Mon-Wed, mat. Wed. 4 p. TC Julius Cahn's Company, SOWING THE WIND M Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Grau's Opera Company BOCCACCIO Von Suppe Mon-Wed, mat. Wed. 4 SAID PASHA Stahl CO Thurs-Sun, mat. Sat. TS CO P- 5 p. u i week: November 13, 189 8 Los Angeles Theater Murray and Mack FINNEGAN'S BALL George Emerick V Thurs-Sun, mat. Sat. 5 p. TC week: November 20, 1898 Los Angeles Theater Gilmore and Leonard's Company HOGAN'S ALLEY V Mon-Sat, mats. Thurs, Sat. 8 p. TC week: November 27, 189 8 Los Angeles Theater Jacob Litt's Company MISTAKES WILL HAPPEN Grant Steward F Mon-Wed. 3 p. TC Burbank Theater Grau's Opera Company FRA DIAVOLO Auber CO Mon-Wed, mat. Wed. 4 p. FALKA Chassaigne CO Thurs-Sun, mat. Sat. 5 p. TS Burbank Theater Grau's Opera Company THE MIKADO Sullivan CO Mon-Thurs, mats. Wed, Thurs. 6 p. THE BOHEMIAN GIRL Balfe 0 Fri-Sat, mat. Sat. 3 p. TS Burbank Theater Grau's Opera Company THE MIKADO Sullivan CO Sun. 1 p. OLIVETTE CO Mon-Tues, mat. Wed. 3 BOCCACCIO Von Suppe CO Wed. 1 p. MARTHA Flotow O Thurs, Fri, mat. Sat THE BRIGANDS Offenbach CO Sat. 1 p THE BOHEMIAN GIRL Balfe 0 Sun. 1 p. P- 3 P. TS <_n VI week: December 4, 1898 Los Angeles Theater Geo. Bothner Production A BUNCH OF KEYS Hoyt V Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Henderson Stock Company THE CRUST OF SOCIETY Dumas D Tues-Thurs, mat. Wed. 4 p. A SCRAP OF PAPER Sardou C Fri-Sun, mat. Sat. 4 p. TS Hazard1s Pavilion Lincoln J. Carter Company THE HEART OF CHICAGO Lincoln J. Carter M Mon-Sun, mats. Sat, Sun. 9 p. TS week: December 11, 189 8 Los Angeles Theater William Gillette SECRET SERVICE William Gillette R Mon-Wed, mat. Wed. 4 p. TC Burbank Theater Henderson Stock Company THE IRONMASTER Ohnet M Mon-Wed, mat. Wed. 4 p. OUR REGIMENT Von Moser F Thurs-Sun, mat. Sat. 5 p. Hazard1s Pavilion Lincoln J. Carter Company UNDER THE DOME Lincoln J. Carter M Mon-Sun, mats. Sat, Sun. TS 9 p. TS week: December 18, 1898 Los Angeles Theater Janet Waldorf AS YOU LIKE IT Shakespeare Thurs, mat. Sat. 2 p. TWELFTH NIGHT Shakespeare Fri. ROMEO AND JULIET Shakespeare Sat. 1 p. TC 1 p. Burbank Theater Lincoln J. Carter Company UNDER THE DOME Lincoln J. Carter M Mon-Sat, mats. Wed, Sat. 8 p. TS U1 week: December 25, 1898 Los Angeles Theater Willie Collier THE MAN FROM MEXICO Du Souchet F Sun-Wed, mat. Mon. 5 p. TC week: January 1, 1899 Los Angeles Theater Daniel Sully UNCLE ROB P Sun, Tues, mat. Mon. 3 p. O'BRIEN THE CONTRACTOR P Mon, Wed. 2 p. TC Edwin Mayo PUDDIN'HEAD WILSON Frank Mayo P Thurs-Sat, mat. Sat. 4 p. TC week: January 8, 1899 Los Angeles Theater Thall-Kennedy Company YON YONSON V Wed-Sat, mat. Sat. 5 p. TC Burbank Theater The Ott Brothers ALL ABOARD MC Sun-Sat, mats. Mon, Wed, Sat. 11 p. TC Burbank Theater Harry Martell's Company SOUTH BEFORE THE WAR V Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Nance O'Neil MAGDA Sudermann D Sun-Wed. 4 p. INGOMAR THE BARBARIAN Lovell PD mat. Wed. 1 p. ELIZABETH, QUEEN OF ENGLAND Giocometti PD Thurs-Sun. 4 p. CAMILLE Dumas R mat. Sat. 1 p. TC week: January 15, 1899 Los Angeles Theater Louis James, Frederick Warde, Kathryn Kidder THE SCHOOL FOR SCANDAL Sheridan PC Mon, Fri, mat. Sat. 3 p. JULIUS CAESAR Shakespeare Tues, Thurs. 2 p. HAMLET Shakespeare mat. Wed. 1 p. OTHELLO Shakespeare Wed. 1 p. MACBETH Shakespeare Sat. 1 p. TC week: January 22, 1899 Burbank Theater Nance O'Neil LED ASTRAY Boucicault M Mon, mat. Wed. 2 p. CAMILLE Dumas R Tues. 1 p. INGOMAR THE BARBARIAN Lovell PD Thurs. 1 p. EAST LYNNE M Wed, mat. Sat. 2 p. THE JEWESS Mosenthall PD Fri. 1 p. OLIVER TWIST D Sat. 1 p. TC Burbank Theater Nance O'Neil EAST LYNNE M Mon, mat. Wed. 2 p. THE JEWESS Mosenthal PD Tues. 1 p. OLIVER TWIST D Wed. 1 p. GUY MANNERING Terry D Thurs, Fri. 2 p. INGOMAR THE BARBARIAN Lovell PD mat. Sat. 1 p. THE DANITES Miller PD Sat-Sun. 2 p. TC week: January 29, 1899 Burbank Theater Arthur C. Alston's Company TENNESSEE'S PARDNER Harte P Tues-Sun, mats. Wed, Sat. 8 p. TC VI 00 week: February 5, 1899 Los Angeles Theater Burbank Theater TWO MARRIED MEN Edeson Sun-Tues. 3 p. TC V Frank Daniels THE IDOL'S EYE CO Wed-Fri. 3 p. THE WIZARD OF THE NILE Herbert CO Sat, mat. Sat. 2 p. TC Belle Archer A CONTENTED WOMAN Charles Hoyt V Mon-Sun, mats. Wed, Sun. 9 p. TC week: February 12, 1899 Burbank Theater Janet Waldorf AS YOU LIKE IT Shakespeare Sun-Mon, mat. Sat. 3 p. THE HUNCHBACK Knowles PD Tues-Wed, mat. Wed. 3 p. TWELFTH NIGHT Shakespeare Thurs-Fri. 2 p. INGOMAR THE BARBARIAN Lovell PD Sat. 1 p. TC week: February 19, 1899 Los Angeles Theater Broadhurst's Company WHY SMITH LEFT HOME George Broadhurst F Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Janet Waldorf INGOMAR THE BARBARIAN Lovell PD Sun, mat. Wed. 2 p. THE LADY OF LYONS Bulwer-Lytton PD Mon-Tues, mat. Sat. 3 p. ROMEO AND JULIET S Wed-Thurs. 2 p. MUCH ADO ABOUT NOTHING S Fri-Sat. 2 p. TC ui VO week: February 26, 1899 Los Angeles Theater The Bostonians THE SERENADE Herbert CO Mon, Wed, Fri. 3 p. ROBIN HOOD DeKoven & Smith CO Tues, Sat. 2 p. ROB ROY CO Thurs, mat. Sat. 2 p. TC week: March 5, 1899 Los Angeles Theater Greet's THE SIGN OF THE CROSS D Mon-Sat, mats. Wed, Sat. 8 p. TC week: March 19, 1899 Los Angeles Theater Melbourne MacDowell and Blanche Walsh LA TOSCA Sardou D Thurs, Sat, mat. Sat. 3 p. FEDORA Sardou D Fri. 1 p. TC Burbank Theater M.B. Leavitt's Company SPIDER AND FLY E Sun-Sat, mats. Wed, Fri, Sat. 10 p. TC week: March 12, 1899 Burbank Theater Wakefield-Andrews Opera Company MARTHA Flotow 0 Sun-Wed, mat. Wed. 5 p. THE BOHEMIAN GIRL Balfe O Thurs-Sat, mat. Sat. 4 p. TS Burbank Theater Wakefield English Opera Company H.M.S. PINAFORE Sullivan CO Sun-Thurs, mat. Wed. 6 p. FRA DIAVOLO Auber CO Fri-Sat. 2 p. MARTHA Flotow mat. Sat. 1 p. TS O week: March 26, 1899 week: April 2, 1899 Los Angeles Theater Burbank Theater Burbank Theater Melba and Ellis Opera Co. FAUST Guonod 0 Mon. 1 p. CARMEN Bizet 0 Tues. 1 p. TC THE PAY TRAIN V Thurs-Sat, mat. Sat. 4 p. TC Wakefield Opera Company Wakefield Opera Company CAVALLERIA RUSTICANA ERMINIE Mascagni 0 CO TRIAL BY JURY Sullivan CO Sun-Sat, mats. Wed, Sat. Sun-Sat, mats. Wed, Sat. 10 d . TS 10 p. TS week: April 9, 1899 Los Angeles Theater Burbank Theater The Rays A HOT OLD TIME George M. Cohan V Thurs-Sat, mat. Sat. 4 p. TC Wakefield Opera Company FRA DIAVOLO Auber CO Sun. 1 p. MARTHA Flotow 0 Mon. 1 p. A NIGHT IN VENICE Strauss CO Tues-Sat, mats. Wed, Sat. 7 p. TS week: April 16, 1899 week: April 23, 1899 Burbank Theater Burbank Theater Wakefield Opera Company A NIGHT IN VENICE Strauss Sun-Thurs, mat. Wed. 6 p. THE MIKADO Sullivan CO Fri-Sat, mat. Sat. 3 p. TS CO Wakefield Opera Company ERMINIE CO~ Sun. 1 p~. FRA DIAVOLO Auber CO Mon. 1 p. TRIAL BY JURY; CAVALLERIA RUSTICANA Tues, Thurs. 2 p. MARTHA Flotow 0 Wed, mat. Wed. 2 p. PINAFORE Sullivan CO Fri. 1 p; THE BOHEMIAN GIRL O Sat, mat. Sat. 2 p. TS £ week: April 30, 1899: no performances week: May 15, 1899 Los Angeles Theater Italian Grand Opera Company CAVALLERIA RUSTICANA Mascagni 0 I PAGLIACCI Leoncavallo O Mon. LUCIA DI LAMMERMOOR Donizetti 0 Tues, mat. Sat. 2 p. ERNANI Verdi 0 Wed. 1 p. MANON LESCAUT Puccini O Thurs. RIGOLETTO Verdi O Fri. 1 p. IL TROVATORE Verdi 0 Sat. 1 p. week: May 28, 1899 Los Angeles Theater Italian Grand Opera Company FAUST Gounod O Mon. 1 p. LA FAVORITA Donizetti 0 Tues. LUCIA DI LAMMERMOOR Donizetti 0 1 p. AIDA Verdi O Thurs. 1 p. NORMA Bellini 0 Fri. 1 p. LA TRAVIATA Verdi 0 mat. Sat. CAVALLERIA RUSTICANA Mascagni; I PAGLIACCI Leoncavallo 0 Sat. TC 1 p. 1 p. TC 1 p. Wed. 1 p. 1 p. week: May 7, 1899: no performances week: May 21, 1899 Los Angeles Theater Italian Grand Opera Company LA TRAVIATA Verdi 0 Mon. 1 p. NORMA Bellini O Tues. 1 p. RIGOLETTO Verdi O mat. Wed. 1 IL TROVATORE Verdi O Wed. 1 p. Charles Frohman's Company ON AND OFF Bisson C Thurs-Sat, mat. Sat. 4 p. TC week: June 4, 1899 Los Angeles Theater L.R. Stockwell A MIDNIGHT BELL Charles Hoyt V Thurs-Sat, mat. Sat. 4 p. TC week: June 11, 1899 Los Angeles Theater Herbert Kelcy and Effie Shannon THE MOTH AND THE FLAME Clyde Fitch D Mon-Fri, mat. Sat. 6 p. BORDERSIDE Riggs-Calhoun R Sat. 1 p. TC week: June 25, 1899 no performances week: July 9, 1899 Los Angeles Theater Clay Clement THE OLD DOMINION P Mon-Sat, mats. Wed, Sat. 8 p. TC week: June 18, 1899 no performances week: July 2, 1899 Los Angeles Theater Ward & Sackett's A BACHELOR'S HONEYMOON Stapleton Mon-Sat, mats. Tues, Sat. 8 p. 1 week: July 16, 1899 Los Angeles Theater Italian Grand Opera Company MIGNON Thomas 0 Thurs. 1 p. IL TROVATORE Verdi O Fri. 1 p. FAUST GOunod 0 mat. Sat. 1 p. THE BARBER OF SEVILLE Rossini O Sat. 1 p. TC week: July 23, 1899 Los Angeles Theater Italian Grand Opera Company ERNANI Verdi 0 Mon. 1 p. I PURITANI Bellini O Tues. 1 p. THE BARBER OF SEVILLE Rossini O Wed. 1 p. UN BALLO IN MASCHERA Verdi 0 Thurs. NORMA Bellini O Fri. 1 p. MIGNON Thomas O mat. Sat. 1 p. RUY BLAS O Sat. 1 p. TC week: August 6, 1899 Los Angeles Theater Italian Grand Opera Company CARMEN Bizet O Fri. 1 p. THE BARBER OF SEVILLE Rossini 0 mat. Sat. 1 p. CAVALLERIA RUSTICANA Mascagni 0; I PAGLIACCI Leoncavallo 0 Sat. 1 TC week: August 20, 1899 no performances week: July 30, 1899 Los Angeles Theater Italian Grand Opera Company LUCIA DI LAMMERMOOR Donizetti O Mon IL TROVATORE Verdi 0 Tues. 1 p. RIGOLETTO Verdi O Wed. 1 p. LA TRAVIATA Verdi O Thurs. 1 p. UN BALLO IN MASCHERA Verdi 0 Fri NORMA Bellini O mat. Sat. 1 p. IL TROVATORE Verdi O Sat. 1 p. week: August 13, 1899 Los Angeles Theater Italian Grand Opera Company CARMEN Bizet O Mon. 1 p. RIGOLETTO Verdi O Tues. 1 p. CRISPINO E LA COMARE CO Wed. 1 p IL TROVATORE Verdi 0 Thurs. 1 p THE BARBER OF SEVILLE Rossini 0 Fri, mat. Sat. 2 p. operatic excerpts Sat. 1 p. TC week: August 27, 1899 no performances week: September 3, 1899 week: September 10, 1899 Burbank Theater Los Angeles Theater Burbank Theater The Frawley Company MADAME SANS GENS Sardou C Sun-Sat, mat. Sat. 8 p. TS Modjeska MARIE ANTOINETTE Stuart PD Mon-Tues, mat. Sat. 3 p. MACBETH S Wed, Sat. 2 p. MARY STUART Schiller PD mat. Wed, Thurs. 2 p. MUCH ADO ABOUT NOTHING S Fri. 1 p. TC The Frawley Company THE SENATOR David Lloyd C Sun-Sat, mat. Sat. 8 p. TS week: September 17, 1899 week: September 24, 1899 week: October 1, 1899 Burbank Theater Burbank Theater Burbank Theater The Frawley Company THE FATAL CARD Chambers & Stephenson M Sun-Sat, mat. Sat. 8 p. TS The Frawley Company TRILBY Paul M. Potter D Sun-Sat, mat. Sat. 8 p. TS The Frawley Company THE DANCING GIRL Henry Arthur Jones D Sun-Sat, mat. Sat. 8 p. TS week: October 8, 1899 Los Angeles Theater Burbank Theater Ben Hendricks The Frawley Company A YENUINE YENTLEMAN THE HEAD OF THE FAMILY V Mon-Wed, mat. Wed. Clyde Fitch and Leo Dietrichstein 4 p. TC C Sun-Sat, mat. Sat. week: October 15, 1899 Los Angeles Theater Hoyt's Theater Company A MILK WHITE FLAG Charles Hoyt V Mon-Wed, mat. Wed. 4 p. TC Burbank Theater The Frawley Company CUMBERLAND '61 Franklin Fyles R Sun-Sat, mat. Sat. 8 p. TS week: October 22, 1899 Los Angeles Theater Eddie Foy HOTEL TOPSY-TURVEY V Tues-Wed, 2 p. TC Brady and Ziegfeld MLLE FIFI MC Thurs-Sat, mat. Sat. 4 p. Burbank Theater The Frawley Company THE SPORTING DUCHESS Raleigh-Hamilton-Harris M Sun-Sat, mat. Sat. 8 p. TS week: October 29, 1899 Burbank Theater The Frawley Company AN ENEMY TO THE KING R.N. Stephens R Sun-Sat, mat. Sat. 8 p. TS week: November 5, 1899 Los Angeles Theater A BREACH OF PROMISE V Thurs-Sun, mat. Sat. 5 p. TC Burbank Theater The Frawley Company MOTHS M Sun-Tues, mat. Sat. 4 p. TRILBY Potter D mat. Wed, Fri-Sat. 3 p. THE DANCING GIRL Jones D Wed-Thurs. 2 p HEDDA GABLER Henrik Ibsen D mat. Fri. 1 p. TS <Tl cn week: November 12, 1899 Burbank Theater Dazey P Mark Swan and Company BROWN'S IN TOWN Swan V Sun-Sat, mat. Sat. 8 p. WHOSE BABY ARE YOU? Swan F 1 p. mat. Wed. 1 p. TC Sun, Los Angeles Theater Jacob Litt's IN OLD KENTUCKY Mon-Wed, mat. Wed. 4 p. TC Matthews and Bulger AT GAY CONEY ISLAND V Fri. BY THE SAD SEA WAVES V Sat- mat. Sat. 3 p. TC week: November 19, 1899 Los Angeles Theater Eugenie Blair A LADY OF QUALITY Burnett-Townsend C Thurs- Sat, mat. Sat. 4 p. TC week: November 26, 1899 Los Angeles Theater Broadhurst's Company WHY SMITH LEFT HOME Broadhurst F Thurs-Sat, mats. Thurs, Sat. 5 p. TC Burbank Theater Harry Corson Clarke WHAT HAPPENED TO JONES Broadhurst C Sun-Sat, mat. Sat. 8 p. TC week: December 3, 1899 Los Angeles Theater Frederick Warde THE LION'S MOUTH Carleton R Mon, Thurs. 2 p; FORTUNE'S FOOL PD Tues. 1 p; THE MER CHANT OF VENICE S mat. Wed. 1 p; ROMEO AND JULIET S Wed, mat. Sat. 2 p; VIRGINIUS Knowles PD Fri. 1 p; RICHARD III S Sat. 1 p. TC Burbank Theater Nance O'Neil MAGDA Sudermann D Sun-Wed, mat. Sat. 5 p. PEG WOLFINGTON Reade PD Thurs-Sat. 3 p. TC Hazard's Pavilion THE HOTTEST COON IN DIXIE V Sun-Wed. 4 p. TC <n -j week: December 10, 1899 Los Angeles Theater Burbank Theater Murray and Mack FINNIGAN'S BALL Emerick V Sun-Wed, mat. Wed. 5 p. TC Nance O'Neil THE JEWESS Mosenthal PD Sun-Wed, mat. Sat. 5 p. THE SCHOOL FOR SCANDAL Sheridan PC Thurs-Sat, 3 p. TC week: December 17, 1899 Los Angeles Theater L.R. Stockwell MY FRIEND FROM INDIA Du Souchet F Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Nance O'Neil OLIVER TWIST D CAMILLE Dumas Thurs-Sat, mat. 4 p. TC Sun-Wed. 4 p. R Sat. week: December 24, 1899 Los Angeles Theater Burbank Theater Louis James, Kathryn Kidder, Charles Hanford Nance O'Neil THE SCHOOL FOR SCANDAL Sheridan PC MACBETH mat. Mon, Wed. 2 p. Shakespeare THE RIVALS Sheridan PC Sun-Sat, mats. Mon, Sat. Mon, Thurs, mat. Wed. 3 p. 9 p. TC THE WINTER'S TALE Shakespeare Tues, Fri, mat. Sat. 3 p. MACBETH Shakespeare Sat. 1 p. TC week: December 31/ 1899 Burbank Theater Darrel Vinton, May Nannary, and Dailey's Company THE NEW SOUTH Grismer and Greene P Sun-Sat, mat. Sat. 8 p. TS week: January 14, 1900 Los Angeles Theater M.B. Leavi11 Company SPIDER AND FLY E Thurs-Sun, mat. Sat. 5 p. TC week: January 21, 1900 Los Angeles Theater The Rays A HOT OLD TIME Cohan V Mon-Wed, mat. Wed. 4 p. TC THE CHRISTIAN Hall D. Caine D Thurs-Sat, mat. Sat. 4 p. TC week: January 7, 1900 Burbank Theater Darrel Vinton, May Nannary, and Dailey' Company ESMERALDA Burnett M Sun-Wed, mat. Sat. 5 p. HAMLET S Thurs-Sat. 3 p. TS Burbank Theater Grau's Grand and Comic Opera Company WANG Woolfson and Morse CO Sun-Sat, mats. Wed, Sat. 9 p. TS Burbank Theater Grau's Grand and Comic Opera Company THE MIKADO Sullivan CO Sun-Wed, mat. Wed. 5 p. SAID PASHA Stahl CO Thurs-Sat, mat. Sat. 4 p. TS week: January 28, 1900 Burbank Theater Grau's Grand and Comic Opera Company PAUL JONES Planquette CO Sun-Tues, mat. Wed. 4 p. THE STREET SINGER Offenbach CO Wed-Thurs, mat. Sat. 3 p. THE GONDOLIERS Sullivan CO Fri-Sat. 2 p. TS week: February 11, 1900 Los Angeles Theater Boston Lyric Opera Company BOCCACCIO Von Suppe CO Sun-Tues. 3 p. MARTHA Flotow 0 Wed-Thurs. 2 p. THE CHIMES OF NORMANDY Planquette CO Fri-Sat, mat. Sat. 3 p. TS week: February 18, 1900 Los Angeles Theater Boston Lyric Opera Company SAID PASHA Stahl CO Sun-Tues. 3 p. IL TROVATORE Verdi O Wed-Thurs. 2 p. LA MASCOTTE Andron CO Fri-Sat, mat. Sat. 3 p. TS week: February 4, 1900 Los Angeles Theater Denman Thompson THE OLD HOMESTEAD Denman Thompson P Mon-Sat, mat. Sat. 7 p. TC Burbank Theater James Neill and the Neill Company A GILDED FOOL Henry Guy Carleton C Sun-Sat, mat. Sat. 8 p. TS Burbank Theater James Neill and the Neill Company A GILDED FOOL Second Week Sun-Sat, mat. Sat. 8 p. CAPTAIN LETTERBLAIR Merrington C mat. Wed. 1 p. TS week: February 25, 1900 Los Angeles Theater Boston Lyric Opera Company FRA DIAVOLO Auber CO Sun. 1 p. IL TROVATORE Verdi O Mon, Wed. 2 p. MARTHA Flotow 0 Tues. 1 p. CAVALLERIA RUSTICANA Mascagni 0; I PAGLIACCI Leoncavallo 0 Thurs. 1 p. THE MERRY WAR CO Fri-Sat, mat. Sat. 3 p. Burbank Theater James Neill and the Neill Company LORD CHUMLEY Belasco and De Milie C Sun-Sat, mat. Sat. 8 p. THE WAY TO WIN A WOMAN Jerome C mat. Wed. 1 p. TS week: March 4, 1900 Los Angeles Theater The Bostonians THE VICEROY CO Mon, Thurs, mat. Sat. 3 p. THE SMUGGLERS CO Tues. 1 p. ROBIN HOOD CO mat. Wed, Sat. 2 p. THE SERENADE CO Wed, Fri. 2 p. TC Burbank Theater James Neill and the Neill Company A SOCIAL HIGHWAYMAN Mary F. Stone R Sun-Sat, mat. Sat. 8 p. TS week: March 11, 1900 Burbank Theater The Neill Company A PARISIAN ROMANCE Sardou D Sun-Sat, mat. Sat. 8 p. AMY ROBSHART Eisner R mat. Wed. 1 p. TS week: March 18, 1900 Los Angeles Theater HAVE YOU SEEN SMITH? V Fri-Sat, mat. Sat. 3 p. TC Burbank Theater The Neill Company HELD BY THE ENEMY Gillette R Sun-Sat, mat. Sat. 8 p. LADY WINDERMERE'S FAN Wilde C mat. Wed. 1 p. TS week: March 25, 1900 Los Angeles Theater Charles Frohman Company BECAUSE SHE LOVED HIM SO William Gillette C Thurs-Sat, mat. Sat. 4 p. TC week: April 1, 1900 Burbank Theater James Neill and the Neill Company AMY ROBSHART Eisner R Sun. 1 p. JIM THE PENMAN Young M Tues-Wed, mat. Wed. 3 p. LADY WINDERMERE'S FAN Wilde C Thurs. 1 p. CAPTAIN SWIFT Chambers D Fri. 1 p. A BACHELOR'S ROMANCE Morton D Sat, mat. Sat. 2 p. TS week: April 15, 1900 Los Angeles Theater The Frawley Company AN UNCONVENTIONAL HONEYMOON Thomas C Sun-Tues, mat. Wed. 4 p. THE CHARITY BALL Belasco and De Mille C Wed-Sat, mat. Sat. 5 p. TS Burbank Theater James Neill and the Neill Company THE AMAZONS Arthur Wing Pinero R Sun-Sat, mat. Sat. 8 p. TS week: April 8, 1900 Burbank Theater Morosco's Opera Company EL CAPITAN Sousa CO Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Morosco's Opera Company SINBAD THE SAILOR E Sun-Sat, mat. Sat. 8 p. TS to week: April 22, 1900 Los Angeles Theater The Frawley Company IN PARADISE Hannequin F Sun-Wed. 4 p THE WIFE Belasco and De Milie C Thurs-Sat, mat. Sat. 4 p. THE DANCING GIRL Henry Arthur Jones D mat. Wed. 1 p. TS week: April 29, 1900 Los Angeles Theater The Frawley Company THE SPORTING DUCHESS Raleigh-Hamilton-Harris M Sun-Wed, mat. Wed. 5 p. THE RED LAMP D Thurs-Sat, mat. Sat. 4 p. TS week: May 6, 1900 Los Angeles Theater The Frawley Company THE RED LAMP D Sun-Wed. 4 p. MADAME SANS GENS Sardou C Thurs-Sat, mat. Sat. 4 p. THE CHARITY BALL Belasco and De Mille C mat. Wed. 1 p. TS Burbank Theater Morosco's Opera Company THE BEGGAR STUDENT Milloecker CO Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Morosco's Opera Company THE QUEEN'S LACE HANDKERCHIEF Strauss CO Sun-Sat, mats. Thurs, Sat. 9 p. TS Burbank Theater Morosco's Opera Company THE CHIMES OF NORMANDY Planquette CO Sun-Sat, mat. Sat. 8 p. TS -vl U> week: May 13, 1900 Los Angeles Theater The Frawley Company MADAME SANS GENS Sardou C Sun-Mon. 2 p. WITH FLYING COLORS C Tues-Sat, mat. Sat. 6 p. TS week: May 20, 1900 Los Angeles Theater The Frawley Company RIZPAH MISERY; DAVID GARRICK Robertson D Sun-Wed, mat. Wed. 5 p. IN PARADISE Hannequin F Thurs. 1 p. MOTHS M Fri-Sat, mat. Sat. 3 p. TS week: May 27, 1900 Los Angeles Theater John Drew THE TYRANNY OF TEARS Chambers C Mon-Tues. 2 p. TC Burbank Theater A.Q. Scammon's Great Comedy Company THE WIDOW BROWN F Sun-Sat, mat. Sat. 8 p. TC Burbank Theater S.H. Friedlander Company THE BROWNIES IN FAIRYLAND MC Sun-Sat, mats. Sat, Sun. 9 p. TC Burbank Theater Frank Bacon THE GIRL FROM CHILI F Sun-Sat, mat. Sat. 8 p. TC -j week: June 3, 1900 Los Angeles Theater Burbank Theater M.B. Curtis The Frawley Company SAM'L OF POSEN Jessup F TRILBY Potter D Mon-Sat, mat. Sat. 7 p. TC Sun-Sat, mat. Sat. 8 p. TS week: June 10, 1900 week: June 17, 1900 Burbank Theater Los Angeles Theater Burbank Theater The Frawley Company MEN AND WOMEN Belasco and De Mille Sun-Sat, mat. Sat. 8 C p. TS Henry Miller MISS HOBBS C Wed-Thurs. 2 p. TC The Frawley Company QUO VADIS Valentine & Strange Sun-Sat, mat. Sat. 8 R p. TS week: June 24, 1900 week: July 1, 1900 Burbank Theater Burbank Theater The Frawley Company QUO VADIS R Sun-Thurs, mat. Wed. THE CHILDREN OF THE Zangwell D Fri-Sat, 6 p. GHETTO mat. Sat. 3 p. TS The Frawley Company SAPHO Clyde Fitch D Sun-Sat, mat. Sat. 8 p. TS week: July 8, 1900 week: July 15, 1900 week: July 22, 1900 no performances no performances no performances Ln week: July 29, 1900 week: August 5, 1900 Burbank Theater Burbank Theater James Neill and the Neill Company AN AMERICAN CITIZEN Madeline Lucette Ryley C Sun-Sat, mat. Sat. 8 p. TS James Neill and the Neill Company ARISTOCRACY Bronson Howard C Sun-Sat, mat. Sat. 8 p. TS week: August 12, 1900 week: August 19, 1900 Burbank Theater Burbank Theater James Neill and the Neill Company THE MAISTER OF WOODBARROW Jerome K. Jerome R Sun-Sat, mat. Sat. 8 p. TS James Neill and the Neill Company NIOBE Harry and Edward Paulton F Sun-Sat, mat. Sat. 8 p. TS week: August 26, 1900 week: September 2, 1900 Burbank Theater Burbank Theater James Neill and the Neill Company MR. BARNES OF NEW YORK A.C. Gunther C Sun-Sat, mat. Sat. 8 p. TS James Neill and the Neill Company THE JILT Dion Boucicault M Sun-Sat, mat. Sat. 8 p. TS week: September 9, 1900 week: September 16, 1900 Burbank Theater Burbank Theater The Oliver-Leslie Company THE PRISONER OF ZENDA Edward Rose R Sun-Sat, mats. Wed, Sat. 9 p. TS The Oliver-Leslie Company WHY SMITH LEFT HOME George Broadhurst F Sun-Sat, mats. Wed, Sat. 9 p. TS week: September 30, 1900 Los Angeles Theater A TEXAS STEER Charles Hoyt V Tues-Thurs. 3 p. TC Burbank Theater The Oliver-Leslie Company THE MOTH AND THE FLAME Fitch D Sun-Sat, mat. Sat. 8 p. TS week: October 7, 1900 Burbank Theater The Oliver-Leslie Company PEACEFUL VALLEY Edward Kidder C Sun-Sat, mat. Sat. 8 p. TS week: October 14, 1900 Los Angeles Theater Burbank Theater THAT MAN F Mon-Wed. 3 p. TC KING OF THE OPIUM RING Charles Blaney and Charles Taylor M Thurs-Sat, mat. Sat. 4 p. TC Florence Roberts and the Oliver-Leslie Company THE COUNTRY WIFE Wycherly PC (adapted by Augustin Daly from David Garrick's adaptation) Sun-Sat, mat. Sat. 8 p. TS week: October 21, 1900 Burbank Theater The Oliver-Leslie Company SAPHO Clyde Fitch D Sun-Sat, mat. Sat. 8 p. TS week: October 28, 1900 Los Angeles Theater Klaw & Erlanger's Company QUO VADIS Stanislas Strange R Wed-Sat, mat. Sat. 5 p. TC Burbank Theater The Oliver-Leslie Company A SUIT OF SABLE Charlotte Thompson F Sun-Sat, mat. Sat. 8 p. TS - j week: November 4, 1900 Burbank Theater Hazard's Pavilion The Oliver-Leslie Company THE ROGUE'S COMEDY Henry Arthur Jones C Sun-Sat, mat. Sat. 8 p. TS Maurice Grau's Metropolitan Opera Company LA BOHEME Puccini O Fri. 1 p. ROMEO ET JULIETTE Gounod 0 mat. Sat. 1 p. LOHENGRIN Wagner 0 Sat. 1 p. TC week: November 11, 1900 Los Angeles Theater Stuart Robson OLIVER GOLDSMITH Thomas C Thurs-Fri, mat. Sat. 3 p. SHE STOOPS TO CONQUER Goldsmith PC Sat. 1 p. TC Burbank Theater The Oliver-Leslie Company CATHARINE Lavendon P Sun-Sat, mat. Sat. 8 p. TS Hazard's Pavilion E.T. Davis Company UNCLE TOM'S CABIN M Mon-Tues, mat. Tues. 3 p. TC week: November 18, 1900 Los Angeles Theater Frank Tannehill, Jr. A YOUNG WIFE J.K. Tillotson F Thurs-Fri. 2 p. WHOSE BABY ARE YOU? Mark Swan F mat. Sat, Sat. 2 p. TC Burbank Theater The Oliver-Leslie Company MAN'S ENEMY Charles Longton and Eric Hudson M Sun-Sat, mat. Sat. 8 p. TS C O week: November 25, 1900 Los Angeles Theater Frank Daniels THE AMEER Victor Herbert CO Thurs-Sat, mats. Thurs, Sat. 5 p. TC week: December 2, 1900 Los Angeles Theater King and Norcross AT THE WHITE HORSE TAVERN Rosenfeld R Mon-Wed. 3 p. TC Boston Lyric Opera Company CARMEN Bizet O Thurs, mat. Sat. 2 p. THE IDOL'S EYE CO Fri. 1 p. THE FENCING MASTER DeKoven and Smith CO Sat. 1 p. IL TROVATORE Verdi O Sun. 1 p. TC week: December 9, 1900 Los Angeles Theater Frederick Warde RICHELIEU Bulwer-Lytton PD Mon. 1 p THE KING'S JESTER Williams PD Tues, Fri 2 p. HAMLET Shakespeare Wed, mat. Sat. 2 p OTHELLO Shakespeare Thurs, Sat. 2 p. Burbank Theater Harry Corson Clarke and the O-L Company ALL THE COMFORTS OF HOME Gillette C Sun-Sat, mats. Thurs, Sat. 9 p. TS Burbank Theater Shubert's Musical Company A STRANGER IN NEW YORK Charles Hoyt V Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Walter Bentley THE SILVER KING Henry Arthur Jones R Sun-Sat., mat. Sat. 8 p. TC week: December 16, 1900 Los Angeles Theater Braden and Strine A HOT OLD TIME Cohan V Thurs-Sat, mat. Sat. 4 p. TC week: December 23, 1900 Los Angeles Theater Jacob Litt's Company SHENANDOAH Howard R Sun-Wed, mat. Tues. 5 p. TC THE BELLE OF NEW YORK Kerker MC Thurs-Sat, mat. Sat. 4 p. TC week: December 30, 1900 Los Angeles Theater Alice Nielson Opera Company THE SINGING GIRL Victor Herbert CO Mon-Tues, mat. Tues. 3 p. THE FORTUNE TELLER CO Wed-Thurs. 2 p. TC William Brady's Company 'WAY DOWN EAST Parker and Grismer P Fri-Sat, mat. Sat. 3 p. TC Burbank Theater Charles H. Boyle THE STAR BOARDER Boyle V Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Grau's Opera Company EL CAPITAN Sousa CO Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Grau's Opera Company THE ISLE OF CHAMPAGNE Furst CO Sun-Sat, mats. Tues, Sat. 9 p. TS oo o week: January 6, 1901 week: January 13, 1901 Los Angeles Theater Burbank Theater Burbank Theater JAMES WOBBERTS, FRESHMAN Richard Walton Tully C Thurs-Sat, mat. Sat. 4 p. TC Grau's Opera Company THE LITTLE TYCOON Spencer CO Sun-Wed, mat. Wed. 5 p. CAVALLERIA RUSTICANA Mascagni O; H.M.S. PINAFORE Sullivan CO Thurs-Sat, mat. Sat. 4 p. TS Dave B. Lewis Production UNCLE JOSH SPRUCEBY P Sun-Sat, mat. Sat. 8 p. TC week: January 20, 1901 week: January 27, 1901 Burbank Theater Los Angeles Theater Burbank Theater The Frawley Company THE GREAT RUBY Raleigh & Hamilton M Sun-Sat, mats. Wed, Sat. 9 p. TS THE SORROWS OF SATAN M Tues-Fri, mat. Fri. 5 p. TC Thall and Kennedy Company A STRANGER IN A STRANGE LAND Wilner & Vincent C Sun-Sat, mat. Sat. 8 p. TC week: February 3, 1901 Los Angeles Theater Burbank Theater HUMAN HEARTS W.E. Nankeville M Sun-Wed. 4 p. TC T. Daniel Frawley and Company SECRET SERVICE William Gillette R Sun-Sat, mats. Wed, Sat. 9 p. TS 00 week: February 10, 1901 Los Angeles Theater Burbank Theater Louis James and Kathryn Kidder A MIDSUMMER NIGHT'S DREAM Shakespeare Tues-Fri, mat. Sat. 5 p. RICHARD III Shakespeare Sat. 1 p. MACBETH Shakespeare Sun. 1 p. TC The Frawley Company THE MIDDLEMAN Henry Arthur Jones D Sun-Sat, mat. Sat. 8 p. MADAME SANS GENS Sardou mat. Wed. 1 p. TS week: February 17, 1901 Los Angeles Theater Burbank Theater Morrison's FAUST The Frawley Company E Thurs-Sat, mats. Fri, Sat. WE'UNS OF TENNESSEE Lee Arthur 5 p. TC P Sun-Sat, mat. Sat. 8 p. THE CHARITY BALL De Milie and Belasco C mat. Wed. 1 p. A DIVORCE COLONY Rosenfeld C mat. Fri. 1 p. TS week: February 24, 1901 Los Angeles Theater Joseph Muller Company UNDER SEALED ORDERS Joseph Harkins M Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater The Frawley Company BROTHER JOHN Morton C Sun-Sat, mat. Sat. 8 p. TRILBY Potter D mat. Wed. 1 p. TS week: March 3, 1901 Burbank Theater The Frawley Company CHIMMIE FADDEN Thomas V Sun-Sat, mat. Sat. 8 p. THE GREAT RUBY Raleigh-Hamilton M m mat. Wed. 1 p. TS ^ week: March 10, 1901 Los Angeles Theater Burbank Theater Mrs. Leslie Carter ZAZA David Belasco D Wed-Sat, mat. Sat. 5 p. TC The Frawley Company THE ENSIGN William Haworth D Sun-Sat, mat. Sat. 8 p. CHILDREN OF THE GHETTO Zangwell D mat. Wed. 1 p. TS week: March 17, 1901 Los Angeles Theater Burbank Theater Maude Adams The Frawley Company THE LITTLE MINISTER NELL GWYNNE R Sun-Thurs, mat. Sat. 6 P- James M. Barrie SECRET SERVICE Gillette R mat. Wed. 1 P- C Mon-Thurs. A DOLL'S HOUSE Ibsen D 4 p. TC Fri, mat. Fri. 2 p. TS week: March 24, 1901 Los Angeles Theater La Loie Fuller THE HIGHWAYMAN DeKoven and Smith CO Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater New York Casino Company THE TELEPHONE GIRL Kerker and Morton MC Sun-Sat, mat. Sat. 8 p. TC week: March 31, 1901 Burbank Theater George W. Larsen & Company RIP VAN WINKLE Dion Boucicault P Sun-Sat, mat. Sat. 8 p. TC 00 u> week: April 7, 1901 Burbank Theater Hazard1s Pavilion Sullivan & Harris's Production Semrich Opera Company THE ANGEL OF THE ALLEY M DON PASQUALE Donizetti O Sun-Sat, mat. Sat. 8 p. TC Thurs. 1 p. TC week: April 14, 1901 Los Angeles Theater Burbank Theater Yale's Everlasting THE DEVIL'S EYE E Mon-Wed, mat. Wed. 4 p. TC Ralph E. Cummings New York Stock THE LITTLE MINISTER J.A. Fraser Sun-Sat, mat. Sat. 8 p. TS Company C week: April 21, 1901 week: April 28, 1901 Burbank Theater Burbank Theater Ralph E. Cummings New York Stock Company LADY WINDERMERE'S FAN Oscar Wilde C Sun-Sat, mat. Sat. 8 p. TS Ralph E. Cummings New York Stock Company THE ADVENTURES OF LADY URSULA Hope R Sun-Sat, mat. Sat. 8 p. TS week: May 5, 1901 week: May 12, 1901 Burbank Theater Burbank Theater Ralph E. Cummings New York Stock PUDDIN'HEAD WILSON Mayo P Sun-Sat, mat. Sat. 8 p. TS Company Ralph E. Cummings New York Stock THE TWO ORPHANS D'Ennery M Sun-Sat, mat. Sat. 8 p. TS Company 0 0 week: May 19, 1901 Los Angeles Theater Burbank Theater Liebler and Company SAG HARBOR James A. Herne P Tues-Thurs, mat. Wed. Ralph Cummings New York Stock Company WOMAN AGAINST WOMAN Frank Harvey M Sun-Sat, mat. Sat. 4 p. TC 8 p. TS week: June 2, 1901 week: June 9, 1901 week: June 16, 1901 Burbank Theater Burbank Theater Burbank Theater Ralph Cummings Company A LADY OF QUALITY Burnett & Townsend C Sun-Sat, mat. Sat. 8 p. TS Ralph Cummings Company THE MAN FROM MEXICO H.A. Du Souchet F Sun-Sat, mat. Sat. 8 p. TS The Neill Stock Company THE LOTTERY OF LOVE Augustin Daly C Sun-Sat, mat. Sat. 8 p. TS week: June 23, 1901 Los Angeles Theater Burbank Theater Henry Miller HEARTSEASE Klein and Clarke C Mon-Tues, mat. Wed. 3 p. THE IMPORTANCE OF BEING EARNEST Oscar Wilde C Wed. 1 p. D'ARCY OF THE GUARDS Shipman C Thurs-Sat, mat. Sat. 4 p. TC The Neill Stock Company BARBARA FRIETCHIE Clyde Fitch R Sun-Sat, mat. Sat. 8 p. TS 00 week: June 30, 1901 week: July 7, 1901 Burbank Theater The Neill Stock Company THE AMAZONS A.W. Pinero R Sun-Sat, mat. Sat. 8 p. BARBARA FRIETCHIE Fitch R mat. Thurs. 1 p. TS week: July 14, 1901 Burbank Theater The Neill Stock Company THE CASE OF REBELLIOUS SUSAN Henry Arthur Jones C Sun-Sat, mat. Sat. 8 p. TS week: July 21, 1901 Burbank Theater The Neill Stock Company A BACHELOR'S ROMANCE Morton D Sun-Sat, mat. Sat. 8 p. TS Hazard1s Pavilion Hazard's Pavilion Stock Company UNDER TWO FLAGS Eisner R Mon-Sun, mat. Sat. 8 p. TS Hazard's Pavilion Hazard's Pavilion Stock Company AMONG THE PINES Will R. Wilson P Mon-Sun, mat. Sat. 8 p. TS Burbank Theater The Neill Stock Company THE ROYAL BOX Charles Coghlan R Sun-Sat, mat. Sat. 8 p. TS Los Angeles Theater Blanche Bates UNDER TWO FLAGS Paul M. Potter R Mon-Sat, mat. Sat. 7 p. TC 00 a \ week: July 28, 1901 week: August 4, 1901 week: August 11, 1901 Burbank Theater Burbank Theater Burbank Theater Bronson & Bronson UNCLE TOM'S CABIN M Sun-Sat, mat. Sat. 8 p. TS Melbourne MacDowell Company LA TOSCA Sardou D Sun-Sat, mat. Sat. 8 p. TS Melbourne MacDowell CLEOPATRA Sardou D Sun-Sat, mat. Sat. 8 Company p. TS week: August 18, 1901 week: August 25, 1901 Los Angeles Theater Burbank Theater Burbank Theater Empire Theater Company MRS. DANE'S DEFENSE Jones D Thurs-Sat, mat. Sat. 4 p. TC Melbourne MacDowell Company FEDORA Sardou D Sun-Sat, mat. Sat. 8 p. CLEOPATRA mat. Wed. 1 p. TS Melbourne MacDowell GISMONDA Sardou D Sun-Sat, mats. Wed, 9 p. TS Company Sat. week: September 1, 1901 Los Angeles Theater Burbank Theater Daniel Frohman Company LADY HUNTWORTH'S EXPERIMENT C Thurs-Sat, mat. Sat. 4 p. Melbourne MacDowell Company R.C. Carton EMPRESS THEODORA Sardou D TC Sun-Sat, mat. Sat. 8 p. TS week: September 8, 1901 Los Angeles Theater Burbank Theater Thomas Seabrooke A MODERN CAROUSOE Sydney Rosenfeld C Thurs-Sat, mat. Sat. 4 p. TC The Frawley Company LORD AND LADY ALGY R.C. Carton C Sun-Sat, mat. Sat. 8 p. TS oo ■vl week: September 15, 1901 Los Angeles Theater Burbank Theater Annie Russell A ROYAL FAMILY R. Marshall C Fri-Sat, mat. Sat. 3 p. TC The Frawley Company THE MASQUERADERS Henry Arthur Jones C Sun-Wed, Fri-Sat, mat. Sat. 7 p. TS week: September 22, 1901 week: September 29, 1901 Burbank Theater Los Angeles Theater Burbank Theater The Frawley Company THE GIRL I LEFT BEHIND ME Belasco and Fyle R Sun-Sat, mat. Sat. 8 p. TS Mason and Mason RUDOLPH AND ADOLPH V Thurs-Sat, mat. Sat. 4 p. TC The Frawley Company THE ONLY WAY Freeman Wills R Sun-Sat, mat. Sat. 8 p. TS week: October 6, 1901 week: October 13, 1901 Los Angeles Theater Burbank Theater Burbank Theater A TEXAS STEER Charles Hoyt V Thurs-Sat, mat. Sat. 4 p. TC The Frawley Company BROTHER OFFICERS Lee Trevor C Sun-Sat, mat. Sat. 8 p. TS The Frawley Company HIS WIFE'S FATHER Morton C Sun-Tues, Thurs-Sat, mat. Sat. 7 p. A DOLL'S HOUSE Ibsen D Wed, mat. Wed. 2 p. TS 00 00 week: October 20, 1901 Los Angeles Theater Burbank Theater Fisher and Ryley's FLORADORA Hall and Stuart MC Thurs-Sat, mat. Sat. 4 p. TC The Frawley Company THE LIARS Henry Arthur Jones C Sun-Sat, mat. Sat. 8 p. TS week: October 27, 1901 Los Angeles Theater IN OLD KENTUCKY C.T. Dazey P Sun-Tues. 3 p. TC A FEMALE DRUMMER C Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater THE CONVICT'S DAUGHTER Theodore Kremer M Sun-Sat, mat. Sat. 8 p. TC week: November 3, 1901 Los Angeles Theater Stuart Robson THE HENRIETTA Bronson Howard C Tues-Wed. 2 p. TC Burbank Theater Knute Erickson YON YONSON V Sun-Sat, mat. Sat. 8 p. TC Hazard1s Pavilion Metropolitan Opera Company CARMEN Bizet O Fri. 1 p. LOHENGRIN Wagner 0 mat. Sat. 1 p. THE HUGUENOTS Meyerbeer 0 Sat. 1 p. TC oo VO week: November 10, 1901 week: November 17, 1901 Los Angeles Theater William Collier ON THE QUIET Thomas C Mon-Tues. 2 p. TC Burbank Theater Tivoli Opera Company THE TOYMAKER CO Sun-Sat, mat. Sat. 8 o. THE WEDDING DAY CO mat. Wed. 1 p. TC Burbank Theater Thall-Kennedy Company A STRANGER IN A STRANGE LAND Wilmer & Vincent C Sun-Sat, mat. Sat. 8 p. TC week: November 24, 1901 Los Angeles Theater SHORE-ACRES James A. Herne P Mon-Wed, mat. Wed. 4 p. TC THE GIRL FROM MAXIM'S Feydeau F Thurs-Sat, mats. Thurs, Sat. 5 p. TC Burbank Theater Russell and Drew Company ROANOKE Hal Reid P Sun-Sat, mats. Thurs, Sat. 9 p. TC week: December 1, 1901 Los Angeles Theater Burbank Theater Thomas Jefferson RIP VAN WINKLE Boucicault P Thurs-Sat, mat. Sat. 4 p. TC THE QUEEN OF HAYTI MC Sun-Sat, mat. Sat. 8 p. TC VO o week: December 8, 1901 Los Angeles Theater Burbank Theater Yale's Everlasting DEVIL'S AUCTION V Mon-Tues. 2 p. TC Arthur C. Aiston's Company AT THE CROSSROADS P Sun-Sat, mat. Sat. 8 p. TC week: December 15, 1901 Los Angeles Theater Pollard's Juvenile Australian Opera Co. A GAIETY GIRL CO Tues-Wed, mat. Wed. 3 p. THE GEISHA CO Thurs-Fri. 2 p. IN TOWN CO Sat, mat. Sat. 2 p. TC Burbank Theater James Neill and the Neill Company BARBARA FRIETCHIE Clyde Fitch R Sun-Sat, mat. Sat. 8 p. TS week: December 22, 1901 Los Angeles Theater S. Miller Kent THE COWBOY & THE LADY Fitch C Wed-Fri. 3 p. TC Burbank Theater The Neill Company UNDER TWO FLAGS Potter R Sun-Sat, mat. Sat. 8 p. TS week: December 29, 1901 Burbank Theater The Neill Company HELD BY THE ENEMY Gillette R Sun-Sat, mat. Sat. 8 p. TS week: January 5, 1902 Los Angeles Theater Mary Mannering JANICE MEREDITH Edward Rose R Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater James Neill and the Neill Company ROSEMARY L.N. Parker C Sun-Sat, mat. Sat. 8 p. TS week: January 12, 1902 Los Angeles Theater Myron Rice WHOSE BABY ARE YOU? Swan F Thurs-Sat, mat. Sat. 4 p. TC week: January 19, 1902 Los Angeles Theater Modjeska and Louis James HENRY VIII S Wed, Fri, mat. Sat. 3 p. MARY STUART Schiller PD mat. Thurs. 1 p. THE MERCHANT OF VENICE S Thurs. 1 p. MACBETH Shakespeare Sat. 1 p. TC week: January 26, 1902 Los Angeles Theater Frederick Warde THE MOUNTEBANK D'Ennery R Mon, mat. Wed. 2 p. JULIUS CAESAR S Tues. 1 p. KING LEAR S Wed. 1 p. TC Viola Allen IN THE PALACE OF THE KING Stoddard R Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater THE IRISH PAWNBROKER V Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Grey and Gillingwater HUNTING FOR HAWKINS Guy F. Steely V Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Richard Golden OLD JED PROUTY Richard Golden P Sun-Sat, mat. Sat. 8 p. TC V O fO week: February 9, 1902 week: February 16, 1902 Burbank Theater Los Angeles Theater Burbank Theater The Frawley Company IN MIZZOURA Thomas P Sun-Sat, mat. Sat. 8 p. LORD AND LADY ALGY Carton C mat. Wed. 1 p. TS THE PRIDE OF JENNICO Richardson & Furness R Mon-Wed, mat. Wed. 4 p. TC The Frawley Company THE BRIXTON BURGLARY Sydney C Sun-Sat, mat. Sat. 8 p. THE ONLY WAY Wills R mat. Wed. 1 p. TS week: February 23, 1902 week: March 2, 1902 Burbank Theater Los Angeles Theater Burbank Theater The Frawley Company BLUE JEANS Arthur M Sun-Sat, mat. Sat. 8 p. BROTHER OFFICERS Trevor D mat. Wed. 1 p. TS Blanch Walsh LA MADELEINE Dam D Mon-Thurs, mat. Sat. 5 p. FORGET-ME-NOT Merivale C mat. Wed. 1 p. JANICE MEREDITH Rose R Fri-Sat. 2 p. TC The Frawley Company ALABAMA Thomas P Sun-Fri, mat. Wed. 7 p. MADAME SANS GENS Sardou C Sat, mat. Sat. 2 p. TS week: March 9, 1902 Los Angeles Theater Burbank Theater William A. Brady's Production 'WAY DOWN EAST Parker and Grismer P Mon-Sat, mat. Wed, Sat. Murray and Mack SHOOTING THE CHUTES V Sun-Sat, mat. Sat. 8 p. TC 8 p. TC V O u> week: March 16, 1902 Los Angeles Theater LaShelle and Hamlin Production ARIZONA Augustus Thomas P Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Baby Dody LITTLE LORD FAUNTLEROY Francis Hodgson Burnett C Sun-Sat, mats. Wed, Sat. 9 p. TS week: March 23, 1902 Los Angeles Theater Monro and Sage Company THE PRISONER OF ZENDA Rose R Thurs, mat. Sat. 2 p. RUPERT OF HENTZAU R Fri-Sat. 2 p. TC Burbank Theater James Neill and the Neill Company A GILDED FOOL Henry Guy Carleton C Sun-Sat, mat. Sat. 8 p. TS week: March 30, 1902 Los Angeles Theater Howard Kyle NATHAN HALE Clyde Fitch R Thurs-Sat. 3 p. EL GRAN GALEOTO Echegary D mat. Sat. 1 p. TC Burbank Theater The Neill Company UNDER THE RED ROBE Edward Rose R Sun-Sat, mat. Sat. 8 p. TS week: April 6, 1902 Burbank Theater The Neill Company CAPTAIN LETTERBLAIR Marguerite Merrington C Sun-Sat, mat. Sat. 8 p. TS vo week: April 13, 1902 Los Angeles Theater Burbank Theater Liebler and Company James Neill and the Neill Company THE CHRISTIAN Hall Caine D THE STARBUCKS Opie Read D Thurs-Sat, mat. Sat. 4 p. TC Sun-Sat, mat. Sat. 8 p. TS week: April 20, 1902 Los Angeles Theater Burbank Theater N.C. Goodwin and Maxine Elliott WHEN WE WERE TWENTY-ONE Esmond C Thurs, mat. Sat. 2 p. AN AMERICAN CITIZEN Ryley Fri-Sat. 2 p. TC TOO RICH TO MARRY E.0. Towne C Sun-Sat, mat. Sat. 8 p. TC week: April 27, 1902 week: May 4, 1902 Burbank Theater Burbank Theater Florence Roberts and the Belasco-Thall ZAZA David Belasco D Sun-Sat, mat. Sat. 8 p. TS o o • Florence Roberts and the Belasco-Thall Co. SAPHO Fitch D Sun-Thurs, Sat. 6 p. CAMILLE Dumas R Fri, mat. Sat. 2 p. TS week: May 11, 1902 week: May 18, 1902 Burbank Theater Burbank Theater Melbourne MacDowell and Florence Stone Melbourne MacDowell and Florence Stone CLEOPATRA Sardou D LA TOSCA Sardou D Sun-Sat, mat. Sat. 8 p. Sun-Sat, mat. Sat. 8 p. TS CLEOPATRA Sardou D mat. Wed. 1 p. TS ^ week: May 25, 1902 Los Angeles Theater John Drew THE SECOND IN COMMAND Robert Marshall C Fri-Sat, mat. Sat. 3 p. TC week: June 1, 1902 Los Angeles Theater Hennessey LeRoyle OTHER PEOPLE'S MONEY Towne F Thurs-Sat, mat. Sat. 4 p. TC week: June 8, 1902 Los Angeles Theater Frederick Warde KING LEAR Shakespeare Mon. 1 p JULIUS CAESAR Shakespeare Tues. RICHELIEU Bulwer-Lytton PD Wed VIRGINIUS Knowles PD Thurs. 1 DAMON AND PYTHIAS Banim PD Fri THE MOUNTEBANK D'Ennery R mat. Sat. 1 p. OTHELLO Shakespeare Sat. 1 p. TC Burbank Theater Melbourne MacDowell and Florence Stone FEDORA Sardou D Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Melbourne MacDowell and Florence Stone GISMONDA Sardou D Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Melbourne MacDowell and Florence Stone THE EMPRESS THEODORA Sardou D Sun-Sat, mat. Sat. 8 p. TS V O ov week: June 15, 1902 Los Angeles Theater Burbank Theater Warren and Day's New York Company Ralph Stuart and Company UNCLE TOM'S CABIN BY RIGHT OF SWORD Doremus and Stone M Tues-Wed, mat. Wed. 3 p. TC R Sun-Sat, mat. Sat. 8 p. TS week: June 22, 1902 week: June 29, 1902 week: July 5, 1902 Burbank Theater Burbank Theater Burbank Theater Ralph Stuart and Company FERNCLIFFE Haworth M Sun-Sat, mat. Sat. 8 p. TS Ralph Stuart and Comoany THE SILVER KING Jones R Sun- Sat, mats. Fri, Sat. 9 p. TS Ralph Stuart and Company MONTEj CRISTO Dumas R Sun-Sht, mat. Sat. 8 p. TS week: July 13, 1902 week: July 20, 1902 Burbank Theater Burbank Theater James Neill and Company James Neill and Company THE RED KNIGHT George Broadhurst SHENANDOAH Bronson Howard R Mon-Sat, mat. Sat. 7 p. TS R Sun-Sat, mat. Sat. 8 p. TS week: July 27, 1902 week: August 3, 1902 week: August 10, 1902 Burbank Theater Burbank Theater Burbank Theater James Neill and Company James Neill and Company James Neill and Company THE LOTTERY OF LOVE Daly C HON. JOHN GRIGSBY Klein C PRINCE KARL Gunther R Sun-Sat, mat. Sat. 8 p. TS Sun-Sat, mat. Sat. 8 p. TS Sun-Sat, mat. Sat. week: August 17, 1902 week: August 24, 1902 week: August 31, 1902 Burbank Theater Elita Procter Otis & Co. EAST LYNNE M Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Eugenie Thais Lawton & Co. THE OCTOROON Dion Boucicault M Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Harrington Reynolds & Co. SWEET LAVENDER Arthur Wing Pinero C Sun-Sat, mat. Sat. 8 p. TS week: September 7, 1902 Los Angeles Theater Charles D. Herman and the Warde Company THE LION'S MOUTH Henry Guy Carleton R Mon-Wed, mat. Sat. 4 p. MACBETH Shakespeare Thurs-Sat. 3 p. TC Burbank Theater Harrington Reynolds and Company UNCLE TOM'S CABIN M Sun-Sat, mats. Wed, Sat. 9 p. TS week: September 14, 1902 Los Angeles Theater Charles D. Herman and the Warde Company ROMEO AND JULIET Shakespeare Mon, Tues, mat. Sat. 3 p. MACBETH Shakespeare Thurs. 1 p. OTHELLO Shakespeare Fri-Sat. 2 p. TC Burbank Theater Harrington Reynolds and Company MOTHS M Sun-Sat, mat. Sat. 8 p. TS V O 00 week: September 22, 1902 Los Angeles Theater Nell Burgess THE COUNTY FAIR Burgess P Thurs-Sun, mat. Sat. 5 p. TC week: September 28, 1902 Los Angeles Theater W.E. Nankeville Production THE PENITENT Caine M Mon-Wed. 3 p. TC FIDDLE-DEE-DEE Stromberg & Smith B Thurs-Sat, mat. Sat. 4 p. TC week: October 5, 1902 Los Angeles Theater FIDDLE-DEE-DEE Stromberg & Smith B Sun-Wed, mat. Wed. 5 p. TC J.H. Stoddard THE BONNIE BRIAR BUSH James MacArthur and Augustus Thomas R Fri-Sat, mat. Sat. 3 p. TC Burbank Theater Harrington Reynolds and Company MICHAEL STROGOFF Bryon M Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Mary Elizabeth Forbes BARBARA FRIETCHIE Clyde Fitch R Sun-Sat, mat. Sat. 8 p. TC Burbank Theater A THOROUGHBRED TRAMP Elmer Walters M Sun-Sat, mat. Sat. 8 p. TC vo VO week: October 12, 1902 Los Angeles Theater Burbank Theater FIDDLE-DEE-DEE Stromberg & Smith B Tues-Sat. 5 p. TC Ferguson and Mack in MCCARTHY'S MISHAPS V Sun-Sat, mat. Sat. 8 p. TC week: October 19, 1902 Los Angeles Theater ALPHONSE AND GASTON MC Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater James F. MacDonald in HELLO, BILLl Goodhue V Sun-Sat, mat. Sat. 8 p. TC week: October 26, 1902 Los Angeles Theater HEARTS OF OAK James A. Herne P Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater LOST RIVER Joseph Arthur M Sun-Sat, mat. Sat. 8 p. TC week: November 2, 1902 Los Angeles Theater Marguerite Sylvia Opera Company THE STROLLERS Englander and Smith CO Mon-Wed. 3 p. TC Raymond Hitchcock KING DODO Pixey and Luders CO Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Robert Fitzsimmons, supported by Mrs. Fitzsimmons and Bobby Jr. THE HONEST BLACKSMITH M Sun-Sat, mat. Sat. 8 p. TC 100 week: November 9, 1902 Los Angeles Theater Tivoli Opera Company THE IDOL'S EYE Victor Herbert CO Sun-Sat, mat. Sat. 8 p. TS week: November 16, 1902 Los Angeles Theater Tivoli Opera Company THE SERENADE CO Sun-Wed. 4 p. THE TOY MAKER CO Thurs-Sat, mat. Sat. 4 p. TS week: November 23, 1902 Los Angeles Theater THE LIBERTY BELLES Harry Smith MC Sun-Tues. 3 p. TC FLORADORA Hall and Stuart MC Thurs-Sat, mats. Thurs, Sat. 5 p. TC Burbank Theater Willard Simms and Company PICKINGS FROM PUCK F Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Mark Swan and Company THE SILVER DAGGER Swan M Sun-Sat, mats. Thurs, Sat. 9 p. TC week: November 30, 1902 Los Angeles Theater Robert Downing and Company A VOICE FROM THE WILDERNESS Eisner R Thurs-Fri, mat. Sat. 3 p. THE GLADIATOR Saumet PD mat. Sat. 1 p. TC week: December 7, 1902 Los Angeles Theater SHORE-ACRES James A. Herne P Mon-Wed, mat. Wed. 4 p. TC THE BELLE OF NEW YORK Kerker & Morton MC Fri-Sat, mat. Sat. 3 p. TC week: December 14, 1902 Los Angeles Theater The Bostonians ROBIN HOOD DeKoven and Smith CO Tues-Thurs. 3 p. MAID MARIAN DeKoven and Smith CO Fri-Sat, mat. Sat. 3 p. TC Burbank Theater Harry Beresford THE WRONG MR. WRIGHT Broadhurst F Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Gallagher and Barrett FINNEGAN'S BALL V Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Nelse Erickson YON YONSON V Sun-Sat, mat. Sat. 8 p. TC o N) week: December 21, 1902 Los Angeles Theater Thomas Jefferson RIP VAN WINKLE Boucicault P Mon-Wed, 3 p. TC Elizabeth Kennedy CAPT. JINX OF THE HORSE MARINES Fitch C Thurs- Sat, mats. Thurs, Sat. 5 p. TC Burbank Theater James Neill and the Neill Company A BACHELOR'S ROMANCE Martha Morton D Sun-Sat, mats. Thurs, Sat. 9 p. TS Hazard's Pavilion Stetson's Mastadonic UNCLE TOM'S CABIN M Thurs-Sun, mats. Thurs, Sat, Sun. 7 p. TC week: December 28, 1902 Los Angeles Theater Paul Gilmore, THE TYRANNY OF TEARS Chambers C Mon-Wed. 3 p. TC Murray and Mack, A NIGHT ON BROADWAY V Thurs-Sat, mats. Thurs, Sat. 5 p. Burbank Theater James Neill and the Neill Company THE CHRISTIAN Hall Caine D Sun-Sat, mats. Thurs, Sat. TC 9 p. TS week: January 4, 190 3 Los Angeles Theater Mason and Mason, RUDOLPH AND ADOLPH V Mon-Wed, mat. Wed. 4 p. TC David Warfield, THE AUCTIONEER Arthur, Belasco D Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater James Neill and the Neill Company THE DISTRICT ATTORNEY Klein and Fiske D Sun-Sat, mat. Sat. 8 p. TS 103 week: January 11, 190 3 Los Angeles Theater Frederick Warde and Louis James THE TEMPEST Shakespeare Mon-Fri, mat. Wed. 6 p. FRANCESCA DA RIMINI Boker PD Sat, mat. Sat. 2 p. TC week: January 18, 190 3 Los Angeles Theater Leslie Morosco and Leila Shaw THE MAN FROM MEXICO Du Souchet F Sun-Mon, 2 p. TC week: January 25, 190 3 Los Angeles Theater Frank Daniels MISS SIMPLICITY Barnet and Heartz Mon-Wed, mat. Wed. 4 p. TC New York Casino Company THE TELEPHONE GIRL Morton and Kerker MC Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater James Neill and the Neill Company THE CONQUERERS Paul M. Potter R R Sun-Sat, mat. Sat. 8 p. TS Burbank Theater James Neill and the Neill Company THE CHARITY BALL Belasco and De Milie C Sun-Sat, mat. Sat. 8 p. TS Burbank Theater James Neill and the Neill Company A FOOL OF FORTUNE Martha Morton C Sun-Sat, mat. Sat. 8 p. TS o week: February 1, 190 3 Los Angeles Theater Burbank Theater Charles Yale's Everlasting DEVIL'S AUCTION E Mon-Wed, mat. Wed. 4 p. TC James Neill and the Neill Company THE TICKET-OF-LEAVE MAN Tom Taylor D Sun-Sat, mat. Sat. 8 p. TS week: February 8, 190 3 Los Angeles Theater William A. Brady's Company LOVERS' LANE Clyde Fitch P Mon-Wed, mat. Wed. 4 p. TC Burbank Theater James Neill and the Neill Company PUDDIN'HEAD WILSON Frank Mayo P Sun-Sat, mat. Sat. 8 p. TS week: February 15, 190 3 Los Angeles Theater Nance O'Neil MAGDA Sudermann D Tues, mat. Sat. 2 p. THE JEWESS Mosenthal PD Wed. 1 p. ELIZABETH Giacometti PD Thurs-Fri. 2 p. CAMILLE Dumas R Sat. 1 p. TC Burbank Theater The Neill Company THE RED KNIGHT George Broadhurst R Sun-Sat, mat. Sat. 8 p. THE HON. JOHN GRIGSBY Klein C mat. Wed. 1 p. TS week: February 23, 190 3 Burbank Theater Hampton & Hopkins Company SANDY BOTTOM John Crittendon Webb P Sun-Sat, mat. Sat. 8 p. TC week: March 1, 190 3 week: March 8, 190 3 Los Angeles Theater Alma Kruger THE HEART OF MARYLAND David Belasco R Fri-Sat, mat. Sat. 3 p. TC week: March 15, 190 3 Los Angeles Theater THE FATAL WEDDING Theodore M Mon-Wed. 3 p. TC Virginia Drew Trescott STRATHMORE Verna Woods R Thurs-Fri, mat. Sat. 3 p. RESURRECTION D Sat-Sun. 2 week: March 22, 190 3 Burbank Theater Campbell and Cashman A STRANGER IN NEW YORK Charles Hoyt V Sun-Sat, mat. Sat. 8 p. TC Burbank Theater Ralph Stuart and Company PRINCE OTTO A.C. Gunther R Sun-Sat, mat. Sat. 8 p. TS Burbank Theater Kremer Ralph Stuart and Company THE THREE MUSKETEERS Dumas R Sun-Sat, mat. Sat. 8 p. TS p. TC Burbank Theater Ralph Stuart and Company THE RIGHT OF SWORD Mrs. Chas. Doremus and Miss Emily Stone R Sun-Sat, mat. Sat. 8 p. TS Los Angeles Theater Charles Hanford and Marie Drofnah THE TAMING OF THE SHREW Shakespeare Mon-Wed. mat. Sat. 4 p. MUCH ADO ABOUT NOTHING Shakespeare Thurs-Sat. 3 p. TC week: March 29, 1903 Los Angeles Theater Burbank Theater William Gillette, SECRET SERVICE Ralph Stuart and Company, MONTE CRISTO Gillette R Wed-Sat, mat. Sat. 5 p. TC Dumas R Sun-Sat, mat. Sat. 8 p. TS week: April 5, 190 3 Los Angeles Theater Rich and Harris's Comedians ARE YOU A MASON? Leo Dietrichstein F Mon-Wed, mat. Wed. 4 p. TC Burbank Theater Ralph Stuart and Company THE MASTER AT ARMS Miron Leffingwell R Sun-Sat, mat. Sat. 8 p. TS week: April 12, 1903 Los Angeles Theater Kate Claxton THE TWO ORPHANS D’Ennery M Thurs-Sun, mat. Sat. 5 p. TC Burbank Theater Ralph Stuart and Company NORTHERN LIGHTS Barbour M Sun-Sat, mat. Sat. 8 p. TS week: April 19, 190 3 Burbank Theater Florence Roberts THE UNWELCOME MRS. HATCH D Sun-Sat, mat. Sat. 8 p. TS week: April 16, 1903 Los Angeles Theater OUR NEW MINISTER Thompson & Ryer P Mon-We d, mat. We d. 4 p. TC Burbank Theater Florence Roberts ZAZA David Belasco D Sun-Sat, mat. Sat. 8 p. TS week: May 3, 1903 Burbank Theater Florence Roberts SAPHO Clyde Fitch D Sun-Sat, mat. Sat. 8 p. MAGDA Sudermann D mat. Wed. 1 p. TS 107 week: May 10, 190 3 Los Angeles Theater William H. Crane DAVID HARUM Hitchcock P Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Florence Roberts THE ADVENTURES OF LADY URSULA C Sun-Wed, mat. Wed. 5 p. CAMILLE Dumas R Thurs-Sat, mat. Sat. 4 p. TS Hope week: May 17, 190 3 Burbank Theater Neill-Morosco Company IN THE PALACE OF THE KING Crawford R Sun-Sat, mat. Sat. 8 p. TS week: May 24, 1903 Los Angeles Theater The Broadway Comedians TOWN TOPICS V Wed-Thurs. 2 p. TC Burbank Theater Neill-Morosco Company HEARTS AFLAME Haines D Sun-Sat, mat. Sat. 8 p. TS week: May 31, 190 3 Los Angeles Theater Mary Mannering THE STUBBORNNESS OF GERALDINE Clyde Fitch C Mon-Sat, mats. Wed, Sat. 8 p. TC Burbank Theater Neill-Morosco Company JANICE MEREDITH Edward Rose R Sun-Sat, mat. Sat. 8 p. TS week: June 7, 190 3 Burbank Theater Neill-Morosco Company MRS. DANE'S DEFENSE Henry Arthur Jones D Sun-Sat, mat. Sat. 8 p. TS 1 0 8 week: June 14, 190 3 Mason Operahouse E.H. Sothern IF I WERE KING Justin McCarthy R Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Neill-Morosco Company A ROYAL FAMILY Robert Marshall C Sun-Sat, mat. Sat. 8 p. TS week: June 21, 1903 Mason Operahouse Burbank Theater Augustin Daly Musical Company Neill-Morosco Company A RUNAWAY GIRL MC Mon-Wed. 3 p; A CIRCUS RESURRECTION Charles Chase D GIRL MC Thurs-Sat, mat. Sat. 4 p. TC Sun-Sat, mat. Sat. 8 p. TS week: June 28, 190 3 Burbank Theater Neill-Morosco Company NOTRE DAME Potter R Sun-Sat, mat. Sat. 8 p. TS week: July 5, 1903 Burbank Theater Neill-Morosco Company THE CHERRY PICKERS Arthur M Sun-Sat, mat. Sat. 8 p. TS week: July 12, 190 3 Burbank Theater Neill-Morosco Company AROUND THE WORLD IN 80 DAYS M Sun-Sat, mat. Sat. 8 p.TS week: July 19, 190 3 Burbank Theater James Neill and the Neill Company THE CHRISTIAN Hall Caine D Sun-Sat, mat. Sat. 8 p. TS week: July 26, 1903 Burbank Theater James Neill and the Neill Company A CONTENTED WOMAN Charles Hoyt V Sun-Sat, mat. Sat. 8 p. TS 109 week: August 2, 190 3 Mason Operahouse Burbank Theater Amelia Bingham THE CLIMBERS Fitch D Mon-Wed, mat. Sat. 4 p. FRISKY MRS. JOHNSON Fitch C Thurs-Fri. 2 p. A MODERN MAGDALENE Chambers D Sat. 1 p. TC James Neill and the Neill Company A GENTLEMAN OF FRANCE Harriet Ford R Sun-Sat, mat. Sat. 8 p. TS week: August 9, 190 3 week: August 16, 1903 Burbank Theater Mason Operahouse Burbank Theater James Neill and Company THE GIRL I LEFT BEHIND ME Belasco and Fyles R Sun-Sat, mat. Sat. 8 p. TS Ezra Kendall THE VINEGAR BUYER Wilson F Thurs-Sat, mat. Sat. 4 p. TC James Neill and Company THE LITTLE MINISTER Barrie C Sun-Sat, mat. Sat. 8 p. TS week: August 23, 190 3 week: August 30, 1903 Burbank Theater Burbank Theater James Neill and Company, THE Daly C Sun-Sat, mat. Sat. LOTTERY OF LOVE James Neill and Company, UNDER TWO FLAGS 8 p. TS Rose R Sun-Sat, mat. Sat. 8 p. TS week: September 6, 190 3 Burbank Theater James Neill and Company THE COWBOY AND THE LADY Fitch Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse Walter Sanford's Company SPORTING LIFE C Sun-Sat, mats. Tues, Sun, Sat. 10 p. TS 110 week: September 13, 1903 Mason Operahouse Belasco and Mayer Co. THE DAIRY FARM Mark Merron P Mon-Wed, mat. Wed. 4 p. TC Burbank Theater James Neill and Company SHENANDOAH Bronson Howard R Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse Walter Sanford's Company MY JACK Landeck M Sun-Sat, mat. Sun, Tues, Sat. 10 p. TS week: September 20, 190 3 Mason Operahouse Burbank Theater A TEXAS STEER Charles Hoyt V Mon-Wed. 3 p. TC Henry Miller & Margaret Anglin THE TAMING OF HELEN Davis C Thurs. 1 p. THE AFTERMATH Miller M Fri. 1 p. CAMILLE Dumas R mat. Sat. 1 p. THE DEVIL'S DISCIPLE Shaw C Sat. 1 p. TC The Baker Theater Company THE LIARS Henry Arthur Jones C Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse Walter Sanford's Company THE POWER OF GOLD M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: September 27, 1903 Mason Operahouse Edward Garvie MR. JOLLY OF JOLIET MC Mon-Wed, 3 p. TC THE CHAPERONS Witmark M' Thurs-Sat. mat. Sat. 4 p Burbank Theater Baker Theater Company CHRISTOPHER, JR. Ryley C Sun-Sat, mat. Sat. 8 p. TS week: October 4, 190 3 Mason Operahouse Burbank Theater Henry Savage Company THE PRINCE OF PILSEN Luders MC Thurs-Sat, mat. Sat. 4 p. TC Baker Theater Company THE PRISONER OF ZENDA Rose R Sun-Sat, mat. Sat. 8 p. TS week: October 11, 190 3 Mason Operahouse Burbank Theater Robert Edeson SOLDIERS OF FORTUNE Thomas R Mon-Wed, mat. Wed. 4 p. TC Baker Theater Company CHARLEY'S AUNT Howard C Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse Walter Sanford's Company THE STRUGGLE FOR LIFE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Grand Operahouse Walter Sanford's Company EAST LYNNE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Grand Operahouse Walter Sanford's Company THE SIDEWALKS OF NEW YORK M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: October 18, 1903 Mason Operahouse Mason and Mason, RUDOLPH AND ADOLPH V Tues-Wed. 2 p. TC FLORADORA Hall and Stuart MC Thurs-Sat, mat. Sat. 4 p. TC Grand Operahouse Walter Sanford's Company TEMPEST TOSSED M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: October 25, 190 3 Mason Operahouse Jacob Litt's Company IN OLD KENTUCKY C.T. Dazey P Thurs-Sat, mat. Sat. 4 p. TC Grand Operahouse Walter Sanford's Company THE PACE THAT KILLS M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater The Baker Theater Company RUPERT OF HENTZAU R Sun-Sat, mat. Sat. 8 p. TS Chutes Theater Curtiss Comedy Company POLLY AND I S.I. Curtiss F Sun-Sat, mats. Sun, Sat. 9 p. TS Burbank Theater The Baker Theater Company THE DANCING GIRL H.A. Jones Sun-Sat, mat. Sat. 8 p. TS Chutes Theater Curtiss Comedy Company THE SNOWBALL Sydney Grundy Sun-Sat, mats. Sun, Sat. 9 p. TS week: November 1, 190 3 Mason Operahouse Olympia Opera Company THE GIRL FROM PARIS Caryll MC Mon-Tues, 2 p. THE ISLE OF CHAMPAGNE Furst CO Wed-Thurs. 2 p. OLIVETTE Andron CO Fri-Sat. 2 p. THE CHIMES OF NORMANDY Planquette CO Sat, mat. Sat. 2 p. TS Grand Operahouse Goodhue and Kellogg's Company HELLO, BILL! Goodhue F Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: November 8, 190 3 Burbank Theater Pollard's Lilliputian Opera Company THE BELLE OF NEW YORK Morton and Kerker MC Sun-Sat, mat. Sat. 8 p. H.M.S. PINAFORE Sullivan CO mat. Wed. 1 p. TC Burbank Theater Florence Roberts, with Frederic Belasco's Company ROMEO AND JULIET Shakespeare Sun-Sat, mat. Sat. 8 p. TS Chutes Theater Curtiss Comedy Company ARABIAN NIGHTS Sydney Grundy F Sun-Sat, mats. Sun, Sat. 9 p. TS Grand Operahouse Rowland and Clifford Company OVER NIAGRA FALLS M Sun-Sat, mats. Sun, Tues, Sat. 10 p, TC week: November 15, 190 3 Mason Operahouse Burbank Theater Grand Operahouse Dearborn Theater Company THE STORKS Chapin MC Thurs-Sat, mat. Sat. 4 p. TC Pollard's Lilliputians THE GAIETY GIRL Jones CO Sun-Sat, mat. Sat. 8 p. AN AMERICAN MILLIONAIRE MC mat. Wed. 1 p. TC Rowland & Clifford Company OVER NIAGRA FALLS M Sun-Tues, mats. Sun, Tues. 5 p. TC week: November 22, 190 3 Mason Operahouse Burbank Theater Grand Operahouse William Brady's Company 'WAY DOWN EAST Parker P Thurs-Sat, mats. Thurs, Sat. 5 p. TC Neill-Morosco Company SECRET SERVICE Gillette R Sun-Sat, mat. Sat. 8 p. TS Marie Heath and Company FOR MOTHER'S SAKE M Sun-Sat, mats. Sun, Tues, Thurs, Sat. 11 p. TC week: November 29, 1903 Burbank Theater Grand Operahouse Neill-Morosco Company THE GREAT RUBY Raleigh and Hamilton M Sun-Sat, mat. Sat. 8 p. TS Rose Melville SIS HOPKINS P Sun-Sat, mats. Sun, Tues 10 p. TC , Sat. week: December 6, 190 3 Mason Operahouse Virginia Harned, IRIS Pinero D Mon-Wed, mat. Wed. 4 p. TC FOXY GRANDPA Hart MC Thurs-Fri. 2 p. TC Burbank Theater Neill-Morosco Company THE POWER OF THE PRESS Pitou and Jessup M Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse James Keane and Company HEART AND SWORD M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: December 13, 1903 Mason Operahouse ARE YOU A MASON? Dietrichstein F Mon-Wed, mat. Wed. 4 p. TC Burbank Theater Neill-Morosco Company THE SPORTING DUCHESS M Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse James Keane and Company DR. JEKYLL AND MR. HYDE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: December 20, 190 3 Mason Operahouse Alberta Gallatin, GHOSTS Ibsen D Thurs-Sat, mat. Sat. 4 p. TC Grand Operahouse Elmer Walter's Scenic Company A MILLIONAIRE TRAMP M Sun-Sat, mats. Sun, Tues, Fri, Sat. 11 p. TC Burbank Theater Estha Williams, AT THE OLD CROSSROADS P Sun-Sat, mats. Fri, Sat. 9 p. TC Waldeck's Casino Theater POUSSE CAFE; ANTHONY AND CLEOPATRA Weberfields B Mon-Sun, mats. Mon, Fri, Sat, Sun. 11 p. RS week: December 27, 190 3 Mason Operahouse The Famous Original Cast OLD JED PROUTY Golden P Thurs-Sat, mats. Fri, Sat. 5 p. TC Grand Operahouse Leslie Morosco and Leila Shaw SPOTLESS TOWN V Sun-Sat, mats. Sun, Tues, Fri, Sat. 11 p. TC week: January 3, 1904 Mason Operahouse Mrs. Langtry and the Imperial Theater Co. MRS. DEERING'S DIVORCE Tindall C Thurs-Fri. 2 p. TC Grand Operahouse William J. Holmes and Grace Turner ONE NIGHT IN JUNE P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Burbank Theater Estha Williams TENNESSEE'S PARDNER Harte P Sun-Sat, mats. Fri, Sat. 9 p. TC Waldeck1s Casino Theater POUSSE CAFE; ANTHONY AND CLEOPATRA B Mon-Sun, mats. Fri, Sat, Sun. 10 p. RS Burbank Theater Nelse Erickson YON YONSON V Sun-Sat, mat. Sat. 8 p. TC Waldeck1s Casino Theater FIDDLE-DEE-DEE Smith and Stromberg B Mon-Sun, mats. Sat, Sun. 9 p. RS week: January 10, 1904 Mason Operahouse Ida Conquest THE GIRL WITH THE GREEN EYES Clyde Fitch C Mon-Wed. 3 p. TC HAPPY HOOLIGAN MC Thurs-Sat, mat. Sat. 4 p. TC Grand Operahouse W.B. Patton, THE MINISTER'S SON P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: January 17, 1904 Mason Operahouse DAVID HARUM Hitchcock P Mon-Wed, mat. Wed. 4 p. TC Edward Morgan, THE ETERNAL CITY Caine D Thurs-Sat, mat. Sat. 4 p. TC Grand Operahouse Joe Kelly THE HEADWAITE RS MC Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Burbank Theater James Neill and the Neill Company A BACHELOR'S ROMANCE Martha Morton D Sun-Sat, mat. Sat. 8 p. TS Waldeck's Casino Theater FIDDLE-DEE-DEE B Second Week Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater James Neill and the Neill Company SOWING THE WIND Sydney Grundy M Sun-Sat, mat. Sat. 8 p. TS Waldeck's Casino Theater FIDDLE-DEE-DEE B Third Week Mon-Sun, mats. Sat, Sun. week: January 24, 1904 Mason Operahouse Louis James and Frederick Warde ALEXANDER THE GREAT Kemper and Hughes PD Mon, Wed, Fri, mat. Sat. 4 p. JULIUS CAESAR Shakespeare Tues. 1 p. MACBETH Shakespeare mat. Wed, Sat. 2 p. OTHELLO Shakespeare Thurs. 1 p. TC Grand Operahouse Fannie Curtis DOWN BY THE SEA V Sun-Wed, mats. Sun, Tues. 6 p. TC week: January 31, 1904 Mason Operahouse Andrew Robson RICHARD CARVEL Edward Rose R Thurs-Sat, mat. Sat. 4 p. TC Grand Operahouse Miss Vivian Prescott IN CONVICT STRIPES M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Burbank Theater James Neill and the Neill Company THE LOTTERY OF LOVE Augustin Daly C Sun. 1 p. THE HOLY CITY Thomas W. Broadhurst D Mon-Sat, mats. Wed, Sat. 8 p. TS Waldeck1s Casino Theater WHIRL-I-GIG Smith and Stromberg B Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater James Neill and the Neill Company PUDDIN1 HEAD WILSON Frank Mayo P Sun-Sat, mat. Sat. 8 p. TS Waldeck1s Casino Theater WHIRL-I-GIG; A ROYAL FAMILY B Mon-Sun, mats. Sat, Sun. 9 p. RS week: February 7, 1904 Mason Operahouse Denman Thompson THE OLD HOMESTEAD Thompson P Mon-Sat, mats. Wed, Sat. 8 p. TC Grand Operahouse A LITTLE OUTCAST Hal J. Reid and Laurence Russell V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: February 14, 1904 Mason Operahouse Shubert, Nixon and Zimmerman Company A CHINESE HONEYMOON Dance and Talbot MC Mon-Wed, mat. Wed. 4 p. TC Grand Operahouse Jules Murray's Scenic Production LOST RIVER Joseph Arthur M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Burbank Theater James Neill and the Neill Company A PARISIAN ROMANCE Feuillet D Sun-Sat, mat. Sat. 8 p. TS Waldeck's Casino Theater HURLY-BURLY; A ROYAL FAMILY B Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater James Neill and the Neill Company NANCY AND CO. Augustin Daly C Sun-Sat, mat. Sat. 8 p. TS Waldeck1s Casino Theater HURLY-BURLY; ZAZA B Mon-Sun, mats. Sat, Sun. 9 p. RS to o week: February 21, 1904 Mason Operahouse Charles H. Yale's Everlasting DEVIL'S AUCTION E Mon-Wed, mat. Wed. 4 p. TC Grand Operahouse Hampton & Hopkins SANDY BOTTOM P Sun-Thurs, mats. Sun, Tues. 7 p. TC Burbank Theater James Neill and the Neill Company A SOCIAL HIGHWAYMAN Stone R Sun-Sat, mat. Sat. 8 p. TS Waldeck's Casino Theater HOITY-TOITY B Mon-Sun, mats. Mon, Sat, Sun. 10 p. RS week: February 2 8, 1904 Burbank Theater New Neill-Morosco Company WHEN WE WERE TWENTY-ONE Esmond C Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse W.J. Elleford Company KIDNAPPED David Higgins M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Waldeck's Casino Theater HOITY-TOITY Second Week B Mon-Sun, mats. Sat, Sun. 9 p. RS week: March 6, 190 4 Burbank Theater New Neill-Morosco Company WHAT HAPPENED TO JONES? Broadhurst C Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse Thomas J. Smith THE GAMEKEEPER Rowland & Clifford V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Waldeck's Casino Theater HOITY-TOITY Second Edition B Mon-Sun, mats. Sat, Sun. 9 p. RS week: March 13, 1904 Mason Operahouse SAG HARBOR James A. Herne P Mon-Wed, mat. Wed. 4 p. TC Grand Operahouse MALONEY'S WEDDING V Sun-Sat, mat. Sun, Tues, Sat. 10 p. TC week: March 20, 1904 Mason Operahouse John C. Fisher's Stupendous Production THE SILVER SLIPPER Hall and Stuart E Thurs-Sat, mat. Sat. 4 p. TC Grand Operahouse W.J. Elleford and Company NEW YORK DAY BY DAY M Sun-Sat, mat. Sun, Tues, Sat. 10 p. TC Burbank Theater New Neill-Morosco Company MADAME SANS GENS Sardou C Sun-Sat, mat. Sat. 8 p. TS Waldeck's Casino Theater TWIRLY-WHIRLY B Mon-Sun, mat. Sat, Sun. 9 p. RS Burbank Theater Frank Bacon and the Bacon Company THE HILLS OF CALIFORNIA Brussie M Sun-Sat, mat. Sat. 8 p. TC Waldeck's Casino Theater TWIRLY-WHIRLY Second Week B Mon-Sun, mat. Sat, Sun. 9 p. RS N) ro week: March 27, 1904 Mason Operahouse Charles B. Hanford and Marie Drofnah THE MERCHANT OF VENICE Shakespeare Mon, Tues. 2 p. THE TAMING OF THE SHREW Shakespeare Wed, Thurs, mat. Sat. 3 p. RICHARD III Shakespeare Fri-Sat. 2 p. TC Grand Operahouse SLAVES OF THE MINE Callahan & Hart M Sun-Sat, mat. Sun, Tues, Sat. 10 p. TC week: April 3, 1904 Mason Operahouse Ben Hendricks ERIK OF SWEDEN Sidney R. Ellis V Mon-Wed, mat. Wed. 4 p. TC Grand Operahouse Jessie Shirley and her company A MODERN MAGDALENE C. Hadden Chambers D Sun-Sat, mat. Sun, Tues, Sat. 10 p. TC Burbank Theater W.E. Nankeville Company HUMAN HEARTS M Sun-Sat, mat. Sat. 8 p. TC Waldeck's Casino Theater BARBARA FIDGETY B Mon-Sun, mat. Sat, Sun. 9 p. RS Burbank Theater Miss Florence Roberts THE FRISKY MRS. JOHNSON Clyde Fitch C Sun-Sat, mat. Wed, Sat. 9 p. TS Waldeck's Casino Theater BARBARA FIDGETY Second Week B Mon-Sun, mat. Sat, Sun. 9 p. RS M to u> week: April 10, 1904 Mason Operahouse Mary Mannering HARRIET'S HONEYMOON Leo Dietrichstein C Mon-Sat, mats. Wed, Sat. 8 p. TC Grand Operahouse THE PUNKIN HUSKER Russell P Sun-Sun, mats. Sun, Tues, Sat, Sun. 12 p. TC week: April 17, 1904 Mason Operahouse Shubert, Nixon & Zimmerman's Company A GIRL FROM DIXIE Smith MC Mon-Wed, mat. Wed. 4 p. TC McFADDEN'S ROW OF FLATS Townsend V Wed-Sat, mat. Sat. 4 p. TC Grand Operahouse Mrs. Fiske MARY OF MAGDALA Winter D Mon. 1 p. HEDDA GABLER Ibsen D Tues. 1 p. A DOLL'S HOUSE Ibsen D mat. Wed. 1 DIVORCONS Sardou C Wed. 1 p. TC Burbank Theater Florence Roberts PEGGY THRIFT, THE COUNTRY GIRL Daly PC Sun-Wed, 4 p. GIOCONDA Gabrielle D'Annunzio D Thurs-Sat, mat. Sat. 4 p. TS Waldeck's Casino Theater THE BIG LITTLE PRINCESS B Mon-Sun, mats. Sat, Sun. 9 p. RS Burbank Theater Florence Roberts ZAZA Belasco D Sun-Sat, mat. Sat. 8 p. TS Waldeck's Casino Theater FIDDLE-DEE-DEE Smith & Stromberg B Mon-Sun, mats. Sat, Sun. 9 p. RS to week: April 21, 1904 Mason Operahouse Anna Held in F. Ziegfeld's Production MAM'ZELLE NAPOLEON Luders E Tues-Sat, mat. Sat. 6 p. TC Grand Operahouse Jessie Shirley and her company NELL GWYNNE R Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Burbank Theater Florence Roberts SAPHO Fitch D Sun-Thurs, 5 p. CAMILLE Dumas R Fri-Sat, mat. Sat. 3 p. TS Waldeck1s Casino Theater POUSSE-CAFE; THE CON-CURERS B Mon-Sun, mats. Sat, Sun. 9 p. RS week: May 1, 1904 Mason Operahouse The Four Cohans RUNNING FOR OFFICE Cohan MC Tues-Sat, mat. Sat. 6 p. TC Burbank Theater New Baker Theater Company TRILBY Potter D Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse Isabel Irving THE CRISIS Churchill R Mon-Wed, mat. Wed. 4 p. TC week: May 8, 1904 Burbank Theater Grand Operahouse New Baker Theater Company AN ENEMY TO THE KING R.N. Stevens R Sun-Sat, mat. Sat. 8 p. TS Laurence Grattan and Company A MAN OF MYSTERY M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC 125 week: May 16, 1904 Burbank Theater Grand Operahouse Casino Theater New Baker Theater Company THE CHRISTIAN Caine D Sun-Sat, mat. Sat. 8 p. TS Laurence Grattan & Company SHAMUS 0'BRIEN M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Olympia Comic Opera Company SAID PASHA Stahl CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: May 22, 1904 Mason Operahouse OUR NEW MINISTER Thompson and Ryer P Mon-Sat, mats. Wed, Sat. 8 p. TC Grand Operahouse Ulrich Stock Company MAN'S ENEMY M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater New Baker Theater Company JANE Letocq C Sun-Sat, mat. Sat. 8 p. TS Casino Theater Olympia Comic Opera Company BOCCACCIO Von Suppe CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: May 29, 1904 Burbank Theater New Baker Theater Company DIPLOMACY Sardou D Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse Ulrich Stock Company THE TWO ORPHANS D'Ennery M Sun-Sat, mats. Sun, Mon, Tues, Sat. 11 p. TS Casino Theater Olympia Comic Opera Company EL CAPITAN Sousa CO Sun-Sat, mats. Sun, Mon, Sat. 10 p. TS 126 week: June 5, 1904 Mason Operahouse E.H. Sothern THE PROUD PRINCE Justin H. McCarthy R Thurs-Sat, mat. Sat. 4 p. TC Grand Operahouse Ulrich Stock Company EAST LYNNE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: June 12, 1904 Mason Operahouse Maude Adams THE LITTLE MINISTER James M. Barrie C Mon-Wed, 3 p. TC Grand Operahouse Ulrich Stock Company KING OF THE OPIUM RING Blaney & Taylor M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater The New Baker Theater Company THE PRINCE OF LIARS Grundy F Sun-Sat, mat. Sat. 8 p. TS Casino Theater Olympia Comic Opera Company THE ISLE OF CHAMPAGNE Furst CO Sun-Sat, mats. Sun, Sat. 9 p. TS Burbank Theater The New Baker Theater Company MR. BARNES OF NEW YORK A.C. Gunther C Sun-Sat, mat. Sat. 8 p. TS Casino Theater Olympia Comic Opera Company THE PEARL OF PEKIN Lecocq CO Sun-Sat, mats. Sun, Sat. 9 p. TS ro ■^i week: June 19, 1904 Burbank Theater BROWN'S IN TOWN Mark Swan V Sun-Sat, mat. Sat. 8 p. TC week: June 26, 1904 Burbank Theater Oliver Morosco Company ARISTOCRACY Bronson Howard C Mon-Sun, mat. Sat. 8 p. RS week: July 3, 1904 Burbank Theater Mrs. Leslie Carter DU BARRY David Belasco R Mon-Sat, mat. Sat. 7 p. TC Grand Operahouse Ulrich Stock Company UNCLE TOM'S CABIN M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Grand Operahouse Ulrich Stock Company DORA THORNE Clay M Sun-Sat, mats. Sun, Tues 10 p. TS Grand Operahouse Ulrich Stock Company THE ROAD TO RUIN M Sun-Sat, mats. Sun, Mon, Tues, Sat. 11 p. TS Casino Theater Olympia Comic Opera Company JACK AND THE BEANSTALK E Sun-Sat, mats. Sun, Sat. 9 p. TS Casino Theater Olympia Comic Opera Company LA MASCOTTE Audran CO Sun-Sat, mats. Sun, Sat. 9 p. TS Casino Theater Olympia Comic Opera Company THE WEDDING DAY~ CO Sun-Sat, mats. Sun, Mon, Sat. 10 p. TS C O 00 week: July 10, 1904 Burbank Theater Oliver Morosco Company THE ALTAR OF FRIENDSHIP Madeline Lucette Ryley Sun-Sat, mat. Sat. 8 p. week: July 17, 1904 Burbank Theater Oliver Morosco Company CAPTAIN BARRINGTON Mapes D Sun-Sat, mat. Sat. 8 p. Grand Operahouse Ulrich Stock Company THE BOWERY AFTER DARK M Sun-Sat, mats. Sun, Tues, Sat. RS 10 p. TS Casino Theater Olympia Comic Opera Company OLIVETTE Audran CO Sun-Sat, mats. Sun, Sat. 9 p. TS Grand Operahouse Ulrich Stock Company MICHAEL STROGOFF Bryon M RS Sun-Sat, mats. Sun, Tues, Sat. 10 p. RS Casino Theater Olympia Comic Opera Company THE TELEPHONE GIRL Kerker and Morton MC Sun-Sat, mats. Sun, Sat. 9 p. TS 129 week: July 24, 1904 Burbank Theater Oliver Morosco Company WHERE IS THOMPKINS? F Sun-Sat, mat. Sat. 8 p. RS week: July 31, 1904 Burbank Theater Oliver Morosco Company JIM BLUDSO I.N. Morris M Sun-Sat, mat. Sat. 8 p. RS week: August 7, 1904 Burbank Theater Oliver Morosco Company THE SENATOR David Lloyd C Sun-Sat, mat. Sat. 8 p. RS Grand Operahouse Ulrich Stock Company WICKED LONDON M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Grand Operahouse Ulrich Stock Company ON THE STROKE OF MIDNIGHT M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Grand Operahouse Ulrich Stock Company WOMAN AGAINST WOMAN M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Casino Theater Olympia Comic Opera Company FRA DIAVOLO Auber CO Sun-Sat, mats. Sun, Sat. 9 p. TS Casino Theater Olympia Comic Opera Company THE CHIMES OF NORMANDY Planquette CO Sun-Sat, mats. Sun, Sat. 9 p. TS Casino Theater Olympia Comic Opera Company GIROFLE-GIROFLA Lecocq CO Sun-Sat, mats. Sun, Sat. 9 p. TS U> o week: August 14, 1904 Burbank Theater Oliver Morosco Company IN THE PALACE OF THE KING Stoddard R Sun-Sat, mat. Sat. 8 p. GHOSTS Ibsen D mat. Thurs. 1 p. RS Grand Operahouse Ulrich Stock Company THE COUNTERFEITERS Rice M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Casino Theater Olympia Comic Opera Company WHEN RUEBEN COMES TO TOWN MC Sun-Sat, mats. Sun, Sat. 9 p. TS week: August 21, 1904 Mason Operahouse Henry Miller and his company JOSEPH ENTANGLED Henry Arthur Jones C Wed, Fri-Sat, mat. Sat. 4 p. MICE AND MEN Ryley C Thurs. 1 p. TC Grand Operahouse Ulrich Stock Company ESCAPE FROM SING-SING M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Oliver Morosco Company A CONTENTED WOMAN Charles Hoyt V Sun-Sat, mat. Sat. 8 p. RS Casino Theater Olympia Comic Opera Company THE MIKADO Sullivan CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: August 28, 1904 Belasco Theater Belasco Theater Stock Company THE WIFE Belasco and De Milie C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company IN A WOMAN'S POWER M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: September 4, 1904 Belasco Theater Belasco Theater Stock Company MRS. JACK Furniss C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company LOST IN NEW YORK M Sun-Sat, mats. Sun, Mon, Tues, Sat. 11 p. TS Burbank Theater Oliver Morosco Company THE HENRIETTA Bronson Howard C Sun-Sat, mat. Sat. 8 p. RS Casino Theater Olympia Comic ODera Company THE LADY SLAVEY* Kerker and Morton MC Sun-Sat, mats. Sun, Sat. 9 p. TS Burbank Theater Oliver Morosco Company ROBERT EMMETT Charles Verner M Sun-Sat, mat. Sat. 8 p. RS Casino Theater Olympia Comic Opera Company THE CIRCUS CLOWN Offenbach CO Sun-Sat, mats. Sun, Mon, Sat. 10 p. TS OJ to week: September 11, 1904 Belasco Theater Belasco Theater Stock Company THE MANXMAN Hall Caine D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company REAPING THE WHIRLWIND M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Oliver Morosco Company AN AMERICAN CITIZEN Madeline Lucette Ryley C Sun-Sat, mat. Sat. 8 p. RS Casino Theater Olympia Comic Opera Company THE WIZARD OF THE NILE Victor Herbert CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: September 18, 1904 Mason Operahouse Kyrle Bellow & the Princess Theater Co. RAFFLES, THE AMATEUR CRACKSMAN Hornung and Presbrey D Wed-Sat, mat. Sat. 4 p. TC Belasco Theater Belasco Theater Stock Company A POOR RELATION C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Oliver Morosco Company JANICE MEREDITH Rose R Sun-Sat, mat. Sat. 8 p. RS Grand Operahouse Ulrich Stock Company NOT GUILTY M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Casino Theater Olympia Comic Opera Company THE WIZARD OF THE NILE CO Second Week Sun-Sat, mats. Sun, Sat. 9 p. TS week: September 25, 1904 Belasco Theater Belasco Theater Stock Company ONE SUMMER'S DAY H.V. Esmond P Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company KING OF THE DETECTIVES Kremer M Sun- Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Oliver Morosco Company THE TAMING OF HELEN R.H. Davis C Sun-Sat, mat. Sat. 8 p. RS Casino Theater Olympia Comic Opera Company THE BOHEMIAN GIRL Balfe 0 Sun-Sat, mats. Sun, Sat. 9 p. TS Belasco Theater Belasco Theater Stock Company THE GAY LORD QUEX Arthur Wing Pinero C Mon-Sun, mats. Thurs, Sat. 9 p. RS week: October 2, 190 4 Mason Operahouse Oscar Figman THE BURGOMASTER Luders MC Mon-Wed, mat. Wed. 4 p. TC WIZARD OF OZ Tietjens and Sloan E Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Oliver Morosco Company THE CAVALIER Kester R Sun-Sat, mat. Sat. 8 p. RS Grand Operahouse ON THE BRIDGE AT MIDNIGHT M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Casino Theater Olympia Comic Opera Company THE TELEPHONE GIRL Kerker MC Sun-Sat, mats. Sun, Sat. week: October 9, 1904 Mason Operahouse Belasco Theater Otis Thayer and Gertrude Birdhill SWEET CLOVER Pauline Phelps & Marion Short P Thurs-Sat, mat. Sat. 4 p. TC Belasco Theater Stock Company TOO MUCH JOHNSON William Gillette F Mon-Sun, mats. Thurs, Sun. 9 p. Burbank Theater Oliver Morosco Company WHEN WE WERE TWENTY-ONE H.V. Esmond C Sun-Sat, mat. Sat. 8 p. RS Grand Operahouse Mason and Mason FRITZ AND SNITZ V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Casino Theater RS Olympia Comic Opera Company THE BELLE OF NEW YORK Kerker MC Sun-Sat, mats. Sun, Sat. TS week: October 16, 1904 Mason Operahouse Frank Daniels THE OFFICE BOY Ludwig Englander MC Mon-Sat, mat. Sat. 7 p. TC Belasco Theater Belasco Theater Stock Company LADY BOUNTIFUL Arthur Wing Pinero D Mon-Sun, mats. Thurs, Sun. 9 p. RS Burbank Theater Oliver Morosco Company THE ENSIGN William Haworth M Sun-Sat, mat. Sat. 8 p. RS Grand Operahouse YORK STATE FOLKS Fred. E. Wright P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Casino Theater Olympia Comic Opera Company LA PERICHOLE Of fenbach CO Sun-Sat, mats. Sun, Sat. 9 p. TS 135 week: October 23, 1904 Belasco Theater Belasco Theater Stock Company WE'UNS OF TENNESSEE Lee Arthur P Mon-Sun, mats. Thurs, Sat. 9 p. RS Mason Operahouse Richard Carle's Company THE TENDERFOOT Heartz MC Mon-Sat, mat. Sat. 7 p. TC Burbank Theater White Whittlesey HEARTSEASE Klein R Sun-Sat, mat. Sat. 8 p. TS Grand Operahouse THE CONVICT'S DAUGHTER Fraser M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Casino Theater Richard Harlow and the Olympia Comic Opera Company 1492 Rice E Sun-Sat, mats. Sun, Sat. 9 p. TS week: October 30, 1904 Mason Operahouse A TEXAS STEER Charles Hoyt V Mon-Wed, mat. Wed. 4 p. TC Burbank Theater White Whittlesey THE SECOND-IN-COMMAND R.C. Marshall C Sun-Sat, mat. Sat. 8 p. TS Hazard's Pavilion Ben Greet Players EVERYMAN PD Mon-Sat, mats. Thurs, Sat. 8 p. TC Grand Operahouse Pilgrim and Elliott FOR HER SAKE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Theater Stock Co. LOVER'S LANE Fitch P Mon-Sun, mats. Thurs, Sat. 9 p. RS Casino Theater Richard Harlow and the Olympia Comic Opera Company EVANGELINE Rice E Sun- Sat, mats. Sun, Sat. 9 p. TS U > < y > week: November 6, 1904 Mason Operahouse Isadore Rush GLITTERING GLORIA Hugh Morton C Thurs-Sat, mat. Sat. 4 p. TC Belasco Theater Belasco Theater Stock Company THE FIRST BORN Powers D TURNED-UP Melford C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company A TEMPERANCE TOWN Hoyt F Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Melville Redmond Company ARIZONA Thomas P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Casino Theater Olympia Opera Company THE TWO VAGABONDS Jakobowski CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: November 13, 1904 Mason Operahouse Francis T. Powers SAN TOY Sidney Jones MC Mon-Sat, mat. Sat. 7 p. TC Burbank Theater Burbank Stock Company MY FRIEND FROM INDIA Du Souchet F Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company THE GIRL I LEFT BEHIND ME Belasco & Fyles R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Miss Nettie DeCoursey AN ORPHAN'S PRAYER M Sun-Sat, mats. Sun, Tues. Sat. 10 p. TC Casino Theater Olympia Opera Company SAID PASHA Stahl CO Sun, mat. Sun. 2 p. TS PRETTY PEGGY Matthews R Thurs-Sun, mats. Sat, Sun. 6 p. TC m U> week: November 20, 1904 Belasco Theater Belasco Theater Stock Company THE CHRISTIAN Hall Caine D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Lincoln J. Carter's Company TWO LITTLE WAIFS Carter M Sun-Sat, mats. Sun, Tues, Thurs, Sat. 11 p. TC week: November 27, 1904 Mason Operahouse Arthur Dunn & Shubert's Musical Company THE RUNAWAYS Hubbell MC Mon-Tues. 2 p. TC Henry W. Savage Production THE COUNTY CHAIRMAN George Ade F Wed-Sat, mat. Sat. 5 p. TC Burbank Theater Burbank Stock Company THE MAGISTRATE Arthur Wing Pinero C Sun-Sat, mats. Sun, Sat. 9 p. RS Burbank Theater Burbank Stock Company A MIDNIGHT BELL Charles Hoyt F Sun-Sat, mats. Sun, Sat. 9 p. RS Casino Theater W.E. Gorman's Company A FRIEND OF THE FAMILY F Tues-Sun, mats. Thurs, Sat, Sun. 10 p. TC Belasco Theater Belasco Theater Stock Company AT THE WHITE HORSE TAVERN Rosenfeld R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Rowland and Clifford's OVER NIAGARA FALLS M Sun-Sat, mats. Sun, Tues, Sat. week: December 4, 1904 Belasco Theater Belasco Theater Stock Company A LADY OF QUALITY Francis H. Burnett & Stephan Townsend C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse THE FATAL WEDDING Theodore Kremer M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: December 11, 190 4 Mason Operahouse Maxine Elliott HER OWN WAY Clyde Fitch Mon-Sat, mat. Sat. 7 p. Burbank Theater Burbank Stock Company SHE H. Rider Haggard R Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater C TC Belasco Theater Stock Company THE GREAT DIAMOND ROBBERY M Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Hilda Thomas THE SHOW GIRL Whitney V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Casino Theater Gallagher & Barrett FINNIGAN'S BALL V Sun-Sat, mats. Sun, Sat. 10 p. TC Mason Operahouse New York Casino Company A CHINESE HONEYMOON Talbot MC Mon-Wed, mat. Wed. 4 p. TC Florence Gale and Company AS YOU LIKE IT Shakespeare Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company THE OCTAROON Boucicault M Sun-Sat, mats. Sun, Sat. 9 p. RS 139 week: December 18, 1904 Belasco Theater Belasco Theater Stock Co. WINCHESTER McWade R Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company THE NIGHT BEFORE CHRISTMAS Reed M Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Frank Cooley Company THE SILVER DAGGER Swan M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: December 25, 1904 Mason Operahouse John C. Fisher's Stupendous Production THE SILVER SLIPPER Hall and Stuart E Mon-Sat, mats. Mon, Sat. 8 p. TC Burbank Theater Burbank Stock Company THE SUBURBAN M Sun-Sat, mats. Sun, Mon, Sat. 10 p. RS Belasco Theater Belasco Theater Stock Company BLUE JEANS Joseph Arthur M Mon-Sun, mats. Mon, Thurs, Sat. 10 p. RS Grand Operahouse Joseph Murphy KERRY GOW F Sun-Wed, mats. Sun, Mon, Tues. 7 p. SHAUN RHUE M Thurs-Sat, mat. Sat. 4 p. TC week: January 1, 1905 Mason Operahouse Thomas Q. Seabrooke THE BILLIONAIRE Kerker MC Mon-Sat, mats. Wed, Sat. 8 p. TC Burbank Theater Burbank Stock Company OLD JED PROUTY Golden P Sun-Sat, mats. Sun, Sat. 9 p. RS week: January 8, 1905 Mason Operahouse SHORE-ACRES James A. Herne P Mon-Wed, mat. Wed. 4 p. TC THE SULTAN OF SULU Wathall MC Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company MY WIFE'S HUSBANDS Edwin Milton Royle F Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company THE MAN FROM MEXICO Du Souchet F Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Rose Melville SIS HOPKINS P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Theater Stock Company CAPTAIN JINKS OF THE HORSE MARINES Clyde Fitch C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Rose Melville SIS HOPKINS P Second Week Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: January 15, 1905 Mason Operahouse Frederick Warde and Kathryn Kidder SALAMMBO, THE DAUGHTER OF HAMMILCAR Stanislas Strange R Thurs-Sat, mat. Sat. 4 p. TC Belasco Theater Belasco Theater Stock Company OLD HEIDELBERG Meyer-Forster R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Temple Auditorium Ben Greet Players EVERYMAN PD Mon-Tues, mat. Wed. 3 TWELFTH NIGHT Shakespeare Wed-Thurs AS YOU LIKE IT Shakespeare Fri. 1 HAMLET Shakespeare Sat. 1 p. TS Burbank Theater Burbank Stock Company IN SOUTH CAR'LINEY Cottrell P Sun-Sat, mats. Sun, Sat. 9 p. RS Ben Hendricks YON YONSON V Sun, mat. Sun. 2 p. TC Blanche Bates THE DARLING OF THE GODS Belasco D Mon-Sat, mat. Sat. 7 p. MADAME BUTTERFLY Belasco R mat. Thurs. 1 p. TC week: January 22, 1905 Mason Operahouse Frederick Warde and Kathryn Kidder SALAMMBO, THE DAUGHTER OF HAMMILCAR Stanislas Strange R Mon-Wed, mat. Wed. 4 p. TC Paul Gilmore THE MUMMY AND THE HUMMINGBIRD Henderson C Thurs-Sat, mat. Sat. 4 p. TC Belasco Theater Temple Auditorium Ben Greet Players MUCH ADO ABOUT NOTHING Shakespeare Tues-Wed. 2 p. TWELFTH NIGHT Shakespeare mat. Wed. 1 p. THE MERCHANT OF VENICE Shakespeare Thurs-Fri. 2 p. EVERYMAN PD mat. Fri. 1 p. HAMLET Shakespeare Sat, mat. Sat. 2 p. TS Burbank Theater Belasco Theater Stock Company OLD HEIDELBERG Meyer-Forster R Second Week Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Stock Company THE LITTLE CHURCH AROUND THE CORNER M Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Stetson's Company UNCLE TOM'S CABIN M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC 143 week: January 29, 1905 Mason Operahouse Klaw & Erlanger's Company MOTHER GOOSE E Mon-Sat, mats. Wed, Sat. 8 p. TC Belasco Theater Belasco Dramatic Stock Co. ARE YOU A MASON? Leo Dietrichstein F Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company HELD BY THE ENEMY William Gillette R Sun-Sat, mats. Sun, Sat. 9 p. RS week: February 6, 1905 Mason Operahouse Joseph, Jr., and William Jefferson THE RIVALS Sheridan PC Mon-Wed, mat. Wed. 4 p. TC Florence Roberts TESS OF THE D'URBERVILLES Stoddard D Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company DARKEST RUSSIA Donnelly M Sun-Sat, mats. Sun, Sat. Belasco Theater Belasco Dramatic Stock Company THE PRISONER OF ZENDA Rose R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse OLE OLESON V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: February 12, 1905 Mason Operahouse Florence Roberts, MARTA OF THE LOWLANDS Guimera R Mon-Wed, mat. Wed. 4 p. TC William Collier, THE DICTATOR Davis F Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company OUR BOARDING HOUSE Grover M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Dramatic Stock Company SOWING THE WIND Grundy M Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse E.J. Carpenter's Scenic Production A LITTLE OUTCAST V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: February 19, 1905 Mason Operahouse Belasco Theater Henry Savage's English Opera Company LOHENGRIN Wagner 0 Mon, mat. Sat. 2 p. IL TROVATORE Verdi 0 Tues. 1 p. TANNHAUSER Wagner O mat. Wed. 1 p. CARMEN Bizet O Wed. 1 p. LA BOHEME Puccini 0 Thurs, Sat. 2 p. CAVALLERIA RUSTICANA Masgagni; I PAGLI- ACCI Leoncava-llo O Fri. 1 p. TC Belasco Dramatic Stock Company ON THE QUIET Augustus Thomas C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company, PAUL REVERE Gill M Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse A JOLLY AMERICAN TRAMP M Sun-Sat, mats. Sun, Tues, Sat. week: February 26, 1905 Mason Operahouse Virginia Calhoun RAMONA R Mon-Wed, mat. Wed. 4 p. TC Lawrence D'Orsay THE EARL OF PAWTUCKET Thomas C Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company THE WAR OF WEALTH C.T. Dazey M Sun-Sat, mats. Sun, Sat. 9 p. RS week: March 5, 1905 Mason Operahouse Modjeska THE WINTER'S TALE Shakespeare Mon. 1 p. TC Burbank Theater Burbank Stock Company THE TWO ORPHANS D'Ennery M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Dramatic Stock Company JUDAH Henry Arthur Jones D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse W.J. Elleford Company THROUGH THE BREAKERS M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Dramatic Stock Company THE CLIMBERS Clyde Fitch D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Harry Beresford OUR NEW MAN M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC ON week: March 12, 1905 Mason Operahouse DAVID HARUM Hitchcock P Mon-Wed, mat. Wed. 4 p. TC Charles B. Hanford and Marie Drofnah DON CAESAR DE BAZAN R Thurs-Fri. 2 p. THE TAMING OF THE SHREW Shakespeare mat. Sat. 1 p. OTHELLO Shakespeare Sat. 1 p. TC Burbank Theater Burbank Stock Company MIZPAH Wilcox & Searelle R Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Dramatic Stock Company TOM MOORE T. Burt Sayre R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Wanda Ludlow and Lem R. Parker NETTIE THE NEWSGIRL M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: March 19, 1905 Belasco Theater Burbank Theater Belasco Dramatic Stock Company PARSIFAL Murphy R Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Stock Company MIZPAH Wilcox & Searelle Second Week Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse W.J. Elleford Company BEWARE OF MEN M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: March 26, 1905 Mason Operahouse Lionel Barrymore THE OTHER GIRL Thomas C Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company TEN NIGHTS IN A BARROOM Arthur M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Dramatic Stock Company PARSIFAL Murphy R Second Week Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Frank Bacon and the Bacon Company THE HILLS OF CALIFORNIA Bacon M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC 148 week: April 2, 1905 Mason Operahouse Dustin Farnum THE VIRGINIAN Owen Wister R Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company A PRISONER OF WAR Theodore Kremer M Sun-Sat, mats. Sun, Sat. 9 p. RS week: April 9, 1905 Mason Operahouse Grace Van Studdiford RED FEATHER De Koven CO Tues-Sat, mat. Sat. 6 p. TC Burbank Theater Burbank Stock Company MONTE CRISTO Dumas R Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Dramatic Stock Company CHARLEY'S AUNT Brandon Thomas C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE SIGN OF THE FOUR M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Belasco Theater Belasco Dramatic Stock Company LOST RIVER Joseph Arthur M Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company HER MARRIAGE VOW M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS 4^ VO week: April 16, 1905 Mason Operahouse Temple Auditorium Kolb and Dill I.O.U. Brussie MC Mon-Thurs. THE BEAUTY SHOP Crawford F Fri-Sat, mat. Sat. 3 p. TC 4 p. Conrein Metropolitan Opera Company PARSIFAL Wagner O Mon. 1 p. LUCIA DI LAMMERMOOR Donizetti 0 Tues. 1 p. TC Belasco Theater Belasco Dramatic Stock Co. OLD HEIDELBERG Meyer-Forster R Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company LOST IN THE DESERT M Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE BLACK HAND M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: April 23, 1905 Mason Operahouse E.H. Sothern and Julia Marlowe MUCH ADO ABOUT NOTHING Shakespeare Mon-Tues. 2 p. HAMLET Shakespeare Wed-Thurs. 2 p. ROMEO AND JULIET Shakespeare Fri-Sat, mat. Sat. 3 p. TC Burbank Theater Burbank Stock Company OUT OF THE FOLD McCormick P Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Dramatic Stock Company THE ETERNAL CITY Hall Caine D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company FOR HIS BROTHER'S CRIME M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS 150 week: April 30, 1905 Belasco Theater Belasco Dramatic Stock Co. THE PRIVATE SECRETARY Gillette C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company THE WHITE TIGERESS OF JAPAN M Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company QUO VADIS Strange R Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: May 7, 1905 Belasco Theater Belasco Dramatic Stock Co. HARRIET'S HONEYMOON Dietrichstein C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company JUANITA OF SAN JUAN Tully Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company R KING OF THE OPIUM RING M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: May 14, 1905 Mason Operahouse Margaret Anglin, ZIRA Manners & Miller D Mon, Thurs, mat. Sat. 3 p. THE SECOND MRS. TANQUERAY Pinero D Tues, Fri. 2 p; MARIANA Eschegaray D Wed. 1 p. THE LADY PARAMOUNT Ryley C Sat. 1 p. TC Burbank Theater Burbank Stock Company NEW ENGLAND FOLKS Presbrey P Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Dramatic Stock Company HER MAJESTY J.C. Clarke R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company TWO LITTLE SAILOR BOYS M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS 151 week: May 21, 1905 Mason Operahouse Barney Bernard THE FINANCIER H.D. Cottrell F Mon-Thurs. 4 p. TC Burbank Theater Burbank Stock Company THE IMPERIAL HIGHWAY H.D. Cottrell R Sun-Sat, mats. Sun, Sat. 9 p. RS week: May 28, 1905 Temple Auditorium Mrs. Fiske LEAH KLESCHNA C.M.S. McClelland D Thurs-Fri, mat. Fri. 3 p. TC Burbank Theater Burbank Stock Company ME AND MOTHER M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company THE GIRL AND THE JUDGE Clyde Fitch C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company FAST LIFE IN NEW YORK M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Belasco Theater Belasco Theater Stock Company TENNESSEE'S PARDNER Harte P Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE GREAT TRAIN ROBBERY M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS U1 to week: June 4, 1905 Mason Operahouse Nat C. Goodwin THE USURPER Morris C Tues-Wed, mat. Sat. 3 p. AN AMERICAN CITIZEN Ryley C Thurs. 1 p. A GILDED FOOL Carleton C Fri-Sat. 2 p. Burbank Theater Burbank Stock Company JUANITA OF SAN JUAN Tully R Sun-Sat, mats. Sun, Sat. 9 p. RS week: June 11, 1905 Mason Operahouse John Drew THE DUKE OF KILLICRANKIE Marshall R Wed-Sat, mat. Sat. 5 p. TC Burbank Theater Burbank Stock Company THE COUNTY FAIR Burgess P Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company WHAT HAPPENED TO JONES? Broadhurst C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company FABIO ROMANI Corelli M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Belasco Theater Belasco Theater Stock Company CHIMMIE FADDEN Townsend V Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company CONFESSIONS OF A WIFE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS U1 u> week: June 18, 1905 Mason Operahouse T. Daniel Frawley RANSOM'S FOLLY R.H. Davis C Mon-Sat, mat. Sat. 7 p. TC Burbank Theater Burbank Stock Company THE SPELLBINDER Winslow & Dickson C Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Stock Company SHERIDAN, OR THE MAID OF BATH Potter P. Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE ROAD TO RUIN M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: June 25, 1905 Belasco Theater Belasco Stock Company SOLDIERS OF FORTUNE Davis R Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company MIZPAH Wilcox & Searelle R Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company ACROSS THE PACIFIC M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: July 2, 1905 Belasco Theater Belasco Stock Company THE LADY OF LYONS Bulwer-Lytton R Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company THE RED, WHITE AND BLUE M Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company ONLY A SHOP GIRL M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: July 9, 1905 Belasco Theater Belasco Stock Company FORTUNES OF THE KING Doremus R Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company THE VILLAGE POSTMASTER P Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company FOR HER CHILDREN'S SAKE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: July 16, 1905 Belasco Theater Belasco Stock Company DOROTHY VERNON OF HADDEN HALL Kester R Mon-Sun, mats. Thurs, Sat. 9 p. GHOSTS Ibsen D mat. Wed. 1 p. RS Grand Operahouse Ulrich Stock Company KING OF DETECTIVES Kremer M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Stock Company WE ARE KING Keane R Sun-Sat, mats. Sun, Sat. 9 p. RS Angelus Theater Angelus Stock Company IN MIZZOURA Thomas P Sun-Sat, mats. Sun, Wed, Sat. 10 p. RS week: July 23, 1905 Belasco Theater Belasco Stock Company THE STUBBORNESS OF GERALDINE Fitch C Mon-Sun, mats. Thurs, Sat. 9 p. GHOSTS Ibsen D mat. Wed. 1 p. RS Grand Operahouse Ulrich Stock Company LIGHTHOUSE BY THE SEA M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: July 30, 1905 Belasco Theater Belasco Stock Company NIOBE Harry & Edward Paulton F Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company QUEEN OF THE WHITE SLAVES Kremer M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Stock Company MY PARTNER Bartley Campbell M Sun-Sat, mats. Sun, Sat. 9 p. RS Angelus Theater Angelus Stock Company THELMA Corelli M Sun-Sat, mats. Sun, Wed, Sat. 10 p. RS Burbank Theater Burbank Stock Company AT PITNEY RIDGE David Higgins P Sun-Sat, mats. Sun, Sat. 9 p. RS Angelus Theater Angelus Stock Company HOME, SWEET HOME Edgar Smith M Sun-Sat, mats. Sun, Wed, Sat. 10 p. RS VI a\ week: August 6, 1905 Belasco Theater Belasco Stock Company THE DANCING GIRL Jones D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company WEDDED AND PARTED Kremer M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Stock Company IN SIGHT OF ST. PAUL'S Vane M Sun-Sat, mats. Sun, Sat. 9 p. RS Angelus Theater Angelus Stock Company THE LITTLE RED SCHOOLHOUSE Reid M Sun-Sat, mats. Sun, Wed, Sat. 10 p. RS week: August 13, 1905 Mason Operahouse Ezra Kendall WEATHER BEATEN BENSON Kendall F Wed-Sat, mat. Sat. 5 p. Burbank Theater Burbank Stock Company CAMILLE Dumas R Sun-Sat, mats. Sun, Sat. 9 p. RS TC Belasco Theater Belasco Stock Company THE BUTTERFLIES H.C. Carleton D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE WINNING HAND M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Angelus Theater Angelus Stock Company LOVE AND WAR F Sun-Sat, mats. Sun, Wed, Sat. 10 p. RS 157 week: August 20, 1905 Belasco Theater Belasco Theater Stock Company A STRANGER IN A STRANGE LAND Wilner and Vincent C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company TRACKED AROUND THE WORLD M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Stock Company THE LITTLE CHRISTIAN C Sun-Sat, mats. Sun, Sat. 9 p. A DOLL'S HOUSE Ibsen D mat. Wed. 1 p. RS Angelus Theater Angelus Stock Company MISS HURSEY FROM JERSEY F Sun-Sat, mats. Sun, Wed, Sat. 10 p. RS week: August 27, 1905 Belasco Theater Belasco Theater Stock Company RICHELIEU Bulwer-Lytton PD Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company THE MISSOURIANS P Sun-Sat, mats. Sun, Sat. A DOLL'S HOUSE Ibsen D mat. Wed. 1 p. RS 9 p. Grand Operahouse Ulrich Stock Company WHY WOMEN SIN M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS 158 week: September 3, 1905 Mason Operahouse MRS. WIGGS OF THE CABBAGE PATCH Flexner P Mon-Sat, mat. Sat. 7 p. TC Burbank Theater Burbank Stock Company IF I WERE KING McCarthy R Sun-Sat, mats. Sun, Mon, Sat. 10 p. RS week: September 10, 1905 Mason Operahouse Harry Mestayer GHOSTS Ibsen D Sat, mat. Sat. 2 p. TC Burbank Theater Burbank Stock Company IF I WERE KING McCarthy R Second Week Sun-Sat, mats. Sun, Sat. 9 p. RS Virginia Calhoun RAMONA R mats. Wed, Thurs. 2 p. TC Belasco Theater Juliet Crosby & the Belasco Stock Company THE HEART OF THE GEISHA Baker D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company QUO VADIS Strange R Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Belasco Theater Belasco Stock Company ON AND OFF Bisson C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE WHITE CAPS M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS <_n KD week: September 17, 1905 Mason Operahouse May Irwin and the Bijou Theater Company MRS. BLACK IS BACK George V. Hobart F Mon-Wed. 3 p. TC Burbank Theater Burbank Stock Company THE VINEGAR BUYER Ezra Kendall F Sun-Sat, mats. Sun, Sat. 9 p. RS Glictman's Yiddish Players KOLNIDREY D mat. Wed. 1 GABRIEL D mat. Thurs. 1 THE JEWISH KING LEAR D mat. Fri. 1 p. TS Belasco Theater Belasco Stock Company FRIENDS Edwin Milton Royle C Mon-Sun, mats. Thurs, Sun. 9 p. RS Oscar Dane and his company DR. JEKYLL AND MR. HYDE Dane R mat. Wed. 1 p. TC Grand Operahouse Ulrich Stock Company QUEEN OF THE HIGHBINDERS Theodore Kremer M Sun-Sat, mats. Sun, Tues, Sat.' 10 p. TS cn o week: September 24, 1905 Mason Operahouse Wilton Lackaye THE PIT Channing Pollock D Mon-Sat, mat. Sat. 7 p. TRILBY Potter D mat. Wed. 1 p. TC Burbank Theater Burbank Stock Company THE HENRIETTA Bronson Howard C Sun-Sat, mats. Sun, Sat. 9 p. RS week: October 1, 1905 Mason Operahouse THE SULTAN OF SULU Wathall MC Mon-Sat, mat. Sat. 7 p. TC Burbank Theater Burbank Stock Company AROUND THE WORLD IN 80 DAYS M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Stock Company THE TYRANNY OF TEARS Chambers C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse C. Cunningham's Company YORK STATE FOLKS P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Stock Company PRINCE KARL A.C. Gunther R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse A HUMAN SLAVE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC i - * < 7 1 week: October 8, 1905 Prager Park Paine's THE LAST DAYS OF POMPEII Mon-Sun, mats. Mon-Sun. 14 p. TC Burbank Theater Burbank Stock Company THREE MEN IN A FLAT Lee Bascom F Sun-Sat, mats. Sun, Sat. 9 p. RS week: October 15, 1905 Mason Operahouse Ethel Barrymore and John Barrymore SUNDAY Thomas Racewood C Mon-Wed, mat. Wed. 4 p. TC The Miller-Kennedy Company THE GIRL FROM KAY'S Cary11 MC Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company THE FORBIDDEN MARRIAGE Charles Price M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Stock Company AUDREY Mary Johnston D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Laurette Taylor & C.A. Taylor's Company ESCAPED FROM THE HAREM C.A. Taylor M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Stock Company A FOOL AND HIS MONEY George Broadhurst C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Charles A. Taylor Company QUEEN OF THE HIGHWAY Charles Taylor M Sun-Sat, mats. Sun, Tues, Sat. m 10 p. TC S week: October 22, 1905 Mason Operahouse PEGGY IN PARIS Raynes & Loraine MC Mon-Wed. 3 p. TC THE CHAPERONS Isadore Witmark MC Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company FROU FROU Augustin Daly C Sun-Sat, mats. Sun, Sat. 9 p. RS week: October 29, 1905 Mason Operahouse Eleanor Robson MERELY MARY ANN Israel Zangwill C Mon-Sat, mat. Sat. 7 p. IN A BALCONY Robert Browning D mat. Wed. 1 p. TC Burbank Theater Burbank Stock Company "MAY BLOSSOM" David Belasco R Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company THE LAST APPEAL Leo Dietrichstein R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Hollie E. Cooley and Company ARIZONA Augustus Thomas P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Stock Company SECRET SERVICE William Gillette R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Frank Cooley Company AT RISK OF HIS LIFE Mark Swan M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: November 5, 1905 Mason Operahouse IN OLD KENTUCKY C.T. Dazey P Mon-Wed, mat. Wed. 4 p. TC Andrew Mack TOM MOORE Sayre R Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company REAPING THE HARVEST M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Stock Company THE GAY PARISIANS Feydeau and Desvalliere F Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Carol Arden POLLY PRIMROSE Winstack C Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: November 12, 1905 Belasco Theater Belasco Stock Company THE COWBOY AND THE LADY Clyde Fitch C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company THE JUDGE AND THE JURY Oliver Morosco & Harry Cottrell D Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Klint and Gozzolo's Company ON THE BRIDGE AT MIDNIGHT M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC 164 week: November 19, 1905 Mason Operahouse Klaw & Erlanger's Production BEN HUR William Young R Mon-Sat, mats. Wed, Sat. 8 p. TC Burbank Theater Burbank Stock Company THE JUDGE AND THE JURY Morosco & Cottrell D Second Week Sun-Sat, mats. Sun, Fri, Sat. 10 p week: November 26, 1905 Mason Operahouse Klaw & Erlanger's Production BEN HUR William Young R Second Week Mon-Sat, mats. Wed, Thurs, Sat. 9 p. TC Burbank Theater Burbank Stock Company THE JUDGE AND THE JURY Morosco & Cottrell D Third Week Sun-Sat, mats. Sun, Thurs, Sat. 10 p. RS Belasco Theater Belasco Theater Stock Company ALICE OF OLD VINCENNES Rose R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse DORA THORNE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Stock Company WHY SMITH LEFT HOME George Broadhurst C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Kate Hearn HONEST HEARTS F Sun-Sat, mats. Sun, Thurs, Sat. 10 p. TC ui week: December 3, 1905 Mason Operahouse Henry W. Savage's Productions THE PRINCE OF PILSEN Luders MC Mon-Wed 3 THE SHO-GUN Luders CO Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company THE LOST PARADISE De Milie & Belasco D Sun-Sat, mats. Sun, Sat. 9 p. RS week: December 10, 1905 Mason Operahouse Richard Mansfield BEAU BRUMMEL Fitch C Mon. 1 p. RICHARD III Shakespeare Tues. 1 p. DON CARLOS Schiller PD Wed. 1 p. A PARISIAN ROMANCE Feuillet D Thurs. 1 p THE MERCHANT OF VENICE Shakespeare Fri. 1 p. THE MISANTHROPE Moliere PC mat. Sat. 1 p DR. JEKYLL & MR. HYDE M Sat. 1 p. TC Burbank Theater Burbank Stock Company IN SOUTH CAR'LINEY Cottrell M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Stock Company BECAUSE SHE LOVED HIM SO Gillette C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse BUSTER BROWN Newman and Smith MC Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Stock Company VIVIAN'S PAPAS Leo Dietrichstein F Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse BUSTER BROWN Newman and Smith MC Second Week Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC CT\ week: December 17, 1905 Mason Operahouse Alberta Gallatin, COUSIN KATE Davies C Mon-Wed. 3 p. TC W.T. Carleton Opera Company WHEN JOHNNY COMES MARCHING HOME Edwards CO Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company THE MERCHANT OF VENICE Shakespeare Sun-Sat, mats. Sun, Sat. 9 p. RS week: December 24, 1905 Mason Operahouse Henry W. Savage's Production THE COLLEGE WIDOW George Ade C Mon-Sat, mats. Mon, Sat. 8 p. TC Burbank Theater Burbank Stock Company LOST, STRAYED OR STOLEN Morse MC Sun-Sat, mats. Sun, Mon, Sat. 10 p. RS Belasco Theater Belasco Stock Company MISTAKES WILL HAPPEN Grant Stewart F Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Arthur C. Alston's Company SHADOWS ON THE HEARTH M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Theater Stock Company THE CRISIS Churchill D Mon-Sun, mats. Mon, Thurs, Sat. 10 p. RS Grand Operahouse Arthur C. Alston's Company AT THE OLD CROSSROADS P Sun-Sat, mats. Sun, Mon, Tues, Sat. 11 p. TC ( - • (T i -J week: December 31, 1905 Mason Operahouse Louis James INGOMAR THE BARBARIAN Lovell PD mat. Mon, Fri, mat. Sat. 3 p. RICHELIEU Bulwer-Lytton PD Mon, Wed. 2 p. THE MERCHANT OF VENICE Shakespeare Tues. 1 p. VIRGINIUS Knowles PD Thurs, Sat. 2 p. TC Burbank Theater Burbank Stock Company THE LIGHT ETERNAL Merle R Sun-Sat, mats. Sun, Mon, Sat. 10 p. THE LADY FROM THE SEA Ibsen D mats. Wed, Fri. 2 p. RS week: January 7, 1906 Mason Operahouse John P. Slocum's Production THE YANKEE CONSUL Robyns CO Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater Burbank Stock Company ESMERALDA Francis Hodgson Burnett M Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company MY FRIEND FROM INDIA Du Souchet F Mon-Sun, mats. Mon, Thurs, Sat. 10 p. RS Grand Operahouse YON YONSON V Sun-Sat, mats. Sun, Mon, Tues, Sat. Belasco Theater Belasco Theater Stock Company THE MOTH AND THE FLAME Fitch D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse O'HOOLIGAN'S TROUBLES Mark Swan V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC £ 00 week: January 14, 1906 Mason Operahouse William H. Crane THE AMERICAN LORD Broadhurst & Dazey F Mon-Tues, mat. Wed. 3 p. TC Alice Neilson DON PASQUALE Donizetti O Wed, Fri, mat. Sat. 3 p. TC Burbank Theater Burbank Stock Company SHENANDOAH Bronson Howard R Sun-Sat, mats. Sun, Sat. 9 p. RS week: January 21, 1906 Mason Operahouse William Brady's Production 'WAY DOWN EAST Parker & Grismer P Mon-Fri, mat. Wed. 6 p. TC Burbank Theater Burbank Stock Company JEROME Carol Fleming D Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company MRS. DEERING'S DIVORCE Tindall C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse CAUGHT IN THE WEB Joseph Le Brandt M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Belasco Theater Belasco Theater Stock Company WHEN KNIGHTHOOD WAS IN FLOWER Kester R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse James T. McAlpin and Company HANS HANSON V Sun-Sat, mats. Sun, Mon, Tues, Wed, Fri, Sat. 13 p. TC OV VO week: January 28, 1906 Mason Operahouse Belasco Theater Nance O'Neil ELIZABETH THE QUEEN Giacometti PD Mon. 1 p. MACBETH Shakespeare Tues. 1 p. MAGDA Sudermann D mat. Wed. 1 p. MONNA VANNA Maeterlinck D Wed. THE JEWESS Mosenthal PD Thurs, Sat. 2 p. THE FIRES OF ST. D Fri. 1 p. HEDDA GABLER mat. Sat. 1 1 p. JOHN Sudermann Ibsen D p. TC Belasco Theater Stock Company WHEN KNIGHTHOOD WAS IN FLOWER Kester R Second Week Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Grand Operahouse Burbank Stock Company NORTHERN LIGHTS M Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Murray and Mack AROUND THE TOWN V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Olympia Opera Company KISMET Gustave Kerker CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: February 4, 1906 Mason Operahouse Belasco Theater Modjeska's Farewell Engagement Belasco Theater Stock Company MACBETH Shakespeare Mon. 1 p. THE GIRL WITH THE GREEN EYES MARY STUART Schiller PD Tues, mat. Wed. 1 p. Clyde Fitch C MUCH ADO ABOUT NOTHING Shakespeare Mon-Sun, mats. Thurs, Sat. 9 p. RS Wed. 1 p. TC Burbank Theater Burbank Stock Company THE PROUD PRINCE McCarthy R Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ben Hendricks OLE OLESON V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Hotchkiss Theater Olympia Opera Company THE TELEPHONE GIRL Kerker CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: February 11, 1906 Mason Operahouse Florence Roberts and Max Figman STRENGTH OF THE WEAK Smith D Thurs-Sat, mat. Sat. 4 p. TC Belasco Theater Belasco Theater Stock Company THE LITTLE PRINCESS Francis Hodgson Burnett C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company THE MAN FROM MEXICO Du Souchet F Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse W.J. Elleford Company PRINCESS OF PATCHES M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Hotchkiss Theater Olympia Opera Company THE ROUNDERS Englander CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: February 18, 1906 Belasco Theater Belasco Theater Stock Company BEAST A STRENUOUS LIFE Richard Walton Tully F p. TC Mon-Sun, mats. Thurs, Sat. 9 p. RS Mason Operahouse Barney Bernard THE SLEEPING BEAUTY AND THE Glover and Solomon E Mon-Sat, mats. Wed, Sat. 8 Burbank Theater Burbank Stock Company WHEN WE WERE TWENTY-ONE Esmond C Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse A JOLLY AMERICAN TRAMP M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Hotchkiss Theater Olympia Opera Company THE ROUNDERS Englander CO Second Week Sun-Sat, mats. Sun, Sat. 9 p. TS week: February 25, 1906 Mason Operahouse Nellie Stewart & Musgrove's Players SWEET NELL OF OLD DRURY Kester R Mon-Wed, mat. Wed. 3 p. TS THE COUNTY CHAIRMAN George Ade F Thurs-Sat, mat. Sat. 4 p. TC Belasco Theater Belasco Theater Stock Company THE ADMIRABLE CRICHTON James M. Barrie C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company JUANITA OF SAN JUAN R.W. Tully R Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse W.J. Carpenter Company AT CRIPPLE CREEK M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Hotchkiss Theater Olympia Opera Company A RUNAWAY GIRL Caryll MC Sun-Sat, mats. Sun, Sat. 9 p. TS 172 week: March 4, 1906 Mason Operahouse Belasco Theater Nellie Stewart & Musgrove's Players SWEET NELL OF OLD DRURY Kester R Mon-Sat, mat. Sat. 7 p. TS Burbank Theater Burbank Stock Company RICHARD CARVEL Churchill R Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Stock Company OLD HEIDELBERG Meyer-Forster R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse W. McGowan's Company MY WIFE'S FAMILY’ V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Hotchkiss Theater Olympia Opera Company A GAIETY GIRL Jones CO Sun-Sat, mats. Sun, Sat. 9 p. TS week: March 11, 1906 Mason Operahouse Charles B. Hanford and Marie Drofnah OTHELLO Shakespeare Thurs, Sat. 2 p. THE TAMING OF THE SHREW Shakespeare Fri, mat. Sat. 2 p. TC Belasco Theater Belasco Theater Stock Company OLD HEIDELBERG Meyer-Forster R Second Week Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company A TEXAS STEER Charles Hoyt V Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Pollard's Lillipution Opera Company THE BELLE OF NEW YORK Kerker MC Sun-Sat, mats. Sun, Tues. 9 p. H.M.S. PINAFORE Sullivan CO mat. Sat. 1 p. TC Hotchkiss Theater Olympia Opera Company A TIN SOLDIER Charles Hoyt V Sun-Sat, mats. Sun, Sat. 9 p. TS week: March 18, 1906 Mason Operahouse Kirk LaShelle Co, with Guy Bates Post THE HEIR TO THE HOORAH Paul Armstrong C Thurs-Sat, mat. Sat. 4 p. TC Belasco Theater Belasco Theater Stock Company THERE AND BACK George Arliss C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Stock Company THE IMPERIAL HIGHWAY Cottrell R Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse W.E. Nankeville Company HUMAN HEARTS M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Hotchkiss Theater Olympia Opera Company LITTLE CHRISTOPHER Kerker CO Sun-Sun, mats. Sun, Sat, Sun. 11 p. TS week: March 25, 1906 Belasco Theater Belasco Theater Stock Company THE SECRET OF POLICHINELLE Pierre Wolf C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Pollard's Lilliputian Opera Company THE GEISHA CO Sun-Mon, mat. Sun. 3 p. A GAIETY GIRL Jones CO mat. Tues, Thurs. 2 p. A RUNAWAY GIRL Cary11 MC Tues-Wed. 2 p. H.M.S. PINAFORE Sullivan CO Fri. 1 p. AN AMERICAN MILLIONAIRE MC mat. Sat, Sat. 2 p. TC Burbank Theater Burbank Stock Company TOO MUCH JOHNSON William Gillette F Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Olympia Opera Company SAID PASHA Richard Stahl CO Mon-Sun, mats. Sat, Sun. 9 p. TS week: April 1, 1906 Mason Operahouse Belasco Theater Sam H. Harris Production LITTLE JOHNNY JONES George M. Cohan MC Mon-Sat, mat. Sat. 7 p. Burbank Theater Burbank Stock Company OLD JED PROUTY Golden P Sun-Sat, mats, Sun, Sat. 9 p. RS TC Belasco Theater Stock Company WHEN KNIGHTHOOD WAS IN FLOWER Paul Kester R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse W.J. Elleford Company NEW YORK DAY BY DAY M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Hotchkiss Theater Olympia Opera Company A MILK WHITE FLAG Hoyt V Mon-Sun, mats, Sat, Sun. 9 p. TS week: April 8, 1906 Belasco Theater Belasco Theater Stock Company THE LITTLE MINISTER J.M. Barrie C Mon-Sun, mats. Thurs, Sun. 9 p. RS Grand Operahouse Desert Valley Scotty KING OF THE DESERT MINE C.A. Taylor M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Burbank Theater Burbank Stock Company IN THE PALACE OF THE KING Stoddard R Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Olympia Opera Company FRA DIAVOLO Auber CO Mon-Sun, mats. Sat, Sun. 9 p. TS week: April 15, 1906 Belasco Theater Belasco Theater Stock Company THE DICTATOR Richard Harding Davis F Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE SHADOW BEHIND THE THRONE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Stock Company A BACHELOR'S ROMANCE Martha Morton D Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Olympia Opera Company THE LITTLE TROUPER CO Mon-Sun, mats. Sat, Sun. 9 p. TS week: April 22, 1906 Mason Operahouse Henry B. Harris Production THE LION AND THE MOUSE Charles Klein D Mon-Sat, mat. Sat. 7 p. TC Burbank Theater Burbank Theater Stock Co. BARBARA FRIETCHIE Clyde Fitch R Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company THE PRETTY SISTER OF JOSE~ Burnett C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE SIGN OF THE FOUR M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Olympia Opera Company THE LITTLE TROUPER CO Second Week Mon-Sun, mats. Sat, Sun. 9 p. TS week: April 29, 1906 Mason Operahouse Belasco Theater David Proctor A MESSAGE FROM MARS Richard Ganthony C Mon-Sat, mat. Sat. 7 p, TC Belasco Theater Stock Company BROWN'S IN TOWN Mark Swan V Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co. FANCHON THE CRICKETT M Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company CAMILLE Dumas R Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Olympia Opera Company THE CHIMES OF NORMANDY Planquette CO Mon-Sun, mats. Sat, Sun. 9 p. TS week: May 6, 1906 Belasco Theater Belasco Theater Stock Company THE PRIVATE SECRETARY William Gillette C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company MONTE CRISTO Dumas R Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Theater Stock Company THE LILY AND THE PRINCE Carina Jordan R Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Olympia Opera Company LA MASCOTTE Audran CO Mon-Sun, mats. Sat, Sun. 9 p. TS 177 week: May 13, 1906 Belasco Theater Belasco Theater Stock Company ARE YOU A MASON? Dietrichstein F Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company A RACE FOR LIFE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Theater Stock Company THE LILY AND THE PRINCE Jordan R Second Week Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Olympia Opera Company OLIVETTE Audran ’ CO Mon-Sun, mats. Sat, Sun. 9 p. TS week: May 20, 1906 Mason Operahouse Abbott and Bryant Opera Company FRA DIAVOLO Auber CO Thurs. 1 ERMINIE CO Fri. 1 p. THE MIKADO Sullivan CO THE CHIMES OF NORMANDY CO Sat. 1 p. TS mat. Sat. 1 p. Planquette Belasco Theater Belasco Theater Stock Company GLORIANA Letocq C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co. AT PINEY RIDGE Higgins P Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company EAST LYNNE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Olympia Opera Company THE MIKADO Sullivan CO; CAVALLERIA RUSTICANA Mascagni 0 Mon-Sun, mats. Sat, Sun. week: May 27, 1906 Belasco Theater Belasco Theater Stock Company RIP VAN WINKLE Boucicault P Mon-Sun, mats. Wed, Thurs, Sat. 10 p. RS Grand Operahouse Ulrich Stock Company LURED FROM HOME M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Theater Stock Company MIZPAH Wilcox & Searelle R Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Kolb and Dill I.O.U. Judson Brussie MC Mon-Sat, mats. Wed, Sat. 8 p. TS week: June 3, 1906 Mason Operahouse Harry James' Kings & Queens of Burlesque FIDDLE-DEE-DEE Stromberg and Smith B Mon-Sun, mat. Sat. 8 p. TS Belasco Theater Belasco Theater Stock Company JANE Letocq C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co. THE GIRL I LEFT BEHIND ME Belasco and Fyle R Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company ALONE IN A GREAT CITY M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Kolb and Dill I.O.U. Brussie MC Second Week Sun-Sat, mats. Sun, Sat. 9 p. TS ♦ 179 week: June 10, 1906 Mason Operahouse Belasco Theater Harry Jaimes' All-Star Comedy Company FIDDLE-DEE-DEE B Sun-Wed. 4 p. HOITY-TOITY B Thurs-Sat, mat. Sat. 4 p. TS Burbank Theater Burbemk Theater Stock Co. A CONTENTED WOMAN Hoyt V Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Stock Company SOLDIERS OF FORTUNE R.H. Davis R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company QUEEN OF THE CONVICTS Kremer M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Kolb and Dill I.O.U. Brussie MC Third Week Sun-Sat, mats, Sun, Sat. 9 p. TS week: June 17, 1906 Mason Operahouse Harry James' All-Star Comedy Company HOITY-TOITY B Second Week Sun-Sun, mat. Sat. 9 p. TS Belasco Theater Belasco Theater Stock Company A STRANGER IN A STRANGE LAND Wilner and Vincent C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co. THE SIGN OF THE CROSS D Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company SECRET SERVICE SAM M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Kolb and Dill THE BEAUTY SHOP Crawford F Sun-Sat, mats. Sun, Sat. 9 p. week: June 24, 1906 Mason Operahouse Belasco Theater Harry James' All-Star Comedy Company WHIRL-I-GIG Stromberg & Smith B Mon-Sun, mat. Sat. 8 p. TS Belasco Theater Stock Company THE HEART OF MARYLAND Belasco R Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co. TENNESSEE'S PARDNER Harte P Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company SECRET SERVICE SAM M Second Week Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Kolb and Dill THE BEAUTY SHOP Crawford F Second Week Sun-Sat, mats. Sun, Sat. 9 p. TS week: July 1, 1906 Mason Operahouse Harry James' All-Star Comedy Company TWIRLY-WHIRLY Stromberg & Smith B Mon-Sun, mat. Sat. 8 p. TS Belasco Theater Belasco Theater Stock Company THE HEART OF MARYLAND Belasco R Second Week Mon-Sun, mats. Wed, Thurs, Sat. 10 p. RS Burbank Theater Grand Operahouse Hotchkiss Theater Burbank Theater Stock Co. THE ENSIGN Haworth D Sun-Sat, mats. Sun, Wed, Sat. 10 p. HEDDA GABLER Ibsen D mat. Thurs. 1 p. RS Ulrich Stock Company MARCHING THROUGH GEORGIA M Sun-Sat, mats. Sun, Tues, Wed, Sat. 11 p. TS Kolb and Dill ROLY-POLY Thompson B Sun-Sat, mats. Sun, Wed, Sat. 10 p. TS week: July 8, 1906 Mason Operahouse Belasco Theater Nat C. Goodwin THE GENIUS Cecil & William De Mille F Tues-Thurs, mat. Sat. 4 p. WHEN WE WERE TWENTY-ONE H.V. Esmond Fri-Sat. 2 p. TC Belasco Theater Stock Company WHAT HAPPENED TO JONES? George Broadhurst C Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co. THE LADY FROM LARAMIE C Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company AT THE WORLD'S MERCY Davis M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Kolb and Dill ROLY-POLY Thompson B Second Week Sun-Sat, mats. Sun, Sat. 9 p. TS week: July 15, 1906 Mason Operahouse Harry James' Travesty Stars POUSSE CAFE B 'WAY UP EAST Carle B Mon-Sun, mat. Sat. 8 p. TS Burbank Theater Burbank Theater Stock Comoany THE HALFBREED Cottrell & Morosco R Sun-Sat, mats. Sun, Sat. 9 p. A DOLL'S HOUSE Ibsen D mat. Thurs. 1 p. RS Belasco Theater Belasco Theater Stock Company THE PRIDE OF JENNICO Richardson R Mon-Sun, mats. Thurs, Sat. 9 p. GIOCONDA D'Annunzio D mats. Tues, Fri. 2 p. RS Grand Operahouse Ulrich Stock Company ALASKA Lincoln J. Carter M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS 182 week: July 22, 1906 Belasco Theater Belasco Theater Stock Company LOST— TWENTY-FOUR HOURS F Mon-Sun, mats. Thurs, Sat. 9 p. ROMEO AND JULIET Shakespeare mats. Tues, Fri. 2 p. RS Mason Operahouse Harry James' Travesty Stars HURLY-BURLY B Mon-Sat, mat. Sat. 7 p. TS Burbank Theater Burbank Theater Stock Co. THE HALFBREED Cottrell & Morosco R Second Week Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company TRACKED AROUND THE WORLD Taylor M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Kolb and Dill A TRIP TO THE CATSKILLS Harper V Sun-Sat, mats. Sun, Sat. 9 p. TS week: July 29, 1906 Belasco Theater Belasco Theater Stock Company CHARLEY'S AUNT Brandon Thomas C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE HOUSE OF MYSTERY M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Theater Stock Company THE HALFBREED Cottrell & Morosco R Third Week Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Kolb and Dill A TRIP TO THE CATSKILLS Harper V Second Week Sun-Sat, mats. Sun, Sat. 9 p. TS 183 week: August 5, 1906 Belasco Theater Belasco Theater Stock Co. ZAZA David Belasco D Mon-Sun, mats. Thurs, Sat. 9 p. PELLEAS & MELISANDE Maeterlinck PD mats. Tues, Fri. 2 p. RS week: August 12, 1906 Belasco Theater Belasco Theater Stock Co. ZAZA David Belasco D Second Week Mon-Sun, mats. Thurs, Sat. 9 p. EVERYMAN PD mats. Tues, Fri. 2 p. RS week: August 19, 1906 Belasco Theater Belasco Theater Stock Co. MRS. DANE'S DEFENSE Henry A. Jones D Mon-Sun, mats. Thurs, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co. THE HALFBREED Cottrell & Morosco R Fourth Week Sun-Sat, mats. Sun, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co THE HALFBREED Cottrell & Morosco R Fifth Week Sun-Sat, mats. Sun, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Co ROMEO AND JULIET Shakespeare Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company WHEN THE WORLD SLEEPS M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Grand Operahouse Ulrich Stock Company ON THE SUWANEE RIVER M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Grand Operahouse Ulrich Stock Company THE TWO ORPHANS D'Ennery M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: August 26, 1906 Belasco Theater Belasco Theater Stock Company MRS. DANE'S DEFENSE Henry Arthur Jones D Second Week Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company HOW BAXTER BUTTED IN V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: September 2, 1906 Belasco Theater Belasco Theater Stock Company THE SCHOOL FOR SCANDAL Sheridan PC Mon-Sun, mats. Mon, Thurs, Sat. 10 p. RS Grand Operahouse Ulrich Stock Company HOW BAXTER BUTTED IN V Second Week Sun-Sat, mats. Sun, Mon, Tues, Sat. 11 p. TS Burbank Theater Burbank Theater Stock Company MADAME SANS GENS Sardou C Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard and Hamilton Stock Company CHRISTOPHER, JR. Madeline Lucette Ryley C Sat, mat. Sat. 2 p. TS Burbank Theater Burbank Theater Stock Company CAMILLE Dumas R Sun-Sat, mats. Sun, Mon, Sat. 10 p. RS Hotchkiss Theater Howard and Hamilton Stock Company CHRISTOPHER, JR. Madeline Lucette Ryley C Sun-Sun, mats. Mon, Wed, Sat, Sun. 12 p. TS 00 U 1 week: September 9, 1906 Belasco Theater Belasco Theater Stock Company WHEN KNIGHTHOOD WAS IN FLOWER Paul Kester R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company CATTLE KING M Sun-Sat, mats. Sun, Mon, Tues, Sat. 11 p. TS week: September 16, 1906 Belasco Theater Belasco Theater Stock Company THE ONLY WAY Freeman Wills R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE BLACK HAND M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Theater Stock Company TRILBY Paul Potter D Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company THE NOMINEE C Mon-Sun, mats. Mon, Wed, Sat, Sun 11 p. TS Burbank Theater Burbank Theater Stock Company TRILBY Paul Potter D Second Week Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company INCOG Mrs. Pacheco V Mon-Sun, mats. Wed, Sat, Sun. week: September 23, 1906 Belasco Theater Belasco Theater Stock Company BUSINESS IS BUSINESS Octave Mirabeau C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company QUEEN OF THE HIGHBINDERS Theodore Kremer M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: September 30, 1906 Belasco Theater Belasco Theater Stock Company THE CLIMBERS Clyde Fitch D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company ANITA, THE SINGING GIRL Owen Davis M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Theater Stock Company JANICE MEREDITH Edward Rose R Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company FANCHON THE CRICKETT M Mon-Sun, mats. Wed, Sat, Sun. 10 p. TS Burbank Theater Burbank Theater Stock Company JANICE MEREDITH Edward Rose R Second Week Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company ARABIAN NIGHTS Sydney Grundy F Mon-Sun, mats. Wed, Sat, Sun. 10 p. TS week: October 7, 1906 Belasco Theater Belasco Theater Stock Company WHY SMITH LEFT HOME George Broadhurst F Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE GAMBLER FROM THE WEST Owen Davis M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS week: October 14, 1906 Belasco Theater Belasco Theater Stock Company SHORE-ACRES James A. Herne P Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company A MILLIONAIRE TRAMP M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Burbank Theater Burbank Theater Stock Company SHERLOCK HOLMES William Gillette D Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company THE MAN FROM MEXICO H.A. Du Souchet F Mon-Sun, mats. Wed, Sat, Sun. 10 p Burbank Theater Burbank Theater Stock Company SHERLOCK HOLMES William Gillette D Second Week Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company THE MAN FROM MEXICO H.A. Du Souchet F Second Week Mon-Sun, mats. Wed, Sat. Sun. week: October 21, 1906 Belasco Theater Belasco Theater Stock Company MISTRESS NELL Crossman R Mon-Sun, mats. Thurs, Sat. 9 p. RS Mason Operahouse Kirk LaShelle's Company CHECKERS Henry Blossom M Mon-Sat, mat. Sat. 7 p. TC Burbank Theater Burbank Theater Stock Co. LADY WINDERMERE'S FAN C Oscar Wilde Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company SECRETS OF THE POLICE M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Howard-Hamilton Stock Co. A CRAZY IDEA Hageman F Mon-Sun, mats. Wed, Sat, Sun. 10 p. TS Belasco Theater Belasco Theater Stock Company BROTHER OFFICERS Lee Trevor C Mon-Sun, mats. Thurs, Sat. 9 p. RS week: October 28, 1906 Mason Operahouse THE MAID AND THE MUMMY Carle E Mon-Wed. 3 p. TC Academy of Music Company ARIZONA Thomas P Thurs-Sat, mat. Sat. 4 p. TC Burbank Theater ; Burbank Theater Stock Co. i IF I WERE KING McCarthy R Sun-Sat, 1 mats. Sun, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company THE BURGLAR'S DAUGHTER M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Hotchkiss Theater Howard-Hamilton Stock Co. A CRAZY IDEA Hageman F Second Week Mon-Sun, mats. Wed, Sat, Sun. 10 p. TS 189 week: November 4, 1906 Mason Operahouse Jessie Bushley IN THE BISHOP'S CARRIAGE Channing Pollock R Mon-Sat, mat. Sat. 4 p. TC Belasco Theater Belasco Theater Stock Company THE PRISONER OF ZENDA Edward Rose R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Ulrich Stock Company CHINATOWN CHARLIE, OR, THE DOPE FIEND Owen Davis M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TS Auditorium Lambardi Italian Grand Opera Company AIDA Verdi O Thurs, mat. Sat. 2 p. LUCIA DI LAMMERMOOR Donizetti O Fri-Sat. 2 p. TC Burbank Theater Burbank Theater Stock Company IF I WERE KING Justin McCarthy R Second Week Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company BRAINS VERSUS MONEY F Mon-Sun, mats. Wed, Sat, Sun. 10 p. TS vo o week: November 11, 1906 Mason Operahouse Louis James THE MERRY WIVES OF WINDSOR Shakespeare Mon-Sat, mat. Sat. 7 p. TC Belasco Theater Belasco Theater Stock Company RUPERT OF HENTZAU R Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Emily Erickson Olson TILLY OLSON V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Auditorium Lambardi Italian Grand Opera Company LA BOHEME Puccini O Mon, Thurs, mat. Sat. 3 p. AFRICANA Meyerbeer 0 Tues, Fri. 2 p. RIGOLETTO Verdi O Wed, Sat. 2 p. TC Burbank Theater Burbank Theater Stock Company THE THREE MUSKETEERS Dumas R Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company THE FATAL SCAR M Mon-Sun, mats. Wed, Sat, Sun. 10 p. TS week: November 18, 1906 Mason Operahouse Arthur Deacon PEGGY FROM PARIS Raynes MC Mon-Sat, mat. Sat. 7 p. TC Belasco Theater Belasco Theater Stock Company THE PIT Channing Pollock D Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Burt Hodgkins UNCLE JOSH PERKINS P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC Auditorium Lambardi Italian Grand Opera Company CARMEN Bizet 0 Mon, Thurs, mat. Sat. 3 p. IL TROVATORE Verdi O Tues, Fri. 2 p. FAUST Guonod O Wed, Sat. 2 p. TC Burbank Theater Burbank Theater Stock Company NANCY AND CO. Augustin Daly C Sun-Sat, mats. Sun, Sat. 9 p. RS Hotchkiss Theater Howard-Hamilton Stock Company OTHER PEOPLE'S MONEY E.0. Towne F Mon-Sun, mats. Wed, Sat, Sun. 10 p. TS VO to week: November 25, 1906 Mason Operahouse Henry W. Savage's Production THE COLLEGE WIDOW George Ade C Mon-Sat, mats. Thurs, Sat. 8 p. TC Belasco Theater Belasco Theater Stock Company CAPTAIN COURTESY Edward Childe Carpenter C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse Florence Gear THE MARRIAGE OF KITTY C Sun-Sat, mats. Sun, Tues, Thurs, Sat. 11 p. TC Auditorium Lambardi Italian Grand Opera Company CHOPIN Orefice 0 Mon, Thurs, mat. Sat. 3 p. CAVALLERIA RUSTICANA Mascagni O; I PAGLIACCI Leoncavallo 0 Tues, Fri. 2 p. THE BARBER OF SEVILLE Rossini O Wed, Sat. 2 p. TC Burbank Theater Burbank Theater Stock Company THE CHRISTIAN Hall Caine D Sun-Sat, mats. Sun, Thurs, Sat. 10 p. RS Hotchkiss Theater Howard-Hamilton Stock Company HELLO, BILL! Willis Maxwell Goodhue V Mon-Sun, mats. Wed, Thurs, Sat, Sun. II p. TS week: December 2, 1906 Mason Operahouse Auditorium Guy Bates Post THE HEIR TO THE HOORAH Paul Armstrong C Mon-Sat, mat. Sat. 7 p. TC Belasco Theater Belasco Theater Stock Co. OLD HEIDELBERG Meyer-Forster R Mon-Sun, mats. Thurs, Sat. 9 p. RS Lambardi Italian Grand Opera Company TOSCA Puccini O Mon-Tues. 2 p. TC Burbank Theater Burbank Theater Stock Co. THE LOTTERY OF LOVE Daly C Sun-Sat, mats. Sun, Sat. 9 p. RS Grand Operahouse George J. Elmore THE CONVICT'S DAUGHTER M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: December 9, 1906 Mason Operahouse Robert Edeson STRONGHEART William De Mille D Mon-Sat, mat. Sat. 7 p. TC Burbank Theater Burbank Theater Stock Company LEAH KLESCHNA C.M.S. McLellan D Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company OLD HEIDELBERG Meyer-Forster R Second Week Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse George Thompson YON YONSON V Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC 194 week: December 16, 1906 Auditorium Lombardi's Italian Grand Opeira Company IL TROVATORE Verdi O Mon.: l p. FAUST Guonod O Tues. 1 p . ' . LUCIA DI LAMMERMOOR Donizetti 0 mat. Wed. 1 p. A MASKED BALL Verdi O Wed. 1 p. LA TRAVIATA Verdi O ThurS. 1 p. TC Burbank Theater Burbank Theater Stock Company A TEXAS STEER Hoyt V Sun-Sat, mats. Sun, Sat. 9 p. RS Belasco Theater Belasco Theater Stock Company GALLOPS Gray C Mon-Sun, mats. Thurs, Sat. 9 p. RS Grand Operahouse W.F. Mann Company AS TOLD IN THE HILLS M Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC week: December 23, 1906 Mason Operahouse Maxine Elliott HER GREAT MATCH Clyde Fitch C Mon-Sat, mats. Tues, Sat. 8 p. Belasco Theater Belasco Theater Stock Co. MY FRIEND FROM INDIA H.A. Du Souchet F Mon-Sun, mats. Tues, Thurs, Sat. 10 p. RS TC Auditorium Florence Stone and the Ferris Company THE GREAT RUBY Raleigh & Hamilton M Tues-Sat, mats. Wed, Sat. 7 p. RS Burbank Theater Burbank Theater Stock Co. UNDER TWO FLAGS Edward Rose R Sun-Sat, mats. Sun, Tues, Sat. 10 p. RS Grand Operahouse William Brady's Production UNDER SOUTHERN SKIES Lottie Blair Parker P Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC 195 week: December 30, 1906 Mason Operahouse Olga Nethersole SAPHO Clyde Fitch D Mon, Sat, mats. Tues, Sat. 4 p. THE SECOND MRS. TANQUERAY Arthur Wing Pinero D Tues. 1 p. ADRIENNE LECOUVREUR Scribe & Legouve R Wed. 1 p. CARMEN Henry Hamilton R Thurs. 1 p. THE LABYRINTH Paul Hervieu D Fri. 1 p. TC Belasco Theater Belasco Theater Stock Company RIP VAN WINKLE Dion Boucicault P Mon-Sun, mats. Tues, Thurs, Sat. 10 p. RS Auditorium Florence Stone and the Ferris Company GRAUSTARK, OR, LOVE BEHIND THE THRONE R Mon-Sat, mats. Tues, Wed, Sat. 9 p. RS Burbank Theater Burbank Theater Stock Company THE JUDGE AND THE JURY H.C. Cottrell and Oliver Morosco D Sun-Sat, mats. Sun, Tues, Sat. 10 p. RS Grand Operahouse BUSTER BROWN R.F. Outcault MC Sun-Sat, mats. Sun, Tues, Sat. 10 p. TC 196

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Asset Metadata

Creator Woods, Alan Lambert (author)

Core Title The interaction of Los Angeles theater and society between 1895 and 1906: a case study

Degree Doctor of Philosophy

Degree Program Communication (Drama)

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag OAI-PMH Harvest,Theater

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Butler, James H. (committee chair), Schettino, Franca (committee member), Stahl, Herbert M. (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-779518

Unique identifier UC11364382

Identifier 7300792.pdf (filename),usctheses-c18-779518 (legacy record id)

Legacy Identifier 7300792

Dmrecord 779518

Document Type Dissertation

Rights Woods, Alan Lambert

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA