Pauline Lord by Abbe

Pauline Lord (1890-1950) in the original production of Eugene O’Neill’s ANNA CHRISTIE (1921-22); she created the title role, later played on film by Blanche Sweet (1923) and Greta Garbo (1930).

Abbe on Broadway

Gregory Kelly (1891-1927) and Ruth Gordon (1896-1985) in SEVENTEEN (1918). They were married 1921-27.

Doris Green in THE GREENWICH VILLAGE FOLLIES OF 1920 (1920-21).

Harry Beresford (1863-1944) as Clem Hawley in THE OLD SOAK (1922-23). 

Anton Dolin

(Sir) Anton Dolin (Sydney Francis Patrick Chippendall Healey-Kay, 1904-1983) by Constantine (Constantine Hassalevris, 1913-1982, who also photographed under the moniker Spartan of Hollywood).

Albert Carroll last appeared on Broadway in Billy Rose’s 1944-45 review SEVEN LIVELY ARTS at the Ziegfeld Theatre. This was a prestige program, with music and lyrics by Cole Porter, book by George S. Kaufman and Ben Hecht, and ballet music by Igor Stravinsky.

Dion Titheradge, Laurette Taylor, and Philip Merivale

Dion Titheradge (1889-1934), Laurette Taylor (Loretta Helen Cooney, 1883-1946), and Philip Merivale in THE HARP OF LIFE (1916-17), a play written by Miss Taylor’s husband J. Hartley Manners. Photo by White Studios

Carroll and Merivale appeared in another Henderson production, THE DUKE IN DARKNESS (1944): Carroll played the Count d’Aublaye, Merivale the Duke of Laterraine, and Raymond Burr appeared as Voulain.

Estelle Winwood

Estelle Winwood (Estelle Ruth Goodwin, 1883-1984) in HELEN WITH THE HIGH HAND (1917). Photo by James Abbe (1883-1973)

Carroll played Slender in Estelle Winwood and (her husband) Robert Henderson’s production of THE MERRY WIVES OF WINDSOR, which ran for four performances at the Empire Theatre in April 1938; Winwood appeared as Mistress Margaret Page. (Lex Barker was a member of the Ensemble.)

Eleanor Phelps and Blaine Cordner

Eleanor Phelps (1907-2001) and Blaine Cordner (1895-1971) in WE, THE PEOPLE (1933). Photo by Maurice Goldberg (1881-1949)

Like Cagney and Carroll, Blaine Cordner appeared in the 1929 edition of THE GRAND STREET FOLLIES.

James Cagney

James Cagney (1899-1986) in COME FILL THE CUP (1951). Photo by Bert Six (1902-1967)

Cagney and Carroll were members of the 1928 and 1929 GRAND STREET FOLLIES casts.

Grover Burgess

Grover Burgess (1892-1948) and Jane Kim in the short-lived PEOPLE ON THE HILL (1931). Photo by DeBarron Studio 

Burgess and Carroll appeared in THE GRAND STREET FOLLIES of 1926.

Zita Johann

Zita Johann (Elizabeth Johann, 1904-1993) and [William] Clark Gable (1901-1960) in MACHINAL (1928). Photo by Vandamm Studio

The first wife of the actor John Houseman, Zita Johann appeared with Albert Carroll in THE GRAND STREET FOLLIES of 1925.

Helen Westley

I posted yesterday about Joseph Schildkraut, who played the title role in the Theatre Guild’s production of Henrik Ibsen’s PEER GYNT (1923); Carroll was a dancer as well as Monsieur Ballon, and Helen Westley (Henrietta Remsen Meserole Manney, 1875-1942) was featured as the Troll King’s Daughter. She is shown here in a photograph by Marcia Stein (Marcia Mishkin, 1880?-1927).

Adrienne Morrison

Carroll played the part of Jimmy Grupton in MAKERS OF LIGHT (1922). Ian Maclaren was another member of the cast, along with Adrienne Morrison (1883-1940), the wife of Richard Bennett and the mother of Barbara, Constance, and Joan Bennett. This photo, identified as Mrs. Bennett, is by Paul Hansen (1902-2000).

Adrienne Morrison also appeared with Albert Carroll in THE GRAND STREET FOLLIES of 1922 and 1924.

George Abbott

Photo by White Studios 

Albert Carroll first appeared on Broadway with the Gertrude Kingston Company in 1916. One of his roles in the repertory program was as Tharrabas in Lord Dunsany’s THE QUEEN’S ENEMIES; George Abbott (1887-1995) appeared as the Twin Duke of Ethiopia.

Philip Merivale

Philip Merivale (1886-1946) was a Broadway stalwart. His second wife was the legendary British actress Gladys Cooper; his sons-in-law included Robert Morley and Robert Hardy. Photo by Muray Studios

Mitzi

Mitzi Hajos (1889-1970), best known for the operetta SARI (1914 and 1930).

Newlyweds

Frederick Worlock (1886-1973) and Elsie Ferguson. They met on Broadway while appearing in THE MOON-FLOWER (1924) and married that year.

Margaret Vale

Margaret Vale appeared in two Broadway shows between 1914 and 1916. She was also featured in films from 1915; a Margaret Vale was still working, perhaps uncredited, as late as 1937, in Reginald Denny’s SUNDAY NIGHT AT THE TROCADERO.

Nickolas Muray Day

“Alan Dinehart, who plays opposite Florence Reed in THE MIRAGE [1920-21], Edgar Selwyn’s much discussed play in the Times Square Theatre.” 

Photo by Nickolas Muray (Miklós Mandl, 1892-1965)

200th post

This blog has spun out in some unexpected directions, with many more unidentified (or vernacular) subjects than I thought at the start. 

For some identified sitters, I would suggest the Academy Founders link. I have written or posted a lot — more than a quarter of the entries to date — on Athletic Model Guild subjects; the Broadway link will lead to a variety of posts, as will Florenz Ziegfeld Jr.

Unidentified accounts for about 20% of the entries, for what that’s worth. As for the rest, there are dozens of single mentions of sitters (from Adele Astaire to Yves Grangeat), at least some of whom I hope to treat further in the future. 

Marion Davies

Marion Davies (Marion Cecilia Douras, 1897-1961) by Ira L. Hill (1876-1947).

She first appeared on Broadway in Charles Dillingham’s CHIN CHIN (1914) as a member of the Ensemble. After a named role in NOBODY HOME (1915), she returned to the chorus for Dillingham’s MISS INFORMATION (1915), then another named part in STOP! LOOK! LISTEN! (1915-16). She had finally arrived, joining the 1916 ZIEGFELD FOLLIES with Ina Claire and Fanny Brice.

Photo by Ruth Harriet Louise, MGM’s chief portrait photographer 1925-30.

Legend has it that Marion Davies met William Randolph Hearst (1863-1951) during the run of the 1916 FOLLIES; in the latter half of the decade Hearst took firm control of her career. More than three decades her senior, the heir to great wealth who had gone on to make even more, he had ample confidence in his own judgment as he wagered several fortunes on this lovely, stammering beauty — a mimic and a comedian, whom Hearst wished to mold into another one of those stately Ziegfeld dolls.

Lupino and Lauri Lane

Lupino Lane (Henry William George Lupino, 1892-1959) with his son Lauri Lupino Lane (1921-1986).

Lupino first went on the stage at the age of four, and he was professional from early adolescence. Lane achieved renown in a 1921 pantomime production of ALADDIN, where (per Wikipedia) he “dived through sixty three stage traps in six minutes” at the Hippodrome in London. He had already appeared on Broadway in AFGAR (1920-21) with his wife, Violet Blythe. Three years later he was back, performing in the long-running ZIEGFELD FOLLIES OF 1924 (1924-25) with Will Rogers. His final appearance in New York was as Ko-Ko in the Shuberts’ MIKADO (1925).