Fantasy and Gorgeous Entertainers

Reproduced from Maximillien de Lafayette's book "Best Musicians, Singers, Albums and Entertainment Personalities of the 19th, 20th and 21st Centuries", Volume V of World Who's Who in Jazz, Cabaret, Music and Entertainment. Pages: 2445-46-47 Published by the Federation of American Musicians, Singers and Performing Artists (FAMSPA). Pages 2328-2340.

Fantasy in the 1920s…vice squad…gorgeous girls…fabulous legs and delighted audience…

Photos from L to R: 1- Dorothy Knapp, another star of the Earl Carroll’s show “ Vanities” whom Carroll had billed as "the most beautiful girl in the world" and whose costume supplies a useful definition of what Page meant by the "minimum" worn by "the rest of the comely cast.” 2-Scene from Earl Carroll’s “Vanities”, then…the most scandalous show in the country, starring Peggy Hopkins Joyce, then, the most notorious woman in America. Sophie Tucker, the "last of the red-hot Mommas," sang in the show. The show did not have household names, and no celebrated singers and performers. Without name recognition, Carroll had to feature nudity on a grand scale to sell tickets. Voila!

Earl Carroll's 1924 “Vanities” starring Peggy Hopkins Joyce, then the most notorious woman in America opened on September 10th and ran for 440 performances. It was the most scandalous show in the country, because nudity was a common element in “Vanities.” The show catered to the so-called “busy and tired businessmen” by displaying “gorgeous legs”, bared breasts, and parading 108 beautiful showgirls as peacocks at the sensual tempo of Ravel’s “Bolero.” Earl Carroll explained: “The aesthetic art of the number demands that the girls be in the absolute buff this time, not even G-strings.” Leon Whipple in The Survey Magazine, March issue, 1926, described the show, its artists and performers, and the public reaction as follows: “For a not excessive price, men, women, and adolescents can go into a lovely New York theatre on Broadway and see naked bodies, generally of women, under full lights with nothing on save what antique writers call a "zone" [belt or girdle]. The rest of the body is completely and absolutely nude, with scarce alleviation of a coat powder. The bodies are exposed as statues, figurines, and symbolic persons, with recurrent veilings and for brief flashes. The showmanship is deft and even discreet though the shadowy lighting of yesteryear has given way to the full flood. The exposure of the body lasts probably not five minutes out of the three hours, though there is a constant and cloying stream of lesser bareness — legs, backs, torsos, and anatomical odds and ends. To these latter we have already been acclimated for the unveiling has been going on in New York for several years, almost by fractions of inches as the producers tried out the public taste. Indeed, the student might find a thesis in social science in the scrutiny of this process of breaking down a convention by annual innovation. — Not Art and Not Model.”

EARL CARROLL’S “VANITIES” SHOW: PROBLEM WITH THE D. A. AND NEW YORK VICE SQUAD!

New York City District Attorney did not like Carroll’s decision. The New York Vice Squad was alerted. The next morning the D.A. demanded that Carroll should clothe the performers. Carroll refused. On September 11th, a police officer stood in the wings of the theatre ready to stop any nudity act, and brought with him several blankets. The show opened with Kathryn Ray "in the buff" swinging upside down over an enormous clock. The officer rushed to the stage attempting to capture Ray and cover her with his blanket. But agile Ray broke free and vanished behind the stage. The audience thought it was part of the show! They loved this scene and applauded like maniacs. Meanwhile, the police officer was still chasing Kathryn Ray behind the stage. Two stagehands finally rescued Ray by getting her out of the theater from the stage back door. The curtain fell, and the stupid audience was still applauding! Short after, Earl Carroll stepped forward to tell the delighted audience, that the D.A. and the Board of Censors are trying to shut down his show.

Photos from L to R: 1-The famous and controversial poster of Kathryn Ray. 2- One of Berkley's most famous daughters was Peggy Hopkins Joyce. Born Marguerite Upton in 1893 to Berkley barber Sam Upton and his wife Dora Wood. Joyce ran away from home in 1910 and gained fortune and fame as Carroll’s “stage nude super duper performer” and later as Ziegfeld’s showgirl and socialite and especially for her many marriages to millionaires. She died in 1957.

The audience became furious and many of the “busy and tired businessmen” who were watching the show were indeed powerful and had connections in high places. They assured Carroll that the show will go on. In fact, The Board of Censors lost its battle in a landslide, and the show went on. Kathryn Ray became a celebrity overnight. The very next morning, waves of teenaged boys rushed to the lobby of the theatre to buy the poster of Kathryn Ray that was displayed in a prominent place in the lobby of the theater and strategically positioned to attract more people. And out of nowhere, the officer who tried once to catch Ray resurfaced again in the lobby, screaming and yelling at Carroll. He ordered him to remove Ray’s huge poster. And as usual, Carroll refused. The furious policeman arrested Carroll on a charge of public obscenity. Carroll found himself on trial on November 10, 1924 for displaying obscene posters in the lobby of the theatre. He won and the show went on for another 438 performances. Meanwhile, and in many states in America, Vice Squads were cracking down on beauties bathing in revealing swimsuits…Women’s beach suits were “censored!” In that time in history, the great majority of young American women did not participate in a bathing beauty contest. But thousands of them did go to beaches where their outfits and swimsuits raised the moral issues, Carroll faced.

An “official beach censor” arresting two women in Chicago in 1922 for violating the laws concerning proper beach attire.

THE GOLDEN ERA OF JAZZ, BROADWAY AND THE GREATEST STARS OF AMERICAN SHOWBIZ

THE FORGOTTEN STARS AND LEGENDARY ENTERTAINERS!

Photo: DeWolf Hopper and Della Fox as Siamese royalty in Wang (1891).

EUROPEAN SHOWS AND AMERICAN MUSICAL THEATER

Photo: Bert Williams and George Walker.

A century ago European shows still dominated the musical theater in America. For example, the show Florodora from England, opening in 1900, was the second show in Broadway history to have a run of over 500 performances. The best production number, “Tell Me, Pretty Maiden,” was the core of the show. Six young women with parasols, linking arms with six handsome men, walked in unison while singing, in a precisely choreographed manner. The success of the show lead to larger budgets for stage effects and choruses, permanently influencing the musical comedies of the future. Viennese operettas, such as The Merry Widow, were also highly influential and successful, though they declined when anti-German feelings began to strengthen during World War I. However, the American theater was beginning to come into its own. A Trip to Chinatown (1892), with its core song of “The Bowery” was enormously successful. Wang (1892), with De Wolf Hopper heading the cast. Robin Hood (1890), Rob Roy (1894) both with music by Reginald de Koven, and El Capitan, with the score by John Philip Sousa, were also highly successful. Then, in the late 1890s, Victor Herbert and George M. Cohan made a huge contribution to the American musical theater. George M. Cohan was truly one of America’s great. His music became part of the America scene. His memory is also held by the wonderful biographical film made in 1942, Yankee Doodle Dandy, starring James Cagney and Joan Leslie.

Photo: Sheet music of “The Yankee Doodle Boy”, words and music by George M. Cohan, one of America's greatest songwriters.

THE GOLDEN ERA OF JAZZ, BROADWAY AND THE GREATEST STARS OF AMERICAN SHOWBIZ

1-Bert Williams. 2-Bill Murray. 3-Fritzi Scheff. 4-Fay Templeton. 5-Lillian Russell. 6-Hazel Dawn.

1-Victor Herbert. 2-Chauncey Olcott. 3- May Irvin in a 1896 scene from a film by William Heise. This scene was considered the first and biggest cinematographic scandal of the era. The reason? It was the first kiss on the mouth ever seen on film. John C. Rice kissing May Irvin. 4-Thomas Edison. 5-Al Jolson.

Al Jolson superstar of 1927 “The Jazz Singer” directed by Alan Crosland. Indeed, it was an historic milestone film and cinematic landmark. It should be noted that this film was not the first sound film, nor the first 'talkie' film or even the first movie musical, as many historians and cinema commentators assume. The 1926 Don Juan (1926), a John Barrymore silent film, was the first film to use sound effects by Vitaphone, and a synchronized musical score by the New York Philharmonic. Poster of the film at the Warner Theater in Broadway, New York.

THE GOLDEN ERA OF JAZZ, BROADWAY AND THE GREATEST STARS OF AMERICAN SHOWBIZ

Photos from L to R: 1-Mamie Watson appeared at the Gaiety Theatre as Miss Robinson in the 1920 revival of The Shop Girl. Ivan Caryll's musical comedy had been one of the biggest successes of the 1890s, running for 546 performances. One of the highlights was the duet sung by Mamie Watson and Roy Royston “Oh, oh, jolly Japan…Oh-ho, her little man”. 2-Jessie Matthews began her career as a dancer. In the 1930s, she became Britain's top musical film star. She starred in Noël Coward's “This Year Of Grace”, in which she introduced 'A Room With a View' and 'Teach Me To D”ance Like Grandma'. 3-Gladys Cooper was one of the great figures of 20th century theatre. She started as a chorus girl at the Gaiety Theatre in 1907 “The Girls of Gottenberg”. In 1908, she returned as a 'travelling newspaper beauty' in Havana. 3-Evelyn Laye first appeared in a small role in the 1917 “The Beauty Spot” at The Gaiety Theatre. In 1918, she reached stardom in “Going Up”, one of the first aviation musicals. In 1920 she was Bessie Brent in “The Shop Girl”.

Photos from L to R: 1-Gaby Deslys first appeared in 1906 “The Charm of Paris” at the Gaiety Theatre. Her dance number “The Gaby Glide” made her an international star. 2-Camille Clifford made her stage debut in the chorus of the 1902 “The Defender” in New York. Her elegant beauty and hour-glass figure transmuted her into the epitome of the 'Gibson Girl', the ideal invented by the American artist Charles Dana Gibson. In 1917, she retired from theater to marry Lyndhurst Henry Bruce, a British lord. To all eletters sent by fans, her personal secretary would simply repy: “Lady Bruce has no wish to discuss the past.” 3-Gina Palerme first came to prominence as Toinette in the 1910 Lionel Monckton's “The Quaker Girl”. In the 1920s she returned to France and starred in numerous silent films. 4-Moya Nugent appeared in Rip Van Winkle and as Liza in Peter Pan. She was Noël Cowardo favorite character actress. She starred in the 1928 “This Year of Grace”, “Conversation Piece” in 1934, and in the 1941 “Blithe Spirit” in which she played Mrs. Bradman, until 1946.

Photos from L to R: 1-Gabrielle Ray appeared in 1903 at the Gaiety Theatre in the cast of “The Orchid”. King Edward VII and Queen Alexandra were in the Royal Box. When she appeared on stage in pink pyjamas and began to dance, every young man's head was awhirl. 2-Billie Carleton starred in “Watch Your Step” in 1915 and in “Charlot in Som” in 1916. After an all-night party in November 1918, she was found dead in bed, the victim of a drugs overdose. Her tragic death inspired many plays and films, including the 1924 Nöel Coward's “The Vortex”.

Photo: Ray Bloch with Ava Gardner and Marilyn Monroe.

Ray Bloch, (August 3, 1902-March 29, 1982) [Founder of the Ray Bloch Orchestra]. Block was an outstanding pianist, and composer. He arrived to the United States during World War I. Bloch first found a job as an office-boy for the New York French language newspaper 'Courier des Etats-Unis'. Two years later, he worked as a piano player for a music publisher in New York. During the early 1920s, he played in a quintet billed opposite the original Dixieland Jazz Band'. By the end of 1920, he began to perform in the Vaudeville circuits. His career took off when CBS promoted him to orchestra leader. He wrote several hits, including "You're Everything That's Lovely", "In the Same Old Way", and "If You Were Mine". At one time, Bloch was extremely influential and powerful in showbiz. He launched the career of many aspiring singers and musicians. Among the vocalists that Bloch made famous were Sally Sweetland, Jack Smith, Genevieve Rowe, Gordon MacRae, Benay Venuta, and Alan Dale.

Photos from L to R: 1-Edna May star of The Belle of New York (1897). 2- Francis Wilson, star of Erminie. Wilson was a very popular comedian of the era. He was elected the very first president of the Actor's Equity. Association. 3-Edward Harrigan was a very famous Broadway actor and playwright. Despite his enormous success on stage, Harrigan’s final days were spent in quasi poverty and obscurity. Indeed, the world of showbiz is unpredictable and unmerciful. Many stars of the golden era of Broadway and Hollywood died poor and totally forgotten!

Photos from L to R: 1-Irene and Vernon Castle, best duo dancers of the era. In 1909, they became the premier dancers of Broadway and Vaudeville. They shined in the Broadway production of Watch Your Step in 1914. The Castles were the first stars to influence fashion in movies. 2- Evelyn Laye, the flamboyant star of the 1929 London production of The New Moon. She was the queen of extravaganza, sophistication and glamour of 1920. Indeed, she was a class act, and a major operetta and musical stage star in the United States and Europe.

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