Out of Town Tryouts - "Sing Out, Sweet Land"

One aspect of New England’s rich tradition in theatre lies in its proximity to New York City. We are sometimes the land of the Out of Town Tryouts for new Broadway plays.

This could have been more than unusually daunting back in the day, since New Englanders had the reputation (much more then than now, I expect), of “sitting on their hands” or not being very generous with applause.

However one out of town tryout was well received on November 9, 1944. A brand new musical came to The Bushnell in Hartford called “Sing Out, Sweet Land.” Starring Alfred Drake, who had just enjoyed enormous success starring in “Oklahoma!” the previous year, this new musical was compared to “Oklahoma!” in its folksy examination of American history through popular music.

Among its featured performers was Burl Ives, who sang his trademark “Foggy, Foggy Dew,” “Blue Tail Fly”, and “Rock Candy Mountain.” Negro spirituals, folk music, Tin Pan Alley tunes all flowed through this musical which opened on Broadway the following month, and ran 102 performances, closing in March 1945.

Time Magazine, however, panned the show when it was on Broadway, writing in January 1945, “What should have been an exciting show remains, at best, a pleasant song recital.”

But Hartford loved it, according to the New York Times review of November 10, 1944, which compared the show favorably to “Oklahoma!”

“A delighted audience of more than 3,000” enjoyed the musical parade of history through “energetic singing and dancing.” The book was by Walter Kerr, the score by Ellie Siegmeister. Hartford did not sit on its hands this time, if Time Magazine did.

Upcoming Plays

At the Goodspeed Opera House of Haddam, Connecticut, the musical comedy “A Funny thing Happened on the Way to the Forum” continues through to November 29th.

At the Merrimack Repertory Theatre of Lowell, Massachusetts, “The Seafarer” a hilarious and chilling Irish tale of the sea opened last week and runs through November 8th.

At The Shubert of New Haven, Connecticut, the riotous “The 39 Steps” opens November 5th and runs through November 7th. This Broadway smash is described as what happens when you “mix a Hitchcock masterpiece with a juicy spy novel, add a dash of Monty Python.” A cast of four plays over 150 characters.

At the American Repertory Theatre, using the Old Lincoln School in Brookline, Mass., a unique theatre experience in an unusual telling of Shakespeare’s “Macbeth.”

Award-winning British theater company Punchdrunk makes its U.S. debut with “Sleep No More”, an immersive production inspired by Shakespeare’s Macbeth, told through the lens of a Hitchcock thriller.

“The Old Lincoln School in Brookline, Massachusetts, will be exquisitely transformed into an installation of cinematic scenes that evoke the world of Macbeth. You, the audience, have the freedom to roam the environment and experience a sensory journey as you choose what to watch and where to go. Rediscover the childlike excitement of exploring the unknown in this unique theatrical adventure.”

At the New Hampshire Theatre Project in Portsmouth, New Hampshire, Edward Albee’s “Seascape” opens November 12th and runs through November 29th. Directed by Blair Hundertmark.

"Oklahoma!" Kicks off Post-WWII Season

The first post-World War II theatre season in New England got off to a rousing start with what had been a wartime favorite in New York, “Oklahoma!”

This first celebrated pairing of the music and lyrics of Richard Rogers and Oscar Hammerstein II opened at Hartford’s Bushnell Memorial Hall October 15, 1945, and played for a week. This road company featured James Alexander as Curly, Mary Hatcher as Laurey, former vaudevillian Mary Marlo as Aunt Eller, and Dorothea MacFarland as Ado Annie (who had understudied Celeste Holm in the New York production). Richard H. Gordon played Jud Fry.

While wartime privations continued in Great Britain, and the European continent and Asia would take years to recover from the war’s devastation, Americans were seemingly already shedding the horror of the world’s largest and most terrible conflict, and were moving on to an unknown modern world with a vengeance. An ad in the program for new perfume sold at Hartford’s famed department store, G. Fox & Co. (see more on G. Fox & Co. in my New England Travels blog), called “Yanky Clover” sold with a dress inspired by “Oklahoma!” and its depiction of “box luncheons, picnics under the stars…the romantic, nostalgic feeling of our own wonderful West.” See Toiletries, street floor.

That romantic nostalgic feeling might be fleeting when the new realities of post-war life set in, some exciting, some foreboding. For now, it was “Oklahoma!” in Hartford, where the cheap seats in the second balcony went for 90 cents, and most expensive orchestra seats would cost you $3.00.

Comedy Comes to the Boston Museum

Back in the days before theatre was acceptable, the Boston Museum on Tremont Street staged dramatic performances such as John Wilkes Booth in “Romeo and Juliet”, as well as other cultural presentations. Calling the theater a museum somehow made it more legitimate, as if Shakespeare performed in a building called a theater would be déclassé.

The Boston Museum was also really a museum, however, with art and natural sciences exhibits. One wonders if any pretense to culture was blown out of the water when The Dalys came to town.

Above is an ad from Byrne’s Dramatic Times of October 18, 1884, announcing the two-week engagement of The Dalys at the Boston Museum beginning November 3rd. Their show was “their now famous athletic comedy” called “The Vacation - or- Harvard vs. Yale”.

Perhaps “athletic” was used for what would later be termed “slapstick”, but this was such a novelty at the prestigious Boston Museum that the ad declared, “The only comedy on earth that ever played an engagement at the Boston Museum in its regular season.” The show had come straight from a brief run at Tony Pastor’s in New York, billed as “the most pronounced hit of any comedy during the present season.”

The Dalys were a popular family of vaudeville performers in the late 19th century. Several siblings entered the business one by one, and eventually formed a troupe that appeared together in plays.

Author William Ellis Horton in his “About Stage Folks” (Free Press Printing Co., Detroit, 1902), gives us a bit of background on the performing Daly family. Brothers William and Timothy were song and dance men, later joining with Mort Emerson and Willis Clark to form the “Four King High Kickers”, which was, according to Horton, “at one time considered the strongest act of its kind in vaudeville.”

The siblings William, Thomas, Robert, and Daniel were joined by Thomas’ wife Lizzie Derious for the comedy “Vacation.” There were other brothers and sisters, either not involved in the theater, like their oldest brother Timothy, who was a prosperous merchant in Boston, or had their own acts, like sister Lizzie who was a dancer and married minstrel show man Billy Buckley.

At the time of Horton’s 1902 book, some 18 years after their appearance at the Boston Museum, we learn that Thomas had died from “the effects of a severe beating given to him by a cowardly set of ruffians” who were the stage hands at the Academy of Music in Chicago. There’s got to be more to that story.

Robert died of consumption, and sister Lizzie, now a widow, performed a dance act with her daughter Vinnie.

All the Daly siblings owned summer homes on Crescent Beach, back in the day before summer stock, when theatre folk took it easy during the summer months. The only “season” was the theatre season. They, or the ad men, called “Vacation” -- “The laughing success of the century.”

Note: the photo of the Boston Museum is from the Library of Congress, now in public domain.

Vaudeville at Poli's Palace - Springfield, Mass.

Above is the bill of acts for the Poli’s Palace in Springfield, Massachusetts in 1917. At this time, the Poli Palace was a vaudeville theater, but entrepreneur Sylvester Z. Poli was among the first to introduce movies to his theaters. So, right after Evelyn Elkins “singing comedienne” performs live, we are treated to a silent Western “Their Compact” starring Francis X. Bushman.

The flickers and the “legitimate stage” share an audience, and presumably, worlds collide.


Not that vaudeville was ever really considered “legitimate” stage, but Poli, an Italian immigrant who made his fortune through a string of theaters he owned, most located in New England, intended that his vaudeville theaters provide, according to a publication of the day called “S.Z. Poli’s Theatrical Enterprises”, quoted in The Papers of Will Rogers - Wild West and Vaudeville, Volume II (ed. Arthur Frank Wertheim and Barbara Bair, University of Oklahoma Press, 2000, p. 404) “devoted to progressive and polite vaudeville.”

We can’t be certain how progressive singing comedienne Evelyn Elkins was, but she was probably polite.

Will Rogers toured the Poli chain of theaters in 1908, and came to Sylvester Poli’s Springfield theater in February of that year. The theater was located at 286 Worthington Street, and after having its name changed to the Park Theatre in 1913, was destroyed in a fire in 1914. Poli was already busy building a new theater, called Poli’s Palace, a little farther down the street at 192-194 Worthington. This theater would continue as a vaudeville house, and after some years of sharing its audience with silent films, would eventually be turned over completely to that new medium when the talkies arrived, and Poli merged his chain with the Loew’s Corporation in 1934.


Vaudeville had its own hierarchy of “top banana” comics, and lesser acts that “played to haircuts” (meaning people walked out on them, so all the performers saw was the backs of their heads). There were “small-time” vaudeville theaters and “big-time”. In Springfield, Poli’s would have been considered small-time, compared to the vaudeville acts that were booked for the more prestigious Court Square Theater in town, which would carry an odd week or two of vaudeville in between legitimate stage shows.

The Shuberts, Keith, Albee and William Morris, all top vaudeville bookers who, regulated by the Vaudeville Managers Association, collected acts to run on the country’s regional vaudeville circuits. Springfield’s Pat Shea, one manager on the New England circuit, helped start the United Booking Office, a clearing house for vaudeville acts.

In February 1922, Shubert’s “High Class Vaudeville” played the Court Square Theater, and fifth on the bill was “Whipple and Huston.” Walter Huston, who later went on to movie fame, at this time played in comedy sketches with his wife, Bayonne Whipple.


Over at Poli’s Palace, there were lesser known acts, like the Harvey-Devora Trio, which billed themselves as “Grotesque Singing and Dancing Novelty.” We cannot be certain if “grotesque” was added to attract attention, or was merely an honest assessment of their abilities.

Things were more hopefully put with Bixley & Lerner, who called themselves “The Melba and Caruso of Vaudeville.”

Spectacular acts were saved for last, “show-closers”, and on July 13, 1914, Gilmore & Castle, “Blackface Singing and Talking Comedians” (yes, they could also talk), were followed by show-closer Hassan Ben Ali’s Troupe.


In his American Vaudeville: It’s Life and Times (NY: Dower Pub., Inc. 1968), author Douglas Gilbert noted of the Troupe, “Their handsprings were never springy, and their tumbling was wild, reckless, effortless. American acrobats could never approach them. At the end of the act Ali held the entire troupe on his head, shoulders, and arms. Then, at curtain, they would take off like pigeons, throwing themselves, so it seemed, out into space. The illusion was perfect. This was the best of the alley oops and no act has beaten it since.”


Box seats were 50 cents at the Poli’s Palace (orchestra seats were double that at Court Square), but if half a buck was still too steep, you could sit in the balcony for 10 cents.

Sylvester Poli, incidentally, was among the first theater owners to construct a single cantilevered balcony in this building, built in 1913.

Vaudeville ran with a new bill every week at Poli’s from Labor Day through May 30th, when summer stock would take over. Poli had his own traveling theater group, called the Poli Players, that would tour his theaters. One future film actress to get her start with the Poli Players was Gladys George.

Sylvester Poli, known not only for adding to his chain of theaters, but remodeling old ones, built the Poli Memorial Theater in 1927. The Springfield Republican noted in December 1926, “Modeled, to some extent, after the elaborate Metropolitan picture theater in Boston, its stage and auditorium will be suitable to legitimate productions, vaudeville, and motion pictures.”

The might be what’s known as having it all, but we never have anything for very long. Vaudeville was dead by 1930, and the talkies carried what would be known as the Loew’s Poli theater for the remainder of the decade and beyond, until that distant day when downtown theaters would be replaced by suburban cinemas.

But for a good while, one could ride the trolley on Main Street, get off on Worthington and walk up to the Poli’s Palace to see Archie Onri “The Original Juggling Genius assisted by Miss Dolly”, and Rohem’s Athletic Girls, which featured feminine exhibitions in “Fencing, Wrestling, and Bag Punching,” or the ever popular Spencer & Williams “Singing and Dancing Duo.”

Later, Loew’s Poli showed first-run MGM films for another generation.

Note: The photos of the exterior and interior of Poli's Palace are from postcards posted on the Image Museum site. The programs and tickets are from my collection.

The File on Esther Zidel

As mentioned on my "Another Old Movie Blog" this week, I'd like to refer you to another blog called “The File on Esther Zidel.” This blog is comprised of scrapbook photos taken by a young woman named Esther Zidel in the late 1930s and 1940s. The photos are of actors and actresses (stage and screen) she seems to have accosted outside the stage doors of Boston, Massachusetts area theaters. Some dressed to the nines; some, like one of Bette Davis, devil-may-care casual. The more famous actors are easily recognizable, but many others are not.

The photo of James Dunn seems especially poignant to me, strolling alone through the deserted back alley.

See if you can help identify some of these actors, and fill in the blanks.

Upcoming Plays

Upcoming plays for September and October:

At the Barrington Stage in western Massachusetts:
“Freud's Last Session” is being extended September 23rd through October 4th. The play by Mark St. Germain is suggested by "The Question of God" by Dr. Armand M. Nicholi, Jr., directed by Tyler Marchant. After escaping the Nazis in Vienna, psychiatrist Dr. Sigmund Freud invites a young, little known professor, C.S. Lewis, to his home in London. Lewis expects to be called on the carpet for satirizing Freud in a recent book but the dying Freud has a more significant agenda. On the day England entered WW II, Freud and Lewis clash on the existence of God, love, sex and the meaning of life – only two weeks before Freud chose to take his own.

At Connecticut’s Goodspeed Opera House: “A Funny Thing Happened on the Way to the Forum” runs from September 25th through November 29th.

In Ivoryton, Connecticut, the Ivoryton Playhouse presents William Gibson’s classic “The Miracle Worker” September 23rd through October 11th.

At “The Kate”, the Katharine Hepburn Cultural Arts Center in Old Saybrook, Connecticut we have Shakespeare’s “All's Well That Ends Well” on October 1st.

The Legacy Theater Company of Saco, Maine presents “Run for Your Lives” October 9th through October 18th, a series of funny and poignant short works by David Ives, author of "All In The Timing"

The Portland Stage Company of Portland, Maine presents “Third” by Wendy Wasserstein, September 29th through October 18th. From their website: "A liberal university professor finds her seemingly well-ordered life as mother, friend, and daughter thrown into disarray when she accuses a conservative student of plagiarism. Full of the smart dialogue and easy wit that made her famous, Wasserstein's last play is a thoughtful examination of politics, family and the unconscious misconceptions that still divide America."

Hartford, Connecticut’s Bushnell presents Tony winners Roger Bart and Shuler Hensley reprising their roles in the first national tour of the musical “Young Frankenstein” October 6th through 11th, book by Mel Brooks and Thomas Meehan, music & lyrics by Mel Brooks. Direction and Choreography by Susan Stroman.

Boston’s The Huntington is currently running August Wilson’s “Fences”, directed by Kenny Leon through October 11th.

The Ridgefield Theater Barn of Ridgefield, Connecticut is currently running “Beyond Therapy” by Christopher Durang, directed by Lester Colodny through October 3rd.

"This comedy/farce involves the unstable lives of two New Yorkers searching for a stable romantic relationship and the 'advice' they receive from their equally unstable psychiatrists. The line between neurosis and insanity blurs as complications....and comedy....inevitably follows."

Connecticut’s Westport Playhouse presents Jane Alexander and Stockard Channing in “The Breath of Life” by David Hare, directed by Mark Lamos September 29th through October 17th. On a small island off the coast of England, two women with a shared history meet for the first time. For twenty-five years, though strangers to one another, Frances and Madeleine were intimately connected in ways they’re only now beginning to understand. Over the course of a single night, as they confront the past, they finally come to terms with the choices they’ve made and the lives they’ve lived.