Greyhound, The Importance of Being Earnest, Lorna Doone, Mrs. Warren's Profesion, The Woman, The Girl in the Taxi, The Second Mrs. Tanqueray.
1913-14: The Case of Becky, The Man Inside, Over Night, The Concert, The Prince, Bunty Pulls the Strings, We Are Seven, The Easiest Way, The Rainbow, Broadway Jones, The Governor's Lady, Our Wives, Stop Thief, Soldiers of Fortune, Mrs. Wiggs of the Cabbage Patch, The Typhoon, Her Husband's Wife.
New York Dramatic Mirror, 1907-14.
Philadelphia Inquirer, 1907-14.
Philadelphia North American, 1907-14.
Fielder Mari Kathleen. "Mae Desmond and Her Players: A Study of the Public Presentation of a Stock Company Actress, 1917-1929." Master's thesis, Ohio State University, 1976.
Philadelphia, Pennsylvania. Free Library of Philadelphia. Philadelphia Theatre Collection. Orpheum Players Souvenir Booklet, Chestnut Street Theatre file, Orpheum Players file, Philadelphia Theatre index.
Mari Kathleen Fielder
ORPHEUM PLAYERS, DULUTH, MINNESOTA. See R OBERSON- GIFFORD PLAYERS.
ORPHEUM PLAYERS DRAMATIC STOCK COMPANY. See ORPHEUM PLAYERS, CHESTNUT STREET THEATRE.
ORPHEUM PLAYERS, ORPHEUM THEATRE. T he Orpheum Players were organized in the autumn of 1921 to reside in Philadelphia's Orpheum Theatre, located in the wealthy Germantown section on Chelton Avenue west of Germantown Avenue. The 2,000-seat Orpheum Theatre was owned by J. Frederick Zimmerman ( 1843-1925), a renowned Philadelphia theatre entrepreneur and former member of the Theatrical Syndicate; he also owned Philadelphia's Keystone, Liberty, and Fairmount theatres as well as the Edgemont Theatre in Chester, Pensylvannia, in the early 1920s. Zimmerman's long association with the theatre included stints as treasurer of the National Theatre in Washington, D.C., and the Olympic Theatre in New York. He managed various actors and actresses such as Avonia Jones and Adelaide Ristori. From 1882 until 1913 Zimmerman was manager of Philadelphia's Chestnut Street Opera House. His vision of the need for neighborhood theatre in the expanding urban residential neighborhood of the early twentieth century proved extremely profitable, making Zimmerman one of Philadelphia's most successful theatrical businessmen.