American Theatre Companies, 1888-1930

By Weldon B. Durham | Go to book overview

BIBLIOGRAPHY

Published Sources:

Denver Post, 1913-18.

Denver Times, 1913-18.

Archival Resources:

Denver Colorado. Colorado Historical Society. Denver Public Library.

Robley D. Rhine

[MAE] DESMOND PLAYERS. The Mae Desmond Players was Philadelphia's longest-lived professional company under single continuous management which relied on resident performers, not visiting stars, to entertain local audiences. Organized as a stock company with approximately fifteen actors assuming typed roles in offerings that changed weekly, the Mae Desmond Players performed in that city for eleven consecutive years from 1918 to 1929. Native Philadelphians Mae Desmond (formerly Mary Veronica Callahan) and Frank Fielder were the troupe's proprietors and managers. Mae Desmond ( 1887-1982) received her initial professional experience as ingenue with the acclaimed Philadelphia stock company, the Orpheum Players* at the Chestnut Street Theatre. Highly successful stints with Brooklyn's Gotham Players, the Bronx' Metropolis and Prospect Theatre stock organizations and Scranton's Poli Players* established her as a noted leading lady. Desmond also toured the eastern seaboard and Midwest during the 1916-17 season in the Irish-American theme vehicle The Daughter of Mother Machree by Edward Everett Rose. Frank Fielder ( 1884- 1980), known for his dashing good looks and talents as a singer and cellist, had acquired extensive stock experience with the Chicago Stock Company, the Stanford and Western Players at Philadelphia's Frankford Empire Theatre, Brooklyn's Gotham Players, and Elmira's Dorner Players.

Married in 1908, the two were compelled to form their own stock organization because of their difficulty in securing concurrent employment. At that time, stock managers deemed married leading performers undesirable because they lacked romantic appeal and gained too much power within the troupe. Many actors simply kept their marriages secret. With two small children, Desmond and Fielder found this an impossible task. They alleviated this problem by embarking on their own stock company venture, named the Mae Desmond Players to trade on Desmond's popularity especially with female audiences.

The company's first residence was Schenectady, New York's Van Curler Opera House. Cleves Kinkead Common Clay was their initial offering on April 9, 1917. The play's lower-class but inherently noble Ellen Neal allowed Desmond to exhibit her trademarks of unpretentious Irish beauty and dainty Pickford curls. The troupe frequently presented romantic plays which afforded Desmond the opportunity to appear the lovely downtrodden innocent on the rise up the social ladder: Rebecca of Sunnybrook Farm by Kate Douglas Wiggin and Charlotte Thompson , Little Peggy O'Moore by Oscar O'Shea and E. C. Lilley, In OldKentucky

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American Theatre Companies, 1888-1930
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Preface vii
  • A 1
  • Bibliography 4
  • Bibliography 8
  • Bibliography 13
  • Bibliography 22
  • Bibliography 24
  • Bibliography 27
  • Bibliography 31
  • Bibliography 36
  • Bibliography 38
  • Bibliography 40
  • B 41
  • Bibliography 51
  • Bibliography 55
  • Bibliography 61
  • Bibliography 63
  • Bibliography 68
  • Bibliography 72
  • C 73
  • Bibliography 80
  • Bibliography 86
  • Bibliography 90
  • Bibliography 94
  • Bibliography 97
  • D 99
  • Bibliography 103
  • Bibliography 111
  • Bibliography 118
  • Bibliography 126
  • Bibliography 134
  • Bibliography 140
  • Bibliography 145
  • Bibliography 150
  • Bibliography 152
  • Bibliography 158
  • E 159
  • F 165
  • Bibliography 168
  • Bibliography 171
  • Bibliography 177
  • G 179
  • Bibliography 181
  • Bibliography 183
  • Bibliography 188
  • Bibliography 190
  • Bibliography 194
  • Bibliography 197
  • Bibliography 203
  • H 205
  • Bibliography 208
  • Bibliography 210
  • Bibliography 212
  • Bibliography 220
  • Bibliography 225
  • Bibliography 227
  • Bibliography 231
  • I 233
  • PERSONNEL 237
  • J 239
  • Bibliography 241
  • Bibliography 243
  • K 245
  • Bibliography 247
  • L 249
  • Bibliography 253
  • Bibliography 260
  • Bibliography 262
  • Bibliography 268
  • Bibliography 276
  • M 277
  • Bibliography 280
  • Bibliography 283
  • Bibliography 284
  • Bibliography 289
  • Bibliography 293
  • Bibliography 297
  • Bibliography 300
  • Bibliography 306
  • Bibliography 309
  • N 311
  • Bibliography 317
  • Bibliography 322
  • Bibliography 325
  • Bibliography 329
  • Bibliography 332
  • Bibliography 338
  • O 341
  • Bibliography 346
  • Bibliography 348
  • P 349
  • Bibliography 353
  • Bibliography 358
  • Bibliography 363
  • Bibliography 367
  • Bibliography 370
  • Bibliography 377
  • Bibliography 388
  • Q 391
  • R 393
  • Bibliography 396
  • Bibliography 399
  • Bibliography 402
  • Bibliography 404
  • S 405
  • Bibliography 407
  • Bibliography 411
  • Bibliography 413
  • Bibliography 416
  • Bibliography 424
  • Bibliography 428
  • Bibliography 432
  • T 433
  • Bibliography 442
  • U 443
  • Bibliography 447
  • V 449
  • Bibliography 453
  • W 455
  • Bibliography 460
  • Bibliography 463
  • Bibliography 470
  • Bibliography 472
  • Bibliography 478
  • Bibliography 482
  • Bibliography 485
  • Bibliography 488
  • Y 489
  • Bibliography 492
  • APPENDIX I CHRONOLOGY OF THEATRE COMPANIES 493
  • APPENDIX II THEATRE COMPANIES BY STATE 497
  • Index of Personal Names and Play Titles 501
  • About the Contributors 535
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