Why Women Cheat, Little Jessie James, Rain, Salome, The Whole Town's Talking, The Unborn, Irene, The Fallen Sister, The Yellow Ticket, The Outcast, Potash and Perlmutter, Damaged Goods, Alias the Deacon, Should the Woman Tell, Dr. Jekyll and Mr. Hyde, Not Tonight Dearie, Under Cover, Over the Hill to the Poorhouse, The Divorce Question, Are You a Mason?, The Unborn.
1929-30: Experience, The Third Degree, Dancing Mothers, Hit the Deck!, What Price Glory?, Tangerine, The 5 O'Clock Girl, Getting Gertie's Garter, Her Love Child, My Woman, Spooks, The Silent Witness, Paid in Full, The Eternal Magdalene, Harlem Scandals, Chicago, Why Wives Go Wrong.
Los Angeles Examiner, 1928-29.
Los Angeles Times, 1928-31.
Jackson J. A. "A Survey of the Negro in American Life and in the Amusement World." Billboard, August 6, 1921, pp. 31, 60-65.
Bokar Camille N. R. "An Historical Study of the Legitimate Theatre in Los Angeles, 1920-1929, and Its Relation to the National Theatrical Scene." Ph. D. Dissertation, University of Southern California, 1973.
Camille N. R. Bokar
LAFAYETTE PLAYERS, NEW YORK, NEW YORK. See LAFAYETTE STOCK COMPANY.
LAFAYETTE STOCK COMPANY. Located in the Harlem section of New York, New York, the Lafayette Stock Company soon became known simply as the Lafayette Players. Anita Bush organized the company in 1915, as the Anita Bush Stock Company. It opened at the Lincoln Theatre in New York November 15, 1915, with the drama The Girl at the Fort, written and directed by Billie Burke .
On December 27, 1915, the company moved to the Lafayette Theatre in Harlem to perform a new drama, Across the Footlights. Eugene Elmore and Lester Walton comanaged Bush's company the original members of which included Bush, Carlotta Freeman, Charles Gilpin, Andrew Bishop, and "Dooley" Wilson. Not until March 2, 1916, did the name Lafayette Stock Company appear as the company's official name.
The Lafayette Players created a new definition of the role of the black performer in the American theatre. Until the theatre's inception, black performers worked only as "novelties" or as vaudeville entertainers. Furthermore, the long- established tradition of white performers playing blackface in legitimate drama insured the exclusion of black performers from the mainstream of show business.