Bandana Club Clam Bake at Eagle’s Nest, Pine Point
Every so often a photograph surfaces that captures not a single family, but an entire community at a moment of celebration — and this one is a striking example. Taken at the Bandana Club’s annual clam bake at “Eagle’s Nest” in Blue Point, Scarborough, ME, on September 17, 1915, shows more than sixty men gathered in a wooded clearing for what was clearly a well-established local tradition. An accompanying identification sheet, authenticated decades ago by Judge W.M. Mewer, names roughly two dozen of the men pictured — including a “Chief” and “Ass’t Chief,” hinting at the kind of good-natured mock-civic structure many fraternal and social clubs of the era adopted. For anyone researching the Bandana Club, Blue Point, or Scarborough families in this period, a photograph like this is a rare chance to put faces, names, and a shared social world together in one place.
1st row: 1. Harry Hamer — 2. Leon Jones — 3. Jack Sudenfield — 4. George Burdett — 5. Eddie Burdett — 6. Henry Burdett — 7. Louis Thromoulouw — 8. (unnamed) — 9. Herman Gerrish
2nd row: 1. Wesley Mingo — 2. John Marshall — 3. Bob Baylor — 4. Bud Lombard — 5. Charlie Somerset — 6. Henry Rudy — 7. Chief Ted Mingo — 8. Ass’t Chief Louis Wharff — 9. Judge Mewer — 10. Andy Anderson — 11. Harold Hutch — 12. Walter Lake — 13. Sam Lublinsky
Back row: 1. (unnamed) — 2. Henry Steward — 3. Tim Crowley — 4. Frank Libbey — 5. Tom Jones
Can you help?
If any of these names belong to your family tree, I’d love to hear from you — and I’d love even more to hear from anyone who can help fill in the two blanks left on the original identification sheet (1st row, position 8, and back row, position 1), or who recognizes faces among the many men in the crowd who were never named at all. Photographs like this one are only as valuable as the names we can attach to them, so if you have family stories, other photographs from the Bandana Club, or simply a hunch about who might be standing in this crowd, please reach out in the comments or by email. Every name recovered helps preserve a small piece of Pine Point’s community history for the next generation of researchers.
This post was researched and written with the assistance of Claude.ai and edited with Grammarly.
Every genealogist runs into it eventually: a person whose birthdate shifts depending on which record you’re holding. My son’s 2nd great-grandfather, John Michael Gleason, is one of mine — and working through his conflicting sources turned into a good case study in why some records deserve more weight than others.
For years, my working birthdate for John was 25 December 1852, in Watertown, Dodge County, Wisconsin — taken from his Find-a-Grave memorial. Then I pulled up his FamilySearch profile (LRNN-6Z8) and found something different: a life span of 25 December 1853 – 5 December 1948, and a birth location of New Diggings, Lafayette County, Wisconsin — a different year and a different county. That discrepancy sent me back through everything I had.
Starting with the Raw Data
Here’s every source I’ve attributed to John’s birth so far:
Source
Source Date
Age / Detail
Confirming Info
Suggested Birth
Location
1870 Census
1 Jun
18
(Apparent) son of Timothy & Bridget
2 Jun 1851 – 1 Jun 1852
Wis.
1875 MN Census
1 May
21
—
2 May 1853 – 1 May 1854
—
1880 Census
1 Jun
28
Son of Timothy & Bridget
2 Jun 1851 – 1 Jun 1852
Wis.
1885 MN Census
1 May
33
Wife is Della; children John & Mary
2 May 1851 – 1 May 1852
Wis.
1895 MN Census
1 Jun
44
(Della died 1893) Children: John, Mary, Caroline, Clara, Helen
2 Jun 1850 – 1 Jun 1851
—
1900 Census
1 Jun
47
Born July 1852 (stated directly)
July 1852
—
Find a Grave
N/A
95 at death
Spouses & children consistent
25 Dec 1852 (no source given)
Watertown, Dodge Co., Wis.
FamilySearch (LRNN-6Z8)
N/A
—
Life span given directly
25 Dec 1853
New Diggings, Lafayette Co., Wis.
Obituary
6 Dec 1948
Age 96; noted he died “the Sunday before”
Death date 5 Dec 1948 (a Sunday — matches)
—
—
A quick note on method, since it comes up constantly in work like this: when a census only gives an age, not a birthdate, that age converts to a range, not a single year — because you don’t know whether the person’s birthday had already passed by census day. Someone who is “18” on 1 June 1870 could have been born any time between 2 June 1851 and 1 June 1852. Reporting these as ranges, rather than collapsing them to one year too early, is what lets you stack multiple records against each other later.
Anchoring on the 1900 Census
I like to start with whichever record makes the strongest, most specific claim and then test everything else against it. That’s the 1900 Census here: it’s the only record in this set that states a full birth month and year directly, rather than just an age — July 1852. It’s also internally consistent: age 47 on 1 June 1900 lines up exactly with that birth month and year. That kind of self-consistency is exactly why the 1900 census is often treated as one of the more reliable U.S. census years for birth information.
That gives me a working anchor to test the rest of the evidence against — rather than, say, building an argument for 1895’s “44 vs. 43” off a birth year I haven’t actually established yet.
Stacking the Earlier Census Windows
Here’s where it gets complicated. Overlapping the 1870, 1880, and 1885 census windows above — with the 1885 record’s 1 May date acting as the tightest constraint — gives a combined window of:
2 June 1851 – 1 May 1852
There’s also a note on John’s FamilySearch profile stating that at age 13, he was selling newspapers on a Boston street corner “at the time of President Lincoln’s assassination” (14 April 1865). I want to flag upfront that this is a story, not a document — it has no cited source, and “newspaper boy on the day of a famous assassination” is exactly the kind of detail that tends to get attached to family lore after the fact, whether or not it’s literally true. I’m not discarding it, but I’m not leaning on it either; it gets one job here, as a test against the records I trust more. Taken at face value, it puts his birth between 15 April 1851 and 14 April 1852. Overlapped with the census window above, it narrows things to:
2 June 1851 – 14 April 1852
And there’s the problem: that window excludes July 1852 outright — the exact date the 1900 census reports. So I have a direct conflict between three independent census ages (agreeing with each other, and with an unsourced anecdote that just happens to land on the same side) and one record with a specific, internally-consistent stated month and year. I’ll come back to how the death record helps break this tie.
The Outliers
Two records don’t fit either pattern:
The 1875 Minnesota Census puts him at 21 on 1 May 1875 — implying a birth as late as 1854, two to three years off from every other source. My best guess is that whoever supplied the information simply meant he was “over 21” (i.e., of voting age) rather than reporting a precise age.
The 1895 Minnesota Census reports him at 44 on 1 June 1895 — one to two years older than either the 1851 census cluster or the 1852 anchor would predict. Off-by-one or off-by-two age errors like this are common enough in enumerator-reported records that I don’t weight this one heavily against otherwise-consistent data; I’m treating it as a probable reporting error rather than genuine evidence for an earlier birth.
What the Exact Death Date Reveals
This is the piece I didn’t have when I started digging: FamilySearch gives an exact death date of 5 December 1948, and his obituary — published the next day, 6 December 1948 — gives his age at death as 96. That’s precise enough to actually test each birth candidate against, rather than just eyeballing it:
Birth Candidate
Age on 5 Dec 1948
Matches Obituary’s “96”?
July 1852 (1900 Census)
96
✅
25 Dec 1852 (Find-a-Grave)
95
❌
25 Dec 1853 (FamilySearch)
94
❌
1851, if birthday fell before 5 Dec
97
❌
1851, if birthday fell after 5 Dec
96
✅ (but no source states such a date)
Only two scenarios land on 96: a birth in July 1852, or a birth very late in 1851 (after 5 December). The second is mathematically possible but purely hypothetical — nothing in any record actually states a date that late in 1851. The 1900 Census, by contrast, directly states July 1852, and that date independently satisfies this age test. That’s the deciding vote for me.
Preferred date: July 1852. I’m keeping 1851 (year only) on the record as a likely-but-unconfirmed alternative — it’s the year three independent census records converge on — but no single source actually states a specific date within 1851, and it fails the age-at-death test across most of its range.
One More Detail Worth Noting
The FamilySearch date’s location doesn’t match Find-a-Grave. FamilySearch has him born in New Diggings, Lafayette County; Find-a-Grave has Watertown, Dodge County. Both are Wisconsin, but they’re not the same place, and I haven’t yet traced which one has an actual document behind it — or whether either does. This one’s still open.
Where This Leaves Me
Preferred: July 1852 — the only birth date directly stated by a source I have found so far, internally consistent within that source, and the only one that reproduces the obituary’s stated age of 96 against the confirmed 5 December 1948 death date.
Likely but unconfirmed: 1851 (year) — supported by three independent census records and an unsourced family anecdote, but with no source giving a specific date, and most of its range fails the age-at-death check.
Set aside for now: 25 December 1852 (Find-a-Grave, no cited source, fails the age-at-death check) and 25 December 1853 (FamilySearch, fails the age-at-death check).
Next step: chase down whatever document underlies FamilySearch’s New Diggings/Lafayette County claim, since that’s the last real open question in this set.
Two days after closing its three-night stand at Rochester’s Lyceum Theatre, the touring company of “Chin Chin” moved on to Dunkirk, New York, for a single Monday-night performance at the Drohen Avenue Theatre on March 8, 1920.
Unlike the Rochester stop, which landed in Donna’s own hometown and drew a dedicated newspaper profile, Dunkirk was simply the next date on the route — a one-night engagement in a smaller mill and rail town on Lake Erie, about seventy-five miles west of Rochester. For the full background on the production, its Broadway pedigree, and Donna’s Rochester notice as the Goddess of the Lamp, see Donna Montran in Chin Chin at the Lyceum Theatre, Rochester, NY.
The Engagement
The Dunkirk Evening Observer began advertising the booking on March 5, 1920, running a notice for the Drohen Avenue Theatre’s regular picture-house program that closed with a call-out for the following Monday: “Monday the Big Road Show ‘CHIN CHIN,’ $1.00, $1.50 and $2.00.”[1] Ticket prices well above the theatre’s usual 13–25 cent admission for its film programs mark it as a special road-show event.
The following day, the Observer ran a dedicated announcement headlined “Chin Chin at the Drohen Avenue Theatre”:
It is with a great deal of pleasure, in fact pride, that Manager Drohen of the Drohen Avenue Theatre announces the coming of Charles Dillingham’s greatest musical comedy success “Chin Chin” on Monday, March 8. This play appeared first at the Globe Theatre in New York for two solid years, and is now on a transcontinental trip, touring the West for the first time. In the leading roles will be seen Walter Wills and Roy Binder, who come to us with the stamp of approval won in such productions as “The Wizard of Oz,” “The Red Mill,” “Hitchy Koo,” etc.
Dunkirk Evening Observer, March 6, 1920[2]
The same notice described “Chin Chin” as “a fantastic production rich in Oriental and Old English costuming, in seven sets, including the most startling surprises, ingenious trickery and grotesque dancing in plenty.”[2]
Reviews and Reception
The Observer followed up on March 9 with a review headlined “‘Chin Chin’ Makes Hit With Audience — Return Engagement of Big Musical Comedy at Drohen Avenue Drew Large Crowd,” confirming the show had last played Dunkirk two or three years earlier:
Charles Dillingham’s big musical comedy “Chin Chin” filled return engagement here last night, showing to a large and highly pleased audience. Although the show has not been here for two or three years, some of the members of the former cast were with the company, including Walter Wills and Roy Binder, who were the chief entertainers of the evening… The entire cast was good, the costuming magnificent, the play well staged and while there were no exceptional voices, the chorus was good looking and above the average.
Dunkirk Evening Observer, March 9, 1920[3]
The review singled out Irene McKay’s dancing as Fan Tan, the clown band, a ventriloquist act, and a “Paderewski at the piano” comedy bit as particular hits, and named “Good Bye Girls I’m Through” and “Temple Bells” as audience favorites among the songs.[3] Unlike the Rochester press, which had singled out Donna by name in her role, the surviving Dunkirk coverage does not mention her by name; her part as the Goddess of the Lamp in this engagement is documented in the family collection.[4]
The Drohen Avenue Theatre
The Drohen Avenue Theatre opened at 313 Central Avenue in Dunkirk on December 25, 1918, with 1,200 seats.[5] Confusingly for researchers, Dunkirk had two Drohen-affiliated houses running side by side in March 1920: the Drohen Avenue Theatre, which booked the touring “Chin Chin” production, and a separate, smaller Drohen Theatre a few blocks away, which was showing Mabel Normand in “Mickey” that same week.[1] The Drohen Avenue house was renamed the Capitol Theatre in 1923 and was operated by Warner Bros. Circuit Management Corp. by the 1940s. It was demolished in the early 1970s as part of Dunkirk’s urban renewal program; the site became a parking lot.[5]
Location Today
The theatre stood at 313 Central Avenue, Dunkirk, New York 14048. No trace of the building remains; the site is now a surface parking lot.[5]
Significance
The Dunkirk stop is a useful counterweight to the Rochester engagement in reconstructing Donna’s touring career: where Rochester was a rare hometown booking with press attention aimed squarely at her, Dunkirk was routine touring work, one of many one- and two-night stands the “Chin Chin” company played on its transcontinental route. That the company’s two leads, Walter Wills and Roy Binder, and presumably Donna along with them, traveled directly from a Saturday closing in Rochester to a Monday opening in Dunkirk gives a small, concrete sense of the pace of a 1920 touring schedule.
Sources
“Drohen Avenue Theatre” (display ad). Dunkirk Evening Observer, March 5, 1920, p. 6. Accessed via Newspapers.com (image no. 56318268).
“Chin Chin at the Drohen Avenue Theatre.” Dunkirk Evening Observer, March 6, 1920, p. 9. Accessed via NewspaperArchive.
“‘Chin Chin’ Makes Hit With Audience — Return Engagement of Big Musical Comedy at Drohen Avenue Drew Large Crowd.” Dunkirk Evening Observer, March 9, 1920, p. 9. Accessed via NewspaperArchive..
In March 1920, my grandmother — billed under her own family name, Donna Montran — appeared in the touring company of “Chin Chin” when the show played a three-day engagement at Rochester’s Lyceum Theatre. Unlike most of her documented bookings, this one landed in her own hometown, and the local papers took notice: the Rochester Herald ran a feature portrait of her under the headline “Rochester Girl with Musical Extravaganza.”
“Rochester Girl with Musical Extravaganza” — Donna Montran as the Goddess of the Lamp in Chin Chin. Rochester Herald, March 6, 1920.[1]
The Engagement
The Lyceum booked its touring attractions on a split-week policy, and “Chin Chin” was slotted into the back half of the week: Thursday, Friday, and Saturday, March 4, 5, and 6, 1920. An advance notice in the Times-Union on March 1 announced that the show “returns to the Lyceum on Thursday,”[2] and the Democrat and Chronicle’s theatrical column the same day listed it for “Thursday, Friday and Saturday.”[3] A second Times-Union item on March 3 pinned the run down further, previewing the show for “tomorrow, Friday and Saturday”[4] — that is, March 4 through 6.
The Democrat and Chronicle’s “In the Theaters” column confirmed on March 4 that the engagement opened “to-night,” describing it as a “half-week engagement.”[5] A review printed the following morning opened by noting that “the audience last night in the Lyceum, where it opened a week-end engagement, seemed to find much appeal”[6] — confirming the show opened Thursday evening, March 4, and was still running when the review appeared.
The Production and Cast
“Chin Chin” was already an established Broadway property by 1920. The musical fantasy — a comic retelling of the Aladdin story — opened at New York’s Globe Theatre on October 20, 1914, and ran 295 performances with Dave Montgomery and Fred Stone starring as the twin genii, Chin Hop Hi and Chin Hop Lo.[7] The book was by Anne Caldwell and R.H. Burnside, the lyrics by Caldwell and James O’Dea, the music by Ivan Caryll, and the staging by Burnside. Producer Charles Dillingham sent the show out on tour after its Broadway run, and by 1920 it was still drawing audiences under his management.[8]
The touring company that reached Rochester had a new comedy pair in the leading roles: Walter Wills as Chin Hop Hi and Roy Binder as Chin Hop Lo, succeeding Montgomery and Stone.[9] The supporting company, as documented in the Rochester press, included:
Irene McKay as Fan Tan
Carrie Dale as the Widow Twankey
Starr Dunham as Aladdin
Joseph Robinson as Abanazar
Ethel Lawrence as the American heroine
Donna Montran as the Goddess of the Lamp
Reviews and Reception
The Democrat and Chronicle’s “In the Theaters” column reviewed the production on March 5, 1920, the morning after opening night. The reviewer was complimentary of the show’s durability and of the new leads:
Walter Wills is a clever supple acrobatic comedian. His work is a little broader than Stone’s, but he follows the latter’s performance of Chin Hop Hi, one of the slaves of the lamp, with pleasing effects. His eccentric dancing, especially with little Irene McKay, a piquant miss, in the role of Fan Tan, wins “hands.” The Montgomery role, Chin Hop Lo, is well done by Roy Binder, and he and Mr. Wills work well together. Their comedy duets are amusing… Carrie Dale added to the comedy as the Widow Twankey, and Donna Montran and Ethel Lawrence sang and performed well as the Goddess of the lamp and the American heroine, respectively.
Democrat and Chronicle, March 5, 1920[6]
“In the Theaters” review of Chin Chin at the Lyceum. Democrat and Chronicle, March 5, 1920.[6]
The Rochester Herald followed the next day, March 6, with a standalone feature on the hometown angle, running Donna’s photograph under the headline “Rochester Girl with Musical Extravaganza” and this caption:
DONNA MONTRAN, a Rochester girl, is prominent in the cast of “Chin Chin,” the musical extravaganza that is playing at the Lyceum. Miss Montran is given the role of the Goddess of the Lamp, and with her beauty and pleasing voice is a much noticed feature of the production.
Rochester Herald, March 6, 1920[1]
Lyceum Theatre Profile
By 1920, the Lyceum was Rochester’s principal “legitimate” house — the Julius Cahn-Gus Hill Theatrical Guide’s 1921 edition lists it as playing “legitimate attractions” and represented in New York City by the powerful Erlanger booking syndicate.[10] Fred Reinish led the resident orchestra and John Tierney served as stage carpenter, under the management of M. E. Wollf. Seating capacity was recorded at 1,819 in the same trade guide (a modern source gives 2,000).[10][11] The stage was substantial for a house of its era: a 40-by-40-foot proscenium opening, 80 feet wall to wall, 27 feet to the rigging loft, and 59 feet from footlights to the back wall.
The Lyceum Theatre, Rochester, New York. Unposted divided-back postcard, early 1900s.
History of the Theatre
The Lyceum was owned by Abe E. Wollf and members of his family and opened its doors in 1888 at 36 Clinton Avenue in downtown Rochester — more than three decades before Donna Montran’s appearance there.[11] Over the course of its history it hosted many of the most celebrated names of the American stage, among them Edwin Booth, Otis Skinner, Sarah Bernhardt, Helen Hayes, and members of the Barrymore family.[11] The filmmaker George Cukor got his start there as well, running a resident stock company and directing plays at the Lyceum for seven years before he was called to New York.[12]
Pressed by competition from newer and larger venues, the Lyceum closed in 1934. The building was later demolished, and the site was eventually replaced by a series of parking lots.[11]
The Lyceum Theatre entrance, 36 Clinton Avenue, Rochester, NY, later in its run, with its marquee advertising “The Garden of Allah.”
Location Today
The Lyceum Theatre stood at 36 Clinton Avenue, Rochester, New York 14604, in the city’s Central Business District. No trace of the building remains; the site was absorbed into the surface parking that replaced it after demolition.[11]
Theatre Specifications
The following specifications reflect the Lyceum Theatre as recorded in the 1921 Julius Cahn-Gus Hill Theatrical Guide, the trade reference nearest in time to Donna Montran’s 1920 engagement.[10]
Seating capacity: 1,819 (per 1921 trade guide); 2,000 per modern sources
Manager: M. E. Wollf
Represented in New York City by: A. L. Erlanger
Orchestra leader: Fred Reinish
Stage carpenter: John Tierney
Proscenium opening: 40 x 40 ft.
Stage width (wall to wall): 80 ft.
Height to rigging loft: 27 ft.
Depth, footlights to back wall: 59 ft.
Distance between fly galleries: 50 ft.
Address: 36 Clinton Avenue, Rochester, NY 14604
Year opened: 1888
Year closed: 1934
Significance
Donna Montran’s appearance in “Chin Chin” at the Lyceum in March 1920 stands apart from most of her documented engagements for one simple reason: it happened in her own hometown (although it appears she only lived there for a year or two). Touring in a nationally known Broadway property, in the role of the Goddess of the Lamp, she returned to Rochester not as a passing act on a vaudeville bill but as a hometown girl the local papers were proud to claim — earning her a dedicated feature in the Rochester Herald alongside the standard theatrical notices and reviews.
The engagement also places her, however briefly, in a long line of major theatrical names who played the Lyceum’s stage over nearly half a century — from Edwin Booth and Sarah Bernhardt in the theatre’s early years to a nationally touring Broadway musical in its later ones. It is a useful, well-documented marker in the ongoing reconstruction of her career.
Sources
“Rochester Girl with Musical Extravaganza.” Rochester Herald, March 6, 1920, p. 11. Physical clipping, Donna Montran Collection.
“Chin Chin.” The Times-Union (Rochester, New York), March 1, 1920. Physical clipping, Donna Montran Collection.
“Chin Chin.” Democrat and Chronicle (Rochester, New York), March 1, 1920, p. 14. Accessed via Newspapers.com (image no. 135451482).
“Lyceum Theater.” The Times-Union (Rochester, New York), March 3, 1920, p. 28. Accessed via Newspapers.com (image no. 1279345711).
“In the Theaters.” Democrat and Chronicle (Rochester, New York), March 4, 1920, p. 11. Accessed via Newspapers.com (image no. 135451621).
“In the Theaters — Lyceum Theater.” Democrat and Chronicle (Rochester, New York), March 5, 1920, p. 20. Physical clipping, Donna Montran Collection.
“Chin Chin (Original, Musical, Fantasy, Broadway).” Internet Broadway Database (IBDB). Opened October 20, 1914, Globe Theatre, 295 performances. https://www.ibdb.com/broadway-production/chin-chin-8070
“Chin-Chin, Or A Modern Aladdin.” Operetta Research Center. http://operetta-research-center.org/chin-chin-modern-aladdin-musical-fantasy-music-ivan-caryll/
Cast attribution for Walter Wills and Roy Binder as successors to Montgomery and Stone per the Times-Union, March 3, 1920, and Democrat and Chronicle, March 4, 1920 (sources 4 and 5 above).
Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory, v. 20 (1921), p. 108, “Lyceum Theatre, Rochester, N.Y.” Digitized by Google, from Cornell University. https://hdl.handle.net/2027/coo.31924063709764
Comment by jverschakelen, April 14, 2026, on the Cinema Treasures Lyceum Theater page, citing George Cukor: Interviews (University Press of Mississippi, 2001), p. viii.
“Ten of California’s Selected Peaches”: Donna Montran Brings the Bathing Beauties to Hagerstown — November 1920
The Herald-Mail‘s November 12, 1920 review called the show a “sure fire winner… from every viewpoint.”
In November of 1920, the Maryland Theatre in Hagerstown, Maryland, closed out its week with what the Herald-Mail called one of the greatest bills of vaudeville the city had seen. Topping the bill for the last half of the week — Thursday, Friday, and Saturday — was Tom Rooney’s touring revue, “A Beach Promenade,” featuring eight bathing beauties from the California coast and their headliner, billed in the paper as Donna Montram.
The Herald-Mail’s theatrical calendar had flagged the coming engagement days in advance, and when the show opened, the paper’s reviewer did not hold back: the offering had “captivated the audience” in a way the writer claimed happened perhaps once in a blue moon, praising the singing, dancing, and the sheer variety of bathing costumes representing seaside resorts from around the country.
Rooney’s beauties shared the bill with Galletti’s trained baboons in a comedy sketch called “Monkey’s Day at the Races,” comedian Bob Milligan, and a special film reel of the famous Man o’ War–Sir Barton match race. It was a full evening of entertainment, and Donna’s name sat right at the top of it.
A note on the name: the Herald-Mail printed her as “Donna Montram” throughout this engagement — instead of her actual stage name, Donna Montran. It’s a spelling that shows up severaltimes from this period with Tom Rooney, and I’ve preserved the paper’s version here since it’s what ran in print.
“Attractions at the Leading Theatres”
The Herald-Mail, Hagerstown, MD
November 12, 1920, p. 5.
I love finding these little theatrical calendars — the kind of thing nobody kept on purpose, but which somehow survived. Seeing my grandmother’s name sitting right alongside Man o’ War in the same newspaper column made the whole week come alive for me. Hagerstown clearly gave her a warm welcome that November.
Sources (All via Newspapers.com):
“Rooney’s Bathing Beauties Score Big Success at MD.” The Herald-Mail (Hagerstown, MD), November 12, 1920, p. 5.
“Attractions at the Leading Theatres.” The Herald-Mail (Hagerstown, MD), November 9, 1920, p. 5.
“Attractions at the Leading Theatres.” The Herald-Mail (Hagerstown, MD), November 12, 1920, p. 5.
“Theatrical Calendar: Attractions at the Local Theatres This Week.” The Herald-Mail (Hagerstown, MD), November 8, 1920, p. 5.
Disclaimer: This article was researched and written by the author. Claude (Anthropic) was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.
