In the rich tapestry of early 20th-century entertainment, vaudeville performers like my grandmother, Madonna Montran (also known as Donna Darling), carved out vibrant careers that often went unrecorded beyond local newspaper archives. Recently, I discovered a fascinating glimpse into her professional life through Evening Telegram clippings that document her performances at the Palace in Superior, WI.
In the News
The Superior Wisconsin Evening Telegram, April 29, 1924, Page 7. (Image enhanced by ChatGPT )
The accompanying news clipping is a review of Donna Darling’s show Song and Dance Romance. It praises Donna and her two male partners for their lively performance, highlighting her warm personality, singing, and the dancing of all three. The reviewer notes that whether the audience is captivated by Donna’s charm, her voice, or her energetic dancing, the result is the same—people enjoy it from start to finish and regret its end. The piece also mentions that Donna wears attractive costumes and that the show features elaborate and appealing stage settings.
Performance Details
Venue: Palace, Superior, Wisconsin
Dates: April 28 – May 1, 1924
Act: “Donna Darling & Co., In a Song and Dance Romance”
Other Acts:
Bill, Vic and Dell “Fun and Music”
Jean & Jack “Songs, Smiles, Syncopation
Paul Mix “An Unusuality”
This archival discovery adds another rich detail to understanding the dynamic world of 1920s vaudeville performance, showcasing the creativity and artistry of traveling entertainment troupes during a transformative period in American show business.
The Linwood Dyer Collection, Part 085 By Don Taylor
This remarkable collection encompasses hundreds of images, documents, and genealogical records of people who lived in Portland, Scarborough, South Portland, and Cape Elizabeth, Maine. My mission is to connect these historical photographs with descendants who may have never seen these images of their ancestors. This post examines a set of loose photos discovered in the Linwood Dyer “white room.”
Annie Monroe, c. 1910s
These two photographs show an older woman standing in front of a white, two-story house with shuttered windows and a picket fence. She is dressed in a light-colored, long-sleeved blouse and an ankle-length skirt, typical of early 20th-century fashions (likely between the 1910s and 1920s).
The matte finish and candid style indicate an amateur snapshot rather than a formal studio portrait. Such casual family photographs became increasingly common when Kodak and similar companies marketed cameras for household use during the 1910s and 1920s.
Previous research in the Linwood Dyer Collection identified this woman as Annie (Fearns) Monroe (1858–1947), widow of George H. Monroe. George died before 1910.
Mollie Bloomer, C. H. Brown, Kate Curtis, Ada Fearns, Annie Monroe, & Miss Rhonehart.
Both photos are dated October 1, 1922.
The first photo is identified as: Ada Fearns, Kate Curtis, Mollie Bloomer, Annie Monroe, C. H. Brown.
Ada Fearns, Kate Curtis, Mollie Bloomer, Annie Monroe, C H Brown – Oct 1st 1922 (improved using ChatGPT)
Mollie Bloomer
61 Upland Ave, Portland, Maine, circa 1910s
The 1910 U.S. Census lists William H. and Mollie Bloomer living on Upland Avenue, Portland, Cumberland County, Maine. Mollie was age 30 at the time.
Among the associated photos is a house marked 61 Upland Ave. on the reverse. This strengthens the identification of Mollie Bloomer in the group photographs. Based on her age and appearance, she is likely the woman in white with the broad smile.
C. H. Brown
The 1920 U.S. Census lists Clarence B. Brown, age 60, boarding with Annie J. Monroe and her brother John A. Fearns at 75 Elm Street.
The writing on the back of the photo identifies a “C. H. Brown,” but this is likely a mis-entry and should be “C. B. Brown.” He is the only man in both group photographs.
Kate R. Curtis
The 1920 U.S. Census records Kate R. Curtis, a 41-year-old widow, living at 49 Alba Street, Portland, with her 15-year-old daughter, Cordelia M. Curtis.
The 1923 Portland City Directory notes that Kate R. Curtis, widow of Albert, had moved to Boston. In the photographs, she is likely the woman wearing a dark stole and broad-brimmed hat.
Ada Fearns
John A. Fearns married Ada J. Maxwell on 22 May 1883 in Boston, Massachusetts, when both were 22 years old.
John and Ada Fearns appear together in the 1932 Portland City Directory at 75 Elm Street. Ada is identified in the photographs as one of the women present, likely holding a purse.
Annie Monroe
The 1920 U.S. Census lists Annie J. Monroe, age 62, living with her brother John A. Fearns at 75 Elm Street. In the photographs, she appears with glasses perched on her hat.
Miss Rhonehart
The photos list a “Miss Rhonehart,” but research has not confirmed her identity. No individuals with the surname “Rhonehart” or “Rhinehart” appear in Portland records during this era. She may have been a visitor or relative from away. She is possibly the taller woman in white.
C.H. Brown, Annie Monroe, Mollie Bloomer, Miss Rhonehart, & Kate Curtis – Oct 1st, 1922 (Image improved using ChatGPT)
Ages in 1922 (approximate)
Mollie Bloomer – 42 (probably in white, smiling broadly)
C. B. Brown – 62 (only man present)
Kate R. Curtis – 43 (likely in dark stole and hat)
Ada Fearns – 61 (likely holding purse)
Annie Monroe – 64 (glasses on hat)
Miss Rhonehart – unknown (possibly taller woman in white)
Connection Invitation
I would be delighted to hear from anyone who recognizes these individuals as their ancestors, particularly if these photographs represent previously unseen images of your family members.
Please feel free to incorporate these photographs into your genealogical research, citing: “Photo Courtesy: Scarborough Historical Society.”
After completing her engagement at the Columbia Theater in Columbia, Missouri, on September 22, 1925, Donna Darling and her troupe traveled roughly 310 miles to Omaha, Nebraska. They had September 23 for traveling before opening at the Moon Theater on September 24.
In reviewing newspaper coverage of this appearance, I found a curious advertisement in the Omaha Evening Bee of September 24, 1925 (p. 4). The paper announced:
“Bobbed Hair Bandits” Make Raid at the Moon”
Dona Darling and Girls style themselves as “The Bobbed Hair Bandits of Vaudeville,” for advertising purposes. They are at the Moon theater for three days, Saturday inclusive, as feature attraction of the week-end vaudeville program. Other acts are Willis and Willis, Walsh and Crook in “Oh, How Pretty,” and Joe Deming, “The Singing Comedian.”
This is the only instance I have seen where Donna was promoted under the “Bobbed Hair Bandits” title. The phrase likely alluded to Celia Cooney, the so-called “Bobbed Hair Bandit,” a notorious New York criminal whose exploits in 1924–25 received widespread press attention. The bobbed haircut itself symbolized modern womanhood and new social freedoms of the 1920s. It seems that Donna experimented with the label briefly but did not continue to use it.
The Moon Theater, Omaha
Moon Theater, Omaha – 1922
1918 – Opened as Moon Theater. 1929 – Transitioned to burlesque programming 1933 – Renamed Town Theater 1958 – Remodeled as Cooper Theater (Cooper 70) 1974 – Closed 1975 – Demolished.
Based on the 1810 Census, his father is likely either Gideon or Pleasant.
In The Life and Travels of Peter Howell, Page 14, Peter mentions, “we settled on my brother Henry’s land, where we lived until the fall.” So, I thought researching Henry might provide clues to his and Peter’s parents.
Census Evidence
1870 Census – Virginia, Buckingham County, Marshall Township, Page 26 – Lines 22, 23:
Howell, Henry 63 M W. Farmer 500//100 Virginia – Citizen
—, Judith 72 F W. Keeping House, Virginia
Call, Susan 21 F W Domestic Servant Virginia – cannot read or write.
1860 Census – Virginia, Buckingham County, District 2, Page 36 – Post Office: New Canton:
Howell, Henry 53 M W. Farmer 500//2000 Virginia
—, Judeth 55 F W. Virginia
The Agricultural Schedule indicates his farm is one of the smallest farms in the area. It comprised 77 acres; 40 acres of his property were improved, and 37 were not. He had three horses, one cow, and seven swine. He grew corn, oats, tobacco, and potatoes.
The 1860 Slave Schedule indicates that Henry had four enslaved individuals—a 65-year-old woman, a 40-year-old man, an 18-year-old mulatto woman, and an 11-year-old mulatto boy.
1850 Census – Virginia, Buckingham County, District 1, Page 739, Lines 25-28:
Gideon Howell 42 Farming $375
Mary 50
James 18 Labourer
Henry 43 Labourer
It appears that Henry is living with his brother (possibly a cousin) Gideon and Gideon’s apparent wife, Mary. Gideon has an apparent son, James, living with them. The indexer indicated that James’ middle initial is S, and Henry’s is I. However, I don’t see enough difference between the enumerator’s S, I, and J to be confident of either’s middle initial.
1840 Census – Virginia, Buckingham County, District 2, Page 16.
80-90 Unknown. Because I suspect Peter and Gideon are brothers and Peter’s father died in 1917, I suspect this person is more likely to be another family member.
Females
30-40 Apparently, Mary, age 40.
Free Colored People
2 Males Under 10
1 Male 10 -24
2 Females under 10
1 Female 36-55
Peter Howell – 1 – – – 1 || 1 1 – – 1 ||- 1
Males
1 5 to 10 Apparently, Phillip, age 7
1 30 to 40 Apparently, Peter, age 35
Females
1 under 5 Apparently, Elizabeth, age 5
1 5 to 10 Apparently, Lousianna, age 10
1 20-30 Apparently, Caroline, age 28
Free Colored People
1 10 to 24.
Important Notes
– Do not confuse this Henry Howell with Henry Howell, born about 1807 in Halifax County and died 13 Oct 1856. He served in the 4th Colored Infantry.
Several researchers suggest Henry Howell married Susan Tyler on 2 Apr 1829 in Goochland County, Virginia. Because I believe my Henry Howell lived in Buckingham County and had a wife named Judith, I think this is probably a different Henry Howell.
Conclusion
It has been a lovely couple of days of work, and I’ve learned much about Henry, Gideon, and Peter Howell. Hopefully, this will help me determine who Peter’s parents are.
Also, I am delighted to see that both Peter and Gideon had Free Colored People in their households in 1840 and not enslaved people.
The Linwood Dyer Collection, Part 084 Photo Friday By Don Taylor
This remarkable collection encompasses hundreds of images, documents, and genealogical records of people who lived in Portland, Scarborough, South Portland, and Cape Elizabeth, Maine. My mission is to connect these historical photographs with descendants who may have never seen these images of their ancestors. This post examines a set of loose photos discovered in the Linwood Dyer “white room.”
Philip Hinkley – U.S. Army Major, 1918.
A formal sepia-tone studio portrait of Philip Hinkley, this photograph shows him in uniform with the collar insignia “U.S.R.” — indicating his service in the United States Army Reserve during the World War I period. His composed expression and upright posture are typical of military portraits of the era. The uniform suggests he held an officer’s rank, possibly a major, based on the oak leaf insignia visible on the shoulder epaulet. His hair is neatly parted, and his uniform bears the stylistic hallmarks of the 1917–1919 timeframe.
“Major Philip Hinkley, captured in a moment of solemn readiness during World War I.
Studio: Not identified Estimated Date: Circa 1917–1919 Service Branch: U.S. Army Reserve (USR)
I’ve encountered photos of Philip Hinkley [Hinckley] in my Linwood Dyer Genealogical Collection previously. He was born on 30 Oct 1881 in Portland, Maine, went into active service as a captain on 15 Aug 1917, and was promoted to Major on 15 Feb 1918. His parents were Rufus Henry and Frances Elizabeth (Prindle) Hinkley. This photo was likely taken shortly after his promotion to Major.
Mrs. Annie Monroe (left) enjoys a successful day by the sea with a younger companion.
This image captures Mrs. Annie Monroe alongside a younger woman (possibly a relative or family friend), standing on a rocky shoreline, likely along the coast of Maine. The older woman is dressed in a dark coat and sturdy shoes, carrying fishing line. The younger woman, outfitted in a sailor-inspired blouse and skirt with a belt, holds a tackle box and two freshly caught fish. A serene body of water and distant tree line form the backdrop.
My Linwood Dyer Genealogical Collection suggests this is Annie J. (Fearns) Monroe, the wife of George H Monroe and the father of William Harris Monroe. A “memory” with the group of photos mentions that Bill Monroe’s mother was Winslow Homer’s housekeeper for years.
“Mrs. Annie Monroe (center) enjoys a day at the beach with friends or family.”
Likely from the 1930s or 1940s, this beachside photo features Mrs. Annie Monroe (center, in a floral print dress) surrounded by four other adults. A woman in a polka-dot dress and lace overlay stands to her left, with three men behind—including one in a fedora and another in a flat cap. This casual, candid group setting evokes a family outing or reunion. The back notes, “Hugh Gunnison,” suggest the possible presence of Gunnison friends or relatives.
File Name: Ethel Baines – Mitchell’s Studio, 559 Congress St. Portland, ME.jpeg
Ethel Baines, photographed at Mitchell’s Studio on Congress Street in Portland, Maine—circa 1905.
This delicately posed studio portrait features Ethel Baines, whose name is recorded on the back. She wears a white high-necked lace dress and bonnet, gently holding the ribbons. Her hairstyle is voluminous, popular during the Edwardian era. The portrait was professionally taken at Mitchell’s Studio, once located at 559 Congress Street, Portland, Maine.
Studio: Mitchell’s Studio, Portland, ME Estimated Date: Circa 1900–1910
I am unable to identify Ethel Baine positively. I have uploaded her photo to Dead Fred.
Sarah Blair – Shea Artist Studio, Boston, c. 1875
Sarah Blair, captured with quiet poise by Shea Artist of Hanover Street, Boston.
This cartes des visites presents Sarah Blair, a young (apparent) African American woman, in a formal pose. The image was taken by Shea Artist, a portrait studio located at 194 ½ Hanover Street, Boston, Massachusetts, during the 1870s. Her dignified expression and simple attire reflect the understated strength and grace of many 19th-century sitters. This portrait is likely from the 1870s–1880s, based on the vignette style and card mount.
Studio: Shea Artist, Boston, MA Estimated Date: 1875–1885
I have not been successful in determining Sarah’s identity other than her name; I uploaded her photo to Dead Fred.
Connection Invitation
I would be delighted to hear from anyone who recognizes these individuals as their ancestors, particularly if these photographs represent previously unseen images of your family members. Please feel free to incorporate these photographs into your genealogical research, citing “Photo Courtesy: Scarborough Historical Society.”
