During the closing days of 1926, Donna Darling and her stage partner (and husband), Sammy Clark (Samson Amsterdam), appeared at the Palace Theatre in Rockford, Illinois, as part of the theatre’s year-end vaudeville program. Coverage in the Rockford Register Star documents their engagement and provides useful detail regarding the nature of their act and their position on the bill.
Rockford Register Star, Dec. 24, 1926, page 8
In its December 24, 1926, issue, the Register Star announced a “lively” final program for the year at the Palace Theatre. Darling and Clark were listed among the principal vaudeville performers, alongside established acts such as Stewart and Oliver, Sparling and Rose, and George Yeoman. The article reports that Darling and Clark had “arranged a brisk revue,” assisted by additional performers, combining comedy, song, and stepping. Sammy Clark was identified as handling the comedy portions of the act, while Donna Darling’s role reflected her musical-comedy background. The paper further noted that Miss Darling was known as “The Musical Comedy Beauty,” a designation consistent with her established stage persona during this period.¹
Rockford Register Star, Dec. 27, 1926, page 12
A follow-up article published on December 27, 1926, reviewing the same Palace Theatre engagement, again referenced Darling and Clark. Although the focus of that article was on veteran headliners Corinne and her company, Darling and Clark were specifically mentioned as “figures in a revue which contains good dancing.”² Their inclusion among both veteran and contemporary performers suggests that their act was well integrated into a balanced holiday program designed to appeal to a broad audience.
Taken together, these notices confirm that Donna Darling remained an active and professionally engaged vaudeville performer at the end of 1926, appearing in reputable Midwestern houses and presenting a polished revue act that blended musical comedy, dance, and humor. The Rockford engagement adds another documented stop to Darling’s touring itinerary during a productive period of her career.
Endnotes
“Palace Books Lively Shows to Close Year,”Rockford Register Star (Rockford, Illinois), 24 December 1926, p. 8.
“Old Time Stars Headliners of Palace’s Show,”Rockford Register Star (Rockford, Illinois), 27 December 1926, p. 12.
Disclaimer: This article was researched and written by the author. ChatGPT was used as a research and drafting aid, and Grammarly for editorial review and copyediting.
As part of my ongoing effort to document my grandmother, Donna Darling’s, vaudeville career, I continue to trace her appearances through contemporary newspapers and theatre advertisements. One such engagement, now firmly documented, places Donna Darling and her troupe at the Lyric Theatre in Hamilton, Ontario, during the final week of January 1926. Multiple notices and reviews published in The Hamilton Spectator allow this engagement to be reconstructed with unusual clarity.
The Lyric Theatre, Hamilton, Ontario, Canada
During the 1920s, the Lyric Theatre was widely advertised as “Hamilton’s leading popular-priced theatre,” offering continuous performances that combined motion pictures with live vaudeville. The Lyric’s programming reflected the prevailing entertainment model of the period, pairing feature photoplays with a full bill of live acts designed to appeal to a broad audience.
Donna Darling’s Engagement
Advance publicity published on Saturday, 23 January 1926, announced that the Lyric’s program for the coming week would feature the photoplay The Police Patrol, supported by a vaudeville bill that included “Donna Darling, musical comedy beauty, and her dancing girls.” The notice emphasized that this was “an especially fine company” and that the act carried “its own costly settings,” signaling a production of some scale and expense Hamilton_Spectator_1926_01_….
By Monday, 25 January 1926, Donna Darling was described as heading the vaudeville bill. The Spectator reported that Darling and her “singing and dancing girls” were “fresh from New York,” presenting an act mounted “under very heavy expense.” The article credited Miss Darling with introducing something new in the singing and dancing line and praised the individuality and skill of her performers.
Midweek coverage confirmed both the quality of the performance and its reception. A review published on Tuesday, 26 January 1926, stated that “Donna Darling has a dance revue deserving of great commendation,” noting the beauty of the costuming and the talent of her assisting artists. The following day, Wednesday, 27 January 1926, the Spectator reported that Darling and her troupe “have made a big hit with patrons of the popular vaudeville house,” highlighting their classical, modern, and novelty dances, as well as their polished stage settings.
A final notice on Friday, 29 January 1926, announced that Donna Darling and her troupe “will close here on Saturday night,” confirming the end of the engagement and establishing that she remained a principal attraction through the full week, concluding on Saturday, 30 January 1926.
Interpretation and Context
Taken together, these notices establish that Donna Darling’s appearance at the Lyric Theatre ran for the full week of 25–30 January 1926, and that she was consistently presented as a leading or headline vaudeville attraction. While the precise order of performances within the daily programs cannot be determined from these sources alone, the repeated emphasis on Darling’s revue, its expense, and its favorable reception supports the conclusion that she held a prominent place on the bill.
This Hamilton engagement also illustrates the international scope of Donna Darling’s career during this period, as she moved readily between American and Canadian venues while touring established vaudeville circuits.
Conclusion
The Hamilton Spectator coverage provides clear, contemporaneous documentation of Donna Darling’s appearance at the Lyric Theatre in January 1926. These articles not only confirm dates and billing but also offer valuable insight into how her act was perceived by audiences and critics at the time. As additional newspaper coverage and theatre records surface, they will continue to refine our understanding of her professional itinerary and standing within the vaudeville world.
Endnotes
The Hamilton Spectator, January 23, 1926, Page 9, via Newspapers.Com
The Hamilton Spectator, January 25, 1926, Page 4, via Newspapers.Com
The Hamilton Spectator, January 26, 1926, Page 4, via Newspapers.Com
The Hamilton Spectator, January 27, 1926, Page 4, via Newspapers.Com
The Hamilton Spectator, January 29, 1926, Page 4, via Newspapers.Com
Disclaimer This article was researched and written by the author. ChatGPT was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.
The Scarborough Historical Society has several photo collections featuring various people and places. Today, I look at four photos from the Linwood Dyer Collection, two of Scarborough people, one from the 1920s vaudeville, and one of a Portland, Maine, landmark area.
Carrie Ella (Libby) Merrill, circa 1900
Photographer: Hanson, 12 Monument Squ., Portland, Me. Inscription: Carrie Libby Merrill Description: This is a formal studio portrait of a young woman, likely taken in the late 19th or early 20th century. The image has a gentle, softly faded quality, consistent with albumen or early silver gelatin prints, and is mounted on a decorative studio card. Research:
According to Portland City Directories, M. D. Hanson studio moved from 12 Monument Square to 512a Congress in 1918.
The Alumni pages from the 1924 Scarborough High School yearbook list “Carrie (Libby) Merrill, Scarborough” as a member of the class of 1895.
The 1895 Graduating Exercises for SHS lists Carrie E Libby in the Music Program.
A search of Ancestry.com yielded Carrie Ella Libby, daughter of Henry Rufus and Mary Catherine Libby. Carrie was born in Scarborough on 22 Sep 1878. She married Aubrey Frank Libby in 1902 and divorced him about 1910. She then married William LeRoy Merrill on July 14, 1911.
Dating the Photograph:
Although Carrie’s second-marriage surname is written on the back, it appears to be in ballpoint pen. So, I’m sure her name was written on the back long after the photo was taken.
Carrie’s dress, high collar, puffy sleeves, and hair suggest a date range from the mid-1890s to the early 1900s.
The vignetted photograph became popular in the late 1890s and continued into the early 20th century.
She appears to be in her early 20s in the photo.
Taken together, I feel comfortable dating the photo circa 1898-1905.
Photographer: Kennedy – Portland, Me. Inscription: Sincerely “Margie” ’35. Description: A high school photo on the cover with the word “Scarborough” above a school entrance door. Research:
The 1935 Scarborough High School yearbook[i] shows a photo of the same girl, in the same clothes, labeled Margery Milliken “Margie.”
Newspaper clippings in the Scarborough Historical Society, Digital Collection, indicate that Margery Ella Milliken married Leroy Haden Fancy.
Ancestry Family Trees identify Margery’s parents as Oliver Melville and Lida E. (Harmon) Milliken. Margery was born on 3 Aug 1917 in Scarborough. She married Leroy Fancy on 14 Dec 1941 and died on 7 March 2011.
“The Duchess of Dishwater” Leonard Young, c. 1923.
Photographer: G W (George W. ) Penny, Winnipeg Inscription: To Winter, Eternally his, Pearline, Duchess of Dishwater, Leonard, 1923-24. Description: A full-length studio portrait of a woman in an elaborate 1920s theatrical costume, wearing a draped gown, long pearls, and a decorative headpiece, posed dramatically against a dark backdrop. The photograph is signed and dated 1923–1924, indicating a stage or vaudeville role. Research:
In 1923, “The Duchess of Dishwater” was a popular comedic theatrical sketch performed by Leonard Young, a well-known vaudeville actor of the era. The sketch was a staple of the vaudeville circuit and small-town theaters in the early 1920s, remaining in active performance through at least 1925.
The Winnipeg Free Press Evening Bulletin of Sep 15, 1923, page 34, reported that the “Originals” were coming to the Walker Theatre on October 1st. The “Originals” included many artists, including Leonard Young, who arranged the destinies of the entire show, designed the costumes, and composed much of the music.
My grandmother, Donna, played at the Walker Theater in 1920 in “Chin Chin.” So, I searched several newspaper sources and did not find that Leonard Young and Donna Darling ever played the same theaters at the same time.
Portland Museum of Art – Demolition – c. 1973
Portland Museum of Art – Demolition – c. 1973
Description: This is a photo of demolition at the campus of the Maine Museum of Art. In the distance is the Holiday Inn By The Bay nearing completion. Research:
The angle of the photo shows part of the Portland Art Museum (Portland, Maine) under construction. The Holiday Inn By The Bay, which opened in May 1973, is clearly under construction in the distance, dating the photograph to c. 1973.
Conclusion
These four photographs, drawn from different decades and contexts, illustrate the remarkable breadth of the Linwood Dyer Collection. Whether documenting Scarborough residents, a vaudeville performer at the height of popularity, or a changing Portland streetscape, each image preserves a moment that might otherwise be lost to time. If any of these faces or scenes are familiar to you, I would be pleased to hear from you. My continuing goal is to reconnect these photographs with the families and communities to whom they belong.
Disclaimer: This article was researched and written by the author. ChatGPT was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.
Endnotes
[i]The Four Corners – 1935 – (1935 Scarboro High School yearbook) – Page 9. Internet Archive.
I have long enjoyed photographs of school classes. They offer a rare glimpse into everyday life, capturing not only faces from the past but also the rhythms of education, community, and childhood in earlier generations. The Scarborough Historical Society holds a substantial collection of school photographs spanning many decades. In this article, I examine four such images, focusing on surnames, identifications, and what can be learned through comparison with town records, census data, and visual clues.
Black Point School Students, c. 1916
Black Point School Students, c. 1916
Description: This is a formal outdoor school photograph from the early 20th century, likely taken around 1915–1920. It appears to be a copy of the photograph and not an original photo. Inscription: The back lists the students and teachers.
Front Row (Left to Right): Elwood Harmon, Maurice Libby, Millard Fredricks, Winslow Seavey, Louis Larrabee, Walter Fredrick, Bill Googins
2nd Row (Left to Right): Elizabeth Newcombe, Katherine Newcombe, Mabel Libby, Charlotte Googins, Molly Pillsbury, Lois Pillsbury, Priscilla Googins, Lena Skillings, Helen Libby, Louise Bimpson
3rd Row (Left to Right): Arthur Emmons, Perly Meserve, Walter Bimpson, Roland Meserve, Ernest Emmons, Ben Seavey, Raymond Libby, Harold Emmons – Teacher: Bertha Newcombe
4th Row (Left to Right): Teacher: Jenny Harmon, Tom Seavey, Louis Larrabee, Laurence Harmon, Clyde Harmon, Fred Skillings, Leonard Emmons
Research: Several lines of evidence help establish the date of this photograph.
Birth records indicate that the boys seated in the front row were born between 1908 and 1910, placing their apparent ages between 5 and 8 at the time the photograph was taken. This suggests a likely date range of 1915 to 1918.
The 1920 U.S. Census shows that the first three boys in the front row—Willard (Millard), Eldred (Elwood), and Maurice—all lived on Black Point Road, supporting the likelihood that this was a neighborhood school cohort.
The 1914 Scarborough Town Report does not list Bertha Newcombe as a teacher, but does list Jennette Harmon at Pine Point School.
By contrast, the 1915 Town Report shows Bertha Newcombe teaching at Black Point School beginning in the fall of 1915
Clothing styles and visible tree foliage suggest the photograph was taken in spring rather than fall. Taken together, these factors strongly support a date of spring 1916, with a reasonable range of 1915–1917.
I am confident this photo was taken between 1915 and 1917, most likely in the spring of 1916, at Black Point School.
Pine Point School Students, 1945
Description: This is a mid-20th-century class photograph from Pine Point School, clearly labeled 1945, with the teacher identified as Mrs. Cook. The photo appears to be a copy, not an original print. Inscription: Printed labels on the photograph identify nearly every child by name, row by row, with two noted as “Unknown.”
Back Row (Left to Right): Dotty Townsend, Harry Collins, David Collins, Dewey Thompson, Roland Collins, David Green, Carol Libby
Middle Row (Left to Right): Lillian Townsend, Unknown, Dianne Ridlon, Ann Fogg, Jeanne Ridlon, Muriel Googins, Jane Carter, Virginia Sampson
Front Row (Left to Right): Bruce Thurlow, June Collins, Brent Turner, Arlene Townsend, Unknown, Fred Bayley, Thelma Libby, Mary Turner, Richard Sampson
Research: This photograph is clearly dated 1945 and identifies Mrs. Cook as the teacher. Nearly all students are named directly on the image, an uncommon but invaluable feature.
The photograph is known to have originated from the Bruce Thurlow collection, providing reliable provenance, even though the print appears to be a later copy rather than an original.
Two students remain unidentified. Readers who recognize either individual are encouraged to share that information so the record may be completed.
Dunstan Grammer, 7th Grade Class, c. 1952.
Pine Point School Students, 1945
Description: A formal Dunstan Grammar School, Grade VII, class photo taken in the late 1940s or early 1950s. On the wall is a sign that reads, “Our Next President.” Inscription: None. Research:
This Grade VII class photograph includes a wall display reading “Our Next President.” The portraits visible do not appear to depict Harry S. Truman or Thomas E. Dewey, effectively ruling out a 1948 context. The 1952 presidential election featured Dwight D. Eisenhower and Adlai Stevenson II.
One of the portraits appears to be Eisenhower, while the second is less certain—possibly a second image of Eisenhower or a portrait of Stevenson. Based on this civic display and the classroom context, the photograph was most likely taken in fall 1952, after Eisenhower’s candidacy was well established but before his January 1953 inauguration.
No students in this photograph have yet been identified. Do you recognize anyone? If so, please comment below.
Scarborough High School (Oak Hill/White School) students, c. 1918-1922
Scarborough High School (Oak Hill/White School) students, c. 1918-1922
Description: This large group photograph was taken in front of Scarborough High School, also known as the Oak Hill or White School. Inscription: None Research:
Mr. Bessey stands in the back row, positioned directly in front of the right-hand school door, likely serving as a teacher or administrator.
The girls’ hairstyles—long, center-parted, and pinned—are consistent with fashions prior to the widespread adoption of bobbed hair, which became common around 1922–1923.
Clothing styles and the overall composition suggest a likely date range of 1918 to 1922.
At present, none of the students are identified.. Do you recognize anyone? If so, please comment below.
Conclusion
These four photographs span more than three decades of Scarborough’s educational history, from small neighborhood schools to larger consolidated classes. Together, they illustrate both continuity and change—classroom size, fashion, civic instruction, and community structure. While many faces are already named, others still await identification. As always, additional information from readers, family records, or town documentation is welcome to help ensure these images are preserved not only as photographs but as fully documented records of Scarborough’s past.
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.
Relationship – Ancestor #32
List of Grand-ancestors
4. – Grandfather: James Dallas Howell (1879-1964) 8. – 1st Great-grandfather: Peter Fletcher Howell (1842-1924) 16. – 2nd Great-grandfather: Peter M. Howell (1805-1865) TBD. – 2nd Great-granduncle: Henry Howell (c. 1807-____) TBD. – 2nd Great-granduncle: Gideon Howell (c. 1808-____)
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, Lines 28-30: 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, 18th name down:
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.
