Donna and “Chin Chin” play at the Regent Theatre in Muskegon, Michigan, on 23 February 1920.
February 1920 was a busy month for the cast and crew of “Chin Chin.” They began the month in Minneapolis and played across Wisconsin, on to Indiana, and then up to Michigan. I know they played the Powers Theatre in Grand Rapids, Michigan, on Feb 20th and 21st. They probably had off Sunday, 22 February. Then they opened for one night at the Regent Theatre in Muskegon, Michigan.
A standard “To the General Public” announcement was published by Paul J. Schlossman in the Muskegon Chronical on February 18th letting the General Public know that “Chin Chin” was coming to the Regent Theatre on Monday, February 23, 1920. There would be two shows, a matinee at 2:30 and an evening show at 8:15.
The Thursday paper before the show featured an article and a photograph. The article read:
Charles Dillingham’s Chin Chin, with a record of two solid years at the Globe theater, New York , and heralded as the greatest of all musical comedies comes to the Regent theater for a matinee and evening performance Monday, Feb. 23.
In the production of “Chin Chin” the producer, Chas. Dillingham is providing a glorious festival of fun and spectacular attractiveness, demonstrations of grotesque acrobatic specialties and dancing in numerous through this very musical concoction. Those who heard “The Pink Lady” and “The Little Café” cannot fail to anticipate with pleasure the prospect of hearing further gems in “Chin Chin” from the gifted composer, Ivan Caryll.
Charles Dillingham long ago established a reputation for good taste in his production so far as color, light, groupings, music and expression go to make up an ensemble. In the company are clever comedians, talented singers and dancers, besides plenty of beautiful, radiant women. The production in its original New York entirety will be seen here. By the box office returns, the most potent argument in the theater when the entertainments such this are under consideration, “Chin Chin” is the greatest and best.
Certainly the most exacting and sophisticated taste will ask for little or nothing more in facile playfulness, pretty dresses, swift dances and prankish amusement than this production has to offer.
Ivan Caryll’s score is rich with ingratiating melodies, and the various stage settings make attractive pictures.
It is unlikely that the cast and crew had off on February 24th, so I need to continue searching for a venue that they played that day. It is probably a town between Muskegon and Bay City (but not Grand Rapids). “Chin Chin” played in Bay City on the 25th.
The Regent Theater, designed by Detroit architect C. Howard Crane, was built by Paul Schlossman in 1916. None of the theatrical guides that I have indicate the specifics of the theater, however, other sources indicate the seating was 1,100. A new façade and marquee were installed in 1939. The theater was demolished in 1972 to make way for the Muskegon Mall. The mall was torn down in 2003.[ii]
Today, the location of the Regent Theater is an open park-like area with picnic tables next to the Muskegon Area Transit System.
Find a theater guide from the 1920s and incorporate theater specifics from it into this article.
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[iii] Image 10 Of Sanborn Fire Insurance Map From Muskegon, Muskegon County, Michigan. “. 2019. The Library Of Congress. Accessed August 16 2019. https://www.loc.gov/resource/g4114mm.g04122195001/?sp=10&r=0.498,0.987,0.434,0.213,0.
I have able to find 20 of the 29 days that February the venues that “Chin Chin” played during the month. Beginning in Minneapolis, the show played across Wisconsin, they had a few shows in Indiana before arriving in Michigan. The cast and crew played in Bay City on the 25th and moved on to Saginaw on the 26th.
Saginaw News Courier – February 19, 1920 – Page 9[i]
Chin Chin Coming
Charles Dillingham’s greatest Musical Comedy success Chin Chin is coming to Saginaw Thursday, February 26, for one performance at the Auditorium. This play appeared first at the Globe Theater in New York for two solid years and is now on a transcontinental trip touring the middle-west for the first time.
In the leading roles will be seen Walter Wills and Roy Binder who come with the stamp of approval won in such productions as “The Wizard of Oz,” “The Red Mill,” “Hitchy Koo, etc. The company Is the largest musical company aggregation on the road today comprising 65 people, mostly girls and Tom Brown’s famous Clown Saxophone band. Charles Dillingham’s name is associated with the biggest and best theatrical Enterprises such as the Hippodrome and Globe Theater in New York some of his latest Productions are “Jack O’ Lantern” with Fred Stone, “The Canary” with Julia Sanderson and Joe Cawthorn, “Hip Hip Hooray” with 1200 associates with “Everything” which has suppressed all records at the New York Hippodrome
Chin Chin is a fantastic production which in Oriental and Old English costuming, in seven sets, including the most startling surprises ingenious trickery and grotesque dancing in plenty, affording an entertainment that is clean and wholesome, proving hilarious amusement for both young and old, which qualities are the making of a particular success of the theatrical magnate, Charles Dillingham.
The following day, the newspaper carried a “Chin Chin” standard announcement indicating the Auditorium manager, W. S. Butterfield” was pleased to announce the coming of “Chin Chin” on Thursday, February 26th.
Also, on the 20th was a very odd article, that I’ve not seen before that may give insight into the theatre audiences of 1920.[ii]
There appears to be little doubt that Charles Dillingham’s production of “Chin Chin,” with Walter Wills and Roy Binder in the lead will play to a capacity audience at the Auditorium when it is presented there next Thursday evening.
R. H. Burnside of the Dillingham forces, who staged “Chin Chin,” recently said that it was only the old-time musical show—the kine put on in a hurry and made up of old stuff—that was suffering.
“If there is any trouble at all,” he said, “it comes from the growing public demand for something better, more skillful, larger. People in the road towns as a rule don’t see the metropolitan production and they are getting tirie of it. What used to go in the small town goes no longer, they demand a play as large, as clever, as sparking and as capably played as the New York audience gets. The small town mind is growing with brutal rapidity, and as it grows the old standards of musical comedy cease to please. If we are going to keep in the game we will have to give them something more stimulating to the imagination, more artistic, with more originality, and a simplier yet larger horizon. Such is exactly the case of Charles Dillingham’s only company appearing on the road this season in that everlasting and delightful production of ‘Chin Chin’ with Walter Wills and Roy Binder in the leading comedy roles.
“People have been looking at the old things so long they are tired. For a long time they looked at them because they didn’t know the stage could offer anything better. Now they are rebellious, and it is up to the producers to make good.”
The Saginaw News Courier does a particularly good job at promoting the show. The following day is a lovely article describing the show.[iii]
“Chin-Chin” has a name of magic—music that is sorcery—bebars and little furry things that open their mouths amazingly and wave their ears when you are expecting it; coolies, little Chinese maids, mandarins, tiny children, clowns and bareback riders (with the really, truly, big white circus horse rambling gently and fatly around the ring), toys that wig-wag their little arms, a great stir of fun, a dainty little maid, a Japanese doll woman, and Aladdin—the figure that looms high in all child’s minds, be they Chin Chop Hi, the slaves of the lamp. All this and so much more that no one ever could tell you about if he thought until he went round in a circle, you can find in this clear, sweet, beautifully colored, musically rich show.
For “Chin Chin” throws the splendor of its dazzling light over your thoughts; it gilds the heart and melts the years away. There is the chop-chop song that rouses all the mirth you have under your waistcoat. There are dozens of bits of fun, or beauty, or wonder, or color, each a separate delight.
This show of wonders come to the Auditorium for one performance next Thursday evening February 26, and mail orders for tickets are now being filled as received at the Auditorium Box office.
The next day, the newspaper had a wonderful description of how many of the 30+ women in the show were selected.[iv] On the same page was an image of “Tom Brown’s Famous Clown Saxophone Band.”[v]
In the chorus of “Chin Chin” to be seen at the Auditorium next Thursday evening, there are 30 girls. More than two-thirds of those girls have never been seen either here or in New York. The chorus is said to be made up of some of the most beautiful young women ever seen on the stage. They have been chosen from the ranks of the prettiest girls of every state of the union.[vi]
By an arrangement that was made with a talking machine company, out of town applicants for positions in the chorus who were unable to go to New York were the engagements were made, had their voices recorded on disk records at the various agencies and the same were sent to Manager Charles Dillingham for consideration. All of the applicants wrote that they were anxious to begin their stage career under his direction.
The competition lasted for two months and those selected were given contracts and were notified to be ready for rehearsal. By this means Mr. Dillingham believe that he has secured a unique chorus, well chosen for voice and beauty, the engagements being unprejudiced by any personal reasons.
Among the typical beauty chorus are two from Chicago, one from Denver, one from Boston, three from California, two from Philadelphia, two from Cleveland, one from Sioux City, two from New Orleans, one from Tallas, Tex., one from Duluth and one from Cheyenne, Wyo.
One result of this original scheme of selection is the report from Mr. Dillingham’s stage manager that he find in the chorus a maximum of enthusiasm, intelligence and ambition, thus rendering his work much less strenuous and fatiguing than usual and furthermore giving promise of specially fine ensemble work. Main orders are now being filled and the regular advance sale will open Tuesday.
Saginaw apparently did not have enough hotel accommodations to meet the needs of the “Chin Chin” company. As such the show took out ads looking for “Furnished Rooms for the Members of the “Chin Chin” Company. I can’t imagine that happening today.
There were advertising articles and visual ads every day until the show.
After the show there was a rare review article about the show that mentioned Donna having a radiant voice as the Goddess of the Lamp.[vii] (Note: The bold emphasis is mine.)
“CHIN CHIN” IS PLEASING TO BIG AUDIENCE By Joseph W. Brady.
A Good performance of the long established musical comedy favorite, “Chin Chin,” was given at the Auditorium Thursday evening; and that it was good is proven by the unmistakable verdict of the large audience, which at times came near to stopping the chow by insistence upon more than full measure; as in the dance by Walter Wills and Irene McKay, and the appearance of the clown saxophone band under Lew Gould’s leadership. The much used descriptive tern, “colorful,” is decidedly applicable to “Chin Chin,” which is fairly resplendent in richness and variety of costuming and staging, abundant in incident, and replete with musical number that long since came into vogue and which prove their quality aby their continued hone on popular favor. The presenting company, Thursday night, carries a very much alive chorus and one that actually sings pleasingly and in volume sufficient to justify its numbers; in addition to all of which the girls are good to look upon. In solo singers there are also a number who actually sing and who have worthwhile voices, which is particularly true of radiant Donna Montran, Goddess of the Lamp, Ethel Lawrence, the Violet Bond of the evening, contributes to the song pleasure of the production, as does also the clever Sen Sen work of Neva Larry, and the male honors in vocalism are achieved by Stare Dunham acceptably cast in the role of Aladdin. There is also given much and good dancing, and the circus specialties introduced in the second act are highly diverting and picturesquely presented.
The musical comedy, or musical fantasy as “Chin Chin” is appropriately enough called, the strength of the whole depends upon the keystone, which is the comedy and the comedians, and the evident amusement of Thursday night’s audience is proof enough of the excellent quality of the bill of fare served. Walter Wills and Roy Binder as custodians of the major part of the fun making, and they fit to a nicety as a team. Mr. Wills carries by far the greater part of the burden of work, and carries it masterly style, throughout a succession of roles which demand versality to an unusual degree in this very difficult business of being a really artistic mirth producer. He is ably abetted by his partner and by the very clever woman, Carrie Dale, who wears the Chinese equivalent of widow’s weeds as the Widow Twankey, and mother of Aladdin.
As a matter of justice, it is due the “Chin Chin” company appearing in Saginaw to stat that in the matter of consistently sustained work and indefatigable effort to please, as well as lively personal interest in the work in hand the aggregation established a record.
According to the Cann-Leighton Theatrical Guide of 1913-14[viii], the Auditorium was, by far, the largest theatre in Saginaw at the time. Its capacity was over 3,500 compared to 3,274 for the other three theaters in Saginaw combined.[ix] The theater was built in 1908, so it was only 12 years old when “Chin Chin” played there. Seating included 1,859 on the lower floor, 814 in the Balcony, and 820 in the Gallery.
The stage was very large — 50×32 feet. It had six stage pockets and a 10-foot apron.
According to the 1920 Census, Saginaw had a population of 61, 903. A theatre that held over 5½ percent of the entire town’s population was large indeed.
The Auditorium Theatre was closed and demolished in 1972.[x]
Today the site is an AT&T Parking Lot.
My known schedule for “Chin Chin” has a two-day gap between the Saginaw show and the Whitney Theater show in Ann Arbor on the 28th. There were direct connections between Saginaw and Flint, Owosso, Lancing, and Detroit. It is likely the show went to one of those towns before going on to Ann Arbor.
Apparently, her mother died last year and as she was going through her mother’s things, she found a poem in a jewelry box by Russell E. Kees. As we compared notes, we learned that both her mother, the former Rosella VanderKlok, and my Uncle Russ were born in 1927, so they were contemporaries. Additionally, Rosella grew up and lived in Grand Rapids, Michigan, until the 1950s. My uncle lived in Grand Rapids from about 1937 to about 1944. So they were in the same place at the same time. So, there is no doubt in my mind that the poem, “To Rosa” is a poem from my uncle to a young woman, written sometime from when they were teens, probably 16 or 17 years old.
I’ll admit I’m rather slow,
When it comes to words of grace,
So I’ll tell it to you in a poem,
Rather than face to face.
I realize we’ve barely met,
Except for a week or two,
But I think that the time is coming close,
To speak of my love for you.
No don’t get red and blush and fret,
‘Cause it happens every day,
Boy meets girl, and falls in love,
That’s why I feel this way.
I may joke like I did last night,
About things we were going to do,
But deep inside, I keep the hope,
That someday they might come true.
I was happy to see you wear my ring,
And although I have no right,
To lie here in bed and think of you,
As mine for a single night.
I’ve tried for an hour to write a poem,
Explaining just how I feel,
But after I’ve read it, (and I’m glad that I said it)
I feel like a lowdown feel.
So here is the poem I said I would write,
God help me for being blunt,
But truth is stranger than fiction, you know,
And the true is, this poem’s NO stunt.
May God give me the courage to look you in the eye again
after you’ve read this!!!!!!
THE WORST THING I’VE EVER WRITTEN
(But the Truest)
by Russell E. Kees
Russell and Rosa must have had a very special relationship for Rosa to have kept the poem for nearly 75 years. The poem also provides insight into Russell, whose youth experiences have always been a mystery to me. My thanks to Lisa for sharing this glimpse into their teenage lives.
By Don Taylor
My half-brother’s (Tom) maternal line has been difficult to trace, mostly due to unusual names. His great-grandmother’s name is probably Ottilie Salefske. But in various records, I’ve seen her named Ottlie, Tillie, Lillie, Tily, and even Matilda. Likewise, her surname is spelled a half a dozen ways also, It seems like I need to search using lots of question marks, “S?l??sk?”. As such, neither he nor I were successful in finding Ottilie in the 1900 Census. So, I gave it a try leaving the surname off completely. I searched for her father, “Charles” and his wife “Hattie” with a child “Albert.” Albert is believed to be Ottilie’s next younger brother. They are all names that are common enough to typically be spelled correctly in the Census record and to be interpreted by indexers correctly. It didn’t matter if I searched using Ancestry.Com or Family Search, the correct family was found immediately with a completely different, but understandable, spelling – “Lelensky.” So, if you can’t find someone in a census that you should, be sure to try searching without the surname and enter just the relationships of several first names.
1900 Census – Michigan, Wayne, Detroit, Ward 14
Enumeration District 156, Sheet 18
Lines 6 through 14 – 246 Lovett
Lelensky [Salefske] Charles – Head – May 1855 | 45 – Married 10 years – Born Germany, PR Immigration 1888 in the US for 11 years – Machinist – Owns House.
– Hattie – Wife – June 1857 | 42 Married 10 years, 3 children born, 3 living – Born Germany, PR – Immigration 1879, in US 20 years.
– Otto – Son – July 1880 – Age 19 – Born Germany, Pr – Immigration 1888, in US 11 years. – Brass Finisher
– Odilia – Daughter – Dec 1883 – Age 16 – Born Germany, Pr – Immigration 1888, in US 11 years.
– Albert – Son – Mar 1886 – Age 14 – Born Germany, Pr – Helper Machinist – Immigration 1888, in US 11 years.
Sauli [Sante?], Anna – S. Daughter Jan 1887 Age 13 – Michigan At School
– Walter – S. Son Mar 1888 – Age 11 – Michigan At School
– Hugo – S. Son – Nov 1891 – Age 2 – Michigan
Salensky, Louise – Mother – Jan 1818 – Age 82, Wd 4 children, 4 living – Germany, Pr. Immigration 1893, 6 yrs in the US
All parents were born in “Germany, Pr.”
The great thing about this census record is that it clearly shows that Hattie was in the United States before Otto, Ottilie, and Albert came to the United States.
Also, it shows that Anna, Walter, and Hugo are all stepchildren to Charles.
One obvious mistake is that Hugo, who was born Nov 1891 is identified as only 2-years-old instead of 8 years old. It does make some dates a little confusing; if Charles and Hattie had been married for 10 years, how did Hugo, age 8, become identified as a step-son? Even if Hattie were pregnant with Hugo when she and Charles married, it would seem incorrect. I need to search further to find Charles and Hattie’s marriage record.
Huber and its derivatives (Hubbard, Hibbert, Hibbins, Hibbs, Hibson, and possibly Hoover) derive from the word, hube, a measure of land that could sustain and be worked by one farmer’s family. The name Huber designated the farmer who owned a “hube.”
The name is most prevalent in Germany (over 122,000 people) and most common in Austria where it is the second most common name in the country. In Switzerland, where Mary-Alice’s ancestors came from, it is the 7th most common name with 1 in 308 people have the surname.
Mary-Alice’s immigrant ancestor, John Huber, came from Switzerland in 1901 and settled in Wisconsin. In 1910 he and his wife, Bertha, located to Alabama. In 1920, they moved to Saginaw County, Michigan and remained there the rest of their lives. The 1920 Census indicates there were 162 Huber families in Michigan. John’s only son, Clarence, had no children, so the surname ended with Clarence. John’s daughter, Florence, was Mary-Alice’s maternal grandmother.
John Huber was the son of Jacob Huber and Kath Stuckling of Windlach, Zurich, Switzerland. I believe he had four siblings, Ernie, Hermann, Frieda, and Alfred. I know nothing about those siblings and need to research them in the future.