Donna Montran in Chin Chin at the Drohen Avenue Theatre, Dunkirk, NY – March 8, 1920

Posted on August 7, 2026 by Don Taylor

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

  1. “Drohen Avenue Theatre” (display ad). Dunkirk Evening Observer, March 5, 1920, p. 6. Accessed via Newspapers.com (image no. 56318268).
  2. “Chin Chin at the Drohen Avenue Theatre.” Dunkirk Evening Observer, March 6, 1920, p. 9. Accessed via NewspaperArchive.
  3. “‘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..
  4. “Capitol Theatre.” Cinema Treasures. https://cinematreasures.org/theaters/3092
Posted in 1919-20 - Chin Chin, Donna Montran, In the news, Theatre History, Vaudeville | Tagged , , , , , , , , | Leave a comment

Donna Montran in Chin Chin at the Lyceum Theatre, Rochester, NY – March 4–6, 1920

Posted on August 4, 2026 by Don Taylor

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.”

Newspaper feature headlined “Rochester Girl with Musical Extravaganza” showing a portrait of Donna Montran in costume, with caption identifying her as the Goddess of the Lamp in Chin Chin at the Lyceum Theatre
“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]
Democrat and Chronicle theatre review of Chin Chin at the Lyceum, March 5, 1920, naming Donna Montran and Ethel Lawrence as the Goddess of the Lamp and the American heroine
“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.

Vintage color postcard of the Lyceum Theatre, Rochester, New York, showing the red-brick facade with a horse-drawn carriage and early automobile parked outside
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]

Black and white photograph of the Lyceum Theatre entrance at 36 Clinton Avenue, Rochester, New York, with a marquee reading “The Garden of Allah” and period automobiles parked at the curb
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

  1. “Rochester Girl with Musical Extravaganza.” Rochester Herald, March 6, 1920, p. 11. Physical clipping, Donna Montran Collection.
  2. “Chin Chin.” The Times-Union (Rochester, New York), March 1, 1920. Physical clipping, Donna Montran Collection.
  3. “Chin Chin.” Democrat and Chronicle (Rochester, New York), March 1, 1920, p. 14. Accessed via Newspapers.com (image no. 135451482).
  4. “Lyceum Theater.” The Times-Union (Rochester, New York), March 3, 1920, p. 28. Accessed via Newspapers.com (image no. 1279345711).
  5. “In the Theaters.” Democrat and Chronicle (Rochester, New York), March 4, 1920, p. 11. Accessed via Newspapers.com (image no. 135451621).
  6. “In the Theaters — Lyceum Theater.” Democrat and Chronicle (Rochester, New York), March 5, 1920, p. 20. Physical clipping, Donna Montran Collection.
  7. “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
  8. “Chin-Chin, Or A Modern Aladdin.” Operetta Research Center. http://operetta-research-center.org/chin-chin-modern-aladdin-musical-fantasy-music-ivan-caryll/
  9. 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).
  10. 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
  11. “Lyceum Theater.” Cinema Treasures. https://cinematreasures.org/theaters/52670
  12. Comment by jverschakelen, April 14, 2026, on the Cinema Treasures Lyceum Theater page, citing George Cukor: Interviews (University Press of Mississippi, 2001), p. viii.
Posted in Theatre History, 1919-20 - Chin Chin, Donna Montran, Vaudeville | Tagged , , , , , , , , , | Leave a comment

Donna in the News – Hagerstown, MD, November 1920.

Posted on August 1, 2026 by Don Taylor

“Ten of California’s Selected Peaches”: Donna Montran Brings the Bathing Beauties to Hagerstown — November 1920

1920 newspaper review praising Donna Montran and Tom Rooney's Bathing Beauties at the Maryland Theatre
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.

1920 theatrical calendar listing Tom Rooney presents Donna Montran and Bathing Beauties at the Maryland Theatre

“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.
Posted in Beach Promenade (1920), In the news, Vaudeville | Tagged , , , , , , , , , , , , , , | Leave a comment

Confirming Uncle Russ’s Military Service

Posted on July 29, 2026 by Don Taylor

Brown-Montran Line
By Don Taylor

When I set out to confirm Russell’s Korean War service, my search on Fold3 turned up only his draft card — no service record at all, which genuinely surprised me given how confident I was about his military service.

Uncle Russ’s Draft Registration

Russell registered for the draft on August 29, 1945 — his eighteenth birthday, and just months after his January commencement from Southwestern High. The card places him at 8542 Olivet Street in Detroit, working at Western Auto’s Woodward Avenue location, his first documented job before the electrician’s work he’d take up by 1950. The registrar’s physical description gives us the young Russell in miniature: five foot eight and a half, 142 pounds, blond hair, blue eyes, light complexion — “none” listed under other identifying marks, about as unremarkable a description as a Selective Service clerk could offer a boy who’d already crossed an ocean twice before he could walk. Perhaps the most telling detail, though, is administrative rather than physical: the card lists his mother as the person who would “always know his address,” and records her not as Donna Montran or Donna Knight, but as “Mrs. Russell Kees” — her apparent common-law married name.

Uncle Russ’s Military Service

Photo of the Columbarium - National Memorial Cemetery of Arizona
Columbarium – National Memorial Cemetery of Arizona
Photo: Jerry C. Goldsmith via Find-a-Grave
Photo of Russell E. Kees' Niche Marker.

Niche Marker – Russell E. Kees
Photo by Jerry C. Goldsmith via Find-a-Grave

With no military record for Uncle Russ turning up on Fold3, I tried Find-A-Grave instead, and there I found his niche marker. I’d seen buildings like the one housing his niche before and always wondered what they were called — turns out the word I’d been missing is columbarium, a building of niches for cremated remains. Along with a photo of the niche marker itself, Find-A-Grave also had a photo of the columbarium where he’s located. That niche marker at the National Memorial Cemetery of Arizona gave me exactly the confirmation Fold3 couldn’t: Russell had been a corporal in the U.S. Army, and he served in Korea.

Donna’s Partner: Russell Harrison Kees’s Draft Card

While I had draft records on my mind, I went looking for Russell Harrison Kees’s card as well — the man my mother and uncle took their surname from, though Donna’s partner never married her or legally adopted either of them. The 1940 census had listed Donna as his wife, but his February 1942 draft card tells a different story: the person he named to “always know his address” was the Commonwealth Loan Co., at the National Bank Building in Grand Rapids — not Donna. That suggests the relationship had ended sometime between April 1940 and February 1942.

That timing raises its own puzzle. In a 2001 letter, my mother told me that she, Donna, and Uncle Russ moved to Detroit in 1941, “after Harvey’s death.” But Harvey Knight didn’t die until May 1942. So something doesn’t line up — whether it’s the date of the move, the reason for it, or my mother’s memory of the sequence, I can’t yet say. What is clear is that the breakup with Donna’s partner and the move to Detroit both happened somewhere in that same narrow window between 1940 and 1942.

Russell Harrison Kees

  • Born: May 4, 1899, Milwaukee, Wisconsin — likely a WWI veteran, given his age and the shrapnel wound noted below
  • Residence: 37 Shelby St. SW, Grand Rapids, Michigan
  • Employer: McInerney Spring & Wire Co., 655 Godfrey Ave. SW, Grand Rapids
  • Description: 6′, 225 lbs, hazel/brown eyes, gray hair, light complexion; shrapnel wound to left kneecap

Sources:

  • WWII Draft Registration Cards for Michigan, 10/16/1940 – 03/31/1947, Ancestry, Russell Erwin Kees – Order Number 14618. WWII Draft Registration Cards for Michigan, 10/16/1940 – 03/31/1947.
  • Find a Grave, Russell E Kees, CLP, USA, Korea – 1927-2016. Find a Grave, database and images (https://www.findagrave.com/memorial/161134930/russell_erwin-kees: accessed July 24, 2026), memorial page for Russell Erwin Kees (29 Aug 1927–16 Mar 2016), Find a Grave Memorial ID 161134930, citing National Memorial Cemetery of Arizona, Phoenix, Maricopa County, Arizona, USA; Maintained by Mark Utley (contributor 47178748).
  • WWII Draft Registration Cards for Michigan, 10/16/1940 – 03/31/1947, Ancestry, Russell Harrison Kees – Order Number 11398.
This post was researched by the author, drafted with the assistance of Claude.ai and edited with Grammarly.
Posted in Brown-Montran, Military History/Conflicts | Tagged , , , , , , , , , , | Leave a comment

Donna Darling at Lafayette Square (Buffalo, 1925)

Posted on July 27, 2026 by Don Taylor

In the News
By Don Taylor

In my continuing effort to document the vaudeville career of Donna Darling, I’ve identified a fascinating advertisement published in a Polish-language newspaper that places her performance at the Lafayette Square Theatre in Buffalo, New York, in 1925. This clipping not only confirms her presence on a diverse theatrical bill but also highlights her appeal to immigrant audiences.

The Advertisement

This ad appeared in Dziennik dla Wszystkich (translated: “Journal for Everyone”) from July 27th to August 1st, 1925 (Wednesday through Saturday). This discovery was made possible through the excellent digitized collections at New York Historic Newspapers.

Translated, the advertisement reads:[i]

Comfortable fun at LAFAYETTE SQUARE
Irene Rich in “My Wife and I”

A gripping melodrama centered on a beautiful and morally questionable woman.

Donna Darling (and her) Bathing Girl Revue
with Max Sennett’s Original Beauties

Henry B. Murtagh at the Wurlitzer organ

Performance Details

  • Venue: Lafayette Square Theatre, Buffalo, New York
  • Date: 27 July through 1 August 1925
  • Film Feature: My Wife and I starring Irene Rich
  • Live Act: Donna Darling and Her Bathing Girl Revue with “Max Sennett’s Original Beauties”
  • Music: Live accompaniment by Henry B. Murtagh on Wurlitzer organ
  • Language of Publication: Polish

Analysis & Context

This advertisement provides several important insights into Donna Darling’s career and the broader entertainment environment of the mid-1920s:

1. Integration of Film and Vaudeville

The billing demonstrates the common 1920s practice of combining silent film features with live stage acts. The film My Wife and I, starring Irene Rich, served as the primary cinematic attraction, while Donna Darling’s revue offered a lively stage complement.

2. Association with Max Sennett Branding

The reference to “Max Sennett’s Original Beauties” is significant. Max Sennett was widely known for his “Bathing Beauties,” a popular film and stage concept.

3. Appeal to Immigrant Audiences

The appearance of this advertisement in a Polish-language newspaper underscores the importance of ethnic press outlets in promoting entertainment. The Lafayette Square Theatre in Buffalo actively marketed to Polish-speaking patrons, reflecting the city’s substantial Polish-American community during the 1920s.

4. Musical Accompaniment

The inclusion of Henry B. Murtagh at the Wurlitzer organ highlights the continued importance of live music in silent-era theaters. Organists were integral to the overall theatrical experience, bridging film and live performance.

New Insights

This clipping contributes to the growing documentation of Donna Darling’s touring circuit by:

  • Confirming her presence in Buffalo, New York, in late July and early August 1925
  • Providing evidence of targeted advertising to immigrant communities
  • Reinforcing her association with the popular “bathing girl” revue format

Conclusion

This advertisement offers a valuable glimpse into the vibrant and multicultural entertainment landscape of the 1920s. Donna Darling’s inclusion on this bill reflects both her versatility as a performer and her ability to attract diverse audiences. Each newly discovered clipping such as this helps refine the timeline and scope of her vaudeville career.

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.

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] Thanks to ChatGPT Translate.

Posted in Theatre History, Bathing Girl Revue (1925), In the news, Vaudeville | Tagged , , , , , , , , , , | Leave a comment