In the continuing effort to document the vaudeville career of my grandmother, Madonna Montran (stage name Donna Darling), contemporary newspaper accounts remain invaluable. Each newly discovered engagement helps refine the chronology of her touring schedule and broaden our understanding of her professional reach.
I am particularly pleased to have identified a previously undocumented appearance at the Harris Grand Theatre in Bloomington, Indiana. Every new venue adds depth to the historical record and strengthens the reconstruction of her vaudeville circuit engagements.
Performance Details
Venue: Harris Grand Theatre
Location: Bloomington, Indiana
Dates: Thursday–Saturday, April 23–25, 1925
Circuit: Keith Circuit (Big Time Vaudeville)
Act Name: Donna Darling’s “Bathing Girls’ Revue” (also billed as “Bathing Girl Revue”)
Supporting Performers: Todd Watson; Clarice Allyn (Dancing Gypsies); Al Ross (Eccentric Dancer, From Comedy Studios); Alyce Louyse (Hawaiian Bather); Gerry Gene (Acrobatic Bather and Toe Dancer); Nettie Bennis (Beach Flirt); Betty Bryant (Miss America of Today)
Newspaper Coverage
The Herald-Times (Bloomington, Indiana), Tuesday, April 21, 1925, Page 6
BATHING BEAUTIES COMING Vaudeville Extravaganza at the Harris Grand.
Bathing girls from the west coast motion picture studios will make a personal appearance at the Harris Grand for three days starting Thursday of this week. This revue is called “a vaudeville extravagana” and includes Donna Darling who heads a company of ten people who are to present the biggest novelty of the season. Miss Darling is the winner of many big prizes and is described as the “girl with the million dollar personality.” Before Miss Darling left the California studios for her tour of the principal cities of the country, she surrounded herself with a company of versatile entertainers who were competent to take part with her in her present musical revue. The revue displays the different kinds of bathing suits from Grandmother’s day in which Miss Darling appears in an elaborate silver and orchid gown; a comedy number and on to the present day bather when Betty Bryant, late of the Follies, appears as Miss America. Miss Darling as the globe trotter appears as bathers of various beaches of other nations as well as the fashionable bathing centers of this country. Five high class vaudeville numbers are woven into the revue which is clean refined and most enjoyable.
The Herald-Times, Wednesday, April 22, 1925, Page 6
“BATHING BEAUTIES” IS VAUDEVILLE’S EXTRAVAGANZA At Harris Grand Last Half of Week.
When Donna Darling and her company of bathing beauties appear at the Harris Grand on Thursday, Friday and Saturday, they will present a vaudeville extravaganza which has been a Keith Circuit headliner for a long time. It is a novelty musical revue organized in Hollywood and brought east for a tour of the principal cities. “Bathing Beauties” from all over the world are represented in costume in this unique idea for a novel entertainment and their appearance is woven around a revue that introduces an elaborately staged program, singing and dancing by ten vaudeville artists who also do their individual specialty. Their program runs about forty minutes and is given in conjunction with the feature picture program. In speaking of Miss Darling, Mae Tinee in the Chicago Tribune says that she “is not only beautiful but can sing and dance with unusual ability and her presentations are so charming that she has been justly called ‘the girl with the million dollar personality.'”
The Herald-Times, Thursday, April 23, 1925, Page 4
Opening-day coverage of Donna Darling’s “Bathing Girls’ Revue” at the Harris Grand Theatre. The Herald-Times, Bloomington, Indiana, April 23, 1925.
NOVELTY SHOW AT HARRIS GRAND
Donna Darling and her “Bathing Girls’ Revue” open a three days’ engagement at the Harris Grand today. This is a distinct novelty entertainment and is called “a vaudeville extravaganza.” It is composed entirely of singing and dancing numbers and gets its title of “bathing girls’ revue” for the novel idea introduced by Miss Darling in which she characterizes the many bathing beauties of the different nationalities as well as the different bathing costumes in this country for many years past. Miss Darling has been over the big time Keith circuit of vaudeville many times with her own act, but never before had she had so pretentious an offering as at the present time. Eight people take part in her “vaudeville extravaganza” and every member of the company is a vaudeville artist who introduces their own individual specialty, as well as taking part in the revue. The act is exactly like one of the Shubert Unit shows that were made popular throughout the country only last season. The show will have an elaborate stage presentation at the Harris Grand with an abundance of special scenery and costumes as well as special lighting effects. It will be presented along with the regular feature picture program, which for today and Friday, includes the popular Snowy Baker in “The Sword of Valor” and Benny Leonard in “Hitting Hard.”
The Herald-Times, Thursday, April 23, 1925, Page 5 (Photo Caption)
Here is Donna Darling of the “Bathing Girls’ Revue,” which starts a three days’ engagement today at the Harris Grand theatre. This number is called a “Vaudeville Extravaganza” and includes a novelty program such as has not been seen here before. Miss Darling is a big time vaudeville favorite for many years, and along with her company of eight variety entertainers, will offer a program of song and dance that is sure to make a big hit. The offering is good, clean vaudeville of the Keith Circuit type.
The Herald-Times, Friday, April 24, 1925, Page 2
Advertisement for Donna Darling’s “Bathing Girl Revue” at the Harris Grand Theatre, Bloomington, Indiana. The Herald-Times, April 24, 1925.
HARRIS GRAND THEATRE “BATHING GIRL’S REVUE” BIG VAUDEVILLE ACT AT THE HARRIS GRAND
Donna Darling and her “Bathing Girl’s Revue” came to the Harris Grand yesterday for a three days’ engagement. This is a big high class vaudeville number, composed of eight singers and dancers of exceptional ability and the whole number is mounted in an elaborate manner and staged in a real showman like style. The act runs thirty minutes and in this half hour they crowd more entertainment than would usually be found in a full hour’s show. Many foreign type of bathing girl is shown in their native costume and dances of each country represented are given. With the act is an expert dancing master, who has been associated with Miss Darling in her tours over the big Keith vaudeville circuits. He has taught his pupils to be experts in this act now showing at the Grand and it is all well worth coming out to see.
The Herald-Times, Saturday, April 25, 1925, Page 2
HARRIS GRAND THEATRE “BATHING GIRLS” AT THE HARRIS GRAND TONIGHT
Donna Darling and her “Bathing Girl’s Revue” will appear at the Harris Grand for the last times tonight. This big vaudeville extravaganza is a distinct novelty and proves to be quite the biggest vaudeville number ever seen on the Harris Grand stage. It is a Keith vaudeville feature and has played over that circuit many times. All of the girls appear in fascinating bathing costumes, which represent many different nationalities and the styles of the different countries. The act runs a full hour and in that time is crowded more fast singing and dancing than could be imagined in that length of time.
Abstract
The Herald-Times of Bloomington, Indiana, covered Donna Darling’s engagement at the Harris Grand Theatre extensively across five consecutive days — April 21 through 25, 1925. The coverage included advance notices, a portrait photograph with a caption, a display advertisement naming seven supporting performers, and daily reviews. Donna Darling is consistently billed as the headlining attraction of the “Bathing Girls’ Revue,” a vaudeville extravaganza centered on an international bathing-costume pageant. The act is repeatedly cited as a Keith Circuit feature and praised for its elaborate scenery, special lighting, and the individual specialties of its company members. Chicago Tribune critic Mae Tinee is quoted in the pre-show coverage, calling Miss Darling “the girl with the million dollar personality” — a phrase that served as a promotional tagline during this tour. The revue ran concurrently with the Harris Grand’s feature film program.
Analysis and Context
The Harris Grand engagement represents a documented stop on what was clearly a well-organized touring production. The show was assembled in Hollywood and routed eastward through the principal cities of the United States — a standard practice for Keith Circuit productions of the era. Bloomington, Indiana, while not a major metropolitan center, was a regular stop on the Big Time vaudeville circuit, and the Harris Grand’s ability to attract a full-company revue of this scale speaks to the theatre’s standing in the regional circuit.
The “Bathing Girls’ Revue” concept was squarely in step with the commercial vaudeville aesthetic of the mid-1920s. The Ziegfeld Follies and the Shubert Unit shows had popularized the idea of costumed tableaux tied to a theatrical theme, and Donna Darling’s act is explicitly compared in one Herald-Times notice to the Shubert Unit productions. The international bathing costume conceit — depicting bathers from different nations — offered a framework for choreographic variety while satisfying the era’s enthusiasm for exoticism and spectacle.
The named supporting cast — Todd Watson, Clarice Allyn, Al Ross, Alyce Louyse, Gerry Gene, Nettie Bennis, and Betty Bryant — represents a substantial company. Betty Bryant’s billing as “Miss America of Today” and her identification as “late of the Follies” signals that the supporting performers were themselves experienced vaudeville and revue artists, not merely chorus fillers. The presence of an unnamed “expert dancing master” associated with Miss Darling over multiple Keith Circuit tours further suggests a stable, professionally managed production.
The varying descriptions of the act’s running time — ranging from thirty minutes to a full hour across different notices — likely reflect the difference between the stage performance itself and the combined vaudeville-plus-film program.
Conclusion
The Harris Grand Theatre engagement of April 23–25, 1925, is now a fully documented stop in Donna Darling’s vaudeville itinerary, supported by five days of contemporary newspaper coverage from the Bloomington Herald-Times. This record not only confirms her presence in Bloomington but establishes the scale and character of the production she was headlining at this point in her career — a well-mounted, Keith Circuit-vetted revue with a professional supporting company and strong advance publicity. Each documented engagement of this kind brings us closer to a complete picture of Madonna Montran’s life on the vaudeville stage.
This article was researched and written by the author. Claude.ai was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.
In the continuing effort to document the vaudeville career of my grandmother, Madonna Montran (stage name Donna Darling), contemporary newspaper accounts remain invaluable. Each newly discovered engagement helps refine the chronology of her touring schedule and broaden our understanding of her professional reach.
The Bryan Democrat, June 19, 1925
I am particularly pleased to have identified and documented her appearance at the Temple Theatre in Bryan, Ohio, on Thursday and Friday, June 18–19, 1925. Every newly confirmed venue adds depth to the historical record and strengthens the reconstruction of her Keith Circuit touring engagements.
This engagement is especially well documented, with advertisements appearing not only in The Bryan Democrat (June 16 and June 19, 1925), but also in surrounding regional papers including the Edgerton Earth (June 12), Tri-State Alliance (June 11), Archbold Buckeye (June 10), and Edon Commercial (June 10). The breadth of coverage indicates a concerted promotional effort for what was billed as a major attraction.
Performance Details
Venue: Temple Theatre
Location: Byran, Ohio
Dates: Thursday & Friday, June 18-19, 1925
Headliner: Donna Darling and Her Bathing Girl Revue
Circuit: Keith Circuit Headliner
Show Times: 7:00 and 9:00 p. m.
Admission: 15¢ and 35¢
Analysis and Context
Several observations may be made from these notices:
Regional Promotion: The widespread advertising in neighboring towns suggests that Bryan served as a regional draw. Patrons from Archbold, Edgerton, Edon, and surrounding communities were clearly targeted.
Headliner Status: Being billed as a Keith Circuit headliner was significant. The Keith circuit was one of the premier vaudeville circuits in the country, and such a designation implies a well-developed, polished act capable of sustaining large-house bookings.
Revue Format: Talk of her elaborate costumes and stage effects suggests spectacle, choreography, and ensemble work — hallmarks of Donna’s mid-1920s touring productions.
Two-Day Engagement: A Thursday–Friday booking was typical for a town of Bryan’s size in 1925. It indicates a solid but limited engagement — long enough to justify significant advertising, but consistent with circuit scheduling demands.
Conclusion
The Bryan Democrat, June 16, 1925
The Temple Theatre engagement in Bryan, Ohio, represents a well-promoted, confidently billed stop on Donna Darling’s 1925 vaudeville tour. The advertising language underscores her status as a featured headliner with a full-scale revue production.
Each such confirmed booking strengthens the documentary foundation of her professional career. With the support of multiple regional newspapers, this appearance stands as a firmly established and clearly advertised engagement — another valuable piece in reconstructing the scope and trajectory of Donna Darling’s 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.
Howell Ancestry Line Who were Peter M. Howell’s parents? By Don Taylor
Peter M. Howell (1805–1865) was a well-documented figure in my wife’s ancestry — a colorful itinerant preacher whose memoir, The Life and Travels of Peter Howell, never once names his parents. Prior research identified his brothers Gideon and Henry, but their records had not yielded the parental names. The question: Could researching Gideon Howell’s life finally unlock Peter’s parentage?
List of Grandparents
Grandfather: James Dallas Howell (1879–1964) — Ancestor #4
1st Great-grandfather: Peter Fletcher Howell (1842–1924) — Ancestor #8
2nd Great-grandfather: Peter M. Howell (1805–1865) — Ancestor #16 — subject of this brief
3rd Great-grandfather: James Howell — father of Peter M. Howell (newly identified)
3rd Great-grandmother: Nancy Howell — mother of Peter M. Howell (newly identified)
Reasonably Exhaustive Search of all Pertinent Information
I have published seven articles about Peter M. Howell on DonTaylorGenealogy.com, beginning with his marriage bond and his memoir, The Life and Travels of Peter Howell. That memoir is a remarkably candid account of a colorful life — but it never mentions his parents by name. It references a sister (unnamed) and brothers Gideon and Henry. I had previously reviewed Henry Howell (c. 1807–aft. 1870) without success. I then turned to Gideon C. Howell of Buckingham County, Virginia, Peter’s other named brother.
Brother Gideon Howell (1810-1872)
Gideon C. Howell (c. 1810–1872) spent his entire life in Buckingham County. He appears in the federal censuses of 1830, 1840, 1850, 1860, and 1870. His wife was Mary J. Howell. He died in March 1872 at the age of 62. The critical document was his death record, where Mary served as the informant. She named Gideon’s parents as James Howell and Nancy Howell. Since Gideon was Peter’s brother, those are Peter’s parents as well — an eleven-year brick wall finally falls.
Gideon’s Parents per his death record.
A secondary observation: Gideon’s wife shared the Howell surname. Her father, Charles Howell, died at their residence on 22 August 1846, as reported in the Richmond Enquirer. The Howell-on-Howell marriage raises the possibility of a cousin connection within the Buckingham County Howell network — an avenue for further research.
Citations
1. Virginia, Deaths and Burials, 1853–1912, FamilySearch (https://familysearch.org/ark:/61903/1:1:HJT3-MQZM : 29 January 2020), Gideon C. Howell, 1872. [Informant Mary Howell names parents as James & Nancy Howell.]
3. 1860 Census, Virginia, Buckingham, District No. 2, New Canton — G. C. Howell. FamilySearch (https://www.familysearch.org/ark:/61903/1:1:M41S-P3B).
4. 1850 Census (NARA), Gideon Howell, District 1, Buckingham County, Virginia. Record Group 29; Series M432; Roll: 937; Page: 370a.
5. 1840 Census (NARA), Gideon Howel & Peter Howell, District 1, Buckingham, Virginia. FamilySearch (https://www.familysearch.org/search/ark:/61903/1:1:XHBM-67Y). [Confirms Peter and Gideon in adjacent households in 1840.]
6. 1830 Census, Virginia, Buckingham, Maysville — Page 315, 5th line from bottom — Gideon Howell.
7. Richmond Enquirer (Richmond, Virginia), Newspapers.com, 11 September 1846, Page 4 — Charles Howell death notice at Gideon’s residence.
Analyze and Correlate
The 1840 census is especially significant: Peter Howell and Gideon Howell appear in adjacent households in District 1, Buckingham County — strong circumstantial evidence of a sibling relationship that had already been identified through Peter’s memoir. The death record then provides the confirmatory link: Gideon’s informant (his wife Mary) named his parents as James and Nancy Howell. Since we have independent documentation from Peter’s own writings that Gideon was his brother, the parental names transfer directly.
The age progression across Gideon’s census records (42 in 1850, 52 in 1860, 60 in 1870) is consistent and reliable, placing his birth circa 1808–1810. Peter’s documented birth year of 1805 fits naturally as that of an older brother in the same family.
Conflicts or Contradictions
One minor discrepancy: the 1830 census age bracket (30–40) implies a birth as early as 1790, while later censuses consistently point to circa 1808–1810. This is a known limitation of the pre-1850 census format, which recorded age ranges rather than exact ages. The later censuses, which enumerate specific ages, are more reliable and should be weighted accordingly. No substantive conflict exists in the core finding regarding parentage.
The question is answered. The parents of Peter M. Howell (1805–1865) were James Howell and Nancy Howell, both of Buckingham County, Virginia. This conclusion is supported by the death record of Peter’s brother, Gideon C. Howell, recorded in Buckingham County in March 1872, in which his widow, Mary, served as the informant and named their parents. The sibling relationship between Peter and Gideon is corroborated by Peter’s own memoir and by their adjacent appearance in the 1840 federal census.
After more than eleven years of research into Peter M. Howell, the brick wall on his parentage has finally come down — not by finding a record about Peter himself, but by following his brother Gideon.
Further Actions / Follow-up
Search for James Howell and Nancy Howell in Buckingham County, Virginia, land, tax, and census records to establish their own life dates and parentage.
Pursue Buckingham County will books and estate records for James Howell (likely d. before 1830) to identify all children and confirm Nancy’s maiden name.
Research the relationship between Gideon’s wife, Mary J. Howell, and her father, Charles Howell — determine if Mary’s family was a separate Howell line or closely related to Gideon’s own family.
Update the DonTaylorGenealogy.com Howell–Hobbs ancestry page and the FamilySearch tree to list James and Nancy Howell as the confirmed parents of Peter M. Howell.
Identify the unnamed sister referenced in Peter’s memoir — now that the parents are known, search Buckingham County records for a female Howell sibling born circa 1800–1815.
– – – – – Disclaimer – – – – –
This article was researched and written by the author. Claude.ai (Anthropic) was used as a research and drafting aid, and Grammarly was used for editorial review and copy editing.
Scarborough Historical Society – Accession #2023.19.57 Tammy Shepherd Collection By Don Taylor
Introduction
The Scarborough Historical Society preserves a remarkable collection of photographs that capture the everyday lives of local families and communities. Many of these images come to us with only partial identification, yet offer both a glimpse into the past and an invitation for further discovery.
Celebrating Flag Day, I examine a charming image of young children proudly holding American flags—an evocative scene of patriotism and childhood in the years following World War I.
A Group of Children with Flags, circa 1919–1921
Children holding American flags pose for a school photograph, likely during a patriotic observance, circa 1919–1921. The child at the far right is identified as Raymond Lewis Swasey (b. 1916).
Description:
A group of 17 young children stand outdoors in a gentle semicircle, each holding a small American flag. The children appear to be of early primary school age, dressed in typical attire of the late 1910s to early 1920s—boys in sailor-style blouses and short trousers, and girls in light-colored dresses.
Behind them, a dirt path curves up toward a house set among mature trees, suggesting a rural or semi-rural setting. The open yard and informal arrangement indicate this was likely a school-related activity held outdoors.
Identified Individual
Thanks to a handwritten note on the reverse of the photograph, we are able to identify one child with confidence:
Far right: Raymond Lewis Swasey
Born: 1916
Parents:
Harry Allan Swasey (1873–1951)
Olla Mae (Colter) Swasey (1883–1932)
Raymond appears to be about three to five years old in this image, suggesting a date of approximately 1919 to 1921.
Context and Interpretation
The presence of so many American flags suggests a patriotic school observance, possibly:
Flag Day (June 14)
A post–World War I patriotic exercise
A school program emphasizing civic pride
The children’s young ages suggest this may have been a primary or kindergarten class, perhaps in a one-room or small district school setting.
Where Was This Taken?
The reverse of the photograph includes the word “Portland,” however I’ve learned that in 1920 the Swasey family lived at 126 North Street in Portland (Munjoy Hill). But, the landscape in this image tells a different story.
The open grounds, dirt roadway, and widely spaced buildings do not resemble the urban environment of Portland’s East End. Instead, the scene strongly suggests a rural district school setting.
This raises an intriguing possibility: Was Raymond attending school outside Portland—or visiting family in a more rural community such as Scarborough or South Portland?
The house in the background appears to be a private residence rather than a formal school building, which was not uncommon for early district school settings or nearby teacher residences.
Call for Identification
This photograph presents a wonderful opportunity for community collaboration.
We would especially like to know:
Can anyone identify any of the other children in this photograph?
Does anyone recognize the house in the background or the setting?
Are there family stories of early school days involving flag ceremonies or group photographs like this?
If you have information, please contact me using the contact form below or the Scarborough Historical Society. Even small details can help piece together the full story behind this image.
Conclusion
Although only one child—Raymond Lewis Swasey—has been identified, this photograph captures a broader story of childhood, education, and patriotism in the early 20th-century. With community assistance, I hope to restore the names and stories of the other children who stood proudly with their flags on that day.
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.
In my continuing effort to document the vaudeville career of my grandmother, Donna Darling, I have identified a new engagement placing her at the Valentine Theatre in Defiance, Ohio, on June 10, 1925.
An advertisement in The Crescent News provides a detailed look at the program and offers new insight into the structure and presentation of her show during this period.
Performance Details
Advertisement for Donna Darling’s “Bathing Girl Revue,” The Crescent News, June 10, 1925.
Venue: Valentine Theatre
Location: Defiance, Ohio
Date: June 10, 1925
Headlining Act:Bathing Girl Revue featuring Donna Darling
Billing: “The Personality Plus Star”
Program Format: Motion pictures followed by vaudeville
The evening’s entertainment combined a feature film (A Thief in Paradise) with a full vaudeville bill beginning at 8:30 PM. Donna Darling’s revue was clearly the featured live attraction.
The Revue
The advertisement describes the show as: “A tidal wave of songs, dances and comedy, elaborate gowns and special scenery.”
Supporting performers included:
Todd Watson & Clarice Allyn – “Dancing Gypsies”
Al Ross – Eccentric dancer
Amelia – Hawaiian bather
Gerry Gene – Acrobatic bather and toe dancer
Nettie Bennis – “Beach Flirt”
Betty Bates – “Miss America of Today”
Newly Learned Insights
This advertisement provides several important additions to the historical record:
Confirmed Date & Location: Establishes Donna Darling in Defiance, Ohio, on June 10, 1925—helping refine her touring timeline.
Named Production: Identifies the show as the “Bathing Girl Revue.”
Headliner Status: Donna is clearly the principal attraction, reinforcing her prominence on the vaudeville circuit.
Ensemble Structure: The named cast confirms a multi-performer revue, with names not previously known. (It appears that Amelia may have replaced Alyce Louyse as the Hawaiian Bather.)
Production Value: References to elaborate costumes and scenery indicate a relatively sophisticated touring show.
Context & Significance
By 1925, vaudeville was evolving alongside the growing popularity of motion pictures. The Valentine Theatre’s program—films followed by live performance—illustrates this transitional entertainment model. Donna Darling’s prominent billing in such a program underscores her continued relevance and drawing power during this period.
Conclusion
Each newly discovered engagement helps refine the broader picture of Donna Darling’s career. This Defiance, Ohio, appearance not only confirms a specific date and venue but also provides valuable detail about the structure, branding, and scale of her performances in the mid-1920s.
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.
