In early March 1920, Donna Darling appeared at Rochester’s Lyceum Theatre as part of the touring musical comedy Chin Chin, a production that had already enjoyed several successful seasons on the road. Presented as a half-week return engagement, the show played Thursday through Saturday, including a Saturday matinee, drawing on its established popularity to fill the house.
Rochester, NY, Times Union, 3/4/1920, Page 6
Chin Chin, produced by Charles Dillingham, was built around a fantasy framework inspired by Arabian Nights, featuring lavish scenery, colorful costumes, and a large ensemble cast. The leading comic roles were played by Walter Wills and Roy Binder, while the supporting company included a variety of specialty and character performers.
Donna Darling was cast as the Goddess of the Light, a named fantasy role that placed her prominently within the production’s visual and allegorical elements. While Rochester newspapers focused on the show’s spectacle and its principal stars, the Goddess of the Light was a role that required stage presence and distinctive costuming, underscoring Donna’s standing as a trusted ensemble performer in a major touring show.
Although critics noted that the revival did not fully recapture the magic of earlier versions of Chin Chin, the production was praised for its colorful presentation and familiar musical numbers. Donna’s participation in this engagement reflects her continued work in first-class theatres and her steady progress within the professional vaudeville and musical-comedy world of the early twentieth century.
Sources: All newspaper sources below are via Newspapers.com.
1920-02-28 – The_Times_Union_pg_10
1920-02-29 – Democrat_and_Chronicle Page_31
1920-03-01 – The_Times_Union pg 24
1920-03-01 – The_Times_Union pg 24
1920-03-03 The_Times_Union, pg 28
1920-03-04 – The_Times_Union, pg 24
1920-03-05 – The_Times_Union, pg 26
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.
In the continuing effort to document my grandmother’s vaudeville career, 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 Bucklen Theatre in Elkhart, Indiana, on March 4th, 1923. Every new venue adds depth to the historical record and strengthens the reconstruction of her vaudeville circuit engagements.
Performance Details
Venue: Bucklen Theatre
Location: Elkhart, Indiana
Dates: Sunday, March 4, 1923 (announced March 3, 1923) at 2:45, 4:45, 7, and 9 P. M.
Act Name:“As You Like It” (Singing and Dancing Revue)
Supporting Performers on Bill:
Morris & Morris – “The Rube Constable and the Village Spinster”
Jack Gregory & Co. – Spectacular novelty juggling exhibition
Portia Sisters – Former circus act; “only act of its kind in the world.”
Karl Karey – “The Delightful Songster”
Feature film: William Russell in “The Great Night”
Newspaper Coverage
The Truth (Elkhart, Indiana), March 3, 1923, Page 13
Additional column mentioned on the same page noted:
“Donna Darling, winner of the first prize in a recent beauty contest conducted by the New York Hippodrome. The act is said to be a distinct vaudeville novelty. Other acts on the bill are Morris & Morris, ‘the rube constable and the village spinster’; Jack Gregory & Co., a spectacular novelty juggling exhibition; The Portia Sisters, a former circus act; and Karl Karey, known to vaudeville as ‘The Delightful Songster.’ The picture feature is ‘The Great Night,’ with William Russell as the star.”
Analysis and Context
The program followed a common early-1920s format:
Multiple vaudeville specialty acts
A headline singing and dancing revue
A feature motion picture
The presence of William Russell’s “The Great Night” indicates that by 1923, the Bucklen Theatre had fully integrated motion pictures into its regular offerings. Donna’s revue was therefore part of a transitional entertainment model blending live and cinematic attractions.
Touring Geography
This March 1923 engagement places Donna in northern Indiana. When considered alongside her other early 1923 appearances, this booking supports the conclusion that she was touring steadily through Midwestern circuits during this period.
While the specific circuit is not named in the advertisement, the booking pattern is consistent with independent or regionally affiliated vaudeville houses operating outside the major Keith-Albee or Orpheum chains.
Conclusion
The March 4, 1923, engagement at the Bucklen Theatre in Elkhart, Indiana, adds another confirmed venue to Donna Darling’s expanding vaudeville itinerary. The prominence of her billing and the continued use of her New York Hippodrome publicity reinforce her status as a featured attraction during this period.
Each newly identified engagement strengthens the documentary framework of her career and brings greater clarity to the rhythm and reach of her 1923 tour.
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.
Roberts-Barnes-Taft-Cruff-Sprague-Bartlett-Warren Line By Don Taylor
Introduction
My recent discovery that I am likely a descendant of Richard Warren of the Mayflower opened a whole new line of research. Richard Warren is purported to be a descendant of Charlemagne, which adds 18 Warren and de Warren ancestors.
FamilySearch indicates the surname is English (of Norman origin): from the Middle English (Old French) personal name Warin, Werin, a borrowing of ancient Germanic Warino, a short form of various compound names based on the element warin ‘protection, shelter’ or ‘guard’.
Geographical
In the world, Warren is most common in the United States, with 192,668 individuals with the surname in the US. About 34,000 Warrens live in England and another 16,00 in Australia.[ii]
In the US, the most Warrens live in Texas, Georgia, and Florida. Its frequency is most common in Mississippi, where one in 707 people has the surname.
My Warren Ancestors
9th Great-grandmother: Mary Warren (c. 1610-1683) [iii]
10th Great-grandfather: Richard Warren (1583-1628)
My most recent Warren is Mary (Warren) Bartlett. She was born about 1610 in England. She and her mother, Elizabeth (Walker) Warren, joined her father at Plymouth Colony in 1623. Mary married Robert Bartlett about 1629.
Her father, Richard Warren, came to America in 1620 aboard the Mayflower. See Wikipedia for more about him.
My Earliest known Warren is Joan Warren who is believed to be the 15th great-grandson of Charlemagne Carolingian.
Locations of my Warren Ancestors
The only known locations of where my Warren Ancestors lived are England and Plymouth Colony.
My Direct Warren Descendants
I have 470 known descendants of Richard Warren in my tree; 64 Taft, 28 Barnes, and 23 Roberts.
[iii] I have not had the opportunity to personally research these individuals. As such, their names and dates are tentative and/or speculative.
[iv] These ancestors are entirely speculative, based entirely upon other trees. Other than their potential names, I have no information regarding them.
Linwood Dyer Collection, Part 091 SHS Accession #2026.01.06[i] By Don Taylor
Introduction
The Scarborough Historical Society maintains several important photographic collections documenting people, places, and events. In this installment of Faces from the Past, I examine six photographs from the Linwood Dyer Collection—specifically from the Nellie Plummer Roberts album
Alvin C. Roberts (1868–1938) and Nellie A. (Plummer) Roberts (1868–1955)
Photo: circa 1898–1905 Process: Tintype (Ferrotype) Inscription: Separate slip of paper reading, “Al & Nell Roberts.”
Alvin and Nellie (Plummer) Roberts, circa 1898-1905.
Description
Dark metallic image with irregular trimmed edges (common with hand-cut tintypes).
A seated couple.
The man wears a three-piece suit consistent with late 1890s fashion and appears approximately 30–40 years old.
The woman wears a long dress with a fitted bodice and high collar. Her hat features an elevated crown and decorative plume (or fabric adornment), fashionable in the late 1890s and early 1900s.
Research
Portland Daily Press, Oct. 27, 1891, p. 4: Alvin C. Roberts and Miss Nellie A. Plummer were married in Scarborough on Oct. 24 by Rev. A. Redlon.
Portland Evening Express, Nov. 5, 1938, p. 14: Alvin’s obituary reports he died at his home, Elevation Farm, in Scarborough. Born in Brooks, Waldo County, Maine, he was the son of Ezra and Susan (Cook) Roberts.
Portland Evening Express, May 31, 1955, p. 2: Nellie’s obituary reports she was born March 10, 1868, daughter of David O. and Nellie Hunnewell Plummer. She was interred at Black Point Cemetery on June 1, 1955.
Find a Grave Memorial #108080352 confirms Alvin Charles Roberts (Mar 1868 – 4 Nov 1938), buried at Black Point Cemetery.
From previous research on the Linwood Dyer family, I learned that Nellie A. Plummer was his half-great aunt. Alvin and Nellie had one daughter, Blanche T. (Roberts) Laidlaw.
The estimated photo date (circa 1898–1905) aligns well with their ages and attire.
Charles Burnham (Unidentified)
Charles Burnham, circa 1890.
Photo: circa 1890 (±3 years) Type: Carte de Visite (CDV) Studio: Lamson, Portland, Maine Inscription: “Charles Burnham.”
Description
A young man wearing a stiff collar and narrow necktie, typical of late 1880s–early 1890s fashion.
Research
Lamson operated in Portland from approximately 1871 to 1910.
The CDV format declined after the early 1890s, suggesting a date before 1895.
The subject appears 18–22 years old.
Taken together, I estimate a photo date of circa 1890 (±3 years).
Because there is no 1890 U.S. Census, I reviewed the 1900 Census and city directories:
1900 Census Candidates:
Charles Burnham (b. June 1870), Biddeford
Charles F. Burnham (b. Jan 1873), Bath
Charles Burnham (b. c. 1866), Brunswick
1890 Portland Directory:
Charles E., clerk, 4 Fremont Place
Charles E., farmer, Summit
Charles F., carpenter, 66 Quebec
My current Linwood Dyer genealogy includes no Burnham connections. At present, I am unable to positively identify which Charles Burnham is depicted.
Daniel W. Plummer (1824–1892) & Lydia (Libby) Plummer (1832–1895)
Type: Tintypes Studio: E. S. Wormell’s Picture Gallery, 316 Congress Street, Portland
Daniel W. Plummer, circa 1866-1872.
Daniel Plummer
Inscription: “Daniel Plummer.” Description: A man wearing a chin curtain beard, small bow tie, vest, and coat. The photo appears across the album page from another labeled “Lydia Plummer.”
Research:
E. S. Wormell operated at 90 Middle Street in 1866 and at 316 Congress Street by 1869. The studio is no longer listed after 1872.
Clothing and beard style suggest late 1860s–early 1870s.
The facing tintype also bears the Wormell imprint. The woman appears approximately 30–40 years old, suggesting a birth between 1824 and 1842 (most likely c. 1832–1834).
An Ancestry search identified Daniel W. Plummer (1824–1892) and Lydia (Libby) Plummer (1832–1895), born, married, and deceased in Cape Elizabeth.
Given the studio date, estimated ages, and family connections, I am quite confident these images represent Daniel and Lydia.
Further research shows Daniel W. Plummer was a first cousin twice removed of Nellie Plummer Roberts. Additional research is needed to clarify Libby-line relationships.
Seth L. Plummer (1835-1916) & Susan (Stone) Plummer (1849-1899)
Seth L. Plummer. circa 1867.
Type: Miniature tintypes Inscriptions: “Seth Plummer” and “Susan Stone Plummer.”
Description:
A second, more damaged tintype of Seth exists in the album, clearly taken at the same sitting. I digitally reduced scratches and surface damage to better view the image while preserving original features. Opposite Seth’s image is a miniature tintype labeled “Susan Stone Plummer.”
Research
Susan (Stone) Plummer, circa 1867.
Susan Stone married Seth Plummer on June 26, 1867, in Cape Elizabeth. She was 18 years old.
Miniature tintypes were especially popular during the 1860s. Susan appears approximately 17–20 years old in the image. The format and her apparent age strongly suggest these photos were taken around the time of their marriage.
Estimated photo date: circa 1867.
This photograph has been added to the Linwood Dyer Collection on Ancestry.com.
Conclusion
If any of the individuals shown here are familiar to you, I would be pleased to hear from you. Many photographs in the Scarborough Historical Society’s collections lack personal identification. Even a small detail may help restore a name or story.
My continuing goal is to reconnect these images with the families and communities to whom they belong—ensuring they are preserved, understood, and shared for future generations.
ENDNOTES
[i] All photos courtesy Scarborough (Maine) Historical Society.
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.
As I continue documenting the vaudeville career of my grandmother, Madonna Montran (known professionally as Donna Darling), contemporary newspaper advertisements remain essential evidence. Each confirmed engagement sharpens the chronology of her 1925 tour and helps reconstruct her movement across the Midwest.
I am particularly pleased to have identified a previously undocumented appearance at the Strand Theatre in Pontiac, Michigan, June 22–24, 1925.
Just days earlier, Donna had appeared at the Temple Theatre in Bryan, Ohio (June 18–19). The distance between Bryan and Pontiac is approximately 150 miles. It is possible she had June 20–21 to travel north, although, given the pace of vaudeville routing, it is equally plausible she filled those days with additional engagements en route.
Performance Details
Venue: Strand Theatre
Location: Pontiac, Michigan
Dates: June 22–24, 1925 (Monday–Wednesday)
Act:Donna Darling and Her Bathing Girl Revue
The Strand advertisements promoted her act as a featured stage attraction alongside the motion picture Welcome Stranger. The program followed the common mid-1920s hybrid format: feature film, short comedy, and live vaudeville performance.
Notably, the ads reference Donna appearing with her “Comedy Life Guards.”
Clarifying the “Comedy Life Guards”
The phrase “Comedy Life Guards” appears in the promotional copy but does not identify specific performers by name. No supporting artists in Donna’s revue are individually credited in these advertisements.
Based upon other Bathing Girl Revue promotions from this period, the “Comedy Life Guards” likely referred to male comic performers within her company who:
Framed the bathing-beauty theme with humorous beach or seaside skits,
Provided comic dialogue or specialty routines, and
Functioned as visual counterparts to the “Bathing Girls.”
This terminology appears to have been branding rather than formal billing.
Context of the Engagement
During this engagement, Donna’s revue is the only live vaudeville act mentioned in the advertising. The remainder of the program centered on the film Welcome Stranger, starring Florence Vidor and others. This suggests Donna’s act was the primary live attraction during this booking.
The engagement falls between her documented Bryan, Ohio appearance (June 18–19) and her later appearance at the Palace Theatre in Detroit. There is a twelve-day gap between Pontiac and Detroit in the currently documented itinerary. Based on standard vaudeville routing practices, it is highly likely she played additional Michigan dates during that interval. Further research in regional newspapers may reveal those engagements.
Conclusion
Each newly confirmed venue adds precision to Donna Darling’s 1925 touring record. The Strand Theatre engagement in Pontiac not only expands her documented Michigan appearances but also reinforces the geographic logic of her route between Ohio and Detroit.
As always, the work continues. I will continue searching Michigan newspapers from late June through mid-July 1925 in hopes of identifying additional stops along her circuit.
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.
