Author Archives: Don Taylor

Faces from the Past – Burnham, Libby, Plummer, Roberts, & Stone

Six photographs from the Linwood Dyer Collection provide a glimpse into Scarborough-area families, including Alvin and Nellie (Plummer) Roberts, Daniel and Lydia Plummer, and Seth and Susan (Stone) Plummer. Studio analysis, clothing styles, and documentary research help establish probable dates and identities, further reconnecting these images with their family histories. Continue reading

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Donna Darling at the Strand Theatre, Pontiac, Michigan (June 22–24, 1925)

Newspaper advertisements confirm Donna Darling’s June 22–24, 1925 appearance at the Strand Theatre in Pontiac, Michigan. Promoted with her Bathing Girl Revue and “Comedy Life Guards,” this engagement strengthens the reconstruction of her 1925 Midwestern vaudeville tour between Ohio and Detroit. Continue reading

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Happy Birthday Grandma Donna

Happy Birthday rememberance of my grandmother, Madonna “Donna” Mae Montran (1893–1976). She lived a complex and fascinating life that extended far beyond her vaudeville years. Born in Albion, Michigan, she married several times, later settled in Michigan and Minnesota, and ultimately donated her body to science. This remembrance reflects both documented facts and the enduring personal legacy she left to her family. Continue reading

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Faces from the Past – Hunnewell & Plummer Family Portraits (1860s–1880s)

Six 19th-century portraits from the album of Nellie Plummer Roberts preserve the likenesses of Lucy Hunnewell Libby, Marietta “Mettie” Hunnewell Small, and Seth L. Plummer of Scarborough, Maine. Studio imprints, fashion details, and known birth dates allow these tintypes and cartes de visite to be securely dated from the Civil War era through the mid-1880s. Continue reading

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Donna Darling at the Heilig Theatre (Eugene, Oregon) – 1926

In November 1926, the Donna Darling Revue appeared at the Heilig Theatre in Eugene, Oregon, as part of the Western Vaudeville Managers’ Association circuit. Contemporary coverage in The Eugene Guard identified Donna as the “heading act” and described a visually ambitious production featuring song, dance, and a striking “radium coat” finale, offering rare insight into her touring career. Continue reading

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