Part 539: Origins of the Jolly Corks and Benevolent and Protective Order of Elks, B.P.O.E
Yesterday’s post explored the Sosman & Landis scenery and stage machinery at the Elks Opera House in Prescott, Arizona. In 1905, 54 Elks lodges were established and membership increased by 22,888 over the preceding year. I would be remiss to not include the origins of the Benevolent and Protective Order of Elks, especially as it is celebrating its 150th anniversary this year. Besides, it was an organization founded by theatre people.
The Elks were just one of many fraternal organizations that emerged during the nineteenth century. Clandestine meetings, secret grips, symbols, emblems and passwords characterized most of these groups. Elevated stages also appeared in many lodge rooms, complete with front curtain, stage machinery and scenery. Like the Scottish Rite Masons, the Elks constructed theaters with specific scenery to stage portions of their ritual work. I was able to identify one of their stage settings in a photograph of the Elks’ opera house in Prescott, Arizona.
This Elk’s began as a group named the Corks, who were soon called the Jolly Corks.
The cork part involved a game in regard to who was picking up the drinking tab. Here is the story:
On Friday, November 15, 1867, the English comic singer Charles A. Vivian (25 yrs. old), arrived in New York, after traveling from South Hampton.
On the night of his arrival he stopped at the Star Hotel. This was an establishment kept by John Ireland, located on Lispenard Street near Broadway. Richard “Dick” Steirly, was a piano player at the hotel. As Steirly was also from England, Vivian struck up a conversation and volunteered to sing a few songs that evening. His songs included “Jimmy Riddle who Played Upon the Fiddle” and “Who Stole the Donkey?”
Vivian’s baritone voice made such an impression on Ireland, that he sent a waiter to fetch his friend, Robert Butler. Butler was the manager of the American Theater on Broadway. Butler was so impressed that he engaged Vivian for $50 a week to perform at the American Theatre. The next day, Steirly invited Vivian to Mrs. Geisman’s boarding house where he lodged at 188 Elm Street; Vivian soon became a boarder there too. It was there that Vivian first met many of the gentlemen who would form the Jolly Corks.
On November 23, 1867, Steirly went to the American Theater to see Vivian. After the matinee, Vivian took Steirly over to Sandy Spencer’s place at Broadway and Fulton Street where they met Hughley Dougherty, Cool Burgess and Henry Vandemark. It was suggested that the party shake dice for the refreshments. Vivian replied that he never handled the cubes, but would show them a new game – a “cork trick.” It had long been in vogue with Vivian’s English associates at the tavern near the Westminster Bridge in London. Calling for three corks he gave one to Steirly, one to Vandemark and kept the remaining cork for himself. Vivian asked Burgess to be the judge and asked Dougherty to count to three. At the count of three, each dropped his cork on the bar, then picked it up as rapidly as possible. Some accounts suggest that the corks were just seized. The last man to lift his cork would buy the round. The game became very popular with the group and soon a “member” was charged with always carrying a cork in his pocket. Upon meeting another member, and if he was unable to produce a cork, the penalty was to by the challenger a drink.
About this same time, New York City’s Excise Law was being strictly enforced; Sunday was a very dry day. On Sunday, the group gathered at Mrs. Giesman’s to enjoy the stock of beer they purchased and stored the night before. Some accounts say that they also set aside sandwiches and a piano. The men who participated in this event, named themselves the Corks, with Vivian as the Imperial Cork. One member later referred to the group as the “Jolly Corks” after being so delighted with the Sunday game. Unfortunately, their activities began disturbing the other boarders and Mrs. Giesman finally asked the group forego their Sunday gatherings in her house. The Corks found new quarters at 17 Delancy Street, in a room over a saloon kept by Paul Sommers; their meetings continued. The main object of the Corks was convivial in nature, with a membership composed primarily of vaudeville artists -musical entertainers, minstrels, and song and dance men. In March or April of 1868, “Bob” Fraser, the old pantomimist clown and scenic artist designed and painted the original charter for the Grand Lodge of “Jolly Corks” of the United States.”
The group began to rapidly grow and some acknowledged that their profession needed a brotherhood with a greater purpose. Occasionally a member would be missing and others would explain they may be ill, not working or in hard luck. All would vote about sending financial aid to the member, often five or ten dollars. Keep in mind that the Theatrical Mechanics Association was formed in 1866 and TMA members were “initiated into some of the mysteries of stage mechanism.”
It was George F. McDonald who suggested that the Jolly Corks become a protective and benevolent society. During their meeting on February, 2, 1868, a new name and mission were proposed for the group. McDonald offered a motion to organize the Jolly Corks as a benevolent and fraternal order. A committee was appointed to formulate rules and regulations, select a new name and create a suitable ritual. Vivian, then presiding officer appointed McDonald as chairman with William Sheppard, Vivian, Edgar N. Platt and Thomas G. Riggs. Vivian suggested something along the lines of the Royal Antediluvian Order of Buffalos, an English organization. However, the majority wanted a distinctly American title for their new organization. The committee visited the Cooper Institute Library, where the members located a description for an Elk described in a Natural History book. The elk was described as being fleet of foot, timorous of doing wrong, and always ready to defend himself and his herd. This description appealed to the committee as it contained admirable qualities for emulation by members belonging to a benevolent fraternity, causing the title Elk to be incorporated in its report.
The order was officially founded on February 16, 1868, in New York City. It was George W. Thompson who helped develop the ritual with a second degree. Over the years, membership expanded to include many other professions and accepted those without any theatrical connections. There was also a “traveling herd” of Elks that would go out and establish lodges across the country.
The first Corks were Charles Vivian, Richard Steirly, John T. Kent, Frank C. Langhorne, William Lloyd Bowron, John H. Blume, Harry Bosworth, and and J.F. Norris (stage names Hilton or Wilton); many lived at Giesman’s. The fame of the Cork’s Sunday festivities drew others, including Tom Riggs, Matthew Ash, George McDonald, William Sheppard, Edgar Platt, Henry Vandemark, William Carlton, George Guy, Hugh Dougherty, Harry Stanwood and Hugh Egan. Membership in the Corks swelled to over 200 quasi-official members. before the group became the Benevolent and Protective Order of Elks.
The Elks’ current mission stated on their website is “To inculcate the principles of Charity, Justice, Brotherly Love and Fidelity; to recognize a belief in God; to promote the welfare and enhance the happiness of its Members; to quicken the spirit of American patriotism; to cultivate good fellowship; to perpetuate itself as a fraternal organization, and to provide for its government. The Benevolent and Protective Order of Elks of the United States of America will serve the people and communities through benevolent programs, demonstrating that Elks Care and Elks Share.” The Elks’ current purpose is “To promote and practice the four cardinal virtues of Charity, Justice, Brotherly Love and Fidelity; to promote the welfare and enhance the happiness of its members; to quicken the spirit of American Patriotism and cultivate good fellowship.”
We could use a resurgence of the Elks right now.
To be continued…
