Part 442: James E. Fennessy and the Empire Circuit
James E. Fennessy (1856-1925) was introduced yesterday as a theatrical manager who hired Thomas G. Moses in 1902 to paint the setting for “The Charity Nurse.” Fennessy partnered with George E. Heuck, to form the theatrical management firm of Fennessy & Heuck; they were also major players in the Empire Circuit Company – the Western Wheel of the burlesque circuit, also known as the Empire Association.
At the turn of the twentieth century, a successful burlesque producer had forty possible weeks of engagements during a season on the combined circuit, or “wheel” as they were called in burlesque. The agenda for individual circuits was to provide a booking system, establish territorial limits, minimize unprofitable gaps between engagements, and stand in unity against contract violators. That being said, the Eastern, or Columbia Wheel regarded itself as an association of “clean” burlesque, meaning slightly less offensive than what appeared in many western venues.
The Empire Circuit was a group of western burlesque theatrical managers and producers, formed on 18 October 1897. The Empire Circuit operated theatres in Baltimore, Birmingham, Buffalo, Cleveland, Cincinnati, Chicago, Detroit, Memphis, Milwaukee, Minneapolis, New Orleans, Pittsburgh, Philadelphia, St. Louis, St. Paul, Toledo, and Washington, D.C. Their business offices were located in Cincinnati, Ohio, but they also had offices in New York as some of the influential leader resided there.
Since 1900, the officers of the Empire Circuit company consisted of James J. Butler, president; Hubert Heuck, vice-president; James E. Fennessy, secretary; John H. Whalen, treasurer; and board members consisting of James L. Kernan, Harry W. Williams, W. T. Campbell, and George W. Rife. Butler was also a member of Congress at the time, residing in St. Louis, Missouri.
In 1905, the Billboard included an article titled “The Burlesque Situation,” reporting, “There seems to be no concessions to be made on either side in the burlesque war which originated in that little Boston affair some time since.” The article continued, “The managers of the Eastern Circuit met in Cincinnati in the offices of Messrs. Heuck & Fennessy at the People’s Theatre. It was their regular annual business meeting at which time they met for the discussion of matters relating to the circuit; however, it was the most important gathering of that body in years. It is said that if the Empire managers are worried they did nothing that would in any manner show their anxiety either before, at, or after the meeting. One of the managers who attended the meeting gave the expression to the assertion that as far as the Empire Circuit’s houses are concerned they are prepared to take care of all shows that are entitled to bookings in their various theatres. Harmony prevailed throughout the entire meeting. Important parts of the program for the coming season were considered, also the relations of the association to the Eastern Circuit” (May 13, 1905). The article reported that at the meeting James A. Butler was elected president of the Eastern Circuit Association, with Hubert Heuck as first vice-president and James E. Fennessy as secretary. The Eastern Circuit was not to be confused with the Columbia Circuit, only the Empire Circuit expanding east.
In 1905, “The Scranton Truth” reported, “This year will witness a big change in the burlesque business as there are now two ‘wheels,’ the Empire Circuit and the Columbia Amusement Company fighting each other in the east. Previously these two organizations divided territory of the east and west, but they split and the battle royal is on. The Star Theatre still admits its allegiance to the Columbia Amusement Company. Where heretofore there have been forty burlesque companies, there will be seventy this season. The will play week instead of three day stands in this city” (27 July 1905, page 3).
The Empire Circuit was expanding its territory, planning to construct the “largest and most important circuit of theatres ever combined for this department of the theatrical business.” In 1905, their holdings were thirty-two theaters that covered the best paying burlesque fields in the country. Their acquisitions included the Trocadero of Philadelphia, Monumental of Baltimore, Lyceum of Washington, Academy of Music of Pittsburgh, People’s of Cincinnati, Buckingham of Louisville, Empire of Indianapolis, Standard of St. Louis, New Century of Kansas City, Folly of Chicago, Trocadero of Chicago, Star of Milwaukee, Dewey of Minneapolis, Star of St. Paul, Smith’s Opera House of Grand Rapids, Avenue of Detroit, Star of Cleveland, LaFayette Square of Buffalo, Majestic of Toronto, Theatre Francaise of Montreal, Columbia Music Hall of Boston, Miner’s Eighth Avenue of New York, Miner’s Bowery of New York, London of New York and the Bon Ton of New Jersey. They were negotiating the inclusion of theatres in New Orleans, Memphis and Nashville that were dependent on railroad facilities and several other theatres in the eastern fields. The Billboard summed up the situation in 1905, commenting, “To use a wall street phrase, it would appear that the fight has resulted in one faction being long on theaters and short on attractions, and the other the reverse. Developments will be watched with interest, and we hope in the near future to be able to publish an agreement between the two factions. This country may be large enough for two wheels, but one big wheel with a solid hub, long spokes and tight rim surrounded by a strong tire of superiority and quality will be greatly desired by the burlesque loving contingent” (13 May 1905, page 10). By 1911, the Empire Circuit controlled 37 theaters nationwide.
In 1912, the report of the Interstate Commerce Commission listed a court case: the United States v. Harry J. Rhein, James E. Fennessy, the Heuck Opera House Co., the Empire Circuit, and the Big Four Railroad Co. (district court, northern Illinois). The aforementioned were charged with “indictment for conspiracy to refund portion of the legal transportation charges paid by various burlesque companies for transportation over New York Central Lines, the refunds being paid under the guise of compensation for advertising earned in certain theatrical programs (5 counts).”
By 1913, the Empire Circuit was absorbed by the Columbia Amusement Company and by 1914 nearly 80 shows were touring in 81 theaters that stretched from New York to Omaha, entertaining 700,000 customers annually (Vaudeville Old & New: an Encyclopedia of Variety Performances in America, page 164)
This occurred only a few years after Fennessy retired from all theatrical business. In 1910 Fennessy suffered from a severe injury exercising at the Cincinnati Gymnasium; he fell over a ladder in the swimming area (Cincinnati Enquirer, 20 July 1925, page 3). In 1925 while undergoing a minor operation to repair damage from the 1910 accident, Fennessy died unexpectedly while recovering at home.
To be continued…
