Tales from a Scenic Artist and Scholar. Part 572: The Majestic Theatre in Indianapolis

Part 572: The Majestic Theatre in Indianapolis

Postcard of the Majestic Theatre, Indianapolis.

In 1907, Thomas G. Moses wrote, “We had more work for the Majestic Theatre also for Indianapolis.” The Majestic Theatre opened on September 2, 1907. It was located on South Illinois Street and West Maryland Streets. The “Indianapolis Star” advertised the venue as “Indiana’s Coziest Playhouse” (Indianapolis Star, 27 Oct. 1907, page 35).

Advertisement for the Majestic Theatre in 1907 from the Indianapolis Star, 27 Oct. 1907, page 35
Advertisement for the Majestic Theatre from the Indianapolis Star, 29 May 1911, page 69
Advertisement for burlesque at the Majestic Theatre from the Indianapolis Star, 7 Feb 1915, page 12
Advertisement for the Majestic Theatre from the Indianapolis Star, 8 May 1917, page 10

The seating capacity was 1675 (orchestra -675, first balcony – 500, second balcony – 500). Within the first decade of its existence, the Majestic Theatre became associated with burlesque. By December 25, 1919, the Majestic Theater became known as the Broadway, soon changing its names again to become the Mutual Theatre seven years later. Like many vaudeville theaters this one-time vaudeville house solely featured movies. The building was closed and then demolished during June 1955.

When the Majestic Theatre transitioned to a movie house. From the Indianapolis Star, 7 Sept 1919, page 55

In 1916, the “Indianapolis Star” included an interesting article about an upcoming burlesque performance at the Majestic Theatre (26 Nov. 1916, page 52). As the article’s 102nd anniversary is very near, I thought that I would include it in today’s post.

Charles  Robinson and his “Parisian Flirts” Company seemed to be ushering in the holiday season in Indianapolis that year. Here is the article in its entirety:

“Majestic – Burlesque

Charles Robinson and his ‘Parisian Flirts” Company, will be the attraction at the Majestic Theatre next week.

Manager Robinson claims to have one of the best attractions playing the circuit. The books are from the pen of Ed Hanford, the famous actor-playwright, and are considered his best efforts. The musical numbers are of the tuneful sort that make you whistle and go home in a happy frame of mind. In the cast are: Charles Robinson, the famous tramp comedian; the Harmonists Four, May Bernhardt and Mabel Lee, Harry S. LeVan, Charles E. Edwards, Al Turpee, William Mack, Gertrude Sommers, Freda Lehr and the Dancing Hawaiians.

The company is large, mostly girls, who have made burlesque famous. There are many novelties in the show, and the lyrics are full of smart witticisms.”

It was hard not to read this article without thinking of “You Gotta Have a Gimmick” from the musical Gypsy. Here is the link to one of my favorite versions (1962): https://www.youtube.com/watch?v=gFRSawe33sA.

Have a Happy Thanksgiving – I am taking the next two days off to enjoy my family.

To be continued

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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