In 1912, Thomas G. Moses wrote that he designed scenery for two Minnie Palmer productions. However, there were two Minnie Palmers recognized for their theatrical contributions in 1912.
One Minnie Palmer (1857-1936) was an American actress who made her stage debut at the Park Theatre in Brooklyn, New York on June 8, 1874. Palmer was known for both her dramatic and singing abilities, and especially her starring role in “My Sweetheart” that toured both England and the United States. In 1912, “The Pittsburgh Press” included an article on two well-known actresses from the past, Minnie Palmer and Estelle Clayton. The article recalled their careers twenty-five years prior (19 March 1912, page 18).
A second Minnie Palmer emerged after the first; this was actually Minnie Marx (nee Miene Schönberg), mother and manager of the Marx Brothers and sister of comedian and vaudeville star Al Shean. Minnie used the last name of Palmer as an alias as a manager to her sons and other shows. The Marx family resided in Chicago during this time, making the connection to Sosman & Landis studio even more probably, especially through mutual ties with McVickers Theater. There is a fascinating history about the Marx family and their life in the windy city written by Mikael Uhlin for his Marxology blog (https://www.marx-brothers.org/marxology/chicago.htm).
As an aside, Moses worked with the Marx Brothers on a project in 1926. Of them, Moses wrote, “Made several sketches for Marks Brothers. I have no faith in them. I think them very cheap.” He would have some perspective if he had worked for their mother on other shows.
Minnie Palmer managed the Marx Brothers and other well-known vaudeville attractions. In 1912, shows produced by Minnie Palmer included, “The Six American Beauties,” “Minnie Palmer’s Golden Gate Girls,” “Minnie Palmer’s 1912 Cabaret Review,” and “Running for Congress.”
“The Six American Beauties” was advertised as the “costliest act ever played” (The Daily Gate City, Keokuk, Iowa, 31 July 1912, page 3). “The San Francisco Call” reported “Music is their forte, reinforced by natural beauty and skill in acting. The violin, cello and harp are handled with remarkable effect and a novelty is introduced when a girl wanders through the house playing a violin solo” (3 Nov 1912, page 46).
In 1912, Palmer also organized a new act known as “Minnie Palmer’s Golden Gate Girls.” Palmer’s “Golden Gate Girls” employed 17 people for their touring show as it crisscrossed the country (Lansing State Journal, 12 Oct. 1912, page 6). The show was part of the “Big Laugh Show, Duke of Bull Durham.” Advertised as “a musical comedy farce with a plot” and “gigantic hurricane of fun, “show posters promised a “carload of scenery and effects”
Palmer’s “Cabaret Review of 1912” was described in an article from the “San Francisco Call,” as another big scenic production (30 Dec. 1912, page 18). The article reported, “‘Cabaret Review of 1912,’ Minnie Palmer’s sparkling little musical comedietta, is the headliner of the new bill which opened at Pantages yesterday. The scene of the review is in a café on the gay ‘white way.’ The usual after midnight crowd assembles, giving Will Staton an excellent chance to impersonate a joyous reveler. Staton’s capers during the whirlwind revelry reveals him as a character actor of no mean merit.”
Palmer had a fourth show on tour on tour in 1912 too. “Running for Congress” was a political show managed by Palmer with a company of 20 people (The Times, Munster, Indiana, 30 Dec. 1912, page 2). It too traveled with a carload of scenery.
The confusion between the two Minnie Palmers intensified by 1918 when actress Palmer returned after being abroad in 1918, resuming her acting career, as well as producing theatrical shows. This caused confusion with Minnie Marx, aka. Minnie Palmer, who continued to work as a manager. However, Marx was dealing with several business issues and the onslaught of WWI. To avoid her sons being drafted, however, Minnie Marx bought a farm in La Grange, Illinois, as she understood that farmers could be exempted from the draft.
To be continued…
