Tales from a Scenic Artist and Scholar. Part 917 – Thomas G. Moses and George Ade, Purdue College, 1915

Copyright © 2019 by Wendy Waszut-Barrett

George Ade (1866-1944).

In 1915, Thomas G. Moses wrote, “Went to Lafayette, Indiana, to meet George Ade regarding a new show he is going to stage for the Purdue College.” Ades’s show was the “Eight Little Wives” and it featured an all-male cast; this was consistent with all previous Harlequin Club shows at Purdue. It was not until 1916 that women were first allowed to perform in Harlequin Club productions.

George Ade (1866-1944) was a well-known author, playwright, and newspaper columnist, born Kentland, Indiana. Ade’s focus while attending Purdue was science, but he became increasingly interested in the theater. After graduating in 1887, Ade became a newspaper journalist, working for the “Lafayette Call” in Indiana. He then moved to Chicago and worked for the “Chicago Daily News,” expanding the scope of subjects that he wrote about. Ade described the daily life of Chicago’s citizens, with first in his regular column being “The Chicago Record.” His writing incorporated street slang and a variety of encounters in the Windy City. Ade was well-known for his “Fables in Slang” (1899) and “More Fables” (1900), earning him the nickname, “Aesop of Indiana, “ He initially gained additional famed with his “Stories of the Streets of the Town.” Here is a link to some of his works online: https://americanliterature.com/author/george-ade

George Ade
A copy of “Fables in Slang” by George Ade.

Ade’s work as a playwright began in earnest with the 1901 Broadway productions of “The Night of the Fourth” and “The Sultan of Sulu.” Other popular Broadway productions penned by Ade included “Peggy From Paris, ““The Country Chairman,” “Sho-Gun,” “The College Widow,” “The Bad Samaritan,” “Just Out of College,” “Artie,” “Father and the Boys,” “Mrs. Peckham’s Carouse,” “Mars Covington,” “The Pair Co-Ed,” “The Old Town,” “The Slim Princess,” and “Leave it to Jane.”   Ade also wrote several one-act plays, some of which became popular films, such as “Our Leading Citizen,” “Back Home” and “Woman-Proof.”

By 1909, Ade remembered his alma mater, becoming a member on the Board of Trustees at Purdue University. He would remain a Trustee until 1916, becoming active in many other alumni-supported activities. He was also a longtime member of the Purdue Alumni Association and former president of the Mark Twain Association of America. His financial continued contributions toward Purdue University supported the construction of Purdue’s Memorial Gymnasium, Memorial Union Building, and the Ross-Ade Stadium.

In regard to the play that Moses designed scenery for in 1915, newspapers reported, “LAFAYETTE, Ind., January 8.- The play to be produced by the Harlequin Club, of Purdue university, this year, will be written by George Ade, according to an announcement made by J. J. Johnston, manager of the club. Mr. Ade, who is a Purdue alumnus, has written several first by the Purdue Harlequin Club, among which were “The Fair Co-Ed,” “The Junior in Command” and “The County Chairman.” Mr. Ade is working on the play, but the name has not been announced” (Indianapolis Star, page 15).

“The Indianapolis News” reviewed the production on 20 April, 1915 (page 2):

“Harlequin Club Presents George Ade’s Play Before Large Audience at Lafayette. ‘Eight Little Wives,’ the ninth annual production of the Harlequin Club of Purdue university, was presented for the first time yesterday at the Victoria Theater before a capacity audience. The play proved a great success, receiving more praise than ever was bestowed on previous first night performances of the Harlequins. There are eighty-five students in the production and the costumes and scenery are unusually elaborate. George Ade. Purdue 1887 is the author, and the music is by Alfred G. Wathall, with interpolated numbers by George Ade Davis [George Ade Davis was George Ade’s nephew who wrote music for his uncle]. The play is an adaptation of Mr. Ade’s musical comedy success, ‘The Sultan of Sulu.’

“George Herbert, the veteran coach of the Harlequin Club directed the production, and J. J. Johnson, manager of the club assisted. The leading role in the musical comedy is taken by R. H. Dwiggens, a freshmen at Purdue, who proved himself the cleverest comedian ever seen in a Harlequin Club production. As Ki-Ram, the sultan of Sulu, he was on the stage most of the time, the part being that played by Frank Moulan in the professional production. G. H. Smith, as Major Jefferson Rice, had another important role, as did H. J. Rosenthal as Lieutenant William Hardy. H. S. O’Brien, captain of the Purdue football team last fall, appeared in the role of Hadji, private secretary to the sultan. M. S. McNay was the Datto Mandi of Parang. J. A. Pierce, as Wakeful Jones, salesman, and K. W. Hurst as Dingbat, captain of the guards, were good in minor roles. F. Ledder and R. J. Mitchell as the Nubian slaves injected a large share of the best comedy. As usual in Purdue Harlequin plays, the male students essayed the roles of the women. D. J. Bellinger, as Henrietta, the major’s daughter, was well made up, as was B. L. McCullom, as Chiquita, the sultan’s favorite wife. They sang and danced and their gowns were visions of loveliness. L. R. McKnight had the role of Pamela Jackson, the woman judge advocate, and presented a realistic picture of the suffragette type. W. K. Dodd, as Galula, the ugly wife of Ki-Ram, had the leading woman comedy part. Other students appeared as the eight wives of Ki-Ram, then there were the school ma’ams, the United States soldiers, marines, American girls, slaves, natives and attendants.

The scene is laid on the Island of Sulu in the Philippines. The first act setting shows the exterior of the sultan’s palace and the second set shows the hanging gardens of the palace. In the background of each act is a view of the land and water scenery of the Philippines. The leading song numbers are Ki-Rams’s ‘Remorse’; ‘Soldiers of the U.S.A.,’ one of George Ade Davis’ contributions; ‘The Smiing Isle,’ by Ki-Ram; ‘The Filipino Cabaret,’ and ‘If You Say That You Love Me.’

“The play will be repeated this evening and Wednesday night in Ft. Wayne, under the auspices of the Purdue Alumni Association in that city. Next Saturday night it will be given again at the Victoria theater in this city for the benefit of the visitors at junior prom parties.”

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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