Copyright © 2020 by Wendy Waszut-Barrett
In 1916, Thomas G. Moses wrote, “Closed a contract for $1,200.00 with Howard for ‘Which One Shall I Marry.’ Rather enjoyed the show.” Moses was referring to Lorin J. Howard, of Rowland & Howard, the theatrical producers. His partner was Edward W. Rowland. Howard functioned as the artistic director for the firm, filling the role of both stage director and lighting designer for this production.
“Which One Shall I Marry” was billed as a “new idea” in drama, a stage allegory
in four episodes. The production company included Marguerite Henry, Marie
Kinzie, Dollie Day, Ainsworth Arnold, E. H. Horner, Edgar Murray, Tommy
Shearer, and Charles Richards.
The “Pittsburgh Post-Gazette” reported, “It’s author, Ralph T. Ketterling, has done that which most playwrights have sought to perform – created new and original idea. The story of the play begins in allegorical form. The young girl about whom the story revolves is discovered at the crossroads of life, where the mysterious character, “Good Advice,” comes to her point a successful future. She is sought in marriage by a rich man and a poor man. The former offers her everything that money can buy, while the other can only offer love. It is then that she propounds the question, ‘Which One Shall I Marry?’”27 Aug. 1916, page 34).
Starting at “Crossroads of Life,” the girl journeys to “The Grey Forest of Doubt,” “The Land of Shams” and “The Land of Reality.” The “Reading Times” described the action in detail on Feb. 4, 1916 (page 5):
“It begins with a prologue, in which a lovely girl in a tennis costume and the first flush of womanhood appears before the curtain and tells of two offers of matrimony. She is followed by an elderly man of the millionaire type, loudly proclaiming his wealth and the advantages he can give the girl if she becomes his bride. The third character in the prologue is a young man in love with the girl, a stalwart youth who has no wealth, but morals and integrity, good habits and affection to bestow on his bride. It is ‘Hope vs. Riches,’ as the bride-elect recites.
In the second episode, in a cleverly arranged double-stage effect, the girl as the bride of the millionaire is shown in her luxurious home neglected by her husband, He is too busy with his plans to crush by the aid of the corrupt senate and a corrupt law the already oppressed workmen in a huge steel plant, to pay much attention to her. He has time to buy her royal gifts, but no time to make a home for her. The scene closes with the unhappy wife’s suicide.
The third episode gives a brighter picture of life in a happy workman’s home, with husband and wife of the same age, without wealth but full of contentment and prospects of a rosy future. The final scene sums up the story of the other three and brings round after round of curtain calls for the whole capably-acting company.”
The “Pittsburgh Daily Post” reported, “’Which One Shall I Marry?’ is described as full of heart throbs, with much humor and a moral. Those interested in its production say that it brings out an idea which is altogether new in play writing. This is not only in the construction, but in the scenery used to introduce the girl whose fate is the subject of the struggle of opposing interest. In parts of the story, the dreams of the girl are pictured on stage. This is done by a means of a triple scene, which fades away and dissolves, and then returns at the proper time by lighting effects” (27 August 1916, page 30). The “Fort Wayne Weekly Sentinel” added “There are eleven changes of scene and many wonderful lighting effects which have been arranged by Mr. Lorin J. Howard, who is the artistic director of the firm and is known as the Belasco of the west” (21 August 1916, page 6).
When the production toured Wisconsin, the “Kenosha News” reported, “a stage full of scenery that is unique, colorful and massive” (323 Dec. 1916, page 5).
Sosman & Landis produced scenery for a second production near the end of 1916. Later that year he wrote, “Another production of ‘Which One Shall I Marry.’” The show remained a popular production, appearing in theaters across the country until 1918.
To be continued…
