Copyright © 2020 by Wendy Waszut-Barrett
In 1918, Thomas G. Moses wrote, “Made a Saturday afternoon visit with Jack Garner regarding his act, which was very good.”
Jack E. Gardner came from a theatrical family and initially performed in a musical comedy skit called “The Three Gardners.” The vaudeville act starred Jack, Andy and Ada Gardner in 1900. By 1905, Jack had quit the trio. He became known as “Happy Jack,” and advertised as a musical comedian in a solo act (The Morning Call, Paterson, New Jersey, 4 Oct. 1907, page 3). The “Los Angeles Times” reported “‘Happy Jack’ Garner recalls a pleasant turn, consisting of good songs and tuneful melodies drawn from a disreputable old tuba (Feb 17, 1907, page 75). In 1909, Gardner was still doing his musical routine, but now was performing in black face (The Salt Lake Herald-Republican, 16 Jan. 1909, page 7). By 1910, Happy Jack was touring the west as a minstrel performer (Oregon Daily Journal, 4 Dec. 1910, page 37). About this time, Gardner and his wife Edna (Beard) Gardner joined the Actors’ Colony in Muskegon, Michigan. There, he was performed in the colony’s annual charity shows. For more of his involvement in this group, see http://www.actorscolony.com/Gardners.htm
In 1912, Gardner starred in “A Close Call” with his own company on the Sullivan and Considine circuit. That summer, “Happy Jack” was featured alongside his good friends in Butte, Montana – Jack Jeffries, Jim Jeffries (former heavyweight champion of the world), and Barney Oldfield (racing car driver). The “Butte Miner” reported “Gardner was the first handler of Jeffries when he forsook the ring for the stage and he is now one of the closest of big Jims friends and intimates – and Jeff hasn’t many” (20 June 1912, page 3). Gardner was also a former room-mate of James J. Jeffries (Calgary Herald, 14 June 1912, page 9). Oldfield was making an appearance in Butte at this time with his famous racing car for July celebrations.
“Happy Jack” made quite a name for himself as he continued to perform across the country. Notable productions included “Madame Sherry” and “The Chocolate Soldier.” However, it was Gardner’s later interaction with film on the vaudeville stage that really caught my attention He had a brand new idea for vaudeville that would tour the Orpheum Circuit; a first that I have encountered to date.
On Jan. 31, 1915, “Oakland Tribune” reported, “Jack E. Garner has turned his back upon the lyric stage and has become a dramatic actor. His new departure is entitled “Curse You, Jack Dalton” and is an exaggerated melodrama of the old school acted upon the moving picture screen” (page 5). Of the vaudeville act, the “Atlanta Constitution” reported, “The brand-new idea of Gardner’s embraces the moving pictures, with which he is assisted in the production of “Curse You, Jack Dalton.” The main action is enacted upon the screen, but the versatile Garner fits himself into each situation with ludicrous effect” (20 June 1915, page 1). The “Lincoln Star” added, “The ‘stunt’ is something entirely new and novel to the vaudeville stage. Jack Gardner had a reel of pictures, with clever actors, the hero, the villain, the heroine and her papa – a blood-curdling melodrama – incomplete, however, without Gardner walking around the stage mingling with his picture characters, talking with them, prompting them and even shooting with a real revolver the mustached villain, who falls writing to the floor with a bullet in his arm” (Lincoln, Nebraska, 19 March 1915, page 2). This was a movie produced under the personal direction of Billy Arnold. The “Fort Wayne News” reported, “Arnold’s ‘company’ consists of a movie film produced under his personal direction and in which he in the flesh and blood makes himself a portion of. The act isn’t one that will live a long time, but while it is new the novelty is so marked that it makes a great hit” (Fort Wayne, Indiana, 29 Jan. 1915, page 4).
The September 1916 issue of “Variety” described another short film by Gardner that I found pretty interesting:
“Jack E. Gardner. Songs and Talk. 17 Min. One. Fifth Ave. Jack Gardner is at least to be congratulated on his streak of progressiveness. He, unlike many other “single” men, seems continually to strive for the original, and generally makes proper connections. His present turn is a neatly constructed affair, consisting of an introductory number, after which he runs through a routine of songs of different style, each one prefaced with an explanation in rhyme, Gardner explaining he would never think of imitating others, then proceeds with an illustration of what he means. The finale is the comedy trump. A speech, in which he invites applicants to the stage, introduces the well-known Benjamin Schaeffer, who “masquerades” as an amateur and who craves the attention of the house during a recital of “Gunga Din.” Gardner promises Ben protection, but at the finale stages a comedy-choking scene, with Ben retreating to the auditorium delivering a routine of satirical remarks. It’s a good finish and Benjamin was surprisingly good. So was Gardner. With this act and his name Mr. Gardner should do nicely, although some of the number could be cut down so that the act would not exceed 12 or 14 minutes in running.”
By 1917, “Happy Jack Garner” and his company toured the Orpheum Circuit in a comedy entitled “In the War Zone.” Advertised as performed by the “Jack Gardner Trio” or “Happy Jack Gardner & Co.” the show was advertised as “a riot of laughs” (The York Dispatch, York, Pennsylvania, 17 May 1917, page 10). The “Ithaca Journal” reported, “There is fun galore in Happy Jack Garner’s act which contains several talented persons” (The Ithaca Journal, 9 March 1917, page 6). The “Fitchburg Sentinel,” reported “Mr. Gardner will be remembered as a blackface artist who appeared as the Cummings a few seasons ago and scored on of the biggest laughing hits ever secured at that theater. This time he is the head of an organization of four people who present his latest creation ‘The War Zone.’ Mr. Gardner is supported by C. Ward Brown as General Bolters of the Belgium forces. Miss Edna Beard as Kitty Wilson, a Red Cross nurse, James F. Gallagher, as Denny O’Brian of the British forces. Mr. Gardner will be an American negro playing in the French band. It is laughable burlesque of the best type and should be welcomed by local theatregoers”
This was likely that the Gardner performance that Moses saw in 1917 was “In the War Zone.” It was still touring in 1920 (The Tribune, Scranton, Pennsylvania, 13 Oct. 1920, page 13).
By 1917, Garner was performing with another film “The Range Boss,” the second of his Essanay Western Productions, appearing as a dare-devil cowboy. The film was based on a novel by Charles Alden Seltzer. Here is a link to the book, if you feel like reading a western novel today: https://www.gutenberg.org/files/25754/25754-h/25754-h.htm The film version was directed by W. S. Van Dyke, the silent film also starred Ruth King and Carl Stockdale. Of Garner’s performance, the “Charlotte News” reported, “His defeats of horsemanship in this picture demonstrate that it isn’t altogether necessary to live in the west in order to learn to ride a horse” (Charlotte, North Carolina, 26 August 1917, page 13). The Essanay Film Manufacturing Co. was established in 1906. The firm offices in Chicago were located at 1333 West Argyle Street.
Gardner passed away on April 16, 1929, in Muskegon, Michigan.
To be continued…
I can sometimes make me, and I am others, to talk about how the blackface characterization perpetuated stereotypes. Many times it makes people cringe…it makes me cringe. I know my fathet, probably in the 40s? or earlier as a child was in or associated with minstrel shows, but I think his child hood shaped him to counter the environment in which he was raised. 1930s on the East Coast was divided and continued through the 40s even 50s. My father moved “West to Ohio” and continued to be a worker for social justice ( he didn’t like label social worker, he thought it too stagnant). One of many instances he did things to chip away at racism …he and a friend applied to country club and signed an African -american’s name, went through an interview…so the vlub member was not caucasian. There was a very active group for rights of immigrants in NW Ohio with some of the migrant workers.
The theatre could serve purpose to educating and be instrumental (and influential) in bringing to light injustices in society.