Copyright © 2020 by Wendy Waszut-Barrett
In 1921, Thomas G. Moses wrote, “Early in January we closed a contract for Joe Bren productions.” That year, “Twin-City Daily Sentinel” reported, “The Joe Bren Company are professional producers of wide fame and popularity, doing an extensive business among the Shriners, Elks, and other fraternal organizations in all parts of the nation” (Feb. 26, 1921, Winston-Salem, North Carolina, page 2).
The article quoted Bren: “Our hope supreme is not to make money; tho we do not spurn the master linguist, Mr. Kale, who talks all languages with equal facility – not that, but primarily to get before the public and show the good people of the city what we can do.” The article continued, “Someone mentioned the great expense entailed in engaging this professional company. ‘Expense, be hanged!’ exclaimed John [Whitaker]. ‘We want to put on a show that will not soon be forgot, a show with home talent, but with the ‘home’ made invisible thru training by professionals.’”
Sosman & Landis produced all of the scenery for Bren’s productions. Bren had been a client of theirs since 1916. The Joe Bren Company was a Chicago-based theatrical company that partnered with churches, fraternal organizations and civic groups to stage fundraising shows. They tapped into the “everyone wants to be a star” mentality. So many long for their moment in the spotlight, and Joe Bren delivered that – an opportunity to don a costume and perform in front of professional scenery for family and friends, never leaving the comfort of their hometown. The Bren Company was especially popular with Kiwanis Clubs, the Lions, American Legionnaires, United Commercial Travelers, Benevolent and Protective Order of Elks, and Ancient Arabic Order of the Nobles of the Mystic Shrine.
Bren Company representatives traveled from town to town, working with local talent to organize minstrel reviews; working as the producers, directors and some-times performers for each endeavor. The Joe Bren Company not only provided instruction, but also all of the sketches and songs. The traveled with all of the technical trappings; scenery, lighting and costumes were brought in by train. On Jan. 4, 1921, the “Courier-Gazette” reported, “The Joe Bren Production Company has its headquarters in Chicago where it keeps in touch with the progress of stage art. The company carries a carload of scenery, electrical effects and stage paraphernalia, to put the show on” (McKinney, Texas, page 1).
The only true flaw with this entire formula was the inclusion of blackface, as it continued to perpetuate harmful stereotypes and further deepen the racial divide in America. I have written about Bren in the past posts (see #941 and #1111). Clients in 1921 included the Dallas Shriners’ Club, the Elks Convention in San Francisco, the Elks Convention in New Orleans, Charleston’s “Jollies of 1922,” Davenport’s “Amoo Revue of ‘22” for the Amoo Grotto, Minneapolis Elks for the Boy Scout Camp fundraiser, the American Legion of Nebraska’s “The Jollies of 1922,” and many, many more.
Bren was back every year to purchase more scenery for his shows. In 1923 Thomas G. Moses wrote, “Joe Bren’s work came in early this year, and we will try and give him a good job. It is not apt to be paid for very soon as usual.”
To be continued…
