Copyright © 2021 by Wendy Waszut-Barrett
Today’s Sosman & Landis employee, Julian Greer, took quite some time to track down. It is a long post, as there is so much misinformation about Greer’s acting career posted to various sites online, including the IMBD. Hopefully this will help connect the dots for some folks. Although Julian Greer was celebrated as an English actor when he passed in 1928, his career in the theatre began as that of a Midwestern paint boy to Thomas G. Moses in Sterling, Illinois. Greer later became known as an English artist, but his backstory was really constructed when he changed his name from John Julian Greer to Julian Greer in the 1880s. This post is quite long, but Greer really intrigues me. Its length continued to grow as I uncovered one fascinating tidbit after another regarding the life and career of stage actor, author, film star, and theatrical manager, Julian Greer.
John “Julian” Greer began working as a paint boy for Thomas G. Moses in 1878 and worked at Sosman & Landis in the very beginning of the firm. His passion, however, was in acting. In 1906, Greer returned to Sosman & Landis for a brief visit. That year, Moses recorded, “Julian Greer, one of the old paint boys, now an actor, author and manager, visited us for the first time in many years.”
Both Moses and Greer grew up in the small town of Sterling, Illinois, located 116 miles due west of Chicago. When Greer was only 16 yrs. old, he assisted Moses in painting stock scenery for the Academy of Music in Sterling. Unbelievably, the Academy of Music project was remembered in 1961 by local historian Mrs. Orville Wallace. An article describing Wallace’s research was published in “The Sterling Gazette” and entitled, “Club Woman Recalls Sterling Artists and Their Talents” (March 9, page 15). That spring Wallace compiled an account of past Sterling artists and presented her findings at the Sterling Women’s Club meeting in March. The article included a section with the heading “By Thomas Moses” –
“The work that I did at the Academy of Music lasted a long time. My assistant on the job was Julian Greer, who was very ambitious to become an actor, and he succeeded. His father was a plasterer in the old home town and made some ornamental cement garden benches. I enjoy going back and reviewing the finish of the many paint boys who I started in the wild career of an artist.” It was Moses’ mention of ornamental garden benches that helped me track down the life and career of Joseph A. Greer and his son, John Julian Greer.
Mrs. Wallace provided additional details pertaining to Academy of Music project in the article too, reminiscing:
“The Academy of Music must have been built about 1878, and it was considered the finest opera house west of Chicago. There were two young artists living here at the time by the name of Moses. These boys were given the assignment to paint the big backdrop and I imagine the stage settings too, for this new play house. What a thrill it must have been because I recall the impression it made on me when I was a little fairy or chorus girl of sitting in the dress circle watching Little Red Riding Hood. I think of the woodland scene. These Moses boys left Sterling and went to Chicago to become Lithographers.” She was wrong about the artists being related, Tom Moses was the only son in the Moses family to paint for the stage.
The two young boys were actually Tom Moses and John Julian Greer, ages twenty-two and sixteen, respectively. They not only painted scenery, but completed much of the plaster painting throughout the building that year. Julian was likely selected as an assistant, since the Greer family business was in plaster, artificial stone, and other decorative stone work.
Moses recorded the project in his 1878 diary, writing, “In February I started on the decoration in the stores under the Academy of Music. The dark clouds that had hovered over me for two years now began to show their silver lining, the decoration and scenery for the Academy of Music was a good contract, and it was awarded to me in spite of a good knock that I got from my Father. He informed one of the owners, Mr. Tracy, that I was too young for such a big job. Mr. Tracy informed him that he had full confidence in my ability to do the work.” Moses exceeded all expectations of Mr. Tracy. On April 27, 1878, the “Sterling Gazette” reported, “Greer and Tom Moses are doing some of the finest work in the plastering and fresco line in the Academy of Music that has ever been done in the city. The free library room will be as finely finished as any rooms in Northern Illinois. It is not time to see them now as the work is but partially done, and but little idea of the completed work can be gained; but in a couple of weeks the whole can probably be seen” (page 5). This misprint is why Wallace though that that two boys were named Greer Moses and Tom Moses, not John Julian Greer and Tom Moses.
At the time, Moses was single and boarding in town at a friend’s house. Of the lodging, Moses wrote, “I was staying with my friends, Will Tuller, until Will’s mother had so many relatives drop in for a visit that I felt I was intruding, so I went to the Galt House.” This move is what brought Moses in closer contact with the Greer family. Joseph A. Greer’s business was located at the northwest corner of Galt House in Sterling.
When the Academy of Music opened to the public that fall, the “Sterling Gazette” described the scenery in a lengthy article published on Saturday. Nov. 30, 1878 (page 8). The article reported, “There are ten full sets of scenery, including parlor, chamber and kitchen scenes; a river, sea, street, woods, prison, landscape and garden scenes comprise list of scenery. They were painted by our townsman, T. G. Moses, and we need not tell those familiar with his work, that they are finely done. The work along will give him a reputation as a scenic artist everywhere that it is known. That everything about the stage might be perfect, Messrs. Galt and Tracy brought from Chicago Robert McLeod, for twenty-five years stage carpenter for McVicker, to put up the stage. It is perfect. The whole is lighted by three sets of boarder lights, each having fifteen burners, and the footlights of twenty-five burners. The brilliant effect of these is a wonder. The drop curtain represents a scene near Amsterdam; a palace being in the foreground with sea view at the right, and in the middle distance with a distant view of a city, Like the rest of the stage work it is finely painted.” Moses got his start as a scenic artist decorator in Chicago under the tutelage of Louis Malmsha at both McVicker’s Theatre and P. M. Almini & Co. in Chicago.
In regard to the Academy of Music project, the “Sterling Gazette” also praised Moses’ decorative painting, especially the ornamentation in the auditorium hall and the fresco work in throughout the first floor.
The success of Moses’ work at the Academy of Music helped smooth tensions with his father, with Moses later writing, “The work at the Academy put me on the list, and Father heard so much praise of my work, that he finally weakened, and we called the old score off and ‘we lived happily ever after.’” As little theatre work was available in Sterling, however, Moses primarily worked as a decorative painter in the area, traveling from one neighboring town to the next. A series of small painting projects in 1878 helped Moses’ finance his first home and marriage to Ella Robbins. The couple was married on October 31, 1878, just shortly before the Academy of Music opened its doors to the public.
Other work completed by Moses and his assistant was in Tampico, Illinois, located approximately 14 miles southwest of Sterling. Of the project, Moses wrote, “I decorated the church at Tampico, Illinois, that had been built on the same foundation from which another building had been blown by a terrific tornado. The hotel where I boarded had been cut in half by the tornado, rebuilt and every time the sky became yellow, and a stifling heat presented itself, everyone would prepare for the cyclone cellar built in the yard. One night I was awakened and informed of an approaching storm. I tried to awake my assistant. He didn’t care and said so. I tried to drag him out of bed. I left him and went to the cyclone cellar. After waiting until after 12 o’clock, we heard the storm passing a mile East of us. My assistant laughed at us for the trouble we had taken.” Ironically, even the town’s newspaper was called, “The Tampico Tornado.”
The two continued working together until Moses relocated to Chicago and began working for Sosman & Landis. Greer likely followed Moses shortly thereafter, although I have yet to track down the specific. Regardless, Greer continued to work as a paint boy during the early days of the firm. Here is the life and career of John “Julian” Greer.
John Julian Greer was born in Bruce, Ontario, Canada, in 1862. He was the second of four children born to Joseph Andrew Greer (1839-1883) and Isabella Murray (1841-1918). The birth of each child tracks the family’s journey from Nova Scotia to Illinois between 1859 and 1872. Their oldest daughter was born out of wedlock, on October 8, 1859. Catherine “Kate” Eva Greer (1859-1945) was born in Nova Scotia, exactly a month before her parent’s wedding on November 8, 1859 in Port Elgin, Bruce County, Ontario. The 1861 Canadian Census listed Joseph Greer as a plasterer, living with his wife and young daughter in Bruce County, Ontario. The couple’s second child, John Julian Greer, was also born there, named after his maternal grandfather John Murray (b. 1806). Sometime between 1862 and 1866, the Greer family moved to the US. His younger brother George M. Greer was born in Pennsylvania in 1866, and by 1870, the Greer family was living in Iowa. In Dubuque, Iowa, the Greer’s welcomed the birth of their fourth, and final, child in 1872. In the 1870s, Isabella’s brother, Hugh Murray (1846-1915) sporadically lived with the Greer family. He worked as a stone mason.
By the time the Greer family moved to Sterling, Illinois, Joseph Greer began specializing in artificial stone. He partnered with Peter O’Hair to establish Greer & O’Hair in the city. Their firm specialized in the manufacture and sale of decorative stone, especially a new artificial version patented by the two in 1878.
Their partnership ended in 1879, with a notice of dissolution published in the “Sterling Daily Gazette” on April 22. Greer continued in the same line of business, however, and went on to establish J. A. Greer & Co. The company even built a manufacturing plant for artificial stone works in Genesco, Illinois, located 48 miles southwest of Sterling.
By 1880, Julian was no longer living with his parents, most likely working in with Moses at Sosman & Landis in Chicago. Moses relocated to Chicago after completing his final decorating project for the Presbyterian Church in Dixon, Illinois, located 13 miles northeast of Sterling. When Tom and Ella Moses moved to Chicago, they initially stayed with their friend Will Tuller at O. W. Young’s boarding house, located at 438 West Van Buren Street. It is important to note that Moses ties to close friends continued over the years; he had previously stayed with Will Tuller’s family in Sterling during the Academy of Music project. In Chicago, Moses began working at Sosman & Landis during the spring of 1880. Shortly after staring with the firm, Moses recorded, “As the business increased, we put on a paint boy. “ Although not identified by name, I believe that this paint boy was actually Greer, as it coincides with other records at the time.
The 1880 US Federal Census also did not include John Julian Greer at the family home in Sterling. The Greer household only included Joseph (40), Isabella (39), Katie (19), George (14) and Willie (8). In 1880 the Greer family was living at 129 Market St. in Sterling. Joseph was still working in the artificial stone industry and actively advertising in local papers. On March 3, 1880, J. A. Greer placed the following advertisement in the “Sterling Standard” -:
“J. A. Greer, Manufacturer of all kinds of Plaster Center Pieces. – bracket – Cornice Enrichment &c. Shop, northwest corner of Galt House, Sterling. Remember, I can put on a center piece cheaper than the article can be bought in Chicago” (page 6).
The Greer family headed south the following year. In 1881, Joseph A. Greer was listed in the “Kansas City Directory,” still working in the artificial stone industry and living at 620 Tracy Ave. John Julian had continued as an artist and was now working as an engraver at Ramsey, Millett & Hudson. By 1882, the Greers were living in Galveston, where patriarch “J. A. Greer” advertised in the city directory as a “Manufacturer of Greer’s Patent Stone Window Caps, Keys Sills, Floor Tile, Cemetery Work, Lawn and Garden Ornaments.” The listing for Joseph A. Greer specified “Manuf’r Greer’s Artificial Stone, works and office ss Ave A bet 21st and 22nd, r 809 Market bet and 9th.” Sometime between 1882 and 1883 the family relocated to San Antonio where Greer continued his business.
By 1883, J. A. Greer had established the Greer Stone Company in San Antonio. Sadly, Julian’s father passed away on Jan. 29 1883. On Feb 13, 1883, the “Sterling Evening Gazette” reported “Appropriate memorial resolutions were passed last evening by the AOUW lodge No. 148, in honor of the late Mr. Joseph Greer, who was formerly a citizen of Sterling, and who died about February 1, in Texas. He family received $2,000 from the order” (page 4). In 1883, Isabella Greer was listed in the San Antonio Directory as the widow of J. A. Greer, living at 519 Ave B on the corner of 10th. Her sons, John J. and George M. were also living with her, now each working in the area. George M. Greer, Robert Fitzsimmons and John F. Williams ran Greer Stone Co. The firm’s listing in the city directory noted, “mfrs Greer’s patent artificial stone, burial vaults, caps, lawn and garden ornaments, 220 N. Flores.” Meanwhile, John J. was briefly listed as a civil engineer.
Shortly after Joseph Greer’s passing the family split apart. His mother, Isabella Greer moved to Los Angeles, California and bought her first home by 1886. Within less than a decade Isabelle had acquired quite a bit of land in Chicago Park, including lots 2183 to 2187.
Meanwhile, John Julian Greer entered the theatre profession as an actor. He reinvented himself, and John Julian Greer began going by his middle name, Julian. At this time, Julian Greer passed himself off as an actor from England. Over the years, even his birth date would change from 1862 to 1866 and then 1871. Interestingly, it is 1871 that appears on his tombstone when he died in 1928, so solid was his alias.
Whether the shift in birthyears was intentional or a typographical error remains uncertain, yet it was always the same person; historical records share the same names of wife, mother and brother. It is no mere coincidence and I have to wonder if Greer was a bit con man.
As an actor, Julian Greer met his future wife, Ida Florida Sollee (1864-1923) in the late 1880s. In 1888 the two were touring with a production throughout the south after Greer had made a name for himself at Wallack’s Theatre in New York. On May 27, 1888, the “Savannah Morning News” mentioned Julian as performer in “The Week’s Entertainment.” A notice announced, “The sale of reserved seats for ‘Leah the Forsaken,’ to be given at the Theatre Tuesday night, will open at Davis Bros., tomorrow morning. Miss Sollee will appear in the title role of the play, and she will be supported by Mr. Julian Greer, recently with Mr. John S. Clarke, and Miss Deland of Wallack’s theater New York…” (page 9). Greer eventually married Sollee on June 10, 1890, in Asbury Park, Monmouth County, New Jersey. On June 23, 1891, “The Los Angeles Times” reported, “GREER-SOLEE. One the evening of the 10th of June, in the Church of the Holy Trinity, (Episcopal) New York City, Mr. Julian Greer and Miss Ida F. Solee [sic.] were united in marriage. The bride is a young lady possessing grace, beauty and many accomplishments, is an artist in her chosen profession, and is now leading lady of John Dillon’s company. The groom is an actor of ability and associated with Charles Frohman’s company. The mother of the groom lives in Los Angeles, and her many friends join her in wishing the young couple much happiness and a long life” (page 3). Despite marriage, Sollee continued to use her maiden name as a performer, also listing herself as single in census reports. By 1891, the couple’s primary residence was in New York, but they continued to tour as performers for a short period of time.
Sollee is a bit of an interesting character herself. She was the eldest daughter of Francis Carrera Sollee (1834-1907) and Rebecca Louisa Hopkins (1837-1922). The eldest of nine children born to the couple. The Sollee family initially lived in New Braunfels, Texas, in 1870, with “Frank” Sollee working as a steamboat captain. The Sollee family relocated to Jacksonville, Florida by 1880. Ida F. Sollee purportedly formed her own company at the tender age of 18 yrs. old in 1886, yet she was actually twenty years old at the time. On Nov. 7, 1886, the “St. Louis Globe-Democrat” reported, Miss Ida F. Sollee is determined to be a star. She has organized a company and will make her debut at her home, Jacksonville, Fla., on her 18th birthday, December 16, as Juliet. She will then ‘do’ thou south” (page 11). Sollee did “do” the south and became quite popular with both performers and newspaper men alike. She has a brilliant marketing plan in the beginning.
In 1888 Greer and Sollee were credited with playing Romeo and Juliet for a local benefit in Savannah, Georgia. Their appearance was briefly mentioned in “The Macon Telegraph,” on June 4, 1888, (page 8).
On October 12, 1890, “The San Francisco Examiner” reported, “Miss Ida Sollee, a talented young Southern girl, who has appeared for the first time on this Coast last season with Rhea, has had wonderful success as Hester Malyon in ‘The Fugitive,’ now on the eastern boards…Miss Sollee has many friends in this city and Oakland where she spent her vacation last summer” (page 9). Ida did quite well at this time and toured with several productions. Unfortunately, her career began to faulter after her marriage and Sollee no longer remained in starring roles very long after her marriage. Something went on between the two that caused a rift, eventually ending Sollee’s career.
On Sept. 23, 1890, “The Philadelphia Times” reported that Greer played the romantic lead of John Levett, in “The Fugitive” at Forepaugh’s Theatre. Described as “the manly lover,” Greer played opposite of Sollee. Of Greer’s performance, “The Kansas City Times” reported, “Mr. Julian Greer, who sustains the part of the fugitive, is said to be a clever and conscientious actor who, though only a brief time in this country, has gained a metropolitan English reputation.” By this time, Greer was consistently passing himself off as an Englishman, effectively erasing any ties of his family or Midwestern background.
The “The Philadelphia Times” article also described Sollee’s work as an actress, adding, “Miss Ida Sollee, who assumes the role of the heroine, was leading lady last season with Rhea, and has also appeared with Bandman and with Lewis Morrison in ‘Faust.’ In ’The Great Metropolis’ she was a prime favorite in San Francisco.” It is also little ironic that Julian played the part of a fugitive, as well as a little foreshadowing. In 1896 Greer became a fugitive after a scandalous affair and left the country. The 1891 production of “The Fugitive” also appears to be the last production that Greer and his wife appeared in together.
That year, Julian Greer was living in New York and listed in the City Directory as an actor, residing at 134 W. 129th St. He was part of the Twelfth Night Club, and was mentioned as performing for the entertainment of the Club’s membership at the Lyceum Theatre that spring. On May 8, 1891, the Evening World” reported on the event, commenting “The next feature of the programme was Jerome K. Jerome’s adaptation of Francis Coppee’s ’The Violin Maker,’ in which Thomas Wise, Effie Shannon, Julian Greer and Frederic Bond took part” (page 5).
In 1891, Greer was also performing in Charles’ Frohman’s production of “All the Comforts of Home.” Meanwhile, his wife was performing with the John Dillon Company in “Wanted the Earth” (“The Kearney Daily Hub, 6 May 1891, page 3). Their careers continued to divide, accelerating on two separate paths. On July 18, 1891, “The Record-Union” in Sacramento, California announced, “Julian Greer is to appear again next season in one of Charles Frohman’s companies, but his wife, Ida F. Sollee is still disengaged” (page 6). Sollee was eventually cast in Martin & Booker’s “The Harvest Moon,” starring Harry Booker and Miss Louise Rial. The two toured independently of each other.
1892 became a turning point for their marriage and respective careers. That year Greer began experiencing health problems after appearing in “Men and Women” at the Grand Opera House that February. By April 28, 1892, the “Los Angeles Evening Express” reported, “Julian Greer sailed for Carlsbad Hot Springs, Germany, on the 21st. He hopes to be restored to health soon enough to return before winter” (page 4). Greer was listed as an outgoing passenger to Ireland that May, listed as a 26 yrs. old actor. He returned on June 6, 1892. His name did not make headlines again for the remainder of the year. That fall his wife toured with “The Froth of Society.” The show toured the entire season, ending during the spring of 1893. By the summer of 1893 newspapers across the country reported that Sollee was engaged to play juvenile with “The Danger Signal” (Topeka Daily Capital, 19 Aug., 1893, page 2). She continued to plug along in her profession.
Meanwhile, in 1893 Greer gradually returned to acting early in the year, first participating in a benefit performance held at the Standard Theatre in New York. On Jan. 15, 1893, “The Brooklyn Daily Eagle” reported Greer performing in “Drayton Hall,” advertised as “a spirited war drama written by Southern dramatist Alexander Hume Ford.” Greer then became associated with the Florence company and performed in “The Old Love and New” that spring.
Greer and Sollee continued to live separated lives, each focusing on their respective careers. By 1894, Sollee was touring with Eugene Robinson’s Company in their production of “Paul Kauvar.” The show starred John W. Barry, as Marquis de Vaux and aliases, with Sollee playing the role of Nanetta Potin, the wife of Rudolph, played by John W. Rose. She was still touring with the production the next season, her name making newspapers throughout 1895. Between 1894 and 1895, Greer performed with in a variety of shows and benefit performances, including in a series of Shakespearean productions starring Miss Martha Ford, “The Laughing Girl,” and “Rosedale.” While his wife was on tour, Greer primarily worked in New York and increasingly became part of social events. This is where the trouble began for Greer.
By 1896, Greer was part of a high-society scandal, accused of having an affair with Mrs. William Frederick Holcombe, the young wife of an elderly New York physician. Articles across the country described the “most beautiful woman and successful heiress in Madison Square” and her love interest “John Greer, an artistic and literary man of no little name.” When the story broke, newspapers reported, “Mrs. Holcombe is now in Europe, and it is said that Mr. Greer has gone thither too. At any rate the artist has left his former domicile in Winchester, as No. 120 Broadway, and none of the men in his set were seen at various clubs last night was able to say that he was in town” (“Wheeling Register,” June 17, 1896, page 5). The article went on to explain that Mrs. Holcomb’s name was coupled with Mr. Greer, describing:
“Sometime in March, it is said, they were walking along West Forty-Seventh street, between Fifth avenue and Broadway, when Mr. Greer fell to the sidewalk, rendered unconscious by an attack of heart trouble. He was carried toa small hotel nearby and was confined to his room for a week. Mrs. Holcombe, it is stated, visited him every day.” Dr. Holcombe’s search for Greer was described in detail in the section “Doctor Hunted For Artist.” It reported, “The manager of the Winchester, where Mr. Greer lived prior to his departure from the city, said last evening that Mr. Greer had told him he was going to California – at least, he thought so, but couldn’t be sure Mr. Greer had not said Europe. He was inclined to believe that Mr. Greer’s departure might have had something to do with the Holcombs, for he remembered, he said, that Dr. Holcomb had visited the Winchester frequently, in hope of finding Mr. Greer. The venerable physician always seemed terribly angry when he called, the manager said. “He used to ask all the tenants if they had seen a dark, handsome woman entering the building with Mr. Greer,” said the manager. Then he would add, “She’s my wife.” He gave everybody to understand that if he came across Mr. Greer is would be bad for that gentleman. Maybe it would – the doctor looked like a hard hitter.”
The article included a portrait of Mrs. Holcombe and reported, “According to Dr. Holcombe it is a case of December and May. He is a handsome old man of venerable appearance. Mrs. Holcombe is a beauty of a striking brunette type, about medium height and well on the sunny side of thirty. She has been a leader in society almost from the year of her debut. Her evenings were very popular, especially among the literary and artistic sets. Though more than forty years you ger than Dr. Holcomb, he is her third husband. This seems difficult of belief upon looking at her delicate, girlish features, for she looks to be less than twenty years of age. Her husband blames her beauty and her popularity with a certain clique of the literary troubles.”
I find it fascinating that physical description of Mrs. Holcomb and Ida F. Sollee are very similar, both brunette beauties that captivated men wherever they went
By the fall of 1896, Greer was living in London, now associated with the Comedy Theatre. He advertised for talent in the London “Era” – “Wanted, juvenile Lady, to look Sixteen; Juvenile light comedian, two young Lady dancers, for minuet. Address, with photo and exact age and height, Julian Greer, 264, Vauxhall-bridge-road” (London, England, 10 Oct. 1896, page 25). His time overseas, remains a little foggy though. I have yet to locate any specific information pertaining to projects or productions. Greer returned stateside in 1897. That year, his name pops up in New York again. On August 5, 1897, Brooklyn’s “Times Union” reported that “Mr. Julian Greer, Comedy Theatre, London” performed a baritone solo, as a hotel guests of the Hotel Griffing, as part of a benefit performance for area churches (page 6).
On October 12 of that year, Julian Greer is mentioned in the “New York Tribune.” The article reported, “Mrs. George S. Knight made her first appearance on the stage of continuous vaudeville yesterday at Proctor’s Theatre, Twenty-third-st. She acted the part formerly played by Miss Rosina Vokes in “The Circus Rider,” having assistance of Hugh Arnott and Julian Greer. The living pictures were a prominent feature of the performance.” (page 7).
By 1898 Greer was again in the Midwest, now listed in the “Chicago Directory” as an author and living at 66 Rush. He was writing and translating plays. On November 19, 1898, the “Boston Evening Transcript” reported, “Miss Elliote Enneking expects to make an early appearance on the vaudeville stage, and will be seen in a one-act play translated from German by Mr. Julian Greer” (page 21). Greer continued to act during this time. On Feb. 19, 1898, the “Detroit Free Press” listed Julian Greer as part of the entertainment for the Detroit Lodge of Elks. The production included many professional performers associated with Whitney’s Opera House, Wonderland. A day earlier, the “Detroit Free Press” noted “The English actor, Julian Greer, has been specially engaged for ‘Faust’” (page 4).
That same year, Greer briefly performed in a Christmas Pantomime of “Humpty Dumpty.” On Dec. 24, 1898, the “Fall Daily River” included an advertisement for the production in River Falls, Massachusetts, reporting that Julian Greer and Miss Marguerite Evans supported the 7 yrs. old star, “Little Ruby.” The pantomime production was produced under the supervision of Chas. W. Ravel, the comical clown, known as the “Great Grimaldi” (page 5).
Despite his bounce back from scandal, it basically destroyed his wife’s life and career. In 1896, Sollee was performing in Edward Vroom’s “For the Crown.” She was still making headlines and interviewed that spring. On May 27, 1896, “The Commercial Appeal” of Memphis, Tennessee, quoted Sollee in a review, identifying her as an author and playwright (page 5). And then she disappears from print. By 1897, Sollee’s name was no longer making headlines or was she listed in the cast of any touring production. By 1899 Ida F. Sollee was working as a clerk in Rochester, New York. This did not last for long, and she soon returned to the bosom of her family bin Florida. In Jacksonville, she remained at 406 E. Duvall until the last six months of her life, living with her mother and siblings. After moving back to the south, Ida never remarried and continued to work in retail until her passing in 1923. Six months before her passing, Ida had finally moved out and began living in her own home; she had relocated to Miami. Sollee was only 58 years old when she died, her death reported in Dade County death records.
Greer’s career continued to evolve from acting and playwrighting to management. In 1906, Greer was associated with the production, “The Tie That Binds.” An article published in the “Morning Call” on Feb. 8, 1906, reported, “In addition to many other sterling qualities embodied in the play, Mr. Julian Greer has added a number of high-class specialties and gotten together and exceptional strong company of players, making the attraction particularly enticing” (The Morning Call, 8, Feb. 1906, page 4).
Greer was also involved with the touring production of “Man’s Enemy.” On March 18, 1906, the “Omaha Daily Bee” reported, “For three nights, starting Thursday, Mr. Julian Greer will offer ‘Man’s Enemy,” a big melodramatic production to the patrons of the Krug theater. The play deals with the evils of drink, but contains a very pretty heart story running throughout. The show was billed as “a combination of romantic comedy and tragedy.”
On March 7, 1906, the “The Albuquerque Evening Citizen” reported that
Greer was visiting Albuquerque, New Mexico, to see his younger brother, Col. W. H. Greer, president of the Albuquerque Traction Company. Greer was considering the Traction Park Casino as a venue for his show. The newspaper commented that Greer was an actor and painter from New York City Greer. The remainder of the article is quite interesting, reporting:
“Julian Greer is here for the purpose of getting the colonel to accompany him to Omaha, Neb. Where he expected to show his performance of the theatrical company that will open the Traction Park Casino on May 15. The company was organized in New York, of excellent talent, and is now working west, playing at the most important cities en route. The troupe is expected to reach Omaha by the time the colonel and Mr. Julian Greer reach that place by leaving here tonight, which will probably be on Saturday. In speaking of the company and the people who compose it, Mr. Julian Greer said: ‘Nestor Lennon, one of the best-known actors of the American stage, and the man who succeeded Nat Goodwin successfully in ‘When We Were Twenty-one;’ Virginia Anderson, only 17, but a woman of charming personality, Maud Adams’ beauty and art, a coming star, is our leading lady. And she is certainly a wonderful young woman. There are many strong characters and specialty people among the sixteen persons, and I am not exaggerating when I say that it is one of the strongest troupes on the road. I am taking the colonel back to Omaha to witness the performance of the company.’”
“‘Oh yes,’ continued Mr. Julian Greer, ‘I expect to return with the company, and we will be here all summer. We hope to reach here in time to open by the middle of May. We carry our own scene painter, a very capable man. Who will furnish scenery for any production we may care to make? Our shows will include the best New York productions, with scenic effects.”
Mr. Julian Greer expressed himself as surprised and pleased with the elegance and adequacy of the Traction Park Casino. He said that it would be a compliment to a city of 100,000.”
However, there must have been a change in plans along the way. By April, his brother had turned the entire management of the Traction company over to W. M. Wortman, a manager of amusement parks in Pueblo, Colorado, and El Paso, Texas (Albuquerque Citizen, 7 April, 1906, page 5). That summer, the Casino was be billed as a combination house, playing a diversity of attractions. The Albuquerque Citizen, commented, “the house will probably open May 15, with a large stock company in a repertoire of modern plays, their run will be but a short time, after which they will give way to some other attraction. This plan will be followed out all summer, thus giving a variety of attractions that will relieve the monotony of a stock company for the entire season.” In the end, Wortman proposed to place El Paso, Albuquerque and Las Vegas on a summer vaudeville circuit (Albuquerque Citizen, 2 May 1906, page 8).
Little is known of Greer’s life from 1906 until his passing in 1928, his name sporadically popping up in association with various productions. In 1909, Greer toured with Frederick Hallen, formerly of Hallen & Hart, on the vaudeville circuit in a sketch entitled “A Lesson at 11 P.M.” (Fort Wayne Journal-Gazette, 10 Jan. 1909, page 8). Ironically, Greer played the role of the jealous husband in the production co-starring Hallen and Mollie Fuller. In 1911, Greer was part of a Women’s Press Club event, held at the Waldorf-Astoria. On Dec. 31, 1911, “The Brooklyn Daily Eagle” reported that the program included “’The Pope’s Franchise,’ written by Edith Toten and given by Julian Greer, Mrs. M, Reid Cory of Brooklyn, and Joseph Clancy” (page 6). By 1913, Greer was still performing vaudeville, but now associated with “melo-playettes.” His productions included “The Killing” and “The Butterfly on the Wheel.” In “The Killing,” Greer was listed as “formerly leading man for Clara Morris” (The Record, Hackensack, NJ, 16 Aug. 1913, page 1). I have yet to locate any information about his work with Morris.
Then there is a large gap in the career of Greer where I have yet to locate any information pertaining to projects or travel. His mother continues living in California, and it is possibly that he spent some time with her there. Greer again makes New York headlines in 1921. On July 1, 1921, Greer is pictures with a group of Anti-Prohibition personalities in Brooklyn’s Standard Union” (page 16). To date, this is the only picture that I have been able to locate of Greer. At the time, he was fifty-nine years old.
It is possible that Greer temporarily redirected his focus from theatre to film. From 1921-1922, Greer appeared in two films, credited as an actor in both the Passion Flower (1921) and Sunshine Harbor (1922). In Sunshine Harbor he played the role of Editor MacSorely, and in Passion flower, he played the role of Acacia’s father. Acacia, the Passion Flower was played by Norma Talmadge. He also continued to make sporadic appearances on the stage in his later years. But his appearances were few and far between.
On April 22, 1923, New York’s “Daily News” announced that Julian Greer would play Friar Lawrence in a production of “Romeo and Juliet,” as part of a Shakespearean anniversary event. On Nov. 2, 1925, the “Times Union” of Brooklyn announced that Julian Greer was part of the cast for “Hamlet in Modern Clothes” at Booth’s Theatre, playing a minor role (page 44). On Dec. 29, 1926, “The Times Union” also listed Greer as part of the cast of “The Strange Prince” at the 52nd Street Theatre in Manhattan. On Nov. 15, 1927, “The Yonkers Herald” reported that Julian Greer was cast in the role of the Skipper in “White Cargo,” performed at the Warburton Theatre. This was the last newspaper article for Greer until his passing the next year.
On April 17, 1928, “The Brooklyn Daily Eagle” reported, “GREER – JULIAN GREER, Campbell Funeral Church, Broadway, 66th st., Wednesday, 12 noon.” (page 22). On April 18, 1928, the New York “Daily News” reported, “GREER FUNERAL TODAY. Julian Greer, actor, artist and war correspondent, who dies suddenly in his home at 139 West 49th st., will be buried today in Kensico cemetery.”
To be continued…
