Copyright © 2022 by Wendy Waszut-Barrett
Charles C. Craig worked as a stage carpenter at Sosman & Landis in 1895. He was part of the firm’s regional branch in Kansas City, Missouri. Craig’s association with the firm was mentioned in the “Kansas City Times” on February 20, 1895 (page 2). Charles Craig and Rufus Brainer were credited with constructing “A Day in the Alps,” described as “an attractive spectacle in miniature at the Gillis Theatre.”
The “Kansas City Times” article reported:
“Of the various side attraction at the World’s fair none were more popular than the miniature representation of cities on both sides of the ocean. Since then, some of these attractive little shows have been exhibited in various parts of the country, and always with widespread popular favor.
Mr. Charles C. Craig of this city, who has been for some time an attaché of the studios of Sosman & Landis, scenic artists of Chicago, and Mr. Rufus Brainerd, electrician at the Gillis Opera House of this city, have been spending their spare time during the past two months in constructing one of these spectacles, which is now completed and is being exhibited to their admiring friends at the Gillis.
It represents a Swiss Village in the Alps and is a marvelously beautiful work of art. The traditional cathedral and the ever present castle are there with the lofty mountain peak, the babbling brook, the dwellings, the bridge, and all accessories. By the manipulation of the electric lights they represent sunshine on the mountain, storm clouds, rain, and finally stars. During the day processions move over the bridge, and the whole comprises a panorama of rare excellence.
It is entitled a Day in the Alps, and so far as the casual observer can figure it out there is nothing missing to complete the picture.”
Before I explore the life and career of Craig, I am going to share a little information about electric scenic theaters produced by Sosman & Landis at this time. The firm initially produced “A Day in the Alps” in 1893 for the Columbian Exposition. Located in the Midway Plaisance, the alpine setting transitioned from day to night for each performance, and was purportedly seen by 300,000 people during the fair (“St. Louis Post-Dispatch” 13 Oct, 1894, pg. 2). The concessionaire for the Electric Scenic Theatre was Mr. Arthur Schwarz. Placards placed outside the theater’s entrance advertising, “Every phase of an Alpine Day is produced with startling realism,” “The Most Intellectual, Absolutely Interesting Spectacle of the Midway Plaisance,” and “Do not miss this chance of a lifetime.” World Fair guidebooks reported, “The stage picture is a beautiful Swiss Alpine scenery, depicting in a realistic way every change of nature shown from dawn to night, as each gradually appears, and representing some of the most wonderfully realistic light effects ever produced by electric lamps. It is almost beyond belief that the visitor is not looking at a marvelous production of nature itself, instead of a picture created by an ingenious and artistic display of electric lights. The scene represents ‘A Day in the Alps.’ Tyrolean warblers perform on their various instruments, and sing their tuneful lays. Their renowned ‘yodels,’ as sung at each performance, are applicable to the scenery. The entire scenic effects are produced by about 250 electric incandescent lamps, operated from in front of the stage, in full view of the audience, by switches. The interior of the theatre is handsomely furnished with comfortable chairs. There are nine electric fans, producing a permanent current of fresh air, keeping the whole room at a low temperature and as refreshing as a sea breeze, it matters not how hot it may be outside.”
Other description noted, “The scenic production begins with sunrise, and over the mountain top appears the ruddy glow of early sunlight. Then, as morning advances, and the volume of light increases, the beauties of the mountain become more apparent until their full glory flashes upon the beholder. The shepherd boys and girls are seen with their herds, and every feature of Alpine life is faithfully portrayed. Then a storm arises, and the effects here produced by electricity are surprisingly beautiful. After the storm dies away and the clouds vanish Nature smiles again. Then the day begins to fade, and at last it is night, with the stars brooding over all.”
A “Western Electric” article described that the mechanical apparatus used red, blue and white lamps that were arranged alternately (vol. 12, pg. 322). The article reported, “Each color and each locality in the setting was wired on a separate circuit, so that, by the introduction of resistance, it only becomes a question of skillful manipulation to give light of any shade or intensity desired. Of course, none of the lamps are visible, as they are arranged in the footlights and wings as well as overhead and behind the setting. The motion of the moon is produced by a tiny motor.”
So popular was “A Day in the Alps” that the attraction was immediately replicated, appearing in numerous venues across the country. On Oct. 13, 1894, the “St. Louis Post-Dispatch” published an advertisement for “A Day in the Alps,” featured in the Small Hall for Wheelman’s Day at the Exposition (page 2).
When the Columbia Exposition closed, Sosman & Landis leased the Masonic Temple Roof Garden in Chicago and constructed two new electric scenic theaters for the Masonic Temple Roof Garden in Chicago. At the same time, Sosman and Landis played integral roles in establishing the American Reflector & Lighting Co. (Chicago). They had a vested interested in manufacturing a variety of lighting equipment. During this period, C. D. Baker was identified as the firm’s master electrician and responsible for the electrical engineering at the Masonic Temple Roof Garden.
The Masonic Temple roof garden was described in a “Scientific American” article entitled “A City Under One Roof,” (Feb 10, 1894). The article reported, “The twenty-first story is properly the roof. It is a roof garden, and is devoted to purposes of observation, and may be used for commemorative or festival occasions. It forms a great platform, enclosed by walls and ceiling of glass, with oak panels, steam heated, and capable of accommodating 2,000 people at one time. It is the highest point of observation in the city, and gives grand views in all directions.”
On June 9, 1894, and article in “Western Electrician” further detailed “Electric Scenic Theaters in the Masonic Temple, Chicago (Vol. XIV No. 23). Pictures accompanied the article, showing the settings for each stage.
“The love of the American people for anything that is novel and pleasing to the eye was abundantly exemplified last year at the electric scenic theaters at the World’s Fair. These places of amusement were among the most popular places at the exposition, and they have since been widely imitated and reproduced, sometimes with extended improvements and with more attention paid to detail. Those in Chicago who did not enjoy the opportunity at the fair of seeing the scenic effects which were produced upon stage pictures by the aid of electricity, and who were not able to avail themselves of the chance offered by Steele MacKaye’s spectacle, the “World Finder,” at his suddenly terminated venture in the “Scenitorium,” may gratify their tastes for amusement of the sort in the recently opened summer garden on the roof of the Masonic Temple. The garden in itself, 302 feet from the ground, is a sufficient at traction to draw crowds. Interest, however, centers in the two scenic theaters which are located in small houses, reminding one/forcibly-in style of decoration of the general idea of the World’s Fair buildings. Each theater is designed to accommodate about 75 persons comfortably, and opera chairs to that number are provided. In the first theater an Alpine scene is presented, the scenery of which, although very pretty, recalls too forcibly the theaters which were made familiar last summer. A mountain stream forms the motive of the picture. Upon its banks the houses are built; a church stands nearby, while a mill in the foreground presents an opportunity for a waterfall, after the water has passed over the mill-wheel. A bridge spans the stream, over which villagers pass to and fro; upon a mountain side stands a castle ,while snow-capped peaks stand out in relief against the sky. The scene is called ‘A Day in the Alps’ and begins with midnight, by the tolling of the bell. The break of dawn and the heralding of day present a faithful resemblance to the original and is particularly well done. After the day has been begun, a thunder storm approaches and passes over, accompanied by vivid flashes of lightning and the roll of heavy thunder. The evening is accompanied by the lighting of the street and house lights, and the moon rises, until the clock again announces twelve…Back of the scenes a complicated mass of electrical apparatus explains many of the pretty atmospheric changes. It is not the intention of this article to describe in detail any of the devices employed, for many of them were devised to suit the requirements of this particular case, and the others have been already mentioned in the columns of this journal. Focusing lamps, rheostat boxes, switches, reflectors and many devices of a similar character are present in abundance and are confined in an extraordinarily small space for the many effects produced. The second theater presents as a stage setting the view of the Court of Honor at the World’s Columbian Exposition, looking northwest from the west end of the agricultural building, and is most perfect in point of detail. The scene is introduced in the morning, and the sunlight illumines the buildings, including the Palace of Mechanic Arts, Administration Building, Electricity Building, as well as the MacMonnies and the two Electric Fountains. The lagoon is well supplied with gondolas and electric launches, which, although stationary, add much to the scene. In detail the scene is perfect. The statues are faithfully reproduced, and one has but to close one’s eyes and listen to the music which accompanies the scene, to imagine that the band in the band-stand really is playing and that the crowds are not mere paste-board fancies, but are living beings admiring in a wondering way the beauties of the departed White City. The approach of evening presents the finest opportunity for a display of the resources of electricity in the presentation of this scene; as dusk advances the lamps scattered throughout the grounds are lighted, the stars begin to shine, now one building after another is illuminated, and soon the border of cornice lights, which extended around the Court of Honor and which was so much admired at night, adds its long lines of light to the scene.”
The two electric scenic theaters were still drawing crowds the next year. However, in the spring, the Masonic Temple Roof Garden venue was slightly rearranged. On May 20, 1895, the “Chicago Tribune” reported “TEMPLE ROOF GARDEN REOPENS.
Several Novelties Provided for Visitors to the Lofty Amusement Place.
The Masonic Temple roof garden reopened last night under the management of George A. Fair. Everything connected with the roof garden is new, and the visitor last night saw but little to remind him of the same place last year. The electric scenic theater still remains, but the other stage has been moved around to the northeast corner of the roof. The present location affords a good view of the entertainment from every part of the roof. Directly In front of the stage are 3,510 opera chairs. while the rest of the floor space is given up to refreshment tables. A new feature of the garden is the concrete walks built around the dome of the roof, where an excellent view of the city and surrounding country can be obtained. It is the intention of the management to remove part of the glass roof, affording the opportunity of enjoying the view and listening to the entertainment going on below. A large crowd gathered in the garden yesterday afternoon to listen to Brooks’ Second Regiment Band. and last night an excellent vaudeville entertainment drew another large crowd. The second part of the program is aimed to attract the after-the-theater crowd, as the roof garden expects to have its largest patronage after the regular places of entertainment have closed.”
Early in 1895, Sosman & Landis began manufacturing electric scenic theaters for other venues and events.
On March 29, 1895, “The Times-Picayune” of New Orleans reported that “A Day in the Swiss Alps promises in itself much that is interesting. Such was the subject portrayed last night in the little electric scenic theatre opened at the old No. 156 Canal Street, near Baronne. The theatre cannot be well described, as it is unique in its way. The proscenium is very handsomely arranged, with an opening 10×9 feet in size. The set scenery occupies a space some 15 feet deep, and a specially designed drop curtain gives it the appearance of a regular theater, which, in fact, it is. A view of the Swiss Alps is presented, the mountains rising abruptly into snowy peaks. In the foreground a village nestles beside a mountain stream, There is an antique Gothic bridge, battlemented, and with heavy castellated tower at one extremity. At the other rise the clustered roofs and steeples of the town. A purling brook leaps from the heights and falls into the main street, turning a millwheel as it goes. The action opens and hour before dawn, and the dim and heavy mists of night gradually brighten as the sun rises. The sky reddens; the cheerful day begins; people appear in the street, and a company of soldiers march over the bridge. A circus comes into town, and the crowds gather. The morning advances rapidly, and soon the clocks chime noon. A cloud appears on the horizon, a storm approaches and the reverberating thunder is speedily followed by a heavy rain. This, in turn, dies away among the heights, accompanied by very realistic lightning among the hills. The afternoon again grows bright. By-and-by evening comes on; the lights appear in the windows of the village; the busy millwheel stops. Soon the moon rises over the purpling heights, and the presentation closes in the mild light of the silvery orb. The scenery is effectively painted, and is artistic in the highest degree. It is the work of Sosman & Landis, of Chicago, and formed part of the electrical exhibit at the Columbian Exposition. The mechanical and electrical effects are manipulated with ample appreciation of the rare importance of light and shade, and the varying changes are each consummated in their proper order, producing an entertainment which is well worth seeing” (page 9).
On May 23, 1895, the “New Bern Weekly Journal” of New Bern, North Caroline, reported “At a meeting of the Committee on Privileges and Concessions, of the Cotton States and International Exposition, on last Friday, Messrs. Sosman & Landis, of Chicago, were granted the privilege of operating an electric theatre in the Terraces. They will erect a beautiful building if their own, in which will be reproduced, by electricity, a magnificent scenic panorama of a day and night in the Alps. There will be a fine perspective, showing the various moving features of the landscape, the trains in motion, sunrise, daylight, sunset in succession, by electrical effects. It will be one of the most beautiful features of the Exposition” (page 4).
“A Day in the Alps” was still being featured as an attraction in 1908. It was listed in an advertisement for Kansas City’s Big Winter Garden at the Hippodrome (Kansas City Star 27 Dec 1908, page 21). Over the years Sosman & Landis continued to manufacture electric scenic theaters, including “A Day in Japan.” In 1908, it was featured at the Exposition in Pittsburg, Pennsylvania. Prior to the close of the exposition, Sosman & Landis listed the attraction for sale in “The New York Dramatic Mirror.”
On October 3, 1908, Sosman & Landis advertised:
“Electric Scenic Theatre For Sale.
A Beautiful entertainment called “A Day in Japan,” now one of the features of the Pittsburgh, Pa., Exposition. Can be seen there until October 24th. Suitable for an Amusement Park or Exposition of any kind.
Sosman & Landis Co.
236-238 So. Clinton St., Chicago. Ill.”
This provides a little context for Craig and Brainerd’s project at the Gillis Theatre in 1895.
Craig was born on Nov. 15, 1863, in Palmyra, Marion County, Missouri. For geographical context, Palmyra is located about 13 miles northwest of Hannibal, Missouri (or 120 miles northwest of St. Louis). He was the son of Charles H. Craig and Mary Agnes Stewart. I have yet to discover any information about Craig’s childhood or his introduction to theater. However, by 1880 Craig was living in Kansas City, about 200 miles east of Palmyra. Craig was listed in the 1880 Kansas City Directory as a laborer, boarding at 405 E. 6th St. Sometime between 1880 and 1887, Craig became a stage manager.
In 1887 he had relocated to Wichita and was working as a stage manager at the Main Street Theatre. It was in Wichita where he met his future wife – actress Genevieve Lowell. On Jan. 6, 1888, “The Weekly Eagle” of Wichita announced, “Charles Craig, the stage manager, and Miss Minnie Lowell, a soubrette, both of the Main Street theater, were married yesterday” (page 6).
Another wedding announcement was published on Jan. 8, 1888, in Wichita’s “The Democrat”:
“Mrs. Genevieve Lowell, leading lady at the Main Street Theatre, and a great favorite with the patrons of this popular resort, was married Thursday to Mr. Charles Craig of this city. The Growler joins with the many friends of Mr. and Mrs. Craig in wishing them much joy and happiness” (page 5).
Years later, their meeting was described in Lowell’s obituary, published in “The Kansas City Star” on Nov. 3 1932 (page 2):
“[Craig] met Genevieve Lowell at Wichita in 1885. The road company she was with was deserted in that city by the manager, and Genevieve Lowell was befriended by Craig, stage manager for another theater. They were married that year. Genevieve Lowell was the daughter of a country doctor living near Hannibal, Mo. She was born in a summer cottage on an island in the Mississippi River near Hannibal. She married young and lived for a period in California. Her husband died and she arrived in New York a young widow in 1876, seeking a career on the stage. After months of work she became the understudy to the leading lady in a road show. Her first big chance came as Lady Audley in “Lady Audley’s Secret” and later she played Lady Isabel in “East Lynne.” Those were the days when actresses were correctly termed “leading ladies,” in the handbills and publicity.
Genevieve Lowell was Lady Mercedes in “The Count of Monte Cristo” and wore tights on the American stage for the first time as Queen Titania [sic] in “The Black Crook.” In Chicago she played with Joseph Jefferson in “Rip Van Winkle.”
Historical records and newspaper accounts paint a slightly different picture of Lowell’s life before marrying Craig in 1888. “Genevieve Lowell” was her stage name. Her maiden name was Isabella “Bella” Atherton Lyon. She was the daughter of Dr. John W. Lyon (1816-1866) and Sarah Heald (1828-1881). Dr. Lyon married his first wife, Julia Ann Dobbins, in Putnam County, Indiana, 1836, but I have yet to discover when she passed away, or when he remarried.
In 1850, however, John W. Lyon (37 yrs.) was living with his second wife, Sara B. Lyon (23 yrs.), and children Sugen Lyon (10 yrs., son) and Isabel Lyon (6 yrs., daughter). The Lyon family was living in Greencastle, Putnam County, Indiana. Isabel/Isabella (Genevieve) was the eldest of three girls; her younger sisters were Emma Douglas Lyon and Amanda Lyon. She also had a younger brother, Montiville “Mont” Adair Lyon. To recap, there are five Lyon Children: S. B. Lyon, Genevieve Lowell, E. D. Lyon, Amanda Lyon, and M. A. Lyon.
By 1861, the Lyon family moved from Indiana to Croton, Iowa, where John W. Lyon enlisted in the Union Army. As part of the 3rd Calvary,. Mustering out on Jan. 8, 1962. He returned to his family in Iowa, but passed away by 1866. Shortly after his passing, Sarah Lyon remarried Joseph Hassler, becoming Sarah Hassler (also recorded as Hasler or Hesler in some records). By 1870, the US Census listed that Sarah Hassler was living with two children from her first marriage (Emma and Montiville), her second husband and six step children in Farmington, Iowa. By the way Farmington was only 5 miles upstream from Croton, Iowa where Dr. John Lyon enlisted in the Union Army in 1861. The Hassler household included: Joseph (54 yrs.), Sarah (41 yrs.), Joseph (19 yrs.), Frederick (15 yrs.), John (13 yrs.), Charles (11 yrs.), Lewis (7 yrs.), Christie (4 yrs.), E. D. Lyons (“Emma” 15, Iowa) and M. A. Lyons (“Mont” 9, Illinois).
The 1880 Census listed the Hassler household included: Joseph Hassler (64), Sarah Hassler (50), Joseph L. Hassler (30 yrs.), John Hassler (24 yrs.), Charles Hassler (21 yrs.), Louis Hassler (17 yrs.), Christie Hassler (15 yrs.), Emma Lyon (24 yrs.) and Amanda Lyon (18 yrs.). By this time, their brother Montiville Lyon was living with his maternal uncle, William Heald, in Scotland County, Missouri.
Meanwhile, Genevieve married her first husband, Henry O. Derr, on June 15, 1862 in Clark County, Missouri. She was 15 years old. They celebrated the birth of a son, George W. Derr, three years later, on June 24, 1865 in Carroll County, Illinois. Birth records list his parents as Henry O. Derr and Bella Atherton Lyon, suggesting that her first name was Isabella. Again, “Genevieve Lowell” appears to be simply a stage name. When Genevieve Lowell planned for her passing in 1927, she built a mausoleum in Elmwood Cemetery, Kansas City. The “Kansas City Times” reported, “The mausoleum already contains the body of George W. Derr, a son by former marriage, who died Nov. 23, 1923, Mrs. Craig personally inscribed the tablet on his vault. Mrs. Craig is the wife of C. C. Craig, a stage mechanic at the Newman theater, who was a stage mechanic with road shows until his wife’s health failed” (5 Oct 1927 pg. 6.).
Back to the 1860s…
Henry, Bella and George Derr temporarily relocated from Illinois to California during the latter part of the decade. Henry Derr was last mentioned in the “Sacramento Bee” in 1869. By 1870, however, US Census records indicate that the Derrs had returned to Illinois and settled in Metropolis, Massac County. That year, the Derr household included: Henry O. Derr (41 yrs.), Bella (25 yrs.), George (6 yrs.), George Taylor (24 yrs.) and S. B. Lyon (29 yrs.). S. B. was likely Bella/Isabel/Genevieve’s older brother, first listed in the 1850 census as 10-yrs.-old Sugen Lyon.
I have yet to discover when Henry Derr passed away, but it was likely during the early 1870s. His name was listed in “The Promulgator” on 19 April 1873 (pg. 1) for his Massac addition property; 1872 taxes were due and unpaid. By 1873, Bella and Geo. W. Derr had relocated to Cairo, Alexander County, Illinois. On April 4, 1875, the “Cairo Bulletin” announced, “Mrs. Derr, proprietress of the Railroad House, corner of Eighteenth Street and Commercial avenue is desirous of obtaining the services of a first-class colored cook. For particulars, apply to her.” They were still in town five years later. The 1880 US Federal Census listed that Bella and George W. Derr were still living in Cairo and boarding at 638 Cedar Street. By now, she was listed as 34 yrs. old. This remains consistent with an 1846-1847 birth date.
The last mention of her son in a Cairo newspaper was from Feb 4, 1882; George W. Derr was part of the Letter List from Jan 28, 1882. He later moved to Kansas City, marrying in 1898.
I have not located any records of Genevieve Lowell an actress before 1885. It makes me question whether she was performing under another name. Although later biographical accounts suggest that she moved to New York in 1876 and immediately began an acting career, I have no proof of that stage career. The earliest newspaper account that I have encountered is from 1885. That year she appeared in “Hazel Dell,” starring Helen Desmond, at the Dime Museum in Richmond, Virginia (Richmond Dispatch, 25 Jan 1885 page 2). By that summer, Lowell was touring with “Leah, the Forsaken,” starring Joan Cravan. The show at the Opera House was mentioned in the “Evansville Journal” of Evansville, Indiana on June 4, 1885 (page 5).
By 1886, Miss Genevieve Lowell, actress, was listed in the Kansas City Directory, rooming at 907 Wyandotte. On August 13, 1886, the “Concordia Times” of Concordia, Kansas, reported that Genevieve Lowell, of the Simon Comedy Co. was joining a troupe in Kansas City (page 3). The new company that Lowell joined was the Little Duchess Combination Co., starring Matie Williams. Also billed as the Williams Company, in 1886 Lowell appeared in the combination company’s productions of “Little Duchess,” “East Lynne,” “All Fool’s Day,” and “Ten Nights in a Barroom.” Stops on their 1886-1887 tour included Fredonia, Howard, Ashland, Kansas, and Fort Scott, Kansas. By the summer, Matie Williams was reportedly struggling with throat and lung troubles (Fort Scott Daily Tribune and Fort Scott Daily Monitor 4 June 1887, page 8). At some point in 1887, Lowell became associated with the Main Street Theatre in Wichita, Kansas. On August 28, 1887, Wichita’s “The Democrat” announced, “Mrs. Ponteix in Naval Engagement at the Main Street Theatre” (page 5). Lowell met her second husband Charles C. Craig at the Main Street Theatre, where he worked as the venue’s stage manager. At the time of their wedding in January 1888, Craig was 25 yrs. Lowell was fourteen years his senior, at 41 yrs. old This age gap greatly decreased over the years, with few ever knowing the actress’ age. At the end of her life, Lowell told reporters, “There won’t be any date of birth on the vault. The only persons who care about us when we’re dead are our friends, and they will know all of that. The inscription will simply say “Genevieve Lowell, died (date).”
The year before her marriage to Craig, Lowell received her first big break. By the fall of 1887, Lowell was performing in a supporting role in “Lady Audley’s Secret,” starring Mamie Earles, at the Main Street Theatre (Wichita Beacon 17 Oct 1887 page 4). On Dec. 10, 1887, the “Wichita Beacon” announced, “Miss Genevieve Lowell takes the leading roles, giving great satisfaction during the temporary absence of Miss Mamie Earles, at the Main Street Theatre.” This seems to have been Lowell’s transition to star status. On June 16, 1888, the “Wichita Star” announced that Lowell was relocating to Kansas City, leaving Wichita’s Main Street Theatre (page 4). Interestingly, Lowell soon returned to Wichita to star in “Outcast” at the New Musee (Wichita Star 10 Nov 1888, pg. 1).
By the beginning of 1889, both Lowell and Craig were working in St. Louis at different venues. Lowell was part of the Pope’s Theatre company, while C. C. Craig became associated with People’s Theatre. Despite making St. Louis news, marital difficulties made Wichita news. On April 19, 1889, the “Wichita Eagle” reported, “In the district Court Genevieve Lowell Craig prays for a divorce from Charles C. Craig on the grounds of neglect and failure to provide” (page 8). In 1889, Charles C. Craig was still listed in the 1889 Wichita Directory, his residence listed as 214 S. Fern. Neither Craig nor Lowell were listed in the 1890 Wichita directory
The next few years remain a bit of a mystery. This is likely when Lowell made a name for herself. Both Craig and Lowell end up in Kansas City. By 1893, Genevieve Lowell is listed as an actress in City Directory, living at 522 East 12th St. By 1894, both Lowell and Craig were listed in the 1894 Kansas City Directory, living together at 520 East 12th St. They would continue to appear in the City Directory, often living at the same address for over the next three decades. Lowell was consistently listed as an actress, while Craig shifted occupational listings from carpenter to stage carpenter to machinist to stage mechanic to electrician to stage manager. The couple’s addresses included 1301 Troost (1896-1897), 1815 Independence Blvd (1898-1900) and 1219 Denver Ave. (1901). Their final home was the Denver St. residence, each residing there until their respective deaths in 1932 and 1934.
Lowell’s health declined over the years. By 1927, she received bad news that prompted her to plan for the worst. Newspapers across the country published similar stories. On October 5, 1927, Ohio’s “Portsmouth Daily Times” reported, “Actress prepares for death; distributes souvenirs to friends.” The article continued:
“Kansas City, Oct 5.- Accepting the verdict of surgeons that she has but a short time to live, Mrs. C. C. Craig, stage star of 50 years ago under the name Genevieve Lowell, has started distribution of souvenirs of her actress days to friends. Included in the memoranda of her appearance in New York five decades ago, are several life-size paintings showing her as the queen in ‘The Black Crook.’
‘That was the only time I ever wore tights,’ Mrs. Craig explained. One of her favorite paintings shows her as Mercedes in ‘The Count of Monte Cristo.’ A scrap book recording events of the year she played opposite Oswald Tearle, father of Conway Tearle, motion picture actor, was sent to the movie star. While she was not finished classifying gifts for her friends at her home here, she has completed a mausoleum in Elmwood cemetery over which a bronze reproduction of the picture of Mercedes has been places. He husband, a stage mechanic with stock companies until his wife’s health forced her retirement continues to follow his trade at a local theatre” (page 5).
Meanwhile, Craig continued to work. The 1930 Kansas City Directory listed his occupation as property man at the Midland Theatre, still living with Lowell at 1219. Lowell’s listing as an actress continued to appear in the Kansas City Directory until her passing in 1932. C. C. Craig was listed as the informant in his wife’s death certificate. She passed at 10:10 PM on Nov. 2, 1932. Oddly, her father’s surname (Lyon) was listed, but no birthplace nor maiden name were provided. The primary cause of her death was reported to be “cancer of the uterus.” No known birthdate was provided.
On Nov. 3, 1932, newspapers across the country mourned her passing and carried similar articles of her meticulous preparation for the afterlife:
“Kansas City, Nov. 3 – One grand finale, and then the last curtain for Genevieve Lowell, star of “The Black Crook,” the famous production that entertained and shocked theatre-goers in the nineties.
Lying in the research hospital here, Miss Lowell issued the stage directions for her exit, and died, last night, as she desired.
“All the world’s a stage to Mrs. C. C. Craig, famous half a century ago as Genevieve Lowell, the star of America’s first musical comedy, “The Black Crook,” leading lady with Joseph Jefferson on “The Count of Monte Cristo” and Gretchen in “Rip Van Winkle.”
And a stage she would have at the very end.
“I’m ready. It will be my final role. All the plans are made – the stage is set,” she peacefully replies to doctors who warned of impending death.
Daily an intimate friend went to her bedside to dress her hair, to attend the details of the “makeup” for the final “Appearance.” Mrs. Craig selected the costume she would wear; chose pallbearers and honorary pallbearers, and notified them.
And in Elmwood cemetery she has built a monument, over which is a bronze figure of Mercedes, the part she played in “Monte Cristo” at the height of her career when she was 40 years old.
“There won’t be any date of birth on the vault,” she told friends. “The only persons who care about us when we’re dead are our friends, and they will know all of that. The inscription will simply say “Genevieve Lowell, died —.”
“The Daily Northwestern of Oshkosh, WI, announced her passing and added, “She was 85 years old.”
The “Kansas City Star” named her active pall bearers as James A. Raily, Louis W. Shouse, Ray Severance, Roy Severance, Frank E. Benson and George B. Denzel. Lowell’s honorary pallbearers were Dr. W. J. Frick, Anthony P. Nugent. Joseph McCormick, B.N. Simpson, Joseph Walton, Otto Doide, Walt Filkin, W. A. Repp, W. H. Tindall, D. Austin Latchaw, Dr. A. R. Greenlee, and M. P. Yates. Of the latter list, Missouri Poet, Walt Filkin wrote the passage for her gravestone. Although I am unable to transcribe the entire epitaph in a www.findagrave photo, the last portion reads:
“She sees the golden footlights shine
Beneath the stage of his playhouse divine
And then she will arise, again appear
To fill each soul with joy as she did here
To add her share of light, she knew the way
To make one’s earthly pathway smooth and gay.
-Walt Filkin.
The 1940 Us Federal Census listed Charles C. Craig as 76 years old, living with his 50-yrs. old housekeeper, Julia Perria, at 1219 Denver Ave. Craig passed away on Dec. 9 1944 at KC General Hospital. The cause of death was reported to be bronchopneumonia due to benign hypertrophy of prostate. At the time of his passing, Craig’s occupation was listed as “stage employee.”
To be continued…
