Copyright © 2021 by Wendy Waszut-Barrett
Charles H. Colson worked for Sosman & Landis Scene Painting Studio in 1904, primarily painting scenery for theaters in Kansas. He was not only an accomplished scenic artist, but also a well-known Midwestern performer.
Charles Herbert Colson was born on February 4, 1859, in Sugar Grove, Illinois. He was the son of Judson Colson (1835-1919) and Ellen Elizabeth Wyatt (1838-1905). In 1860, the US Federal Census listed 1-yr.-old “Charlie” Colson living in Sugar Grove, with his mother and father, then 21 yrs. old and 26 yrs. old respectively. They were all living with his paternal grandfather, Daniel Colson (61 yrs.). Other members of the household that year included his paternal grandmother Betsy Colson (51 yrs.) and his aunt Jane Colson (25 yrs.). There were also three other members of the households: Jane M. Vandelip (11 yrs.), Horace Kinkaid (13 yrs.) and Henry Mullen (21 yrs.). I have yet to identify how they were related, or why they were living there.
Charles was one of three children born to Judson and Ellen. When he was three years old a younger sister, Theresa, was born in 1862. However, I have yet to locate any record for he beyond an 1870 census report, suggesting that she may have died as a child or married extremely young. When Charles was eight years old, a younger brother was born, Daniel Wyatt Colson (1867-1942). Interestingly, Daniel’s birth was recorded in Plainfield, Illinois, approximately 21 miles southeast of Sugar Grove. For geographical context, Plainfield is almost due south of Naperville, Illinois, and about 40 miles southwest of Chicago. It was around the time of Daniel’s birth that Charles purportedly began his acting career. Years later, an 1890 newspaper article about Charles Colson would remember, “The comedian, Mr. C. H. Colson, is an old stage favorite, having been on the stage twenty-two years, his first appearance being as little Heinrich with Joe Jefferson in ‘Rip Van Winkle.’ (“The Holton Recorder” 18 Sept. 1890, page 8). This suggests that Colson played the role of Little Heinrich in 1868. That year, Joseph Jefferson, was starring in “Rip Van Winkle” at McVickers Theatre in Chicago so he was at least in the region. It remains uncertain as to whether Colson made a one-time appearance with the production or was part of the cast for a longer period of time.
I have yet to locate any mention of Colson as a performer during the late 1860s or 1870s. The earliest date that I have located is from 1881. On Jan. 28, 1881, the “Star Tribune” in Minneapolis, Minnesota, reported, “C. H. Colson was part of the cast in the domestic drama ‘Destiny; or the Trials of Eustache Baudin,’ starring Samuel K. Chester” (page 6). At the time, he was 22 yrs. old. This indicates that his acting career began in earnest during the 1870s, likely between 1878-1879; this is about the same time that his mother and her second husband moved west to Nebraska.
From all appearances, Colton had a pretty rough childhood. His parents separated, and then each remarried, starting a second family. Charles and his brother remained with their mother in the beginning, moving from Illinois, to Iowa and then Nebraska during the 1870s. It is quite complicated, but here is a brief summary of his parents to provide a little familial context for Charles’ early childhood.
Charles’ father, Judson Colson, was born in New York, and his mother, Ellen E. Wyatt, was born in Quebec, Canada. Ellen’s parents were not French Canadian, however, but US Citizens, having been married in Vermont on March 18, 1834. By the time Ellen Wyatt was twelve years old, her family was living in Brandon, New York. She was one of six children born to Davis Baker Wyatt (1790-1866) and Mandana T. Pratt (1811-1896). At some point between 1850 and 1859, Ellen met and married Judson Colson, and the two settled in Sugar Grove, Illinois, where Charles was born. The couple remained in Illinois, but separated by 1869. Again, this is about the same time that Charles’ acting career began.
By 1870, Elizabeth and her three children moved to Iowa, and settled in New Hampton, Chickasaw County. For geographical context, New Hampton is approximately 40 miles due north of Waterloo, Iowa. For those unfamiliar with Iowa, New Hampton is about 35 miles south of the Minnesota bored. When Ellen left her husband and relocated to New Hampton, she was 30 years old with three children ranging in age from 3 to 11: “Herbert” (11 yrs.), Elizabeth “Theresa” (8 yrs.) and Daniel ( 3 yrs.). Ellen began working as both a milliner and seamstress. At the time, the household included not only Ellen and her three children, but also her mother, Mandana “Mary” Wyatt (59 yrs.), and another milliner named Magie Collins (21 yrs.). Interestingly, the children and their grandmother were listed in another US Federal Census that year, in Dayton Township. Dayton Township is also in Chickasaw county, with the nearest post office being listed as New Hampton.
In New Hampton. Ellen married her second husband on May 1, 1871. Albert William Utter (1843-1920) was a farmer at the time. The remained in Iowa for quite some time, but eventually headed west to secure a homestead in Red Willow County, Nebraska. Later historical records note that they moved to Nebraska in 1879. By this time, however, Charles Colson was 20 yrs. old and no longer part of the household. Only his mother, stepfather and younger brother Daniel moved west. The 1880 US Federal Census listed Ellen E. Utter, living with her second husband, A. W. Utter, and D. W. Colson, her 13 yrs. old son from her first marriage.
His mother and stepfather began a second family, celebrating the birth of two children. Their first child was a daughter, named Josie Ellen; she died in infancy. On Dec, 4, 1880, a son was born near McCook, Nebraska – Anthony John “Archie” Utter (1880-1955). By 1882, the relocated to Lincoln, Nebraska, after Ellen fell and fractured her hip. They remained in Lincoln for several years before returning to McCook. The 1891 Lincoln City Directory listed A. W. Utter as a contractor and his wife, Ellen E. Utter, as a music teacher. The Utters returned to McCook by 1894 where they would remain until Ellen’s passing on January 12, 1905. Here obituary published in the “McCook Tribune” remembered, “Mrs. Ellen E. was and accomplished and brilliant woman in her day, a musician and vocalist of splendid ability, a woman of high attainment and character.” This suggests that Charles’ skill as a performer likely came from his mother, and she was the one who possibly encouraged his artistic pursuits at a young age.
Meanwhile, Charles’ father remarried shortly after his mother. Judson Colson married Josephine Kircher (1850-1925) in Des Moines, Iowa, on Dec. 29, 1870. The couple also started a second family, celebrating the birth of a daughter on Sept. 26, 1873, in Plainfield, Illinois – Alice Colson (1873-1898). Over the years, the couple primarily remained in Iowa, living in Polk City, Sheldahl, and Madison.
Charles Colson was also married twice. His first wife, Emma, was an actress and toured together with her husband for almost fifteen years.
Emma Henchell [also spelled Henchel in some accounts] was born in St. Louis, Missouri in 1862. The two were married on June 16, 1884 in Vermillion County, Illinois. It was well over a decade before the two celebrated the birth of a child. On March 12, 1898, Lucille Katherine Colson was born in St. Louis, Missouri. Sadly, Emma passed away when Lucille was only a year old. Family photos posted to www.ancestry.com
The early 1880s are an interestingly period in Charles Colson’s career. At the beginning of 1881, he was performing in Minneapolis, Minnesota with a company that featured Samuel K. Chester. That year, Colson played the role of Henri de Brissac in “Destiny; or the Trials of Eustache Baudin.” He also played the role of Capt. Shrimpton in “Camilla’s Husband” at Pence Opera House in Minneapolis. By the summer of 1881, Colson was touring in the five-act melodrama, “East Lynne!” and performing in the role of Archibald Carlyle. On August 11, 1881, “The Juniata Herald” reported that Colson’s involvement with the “East Lynne!” performance at Thorne’s Hall in Juniata, Nebraska (page 4).
In 1882, Colson was performing with the Clifford Company. On September 9, 1882, “The Wisconsin State Register” of Portage, Wisconsin, reported, “The membership of this company for the coming season will be as follows: Edwin Clifford, Fred Kent, Tom Coleman, B. K. Hodges, Burt Imson, C. H. Colson, Graham Earle, Edward L. Burdick, C. F. Hall, T. H. Snyder, Chas. Perry, and others. The ladies are ‘Lottie,’ Misses Clara Douglass, Mable Holten and Clara Bronell. ‘Lottie’ who won such an inevitable reputation a few seasons ago, and Edwin Clifford will be the attractions. Fred Kent, stage manager and the inimitable Tom Coleman, comedian, in all making one of the strongest companies on the road” (page 3).
During this time, Colson’s permanent residence was in Chicago. On Jan. 3, 1883, the “Evansville Courier and Press” announced Colson’s arrival at the Sherwood House in Evansville, Indiana, noting, “C. H. Colson, of Chicago” (page 4).
Withing the next two years, he married and began producing his own productions. What Colson did was quite clever. He began to work as a professional manager, arriving in small towns and organizing a benefit performance for a local organization. For example, on March 27, 1885, “The Falls City Journal” of Falls City, Nebraska, reported, “The dramatic club have engaged Mr. C. H. Colson, of Chicago, as its professional manager” (page 8). He arrived with a full set of scenery and starred in the production. The performance was supplemented with local talent and a percentage of the proceeds would support a local individual or organization.
On June 26, 1885, “The Bay News” of Bayard, Iowa, reported, “The great military drama, ‘The Spy of Atlanta,’ will be presented on Friday evening, July 10th, 1885, for the benefit of the Robt. Henderson G. A. R. Post, under the management of C. H. Colson, of Chicago, who carries a full set of scenery, costumes, etc. The drama abounds with the most beautiful tableau, drills, scenes before the battlefield, in Andersonville Prison etc. Look out for small bills.” (page 1).
Jan. 30, 1887, “The Nebraska State Journal” of Lincoln, Nebraska, reported, “The Spy of Atlanta will be presented at the opera house on Monday, Tuesday, and Wednesday evenings of this week by home talent under the management of Mr. C.H. Colson of Chicago” (page 10). On March 31, 1887 “The Crete Democrat” described a benefit performance of “The Spy if Atlanta” for Crete and Wilbur people “Under the management of C. H. Colson.” reported, “The play was brought here by the Masons and G.A.R.’s of which Mr. Weaver is a member.” Benefit of E. J. Weaver. On April 17, 1887, “The Nebraska State Journal” described the production that the great military drama under the auspices of the Woman’s Relief corps., assisted by Prof. C. H. Colson of Chicago and a company of 160 ladies and gentlemen” as Funke’s Opera House (page 8). “He comes highly recommended as an actor and drill master” (Lincoln Evening Call, 18 April, 1887, page 1).
On January 12, 1888, the “St. Paul Phonograph” of St. Paul, Nebraska, listed a “Mrs. C. H. Colson,” playing the role of Maud Dalton, in C. H. Colson’s “The Spy of Atlanta production” (page 8). The article reported that Colson had “made this play a study for several years.” (Jan 12, 1888, page 8). In addition to “The Spy of Atlanta,” Colson was also performing in “The Hidden Hand.” On May 19, 1887, the “Central City Courier” of Central City, Nebraska, reported that C. H. Colson, was playing the role of Wool in ‘The Hidden Hand’ on Saturday Evening (page 5).
In 1888, Colson produced, performed and painted scenery. On March 6, 1888, the “Kearney County Democrat of Minden, Nebraska, reported, “The new scenery that has just been finished by Mr. C. H. Colson was used by the Halladay Minstrels last Tuesday evening, and the painting is the finest piece of work that has ever been done in this city” (page 1). He and his wife continued to tour Nebraska, picking up whatever work they could find.
Unfortunately, he occasionally skipped town without paying all of his bills. At the time, he was marketing himself as Prof. C. H. Colson, reminding me of Prof. Harold Hill from “The Music Man.”
Some outraged individuals even published letters in the newspapers, warning others to avoid the theatrical endeavors of Colson. Here is one example of those who were less than thrilled of encountering Colson. On September 13, 1888, the “Wahoo News” of Wahoo, Nebraska, warned:
“The readers of the DEMOCRAT will remember that during the week beginning February 9, 1887, a man calling himself Prof. C. H. Colson, of Chicago, used the local dramatic talent of Wahoo in presenting the military drama entitled ‘The Spy of Atlanta.’ Since his appearance in Wahoo he has worked many towns in Nebraska, the last being Broken Bow. A former resident of North Bend, now living in Broken Bow, sent the following communication to the North Bend Flail, which was published last week, Read it, you G.A.R. men of Wahoo who censured the DEMOCRAT for saying Colson was no good, and then go out and kick yourselves for giving utterance to the expression that ‘Colson is working for the G.A.R. and the DEMOCRAT opposes him for political reasons:’ ‘Some of you readers probably remember C. H. Colson, ‘of Chicago’ who put on the play the ‘Spy of Atlanta’ on the boards at North Bend some time ago. This same gentleman came to Broken Bow shortly before the G. A. R. Reunion last month, and arranged to play his military drama for the benefit of the G. A. R, post of this city. Accordingly he secured some talent and a couple of school ma’ams of the country who were just ready to return to their homes after attending the normal school, promising to pay their board at one of the leading hotels. Among the other participants here was a domestic petite form and pleasing face, who played the part of leading lady, the spy’s wife. While the rehearsals were in progress the professor pretended to be completely captivated by the charms of Miss Potato Masher, and, before the week’s engagement closed, he proposed that she become Mrs. C. H. Colson, ‘of Chicago,’ and travel with him as his wife, taking the roll of Mrs. Dalton in the great military drama, ‘The Spy of Atlanta.’ She, with the alluring prospect of emerging from the back kitchen to be an enviable start actress, accepted, and the wedding was set for Sunday. For such a notable and romantic marriage it was necessary for the professor to purchase a new suit of clothes. Of course nothing sufficiently fine for the auspicious occasion could be procured in Broken Bow, consequently Saturday morning after the close of the Theatre Friday night, started for Grand Island, ostensibly for the purpose of obtaining the desired outfit and was to return in the evening train to be in readiness for the ceremony Sunday morning. Twi weeks have elapsed since that day, and Prof. C. H. Colson, ‘of Chicago,’ has not put in an appearance. In the meantime, Miss Masher, who was just ready to step upon the stage and electrify the theatrical world went back to washing dishes, It was soon learned that the gentleman ‘of Chicago’ had failed to turn over any of the receipts to the post, left the young ladies to pay their own hotel bills, and others who were to receive pay for their services, got nothing. Thus Mr. Colson has come and gone, and we presume he is endeavoring to assist some other G.A.R. post and flirting with other innocents” (page 1).
Two months later, Colson was associated with another production, credited with producing and starring in “The Dutch Recruit.” He was still using local talent and targeting G. A. R. posts. On Nov. 2, 1888, “The Syracuse Journal-Democrat” of Syracuse, Nebraska, reported, “Full reports both by telegraph and telephone, from the elections of next Tuesday will be read from the stage at the opera house during and after the play of the ‘Dutch Recruit’ by C. H. Colson and troupe. Admission 35 c” (page 7). By the next month, he was performing in Kansas.
On Dec. 1, 1888, the “Nemaha County Republican” of Sabetha, Kansas, reported, “A large audience gathered at the G. A. R. Hall last Monday to see this celebrated military play, under the management of Mr. C. H. Colson if Chicago, supported by a cast composed of local talent. Mr. Colson took the part of the ‘Dutch Recruit’ and played it to the Queen’s taste. He is a splendid actor and kept the audience in a roar of laughter almost during the entire time he was one stage. Except this part and the part of Frank Duncan, the entire cast was composed of Sabetha young people, and the play was admirably rendered, notwithstanding the facts that but a very short time was allowed for rehearsal. All the parts were splendidly rendered, but Miss Lillian Bradley as Maud St. Leon, F. E. Stewart as Lieutenant Harker, and Fred Russell as Harry Pearson, deserve special mention E. A. Richmond ad Uncle Ned and Will Keenan as Sam were typical negroes, and O. Cook as Teddy O’Connor the regulation Irishman, and each contributed much to the success of the play. The drama was given for the band, and they furnished splendid music before and during the play. The receipts for the evening were $125, of which the band received a goodly share, and are well pleased with Mr. Colson and his play” (page 5)
Despite his marriage, Colson continued to target local women who hoped to start on the stage. For example, Lillian Bradley performed the role of Maud St. Leon in Colson’s “Dutch Recruit” in Sabetha, Kansas. On Dec. 22, 1888, the “Nemaha County Republican” reported, “Miss Lillian Bradley disposed of her restaurant business last week, and we understand will join C. H. Colson’s dramatic company” (page 5). On Jan. 3, 1889, “The Seneca Tribune” of Seneca, Kansas” reported, “Miss Lillian Bradley went to Soldier City, Kans. last week and will assist C. H. Colson in his war plays this winter” (page 2). This ended poorly, as it had with Miss Potato Masher in Wahoo, Nebraska. On Jan. 12 1889, the “Nemaha County Republican” reported, “C. H Colson spent last Sunday in Sabetha. The report that Miss Bradley and Frank Carleton were married, he says, is untrue. Miss Bradley is not with his company” (page 5).
In 1889, Colson changed his approach and again toured with a complete company, no longer supplementing his productions with local performers.
On Jan. 3, 1889, the “Soldier City Tribune” reported, “Attend the grand opening at the Soldier Opera House by Chas. Colson’s Chicago company, two nights, commencing Monday evening January 7, with the well-known and every pleasing comedy drama of ‘The Hidden Hand’ with Miss Emma Henchell as ‘Capitola’ the newsboy, and Chas. Colson as ‘Wool’ the negro servant will make you laugh till your sides ache. Come and see the fine scenery and hear ‘The Hidden Hand” (page 1).
On Sept. 18, 1890, “The Holton Recorder” of Holton, Kansas, reported, “A Rare Entertainment” At G. A. R. hall. Thursday and Friday nights, September 18 and 19th, the McCann-Crocker Company will fill an engagement with two sparkling comedy dramas, ‘Flopper, the Agent,’ and ‘The Vagabond.’ Miss Josie Crocker, the leading lady, is an accomplished actress brim full of dramatic gesture and mimic talent of a high order. The comedian, Mr. C. H. Colson, is an old stage favorite, having been on the stage twenty-two years, his first appearance being as little Heinrich with Joe Jefferson in ‘Rip Van Winkle.’ To see these two shows is a treat not often to be had” (page 8).
This means that he was acting in 1868 at the age of nine.
In 1890, the Colton Comedy Company featured “the popular comedian” C. H. Colton, supported by Miss Josie Crocker. An advertisement for the company’s touring production of “The Vagabond” appeared in the “Dubuque Daily Herald” on September 27, 1890, page 1. On Oct. 3, 1890, the Colson Company performed “Rip Van Winkle” at the Duncan & Waller’s opera house in Dubuque, Iowa (“Dubuque Daily Herald,” 3 Oct 1890, page 4).
On October 28, 1890, Colson and his wife were listed in the “Dubuque Daily Herald” as “experienced theatre people from Chicago” (page 4). They performed in “The Spy of Atlanta” at the Grand Opera House. It was a benefit performance, supported by a local cast, for the charity fund of Lookout Post, No. 70, G. A. R. Mr. and Mrs. Colton played in the lead roles of Edwin and Maud Dalton. On October 26, 1890, the “Dubuque Times” reported, “One hundred people, under the management of C. H. Colson, of Chicago, will be in the play giving the great bombardment of Fort Sumter, Battles, Marches; Drills and scene upon the battlefield; also the horrors of Andersonville prison with all special scenery” (page 9). After the performance, however, Colson made Dubuque papers again. On Nov. 2, 1890, the “Dubuque Sunday Herald” reported, “Colson has Skipped. Amateur theatricals are coming to grief in Dubuque, It is now given out that C. H. Colson, who managed the ‘Spy of Atlanta’ has skipped town, leaving several unliquidated bills. Will Colson and Isabella’s $25 crown both gone, this would be a dull Sabbath were it not for the free beer at Henderson’s headquarters First ward” (page 5).
On Oct. 9, 1891, the Belleville Telescope of Belleville, Kansas, reported, “”Rip Van Winkle’ at the Odd Fellows Hall, last Thursday night brought out a full audience. The play was rendered by Prof. C. H. Colson and wife, assisted by an excellent company. As ‘Rip,’ Colson is a huge success, and his wife, in the character of ‘Gretchen’ is a faultless actress. Should they return they will be greeted with a crowded house.-St. Louis Republic. At Powell’s Opera House, Sept. 15 and 16. (page 5).
Colson and his wife became associated with a production and a new company in the early 1890s. Emma Henchell was listed as part of Colson & Ousley’s company production of “The Vagabond.” She also played the role of Gretchen in ”Rip Van Winkle,” opposite of her husband.
Henchell was marketed a single, starring as the female lead in the company’s productions. On Nov. 21, 1891, the “Weekly Interior Herald” of Hutchinson, KS, reported, “Miss Emma Henchell is a star performer also, and fully sustains the part she plays” (page 4). On Dec. 24, 1891, she was still associated the Colson & Ousley’s “Rip Van Winkle” (“The Daily Mail,” Wellington, KS, 24 Dec. 1891, page 2).
On Feb 26, 1892, the “Keytesville Chariton Courier” reported that their production of ‘The Vagabond’ was well received, commenting, “C. H. Colson, as the tramp, played the principal part and in manner to call forth repeated applause”(page 1). His character was described in the “Brookfield Daily Gazette” of Brookfield, Missouri, on Feb 19, 1892:
“The role of ‘The Vagabond’ is not simply restricted to a portrayal of the commonplace events which cluster around the life of a tramp but the omnipresent vagabond appears as the staunch protector of innocence and the avenger of the wrong. Mr. Colson is a strong actor, both in complete conception and in absolutely careful delineation of his role” (page 1). The Colson Theatre company returned to Brookfield that summer with another performance of p “The Vagabond” at Bennett’s opera house, commencing August 22, 1892. At the time, the company included Emma Henchell and Arietta Kimble. On August 19, 1892, the “Brookfield Gazette” added, “The show carried eighteen people, a fine band and orchestra, with repertoire of the latest laughable successes, owned by the company. Dancing and singing and all the latest specialties. Colson, the manager of the Colson Theatre Co. who are to be at the opera house next week will be remembered as the gentleman who played the part of the tramp in the ‘Vagabond’ at the Bennett last spring” (page 5). Other productions by the company at Bennett’s Opera House included “The Gyp” and “The Lightning Rod Agent” (“Brookfield Gazette,” 26 Aug 1892, page 1).
Later in 1892, they were still starring in “Rip Van Winkle,” but it was with another company – Marney & McGowney. On Dec. 27, 1892, the “Republican” of Salem, Illinois, reported, “Among the coming attractions at the Opera House is Marney & McGowney’s Spectacular Rip Van Winkle Co., supporting C. H. Colson and Emma Henchell as Rip and Gretchen on Thursday Evening, Jan. 5th. They carry their own Knickerbocker band, orchestra, special scenery and some pleasing specialties are introduced. “ (page 1).
By the mid 1890s, Colson was again working with local talent. On March 27, 1896, the “Decatur Wise County Messenger” of Decatur, Texas, reported, “The Decatur Dramatic Club will in the near future present at the opera house a very superior play entitled ‘Sidetracked,’ under the direction of Chas. H. Colson, the gentleman who so successfully drilled them for their last play. Mr. Colson is a comedian of unusual ability and will play the lead role on this occasion. There will be special scenery for the play including two trains of cars. The proceed will be applied toward buying musical instruments for the club’s orchestra” (page 5).
On Feb 11, 1897, the “Mound City Republic” announced, “C. H. Colson leaves today and reports that he goes to New York City to Fill an engagement” (page 8). I have yet to locate any information about Colson’s work in New York in newspaper accounts. However, in 1904, Colson will be credited with working for Jacob Schott in New York. It may have been a painting engagement that drew Colson east for a short period of time. Regardless, the next day, Colson was credited with managing another production – “The Great Diamond Robbery.” On Feb 12, 1897, the “Linn County Republic” of Mound City, Kansas, reported that the comedy drama, “The Great Diamond Robbery” was under the management of C. H. Colson. The article commented, “Mr. C. H. Colson, under whose supervision the play was put on the boards is highly praised by members of the Thespian Club. He worked hard to make the play a success, and succeeded in giving our people a much better entertainment than half of the professional companies give us” (page 1). Colson played the role of Peter Grump in the production.
About this time Emma left the stage and returned to St. Louis. The 1897 St. Louis Directory listed Emma C. Colson residing at 1020 N. Cardinal av.” My gut instinct says that she returned to St. Louis once she became pregnant. By the spring of 1898, she gave birth to a daughter. Lucille Katherine Colson was born on March 12, 1898, in St. Louis. Emma died the following year. She was only 37 yrs. old at the time, when she passed away after suffering an intestinal obstruction. On April 27, 1899, the “Perry County Republican” of Perryville, Missouri, announced, “Mrs. Chas. H. Colson, well known to our theatre going people, died recently at her home in St. Louis” (page 3). the time of her passing, Emma was living at 3045 Morgan in St. Louis. She was buried at Saint Peter’s Cemetery in Normandy, Missouri. Normandy is only a little northwest of St. Louis. Her mention in the Perryville news surprised me a bit and I did a little digging. The Colson Stock Company performed in Perryville during the fall of 1898. On September 29, 1898, “The Perry County Republican” reported, “The Colson Stock Company under the management of Colson & Gruen will open the season at the Opera House next Sunday night, October 2d, with the latest comedy success, ‘Dixie Land.’ The company will remain three nights and will present new plays each night” (page 3).
On Sept. 22, 1899, the “Belleville Daily Advocate” of Belleville, Illinois, reported, “Mechanics Lien. S. Mayo, of East St. Louis, filed a mechanics lien, yesterday, against Chas. H. Colson, Fred A Espenschied, W. S. Forman, Robert Bethmann, St. Louis, Belleville & Suburban Railway Co., and the Heim Brewery Company, to recover $112.68, which amount he claims is due to him for lumber and other materials used in the construction of a certain theatre building and dancing floor at Edgemont Park” (page 4).
Nov. 3, 1899, in the “Esbon Times” of Esbon, Kansas, reported, “Theatre at Lebanon, Opera House, Thursday Eve Nov 9. The great 4 act laughing Railway Comedy – The Vagabond – will be presented by the favorite Chicago Comedian, C. H. Colson, assisted by 10 artists. Latest Specialties. Good plot.” A little too much is going on at this time while mourning the death of wife: touring shows, failed business endeavors, infant daughter and an upcoming wedding. He must have been courting his second wife during the fall, if a marriage occurred at the beginning of 1900.
On Dec. 21, 1899, the “Phillipsburg Herald” of Phillipsburg, Kansas, reported “Colson & Palmer’s Stock Co. at Opera House Thursday, Friday and Saturday this week, come to us highly recommended by the press of other towns where they have lately given the best satisfaction with their company. They will open Thursday night with ‘Rip Van Winkle’ all special scenery for the production. With eminent comedian Chas. H. Colson as ‘Rip.’ The company numbers 14 people all engaged for their special line. Don’t fail to see this great play. Seats now on sale” (page 5).
Colson remarried less than nine months after his first wife’s death. Granted, he needed someone to care for his 18-mths-old daughter, yet he married another performer. His second wife was Lalla Guilbert (1873-1939). They celebrated the birth of a son, Guilbert Charles Colson (1904-1963) in Kansas. Later in life, Guilbert would go by Gilbert C. Colson. He would also make news in Perryville, Missouri. On Jan. 12, 1933, the “Perry County Republican” reported, “The year 1932 was pretty tough for most of us, especially for Gilbert Colson of Chicago if he happens to be among the unemployed. His wife presented him with twins twice during the year, one pair being born in January and the other in December” (page 7). Oof! I can’t imagine.
Back to his father Charles Colson.
On Jan 11, 1900, “The Concordia Daylight) of Concordia, Kansas, announced the marriage license for Charley H. Colson (age 40) and Lalla M. Guibert (age 26)” (page 5). There was also a marriage announcement on the same page: “Miss Lalla Rookh Guilbert, daughter of Celestion Guilbert, was married to Mr. Chas. H. Colson, of St. Louis on Tuesday morning the 9th, at the Catholic parsonage the ceremony being performed by Rev. Father Perrier. Mr. Colson is a very efficient actor and has a company on the road. Miss Lalla is known by all the citizens of Concordia as a charming and beautiful girl and is highly respected by all. The Daylight with its host of friends wishes them a happy, prosperous life” (page 5). They likely met at the business of her father when Colson was performing in Concordia. Celestin Guilbert was a hotel proprietor, running his business at 513-517 in Concordia. For a little context, C. Guilbert’s obituary was published in the “Concordia Press” on June 22, 1911 (page 3). The obituary noted that “Celestin was born in St. Hyacinthe, Canada, February 11, 1836. He was one of the few survivors of the Nicaraguan Expedition led by General Walker in 1856. Eight children and a wife survived him.”
Shortly after marrying in 1900, Charles and Lalla took to the road with another tour. He was also making plans for the future. This seemed like another get-rich-quick scheme too. On Jan. 26, 1900, the “Wichita Daily Eagle” reported, “Ground Will Be Given. Riverside will have summer theatres like big cities. That Wichita’s parks will be alive with amusements the coming summer is evidenced by the number who are contemplating putting in different kinds of entertainment for the people who will ride in and out on the new street cars. Yesterday Mayor Ross received a letter from C. H. Colson, of the Colson & Palmer Stock company, now en route, asking as to the availability of establishing somewhere in Riverside a summer theatre and resort, such as all-important cities now have somewhere along or at the terminus of the street railways. The letter is as follows:
“Enroute, Jan. 24, 1900.
Hon. Finlay Ross, Mayor, Wichita, Kan.
“Dear Sir: I am desirous of putting a summer theatre and resort in your city park if you think it would pay. I sold out the finest summer theatre and park in St. Louis last fall and am looking for a new location. Can give plenty of references from St. Louis, Chicago, and Milwaukee. I want to put in a fine summer theatre, drama and vaudeville; also buffet and café, and all A No. 1 amusements to be run in A No. 1 style and no hum business. Can the city park be leased for the purpose?
An early reply stating your opinion with regard to same will greatly oblige.
C. H. Colson, Superior, Neb.”
“Mr. Ross said the subject would naturally interest the street car people more than the city, and referred the matter to Mr. McKinley. The street car company has about twelve acres of good ground adjacent to Riverside which it can use as it pleases, and it has always been supposed that the company would either establish or encourage such enterprises there as would an attraction to the public. With reference to Mr. Colson’s letter, Mr. McKinley stated that he would be glad to have such an attraction as the letter mentions, and would give the promoters all the ground they desired for their business in the proper manner. He will expect them to erect a creditable pavilion and make such other improvements as the enterprise warrants. He said a good vaudeville, comic opera and dramatic companies supported with good specialties, would be a good thing for the city, and he would encourage such an enterprise as much as possible and give them all the privileges commensurate with business principles. Mr. McKinley said there were such amusements as these at the terminus of nearly all of their lines in other cities, and he believed they had been paying investments both for the street railway and the proprietor of the resorts. Only in one, or two cities had companies ever conducted their own parks and amusements and they much preferred that amusement enterprises be conducted by others. Mr. McKinley will answer Mr. Colson’s letter at once, and if the gentleman is prepared to meet the requirements in the way of erecting a pavilion on the company’s ground, Wichita will have the novelty of a theatre in the park next summer” (page 1).
All during this time, Charles remained in contact with his mother. On April 20, 1900, “The McCook Tribune” of McCook, Nebraska, reported, “Mrs. A. W. Utter [Ellen Elizabeth Wyatt Utter (1838-1905)] of McCook came down Saturday evening, to attend the presentation of ‘The Noble Outcast’ at the opera house, and to spend Sunday with her son, Chas. H. Colson. The meeting was one of much happiness to both – Republican City Democrat” (page 1). Colson was again running his own stock company, primarily touring theaters in Kansas, Missouri and Nebraska.
By the fall of 1900, Colson was again on the road with his new bride. On Sept. 28, 1900, the “Cambridge Clarion” of Cambridge, Nebraska, reported, “Commencing Monday Evening Oct. 1. The Colson Stock Co. will be here for one week, presenting all the latest successes of the day with a company of 14 people, supporting the favorite comedian, Chas. H. Colson.
The company carries all special scenery and will present every play with proper settings.
Mrs. Colson has been here before and it is needless to say he is a favorite there and will be greeted by good houses during his engagement here. Seats are now on sale at the usual place” (page 5).
On Feb. 8, 1901, “The Prairie Home” of Heartwell, Nebraska, reported, “’The Fatal Letter,’ a rural comedy drama in five acts presented by Chas. H. Colson, the eminent actor, and supported by a metropolitan company with elegant special scenery, will be at Schapper’s Opera House Tuesday evening, February 26, one night. Reserved seats at Pahr’s Drug Store. Prices: 35c, 25c and 15c” (page 5).
By the spring of 1901, Colson found an investor. On April 26, 1901, “The Benkelman Post and News-Chronicle” of Benkelman, Nebraska, reported, “W. T. Page and wife left for McCook Monday evening. Mr. Page is deeply interested in the show business, he having entered into this business with Chas. H. Colson, under the firm name of The Colson Stock Co. This company have hired a force of first-class actors who will at once commence preparing for the season at McCook where they have been hired to open the new auditorium building” (page 1). Their production included “Sidetracked,” “Struck Glass,” “Dixie Land,” “The Diamond Thief,” “The Gentleman Tramp,” and “The Kentuckian.” On Aug 28, 1902, the “Ellsworth Messenger” of Ellsworth, Kansas, reported, “The Colson Stock Company will open a three nights’ engagement at the opera house Monday evening, September 8. The company carried all its own scenery and mechanical effects. They also make a feature of specialties. Mr. Chas. H. Colson has visited this city before and his company this season is the best he has ever carried. Miss Gay Erroll is his leading support. During their stay here they will produce ‘Dixie Land,’ ‘The Diamond Thief,’ and ‘A Gentleman Tramp.” The prices will be 25c, 35c and 50c.” (page 3).
On Oct. 18, 1902, “The Fairbury Journal” of Fairbury, Nebraska, reported “The Belle of Manila, under personal direction of its author, Mr. Chas. H. Colson will be the attraction at the Opera House, Saturday, Oct 19, 1906. The piece is new in dialogue and situations and has a well balance cast and fine special scenery” (page 8). Lalla was no longer on the road. Instead of Chicago, the couple now listed their permanent residence as Concordia, Kansas. Guilbert C. Colson was born on Dec. 19, 1903. At the time, his older sister Lucille was four years old. She would also become part of the act.
Colson’s luck seemed to be improving. On Oct. 29, 1903, the “Burr Oak Herald” of Burr Oak, Kansas, reported, “Chas. H. Colson, of Concordia, known to most play goers in this part of the state, has just sold to Cincinnati theatrical men his dramatization of Dr. John Uri Lloyd’s famous story, ’Stringtown on the Pike.’ The price paid is said to be $25,000” (page 1). The story was quickly picked up and made headlines across the country. On October 30, 1903, the “Marshall County News” of Marysville, KS, reported, “C. H. Colson, a Kansas theatrical man living up in the Concordia country, has just sold to a Cincinnati firm a dramatization of ‘Stringtown on the Pike” for $25,000. He is now in the Ohio city collecting his newfound fortune. Colson is known in many Kansas towns, as he has served a faithful apprenticeship on the kerosene circuit-Capital” (page 10).
On Jan. 14, 1904, “The Louisburg Herald” of Louisburg, KS, reported, “C. H. Colson’s Show. One of the best audiences that ever assembled in Louisburg gathered Monday night to hear C. H. Colson, and old Louisburg favorite in the play ‘The Belle of Manilla.’ The support throughout was good. A number of specialties was introduced that added spice and variety to the play. Our folks will turn out and give Mr. Colson and his people a cordial welcome would they come this way another season” (page 3). It appeared that Colson finally struck it rich.
And yet….by the summer of 1904, he was working for Sosman & Landis as a scenic artist, marketing himself as such. I have to wonder if he only received a partial payment for “Stringtown on the Pike,” the buyer backed out at the last minute, or the John Uri Lloyd (1849-1936) protested the dramatization of his book. Here is a link to Lloyd’s “Stringtown on the Pike,” published in 1900- https://digital.cincinnatilibrary.org/digital/collection/p16998coll19/id/34066/
On May 26, 1904, “The Florence Bulletin” of Florence, Kansas in Marion County noted Colson’s many skills, reporting, “C. H. Colson, the scenic artist, actor and author, and his family arrived yesterday evening with the expectation of making their summer home in the Firmin residence.” The fact that scenic artist was listed first is a telltale sign of his picking up work painting scenery.
On Jun 16, 1904, “The Salina Evening Journal” reported, “New Opera House Curtain. C. H. Colson Finishes Some New Scenery for the Opera House. A new drop curtain will be seen at the opera house this evening by those who attend the closing exercises of the school of the Sacred Heart, and as it is something beyond the ordinary a little mention of how it came there will not be out of place. The work of the painting the curtain and scenery has been done by Mr. C. H. Colson, of Concordia, and the designs are both unique and well painted. The main curtain has the usual display of advertising but the manner in which they are put around the Swiss scene makes them interesting to anyone who at most times despises advertising in any shape or form. The colors used in this painting are bright and lend a cheerful aspect to the scene which is an improvement over the old curtain now taken down. The other scenes are ready to use and in these, too, much that is artistic is shown. An especially pleasing design is ‘Rocky Pass,’ a scene in the Colorado canon with blue and white set in deep contrast. The other piece is a parlor setting with hand painted roses and will be used in stage settings. The management is to be congratulated on securing these additions for the next season” (page 4).
Colson also began paiting for Sosman & Landis during the summer of 1904, completing a regional project in McPherson, Kansas. At the time, his wife was living in Concordia Kansas, raising his 5-yrs.-old daughter and 1-yr.-old son. McPherson was located 87 miles due south of Concordia. On July 1, 1904, “The McPherson Daily Republican” published an article entitled “New Scenery” (page 1). The Sosman & Landis Studio was credited with new scenery for the opera house in McPherson, Kansas. The article reported, “C. W. Bachelor, manager of the opera house is now having new scenery made for the house, at an expense of about $300.00. Charles H. Colson formerly from the Jacob Schott studio of New York and lately with Sosman & Landis, of Chicago is doing the work. This is something the opera house has needed for years, as the old scenery has been in use ever since the house was built and becoming rather rusty. All the new scenery will be of the latest styles and patterns and hand work, no stencil work on them. Our house will be fully equipped with as good scenery as can be seen in Kansas City and the larger places. There will be a new parlor, kitchen, street, cottage, wood and landscape scenes, new draperies and borders. The list of attractions for the coming season. So far Mr. Bachelor informs us, will be above the average that has been here, a great many direct from New York booking agencies and McPherson can expect a good round of entertainments for the winter.” There remains one photograph of Colson’s scenic art, partially hidden behind a minstrel cast. Here is a detail of his scenery.
Amazingly, the opera house in McPherson is still standing and was recently renovated. Here is a link to the image at http://cinematreasures.org/theaters/34958 and backstage image: https://www.travelks.com/listing/mcpherson-opera-house/1810/ and the current opera house webpage: https://mcphersonoperahouse.org/history/
Colson stayed close to Concordia during the summer of 1904.
By the end of July was painting in Hope, Kansas. Again, Hope was about the same distance away from Concordia as McPherson, but to the southeast. On July 21, 1904, “The Hope Dispatch” reported, “Chas. H. Colson, a scenic artist from Chicago has taken the contract to paint the scenery for the new Auditorium, and has already gone to work at it” (page 7). Colson’s scenic art for Hope’s new auditorium and the recent sale of rights to his dramatization of “Stringtown on the Pike” were mentioned a week later. On July 28, 1904, “The Chapman Lookout” of Chapman, Kansas, reported, “Hope’s New Auditorium…C. H. Colson, scenic artist from Chicago, has just finished five scenes and the drop curtain, which he states is the finest in this part of the country, is certainly superb. Mr. Colson has dramatized Jno. Uri Lloyd’s production, “Stringtown on the Pike,’ for which he received $25,000 and a royalty of 2 ½ per cent. Mr. Colson will retire from his present occupation and will do no more work except for his own stage settings. We congratulate the Hope people and wish them the success they merit” (page 4).
I interpret the statement, “Mr. Colson will retire from his present occupation and will do no more work except for his own stage settings” as leaving the brief employ of Sosman & Landis to again work for himself. His work for the firm, however, occurs during an interesting period. This was a period of extreme expansion for the studio, and one of the reasons that Thomas G. Moses returned to the studio, leaving his own successful scenic studio in New York (Moses & Hamilton). An article from May 13, 1904, published in the “Indianapolis Journal” says it all when they report that six scenic artists from the firm were working on site (page 7). The article reported, “Six artists from the Chicago scene painting firm of Sosman & Landis are now busily engaged on the stage at the Grand in painting two new sets of scenery to be used next season at the local home of vaudeville. One of the sets will be an ‘interior’ and the other an ‘exterior.’ And a new ‘olio drop’ will also be painted. The same artists will, before leaving Indianapolis, complete several scenic sets to be used on the stage of Dickson & Talbott’s new theatre in Dayton, O. The Grand is to be renovated during the summer and new carpets will be placed in the auditorium. The women’s reception room will be completely refurnished, and several other improvements will be made. Resident Manager Shafer Ziegler, who has been in the city all week superintending the work at the theatre, will journey down to St. Louis to-morrow to spend a few days at the world’s fair, and will go to New York the latter part of next week to join his brother, Henry M. Ziegler, the prominent race horse owner, who is now at the Morris Park track. Ed E. Daily, the Grand’s press agent, will go to St. Louis next week and will not return to Indianapolis until the opening of the next vaudeville season in September.” Sosman & Landis was producing scenery at the main and annex studios in Chicago and shipping them all over the country. They were also operating multiple regional branches, often staffed by former studio employees who were also running their own firms (yet not competing against them for work). Sosman & Landis also sent teams of scenic artists and stage carpenters to manufacture and install scenery on site at a variety of venues. Remember that by 1902, the firm had delivered scenery to over 6,000 venues in the United States, Canada, Mexico, Jamaica, and South Africa.
The rapid influx of projects in 1904 meant that the Sosman & Landis Studio was frantically scrambling for scenic artists, all over the country, pairing regional artists with nearby projects.
In 1905, Colson continued to paint, but also returned to producing another “Rip Van Winkle” production. On August 18, 1905, the “Marshall County News” of Marysville, Kansas, reported, “Mr. and Mrs. C. H. Colson who have been spending a week here left Monday for Chicago where they will arrange to put out two Rip-Van-Winkle shows for the coming season” (page 5). I have to wonder if the one picture that remains of his daughter Lucille dressed as Little Heinrich in “Rip Van Winkle.” After all, she would have been almost the same age as when Colson purportedly plated Little Heinrich in Joe Jefferson’s production of “Rip Van Winkle.”
That fall, painted another drop curtain for a nearby opera house in Pratt, Kansas. Pratt was approximately 85 miles southwest of McPherson, Kansas. On November 23, 1905, “The Pratt Union” reported, “Charles H. Colson, the artist on the new opera curtain, is number one. He has made a curtain and some scenery at the Roll opera house that is first class. It is an entire change from the former styles of painting” (page 6).
On May 11, 1906, the “Sterling Kansas Bulletin” of Sterling, Kansas, reported, “The rural comedy ‘Up York State’ will be given at the opera house next Monday evening by a home talent company under the direction of Perle Kincaid. Those who will take part…C. H. Colson…Mrs. Perle Kincaid McMeachan will take the leading role” (page 1).
“The Country Editor” by Chas. H. Colson’s company, drew a large audience Friday night (The Marysville Advocate, Kansas, 27 Sept 1906 page 4).
On Feb. 11, 1909, “The Princeton Union (Princeton, MN), reported,
“Mabel Heathe.
The beautiful pastoral drama of ‘Mabel Heathe’ will be presented at Brands’ Opera House on Thursday, evening, Feb 18, under the management of C. H. Colson, assisted by the Princeton Dramatic club. The above play will be the finest home talent production yet given by Mr. Colson. Special scenery will be used for the great snow scenes, and the public may expect and elegant presentation in every way. Seats now on sale at Avery’s” (page 8). On Feb 25, 1909, “The Princeton Union” reported, “Chas. H. Colson and family departed on Tuesday for Minneapolis, where Mr. Colson will reorganize his dramatic company. The Colson people made many friends during their stay in Princeton” (page 5). On Jan. 21, 1909, ”The Princeton Union” reported, “With the exception of Mr. and Mrs. Chas. H. Colson, the characters were taken by home talent…Mr. and Mrs. Colson are excellent artists and during their stay in Princeton have become favorites with the theatre going public” (page 1).
His father-in-law, Celestin Guilbert, passed away in 1911. C. Guilbert’s obituary was published in the “Concordia Press” on June 22, 1911 and it mentioned “His daughter, Mrs. L. Colson” was now living in Chicago. After 1911, it became increasingly difficult to follow Colson’s career. Fortunately, Lalla is a unique name and helped track the couple’s travels. By 1915, the Colson’s were living in Des Moines, with Charles’ occupation as “manufaction of Novelties ” in the State Census report. They remain in Des Moines for the next five years. In the 1920 Census, Charles, Lalla and Gilbert are living at 1115 Ninth Street. Charles’ occupation is listed as “Chemistry”: in the “Factory” industry. By now, Gilbert is 16 yrs. old and attending school.
By 1921, Charles and Lalla move to Seattle, Washington, where they are listed in the City Directory as living at 7724 Meridian av. They remain in Seattle for the next few years, moving to Oakland California during 1924. In 1924, they were listed in both the Seattle Directory, living at 6207 Linden av., and in the Oakland Directory, living at 817a 55th. This is where it gets a little weird. In Oakland, Chas. H. Colson is listed as a manufacturer of toilet goods. This shift to toiletries will continue for quite a few years, with Colson even establishing a Denver-based company called Juvee Inc. Charles and Lalla (now spelled Lolla) remain in Oakland in 1925, living at 2 1407 Colfax. However, by 1926 they move to Denver, Colorado. The 1926 Denver Directory listed Charles and Lolla living at 7 2543 15th . C. H. Colson is listed as the president of Juvee Inc., a company specializing in toilet articles, located at 2504 15th. His son, Gilbert C. Colson, is also listed in the Denver Directory, living with his parents at 7 2543 15th . They family was living an apartment complex, Airy Court Apartments. The Colson’s remain in Denver until 1927; that is the last year that they were listed in the City Directory. Interestingly, Gilbert is no longer working for his dad’s firm, Juvee Inc. Instead, he is listed as a chemist for Can-Do Products Co. Gilbert and his parents are still living in unit seven at 2543 15th.
And then the Colson’s relocate, returning to Chicago. This was possibly a result of the 1929 Market Crash. The 1930 US Federal Census listed Charles as 71 years old and working as a scenic artist in the “art studio” industry. Both Lalla and Gilbert are still living with him. However, Gilbert is now working in the insurance industry. They were living at 1917 Lincoln Ave., housing nine lodgers with a variety of occupations ranging from newspaper salesman and salesladies to typists, carpenters and electricians.
In Chicago, Colson would return to performing for the last few years of his life. His death certificate listed “Theatrical Actor” as his occupation. Charles passed away on March 14, 1936, in Chicago.
To be continued…
