Women Theatre Managers – Drypigment.net

At the beginning of 1912, Thomas G. Moses wrote, “starting some new work for the Palace Theatre.” Moses was referring to the 1500-seat Palace Music Hall, advertised as “Chicago’s New Vaudeville Theatre” in 1912.

Detail of a Palace Music Hall program currently for sale online.

Built at N. Clark Street and W. Randolph, the Palace Music Hall opened on April 1, 1912. Designed by Holabird and Roche, the new Palace Music Hall was advertised across the country. An article in the “Daily Herald” noted that the Palace Music Hall was the newest theater “situated in the heart of Chicago’s theatre district and that “leading artists of the world” would be featured at this “high-class vaudeville” house (August 30, 1912, page 11). The article further reported, “The building department of Chicago has pronounced the Palace the most perfectly constructed and equipped theatre in the country.” Hmm. I have noticed that most new theaters during this period were advertised as the “best” that could be found in country, often including validation by some organization or well-known personality. Great marketing technique to get the public in the doors.

The Palace Music Hall, Chicago, Illinois.

Performances at the Palace were given twice daily, once at 3:15 PM and once at 8:15 PM. Individual seat prices were 15 cents, 25 cents, 50 cents and 75 cents. Like many theatres during this time, however, there was a shift in popular attractions and entertainment, often promting a change in owners. Abraham Lincoln Erlanger acquired the lease for Chicago’s Palace Theatre building during January 1926. He extensively remodeled the theater, renaming it the Erlanger Theatre. The Erlanger theatre remained open until March 10, 1962. The building was soon demolished, with the theater’s original location and remainder of the block being razed to build the Chicago Civic Center, now the Richard J. Daley Center. Neither this venue, nor the original Palace Theatre, are to be confused with Chicago’s New Palace Theatre, a venue designed by Rapp & Rapp and located on Randolph and La Salle Street in Chicago in 1926. The second “Palace Theater” opened Oct. 4, 1926 and is now known as the Cadillac Palace Theatre.

When the Palace Music Hall became the Erlanger Theatre in Chicago, Illinois.

In 1912, Martin Beck announced his intention to “invade” the east and Chicago with the new Palace theatres. The Palace Theatre in Chicago and the Palace Theatre in New York were intended to fight eastern interests. Beck’s Palace theaters were also mentioned in an interesting 1912 newspaper article published across the country. “Woman Back of a Theatre Trust” was the title and the article’s headline stated, “Mrs. Katherine Kohl Carries Out Late Husband’s Ideas for Territory Division. STOPS VAUDEVILLE WAR” (Rock Island Argus, 30 April 1912, page 9). Here is the article in its entirety, as I found it quite fascinating:

“Chicago, April 20, 1912.- The efforts of a Chicago woman, Mrs. Catherine Kohl, has averted a threatened vaudeville war which would have involved millions of dollars and has brought about a combination of theatrical interests aggregating $50,000,000.

Her months of endeavor have resulted in a union of men of the east and west representing practically the same theatre interests but operating in different territories. By the new arrangement the eastern magnates will keep in their own territory, the western magnates in theirs and Mrs. Kohl will be left the mistress of the situation in her Chicago theatres, founded by her husband and left to her on his death a year ago.

By the deal, completion of which was just announced in New York, B. F. Keith has purchased interests of Percy G. Williams, controlling eight theatres in New York, and a working agreement has been entered into by the different vaudeville powers by which there will be no friction in the future. A general agreement has been made as to the placing of different vaudeville acts and the ‘time’ to be allotted performers.

This new assignment of territory and interests stops a new vaudeville war started some time ago when Martin Beck opened the Palace theatre in New York and followed it by the Palace theatre in Chicago. These two houses were to be used in conjunction with others, to fight the eastern interests. By the new terms of the Chicago theatre, which is now playing vaudeville, will change its policy. It is said the first sign of the change will be when ‘A Modern Eve,’ now playing at the Garrick theatre, is transferred to the Palace theater.

Under the new combination thousands of performers are virtually interested. Mr. Keith with E. F. Albee, A. Paul Keith and John J. Murdock will control the vaudeville situation far west as Chicago. The situation in Chicago will be under the control of Mrs. C. E. Kohl, Max Anderson and the Monroe Amusement company. Meyerfeld and Beck of the Orpheum circuit will control the remainder of the country for the Orpheum circuit.

Mr. Keith will have control of the situation in the east, Mrs. Kohl in Chicago, and Martin Beck for the Orpheum circuit west of Chicago.

The new combination was caused by the announced intention of Beck to invade the east and Chicago, his new Palaces theatres being his first step in this regard. Theatrical managers saw ahead another theatrical war which probably would duplicate the efforts of Klaw & Erlanger to break the vaudeville trust some years ago and the fight of William Morris along the same lines. But before the war was fairly advanced the alignment of interests was accomplished.

‘The late Charles E. Kohl planned more than once to bring about this arrangement which would place the Majestic and other large theatres in association with the east,’ said Lyman Glover, general manager for the Kohl-Castle theatres, last night. ‘He wanted to leave the west as an empire for the Orpheum circuit. His widow has labored effectively in promoting the agreement now reached. The result will clear up the situation, prevent ruinous competition, provide better and more uniform vaudeville bills, and simplify the business in many ways.’

From New York at night a statement was issued by Meyerfield and Beck.

‘It always has been our fondest desire,’ the statement said, ‘to bind the east and west together in a more substantial way. The consummation of the deal just put though by Mr. Keith and ourselves is a happy solution of our difficulties and is most satisfactory to us.

‘The situation, as far as territory is concerned, is no different than it was before, but by buying interests with Mr. Keith and in other ways tying our interest more closely together we have accomplished something for which we have been working for years, and the public and artists will reap the benefits as well as ourselves.

‘We are all men who have practically brought the high class vaudeville business to its present high standard, both sides owning controlling vast interests thoroughly established. And we feel that the fruits of our labor for 30 years have been consummated by the arrangement we have entered into.’”

To be continued…

Part 586: Women employed at the Olympic Music Hall in 1908

Thomas G. Moses worked on scenery for the Olympic Music Hall in Chicago during 1908. An interesting article was published that year about the women who managed the venue (Inter Ocean, 15 Nov. 1908, page 32). Considering the continued struggles of women in the United States and recent legislative setbacks nationwide, this article was a breath of fresh air for me. Lottie B. Akass, Nellie Revell, Minnie Sleeper were credited for their knowledge and skill 110 years ago; this still at a time when women could note vote. Here is a little background on the individuals mentioned in the article below.

Article about the women managing the Olympic Music Hall in 1908, from the” Inter Ocean,” 8 Nov 1908, page 30

John J. Murdock, was listed as the general manager of the Olympic Music Hall in 1908. L. B. Akass was listed as the assistant manager. Murdock was previously the theatrical manager of the Masonic Temple Theatre in Chicago, married performer Grace Akass, a singer from Indianapolis. Murdock was head of the Western Vaudeville Manager’s Association, and later a large stockholder in the organization headed by Keith, Fox, Warner, Metro-Goldwyn.

Grace Akass was from Indianapolis and entered into vaudeville with a unique singing act.

By 1903, she was performing the “The Girl With the Auburn Hair” (Indianapolis Journal, 16 March 1903, page 3). Akass began her professional career in approximately 1899. Her sister, Lottie Akass, also toured with the production. Lottie performed as the onstage organist, playing a portable organ that accompanied all of the sacred scenes sung in the production’s church scene. Lottie was also a distinguished singer and performer.

Minnie Akaas (left) and Lottie Akaas (right)

While the two sisters were on tour, they made snapshots of the people and places they visited, creating pictorial travelogues. They had several cameras and a trunk that held all of the necessary supplies to create a dark room for developing the results of their “daily work abroad” (The Indianapolis News, 18 March 1903, page 5). At the time, newspapers noted that the sisters possessed one of the finest collection of Kodak photographs in the country. Grace and Lottie were also known for their extensive study of music and literature. The two also drove automobiles, contributing to their independence.

Another Akaas sister, Minnie Belle, was quite talented and well-known for her artistic skills. Of the three, Minnie Belle was the artist, a member of the Chicago Academy. She also moved from Indianapolis to Chicago were she exhibited her paintings, winning many awards. Her painting of Grace, “Girl in the Red Kimono” took first prize in Indianapolis. The same painting also received second prize at a Chicago Academy exhibit. Minnie married William Bancroft Sleeper in 1904 (Inter Ocean, 3 Jan. 1904, page 44). Sleeper was a Wyoming ranchman and member of the legislature (Indianapolis Journal, 17 July 1903, page 12). He also managed a number of mining and oil enterprises along the way. Among Sleeper’s personal friends were President Roosevelt and William F. Cody. Minnie and William had a daughter who became the film star, Martha Sleeper.

Article about Minnie Akaas and William B. Sleeper, from the Tennessean 23 Aug 1903, page 8

Back to the article about the Olympic Music Hall being managed by three women in 1908. John J. Murdock renovated the Olympic theatre to really showcase the women in his life; Grace was on stage, Lottie managed the venue, and Minnie did much of the painted décor throughout the building.

Here is the article from the “Inter Ocean” that highlighted the women who worked at the Olympic Music Hall (15 Nov. 1908, page 32):

“Here you have the marvel of the place. The new music hall is the only place of the sort in the world managed by women. There is only one place of importance on the staff of employees and managers that is not filled by a woman. He is in the box office. The only reason there is a “he” there instead of a “she” is that Mr. Murdock who financed the scheme, and who is one of the most experienced vaudeville managers, feared that certain people who are as yet unable to realize the full value of women’s actual services, might misconstrue the presence in the box office of a woman and fancy that it was not a nice place to take his wife or his sweetheart or his sister, which, of course, would be exactly contrary to the real purpose. To give the public confidence he put his own name on the program as manager, but just under it in big type is the name of a woman, “Miss Lottie Marie Akass.”

And Miss Akass is the manager. She is his sister-in-law, and he briefly states his reason for building a theatre for her.

“I wanted to give her a chance to attain something,” he said, “She is and ambitious girl, and there is a small outlet for the ambitions of a clever woman. So I fixed this theatre for her.” He looked out over the rows of flowers that were in baskets and vases and wreaths and embankments. “Not to boast,” he said. “Do you know there are almost $3,000 worth of flowers there? [the 2018 equivalent is over $82,000] They came from everywhere in the United States. See that basket of red roses? The Hengler sisters sent it from San Francisco. And that immense bunch of American beauty roses? That is from George Cohan. There is the Heath and McIntrye offering. There are hundreds of them. I tell you they mean a lot to me, for with every one is a card of good wishes. And the telegrams – there were over 1,400.

Then he smiled. Too, with his sweet faced sister-in-law, who stood beside him. He is delicate of frame and fine featured as to face, but worn looking from the tension of preparation.

“For two weeks before the opening I could not sleep,” he said. “You see, I want the girls to succeed. Miss Akass isn’t the only one. There is Miss Nellie Revell [1873-1958], who is the press agent and serves us valiantly.”

Nellie Revell, Press Agent for the Olympic Music Hall in 1908

The music of the orchestra drifted out through the doorways faintly and sweetly. The big divan was very, very comfortable. I wanted to see the next turn on the stage, but I lingered among the flowers and talked with the woman press agent. An oddly straightforward creature she is too, with honest hazel eyes and many direct qualities in her speech.

“Come over to the ladies’ room,” she said. “Let me tell you a secret – you may wash your face here, or your hands. You may powder your nose and polish your nails. If you are ill the matron will take care of you, and you may lie down on this beautiful couch. You wash your hands with a bit of soap that is all your own. You powder your face with a cloth that you throw away.” She held the box of white celluloid with a perforated top toward my nose. “Isn’t is fragrant?” she asked. It was-and woefully expensive, I am sure. We strolled back to the foyer. Another dark-eyed, soft voiced woman stood beside Manager Miss Akass.

“Look” said Press Agent Miss Revell. “Did you ever see so beautiful a rose tint on a wall?” I confessed that I had not.

“Mr. Murdock and Mrs. Sleeper showed the painters how to mix it,” she said. “They were days and days getting the right tint. After it was on, Mrs. Sleeper painted every one of those roses in the decorative design.”

My incredulity must have been plain.

“Ceilings and all?” I asked.

Press agent Miss Revell nodded her head. “Ceilings and all,” she said. “She is sister to Miss Akass and she is an artist. It was hard work, but she could do it better than anybody who was just hired. She loved it, you see.”

Mr. Murdock had the last word. “I believe in women,” he said. “I have a secretary who receives $100 a week [2018 equivalent of approximately $2750.00]. Over in the Majestic theater offices, we have a woman who has eighteen stenographers under her. I pay very little attention to my correspondence because my secretary knows the business details of forty or fifty theaters as well as I do. The moment we feel that it will not be misunderstood by the public, we shall probably have a woman in the box office.

The three women who control the destinies of the rose tinted theater stood there – Manager Miss L. M. Akass, Press Agent Miss Revell, and Decorator Mrs. Minnie Akass Sleeeper…They were three women, and in theirs are the fortunes of the house. Sometimes fortune is a trustworthy lady – most trustworthy.

The orchestra music still drifted through the flowers, as I came away. It was sweet and faint, but the time was a rollicking lilt of promise.”

To be continued…

Category: Women Theatre Managers

Tales from a Scenic Artist and Scholar. Part 793 – The Palace Theatre, 1912.

Tales from a Scenic Artist and Scholar. Part 586 – Women employed at the Olympic Music Hall in 1908