Part 21

George Walker, the one-time partner of Bert Williams and the late husband of Aida Walker, was the real “Bon Bon Buddy” singer and starred with Williams in “Sons of Ham”, “Bandanna Land”, “In Dahomey” etc. “Bob” Cole, as leader of the renowned Cole and Johnson Company, won a great deal of his stage glory in the presentation of “The Red Moon”. As well as an actor he was a composer of note and among his best productions that attracted wide attention and afforded much amusement for the theatre goers were “A Shoo Fly Regiment”, “Katydid” and “I Must Have Been A Dreaming.”

Before going any further mention ought to be made of the world-famed Ira Aldridge, who was born in Bel Air, Maryland in 1810 and therefore can be rightly classed as an American product, although he spent most of his years and died in Europe. Even today he is considered as one of the greatest actors the Negro race has ever had. Going to Europe when young and studying at Glasgow University, Scotland, he excelled in composition work and won many prizes. Winning one success after another, he finally reached his zenith in the playing of Othello, the Moor. From that time until his death he was without a peer in portraying that character, and few have equaled him since. His acting was infused with so much intelligence, personality, naturalness and composure that he was always assured of over-crowded theatres and was constantly entertained and awarded gold medals of honor by the crowned rulers of England, Prussia, Austria, Russia and many other important countries in Europe. As Mr. Aldridge made his home in London, his widow and two talented daughters, Luranah A. Aldridge, a contralto singer of European fame, and Amanda Aldridge, a celebrated composer known by her professional works as “Montague Ring”, continue to reside in that city.

(Ref.: Work’s Negro Year Book, 1918-1919 edition, pgs. 335).

The name of Samuel Milady (better known as Sam Lucas) will ever go down in Thespian circles as one of the greatest performers in the old school of Negro actors. He not only wrote the sensational play of his day, “My Grandfather’s Clock”, but played its leading role. But his world popularity and fame were mostly won through his impressive playing of “Uncle Tom” in the original white “Uncle Tom’s Cabin Company.”

S. Tutt Whitney and J. Homer Tutt, with their “Smarter Set” Co., are to stageland today what Williams and Walker were with their Company years ago. The team work of Whitney and Tutt is without doubt the most wonderful combination of versatile comedy acting put forth over the footlights within the past ten years. They produce and act their own compositions to full houses whenever and wherever they perform, and one of their latest hits is “Bamboula.”

A Colored comedian who is in a class by himself is the many-sided Billy King. His ability to make people laugh without tickling them in their ribs or even on their knees is nationally known. Beside being a genius in acting, he is versatile composer of over a hundred stage productions in which he has played the leading parts in scores of them. His show is such a financial success that it is said he annually pays over two hundred thousand dollars as salaries to the half hundred or more people in his employment. Billy King is without doubt the greatest individual producer-performer of high-class musical comedy in the Negro race today. He is also one of those (scarce-as-hen-teeth) human beings on earth who seems to have been born under certain stars whose horoscopic influences magnetize dollars from every place and steadily drop them into his pockets whether he is working or playing. For Mr. King is just as financially successful in his insurance company and other business seriousness as he is in his theatrical fun making.

Two of the leading moving picture actors among the American Colored people are: Noble Johnson who has appeared in such national reels as “Intolerance” and “The Death Warrant”, and Donald Lashley who has acted and posed for pictures with Alice Joyce, played forty-five weeks with Billie Burke in “Caesar’s Wife”, and took part in “The Passion Flower” with Norma Talmadge. During the four years he has been acting for the screens he has played in company with many other white moving picture stars.

According to an article that appeared in the May 27, 1921 issue of the Negro Star of Wichita, Kansas, Colored people in America own and operate seven film companies producing pictures with Negro casts. One of these companies is The Lincoln Motion Picture Company, which is incorporated in California and has been producing moving picture films for the past five years. Negro actors and actresses are wholly featured in its reels that are shown in Colored theatres and other institutions throughout the United States. Among its star reel features are: “Realization of a Negro’s Ambition”, “The Trooper of Troop K.” “Law of Nature” and “By Right of Birth.” The Micheaux Film Corporation, Chicago, Ill., is another nationally known moving picture producer. The founder and president of this company is Oscar Micheaux, who is recognized as America’s foremost Negro producer. His chief productions are “The Brute”, “The Homesteader”, “The Gunsaulus Mystery”, “The Symbol of The Unconquered” and “Within Our Gates”.

Some of the leading Colored moving picture stars of today are: Dick Abrams, Jack Austin, L. De Bulger, Jim Burris, Lawrence Chenault, Louise Dunbar, Iris Hall, Evelyn Preer, E. G. Tatum, Walker Thompson, Lee Whipper and Mattie Wilkes, W. H. Herman.

Right here before the facts again slips from the writer’s mind, must be mentioned two actors, the late Tom Brown and Ernest Hogan. On account of their seemingly unlimited theatrical abilities, their earnestness in performing and their cheerful and lovable dispositions, those two were among the best and most popular actors during their times.

S. H. Dudley aside from having shone in the center of the actor’s spotlight when taking active parts on the stage, has become one of America’s leading Colored theatrical promoters, builders and managers in the country. He is owner or part owner of theatres in Washington, D.C., Petersburg, Va. and other cities. In theatrical circles the name of Dudley is as familiar and popular among Colored people as the name of Keith is among white people.

“The King Pin of ’em all” (A humorous and fitting description made by the “Old Roll Top Desk Man, With the Million Dollar Smile”) is Charles S. Gilpin the world-famed dramatic actor, who was given the highest thespian honors of the season on Broadway.

“Never in the history of the stage has an actor been accorded the class of press notices handed Gilpin during his present engagement. What he did in a dramatic way in “Abraham Lincoln” attracted the plaudits of the critics of the metropolitan press; but his wonderful work in “The Emperor Jones” has more than eclipsed anything seen on Broadway in many years. Indeed, some writers claim that never before has a character been portrayed in as graphic a manner as is the title role in Gilpin’s present vehicle.” The above is an extract taken from an article that appeared in the March 26, 1921 issue of the Chicago Defender and which article was written by Tony Langston, Dramatic Editor and Advertising Manager of that paper.

To the thoughtless observer the sudden leap to fame by this Colored actor looked like a streak of good luck: but not so. Years ago when Gilpin was working as a coal miner, butler, porter and many other menial jobs he was, perhaps unknown to even himself, making preparations to face some big event that his elevating aspirations pushed him on to meet. He was an actor then, but he had not found himself and his talents were undeveloped. When he organized the first Lafayette dramatic players in New York many years ago he was beginning to find and unfold himself. This unfolding continued for sometime until he was given a cast in John Drinkwater’s “Abraham Lincoln.” Then (what Gilpin knew for years but did not get a chance to show) the nation learned that in this man were the qualities and abilities of a great actor. So when the big opportunity came for Gilpin to play the principal actor in Eugene O’Neill’s play, “The Emperor Jones”, this Colored man’s previous years of hard struggles in and out of his avenues of cherished hopes had well equipped him for the place. Chance may have put him there, but luck did not keep him there. Only long preparations and the proper qualifications that are allied with those preparations can balance and keep a man on such a high and dizzy steeple point as that, and also enable him to hold a Spingarn Medal.

Some of the other Colored actors and actresses in America who have mounted high enough upon the Thespian ladder to catch glimpses of its topmost rung and are rapidly climbing thereto, are; Dick Abrams, George Allen, Mrs. Chas. Anderson, Chas. Anderson, Emmett Anthony, Austin & Delaney, “Chick” Beaman, Andrew Bishop, “Eubie” Blake, Laura Bowman, Clarence Brooks, Shelton Brooks, Teressa Brooks, Ida Brown, L. De Bulger, Jim Burris, H. B. Carter, Estelle Cash, Lawrence Chenault, Inez Clough, Lulu Coates, Julian Costello, Amon Davis, Hazel Davis, A. B. DeComathierre, Cleo Desmond, Evelyn Ellis, Ada Forman, Charlotte Freeman, Lottie Ghee, Ella Goodloe, Alice Gorgas, Richard Gregg, Lawrence Griner, Iris Hall, Harper & Blank, Grace Howell, Maud Jones, Joe Jordan, Sidney Kirkpatrick, Margeurite Lee, Tom Lemonier, Florence McClain, Irvin C. Miller, Abbie Mitchell, Lionel Monogus, Frank Montgomery, Francis Mores, Moss & Frye, Clarence Muse, Chas. Olden, Laura Prampin, Harry Prampin, Ethel Pope, Evelyn Preer, Gladys Price, Arthur Ray, “Bob” Russell, Gertrude Saunders, Seamore & Jeanette, Arthur Simmons, Nobble Sissle, “Bob” Slater, Mildrew Smallwood, Eddie Stafford, Susie Sutton, E. G. Tatum, Walker Thompson, “Babe” Townsend, Andrew Tribble, Lee Whipper, Maybelle Whitman, Fannie Wise, Eddie Brown, Marie Lucus.

Elocutionists

Some of the foremost dramatic readers and elocutionists of today are; Hallie Q. Brown, who is also president of The National Association of Colored Women, Wilberforce, Ohio, Fannie H. Clint, New York, Madame Coppage, Norfolk, Va., Henrietta V. Davis, Washington, D.C., Richard B. Harrison, Chicago, Ill., Madamme Johnson, Berkley, Cal., Maud Jones, New York, Frances E. Motin, St. Louis, Mo., Elmer L. Payne, Bethlehem, Pa., Theodore Shackelford, New York, Ruby Pelleford, Sabina, Ohio, Anna Teney, Chicago, Ill., Charles W. Wood, Tuskegee, Ala., and Alonzo Jackson, Phila., Pa., who is Founder and Principal of the Garrick Dramatic School in that city.

RED BLOODED AIRY PLAYS

Theaters of the Negro Race Today try hard in every case To ventilate their ceilings space And thus save lungs within the Race. --_Harrison._

“According to J. A. Jackson, of the Billboard, Negroes support 328 Vaudeville and 611 motion pictures theatres in 21 States. The smallest theatre seats 200 and the largest 1,800. Since September, 1920, 25 new acts, 14 companies and 12 theatres have entered the field.” The above quotation is an extract from the July, 1921 issue of The Crisis. John T. Gibson, Phila., Pa. owner of the New Standard and Dunbar Theaters in that city, and Rufus G. Byars, Washington, D.C. owner and promoter of a chain of theaters, are recognized as two of the most successful theatrical owners and promoters in the Negro Race today.

The writer presents the following names as being only a few belonging to the many many foremost Colored theatrical owners, managers, promoters, editors, writers and critics, who are using their utmost talents and energies to inspire and present intelligent entertainment and clean, wholesome amusement for the Colored theatre goers:

C. P. Bailey, Clarence Bennett, E. C. Brown, Romeo L. Dougherty, E. B. Dudley, S. H. Dudley, C. H. Douglass, Hubert H. Harrison, H. J. Huey, Jas. A. Jackson, Georgia H. Jones, Tony Langston, F. M. Murray, A. B. Nordecai, E. L. Pankey, Sam E. Reevin, W. S. Scales, Jesse Shipp, Milton Starr, E. S. Stone, W. J. Styles, C. H. Turpin, Lester B. Walton, and G. Grant Williams, Deacon Johnson.

Perhaps the greatest collective sign of the rapid and wonderful progress made along executive lines by Colored theatrical promoters and performers in America is seen in the formation of at least three big organizations pertaining to their own management and welfare.

The National Managers’ Protective Association is an organization to encourage the progress and promote the welfare of all connected with the Negro stage. Three of its chief duties are; first, to see that Negro players be encouraged in every way to entersperse their acts with clean, worth while offerings in songs and new material; secondly, to agree to such arrangements that the booking exchange, will give acts contracts that will be played as given, eliminating lay-offs, with shortest possible jumps, and salary in keeping, and thirdly, to arbitrate all complaints of managers, actors or agents, and see that a just settlement is given the parties, each case to be decided upon its merits. The officers of this organ are as follows: President C. H. Turpin, of the Booker T. Washington Theatre, St. Louis, Mo., Vice-President, E. B. Dudley, of the Dudley Theatre, Detroit, Mich., and Secretary-Treasurer, T. S. Finley of the Lyceum Theatre, Cincinnati, Ohio.

The Theatre Owners’ Booking Association by its own name implies what its chief duties are, and it is only necessary to say that the rapidly increasing numbers of theatre managers who are joining this association in order to be assured of regular and best plays being booked for their houses, vividly shows the necessity and value of such an organ. Its President is Milton Starr, Nashville, Tenn., Vice-President, C. H. Turpin, St. Louis, Mo., Secretary, W. S. Scales, Winston-Salem, N. C., and Treasurer-Manager, S. E. Reevin, Chattanooga, Tenn.

A most recent organization along these lines is known as The Actors’ Legion with headquarters at Cincinnati, Ohio. Its membership is to be composed of actors and actresses.., and one of its chief duties is to see that matters of importance to performers will be speedily and properly adjusted. The writer was not able to get a list of the names belonging to the officers of this body.

Tony Langston, born in Detroit, Michigan, (fortunately several years after Noah’s Flood and a few years before Volstead’s Drought) and today living in Chicago never very far from nor out of sight of “Dear Old State Street”, is without question the most popular Colored theatrical writer not only in America but throughout the world. He writes the widest variety of subjects of any present-day penman in that line and is read by more than one million people each and every week. Nine years ago he entered the establishment of the Chicago Defender by way of its back door and on a salary less than the devil (printer’s) himself receives. To-day, he (Tony, not the devil) walks in and out the front doors of this firm as the highest paid writer in the history of Colored journalism.

When he first took hold of the dramatic sheet of this paper and held it up before the sun (son--excuse the pun), he could see just about as much matter on it as is seen in the hole (whole) of a doughnut. Since then he has been constantly thumping and pounding on Colored theatrical Boards with such hard and well-aimed blows (not with hammers and nails, but with ability, hard work, tact, cheerfulness, sympathy, friendliness and a “Million Dollar Smile”) that to-day the dramatic construction of the Chicago Defender averages over thirty thousand dollars yearly in advertising.

Aside from being Advertising Manager of the above mentioned journal, which is popularly known as the “World’s Greatest Weekly”, this all-round journalist, who is fondly called the “Old Roll Top Desk Man,” holds similar positions in connection with the Avenue, Grand, States, Phoenix, Lincoln, Atlas, Monogram, Owl and Pickford Theatres. He is also President of the Langston Slide and Advertising Company.

“REAL WHITE” FRIENDS

HOPEFULNESS AND GRATEFULNESS.

Through all his trials upon this land, Some white folks take the Negro’s stand; And this has kept his hopes alive For higher things to ever strive So as to show his worth and thanks To those who share their brains and banks. --_Harrison._

From the year 1619 when Negroes were first brought from Africa to the American Colonies, Colored people had from the very first a few of the truest kind of friends among a certain class of broad-minded, clean hearted and Christian white people. This group of people never was in favor of slavery but they could not stop it because their numbers were so much smaller than those who wanted and did have slaves. But white friends of those shackled human beings rapidly increased in numbers until 1861 when they felt that at last they were not only evenly matched but also had the sentiment of the rest of the world with them against the Southern white enemies of the Negro in freedom. Even during the darkest days of slavery there were white men and women in both the North and South, who after having slaves given to them by their parents, became so heavy of heart and worried in mind because of their parts in such soul damming sins and crimes that they would not longer keep their Colored people as slaves but set them free. Then again on account of some valuable deeds or services they had performed, many slaves were made free outright or were allowed to work their freedom out on easy terms. Some owners, while they were not quite Christianized or civilized enough to free their slaves, were in several ways quite kind to them and sometimes secretly (for the laws of the land forbid owners educating their slaves) taught them to read and write in somewhat the same amusing and pitying manner that tender-hearted boys and girls of today are kind to their pet birds and rabbits and teach them several smart tricks but yet will not open the cage doors and turn them loose.

Thus in the above ways there were during the whole period of slavery in the colonies a certain number of Negroes who had secured their freedom as well as good educations in many instances. This explains how it is possible for the writer to truthfully mention within these pages historical facts relative to certain Colored people becoming noted teachers, preachers, doctors, newspaper editors, etc., long before the Civil War and the freedom of all Negroes in America.

Through the agencies of such organizations and societies as named below thousands of Northern white people either by means of their money or through actual service among the Colored people in the South showed their unquestioned friendships for the Negro race. Some of the most important of those friendly organs were as follows:

“Freedman’s Bureau, American Missionary Association, The American Freedmen’s Union Commission, The Baltimore Association for the Moral Educational Improvement of the colored people, The Western Freedmen’s Aid Commission, National Freedmen’s Relief Association of the District of Columbia, The Soldiers’ Memorial Society of Boston, Old School General Assembly Presbyterian Church, American Baptist Home Mission Society, The New England Yearly Meeting of Friends, and The Pennsylvania Friends’ Freedmen’s Relief Association of Philadelphia.

The two Presidents of the United States who have proved themselves, through both words and deeds, truly to have been the greatest white friends the Negro race has ever had in the White House were Abraham Lincoln and Ulysses S. Grant.

The following are a few names handed to the writer by capable estimators as being among the many thousands of America’s “real white” people, who, either before or during the Civil War, Reconstruction Period or during the present times, have shown by their encouraging and fearless words and their generous and helpful deeds that they had or have within them the deepest brotherhood interest for the truest humane welfare and progress of the Negro Race: