Wikipedia

Gregory Kelly (actor)

Gregory Kelly (March 16, 1892 – July 9, 1927) was an American stage actor, who began performing as a child. He was a Broadway attraction, starring in such long-running productions as Seventeen and The Butter and Egg Man. His early death precluded him from appearing in more than two films. He is remembered today as the first husband of Ruth Gordon, who credited him with teaching her acting.

Gregory Kelly
Gregory Kelly 1919
Born
Gregory F. Kelly

(1892-03-16)March 16, 1892
New York City, New York, U.S.
DiedJuly 9, 1927(1927-07-09) (aged 35)
Manhattan, New York, U.S.
OccupationActor
Years active1904 - 1927
Known forSeventeen, The Butter and Egg Man
Spouse
  • ​
    ​
    (m. 1918⁠–⁠1927)​

Early years

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Gregory Kelly was born on March 16, 1892, in New York City,[1] to Thomas J. Kelly, a letter carrier, and his wife Agnes J. Kelly.[2] His grandparents on both sides were immigrants to New York from Ireland.[2] He was the youngest of three sons; his older brother Thomas J. Kelly Jr. would also become an actor.[3] When he was two, he had rheumatic fever, which Ruth Gordon later speculated may have damaged his heart.[4]

Career

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Early stage work

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Actress Grace Menken recalled that as a child Gregory Kelly went through Anna Taliaferro's theatrical agency with her and her sister Helen Menken.[5] Kelly's first verifiable stage credit[fn 1] came in January 1904 with a production of The Light That Lies in Woman's Eyes. He and his older brother Tommy were jointly billed as "Two Boys, sons of Red Head". The play starred Virginia Harned, whose then husband E. H. Sothern had written it for her.[6] When the production went on tour in February, the Kelly brothers went with it.[7][8]

Kelly next appeared in a touring production of After Midnight, starting in September 1904,[9] in which he received his first critical notice: "Master Gregory Kelly... also comes in for a large share of the applause".[10] This tour lasted through the end of February 1905,[11] resumed in September 1905 with new producers and a new leading man,[12] and finished up in February 1906.[13]

During 1908 Kelly joined a touring vaudeville musical called School Days by Gus Edwards, who also produced. It played Broadway for a month starting in September 1908,[14] resuming touring in late October.[15] He stayed with this tour through April 1909.[16]

Mrs. Fiske

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Mrs. Fiske 1910
 
The Pillars of Society

The quality of plays he appeared in, and Kelly's professional skills, improved after he joined "The Manhattan Company" of Mrs. Fiske in 1910. He later attributed to her tutoring his success in stage acting, particularly in timing dialogue pause and response.[17] Harrison Grey Fiske first cast Kelly as a thirteen-year-old boy in a revival of Ibsen's The Pillars of Society. The production would have a three-day tryout in Rochester, New York, followed by a two-week engagement on Broadway. The play was accorded only mild interest by the New-York Tribune reviewer, but they commended the acting of the entire company. Kelly "...spoke with understanding and carried himself modestly, disdaining the 'smartness' which is the usual fault of stage boys."[18] Following Pillars, Kelly then spent two weeks in a more adult role for a one-act curtain-raiser to Mrs. Fiske's main feature, Hannele.[19]

The Fiskes took their production of Pillars on tour across the country, Kelly accompanying.[20][21] While on the road, the Fiskes tried out a revival of Langdon Mitchell's Becky Sharp, a dramatization of Vanity Fair.[22] Mrs. Fiske had been the original producer and director of this 1899 work. Kelly played a minor role in Becky Sharp, so the Fiskes made him assistant stage manager.[23] Kelly was still with the Fiskes when Becky Sharp finished a two-week engagement on Broadway in early April 1911.[24]

Kismet

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By late November 1911, Kelly was reported to have joined the cast of Klaw and Erlanger's Kismet, to be directed by Harrison Grey Fiske.[25] This spectacular production[fn 2] had its US premiere at the Knickerbocker Theatre on December 25, 1911. The cast was so large that it was divided into three sections in newspapers for just the principals.[26]

 
Gregory Kelly and Charles Dalton

After its New York run ended in May 1912, the original production company went on tour, Kelly with them.[27] Lost among the crowd of featured players, there was little about Kelly's performance to stick in reviewer's minds. As one critic said of the actors, "it was not at all easy to sort them out", being in fantastic garb and affecting a "Baghdad accent".[28] Additional to his acting, Kelly was again an assistant, along with T. Tamamoto,[fn 3] to stage manager Henry B. Stillmann. Besides managing regular matinee and evening performances for the public, the trio conducted full rehearsals using just the Kismet understudies, to keep them sharp.[29] By September 1914, while touring Canada, Kelly had been promoted to the supporting role of the Beggar Kasim, and his brother Thomas had joined the cast as Caliph Abdaliah.[30]

Kelly's involvement with 'Kismet' finally came to an end in October 1914,[31] when he was included in an announced cast for The Young Idea. This was a vehicle for Lydia Lopokova, to be produced by Harrison Grey Fiske.[32] It had been renamed Just Herself by the time it premiered on Broadway on December 23, 1914.[33] Unfortunately, the play was shut down just six days later when producer Fiske entered voluntary bankruptcy.[34]

Stuart Walker

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Stuart Walker
 
Six Who Pass
 
Nevertheless

Gregory Kelly had been with the Fiskes since 1910, but the bankruptcy ended this association. By April 1915, he was listed among the company of the Ben Greet Woodland Players, of which his brother Thomas was also a member.[35] The Woodland Players repretoire included several Shakespeare comedies. Though they used costumes, Ben Greet[fn 4] eschewed scenery and props for his Woodland Players, preferring to perform outside on grass where possible. He also favored "complete text" performances, forgoing any cuts to the plays.[36]

 

Kelly had joined Stuart Walker's Portmanteau Theatre company by February 1916, when he took part in benefit performances for Friendship House in Washington, D. C., attended by first lady Edith Wilson.[37] Walker directed the Portmanteau Theatre, working with producers Russell Janney and Maximillian Elser Jr. The repretoire consisted of Walker's own one-act plays, and the 16th Century anonymous Gammer Gurton's Needle.[38] [fn 5]

Besides performing, Kelly acted as stage manager for the troupe.[42] Walker, who occasionally did small roles, got along well with Kelly, despite disparite backgrounds. Walker was a "well bred Kentuckian", and a bit prim,[43] while Kelly was not.[44] Walker acquired American rights to perform three plays by Lord Dunsany in August 1916.[45] These plays were performed on Broadway during November and December 1916, along with nine other works from the Portmanteau Theater repertoire. They were given as matinees on weekdays at the 39th Street Theatre and the Princess Theatre. They brought Kelly to the notice of Alexander Woollcott, who recognized his promise but felt his voice still limited him.[46] The Dunsany plays, in which Kelly figured little, were not met with much enthusiasm by New York reviewers. The plays that drew most praise were two in which Kelly had the lead: Six Who Pass While the Lentils Boil and The Birthday of the Infanta.[46]

The Portmanteau Theatre kept offering the Dunsany plays with its other reporatory works during Winter and Spring 1917. At St. Louis, one reviewer reported "The more versatile of the Portmanteau players do not seem to find Walker an easy boss. Gregory Kelly, the youthful stage manager, was kept on the stage nearly all the time, appearing in all three plays, and having the leading roles in the first two".[41] During June 1917, Kelly registered with the U.S. Draft,[1] and was classified 4-F,[4] due to a heart murmur.[47]

Seventeen

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Main article: Seventeen (play)
 

The Portmanteau Theatre settled into Indianapolis, Indiana for the summer season of 1917, where Walker hoped to tryout some new plays. Chief of these was Seventeen, based on Booth Tarkington's best selling novel. For this production Walker used a full-sized stage. The tryout in June showed the play needed cutting and female lead Aggie Rogers wasn't right for the part.[48][49] When the summer tryouts ended, the company returned to Manhattan, where Walker began recasting the play. Kelly sat in on the auditions, and persuaded Walker to accept his choice for the female lead. This was Ruth Gordon, whom Walker initially didn't like.[50]

The shortened and recast play had immediate success in its opening tour, playing an extended run in Chicago from October 1, 1917, through mid-December.[51] It premiered on Broadway during January 1918,[52] where it ran for over 250 performances.[53][54] Kelly drew good reviews from most critics, though one decried a lack of spontaneity in his playing.[52]

 

While most of the production company went on tour in September 1918, Walker assigned Kelly to the lead of Jonathan Makes a Wish, which debuted on Broadway that same month. This was a Walker written fantasy in three acts, which fell down badly in the second, according to Heywood Broun.[55] Broun said the principal character Jonathan,[fn 6] played "sympathetically" by Kelly, aroused little interest compared to supporting roles performed by Edgar Stehli and George Gaul.[55] The play was withdrawn after twelve days,[57] and Kelly resumed his lead in the touring Seventeen.[58]

Kelly and Ruth Gordon were back in New York City with the Seventeen tour when they got married on December 23, 1918.[59][60] They continued with Seventeen until the tour finally ended in Spring 1919, after which they spent two months resting in Christmas Cove, Maine.[61] They did some summer season plays for what was now called The Stuart Walker Company,[62] then resumed touring with Seventeen until November 1919.[63]

Clarence and Dulcy

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Kelly and Gordon had stuck with Stuart Walker throughout the long run of Seventeen, but Walker's next production was a rare miss by Guy Bolton and P. G. Wodehouse, based on the latter's novel Piccadilly Jim. The play stumbled through some dismal tryouts, and as word spread of its weak appeal, Walker found the Shubert's were booking them into less desirable theaters in small markets. Trying to boost the play's appeal, Walker hired a well-known character actor for $400 a week, angering Kelly, whose top pay had been $250 during Seventeen.[64]

 

Producer George C. Tyler, having heard Piccadilly Jim was floundering, offered Kelly and Gordon leads in the second company for the new Broadway hit Clarence, at $500 and $150 a week respectively. Gordon urged Kelly to accept. Tyler made it easy for them, by arranging rehearsal schedules in New York City so the couple could commute down to Washington, D. C. for the last few performances of Piccadilly Jim.[65] At first Gordon was nervous about following Helen Hayes in the role of Cora Wheeler, so much so that Tyler actually gave her notice in Chicago. But Kelly persuaded Tyler to hold off, and with coaching was able to get Gordon up to speed in the part.[66] Kelly and Gordon played Chicago in Clarence starting January 1920,[67] and toured with the second company for a year, finishing up in January 1921. A typical reviewer's appraisal of the tour's performance was that: "Robert Adams... made new friends by his Clarence. The real fun of the piece, however, was brought out by Gregory Kelly as Bobby Wheeler... and Ruth Gordon, who delightfully enacts Bobby's sister, Cora".[68]

Clarence finished in November 1920. While Gordon recovered from a leg-straightening operation,[69] producer Tyler cast Kelly to support Lynn Fontanne in Dulcy, a new three-act comedy by George S. Kaufman[fn 7] and Marc Connelly.[71] It was based on the fictional character Dulcinea, a chatterbox bromide, created by newspaper columnist Franklin P. Adams.[72] Kelly would get $650 a week.[73] The play had a week-long tryout in Indianapolis at English's Opera House, starting February 14, 1921.[74] Immensely popular in Indianapolis, Kelly was forced to make many curtain calls on opening night, which the theatre manager had designated "Gregory Kelly Night". It was a trying situation for Lynn Fontanne, who was the star.[75] The production then opened at the Cort Theatre in Chicago on February 20, 1921.[76] Kelly left the play in early April, to prepare for his new company's summer season.[77]

Stock company

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While still playing in Dulcy, Kelly incorporated the Gregory Kelly Stock Company in Indianapolis, with a capitalization of $3000.[78] He leased English's Opera House for the summer season and recruited cast members.[fn 8] The first week's play was Clarence, with Ruth Gordon reprising her role of Cora, but with Kelly taking the name part, and Percy Helton as Bobby. The performance was good, and unmarred by the normal stock company mishaps, according to the local reviewer, who also complimented Kelly and Gordon on their maturing skill.[80] Later reviews of other plays were also generally positive,[79] including one which had Eugene Stockdale (stage name of Stuart Walker) in its cast.[81]

The Gregory Kelly Stock Company closed its season in early July after twelve weeks of performances,[82] and Kelly rejoined the Dulcy production, in time for its Broadway premiere at the Frazee Theatre on August 13, 1921.[83] Though second-billed, Kelly's part in the play was small. However, he performed effectively according to McElliott in the Daily News.[83] Arthur Pollock in The Brooklyn Daily Eagle disagreed, saying Kelly was "ineffective by virtue of trying to be too effective", and that Kelly and Fontanne "have quite terrible voices".[84] Despite this opinion, Dulcy ran on Broadway through March 1922, then started touring.[85]

The First Year and Tweedles

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However, Kelly left that tour in order to take Frank Craven's place in The First Year at the Little Theatre in early April 1922. This was a two-week gig, with Ruth Gordon filling in for Roberta Arnold, so both leads of the long-running hit could have a vacation.[86] Their contract with John Golden paid $750 a week, and stipulated they would head a touring company the following season. The Kellys used the time in-between to take their first overseas journey, visitng England and France.[87] When they returned, they played the leads in the tryout for a new comedy called Bristol Glass, written for them by Booth Tarkington and Harry Leon Wilson. Produced by Robert H. McLaughlin and staged by George Farren, it had its first performance on August 7, 1922, at Cleveland's Ohio Theatre. The local reviewer praised the acting and the play, but said it was too long.[88]

The Kellys then toured with the second company[fn 9] of The First Year in September 1922.[89] They finished with The First Year and began rehearsing Bristol Glass in March 1923.[90] The second tryout of Bristol Glass was again given at the Ohio Theatre in Cleveland, on April 2, 1923, with Kelly forced to give a curtain speech for author Booth Tarkington, who snuck out of the theatre to avoid it.[91] The production then went to the Blackstone Theatre in Chicago, where the advertising now had Frank McGlynn's name first.[92] Sheppard Butler of the Chicago Tribune called the play "thin", speculated that it was largely Tarkington's work with little by his co-author, but praised the performances of Kelly and Gordon.[93] McGlynn, having starred in Abraham Lincoln for years, reportedly carried an air of tragic gloom into the role of Adam Tweedle, so that someone said he "played the whole second act as if he knew Booth were going to kill him in the third".[94]

Tarkington renamed Bristol Glass to Tweedles for its Broadway premiere on August 13, 1923, at the Frazee Theatre. Burns Mantle called it "a pleasant but thin little character comedy".[95] Arthur Pollock in The Brooklyn Daily Eagle said: "The boy is Gregory Kelly, the best of our boys on the stage, who deserves the success of Glen Hunter, though it isn't yet his, and the girl is Ruth Gordon, who also merits more in the way of success than she has ever enjoyed".[96] Alexander Woollcott called Tweedles "a delightful and unsuccessful comedy" in a later essay, in which he praised Gordon and Kelly as "both charming and capable".[97] Tweedles was the last play in which Kelly and Gordon performed together. Thanks to Kelly's tutelage, Gordon was now able to pursue a career independent of his.[98] As their performing work went in different directions, so too did their personal life.[99]

Musical, film, and Badges

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Following Tweedles, Kelly starred in a new play by Caesar Dunn, called A King for a Day, which opened at the Cort Theatre in Chicago, on November 25, 1923.[100] Despite an unenthusiastic opening night review, the play ran through January 12, 1924 at the Cort.[101] He then joined the second company of the long-running musical Little Jessie James at Chicago's Garrick Theatre on March 4, 1924.[102] After two months in Chicago, Kelly took over the Broadway lead for the musical at the Little Theatre, "...and the show is enhanced considerably by the change" according to one reviewer.[103] However, four weeks later Allen Kearns returned to the role he'd created.[104]

“His method is composed of infinite small mannerisms, in voice, movement, character definition. But within this region of himself and his peculiar characteristics and mannerisms, Mr. Kelly works with astonishing subtlety and skill. His gradations in the dialogue, his cues, his humerous inflections, his aim that never misses the effect he intends, his quality of odd pathos, defeat and bubbling spirits, and the intelligent comment that he supplies along with the convincing naturalness of his playing, can be praised as far as you like to go.” —Stark Young, review of Badges[105]

During July 1924, Kelly was signed by Famous Players.[106] This was for his first film, called Manhattan, to be made at the Astoria Studios in New York City.[107] Kelly was third-billed, after Richard Dix and Jacqueline Logan, when the film was released in late October 1924.[108] Mordaunt Hall wrote in The New York Times that Kelly "makes a part live which might hardly have been noticed at all when played by many other actors".[109]

By the time Manhattan was released Kelly was already in rehearsals for Badges, a mystery play by Max Marcin and Edward Hammond. Kelly played the lead, a hotel clerk with correspondence school training as a detective, who mixes in with a girl involved with nefarious characters. The play had its first tryout at the Court Square Theatre in Springfield, Massachusetts on November 3, 1924.[110] After some further tryouts, it premiered at the 49th Street Theatre on December 3, 1924.[111] The production switched to the Ambassador Theatre then the Broadhurst before closing on February 28, 1925.,[112] and reopening two days later in Chicago,[113] where it ran for another two months.[114]

The Butter and Egg Man

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Peter Jones, the protagonist of George S. Kaufman's The Butter and Egg Man, hails from Chillecothe, Ohio, also the hometown of producer George C. Tyler.[115] Jones possesses certain personality traits, including Midwestern optimism and a penchant for throwing money at challenges, that anyone who knew Tyler would recognize. There the resemblance ends; Kaufman was not satirizing Tyler, merely giving a nod to the man who launched his playwriting career. The Butter and Egg Man had a week's tryout at the Belasco Theatre in Washington, D. C., starting June 15, 1925.[116] Critical appreciation for Kelly's performance and that of Lucille Webster as the producer's wife were offset by a lackluster romance with Mildred MacLeod that slowed down the third act.[116][117]

 

The romantic interest for Kelly's character was recast with Sylvia Field by the time the show hit Broadway, on September 23, 1925, at the Longacre Theatre. Produced by Crosby Gaige, and directed by James Gleason, it was an immediate hit with audiences and critics.[115][118][119] One critic noted the play was "not much more than a sucession of bright jokes and wise cracks hung together on the thread of an obvious plot", at which the "audience laughed uproariously".[120] Arthur Pollock thought "Mr. Kaufman has little feeling for design in his dramatic writing and is willing to sacrifice character for a joke".[121]

Most critics concentrated on Kaufman's writing in their reviews, giving only a final paragraph plaudit to Sylvia Field, Lucille Webster, Gregory Kelly, and others. It was left to another actor to remark on the playing. Alexander Woollcott recounted how Charlie Chaplin, sitting next to him on opening night, followed Kelly's performance closely, saying "My God! There's an actor for you! What's his name?".[122]

The Butter and Egg Man was a true Broadway success, running through April 17, 1926 for 250 performances then immediately going on tour, starting with Brooklyn.[123] While still playing in New York for The Butter and Egg Man, Kelly would take the midnight train to Philadelphia to be ready for the next morning's shooting of his second film for Famous Players, The Show-Off. As the day's filming finished, he would catch the commuter train back to New York for the evening performance.[124] Kelly continued touring in The Butter and Egg Man through February 1927.[125]

Personal character

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Madge Kennedy, who co-starred with Kelly in Badges, said there was a fierce competition between him and her dog as to who could make the most grotesque faces.[126] Kelly was once swept up in a reporter's random survey of public library patrons. To the reporter's question of his favorite book, Kelly answered Main Street by Sinclair Lewis. Aside from the surprise of finding a famous actor browsing books, the article also showed him wearing glasses, something no publicity photo ever did.[127] Gordon complained to another reporter about Kelly's habit of folding book pages in half to mark his place, particularly embarrassing when the book was borrowed.[128] She called him "Gentle Gregory", for he refused to be drawn into quarrels, even with her. His heart kept him out of the military,[47] but his career was physically strenuous and he enjoyed tennis.[129]

Samuel Hopkins Adams, in his 1945 biography of Alexander Woollcott, said Kelly "...was not only a rising young actor, but a singularly fine and winning character".[130] Mrs. Fiske referred to him as "Gentle, boyish little Gregory, with very little to say", and declared he hadn't "a particle of egotism or silly pride".[131] Booth Tarkington wrote of Kelly: "He was the most appealing and charming of men. Wistful, self-obliterative, witty, he seemed, in a room full of people, the one person who best understood all the others".[132]

Death and legacy

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Mrs. Fiske wrote that the last time she saw Kelly was after a matinee in Chicago, where she found him "half hiding in the darkened wings. As he was leaving I asked him how he was, and he gave a little mischievous look, put his finger on his lips and said 'I've been warned'."[131]

While performing on tour in Pittsburgh with The Butter and Egg Man, Kelly suffered a heart attack on Friday afternoon, February 25, 1927. The tour was abandoned, while Kelly rested in a Pittsburgh hospital.[125] Ruth Gordon had him moved to the Harbor Sanitarium in Manhattan, where he remained except for visits to the Maine coast as his condition permitted. He died on Saturday night, July 9, 1927, Gordon having rushed to his bedside after performing Act II of Saturday's Children at the Booth Theatre.[133]

Kelly's death, though preceded by a long period of illness, was still a shock to those who knew and admired him. Alexander Woollcott and Neysa McMein were awoken at Neshobe Island by a telegram messenger with the news, and spent the rest of the night talking about Kelly.[134] Woollcott later wrote a memorial essay, in which he said: "I wish, too, I could find words for a final paragraph that would tell you how brave, how sensitive, how courteous a gentleman Gregory Kelly was".[135]

Stage credits

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Plays produced by others in which Kelly performed, by year of his first involvement.
Year Play Role Venue Notes/Sources
1904 The Light That Lies
in Woman's Eyes 		A Boy Criterion Theatre
Touring company 		This was by E. H. Sothern, produced by Charles Frohman.[6]
After Midnight Gerald Brooks Park Theatre
Touring company 		Kelly toured off and on in this four-act melodrama from September 1904[9] through February 1906.[13]
1908 School Days Johnny Boston Beans Touring company
Circle Theatre 		Three-act musical was Kelly's professional home from Sept 1908[14] through April 1909.[16]
1910 The Pillars of Society Olaf Bernick Lyceum Theatre
Touring company 		At age 18, Kelly played a 13-year-old boy.[18]
The Green Cockatoo Alban, Chevalier de
la Tremouille 		Lyceum Theatre One-act satire by Arthur Schnitzler, set in a caberet during the Fall of the Bastille.[19]
Becky Sharp Tommy Raikes Touring company
Lyceum Theatre 		Four-act revival of an 1899 play by Langdon Mitchell.[22][24]
1911 Kismet Amru's Apprentice
Begger Kasim 		Knickerbocker Theatre
Touring company 		Kelly was with this production from December 1911[26] through October 1914.[31]
1914 Just Herself[fn 10] Raymond Playhouse Theatre Three-act comedy by Ethel Watts Mumford[33] was closed when Fiske went bankrupt.[34]
1915 The Taming of the Shrew Tailor Touring company [35]
Twelfth Night Valentine / Fabian Touring company [136][137]
The Merchant of Venice Touring company [138]
1916 Six Who Pass While the Lentils Boil The Boy Touring company Kelly was the lead for this one-act fantasy by Stuart Walker.[139][42]
Gammer Gurton's Needle Doctor Rat, the Curate Touring company Five-act comedy from 16th Century anonymous author.[38]
The Trimplet[fn 11] You Touring company A one-act "dream play" by Stuart Walker, with Kelly "planted" in audience.[139][42]
Nevertheless A Boy Touring company Three-character farce by Stuart Walker is described as "an interlude"[fn 12] between plays.[139][140]
The Lady of the Weeping Willow Tree Riki 39th Street Theatre
Touring company 		Three-act play by Stuart Walker set in a fairy-tale Japan of long ago.
The Birthday of the Infanta The Fantastic Touring company One-act play dramatized from an Oscar Wilde short work.[46]
The Very Naked Boy Little Brother Touring company Another brief three-character "interlude" by Stuart Walker has Kelly in title role.
The Gods of the Mountain A Beggar 39th Street Theatre
Touring company 		Three-act play by Lord Dunsany about seven beggars who court disaster thru impiety.
The Golden Doom A Spy 39th Street Theatre
Touring company 		An oriental fantasy by Lord Dunsany; a boy's scrawl is taken for an omen of the Gods.
King Argimenes and the Unknown Warrior Zarb, a Slave Princess Theatre
Touring company 		Play by Lord Dunsany
1917 Seventeen Willie Baxter Touring company
Booth Theatre 		Kelly's breakthrough role established him as a Broadway lead and gave Ruth Gordon her first leading part.[52]
1918 Jonathan Makes a Wish Jonathan Clay Touring company
Princess Theatre 		Though the lead, Kelly was strait-jacketed by poor writing and having to play a fourteen-year-old in this Stuart Walker three-act comedy.[55]
1919 Too Many Cooks Murat Theatre Summer season in Indianapolis with a 1914 farce by Frank Craven.[62]
Kick In Charlie Murat Theatre Summer season in Indianapolis with a 1914 melodrama by Willard Mack.[141]
Nothing But the Truth Bobby Bennett Murat Theatre Summer season in Indianapolis with a 1916 Broadway farce.[142]
Fair and Warmer Billy Bartlett Murat Theatre Summer season revival of 1915 Broadway comedy by Avery Hopwood.[143]
The Fortune Hunter Nat Duncan Murat Theatre Summer season revival of 1909 comedy by Winchell Smith.[144]
Piccadilly Jim Jimmy Crocker Murat Theatre
Touring company 		Even the authors gave up on this play after seeing it performed.[64]
1920 Clarence Bobby Wheeler Blackstone Theatre
Touring company 		[145]
1921 Dulcy William Parker English's Opera House
Cort Theatre
Frazee Theatre 		[74]
1922 The First Year Thomas Tucker Little Theatre
Touring company 		[86]
Bristol Glass Julian Castlebury Ohio Theatre Tryout of Booth Tarkington comedy written for Kelly and Gordon,[88] eventually renamed Tweedles.
1923 A King for a Day Any Whittaker Cort Theatre Kelly is a small town shoe clerk and inventor.[100]
1924 Little Jessie James Tommy Tinker Garrick Theatre
Little Theatre 		After a stint with the second company, Kelly moved to Broadway for a month.[102][103]
Badges Franklyn Green Court Square Theatre
49th Street Theatre 		Three-act mystery drama starred Kelly as an amateur detective.[111]
1925 The Butter and Egg Man Peter Jones
Plays produced, directed, and performed by Kelly during 1921 for his stock company.
Year Play Role Venue Notes/Sources
1921 Clarence Clarence English's Opera House First production of the Gregory Kelly Stock Company.[80]
The Little Minister Gavin Dishart English's Opera House Kelly's Stock Company revived an 1897 play based on J. M. Barrie's 1891 novel.[146]
Seven Keys to Baldpate Billy McGee English's Opera House Kelly's Stock Company performed this 1913 satire of melodrama.[81]
A Tailor-Made Man John Paul Bart English's Opera House 1917 Harry James Smith comedy played by Kelly's Stock Company.[147]
Scrambled Wives John Chiverick English's Opera House Ruth Gordon starred in three-act 1920 comedy by Adelaide Matthews and Martha M. Sally.[148]
Happiness Fernoy McDonagh English's Opera House Gordon also led this 1914 comedy by J. Hartley Manners, revived by Kelly's Stock Company.[149]
Turn to the Right Muggs English's Opera House Revival of 1916 Broadway melodrama by Winchell Smith and John E. Hazzard.[79]
Adam and Eva Adam Smith English's Opera House Three-act 1919 comedy by Guy Bolton and George Middleton.[150]
A Prince There Was Charles Martin English's Opera House The Kelly Stock Company played this 1918 comedy by George M. Cohan.[151]
Fair and Warmer Billy Bartlett English's Opera House [152]
Romeo and Juliet Romeo English's Opera House The excerpted balcony scene, performed with Gordon as Juliet.[152]
The Hottentot Sam Harrington English's Opera House This was a 1920 comedy by Willie Collier and Victor Mapes.[153]
Just Suppose A Prince of Wales[fn 13] English's Opera House With Gordon as the Virginia girl for whom the incognito prince falls. Based on a 1920 play by A. E. Thomas.[82]

Filmography

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Notes

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  1. ^ Many later anecdotes recount how Kelly started acting at age four with Joe Jefferson in a revival of Rip Van Winkle, but contemporaneous sources for this have not yet been found.
  2. ^ It was a year for spectacles on Broadway, with Liebler & Company's The Garden of Allah having opened two months earlier.
  3. ^ The Japan-born actor was the only Asian on the legitimate stage (as opposed to vaudeville) in America at this time. He first performed on Broadway in a 1904 melodrama, The Heir to the Hoorah, during which he used jiu jitsu.
  4. ^ Greet himself did not perform with the troupe nor accompany it, leaving it to a hired manager.
  5. ^ The name of the company came from its own small portable theater, with stage, proscenium, lighting, and curtain, which could be set up in two hours time, enabling the troupe to play anywhere.[39][40] Even when the troupe played in a regular theater, they still mounted the Portmanteau Theatre on its stage, because of the unique lighting system Walker had devised.[41]
  6. ^ The play was based on Stuart Walker's own boyhood.[56]
  7. ^ Tyler had given Kaufman his start in playwriting, and continued to back him despite some early misfires.[70]
  8. ^ This initially included Percy Helton, Owen Meech, Byron Beasley, Willard Barton, Harry Wagstaff Gribble, Vera Fuller Mellish, Elizabeth Black, Frank Bertrand, William Sheafe, Harry Sothern, Angela Ogden, Florence Murphy, Howard Hill, and Beulah Bondy,[77] with Wallis Clark and Wallace Ford brought on later.[79]
  9. ^ The first company, with Frank Craven and Roberta Arnold, was playing Chicago.
  10. ^ The working title was The Young Idea.[32]
  11. ^ A "trimplet", according to Walker, was the sunbeam that punched a hole into a shadow.
  12. ^ Brief pieces, played in front of the curtain.
  13. ^ This was meant to be a generic Prince of that title, not the incumbent of that time.

References

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  1. ^ a b U.S., World War I Draft Registration Cards, 1917-1918 for Gregory Kelly, retrieved from Ancestry.com
  2. ^ a b 1900 United States Federal Census for Gregory Kelly, New York > New York > Manhattan > District 0348, retrieved from Ancestry.com
  3. ^ 1910 United States Federal Census for Gregory F. Kelly, New York > New York > Manhattan Ward 12 > District 0593, retrieved from Ancestry.com
  4. ^ a b Gordon, p.79.
  5. ^ "Was Budding Berhardt When Just a Youngster". The Philadelphia Inquirer. Philadelphia, Pennsylvania. October 30, 1927. p. 101 – via Newspapers.com.
  6. ^ a b "Theatrical Incidents and News Notes". New-York Tribune. New York, New York. January 24, 1904. p. 24 – via Newspapers.com.
  7. ^ "Notes of the Local Stage". The Bangor Daily News. Bangor, Maine. February 16, 1904. p. 3 – via Newspapers.com.
  8. ^ "Amusements". The Reading Daily Times. Reading, Pennsylvania. April 4, 1904. p. 2 – via Newspapers.com.
  9. ^ a b ""After Midnight" at Park Theatre". The Daily Standard Union. Brooklyn, New York. September 20, 1904. p. 5 – via Newspapers.com.
  10. ^ "Last Night At The Playhouses". The Jersey Observer. Jersey City, New Jersey. October 11, 1904. p. 3 – via Newspapers.com.
  11. ^ "Whitney Theater-- "After Midnight"". Detroit Free Press. Detroit, Michigan. February 27, 1905. p. 4 – via Newspapers.com.
  12. ^ "At the Academy, After Midnight". Buffalo Courier. Buffalo, New York. September 3, 1905. p. 40 – via Newspapers.com.
  13. ^ a b ""After Midnight"". The Boston Globe. Boston, Massachusetts. February 13, 1906. p. 11 – via Newspapers.com.
  14. ^ a b "Manhattan Stage Notes". Brooklyn Citizen. Brooklyn, New York. September 9, 1908. p. 4 – via Newspapers.com.
  15. ^ "School Days at the Grand". St. Louis Globe-Democrat. St. Louis, Missouri. October 25, 1908. p. 34 – via Newspapers.com.
  16. ^ a b ""School Days" at Globe". The Boston Globe. Boston, Massachusetts. April 13, 1909. p. 6 – via Newspapers.com.
  17. ^ Gordon, pp.82, 93, 177.
  18. ^ a b "Drama". New-York Tribune. New York, New York. March 29, 1910. p. 7 – via Newspapers.com.
  19. ^ a b "Mrs. Fiske Acts The Child, Hannele". The New York Times. New York, New York. April 12, 1910. p. 11 – via NYTimes.com.
  20. ^ "At the Theaters". The Omaha Bee. Omaha, Nebraska. June 13, 1910. p. 5 – via Newspapers.com.
  21. ^ Anthony, Walter (July 7, 1910). "Mrs. Fiske And Ibsen Triumph". The San Francisco Call. San Francisco, California. p. 10 – via Newspapers.com.
  22. ^ a b "Mrs. Fiske Scores". The Oregonian. Portland, Oregon. July 22, 1910. p. 4 – via Newspapers.com.
  23. ^ "Footlight Flashes". Lima Times-Democrat. Lima, Ohio. December 31, 1910. p. 6 – via Newspapers.com.
  24. ^ a b "Mrs. Fiske As Becky Sharp". The New York Times. New York, New York. March 21, 1911. p. 11 – via NYTimes.com.
  25. ^ "Theater Topics". Brooklyn Daily Eagle. Brooklyn, New York. November 29, 1911. p. 9 – via Newspapers.com.
  26. ^ a b A. W. (December 26, 1911). "The Drama". New-York Tribune. New York, New York. p. 7 – via Newspapers.com.
  27. ^ Arms, Louis L. (November 19, 1912). "St. Louis Drinks to the Dregs of the Wonder Wine of "Kismet", Greatest of Great". The St. Louis Star and Times. St. Louis, Missouri. p. 11 – via Newspapers.com.
  28. ^ Dale, Alan (January 8, 1912). "Skinner Triumphs in 'Kismet'". Chicago Tribune. Chicago, Illinois. p. 11 – via Newspapers.com.
  29. ^ "The Stage". Detroit Free Press. Detroit, Michigan. December 27, 1912. p. 4 – via Newspapers.com.
  30. ^ "Music and Drama". The Hamilton Spectator. Hamilton, Ontario. September 15, 1914. p. 4 – via Newspapers.com.
  31. ^ a b "In The Theaters". Democrat and Chronicle. Rochester, New York. October 5, 1914. p. 9 – via Newspapers.com.
  32. ^ a b "Manhattan Engagements". Brooklyn Citizen. Brooklyn, New York. October 14, 1914. p. 8 – via Newspapers.com.
  33. ^ a b Turnbull, Hector (December 24, 1914). "Lopokova As An Actress". New-York Tribune. New York, New York. p. 9 – via Newspapers.com.
  34. ^ a b "Harrison Grey Fiske Says He Is Bankrupt". The Sun. New York, New York. December 31, 1914. p. 6 – via Newspapers.com.
  35. ^ a b "The Ben Greet Woodland Players (ad)". The Tallahassee Democrat. Tallahassee, Florida. April 9, 1915. p. 8 – via Newspapers.com.
  36. ^ "Two Shakespearean Plays Will Be Seen At Opera House Today". The Greenville Daily News. Greenville, South Carolina. April 15, 1915. p. 5 – via Newspapers.com.
  37. ^ "Benefit Plays Are Presented". The Washington Herald. Washington, D. C. February 23, 1916. p. 10 – via Newspapers.com.
  38. ^ a b "Portmanteau Theater Plays Please Throng". The Buffalo News. Buffalo, New York. March 8, 1916. p. 4 – via Newspapers.com.
  39. ^ "The Theatre that Comes to You". Theatre Magazine. Vol. XXIV, no. 185. New York, New York. July 1916. p. 21.
  40. ^ Conkwright, Bessie Taul (September 17, 1916). "Kentuckians Away from Home". The Lexington Herald. Lexington, Kentucky. pp. 19, 20 – via Newspapers.com.
  41. ^ a b Hurd, Carlos F. (February 15, 1917). "Dunsany Dominates Portmanteau's Bill". St. Louis Post-Dispatch. St. Louis, Missouri. p. 16 – via Newspapers.com.
  42. ^ a b c "Portmanteau Theatre Pleases Audience". The Ithaca Journal. Ithaca, New York. March 15, 1916. p. 6 – via Newspapers.com.
  43. ^ Gordon, p.85.
  44. ^ Gordon, pp.61-62. Gordon's memoir is frank about Kelly's affairs with female cast members before their marriage.
  45. ^ "News, Notes and Gossip About Plays and Players". The Boston Globe. Boston, Massachusetts. August 13, 1916. p. 46 – via Newspapers.com.
  46. ^ a b c Woollcott, Alexander (December 17, 1916). "Second Thoughts on First Nights". The New York Times. New York, New York. p. 26 – via NYTimes.com.
  47. ^ a b "Services Tomorrow for Gregory Kelly". The Brooklyn Daily Times. Brooklyn, New York. July 11, 1927. p. 36 – via Newspapers.com.
  48. ^ "Willie Baxter in the Flesh". The Indianapolis News. Indianapolis, Indiana. June 19, 1917. p. 23 – via Newspapers.com.
  49. ^ "Murat-- "Seventeen"". The Indianapolis Star. Indianapolis, Indiana. June 19, 1917. p. 13 – via Newspapers.com.
  50. ^ Gordon, pp.55-58.
  51. ^ "Amusements: Playhouse (ad)". Chicago Tribune. Chicago, Illinois. December 15, 1917. p. 18 – via Newspapers.com.
  52. ^ a b c ""Seventeen" Deals With Puppy Love". The Sun. New York, New York. January 22, 1918. p. 9 – via Newspapers.com.
  53. ^ "Plays and Players". New York Tribune. New York, New York. August 22, 1918. p. 7 – via Newspapers.com.
  54. ^ "At The Booth Theatre". Brooklyn Citizen. Brooklyn, New York. August 25, 1918. p. 14 – via Newspapers.com.
  55. ^ a b c Broun, Heywood (September 11, 1918). ""Jonathan Makes a Wish" Is Produced at the Princess". New-York Tribune. New York, New York. p. 7 – via Newspapers.com.
  56. ^ "News and Gossip of Theaters". The New York Herald. New York, New York. September 15, 1918. p. 57 – via Newspapers.com.
  57. ^ "Plays and Players". Brooklyn Citizen. Brooklyn, New York. September 21, 1918. p. 3 – via Newspapers.com.
  58. ^ "'Seventeen" Is Next At the Bronx Opera House". Mount Vernon Argus. White Plains, New York. October 5, 1918. p. 6 – via Newspapers.com.
  59. ^ Gregory Kelly in the New York, New York, U.S., Marriage License Indexes, 1907-2018, Number 34418, retrieved from Ancestry.com
  60. ^ Gordon, pp.76-77.
  61. ^ "Too Many Cooks". The Hancock Democrat. Greenfield, Indiana. July 17, 1919. p. 8 – via Newspapers.com.
  62. ^ a b "Glad-Handing Gregory Kelly". The Indianapolis News. Indianapolis, Indiana. July 22, 1919. p. 6 – via Newspapers.com.
  63. ^ "The Lobby Club". The Minneapolis Journal. Minneapolis, Minnesota. November 2, 1919. p. 37 – via Newspapers.com.
  64. ^ a b Gordon, pp.84-90.
  65. ^ Gordon, pp.90-93.
  66. ^ Gordon, pp.176-177.
  67. ^ Hammond, Percy (January 6, 1920). "Mr. Tarkington At His Best". Chicago Tribune. Chicago, Illinois. p. 17 – via Newspapers.com.
  68. ^ "Tarkington Comedy, "Clarence" Real Funny". Buffalo Evening News. Buffalo, New York. October 26, 1920. p. 21 – via Newspapers.com.
  69. ^ "Why Ruth Gordon Had Her Bow-Legs Corrected". The Pittsburgh Press. Pittsburgh, Pennsylvania. January 16, 1921. p. 70 – via Newspapers.com.
  70. ^ Tyler and Furnas, pp.282-283.
  71. ^ "Theatre Notes". The Brooklyn Daily Times. Brooklyn, New York. January 19, 1921. p. 4 – via Newspapers.com.
  72. ^ Tyler and Furnas, p.282.
  73. ^ Gordon, p.288.
  74. ^ a b "Gregory Kelly and a Promising Premiere". The Indianapolis News. Indianapolis, Indiana. February 15, 1921. p. 6 – via Newspapers.com.
  75. ^ "Gee! How Indianapolis Loves Gregory Kelly". Indiana Daily Times. Indianapolis, Indiana. February 15, 1921. p. 5 – via Newspapers.com.
  76. ^ Hammond, Percy (February 21, 1921). ""Dulcy" A Happy Satire". Chicago Tribune. Chicago, Illinois. p. 17 – via Newspapers.com.
  77. ^ a b "The Kellys Will Arrive Sunday". Indiana Daily Times. Indianapolis, Indiana. April 2, 1921. p. 7 – via Newspapers.com.
  78. ^ "Incorporations". The Indianapolis Star. Indianapolis, Indiana. March 16, 1921. p. 15 – via Newspapers.com.
  79. ^ a b c W. D. H. (May 24, 1921). "Even The Pump Acts Well In "Turn To The Right"". Indiana Daily Times. Indianapolis, Indiana. p. 4 – via Newspapers.com.
  80. ^ a b "Kelly Company Premiere". The Indianapolis News. Indianapolis, Indiana. April 12, 1921. p. 7 – via Newspapers.com.
  81. ^ a b W. D. H. (April 26, 1921). "Concerning "7 Keys to Baldpate"". The Indiana Daily Times. Indianapolis, Indiana. p. 4 – via Newspapers.com.
  82. ^ a b "The Kellys Begin Their Farewell Week". Indiana Daily Times. Indianapolis, Indiana. June 28, 1921. p. 5 – via Newspapers.com.
  83. ^ a b McElliott (August 13, 1921). "Bromide Lady Stirs Pretty Kettle Of Fish". Daily News. New York, New York. p. 15 – via Newspapers.com.
  84. ^ Pollock, Arthur (August 15, 1921). ""Dulcy"". The Brooklyn Daily Eagle. Brooklyn, New York. p. 6 – via Newspapers.com.
  85. ^ "Theatre Notes". The Brooklyn Daily Times. Brooklyn, New York. March 8, 1922. p. 8 – via Newspapers.com.
  86. ^ a b "Theatrical Notes". The New York Times. New York, New York. April 4, 1922. p. 15 – via NYTimes.com.
  87. ^ Gordon, pp.201-204.
  88. ^ a b Marsh, W. Ward (August 9, 1922). "Tarkington Play is Best in the Ohio". The Plain Dealer. Cleveland, Ohio. p. 14 – via Newspapers.com.
  89. ^ "Tour In "First Year"". The Baltimore Sun. Baltimore, Maryland. September 3, 1922. p. 38 – via Newspapers.com.
  90. ^ "McLaughlin Casting "Bristol Glass"". The Plain Dealer. Cleveland, Ohio. March 10, 1923. p. 14 – via Newspapers.com.
  91. ^ McDermott, William F. (April 4, 1923). "Tarkington Writes Smooth and Graceful Play". The Plain Dealer. Cleveland, Ohio. p. 17 – via Newspapers.com.
  92. ^ "Blackstone Theatre (ad)". Chicago Tribune. Chicago, Illinois. April 8, 1923. p. 66 – via Newspapers.com.
  93. ^ Butler, Sheppard (April 10, 1923). "Tarkington Play Is Thin But Amusing". Chicago Tribune. Chicago, Illinois. p. 21 – via Newspapers.com.
  94. ^ Alexander Woollcott (1924). Enchanted Aisles. G. P. Putnam's Sons. p. 122.
  95. ^ Mantle, Burns (August 14, 1923). ""Tweedles" Pleasant But Thin Comedy". Daily News. New York, New York. p. 40 – via Newspapers.com.
  96. ^ Pollock, Arthur (August 14, 1923). "The New Plays". Brooklyn Daily Eagle. Brooklyn, New York. p. 9 – via Newspapers.com.
  97. ^ Alexander Woollcott (1924). Enchanted Aisles. G. P. Putnam's Sons. p. 121.
  98. ^ Gordon, p.224.
  99. ^ Gordon, pp.185-189.
  100. ^ a b Donaghey, Frederick (November 26, 1923). "Gregory Kelly Returns as a Sad Shoe Clerk". Chicago Tribune. Chicago, Illinois. p. 21 – via Newspapers.com.
  101. ^ Donaghy (January 12, 1924). "Cort (ad)". Chicago Tribune. Chicago, Illinois. p. 15 – via Newspapers.com.
  102. ^ a b Donaghey, Frederick (March 4, 1924). "A Ditty and a Band Make a Go of This One". Chicago Tribune. Chicago, Illinois. p. 21 – via Newspapers.com.
  103. ^ a b ""Little Jessie James"". The Brooklyn Daily Times. Brooklyn, New York. June 3, 1924. p. 6 – via Newspapers.com.
  104. ^ "Theatre Notes". Daily News. New York, New York. June 30, 1924. p. 40 – via Newspapers.com.
  105. ^ Young, Stark (December 4, 1924). "The Play". The New York Times. New York, New York. p. 25 – via NYTimes.com.
  106. ^ "Famous Gets New Lead From Stage". Los Angeles Daily Times. Los Angeles, California. July 19, 1924. p. 7 – via Newspapers.com.
  107. ^ Dickstein, Martin B. (July 23, 1924). "On The Screen". Brooklyn Daily Eagle. Brooklyn, New York. p. 4 – via Newspapers.com.
  108. ^ "Rivoli (ad)". Daily News. New York, New York. October 26, 1924. p. 50 – via Newspapers.com.
  109. ^ a b Hall, Mordaunt (October 29, 1924). "The Screen". The New York Times. New York, New York. p. 18 – via NYTimes.com.
  110. ^ Wood, A. L. S. (November 4, 1924). "Gregory Kelly In Part Within Part". Springfield Evening Union. Springfield, Massachusetts. p. 12 – via Newspapers.com.
  111. ^ a b Mantle, Burns (December 4, 1924). "In "Badges" Kelly Is A Boy Sleuth". Daily News. New York, New York. p. 72 – via Newspapers.com.
  112. ^ "Final Curtain On Three Plays". Daily News. New York, New York. February 28, 1925. p. 92 – via Newspapers.com.
  113. ^ Donaghey, Frederick (March 3, 1925). "Miss Kennedy and Mr. Kelly Are Paired Off". Chicago Tribune. Chicago, Illinois. p. 17 – via Newspapers.com.
  114. ^ "La Salle Theatre". Chicago Tribune. Chicago, Illinois. April 25, 1925. p. 19 – via Newspapers.com.
  115. ^ a b Mantle, Burns (September 24, 1925). "Broadway Will Love "Butter and Egg Man"". Daily News. New York, New York. p. 138 – via Newspapers.com.
  116. ^ a b H. S. H. (June 16, 1925). "Gregory Kelly Makes Hit In New Play". The Washington Herald. Washington, D. C. p. 7 – via Newspapers.com.
  117. ^ Hall, Leonard (June 16, 1925). "The Belasco Comedy". Washington Daily News. Washington, D. C. p. 11 – via Newspapers.com.
  118. ^ A. G. D. (September 24, 1925). ""The Butter and Egg Man"". Brooklyn Citizen. Brooklyn, New York. p. 5 – via Newspapers.com.
  119. ^ "The New Play". The New York Times. New York, New York. September 24, 1925. p. 28 – via NYTimes.com.
  120. ^ A. J. B. (September 24, 1925). "The New Play". Brooklyn Daily Times. Brooklyn, New York. p. 24 – via Newspapers.com.
  121. ^ Pollock, Arthur (September 24, 1925). "Plays and Things". Brooklyn Daily Eagle. Brooklyn, New York. p. 19 – via Newspapers.com.
  122. ^ Alexander Woollcott (1928). Going to Pieces. G. P. Putnam's Sons. p. 68.
  123. ^ "Tellers". Daily News. New York, New York. April 18, 1926. p. 86 – via Newspapers.com.
  124. ^ "Daily Squint at the Movie Stars". Elmira News-Gazette. Elmira, New York. June 5, 1926. p. 10 – via Newspapers.com.
  125. ^ a b "Gregory Kelly Ill; Play Tour Ends". The New York Times. New York, New York. February 27, 1927. p. 30 – via NYTimes.com.
  126. ^ "Catching Them Off-Stage When They're Human". Daily News. New York, New York. March 1, 1925. p. 128 – via Newspapers.com.
  127. ^ "The Inquiring Reporter". Chicago Tribune. Chicago, Illinois. January 11, 1921. p. 17 – via Newspapers.com.
  128. ^ "The Kellys Talk About Their Own, Real, "1st Year"". The Plain Dealer. Cleveland, Ohio. June 3, 1923. p. 75 – via Newspapers.com.
  129. ^ "World Tennis Champion Ready For Benefit Games Sunday". Herald Statesman. Yonkers, New York. October 29, 1921. p. 1 – via Newspapers.com.
  130. ^ Adams, p.290.
  131. ^ a b Alexander Woollcott (1928). Going to Pieces. G. P. Putnam's Sons. p. 71.
  132. ^ Alexander Woollcott (1928). Going to Pieces. G. P. Putnam's Sons. p. 70.
  133. ^ "Gregory Kelly, Actor, Dies At 36". The New York Times. New York, New York. July 10, 1927. p. 23 – via NYTimes.com.
  134. ^ Kaufman and Hennessy, p.360 Letter to Charles Brackett, dated September 12, 1942.
  135. ^ Alexander Woollcott (1928). Going to Pieces. G. P. Putnam's Sons. p. 72.
  136. ^ "Cast of Characters". Manhattan Daily Nationalist. Manhattan, Kansas. May 28, 1915. p. 2 – via Newspapers.com.
  137. ^ "Drama". Star Tribune. Minneapolis, Minnesota. June 8, 1915. p. 6 – via Newspapers.com.
  138. ^ "Drama". Star Tribune. Minneapolis, Minnesota. June 9, 1915. p. 8 – via Newspapers.com.
  139. ^ a b c "Portmanteau Theater". The Ithaca Journal. Ithaca, New York. March 14, 1916. p. 6 – via Newspapers.com.
  140. ^ "(Photo caption)". The Indiana Gazette. Indiana, Pennsylvania. June 22, 1916. p. 2 – via Newspapers.com.
  141. ^ "Repeating "Kick-In"". The Indianapolis News. Indianapolis, Indiana. July 29, 1919. p. 13 – via Newspapers.com.
  142. ^ "The Truth About "Nothing But the Truth"". The Indianapolis News. Indianapolis, Indiana. August 5, 1919. p. 4 – via Newspapers.com.
  143. ^ ""Fair and Warmer"". The Indianapolis News. Indianapolis, Indiana. August 12, 1919. p. 6 – via Newspapers.com.
  144. ^ "Murat- "The Fortune Hunter"". The Indianapolis Star. Indianapolis, Indiana. August 19, 1919. p. 5 – via Newspapers.com.
  145. ^ "Blackstone Theatre (ad)". Chicago Tribune. Chicago, Illinois. January 5, 1920. p. 23 – via Newspapers.com.
  146. ^ W. D. H. (April 19, 1921). "Barrie's Love Story Is Safe In Hands Of Kelly Co". Indiana Daily Times. Indianapolis, Indiana. p. 5 – via Newspapers.com.
  147. ^ "An Amusing Comedy". The Indianapolis News. Indianapolis, Indiana. May 3, 1921. p. 7 – via Newspapers.com.
  148. ^ W. D. H. (May 10, 1921). "Ruth Gordon And "Scrambled Wives" Are Big Hits". Indiana Daily Times. Indianapolis, Indiana. p. 4 – via Newspapers.com.
  149. ^ W. D. H. (May 17, 1921). "Another Individual Hit Made By Ruth Gordon". Indiana Daily Times. Indianapolis, Indiana. p. 4 – via Newspapers.com.
  150. ^ "Beasley and Clark Grab Off Honors at English's". Indiana Daily Times. Indianapolis, Indiana. May 31, 1921. p. 6 – via Newspapers.com.
  151. ^ "The Kelly Players Put The Jazz In Cohan Comedy". Indiana Daily Times. Indianapolis, Indiana. June 7, 1921. p. 4 – via Newspapers.com.
  152. ^ a b "Double Bill Offered By The Kellys Over At English's". Indiana Daily Times. Indianapolis, Indiana. June 14, 1921. p. 6 – via Newspapers.com.
  153. ^ "The Kellys Will Close Their Season On July 2". Indiana Daily Times. Indianapolis, Indiana. June 21, 1921. p. 6 – via Newspapers.com.

Bibliography

edit
  • Alexander Woollcott. Enchanted Aisles. G. P. Putnam's Sons, The Knickerbocker Press, 1924. - Contains essay "Mr. Tarkington" which discusses Tweedles.
  • Alexander Woollcott. Going to Pieces. G. P. Putnam's Sons, The Knickerbocker Press, 1928. - Contains essay "In Memoriam-- Gregory Kelly".
  • George C. Tyler and J. C. Furnas. Whatever Goes Up. Bobbs Merrill, 1934.
  • Beatrice Kaufman and Joseph Hennessy, eds. The Letters of Alexander Woollcott. Viking Press, 1944.
  • Samuel Hopkins Adams. A. Woollcott: His Life and Times. Reynal & Henderson, 1945.
  • Ruth Gorden. My Side: The Autobiography of Ruth Gordon. Harper & Row, 1976. ISBN 0-06-011618-8.
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