"The Wonder Bar" Road Tour
The following tour schedule has been reconstructed using newspaper articles and is more accurate than those in other published sources:
1931
Newark, New Jersey................September 28 to October 3..............Sam S. Shubert Theater
Boston, Massachusetts.....................October 5-17.........................Sam S. Shubert Theater
Philadelphia, Pennsylvania......October 19 to November 7...............Sam S. Shubert Theater
Baltimore, Maryland.........................November 9-14........................................Auditorium
Washington D. C..............................November 15-21........................... ....Belasco Theater
Pittsburgh, Pennsylvania..................November 23-28....................................Alvin Theater
Cincinnati, Ohio......................November 29 to December 5...........Sam S. Shubert Theater
Detroit, Michigan.............................December 6-12......................................Cass Theater
Cleveland, Ohio...............................December 14-19..................................Hanna Theater
December 20-24, 1931 (Christmas Lay-Off)
1932
Chicago, Illinois........................December 25 to Jan. 30..............................Apollo Theater
Milwaukee, Wisconsin..............January 31 to February 6..........................Davidson Theater
Louisville, Kentucky..........................February 8-10..................................National Theater
Indianapolis, Indiana........................February 11-13....................................English's O. H.
St. Louis, Missouri............................February 14-20.......................Shubert-Rialto Theater
Davenport, Iowa..................................February 21....................................Masonic Temple
Cedar Rapids, Iowa..............................February 22.......................................Shrine Temple
Des Moines, Iowa.................................February 23................................Shrine Auditorium
Sioux Falls, South Dakota.....................February 24..............................................Coliseum
Sioux City, Iowa...................................February 25...........................................Auditorium
Omaha, Nebraska................................February 26....................................City Auditorium
Lincoln, Nebraska................................February 27..............................................Coliseum
Kansas City, Missouri...................February 28 to March 5...............Sam S. Shubert Theater
Joplin, Missouri......................................March 6..........................................Memorial Hall
Tulsa, Oklahoma....................................March 7.......................................Convention Hall
Wichita, Kansas..................................March 8, 1932................................................Forum
Oklahoma City, Oklahoma......................March 9...................................Shrine Auditorium
Amarillo, Texas................................March 10, 1932........................Municipal Auditorium
Wichita Falls, Texas................................March 11.............................Memorial Auditorium
Dallas, Texas..........................................March 12............................State Fair Auditorium
March 13, 1932 ?
Shreveport, Louisiana ? .....................March 14, 1932.......................................................?
Houston, Texas.......................................March 15....................................City Auditorium
San Antonio, Texas.................................March 16...........................................Auditorium
El Paso, Texas.........................................March 17...........................................Liberty Hall
Phoenix, Arizona.....................................March 18..........................................Fox Theater
San Diego, California...........................March 19, 1932.....................................................?
March 20-26, 1932 (Holy Week Lay-Off)
Los Angeles, California....................March 27 to April 2.........................Baltimore Theater
San Francisco, California........................April 3-9.......................................Curran Theater
End of Tour.
Newark, New Jersey................September 28 to October 3..............Sam S. Shubert Theater
Boston, Massachusetts.....................October 5-17.........................Sam S. Shubert Theater
Philadelphia, Pennsylvania......October 19 to November 7...............Sam S. Shubert Theater
Baltimore, Maryland.........................November 9-14........................................Auditorium
Washington D. C..............................November 15-21........................... ....Belasco Theater
Pittsburgh, Pennsylvania..................November 23-28....................................Alvin Theater
Cincinnati, Ohio......................November 29 to December 5...........Sam S. Shubert Theater
Detroit, Michigan.............................December 6-12......................................Cass Theater
Cleveland, Ohio...............................December 14-19..................................Hanna Theater
December 20-24, 1931 (Christmas Lay-Off)
1932
Chicago, Illinois........................December 25 to Jan. 30..............................Apollo Theater
Milwaukee, Wisconsin..............January 31 to February 6..........................Davidson Theater
Louisville, Kentucky..........................February 8-10..................................National Theater
Indianapolis, Indiana........................February 11-13....................................English's O. H.
St. Louis, Missouri............................February 14-20.......................Shubert-Rialto Theater
Davenport, Iowa..................................February 21....................................Masonic Temple
Cedar Rapids, Iowa..............................February 22.......................................Shrine Temple
Des Moines, Iowa.................................February 23................................Shrine Auditorium
Sioux Falls, South Dakota.....................February 24..............................................Coliseum
Sioux City, Iowa...................................February 25...........................................Auditorium
Omaha, Nebraska................................February 26....................................City Auditorium
Lincoln, Nebraska................................February 27..............................................Coliseum
Kansas City, Missouri...................February 28 to March 5...............Sam S. Shubert Theater
Joplin, Missouri......................................March 6..........................................Memorial Hall
Tulsa, Oklahoma....................................March 7.......................................Convention Hall
Wichita, Kansas..................................March 8, 1932................................................Forum
Oklahoma City, Oklahoma......................March 9...................................Shrine Auditorium
Amarillo, Texas................................March 10, 1932........................Municipal Auditorium
Wichita Falls, Texas................................March 11.............................Memorial Auditorium
Dallas, Texas..........................................March 12............................State Fair Auditorium
March 13, 1932 ?
Shreveport, Louisiana ? .....................March 14, 1932.......................................................?
Houston, Texas.......................................March 15....................................City Auditorium
San Antonio, Texas.................................March 16...........................................Auditorium
El Paso, Texas.........................................March 17...........................................Liberty Hall
Phoenix, Arizona.....................................March 18..........................................Fox Theater
San Diego, California...........................March 19, 1932.....................................................?
March 20-26, 1932 (Holy Week Lay-Off)
Los Angeles, California....................March 27 to April 2.........................Baltimore Theater
San Francisco, California........................April 3-9.......................................Curran Theater
End of Tour.
It was a chance meeting with Al Jolson in front of the Astor Hotel in New York which led to Claire Windsor's first stage appearance. The Great Depression was well under way and everyone was out of work, not just former silent movie stars. Claire had left Hollywood to find work in New York and had even traveled to England to try her luck there. Claire was walking down Broadway when Jolson happened to come out of the Astor. He immediately recognized Claire and asked how she was doing. During their short conversation, Claire mentioned that she was doing well, but looking for work. Known for making snappy decisions, Jolson thought for just a second before his eyes lit up and asked "how would you like to be my leading lady in the road tour of "The Wonder Bar?" Not knowing if he was really serious, Claire played along and said she would love to. Jolson quipped back, "All right then, that's settled. You're the leading lady."
Al Jolson had lost 2 million dollars in the Stock Market Crash of October 1929 and suddenly found it necessary to earn money again the old fashioned way, by working for it. After an absence of five years, Jolson decided to return to his first love, the stage, and had found the perfect vehicle with which to do it. "The Wonder Bar" was currently a big hit at the Savoy Theater in London and Jolson wanted to introduce the continental delight to an American public. It had already had a successful run in Vienna, Munich, Berlin and Paris. Although Jolson envisioned himself to be the center of attention, he needed a few big names and a few good vaudeville acts to make it an extravaganza. For Jolson, Claire had great name recognition for promoting the show and for Claire, she could get the needed stage experience in a roll in which she felt comfortable and confident.
The novel appeal of "The Wonder Bar" was more about it's setting and presentation than for it's dramatic plot. The idea for the show originated with a cabaret owner in Vienna who was desperate to lure back his declining clientele. One night, he staged a fake quarrel which ended in a dramatic scene. Only at the conclusion of the "entertainment" were the guests let in on the secret. The novelty was so well received that it was developed into an entire evening's worth of entertainment. In 1929, this idea was further refined by the collaboration between composer Robert Katschner and librettists Geza Herczeg and Karl Farkas. "Die Wunder-Bar; ein Speil im Nachtleben" (The Wonder Bar, a play about night life) premiered on February 2, 1930 at the Kammerspiel Theater in Vienna.
In the American adaptation by Irving Caesar and Aben Kandel, the thin dramatic plot of "Wonder Bar" was further overshadowed by the personality of Al Jolson. This led some critics to suggest that the "all Jolson" show had only borrowed the title from the German original. Despite this criticism, a plot does emerge to introduce characters and provide a pretense for the evening's three hours of entertainment. Ramon, a Spanish dancer and gigolo played by Edwardo Rouello, sets out to deceive several women. He steals an emerald necklace from a rich banker's wife, Lianne Duval played by Claire Windsor, and replaces it with a fake. But then by the end of the evening, he has convinced Lianne to leave her husband and elope with him. In desperate need of cash, Ramon sells the real emerald necklace to "Monsieur Al." With the opening of the second act, it is a year later and Ramon has grown tired of Lianne and is treating her badly. The dancing couple have been engaged to perform at the Wonder Bar and Lianne's husband happens to be in the audience that evening. Monsieur Al sets about to reunite husband and wife and by the end of the evening, succeeds. The banker not only forgives his wife, but also buys back the real emerald necklace from Monsieur Al and returns it to his wife.
It should be noted that for the 1934 film version of "The Wonder Bar," several sub-plots and threats of suicide were added to beef up the story line and add more drama.
Al Jolson promoted himself unabashedly as "The World's Greatest Entertainer." The new show Jolson was creating would put this to the test and was designed not only to lift the spirits of his audience, but also of the entire nation. He began by lowing the price of admission so that it was within the reach of every man, woman and child. The tour would crisscross the entire nation from coast to coast by visiting 36 cities with 76 performances. He wanted to provide work for as many unemployed theatrical friends as he could. The cast was billed as numbing 100 although there were actually 86 who traveled in the specialty train which transported the show from venue to venue at a cost of $13,000.
The other big names which became part of the show included Lina Basquette who is best known today for her 1928 roll as "The Godless Girl," a Cecil B. DeMille film. In “The Wonder Bar,“ she played the part of Inez, a professional dancer and love interest of Ramon. Comedienne Patsy Kelley and Al Segal provided comic relief. Patsy Kelley earned the moniker “Queen of the Wisecrack” and went on to have a very successful film career through the 30’s and early 40’s with occasional rolls in film and TV until her death in 1981. Rita Montaner was engaged as the feminine singing counterpart to Jolson. Her Cuban heritage added to the international flavor of the cabaret. Having made numerous recordings for Columbia Records, it was “The Peanut Vendor” which could be heard almost incessantly on the radio. Carol Chilton and Maceo Thomas were a dance duo from France. Despite practically stealing the show from Jolson, the duo is unfortunately little known today. Thomas went on to make three films of note.
The music for "The Wonder Bar," composed by Robert Katscher with lyrics by Irving Caesar, included "Lenox Avenue," "Oh, Donna Clara," "Good Evening Friends," "Ma Mere," "Elizabeth," "Something Seems to Tell Me," "The Cantor," and "Travelin' All Alone." From the printed program, it is not at all clear in what order each song was introduced or even if Jolson sang every selection himself. Despite Jolson's appeal to the audience that there would by no "mammy" songs, "Ma Mere" could be considered a French replacement: "Ma Mere and Ma Pere who live down on the Riviera..." Originally, "Just a Gigolo" was used by the orchestra as a leitmotiv for Ramon, but was soon dropped as being too cliché. In contrast, Jolson added a brand new song to his repertoire, "Every Day Can't Be A Sunday," to lift the spirits of his audience by reminding them that good times would return. For the 1934 First National/Warner Brothers film version of "The Wonder Bar," an entirely new pallet of music was composed which was expounded upon in dance by Busby Berkeley. "Vive la France," "Why Do I Dream Those Dreams," and "Don't Say Good Night" are among the noteworthy songs of the screen version.
As master of ceremonies, Al Jolson skillfully used jokes and story telling between the musical numbers and dramatic action to hold the audience's attention and tie the whole together. He poked fun at bankers, General Motors, Hollywood and himself. In contrast to working in film, the live stage allowed Jolson the freedom to change gags and jokes nightly and to interact directly with the audience. Although Jolson had numerous friends who would send telegrams with new joke material almost daily, some critics complained that many of the jokes "were veterans of one war or two" (viz. WW I and the Civil War) and were full of innuendo on par with "the smut of a Winter Garden Revue." Criticism of the wholesomeness of the show waned as the tour traveled west which suggests that Jolson tempered his jokes along the way. One long story which seems to have been well received everywhere, was about his father at Atlantic City when the tide was out. Unfortunately, the newspaper accounts do not give further details of the story.
National politics have always been a source of fodder for the comedian, especially in an election year. For Jolson, one laugh line in particular was singled out by many newspaper critics for publication: "If Hoover is nominated and elected, it'll hoover the hill to the poor house." In the presidential election of 1932, Herbert Hoover was to face off with Franklin D. Roosevelt who had chosen as his Vice Presidential running mate, John N. Garner who was the Speaker of the House and a native Texan. While touring in Houston, Jolson proudly announced that "the whole cast is for Garner." The audience responded in silence with only isolated applause to which Jolson replied, "I got just about that much applause in Dallas. If that's all Texas can do for their candidate, what do you expect from Iowa?"
Jolson always tried to inject a few jokes of local interest. In Amarillo, Jolson bought a ten gallon hat and wore it in the second act. He went on and on about brandin' yearlings, shootin' coyotes and such. The cast members enjoyed the impromptu spectacle even more than the audience. In Kentucky, Governor Ruby Laffoon conferred the title of Colonel on Jolson and called him at his hotel room to inform him of the honor. When told that Ruby was on the phone, Jolson assumed it was his wife, Ruby Keeler. The ensuing conversation was quite amusing until the mistaken identity of the caller was clarified.
An Evening At the Wonder Bar
The following is an attempt to reconstruct an evening at the Wonder Bar using newspaper accounts of "The Wonder Bar" tour performances. The impromptu nature of the show insured that no two performances were ever alike. And without a written script to follow, it is also impossible to determine exactly how the dramatic plot was intertwined with the cabaret floor show. Therefore the following can only give an impression of the featured entertainment without complete details of the dramatic plot.
When the unsuspecting patron arrived at the theater to see "The Wonder Bar," they were often greeted by Al Jolson himself making change and handing them their tickets. When a reporter from the Cincinnati Post [Nov. 28, 1931] asked Jolson if he enjoyed the job, he replied: "Why not? Don't I get the thrill of fingering all the profits as they come in? And if I happen to be short, I can lift a fin or two. Of course, afterward I have to give myself a bawling out for stealing from myself. But I know I won't have the nerve to lay myself off, with all this unemployment. So I continue to lift a little coin whenever I need it." He later confided that he also used the box-office job to avoid annoying interviews.
Once the patrons opened the door and entered the theater's foyer, they were quite literally stepping into the Wonder Bar, a continental cabaret. On stage were two large bars in a modern style decorated in scarlet, black, and silver containing a myriad of glasses and colored bottles. Intimate tables populated the stage and the orchestra pit was covered with a platform and turned into a dance floor. Newly constructed steps conveniently connected the theater's isles with the dance floor and stage. As the arriving patrons were being shown their seats in the theater, two barmen appeared on stage and began mopping the counters and polishing the glasses. The head waiter took his position and began dusting and adjusting the table and chairs. The doorman engaged in conversation with the bartender while munching pretzels. One by one, the members of the band lackadaisically assembled on their platform at the rear of the stage. The show girls made their way to the bar for one drink before the first guests arrived. The band tuned up as a couple of American tourists were being shown to their table. More guests arrived and the band began playing. Motivated by the music, couples took to the dance floor.
About 15 minutes had past when at the rear of the theater, Al Jolson could be seen showing a couple to their seat while engaging in small talk and shaking hands with others. When the footlights were turned on, the head waiter stepped forward and called out for "Monsieur Al." Jolson confidently made his way to the stage, turned to the audience and addressed them formally. Thus the show began without the use of a curtain in the usual manner. In his opening monologue, Jolson welcomed his guests and implored them not to use the word "depression" and suggested they banish it from their vocabulary entirely. They were ordered to forget their troubles and just sit back and enjoy the evening; His show was the antidote for the blues. He grabbed a tray of cigarettes and began dispersing them to the crowd. He threw a few packages up to the balcony and suggested everyone light up to make this a real cabaret. The bartender prepared a tray of drinks which Jolson offered to those in the first row of seats or to any deserving beautiful woman he spied in the audience. (A glance at the credits in the program confirmed that the pale liquid being dispensed was in fact ginger ale and no prohibition laws were broken). Jolson extended his hospitality to anyone who wanted, to go sit at a table on stage and enjoy the show from that vantage point. His offer was usually accepted in New York, but as the tour traveled further west, the practice was stopped because the audience was simply too bashful. At this point, Jolson would welcome any dignitaries in the audience. He would introduce Irving Berlin and ask him to stand and be recognized to which the theater would erupt in applause. When it was discovered that Berlin was not in the audience, Jolson would confess his mistake and suggest he had his locations mixed up.
As soon as the ambience was set and the audience loosened up, Jolson broke out in song with "Good Evening Friends." This was followed by an intimate talk with the audience. Totally disregarding his opening remarks, Jolson went on to talk about little other than the depression. He described how in the year 3 B. D. (Before Depression), he enjoyed throwing his money away on new cars or at the horse races. All that stopped when he lost 2 million in the stock market crash. Many of his investments were now in receivership. He quickly learned that as a "preferred creditor," he got to know how little of his money he was going to get back long before all the other creditors were informed. If during these remarks a late comer was seen walking down the isle, Jolson would immediately interrupt his talking to dash down from the stage and help the unsuspecting person to their seat and give them a terse synopsis of what they had missed. Often, he would request to relieve them of their hat or coat under the pretense that he needed them to tell a story. If successful, Jolson would take the items up on stage for closer inspection. He would try the item on for size, check the pockets and look for holes. Pity the person whose coat lining was beginning to fray.
To emphasize the international flavor of the cabaret, many languages were heard at different points in the performance. One could hear French, German, Italian, Spanish, Yiddish, Russian, and "violinist"--they have a language all their own. Often when cast members were overheard speaking to each other in their native tongues, it was mistaken for a fight or a fire. The multi-linguist Jolson sang a verse in French in the next musical number, "Ma Mere."
The topic turned to beautiful women with the introduction of the next musical number. Jolson told a story about Greta Garbo being at a party in Hollywood recently. She was seated with a banker who she found uninteresting, but had to amuse him because he financed the studio. At the next table was an actor who she found attractive and very interesting. He was handsome with a beautiful tan from playing golf and swimming. A perfect Adonis. Unfortunately, he was with his wife. Noticing Garbo's fascination, the actor took a chance and smiled back. His wife saw them make eye contact and in a jealous rage, took her fork and planted it in the actor's hand. Jolson complained that his hand is still hurting. Then he introduced the dance number (a rumba?) of Inez, played by Lina Basquette of Hollywood fame.
The Cuban singer, Rita Montaner followed the dance number of Inez. It is not known which titles she sang from her vast and varied repertoire. Perhaps her first appearance in the show drew from her classical training with a few operatic selections. More likely than not, she saved her most popular song for the second act.
Inez took to the dance floor again but this time with her dance partner Ramon, played by Edward Raquello. They danced a seductive "Valse Amoreuse." The pairing provides the opportunity to advance the dramatic plot in which Ramon expresses his desire for Inez while also being romantically involved with Lianne Duval, played by Claire Windsor.
The beauty and grace of the previous dance was in stark contrast to the lascivious and carnal nature of "The Dance We Do For Al." In introducing the Wonder Bar Girls, Jolson described the dance as having been designed to charm the King of Siam. Jolson explained when the King of Siam visited the United States recently, "he had a Cadillac in his eye." The number was "so hot that they had to change the audience four times in St. Louis." A number of the newspaper critics complained that the dance was a "wiggle affaire" by four girls undressed in black and of extremely bad taste. Upon hearing the applause given the number, Jolson quipped, "So that's what you like. I'll wire the filthy quartet to come back."
This Page Is Still Under Construction.
Below: Rita Montaner sings "The Peanut Vendor" on YouTube.
Above:
The French dancing duo of Chilton and Thomas. Left: Carol Chilton. Right: Maceo Thomas.
Below:
Watch Chilton and Thomas dance in the following YouTube clip. They perform between 4:25 and 6:00.
The French dancing duo of Chilton and Thomas. Left: Carol Chilton. Right: Maceo Thomas.
Below:
Watch Chilton and Thomas dance in the following YouTube clip. They perform between 4:25 and 6:00.