The Shubert Organization
The Shubert Organization is a theatrical producing organization and a major owner of theatres based in Manhattan, New York City. It was founded by the three Shubert brothers in the late 19th century, they expanded, owning many theaters in New York and across the country. Since it has gone through changes of ownership, but is still a major theater chain; the Shubert Organization was founded by the Shubert brothers, Sam S. Shubert, Lee Shubert, Jacob J. Shubert of Syracuse, New York – colloquially and collectively known as "The Shuberts" – in the late 19th century in upstate New York, entering into New York City productions in 1900; the organization began acquiring theaters. Sam Shubert died in 1905. In 1907, the Shuberts tried to enter vaudeville with the United States Amusement Co. In the spring of 1920 they made another attempt, establishing the Shubert Advanced Vaudeville with Lee Shubert as President and playing two shows per day in Boston, Detroit, Chicago, Philadelphia and in September 1921 opening in New York.
In April 1922, the Shuberts teamed with Isidore Herk and E. Thomas Beatty to form the Affiliated Theatres Corporation, which would book shows for the chain. Faced with fierce competition from the B. F. Keith Circuit, the Shuberts closed their vaudeville operation in February 1923. By 1929, the Shubert Theatre chain included Broadway's most important venues, the Winter Garden, the Sam S. Shubert, the Imperial Theaters, owned, operated, or booked nearly a thousand theaters nationwide; the company continued to produce stage productions in New York until the 1940s, returning to producing Broadway productions in the 1970s after a hiatus. The company was reorganized in 1973, as of 2016 owned or operated seventeen Broadway theaters in New York City, two off-Broadway theaters — Stage 42 and New World Stages — and the Forrest Theatre in Philadelphia, it leases Boston's Shubert Theatre to the Citi Performing Arts Center. Shubert Ticketing, which includes Telecharge, handles tickets for 70 theaters. Several former Shubert-owned theaters across the United States are still referred to by the Shubert name.
One of the most famous is the New Haven Shubert, the second theater built by the Shubert Organization. Until the 1970s, major Broadway producers premiered shows there before opening in New York, it was immortalized in many mid-20th century films, such as All About Eve. Another important regional theater was the Shubert in Chicago, located within the Majestic Building at 22 West Monroe Street. Known as the Majestic Theatre, the Shubert Organization purchased it in 1945 and rechristened it the "Sam Shubert Theatre"; the Shuberts sold the theatre to the Nederlander Organization in 1991 and is now known as the CIBC Theatre. In 2016, it sold longtime headquarters to Ruben Cos for $280 million. Stage 42 New World Stages Forrest Theatre Shubert Theatre Avon Theatre Adelphi Theatre Bijou Theatre Casino Theatre Central Theatre Century TheatreCentury Theatre Roof Comedy Theatre Cosmopolitan Theatre Maxine Elliott Theatre Forrest Theatre 44th Street Theatre Nora Bayes Theatre 49th Street Theatre 46th Street Theatre Sam H. Harris Theatre Herald Square Theatre Hippodrome Theatre Jolson's 59th Street Theatre Lyric Theatre Madison Square Theatre Majestic Theatre Manhattan Center Morosco Theatre National Theatre New Century Theatre Princess Theatre Ritz Theatre St. James Theatre Waldorf Theatre Bronx Opera House, Bronx Riviera Theatre, Manhattan Shubert Majestic Theatre, Brooklyn Teller's Shubert Theatre, Brooklyn Harmanus Bleecker Hall Capitol Theatre Auditorium Theatre Boston Opera House Colonial Theatre Columbia Theatre Majestic Theatre Plymouth Theatre Wilbur Theatre Teck Theatre Blackstone Theatre Erlanger Theatre Garrick Theater Great Northern Theatre Olympic Theatre Princess Theatre Shubert Grand Opera House Shubert Theatre Cox Theatre Shubert Theatre Colonial Theatre Hanna Theatre Cass Theatre Garrick Theatre Shubert-Lafayette Theatre Parsons Theatre Murat Theatre Shubert Theatre Shubert's Missouri Theatre Shubert Theatre Shubert Theatre Shubert Theatre Adelphi Theatre Chestnut Street Opera House Locust Theatre Lyric Theatre Shubert Theatre Walnut Street Theatre Providence Opera House Shubert Theater Alvin Theatre Duquense Theatre Pitt Theatre Baker Theatre Cook Opera House Curran Theatre Garrick Theatre Shubert Theatre Bastable Theatre Grand Opera House Wieting Opera House Town Hall Theatre Royal Alexandra Theatre Rand Opera House Majestic Theatre Belasco Theatre Poli's Theatre Shubert Theatre Shubert-Garrick Theater (Washington, D.
William Hammerstein was an American theater manager. He ran the Victoria Theatre on what became Times Square, presenting popular vaudeville shows with a wide variety of acts, he was known for "freak acts", where people notorious for scandals appeared on stage. Hammerstein's Victoria Theatre became the most successful in New York. William Hammerstein was born in New York City on 26 September 1875, son of Oscar Hammerstein, the theater impresario, his first wife, née Rose Blau, he started work as a press agent built a vaudeville theatre on 110th Street, called Little Coney Island. He managed burlesque shows. Willie Hammerstein managed his father's Olympia Theater, which opened in 1895. In November 1896 Willie Hammerstein brought the Cherry Sisters to the Olympia roof garden; the sisters put on a terrible act where they sang dialect or patriotic songs. One of them played another banged a drum. Willie knew, he provided a net that protected them when the audience, as expected, started throwing produce and garbage at the stage.
The word spread, the sisters became a big draw. Oscar Hammerstein went bankrupt in 1898; the Olympia theater was sold in an auction. Hammerstein managed to raise enough money to build the Victoria Theatre, which opened as a legitimate theater on 3 March 1899. On 26 June 1899 he opened a enclosed roof garden theater, the Venetian Terrace Garden, with an outdoor promenade, attached to the roof garden of Hammerstein's Theatre Republic in 1900. Hammerstein enlarged the roof garden theater and reopened it in May 1901 as the Paradise Roof Garden. In February 1904 Willie Hammerstein took over management of his father's Victoria Theatre, he was talented at promoting his shows, was skilled at finding and booking profitable acts. The Victoria had been staging variety acts and musicals. Willie Hammerstein started putting on popular low-brow vaudeville shows at low prices, he signed up stars and unknown new performers, celebrities of all types, physical freaks and risqué exotic dancers. The varied programs drew large and noisy audiences.
Hammerstein ran the only vaudeville theater in Times Square, had no other theatres. He was able to develop shows uniquely fitted to his local audience; the crowd at the Victoria like the rather jaded and cynical atmosphere, the stage slang and black humor. Acts could afford to include more sexual innuendo than in other houses. To keep costs and prices down, a typical Hammerstein bill would feature a few well-paid stars and a large number of lower-priced novelty acts. Hammerstein made the Victoria the most popular venue for vaudeville in New York; the Victoria was a grand building, played some high-quality acts. As of 1905 the theater owners who booked through the William Morris Agency seemed to become dominant in the vaudeville industry, they included Frederick Freeman Proctor, Timothy Sullivan and Percy G. Williams; the Keith-Albee circuit booking office gave Hammerstein a monopoly on big-time vaudeville in Times Square. Willie's father was much more interested in grand opera, in 1906 opened the Manhattan Opera House.
Revenue from the Victoria kept the opera house running. At one point Oscar Hammerstein, always short of money, moved to sell the Victoria to the Shubert family. Willie and his brother Arthur, who produced shows, blocked the attempt. In March 1913 Keith and Albee paid Oscar Hamilton a reported $225,000 to give up his monopoly, they opened the Palace Theatre at 47th Street and 7th Avenue, advertising "refined glamour" and featuring the biggest stars of vaudeville. Acts became harder to book, since performers did not want to be connected with a rival of the powerful Keith's circuit. Performers enjoyed playing the Victoria. Buster Keaton thought. Hammerstein asked performers back many times if he liked them, as with the British comedian Harry Tate. In June 1905 Willie Hammerstein signed up Will Rogers to perform in the Victoria for afternoon matinees and in the Paradise Roof Garden in the evenings; the young Mae West played eleven one-week engagements in 1912 and 1913, a good fit with the audience through her suggestion of notoriety.
Hammerstein booked acts from Europe, who sometimes made up half the show. He introduced the dancers Gertrude Hoffmann and Constance Stewart-Richardson to the vaudeville stage. A review in the New York Dramatic Mirror of 12 August 1905 gives a sense of the shows: Carmencita... returned to New York last week, was warmly greeted by large audiences. For those who are fond of Spanish dancing her turn proved as attractive as and she seems to have lost none of the suppleness and grace that characterized her performances in the old days... Holdovers who continued to win applause were Ernest Hogan and his Memphis Students and Prevost, the quaint comedy acrobats. Barney Fagan and Henrietta Byron scored in their splendidly costumed act, Alliene's monkey and Healey, the Great Valmont and the Taylor Sisters rounded out a splendid programme. Willie Hammerstein became known for his "freak acts"; these featured people who had scandalized the public and gained notoriety. Members of love triangles involving murders or suicides were popular, if one of their members was free to appear and give the public the titillating details.
Evelyn Nesbit was an example. In 1911 Irving Berlin was featured at the Victoria, billed as "The Composer of a Hundred Hits", performed a number of his songs including That Mysterious Rag. Berlin was hired more as a celebrity songwriter than for his ability to sing, but was a hit with the audience anyway. O
Julius Henry "Groucho" Marx was an American comedian, stage, film and television star. A master of quick wit, he is considered one of America's greatest comedians, he made 13 feature films with his siblings the Marx Brothers. He had a successful solo career, most notably as the host of the radio and television game show You Bet Your Life, his distinctive appearance, carried over from his days in vaudeville, included quirks such as an exaggerated stooped posture, cigar, a thick greasepaint mustache and eyebrows. These exaggerated features resulted in the creation of one of the world's most recognizable and ubiquitous novelty disguises, known as Groucho glasses: a one-piece mask consisting of horn-rimmed glasses, a large plastic nose, bushy eyebrows and mustache. Julius Marx was born on October 1890, in Manhattan, New York. Marx stated that he was born in a room above a butcher's shop on East 78th Street, "Between Lexington & 3rd", as he told Dick Cavett in a 1969 television interview; the Marx children grew up on East 93rd Street off Lexington Avenue in a neighborhood now known as Carnegie Hill on the Upper East Side of the borough of Manhattan.
The turn-of-the-century building that his brother Harpo in his memoir Harpo Speaks called "the first real home they knew", was populated with European immigrants artisans. Just across the street were the oldest brownstones in the area, owned by people such as the well-connected Loew Brothers and William Orth; the Marx family lived there "for about 14 years", Groucho told Cavett. Marx's family was Jewish. Groucho's mother was Miene "Minnie" Schoenberg, whose family came from Dornum in northern Germany when she was 16 years old, his father was Simon "Sam" Marx, who changed his name from Marrix, was called "Frenchie" by his sons throughout his life, because he and his family came from Alsace in France. Minnie's brother was Al Schoenberg, who shortened his name to Al Shean when he went into show business as half of Gallagher and Shean, a noted vaudeville act of the early 20th century. According to Groucho, when Shean visited, he would throw the local waifs a few coins so that when he knocked at the door he would be surrounded by adoring fans.
Marx and his brothers respected his opinions and asked him on several occasions to write some material for them. Minnie Marx did not have an entertainment industry career but had intense ambition for her sons to go on the stage like their uncle. While pushing her eldest son Leonard in piano lessons, she found that Julius had a pleasant soprano voice and the ability to remain on key. Julius's early career goal was to become a doctor, but the family's need for income forced him out of school at the age of twelve. By that time, young Julius had become a voracious reader fond of Horatio Alger. Marx would continue to overcome his lack of formal education by becoming well-read. After a few stabs at entry-level office work and jobs suitable for adolescents, Julius took to the stage as a boy singer with the Gene Leroy Trio, debuting at the Ramona Theatre in Grand Rapids, MI, on July 16, 1905. Marx reputedly claimed that he was "hopelessly average" as a vaudevillian, but this was typical Marx, wisecracking in his true form.
By 1909, Minnie Marx had assembled her sons into an undistinguished vaudeville singing group billed as "The Four Nightingales". The brothers Julius and Arthur and another boy singer, Lou Levy, traveled the U. S. vaudeville circuits to little fanfare. After exhausting their prospects in the East, the family moved to La Grange, Illinois, to play the Midwest. After a dispiriting performance in Nacogdoches, Julius and Arthur began cracking jokes onstage for their own amusement. Much to their surprise, the audience liked them better as comedians than as singers, they modified the then-popular Gus Edwards comedy skit "School Days" and renamed it "Fun In Hi Skule". The Marx Brothers would perform variations on this routine for the next seven years. For a time in vaudeville, all the brothers performed using ethnic accents. Leonard, the oldest, developed the Italian accent he used as Chico Marx to convince some roving bullies that he was Italian, not Jewish. Arthur, the next oldest, donned a curly red wig and became "Patsy Brannigan", a stereotypical Irish character.
His discomfort when speaking on stage led to his uncle Al Shean's suggestion that he stop speaking altogether and play the role in mime. Julius Marx's character from "Fun In Hi Skule" was an ethnic German, so Julius played him with a German accent. After the sinking of the RMS Lusitania in 1915, public anti-German sentiment was widespread, Marx's German character was booed, so he dropped the accent and developed the fast-talking wise-guy character that became his trademark; the Marx Brothers became the biggest comedic stars of the Palace Theatre in New York, which billed itself as the "Valhalla of Vaudeville". Brother Chico's deal-making skills resulted in three hit plays on Broadway. No other comedy routine had so infected the Broadway circuit. All of this stage work predated their Hollywood career. By the time the Marxes made their first movie, they were major stars with honed skills. Groucho Marx started his career in vaudeville in 1905 when he joined up with an act called The Leroy Trio, he was asked to join the group as a singer, along with fellow vaudeville actor Johnny Morris, by a man named Robin Leroy.
Through this act, Groucho got his first taste of life as a vaudeville performer. In 1909, Groucho and his brothers had become a gro
Lew Fields, born as Moses Schoenfeld, was an American actor, vaudeville star, theatre manager, producer. Lew Fields was half of Fields, the other half being Joe Weber. Fields and Weber started performing in museums and variety houses in New York City; the young men had a "Dutch act". Such "dialect acts" were common at the time, the comedy coming from the actors' mangling of the English language and dropping of malapropisms as they undertook life in America. In the case of Weber and Fields and many of the other acts of this genre, this involved stereotyping by dress and behavior, as well as comedic and sympathetic portrayals of the characters' attempts to fit into American society. "Crafty schemes" of "making it big" in America, as well as the attempts of mere survival of immigrant poverty in America, were written into the script of these acts. A typical "Mike and Meyer" routine involved Mike, the short and clever one, unsuccessfully trying to coach Meyer, the tall and simple one, in a scheme to get them a free lunch at a working-class saloon.
The two toured for many years, becoming one of the most popular and profitable acts in vaudeville. In 1896, the partners opened the Weber and Fields Music Hall, where they produced successful burlesques of popular Broadway shows. In the music hall's casts were some of the greatest performers and comics on the American stage at that time, including Lillian Russell and Fenton, Fay Templeton, DeWolf Hopper; some of their routines were Pousse Cafe, Hurly Burly, Whirl-I-Gig, Fiddle-Dee-Dee, Hoity-Toity, Twirly Whirly, Whoop-de-Doo. The duo separated in 1904, Weber took over operations at the music hall. Fields went on to produce many musicals; when Fields starred in the 1911 stage comedy, The Hen-Pecks, one of the supporting comedians in the cast was Vernon Castle, who went on to become a famous ballroom dancer. In 1921, Fred Allen and Nora Bayes toured with Fields. During the tour the orchestra was conducted by 19-year-old Richard Rodgers, who in 1920 contributed songs with lyrics by Lorenz Hart to the Lew Field's production of Poor Little Ritz Girl.
In 1923, Weber and Fields partnered yet again for a Lee DeForest Phonofilm sound-on-film short, where the team recreated their famous pool hall routine. This film premiered at the Rivoli Theater in New York City on 15 April 1923. Three years the duo were among those supporting Will Rogers and Mary Garden on the NBC Radio Network's November 15, 1926 debut broadcast, their own NBC series followed in 1931. Weber and Fields reunited for the 27 December 1932 inaugural show at Radio City Music Hall, which proved to be the last stage appearance of the two performers as a team. In the RKO Radio Pictures film, The Story of Vernon and Irene Castle, Fields appeared as himself, re-enacting a slapstick comedy scene from The Hen-Pecks, they gave a cameo performance performing their "casino" routine in the 1940 movie Lillian Russell. Lew Fields died in Beverly Hills, California on July 20, 1941. Fields was the father of Dorothy and Joseph, all of whom enjoyed theatrical careers of their own. Fields was Jewish.
The backstage hostility in Neil Simon's play and film The Sunshine Boys is based on the team of Smith and Dale, not Weber and Fields. Two Flaming Youths Blossoms on Broadway The Story of Vernon and Irene Castle Lew Fields on IMDb Lew Fields at the Internet Broadway Database Link to text of Weber and Fields comic routine Link to recordings of Weber and Fields routines
The minstrel show, or minstrelsy, was an American form of entertainment developed in the early 19th century. Each show consisted of comic skits, variety acts and music performances that depicted people of African descent; the shows were performed by white people in make-up or blackface for the purpose of playing the role of black people. There were some African-American performers and all-black minstrel groups that formed and toured under the direction of white people. Minstrel shows lampooned black people as dim-witted, buffoonish and happy-go-lucky. Minstrel shows emerged as brief burlesques and comic entr'actes in the early 1830s in the Northeastern states, they were developed into full-fledged form in the next decade. By 1848, blackface minstrel shows were the national artform, translating formal art such as opera into popular terms for a general audience. By the turn of the 20th century, the minstrel show enjoyed but a shadow of its former popularity, having been replaced for the most part by vaudeville.
The form survived as professional entertainment until about 1910. The genre has had a lasting legacy and influence and was featured in a television series as as 1975; as the civil rights movement progressed and gained acceptance, minstrels lost popularity. The typical minstrel performance followed a three-act structure; the troupe first danced onto stage exchanged wisecracks and sang songs. The second part featured a variety of entertainments, including the pun-filled stump speech; the final act consisted of a send-up of a popular play. Minstrel songs and sketches featured several stock characters, most popularly the slave and the dandy; these were further divided into sub-archetypes such as the mammy, her counterpart the old darky, the provocative mulatto wench, the black soldier. Minstrels claimed that their songs and dances were authentically black, although the extent of the black influence remains debated. Spirituals entered the repertoire in the 1870s, marking the first undeniably black music to be used in minstrelsy.
Blackface minstrelsy was the first theatrical form, distinctly American. During the 1830s and 1840s at the height of its popularity, it was at the epicenter of the American music industry. For several decades, it provided the means. On the one hand, it had strong racist aspects. Although the minstrel shows were popular, being "consistently packed with families from all walks of life and every ethnic group", they were controversial. Integrationists decried them as falsely showing happy slaves while at the same time making fun of them. Minstrel shows were popular before slavery was abolished, sufficiently so that Frederick Douglass described blackface performers as "...the filthy scum of white society, who have stolen from us a complexion denied them by nature, in which to make money, pander to the corrupt taste of their white fellow citizens." Although white theatrical portrayals of black characters date back to as early as 1604, the minstrel show as such has origins. By the late 18th century, blackface characters began appearing on the American stage as "servant" types whose roles did little more than provide some element of comic relief.
Similar performers appeared in entr'actes in New York theaters and other venues such as taverns and circuses. As a result, the blackface "Sambo" character came to supplant the "tall-tale-telling Yankee" and "frontiersman" character-types in popularity, white actors such as Charles Mathews, George Washington Dixon, Edwin Forrest began to build reputations as blackface performers. Author Constance Rourke claimed that Forrest's impression was so good he could fool blacks when he mingled with them in the streets. Thomas Dartmouth Rice's successful song-and-dance number, "Jump Jim Crow", brought blackface performance to a new level of prominence in the early 1830s. At the height of Rice's success, The Boston Post wrote, "The two most popular characters in the world at the present are Victoria and Jim Crow." As early as the 1820s, blackface performers called themselves "Ethiopian delineators". Blackface soon found a home in the taverns of New York's less respectable precincts of Lower Broadway, the Bowery, Chatham Street.
It appeared on more respectable stages, most as an entr'acte. Upper-class houses at first limited the number of such acts they would show, but beginning in 1841, blackface performers took to the stage at the classy Park Theatre, much to the dismay of some patrons. Theater was a participatory activity, the lower classes came to dominate the playhouse, they threw things at actors or orchestras who performed unpopular material, rowdy audiences prevented the Bowery Theatre from staging high drama at all. Typical blackface acts of the period were short burlesques with mock Shakespearean titles like "Hamlet the Dainty", "Bad Breath, the Crane of Chowder", "Julius Sneezer" or "Dars-de-Money". Meanwhile, at least some whites were interested in black dance by actual black performers. Nineteenth-century New York slaves shingle danced for spare change on their days off, musicians play
Florodora is an Edwardian musical comedy. After its long run in London, it became one of the first successful Broadway musicals of the 20th century; the book was written by Jimmy Davis under the pseudonym Owen Hall, the music was by Leslie Stuart with additional songs by Paul Rubens, the lyrics were by Edward Boyd-Jones and Rubens. The original London production opened in 1899 where it ran for a successful 455 performances; the New York production, which opened the following season, was more popular, running for 552 performances. After this, the piece was produced throughout the English-speaking world and beyond; the show was famous for its double sextet and its chorus line of "Florodora Girls". The piece was popular with amateur theatre groups in Britain, into the 1950s. Florodora was the first of a series of successful musicals by Stuart, including The Silver Slipper, The School Girl, The Belle of Mayfair, Havana. Upon opening in London on 11 November 1899 at the Lyric Theatre, the show starred Evie Greene, Willie Edouin and Ada Reeve.
Its original run of 455 performances was unusually long for the time, it closed in March 1901. The show would prove a training ground for numerous rising stars of the British theatre. After moving to the Casino Theatre on Broadway in 1900, the spectacle ran for an more unusual 552 performances – the first instance of a London production achieving such a Broadway run, only the third longest run on Broadway of any theatre piece up to that time; the show was subsequently mounted in Australia in 1900 by J. C. Williamson, where it enjoyed another long run. A good part of the success of the musical was attributed to its chorines, called "the English Girls" in the score, but soon popularly dubbed the "Florodora Girls", they consisted of a "sextette of tall, gorgeous damsels, clad in pink walking costumes, black picture hats and carrying frilly parasols swished onto the stage and captivated New York for no other reason than they were utterly stunning." More than 70 women, each 5 ft. 4 in. Tall and weighing in at 130 lb played these roles in the first run of the play.
The pretty girls were the object of a great deal of popular adoration, many male admirers persuaded chorines to leave show business and settle down. According to W. A. Swanberg: "Each member of its original sextette married a millionaire." Florodora's famous double sextet, "Tell Me Pretty Maiden", became the most successful show tune of its time. Other songs ranged from traditional waltzes such as "The Silver Star of Love" and "The Fellow Who Might" to the more quirky type rhythmic and long-lined dance numbers for which Stuart was known. An original cast album featured all six original sextet members from the New York Cast: Marie Wilson, Agnes Wayburn, Marjorie Relyea, Vaughn Texsmith, Daisy Green and Margaret Walker. Recorded on a series of six 78 RPM gramophone records with a full libretto enclosed, the album was a first for musical theatre at that time; the Florodora Girls included Evelyn Nesbit and Clarita Vidal. In addition to the numerous local productions mounted throughout the English-speaking world and beyond, including productions translated into more than a dozen languages, the show toured extensively with numerous local touches.
London's West End staged two successful revivals in 1915 and 1931, several Broadway revivals were staged, the first being mounted only a year after the closing of the original production in 1901 followed by another three years later. Among revivals, a young Milton Berle played one of the Florodora Boys in a production mounted for the 1920–21 Broadway season. More the show was revived once again at the Finborough Theatre in January 2006 for the first professional London production that it had enjoyed in many years. Act IIn Florodora, a small island in the Philippines, the popular fragrance "Florodora" is manufactured from the essence of the Florodora flower; the perfume factory, along with the island itself, is owned by Cyrus W. Gilfain, an American who finagled the business away from Dolores' family and is now the island's reigning sovereign and sole employer. Although Dolores is now forced to work for Gilfain, she remains optimistic. Frank Abercoed, Lord Abercoed in disguise, has arrived on the island to act as Gilfain's manager.
He is smitten with Dolores, she with him. Aboard a ship docked at the Florodora harbor are Lady Holyrood, titled but penniless, who has come to Florodora at Gilfain's suggestion to find a husband – Frank, she is accompanied by Gilfain, his daughter Angela, betrothed to Captain Arthur Donegal, Lady Holyrood's brother, several of Angela's friends, who intrigue Gilfain's clerks. Aboard the ship is Anthony Tweedlepunch, a detective, searching for the girl who rightfully owns the perfume business, he comes to the island disguised as a traveling showman, phrenologist and palmist. Gilfain discovers that Dolores have fallen in love. In an effort to thwart Dolores' rightful claim to the Florodora fortune, Gilfain plans to marry her himself, he hires Tweedlepunch, who he thinks is an actor, to break up the love affair between Dolores and Frank, thereby making Frank available to marry Angela. By presenting Tweedlepunch as a respected phrenologist, Gilfain plots to marry off his clerks to the heads of the Florodora farms, thereby attaining more control of the island.
Tweedlepunch plays along, duly examining everyone's cranial bumps of love to pronounce the proper marriage couples. Frank refuses to marry Angela, Gilfain discharges him. Gilfain, based on the fraudulent pronouncements of Tweedlepunch, has decreed that the clerks will wed the island girls o