Ma Barker

Ma Barker Cover

In a time when notorious Depression Era criminals were terrorizing the country, the Barker-Karpis Gang stole more money than mobsters John Dillinger, Vern Miller, and Bonnie and Clyde combined. Five of the most wanted thieves, murderers, and kidnappers by the Federal Bureau of Investigation in the 1930s were from the same family. Authorities believe the woman behind the band of violent hoodlums that ravaged the Midwest was their mother, Kate “Ma” Barker.

Ma Barker is unique in criminal history. Although she was involved in numerous illegal activities for more than twenty years she was never arrested, fingerprinted, or photographed perpetrating a crime. There was never any physical evidence linking her directly to a specific crime. Yet Ma controlled two dozen gang members which jumped to her behest. FBI Director J. Edgar Hoover called her a “domineering, clever woman who coldly and methodically planned the abduction of two of the nation’s most wealthy men.”

Ma’s misdeeds were well plotted, schemed, and equipped. “The most important part of a job is done weeks ahead,” she is rumored to have told her boys. She is remembered early on as a woman who took her four sons, Herman, Lloyd, Arthur, and Fred to church every Sunday and to every revival meeting that came along. She was also known as a woman who never admitted her sons were capable of wrong doing. She ruled the family roost, defending her brood against irate neighbors whose windows had been shattered by the boys, and later against the police when the boys began their lives of crime in earnest. At a young age they were involved in everything from petty theft to murder.

The Talented Divorcee

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Entertaining Women:

Actresses, Dancers, and Singers in the Old West

CatherineSinclair

Long before actors were vying for an Oscar nomination and world wide fame thespians were trying to carve out a modest living entertaining prospectors and settlers of the Old West. Today the curtain goes up on a woman entertainer who captured the hearts of the western pioneers.

Ladies and gentlemen, Catherin Norton Sinclair, the Talented Divorcee.

Shakespearean actor Edwin Forrest rifled through the desk drawer in the sitting room of the New York home he shared with this wife, socialite turned actress and theatre manager Catherine Norton Sinclair. The contents of the drawer belonged to Catherine, but Edwin wasn’t interested in maintaining her privacy. In his frantic search, he uncovered a worn and rumpled letter written to his bride from fellow thespian, George Jamieson. “And now, sweetest, our brief dream is over; and such a dream!” the correspondence began. “Have we not known real bliss? Have we not realized what poets have to set up as an ideal state, giving full license to their imagination, scarcely believing in its reality? Have we not experienced the truth that ecstasy is not fiction? And oh, what an additional delight to think, no, to know, that I have made some happy hours with you… With these considerations, dearest, our separation, though painful will not be unendurable; I am happy, and with you to remember and the blissful anticipation of seeing you again, shall remain so…” Jamieson’s declaration of his feelings for Catherine ended with a promise to do “my utmost to be worthy of your love.”

Edwin reread the letter with poised dignity and on its completion sank into the nearest chair, cursing the day he had met the woman he had married. After a few moments, he arose and frantically paced about the room. He denounced Catherine for her infidelity and fell to the floor weeping uncontrollably. According to Edwin’s biographer William Rounseville Alger, Edwin was “struck to the heart with surprise, grief, and rage.” Catherine’s take on Edwin’s reaction and the circumstances surrounding her husband reading the letter are vastly different from Alger’s account. Almost from the moment the pair met, Edwin was jealous of everyone Catherine knew in her social standing and did not shy away from making a scene.

Catherine was born near London in 1818 to Scottish parents who had four children in all. Her father, John Sinclair, was a well-known vocalist who had toured America in 1831 and 1833. Historical records note that Catherine was endowed with natural beauty, and, whatever the quality and quantity of her formal and social education, she had in her teens acquired a sparkle and vivacity that attracted men. She was popular and well-liked and attended formal soirees, theatre openings, and art exhibits with a myriad of friends from all walks of life.

To learn more about how Catherine Norton Sinclair’s acting career began and about the other talented performers of the Old West read

Entertaining Women: Actresses, Dancers, and Singers in the Old West.

 

 

 

The Actress in Trousers

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Entertaining Women:

Actresses, Dancers, and Singers in the Old West

CharlotteCushman

Long before actors were vying for an Oscar nomination and world wide fame thespians were trying to carve out a modest living entertaining prospectors and settlers of the Old West. Today the curtain goes up on a woman entertainer who captured the hearts of the western pioneers.

Ladies and gentlemen, the incomparable Charlotte Cushman.

It was a cold evening in the early spring of 1859 when the well-known actress Charlotte Cushman debuted in Shakespeare’s Hamlet at the Metropolitan Theatre in San Francisco. The city’s most wealthy and influential people arrived by carriage. Throngs of curious bystanders eager to see the aristocrat hovered around the walkway leading into the building. The fine, brick edifice rivaled the most notable on the East Coast.

Inside, the grand hall was fitted with the most ornate fixtures and could seat comfortably upwards to a thousand people. From the private boxes to the gallery, every part of the immense building was crowded to excess. Charlotte Cushman was recognized by theatre goers as the “greatest living tragic actress,” and everyone who was anyone wanted to see her perform. Several women had won fame with their impersonations of male characters in various dramas, but critics and fans alike regarded Charlotte as the best of them all.

In 1845, a theatrical reviewer in London had written about one of Charlotte’s performances in glowing terms. “Miss Cushman’s Hamlet must henceforth be ranked among her best performances. Every scene was warm and animated, and at once conveyed the impression of the character. There was no forced or elaborate attempt at feeling or expression. You were addressed by the whole mind; passion spoke in every feature, and the illusion was forcible and perfect.”

The audience that flocked to see the exceptionally talented Charlotte in California was not only treated to a “forcible and perfect” interpretation of Hamlet, but that evening they were also treated to a display of the actress’ temper.

 To learn just what caused Charlotte’s temper to explode, how her acting career began, and about the other talented performers of the Old West read

Entertaining Women: Actresses, Dancers, and Singers in the Old West.

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The American Beauty

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Entertaining Women:

Actresses, Dancers, and Singers in the Old West

Long before actors were vying for an Oscar nomination and world wide fame thespians were trying to carve out a modest living entertaining prospectors and settlers of the Old West. Today the curtain goes up on a woman entertainer who captured the hearts of the western pioneers.

Ladies and gentlemen, the immensely talented Lillian Russell.

 LillianRussell

If a woman gets the reputation of being a professional beauty, it is hard work to live up to it.

Lillian Russell, The Theatre Magazine, 1905

The green silk robe shimmered in the light of the dressing room. Adjusting the neckline, Lillian Russell glanced into the mirror and considered the interviewer’s question about beauties never appreciating their good looks. “I think they do,” she countered. “They are glad to have it, as they are grateful for any other gift. I am pleased and gratified when someone says I look nice.”

Looking “nice” was a part of the job that the corn-fed beauty from America’s heartland never forgot. The costume she wore in the second act of Lady Teazle showed off her abundant charms to perfection. The green silk, the large plumed hat, and the ebony walking stick adorned with orange ribbons were but a pretty frame for the statuesque blond performer whose sumptuous exterior diverted attention from a sharp mind and a warm heart.

As she continued dressing for the second act of the play, she answered questions from Miss Ada Patterson, longtime reporter for The Theatre Magazine. “How,” asked Patterson, “had a girl from Iowa earned the name “America’s Beauty”?

“I came away from Clinton when I was six months old, and I don’t remember much about it,” she told the reporter. A backward glance over a smooth white shoulder gave a glimpse of the famous smile, curving perfect lips. A spark of mischief flashed in the beautiful, blue eyes framed by long, thick eyelashes as she added, “Although there are Tabbies who say they remember my life there when I was six months old sixty years ago.”

The feature later published in The Theatre Magazine of February 1905 never came right out and said that America’s most famous beauty was now forty-three years old. Behind her lay phenomenal success as well as heartbreak and failure, yet none of it dimmed the glow. The interviewer that day compared the throat and shoulders rising from the green silk to the Venus de Milo. The pure soprano voice still hit high C with ease, and, after more than twenty-three years on stage, the name Lillian Russell still drew people to the theater.

To learn more about Lillian Russell and about the other talented performers of the Old West read

Entertaining Women: Actresses, Dancers, and Singers in the Old West.

 

 

The Self-Made Star

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Entertaining Women:

Actresses, Dancers, and Singers in the Old West

 MaryAndersonActress

 

“I intend to play westward, and to appear in the town in which I was born—Sacramento.”

Mary Anderson’s comments to a reporter at the San Francisco Call, 1886

The angry hawk clenched its talons on the heavy leather gauntlet, stabbing the delicate wrist beneath. Wings bated, the half-wild bird glared fiercely into the large gray eyes of his captor. Mary Anderson stared back with steely determination. This unruly bird would be tamed, she resolved, and would become a living prop for her performance of the Countess in Sheridan Knowles’s comedy, Love. A stuffed bird would not provide the realism she intended, and what Mary Anderson intended usually came to be. Mary wrote in her memoirs:

There is a fine hawking scene in one of the acts, which would have been spoiled by a stuffed falcon, however beautifully hooded and gyved he might have been; for to speak such words as: “How nature fashion’d him for his bold trade, /Gave him his stars of eyes to range abroad, /His wings of glorious spread to mow the air, /And breast of might to use them’ to an inanimate bird, would have been absurd.

Always absolutely serious about her profession, Mary procured a half-wild bird and set to work on bending its spirit to her will. The training, she explained, started with taking the hawk from a cage and feeding it raw meat “hoping thus to gain his affections.” She wore heavy gloves and goggles to protect her eyes. The hawk was not easily convinced of her motives, and “painful scratches and tears were the only result.”

She was advised to keep the bird from sleeping until its spirit broke, but she refused to take that course. Persevering with the original plan, Mary continued to feed and handle the hawk until it eventually learned to sit on her shoulder while she recited her lines, then fly to her wrist as she continued; then, at the signal from her hand, the bird would flap away as she concluded with a line about a glorious, dauntless bird. The dauntless hawk and Mary Anderson were birds of a feather.

Born July 28, 1859, at a hotel in Sacramento, California, Mary’s earliest years were unsettled. Her mother, Antonia Leugers, had eloped with Charles Henry Anderson, a young Englishman intent on finding his fortune in America. It was a love match not approved by Antonia’s parents. The young couple arrived in Sacramento in time for Mary’s birth but too late to scoop up a fortune from the nearest stream. The easy pickings of the 1849 Gold Rush were gone.

To learn more about Mary Anderson and about the other talented performers of the

Old West read

Entertaining Women: Actresses, Dancers, and Singers in the Old West.