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The Shuberts and Their Passing ShowsThe Untold Tale of Ziegfeld's Rivals$

Jonas Westover

Print publication date: 2016

Print ISBN-13: 9780190219239

Published to Oxford Scholarship Online: November 2016

DOI: 10.1093/acprof:oso/9780190219239.001.0001

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(p.255) Appendix 2

(p.255) Appendix 2

Lists, Notes, and Scenarios for The Passing Show of 1914

The Shuberts and Their Passing Shows

Jonas Westover

Oxford University Press

Song List 1

Act 1

Scene 1:

Moving Picture Studio owned by QUEEN OF THE MOVIES


  1. 1. Opening Chorus

  2. 2. Midnight Girl Number

  3. 3. Boy and Girl Number

  4. 4. Crinoline Girl Number

  5. 5. Sari Number

  6. 6. Moving Picture Glide

Scene 2:

Private office of the QUEEN OF THE MOVIES

  1. 7. Duet

Scene 3:

Persian Garden

  1. 8. A Thousand Years Ago

  2. 9. Oh, Oh, Omar!

  3. 10. Persian Cabaret

Scene 3:

Scene in one—Broadway

  1. 11. Manhattan Mad.

  2. 12. Whiting and Bert [sic]

Scene 4:

Airship Effect

Act 2

Scene 1: Grand Central Station—Washington.

Scene 2:

Train Effect

Scene 3:

Drop in One.

Scene 4: Scene at the San Francisco Fair

(p.256) Song List 2

W/Scenario 4

Song Numbers

Scene 1

  1. 1. Opening Number—“A Persian Night.”

  2. 2. Waltz Theme Song—“A Thousand Years Ago.”

  3. 3. Big Cabaret Number—“Oh, Oh, Omar!”

    - : -

  4. 4. Big Scotch Number—“Kitty MacKay”

  5. 5. “Manhattan Mad”

  6. 6. “My Crinoline Girl”—Number with Crinoline Girls.

  7. 7. “The Tango Wedding”—Wedding Business done to Tango.

  8. 8. Girls with Different Colored Wigs—“I love the girl with the hair do pink; hair of blue, etc. etc. but the one girl is the good old fashioned girl with her own hair.”

  9. 9. Big Hungarian Rag Song—“That Haunting Hungarian Tune” or & c., built on the “Hazaazaa Number” from “Sari.”

  10. 10. “The Moving Pictures Glide”—Dance with that hurried business of moving pictures

  11. 11. “Meet Me in the Little Café”

  12. 12. “Along Came Ruth”

  13. 13. “Any Night”—Number built on the type of “In the Night” from “The Queen of the Movies”

  14. 14. “Queen of the Movies”

  15. 15. “The Whirl of the World”

  16. 16. Big Rag Number—“When Claudia Smiles.”

  17. 17. “Me for a Midnight Girl”

Song List 3

Act 2. Lay-out.

  • Scene 1 - Gymnasium Scene.

  • “ 2 - Railroad Drop in “One.” Scene, and Freeman and Dunham’s Specialty

  • “ 3 - Railroad Scene.

  • “ 4 - Drop in “One.” “Salvation” Number, Muriel [Window]. T. Roy Barnes – “gun” business, etc.

  • “ 5 - The Sloping Path (Kelly)

  • “ 6 - Drop in “One.” Number—Keane and “Bohemian Rag”—Collins

  • “ 7 - Opening Number “San Francisco Town”—Demarest

Short Dialogue, and

“Silence & Fun” Number—Hughes

Short burlesque, and

“Eagle Rock”—Granville.

Burning Effect, and



(p.257) Scenario 1

Scenario for Passing Show of 1914.

The curtain to rise on an elaborate Persian Garden with the embellishments and environments of “A Thousand Years Ago” and “Omar the Tentmaker.”

At the rise of the curtain, the stage to be absolutely empty, with the accompaniment of the oboe and the harp, until the appearance of the leading female character.

Then the appearance of “Omar,” the vagabond musician, embodying the parts of “Omar the Tentmaker” and Dixey’s part in “A Thousand Years Ago.”

There should be a pretty love scene, and then the Waltz Song, which shall be the theme all through the entire play.

After that, the various characters in both plays aforementioned are introduced, until the scene becomes a Persian Cabaret, which shall be a very good number with all the color of the Orient, balloons, confetti, lanterns, and make it a sort of a carnival.

After this big carnival scene, Omar is arrested as a heretic for professing that there shall be a Broadway a thousand years from now; also that the man shall see the women’s faces, and that there shall be Tango dancing, turkey-trotting, Zepplin [sic] airships, and all the funny sayings of the present period. He is taken and put into the stocks. He is told that he will be given his freedom if he answers correctly three riddles a la “Thousand Years Ago.” He fails in the last riddle, which must be made very funny, and he is again put in the stocks the same as in “Omar the Tentmaker.” As they are about to beat him, LIGHTS OUT.

The next time you see him, he is floating over the heads of the audience on a crane, and there he tells what will happen in the future. This scene to be about 3 or 4 minutes long, until the scene can be set on the stage for the Napoleonic Period, the directoire, in which the character of the crazy man from “The Misleading Lady” playing the part of Napoleon. This scene to run for about 15 minutes.

Then a scene in “one” where we are brought to the Gambling Palace at Monte Carlo. This is where we want to show semi-modern dances, the kan-kan [sic]. This is to be entirely French.

From there we take the Zepplin [sic] airship and sail across the Atlantic with the Thomas Effect.

The opening of the second act to be some big scene in New York City, either an idealized restaurant, dance palace, or a locale which will lend itself to dress and color.

From there we want a scene in “1,” which shall be the railroad station where they get on the train—the New York Central, showing three cars instead of one car as they do at the Princess Theatre. They are going to the Exposition in San Francisco. After that scene, a scene in “1,” a semi-oriental scene, like the modern Chinatown of San Francisco, or some scene which will lend itself to environments and atmosphere, and then to the Presidio overlooking the Panama Exposition in San Francisco and the Golden Gate.

(p.258) Scenario 2

Scenario “A” Passing Show of 1914.

Drop in “One” showing Baldpate Inn in the distance, where the Tired Business Woman—“The Queen of the Movies”—has her moving picture studio.

A novelist (a la “Seven Keys of Baldpate”) is on his way to write a novel in 24 hours in Baldpate Inn, which he believes to be a secluded spot. It is disclosed that the Queen of the Movies is rehearsing a new film, dramatizing all of the plays of the season.

The Novelist finds himself in many queer adventures, believing them to be real, a la “Seven Keys to Baldpate,” although everything is being performed for the film company, which the Queen of the Movies controls. He attempts to rescue Kitty MacKay from the Russian secret police, the Gypsy band, etc., etc., etc.

Scenario “B”

First scene and prologue, a Persian Garden a thousand years ago, introducing Omar and combining the best things of “A Thousand Years Ago” and “Omar Khayyam,” Broadway prophecy, etc. etc. as in original scenario.

Scene 2. The Office of “The Queen of the Movies” the Tired Business Woman, who controls the moving picture industry. This is to be an idealized office of the Modern Woman. She examines three or four men applicants for stenographers, making love to them all, and reversing the situation in “Help Wanted.”

The reincarnated “Omar,” now the modern novelist (a la “Seven Keys of Baldpate”) applies for a position. She makes desperate love to him, tempts him with wine, etc. etc., a la “1999” and reversing the second act situation of “The Yellow Ticket.” Omar is engaged to play Napoleon, the new film picture.

Scene 3. Moving Pictures Studio, the scene to be Directoire Garden, or etc. with the escaped lunatic, the other Napoleon, spoiling the film, etc.

Subsequent film to be the adventures of Kitty MacKay and Napoleon, Kitty MacKay being kidnapped by a Gypsy Band at the instigation of the Secret Police, etc etc., etc.

Scenario “C”

First scene a Persian Cabaret, where Omar Khayyam is employed, and where everything is done as in “A Thousand Years Ago.” Omar is in love with Kitty MacKay, who is being hounded by the Russian Secret Police, at the instigation of the Queen of the Movies, who is in love with Omar. The entire story to be modern with all the characters of the plays used.

(p.259) Scenario 3

Opening chorus of scene 1. Discovered stenographers—clerks—and camera men. After Opening—McGee the Novelist tells of hiring all the prominent actresses and actors for a new film to be made called “From a Thousand Years Ago to Today.” He has scene with King Bagot and Mary Pickford telling them that he can’t use the regular moving picture people any more, only the prominent actresses and actors. He tells of hiring THE MIDNIGHT GIRL—THE CRINOLINE GIRL—SARI etc., to pose for the pictures. Enter MIDNIGHT GIRL with nurses. As the office clock strikes twelve they change to Cabaret girls. After Number enter Adele who is engaged to act and fact brought out that McGee is in love with Kitty MacKay. Possible number McGee and Adele (duet and dance). After this enter Kitty MacKay pursued by the Baron, who is in love with her, and who is determined to put every obstacle in the way of McGee writing a successful film picture; because the Baron knows that McGee is in love with Kitty. The Baron has great influence with the Russian Secret Police. Number—Kitty MacKay and Scotch Girls. 2 (Kitty MacKay is the daughter of the Queen of the Movies). QUEEN OF THE MOVIES has a scene with Roosevelt and Huerta in which they are set off to work for the pictures. Roosevelt makes arrangements to be lost in Brazil. After this enter CRINOLINE GIRL, scene with Camera Man, then enter Sari and Gypsy Fiddlers. Sari Number. After this McGee holds a rehearsal scene ending with the Moving Picture Glide and close of scene.

SCENE 2: Scene is written with the exception that QUEEN OF THE MOVIES tries to make love to McGee. She discharges her daughter, Kitty MacKay, from the firm but reinstates her.

SCENE 3: PERSIAN GARDEN. At finish Omar’s spirit departs and he lands on Broadway.

SCENE 4: A BROADWAY STREET. Here is the Baron, who realizes that Kitty MacKay who is absolutely necessary for McGee’s picture to be a success, is made away with the Baron and the Russian Secret Police who take her away in an airship.

(p.260) Scenario 4

“Passing Show Of 1914”

ACT I—SCENE I: A Persian Garden A Thousand Years Ago.

Omar Khayyam, a vagabond player, comes in quest of the hand of Shireen. The conditions are that he must answer three riddles successfully. This he does, but delivers the prophecy of a Broadway a thousand years in the future, and is put in stocks by her father. A Spirit, leaving the mortal body, delivers the Rubiat in the Prophecy of a Broadway.

Song Numbers – 

  1. 1. “A Persian Night”

  2. 2. “A Thousand Years Ago”

  3. 3. “Oh, oh, Omar”

SCENE II: The Moving Picture Studios of “The Queen of the Movies.”

Mrs. Shireen, of the firm of “Mrs. Shireen and Daughter.”

Mrs. Shireen rent the studios of Baldpate Inn to take her moving pictures. She commissions Moving Picture Novelist, William Hallowell MaGee, to write a new scenario film, “The Adventures of Kitty MacKay.”

Her daughter, Shireen, is to be cast for the part of “Kitty MacKay.” Mrs. Shireen, contrary to the advice of her lawyer, makes love to the White Slaves employed by the firm.

Here, also, is introduced “The Misleading Nut,” who believes he is Napoleon, who escapes from his keepers at the lunatic asylum. Mr. Omar, who was Omar Khayyam a thousand years ago, comes to the studios, and Mrs. Shireen makes love to him.

Shireen enters in time to save Mr. Omar from her mother, and Omar discovers in Shireen his lover of a thousand years ago.

Mrs. Shireen, after disinheriting her daughter from the firm, reconsiders and forbids Mr. Omar from ever meeting Shireen again. At her signal, her gang of White Slavers take Mr. Omar away, and Shireen is kept and forced to work as Kitty MacKay in the new film being made.

Song Numbers– 

  1. 4. Opening Number

  2. 5. Number to split the scene or finish the scene.

SCENE III: One of the Studios at Baldpate Inn, owned by the Queen of the Movies.


Song Number:—“The Moving Picture Glide” No. 6

William Hallowell McGee (The hero of “Seven Keys to Baldpate”) outlines to the assistant camera man the wonderful scenario he has drawn up of “The Adventures of Kitty MacKay,” which Shireen is to be featured in, and which scenario is to be played that day.

The scenario tell how Kitty MacKay, who is in love with Napoleon, steals the Mona Lisa picture, and is bringing it to Napoleon so that he may have funds enough to equip a new army. She is to meet Napoleon, but is pursued by his enemies, a band of Hungarian Gypsies and the Russian Secret Police, the Okrana (“The Yellow Ticket”).

Kitty arrives ill, in charge of a nurse, “The Midnight Girl,” who deserts her when the clock strikes 12 for the cabarets, and her friend “Adele,” who comes to help her, is taken away by Baron Stephan Andrey of the Russian Police. Kitty is kidnapped by the Hungarian Gypsy band, and is rescued by Napoleon, and they both escape in an (p.261) Airship. This is the first half of the picture. Magee, the novelist, says that he himself is going to play Napoleon in the picture.

The assistants tell him the story is terrible, improbably and silly, but the Novelist declares, “It is as George Cohan says, what the public wants.”

Magee, the Queen of the Movies, and the Camera Man start to take the picture.

The Picture as Played

During the following, all characters except Omar, who believes Kitty to be in real trouble, the Queen of the Movies, Magee are playing for the camera.

Kitty MacKay arrives with the Mona Lisa picture, accompanied by her Scotch friends.

No. 7—Big Scotch Number “Kitty MacKay.”

The Midnight Girl comes with Nurses, to take care of Kitty MacKay, who is ill, but hearing a clock strike twelve, cannot resist the call of the cabaret, and they change to “Midnight Girls.”

No. 8—“Number for the Midnight Girls.”

Sari comes with the Hungarian Gypsy Band to kidnap Kitty. At this juncture, Omar breaks in on the picture, saying that Shireen is here and in trouble. He has argument with the Queen of the Movies and breaks up temporarily the taking of the picture. They put him out, and continue the action of Sari and the Gypsy Band.

The Crinoline Girl, a detective female impersonator, comes in search of the Mona Lisa picture, and follows on the trail of the Gypsy Band.

No. 9—“Crinoline Girl Number.”

The Movie Men and the Queen of the Movies announce a five minute wait for changing reels.

The Misleading Nut comes in, dressed as Napoleon, and has burlesque scene a la “Misleading Lady,” directing his army, etc. He says he may be crazy but his is more sane than the women who wear pink hair, blue hair, etc. etc. (The Nut exits on the number)

No. 10—“I Love the girl with the hair do pink; hair of blue, etc. etc.”

Omar returns, has scene with the Queen of the Movies, burlesque love scene, built on some play, possibly “The Secret.” Omar overhears the Camera Man say that Shireen (Kitty) is to meet Napoleon, and determines, unknown to the others, to appear before her as Napoleon. Omar leaves, and the Moving Picture men start on—

The Second Reel

Adele, Kitty MacKay’s friend, comes in search of her, but is met by the Russian Secret Police, the Okana.

No. 11—Song Number for Adele

Baron Stefan Andrey and the Police make away with Adele.

Magee now enters playing Napoleon. He exits and the Misleading Nut enters as Napoleon, mixing up all the business for the Camera. The Hungarian Gypsies return with Kitty MacKay, but at the this juncture Magee Napoleon comes to save her, closely followed by the Misleading Nut Napoleon and finally by Omar Napoleon—the situation of the three Napoleons.

The Queen of the Movies interferes at this juncture and once more has Omar taken away, and the Magee Napoleon announces to Kitty that they must fly away in the airship.

(p.262) No. 12—Closing Number of the Scene.

SCENE IV: Drop in “one,” showing another locale of the Queen of the Movies’ Studios at Baldpate.

(This could be a rehearsal given by Magee of one of the moving picture actresses, and would be an ideal scene of Whiting and Burt as Whiting could easily do the Magee, Novelist.)

SCENE V: The Airship Effect, with Napoleon leading Kitty MacKay and if possible showing Omar trying to reach his sweetheart, Shireen (Kitty) whom he believes to be in trouble.

Cast List 2

W/Scenario 4

  • Scene 1:

    • Shireen

    • Omar, a vagabond player

    • Maxixe

    • Turkey-Trot

    • Tango

    • Imam Allafake

    • First Priest

    • Second Priest

  • Scene 2.

    • Magee, the novelist from “Baldpate”

    • The Queen of the Movies

    • Omar

    • Shireen

    • Panthea, lawyer for the Queen of the Movies

    • The Misleading Nut

    • Bertie the Lamb

    • Cyril Grumpy

  • Scene 3.

    • Queen of the Movies

    • Omar

    • Shireen, now “Kitty MacKay”

    • The Midnight Girl

    • The Crinoline Girl (Played by the Misleading Nut)

    • Adele

    • Sari

    • Magee

    • The Misleading Nut

    • First Camera Operator

    • Second Camera Operator

  • Scene 3.

    • Cont.

    • Baron Stefan Andrey

  • Scene 4.

    • Magee, the novelist

    • Mary Pickinghard

Many of these characters double, and other incidental characters introduced.