The Wizard of Oz - 1903

The Wizard of Oz, based on L. Frank Baum’s popular children’s book from 1900, premiered onstage in Chicago in the summer of 1902. The show was an instant success and consequently was brought to Broadway in January of 1903 for a hugely successful run. For more in-depth information on how the show was created and evolved, be sure to visit the Vintage Broadway blog by David Maxine.

W. W. Denslow, the illustrator of the original book, received credit for costume design; but according to Mark Evan Swartz, in Oz Before the Rainbow, the Chicago costumes were designed by Will R. Barnes. Since I first wrote this entry, I’ve learned more from David Maxine: 

“Denslow designed almost all of the main character costumes, and some of the eccentric chorus stuff, too, working directly with the costume shop in New York. Barnes did the bulk of the chorus costumes. The confusion arose due to Denslow’s name being inadvertently omitted from the earliest programs - later corrected after Denslow finally got to Chicago to see the show and spotted the omission.”

When the show moved to New York, the costumes received an overhaul. Caroline Siedle redesigned much of the chorus, as well as the female principals, while Denslow did additional work on the male principals. The program now read: 

"The Fancy Costumes designed by MRS. EDWARD SIEDLE, and the Character Costumes by W. W. Denslow (illustrator of the book)…” 

It was not uncommon for more than one designer to be involved in outfitting a production. The description of “fancy costumes” certainly accounted for a great number of costumes in the show; no designs by Mrs. Siedle have turned up for the costumes of the leading men, so it does seem likely that these were Denslow's work. The Shubert Archive houses a selection of drawings for the show by Siedle.

 

In the program, Caroline's husband Edward is listed for his work with the props (he was also responsible for the Cowardly Lion's head) along with Charles Joseph for poppy hats, Hepner & Co for wigs, Alston for shoes, etc. Credit is given to Mrs. E. Castel-Bert for costume construction; Castel-Bert was another studio, like Dazian, that did their own design work as well as building costumes for other productions. So in this case, credit was given to both the designer and the builder of the costumes.

This is the costume design that originally fueled my interest in Caroline Siedle. For unknown reasons, the bottom of this particular drawing has been trimmed by about 1.5", removing Siedle’s signature as well as any titling or notes. Perhaps it was damaged; as these are working drawings, it's not uncommon to find scars from the passage of time. Over her career, Siedle’s designs are consistently sized at 9” by 12”, drawn on thin illustration board of a grey/tan color.

 This costume was designed for the Cooks in Act 3, part of a chorus of Cooks, Waitresses and Laundresses. The color scheme of the third act was predominately shades of lavender, so clearly this outfit in lavender and white would fit in nicely. Siedle could be quite whimsical in her designs, with the hat full of spoons and forks and the kettle on the bodice. The graphic quality of the striped apron, collar and trim would be most eyecatching on stage. The shorts were originally sketched to reach to the knee, but were shortened in the finished drawing. 

On the back of the board is a list of eight chorus ladies who would play cooks, along with a list of measurements for each. As can be seen in this excerpt from a July, 1903 program, these same women were all still performing in the show at that date. Each cook was given a name, though the characters were never established enough to truly need names!

 

Among the actresses listed is Lola Gordon, who played Pungue de Sert. Here she is, wearing her Cook costume, along with a signed photo taken during her time in The Wizard of Oz. As can be seen, the final costume was quite faithful to the original drawing!

Unknown

Here’s an intriguing design by Siedle that provides absolutely no information. Nothing is written at the bottom, or on the back of the board. So, guesses are all that can be made!

The costume appears to be lingerie or a very scant dress with rolled stockings, in white with blue-gray accents. The outfit includes what looks like a lace train and a short cape, and there is an oversize ribbon bow in the hair which attaches to the two staffs held by the character. Perhaps this is an avant-garde bride? Whether as a single, or in a group, this would catch the eye.

With nothing solid for basing an opinion, I’m guessing this may have been for another Weber & Fields show. They were famous for their “beauty choruses”, and this looks like it could easily fit right in. The Casino Theater was also known for its sparsely clad chorines, so it’s equally possible that it was intended for use there. Or for that matter, any of the various productions of the time period that delighted in presenting pulchritudinous femininity. 

One show from 1901, The Liberty Belles, was noted for opening with a scene in a girl’s dormitory showing women in various states of undress indulging in a pillow fight. However, this particular design really doesn’t match up to the clothing in this photo from the scene, from the collection of the Museum of the City of New York.

This drawing also provides an excellent example of the incongruous use of the Metropolitan Opera Company rubber stamp. I doubt that this costume was ever intended for that auspicious hall!

The Belle of Bohemia - 1900

The Belle of Bohemia was another show presented at the Casino Theatre, in 1900. Once again, Caroline Siedle designed the costumes. The story dealt with the mishaps of a pair of remarkably similar looking men, one a Coney Island photographer and the other a prosperous brewer, played by the brothers Sam and Dick Bernard.

I’ve been unable to definitely attribute these two drawings to this show, but I think it’s a strong possibility. The character name at the bottom of the board is Muggins, and there are a Signor and Mrs. Muggins in the list of characters from the production.

This first costume shows Muggins as a chimney sweep, dressed all in black with Caroline Siedle’s notation “Muggins as Chimney Sweep - Act 1”. The stubbly beard and reddened nose hints at a clownish character, but I’ve never read the script and have no idea how he might fit into the story! The rear of the board is blank, but Muggins was played by James Furey, who was also a stage manager at the Casino.

This second design is labeled “Muggins 2nd dress Act 1”, and shows the same character relaxing in a rather gaudy dressing gown and cap, smoking a cigar. The humorous contrast of the scruffy character and the florid gown works well as a visual joke.

A reviewer noted that the costumes for this production were “distinctly not up to the Casino average”. I think that’s the only negative criticism I’ve run across for Mme. Siedle’s work! Still, the show was a moderate success, and a production was presented in England the following year.

Broadway to Tokio - 1900

It's always a good feeling to find proof of a hunch when you’re trying to identify what production used a particular costume design. Fortunately this Caroline Siedle drawing provided a fair amount of information to work with, even though no specific show is indicated. The costume itself may not be one of her more exciting designs, but the strong polka dot pattern is lively, and it would be striking onstage; especially repeated seven times!

At the bottom is written "Wives of Mr Jay Mormon in Long Acre Square scene". There's also a notation of "seven" and "green", showing the quantity of costumes and color. On the back "Act 1 scene 2 Pullman car" is written, as well as a note for "Goodyear gloves 6 1/4". Goodyear gloves were an early brand of India rubber gloves, considered hygienic and sturdy.

So the search began, wading through newspaper reviews of shows known to be costumed by Siedle, looking for any connection to these details. And, the 1900 production Broadway to Tokio, at the New York Theatre, fit the bill! 

The show was billed as a "spectacular phantasy". The basic plot concerns the mummy of Cleopatra awakening in her sarcophagus in New York to discover her heart is missing, and traveling across the country and the sea to find it. 

 It was a loosely plotted entertainment that had frequent additions and special features added, and also boasted the most elaborate use of stage electricity to date. Fay Templeton starred as Cleopatra and the show was a hit. Reviews called out the various scenes, including settings in both a Pullman car and Long Acre Square, (better known today as Times Square). After closing in New York the show toured, and there was this note in the July 14th, 1900 Blackfoot News:

"Joe Ott gives an admirable bit of comedy work as Salter Lake, the seven-wived Mormon. His medley, made up of parts of tunes and songs that everybody knows, is a convulsing conceit."

Apparently the name of the character had changed from Jay Mormon, if that ever was the real name. Changes of this sort often happen in the preparation of a show, and much of Caroline Siedle’s job would take place in the early stages of pulling a production together, with alterations occurring later in the process.

So, everything was falling into place. Then the clincher came in a newspaper photo published in The World, January 24th 1900 - very badly reproduced -  showing the wives in this costume!  It's always gratifying to find actual photographic proof of a theory.