Tartans

One of the things Caroline Siedle became known for was her understanding of the use of Scottish tartans in fashion, and on the stage. The tartan grew in popularity in the early 19th century, due in part to novels romanticizing Scottish history as well as the British royal family’s visits to Scotland. When Queen Victoria and Prince Albert built Balmoral Castle in the Scottish highlands in 1853, the interiors were covered in tartans. Victoria was a trendsetter in her choice of tartans for everyday wear, and the style remained popular into the 20th century.

One of Siedle’s early costuming jobs was Rob Roy, in 1894. When interviewed for the Washington Times, published April 21st, 1895, she discussed the difficulties in presenting tartans on the stage for that production:

That was the most difficult thing I have done yet, because, if you know anything about the tartans, you know the Scots never designed them with an eye to stage effects, especially the plaids of the most important clans that figured in the opera. Those plaids were too somber. They didn't light up well on the stage, and, if you would believe it, there was hardly more than one containing white, which is so necessary a color and gives value to all color combinations. 

Another article, in the Maryland Frederick Citizen of January 11th, 1895, discusses the current worldwide popularity of tartans in fashion. Once again Mrs. Siedle's name is mentioned, and misspelled:

Paris began the wearing of silks and velvets in tartan patterns six months ago and New York has followed suit by decking itself gorgeously with the plaids of the Scotch clans. Every woman whose name is Stewart, Macpherson, MacGregor or anything that has the faintest smell of the heather walks abroad in the big checks of "our tartan, you know." Men on Broadway wear neckties of the solid red and black of the famous outlaw Rob Roy, women display it in velvet sleeves, and now and then in crossing a muddy street the dainty lifted dress reveals a glimpse of Rob Roy hosiery.

Not all tartans are effective in dress materials. "They don't light up," said Mrs. Seidle, the young English woman who designed all the costumes used in the opera Rob Roy. She adds anent the present craze for family tartans that women are often disappointed because they aren't prettier, and advises if a plaid be dull or complex with small lines that it should never be worn in woolen stuffs. It will be far richer and handsomer in silk. Mrs. Seidle is the New York authority on tartans and is kept busy just now helping the hunt of the fashionables for family plaids to sash small girls and kilt little boys and be worn by grown-ups in a dozen different ways. 

Tartans pop up in two of Caroline Siedle’s most famous shows. In the 1903 production of The Wizard of Oz, the Tin Man appears in full Scottish dress during the “Songs of all Nations” segment of the second act. Later the same year, Tom-Tom, the Piper’s son, was dressed in full highland gear in Babes in Toyland.

 

The Wizard of Oz - 1904 Lady Lunatic

When The Wizard of Oz arrived on Broadway in 1903, it was a smash hit. The show opened at the new Majestic Theatre, located by Columbus Circle, a considerable distance from the heart of the theater district. But even at that location it drew steady crowds, and when it eventually left town to tour its return was eagerly awaited. In 1904 the show came back to the Majestic Theatre, as The Wizard of Oz "Edition De Luxe". Songs and routines had been dropped and added, there were changes in the cast, and a number of costumes were redesigned by Caroline Siedle.

This is the new Act 2 costume design for Cynthia Cynch, played at that time by Allene Crater. The new gown appears very light and airy, probably more comfortable on a warm stage than the original dress; the previous design can be seen below on Helen Byron, the first Cynthia Cynch. Several of the heavier-looking costumes were redesigned by Siedle at this time. For another example, visit the Vintage Broadway blog by David Maxine.

The back of the board is labeled "Miss Crater", and once again there are a number of notes concerning construction:

White soft silk or other suitable goods
Sunburst pleated skirt
Accordion pleated waist & upper
drapery with applique of green silk, or if satin would not fray that would look well? in form of hearts - large heart for pocket - fastened with satin ribbon
Sleeves lined with same green
 

Gloves to wrist with long turned up tips to fingers
Two very long white feathers on 
white satin band
White shoes & green satin ribbons
dancer fashion
Shirr top of skirt with a green ribbon

As the second act took place entirely within the Emerald City, a color scheme of green & white was a natural choice. The green hearts that cover the gown could easily be mistaken for ivy, which would be an appropriate emblem for the character, as ivy is a symbol of fidelity!

Allene Crater joined the Oz cast in 1903; according to the papers Allene had retired from the stage, but was coaxed out of retirement for the role of Cynthia. An article in the Butte Inter Mountain from December, 1903 states:

“Miss Crater’s interpretation of the role was a revelation, her work attracting the attention of the entire New York press to such an extent that she is now deluged with requests to allow the writing of comic operas and musical comedies for her.”

She also became Mrs. Fred Stone, having married the actor playing the Scarecrow in the production. Fred Stone and David Montgomery were the stars of the show, highly praised in their roles as the Scarecrow and Tin Woodman. The duo remained a very successful team until Montgomery’s untimely death in 1917. Allene continued to appear in her husband’s shows, eventually joined by their daughters. The photo on the left is from 1902, prior to Oz, when she was appearing in Miss Simplicity; another show with Siedle costumes.

The Wizard of Oz - 1903 Cynthia Cynch

The 1903 stage version of The Wizard of Oz included a number of new characters who were added to the story, and only exist in that production. Tryxie Tryfle, Sir Wylie Gyle, Dashemoff Daily, General Riskett, Imogene the cow, etc…. Among these is Cynthia Cynch, the lady lunatic who is searching through Oz for her lost love. In the end this turns out to be the Tin Man, who forgot her when he was turned to tin and lost his heart. She wanders through the show like a comic Ophelia, searching for her love and getting tangled in the proceedings.

This is Caroline Siedle's design for Cynthia's Act 1 costume. She first appears after Dorothy’s house lands in the Land of the Munchkins, which had a color scheme of blue. The drawing easily indicates the humorous aspect of this character, from the unkempt hair filled with straw and flowers to the variety of vegetables she carries. According to the libretto, she and her lover would woo in a vegetable garden, explaining the presence of the produce! There may have been a note at the bottom of the board at one time, but over the years it seems to have either rubbed away or been erased. But the dress is unmistakable, when compared to a photo of the costume on stage. The photo on the left shows a later Cynthia, Allene Crater, wearing the costume.

Helen Byron originated the role on Broadway, and her last name is found at the top of the back of the drawing, along with "Sketch no. 16". There are also several notes concerning the construction of the dress. These read:

"Over dress of crepe de chin 
or something equally soft & thin
the under dress might be of
china silk. 

The design on over dress
could be done in thin blue
ribbon & tucked in. 

Necklace of red peppers
possibly real ones?"

I would think a real red pepper necklace might have been an irritant over time. Judging from the photos I’ve seen, it doesn’t appear to have made it into the show.

This is another drawing that has been stamped for the Metropolitan Opera Company. Edward Siedle worked as Prop Master at the opera, and Caroline had an office across the hall from her husband. Many of her drawings were archived by the company, regardless of their original use.