The Girl From Up There - 1901

Caroline Siedle's designs for The Girl From Up There, a 1901 production starring Edna May, received a thorough description in this uncredited article from the personal scrapbook of the actress. I have not come across any drawings of designs from this show, but the souvenir album was well illustrated with images, including a number of sketches of the Siedle costumes drawn by Archie Gunn, another artist and costume designer.

Elaborate stage gowns are not a novelty; elegance and beauty are shown in every modern production, but such creations as clothe the slender figure of Edna May in "The Girl From Up There" are unusual. 

One of her frocks is Princess shape, and three shades of pink combine in it. First, a slip of cerise satin, over which are deep frills of accordian pleated chiffon; next, the princess slip of rose pink crepe de chine, which is entirely covered with gold spangles. These glittering bits of gold are not sewed on in the ordinary way, but hang from tiny threads of gold, shaping and reflecting the light at every movement. Across the bust, over the shoulders, down the side and around the bottom of this pointed slip is a continuous row of pink velvet roses, with occasional green leaves.

Over this poem in pink and gold is worn a voluminous cloak of silver completely covered with silver spangles. These spangles depend from little strings of silver bugle beads, so they glisten and shake continually. Long sleeves and a train has this cloak, and with it is worn an odd headdress with pendant strings of silver beads. The weight of this cloak is seventy-five pounds, and it requires all the strength of which Miss May is capable to hold it up the brief time she wears it.

To go back to the first act, another idyllic gown is that in which "the girl from up there" makes her first appearance. It is gold in effect, but has a pinkish tone which is soft and indescribable. The material is crepe de chine again, and it is heavily embroidered with gold arabesques and studded with topaz stones. Princess in style, with long sleeves, slightly low neck, a beautiful girdle of gold and rhinestones and a crowning beauty in the gold wreath for headdress, this costume is one of the loveliest ever seen on the New York stage. 

White panne velvet and chiffon seem an unusual combination, but another frock has a skirt composed of alternate panels of these materials, with a band of pearl trimming where they are joined. The bodice has a transparent yoke and high collar of white chiffon in the finest tucks. Sleeves of the same material come to the elbow. Across the bust and over the shoulders is a wide band of the pearl trimming. This bodice opens in the back and the front panel of the skirt extends beyond the waist line, fastening half way up the front of the bodice.

 

Another white frock which Miss May alternates with this is of mousselline de soie, spangled with tiny silver spangles. The narrow flounces on the skirt are bordered with tiny gold braid. The full bodice is of the mouselline, over which is worn a spangled bolero, edged with the gold braid and silver embroidery. This frock has a high lace collar. A big black hat and black gloves go with both these white gowns.

Charming is the little gray silk Quaker costume, also worn in the second act, and the boy's rig of dark green velvet is jaunty and dainty as a boy's clothes could possibly be. Knickerbockers and coat are of velvet, the latter trimmed with gold braid and buttons. Underneath the coat is a silk jersey, in white and turquoise stripes. A scarf of red crepe de chine is knotted about the waist, and a bit of the same brilliant color is shown in the big gray hat. High boots, of gray complete this fascinating rig.

 

A Latticework Gown

This drawing by Caroline Siedle is for a costume from an unknown production. The dress features ribbon latticework, a decorative element that is seen in various other Siedle designs; bodice, skirt and sleeves are all created using this technique, resulting in a net of ribbon over the entire figure. At first glance this appears to be a modest gown, but on closer inspection one realizes this isn’t the case; this lovely design might fool the unsuspecting viewer.

Siedle was no stranger to the idea of costumes that revealed the figure, and was well familiar with the need to provide more visual thrills to the tired businessmen in the audience. In this case, the skirt is slit on both sides from hem to waist, giving ample opportunity to view the wearer's legs as she moved about the stage. On the back of the board, Siedle instructs that the gown is to have no petticoat, instead there should be flesh colored tights and lavender stockings. The neckline of the gown is cut quite low underneath the mesh of ribbon, creating an overall sense of a game of peekaboo. 

The drawing is done in tones of lavender and white, with silver gilt highlights on the intersections of the latticework. It appears that Siedle originally considered including a low hanging heart necklace/pendant as part of the ensemble, as it can be seen sketched in pencil below the waist, but she apparently decided against the idea.

Unfortunately this drawing has been trimmed into an oval shape. While this hasn’t damaged the lovely image, it does remove any possible notes written in the corners, which might have helped identify the intended character or performer. Of course it is possible there were no useful notes, as frequently happens on Siedle designs. The drawing does have a long description on the back concerning construction details of the dress, written in Siedle's characteristically difficult to read handwriting - several words are either illegible or missing:

Satin dress cut extremely fashionably. 

The white satin ribbon forms lattice & is fastened where crossed with ornament & ends in points all over skirt & from the point is a full accordion pleated deep flounce. 

The skirt is cut up on either side of front & is fastened at top with three of the buttons & cord which runs all down the sides. 

Skirt is lined in white satin - Ruffle of transparent goods at bottom edge.

Lavender satin ribbons, no petticoat but flesh color at top of tights to waist & lavender stockings and shoes.

Underwaist of lavender is cut low - the sleeves have no lining if can be made without. 

Toque tam’o shanter of white satin with gathered satin ribbon in rings shaded violet - good white feather.

Shoulders bare - White net short drawers & also at sides - garters of white satin. 

Chorus Ladies - Lambs

Themed choruses were certainly popular in Caroline Siedle’s day. Chorus girls dressed as flowers, fruit, insects, animals, abstract concepts, anything and everything were all to be found on the New York stages.

In this case, we have lambs. The lamb’s head bonnets make this clear, along with the fleecy collars and trim on the skirt and long gloves, not to mention the tails hanging off the muff. This design has the simple notation of “Lambs - Chorus Ladies” and nothing else to identify where it was used. I’m tempted again to place it in a Weber & Fields show, or perhaps from the Casino Theatre, as the revue-style productions they produced could easily lend themselves to these fanciful kinds of design.

Another fun possibility, though with nothing to back it up, is Babes in Toyland. In the first act the Piper children sing to Bo-Peep to console her about her lost sheep, and the song includes a chorus with bleating sheep. It’s amusing to think that there may have been chorus ladies in these costumes portraying the sheep! Admittedly, it’s not a very likely theory.

 An interesting point on costume manufacturing at this time was the tendency to have costumes made in Europe. They were cheaper to manufacture, and with the quantity of dresses and other garments needed for a large cast, the savings could add up. However, there was a 60% tariff on clothing imported into the USA, so the enterprising theater managers would have the costumes cut and loosely basted together, not finished. That way they could be imported as fabric rather than garments and finished here, saving a good deal of money!

Babes in Toyland - 1903 Grumio

A final Caroline Siedle piece from Babes in Toyland is this costume design for Grumio, an assistant to the Master Toymaker. This is an elegant outfit, most likely from the third act of the production.

With striped coat, floral waistcoat and lace, ribbons and bows in tones of light blue and turquoise, you'd never guess this was a lowly assistant. Siedle has given him all the trappings of a dandy, a contrast to the outfit he wears in the Toymaker’s shop. In the third act he’s supposed to be disguised as a valet, which could account for his finery; valets like to be well dressed! This pairs well with Jill’s green dress, as the two characters are fleeing Toyland together.

Grumio was played by Charles Guyer, the husband of Nellie Daly, who played Jill. The pair created a hit in the show with their “knockabout dance” in which they destroy much of the Toymaker’s workroom. The color advertisement shown gives a sense of the action; we see Grumio wearing his workshop costume spinning Jill, wearing her Act 1 dress. But in the later publicity photo shown below, Grumio (Walter Schrode) is still dressed for the workroom, while Jill (Maud Campbell) is in her fancy outfit. Identifying what costume was used where can be very confusing!

Babes in Toyland - 1903 Jill

One of the comical characters in Babes in Toyland was Jill, from the nursery rhyme Jack & Jill. She and her brother Jack were both members of the Piper family, along with Red Riding Hood, Bo-Peep, Tommy Tucker, etc., but Jill played a larger part in the plot of the show than most of her siblings. 

This is her first act costume, presenting her as a tomboyish character. Caroline Siedle makes use of bold stripes again, in the flaring skirt of brown and white. The golden tan apron and yellow bows on the braids tie in to the same warm color scheme as Jane, Alan and Floretta. A costume sketch in the collection of the New York Public Library shows a first act design for Contrary Mary, wearing what I think of as her running away dress. It shows a sage green and yellow striped skirt with a green overdress and red cape, with accents in gold & red. These costumes would all work together and compliment each other very nicely, particularly in a warm autumnal setting.

It’s interesting to note that the gold accents in Jill’s design have a very noticeable blue undertone; it almost looks as though Siedle may have originally intended them to be blue, and then changed to gold as the color concept came together. There are a number of indications of changes made when this sketch was drawn, like the profile of the skirt and positioning of the arms.

Notes on the back say "Miss Daly" and "Sketch No. 24". Jill was played by Nellie Daly, who was an acrobatic dancer and performed in vaudeville together with her husband, Charles Guyer. He portrayed her love interest, Grumio, in the show. 

 

There's a rather indecipherable note saying "with(?) trimmed velvet ribbon treated(?) after with patina(?) & tears", and a sketch of a bonnet with "full ruffle edge with white lace" and "blue lace white lace". At the bottom is a note "brown russet shoe", which refers to Jill’s shoes for this costume. It's hard to say who the bonnet was for; it certainly doesn’t seem to be intended for this outfit!

Later in the show, Jill has a different outfit consisting of a large green dress and fancy bonnet. This is a sharp contrast to her previous costume, with a tightly cinched waist and full ruffled skirt; I’m not entirely sure if it was used in Act 2, or 3, or possibly both. The third act seems to have been predominantly green and blue tones; Jill is trying to escape Toyland disguised as a lady’s maid, so it seems as though this dress may be a fit for that scenario.

The back of this board also has a sketch for a bonnet, but it’s easily identified as the bonnet worn with this dress. This time there are no notes, other than “Miss Daly”and “Sketch no 44”.

The rather poor newspaper photo on the right shows another actress, Maud Campbell, playing the role at a later date and wearing this costume. 

Babes in Toyland - 1903 Alan

In the course of the plot of Babes in Toyland, Alan goes through several disguises. He masquerades as Floretta the gypsy in Act 1, a toy soldier in Act 2, and an aesthetic scholar in Act 3.

The drawing on the right shows Alan in his first disguise. As Floretta, Caroline Siedle dressed him in ragged clothing of warm autumnal colors. A tambourine hangs at his right side, used in the action of the song, Floretta. The word "Chip" is written below the figure, a reference to "Little” Sam Chip, an actor who toured in the role of Alan. 

The predominant tones of russet, olive and gold are also seen in other Act 1 costume designs for the show, giving a sense of the color scheme that was used on the stage. On the back we find the actor's name "Mr. William Norris", along with "Sketch no. 6" and "Act 1". At the bottom of the board is the note "black leather", presumably referring to the shoes. Other costumes designs from this show have similar notes about footwear.  

I've found no photographic record of this character, so the original drawing is a particularly useful reference for understanding the look of the original show. This piece has suffered damage, being cracked across the board, but it still survives!

In Act 2, Alan and Jane are disguised as toys, to escape from their wicked Uncle Barnaby, and end up leading the famous March of the Toys, one of Victor Herbert's best known compositions. This drawing shows Siedle's original design for Alan as a toy soldier, used when the show opened in Chicago. The oversized tassels, wooden sword and paper hat with huge pompoms add whimsy to the character, but by the time the show moved to New York it was changed to a very different design. This was  possibly in the quest to appear more comic, as a frequently repeated criticism of the show was that it wasn't as humorous as The Wizard of Oz.

The picture on the right shows the two versions of the soldier; on the left is the Chicago soldier, while the New York version is on the right. The Broadway soldier does look quite a bit more toy-like than his predecessor.

The back of the drawing has the name "Mr. William Norris" and "Sketch 64". A small note at the bottom reads "shoes to be made by Mr. Siedle". Husband and wife worked on a number of shows together, in their separate capacities of costumes and props, and it's not unusual to see both listed in programs.

The photo below shows the original costume in use in the Chicago production, during the dance of the toys; Alan is circled in red. At the top of this post is a photo of a large poster for a touring company of the show that played at Kaier’s Grand Opera House in the small town of Mahanoy, Pennsylvania. This was discovered when some construction demolition revealed it plastered to the side of a building; it was photographed before construction continued.

Babes in Toyland - 1903

After the runaway success of The Wizard of Oz, a new show was required to try and match its illustrious predecessor. Babes in Toyland took its place at the Majestic Theatre and was billed as “the successor to The Wizard of Oz”; not a sequel, but an extravaganza in the same vein and hopefully an even greater hit.

Indeed, everything about the show feels like an attempt to outdo the previous production. The show was a success, perhaps not on quite the scale of The Wizard, and over the years it’s been revised and revived until today it’s a more familiar property than the 1903 stage version of The Wizard of Oz; this was surpassed by the 1939 MGM film adaptation of the book.

 

The protagonists of Babes in Toyland are Jane & Alan, a pair of orphans living with their Uncle Barnaby. Caroline Siedle's designs for the primary costumes of the pair use exaggerated details which help to mask the fact that these "children" were being played by adult actors. Alan was played by William Norris, and Jane was played by Mabel Barrison.

Both costumes are quite striking, with the striped and checkered patterns of the russet and beige fabric; The horizontal stripes on Jane’s dress were changed to vertical, but otherwise the finished costumes were quite faithful to Siedle’s original design. A note on the back of the drawing for Jane reads "old style striped goods to be selected", referring to the choice of material for the costumes.

Jane did lose her long braids at some point after the show opened in Chicago; by the time it played in New York, she had a softer hairstyle. In Siedle’s drawings the characters carry wooden pails, making me wonder whether the pair were originally going to be named Jack & Jill!

A December 1903 article in the New York Daily Tribune talks about the success of adult actors in childlike roles:

 

“I just act kiddish” said Mabel Barrison, who plays the leading part of Jane, when she was asked how she acted the part of a child. “It’s hard to explain. I suppose my dress makes me look a trifle young, with its high waist and its wide flounce. Then you want to toe in a bit, put your finger in your mouth once in a while, and drawl your words a little. A woman needs a round face for the child part more than a man. She doesn’t want to be too stout either. But stoutness does not make so big a difference if you move around lively. No, I don’t get any letters from children. Alan and the other boys get all the letters.  Ain’t it a pity?” 

Several fan letters written from little girls to the "children" on the stage were included. The author points out that the "little girls" onstage don't tend to get letters, but the boys - regardless of being played by men or women - do. 

 

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.

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!