Louis Cole: Brazil's Black Gay Crooner (1908-1957)

 

Louis Aaron Cole was born July 5th, 1908 in Baltimore, Maryland to Lottie and Thomas Cole.

In 1926, shortly after graduating from Dunbar High School, he departed west for Chicago, working as a dancer at the Vendome Theater. The following year, he returned east to Harlem, dancing at Connie’s Inn and the Kentucky Club with Duke Ellington’s orchestra.

During the summer of 1927, he landed a supporting role in Clarence William’s “Bottomland” at New York’s Princess Theater.  Following this engagement, Louis began building a name for himself as a popular female-impersonator at Harlem’s Lenox Club, a popular risqué interracial cabaret located between 143rd Street and Lenox Avenue. A popular establishment for New York’s gay community, Louis became extremely close with white, homosexual writer and photographer.

By mid-1928, Louis Cole found himself as the primary star of the Lenox Club’s extravagant floor show, “The Lenox Club Revue”, which ran for at least 11 months. In October, he found a place in Earl Dancer’s “Deep Harlem”, which opened at the Lafayette Theater. Two months later, the show relocated to the Biltmore Theater. 

In January 1929, the show finally opened on Broadway, where it lasted a week before closing. Three months later, that April, Louis starred in “Springbirds”, a floor show at the Cotton Club. The following month, he joined the cast of Lew Leslie’s “Blackbirds of 1929”, boarding the SS Ile-de-France on May 24th bound for France. Opening June 7th, at Paris’ Moulin Rouge cabaret, the spectacle ran for three successful months before returning to America in early-September 1929. For the next five months, Louis remained with the revue, as it continued it’s US tour across Washington DC, Newark, Brooklyn, Pittsburgh, Lansing, Detroit, Indianapolis and Chicago before the show finally closed early 1930.

In the spring of 1930, Louis returned to the Lenox Club, quickly reclaiming his spot as the star of its floorshows. That April, he returned to Paris as the star of Eugene Newton’s “Chocolate Revue”. Not only was he showcased as a dancer, but he was now a popular vocalist as well. The show briefly had a run at the Gaiety cabaret before being shut down by French authorities. The show moved over to Eugene Ballard’s Embassy cabaret, where it was revamped and reorganized as, “Revue Noire: Hot Stuff”. Louis also doubled after hours at the Enfants-Terrible restaurant, Boeuf-Sur-Le-Toit and Chez Florence. In September, once the revue closed, he departed for a tour of the French Riviera and Hungary.

Photo by Van Vechten (July 1931)

Early-1931, Louis became a regular vocalist at Ada “Bricktop” Smith’s nightclub, Chez Bricktop. He also soon became her pianist and secretary, soon moving into the top floor of her mansion located in the lavish Parisian suburb, Bougival, 40 minutes west of Paris. On February 3rd, alongside Bricktop, Josephine Baker and many other African-American entertainers, performed at the “Bal des Petits Lits Blanc”, an annual charity event held at the Paris-Opera. 

Bricktop and Louis Cole (1930s)

Throughout 1931-1933, besides performing at Chez Bricktop, he also appeared at various nightclubs and private parties around Paris, even reuniting with Carl Van Vechten in July 1931, photographed him in the streets of Paris. During the summer of 1932, Louis departed for a brief German tour. The following summer, accompanied by Freddie Johnson’s All-Star Orchestra, he recorded three songs for the French Brunswick Recording Company. He also began making frequent appearances on Radio Poste-Parisien.

Grill-room of the Cassino Atlantico

In 1934, with France plunged into economic depression, Louis ended his partnership with Bricktop, becoming a vocalist with Romeu Silva’s Orchestra, which was mostly composed of African-American musicians. Throughout 1934-1935, he began appearing around the French Riviera and Paris. In May 1935, he left Europe for the final time, traveling to Brazil with a contract to appear in Rio de Janeiro’s brand new, ultra-modern Cassino Atlântico. Opening late-February 1935, the Atlântico became the most successful casino in the Brazilian capital. Droves of wealthy businessmen, gamblers and tourists from Europe and North America flocked to the casino nightly to lose their money and enjoy the elaborate floor shows held in the grill-room. Louis Cole’s appearance was not mentioned by the Brazilian press. This was a tactic organized by the artistic directors of the Cassino Atlântico, who used Louis’ nightly surprise performances as a way to compete with the nearby Cassino da Urca, who had its own Black band, Julio Galindo’s orchestra. After Romeu Silva’s contract ended early-1936, he and his orchestra departed for Argentina. However, Louis Cole remained in Rio, as a resident entertainer and artistic director of the Cassino Atlântico. He also became bandleader of the newly organized Orquestra do Cassino Atlântico, which made daily appearances on Radio-Ipanema.

Romeu Silva

In May, he was working once again Romeu Silva, Louis made his only known film appearance, as a vocalist in Luiz de Barro’s *O Jovem Tataravô*. The film was released several months later, on September 14th. From 1936-1946, Louis Cole was the top vocalist and bandleader at Rio’s Cassino Atlântico. In Between his casino and radio appearances, Louis and his orchestra also began frequenting Sao Paulo for quick engagements at the Palácio de Rádio.

In February 1938, as Brazil was celebrating Carnival, Louis staged an elaborate revue at the Atlântico, “As Pastorinhas”, based on a popular 1934 song composed by João de Barro and Noel Rosa as well as being a personal favorite of Louis. Brazilian press immediately declared the song as the theme for Brazil’s Carnival of 1938. 

Rio de Janeiro (1940s)

As WWII broke out, instead of returning to the United States, Louis renewed his passport and moved into a lavish Copacabana apartment at 128 Rua Santo Clara. By 1940, Louis was performing in fluent Portugese onstage. That summer, he also recorded two congas for Brazil’s Victor Recording Company. His orchestra also accompanied the vocalists: Linda & Dircinha Batista in several sessions. The following year, Louis and his orchestra returned to the recording studio again to accompany Edmundo Silva and Nilton Paz.

Cassino Atlántico 

Throughout the 1940’s, Louis Cole continued to enjoy overwhelming success with Brazilian audiences until April 30th, 1946, when President Eurico Gaspar Dutra. The management of the Atlântico quickly converted the massive casino-hotel into a cabaret, the O Atlântico Nightclub. This establishment continued to run possibly until 1947. Afterwards, Louis’ Orquestra do Cassino Atlântico disbanded and throughout 1948, he became a vocalist at Chez Penny, another local cabaret.

In 1949, Louis Cole became the premier entertainer at Rio’s Club Vogue, a brand new cabaret, which since 1946, had replaced the old Atlântico as the latest hotspot in Copacabana. By 1950, Louis had quickly taken over the Orquestra do Vogue and recorded his debut album, “Uma Noite No Vogue”, which consisted of four popular American numbers performed by Louis himself and seven sambas performed in Portugese by other musicians in his orchestra. He soon purchased a home at 112 Rua Santo Amaro in the cozy hilltop Bairro Glória in Central Rio de Janeiro, where he resided with his lover, Leal Gomes.

Club Arpege (September 9, 1955)

Louis Cole reigned at Club Vogue from 1949-1955. In October 1955, while appearing in Sao Paulo, Club Vogue suddenly burned to the ground. For the next 10 months, Louis remained in Sao Paulo, appearing in various establishments around the city and performing on early Brazilian television programs. In July 1956, after much difficulty, Louis was able to open a brand new Club Vogue in Sao Paulo, with funding from African-American pianist, Claude Austin (an old friend from his Romeu Silva days). However, the cabaret closed several days later.

Copacabana (1957)

In January 1957, Louis and Claude had returned to Rio with an extended six-month contract with Club Rio. In April, Louis was suddenly hospitalized for an unknown ailment and the press soon announced his death. This proved to be false, when he returned to performing the following night. However, on May 14th, 1957, at 1:00 p.m., Louis Aaron Cole was discovered dead in his home from pulmonary tuberculosis, uremia and an asthma attack. On May 16th, after a catholic ceremony held at his favorite church, Louis Cole was buried at the nearby Cemitério de São Francisco Xavier.

Arabella Fields: Schwarze Nachtigall (1879-1933)

Arabella Fields (1879-after 1933)

Sarah Arabella (or Isabella?) Middleton was born in Philadelphia, Pennsylvania on December 31, 1879. Currently, there is absolutely no information about her parents, although its possible they immigrated to Philadelphia shortly after the American Civil War.

Stockholm (April 1895)

In July 1894, at the age of 14, Bella Middleton was recruited into Cunningham's "San Francisco Minstrels", a vaudeville troupe consisting of four men: James C. Fields (Mar.4, 1860 - Washington DC), William Campbell (Apr.29, 1866 - Washington DC), John Walter Brown (Nov.14, 1866 - Washington DC), Joseph Samuel Papisco (Feb.28, 1870 - Newark) and four women: Sarah Price (May 14, 1875 - Washington DC), Laura Charlotte Miller (Feb.2, 1873 - Philadelphia), Ida Day (Nov.25, 1875 - Washington DC), Bella Middleton (Jan.31, 1879 - Philadelphia). The majority of the cast's previous musical experience is unknown except for William Campbell, who had been touring Europe since 1890, and the young Bella Middleton (who recalled in a 1931 interview that she had appeared as Topsy in a production of "Uncle Tom's Cabin" before traveling to Europe. Having previously organized the failed "Afro-American Specialty Company" in 1891, Canadian theatrical agent, Robert A. Cunningham was eager to organize another show to bring over to Europe. 

The one act show consisted of nine parts:

1. Tenor Solo (J.W. Brown)

2. Old Folks at Home (B. Middleton)

3. Quintessential of Women

4. Mixed Quartet

5. Sweet Music Strings

6. Cotton Pickin' on the Plantation

7. Dancing is the best Inception (W. Campbell)

8. Big Song and Dance

9. Knuckles and Tambourines

1894:

(July ?) Sails to Hamburg

(July 20) Hamburg, Germany- Flora Theater 

(August 22-September 23) Berlin, Germany- Flora zu Charlottenburg 

-October-

-November-

(December 16-January 30) Copenhagen, Denmark- Nationals Variete 

1895:

(January 31) Copenhagen, Denmark- Handvaerkerforeningens Festsal

(February 3-9) Aarhus, Denmark

(February 28-March 24) Christiania, Norway- Eldorado

(March 28-April 13) Goteborg, Sweden 

(April 17-20) Stockholm, Sweden- Blanch's Café 

(May 2) Linkoping, Sweden

(May 3) Kalmar, Sweden

(May 4) Vaasa, Finland

(May 7-11) Norrkoping, Sweden

(May 13-18) Oreboro, Sweden

(May 24-27) Riga, Latvia - Kaiserlichen Garten

(June ?) Saint Petersburg, Russia 

(June 28) Helsingfors, Finland- Brunnshuset 

-July-

-August-

-September-

-October-

-November-
(December 20-28) Kharkov, Ukraine- Alhambra Cabaret

1896:

(Janaury 23) Rostov-on-Don, Russia - US Embassy

-February-

-March-

-April-

-May-

(June 4) Moscow, Russia

Arriving in Germany shortly after July 4th, the troupe opened at Hamburg's Flora Theater (Jul.20-Aug.16) where it played for four weeks. A week later, the show made its way to Berlin's immense Charlotteburg Flora Theater (Aug.22-Sep.23) for another month of enormous success with German audiences. For the next two undocumented months, the troupe most likely traversed across other smaller German cities.

Aarhus (February 1895)

On December 16th, the Minstrels arrived in Denmark, opening at the Nationals Variete (Dec.16-Jan.30). After a week in Aarhus (Feb.3-9), the troupe sailed to Norway for a month at the Eldorado Cabaret (Feb.28-Mar.24) in Christiania. On March 28th, the show opened in Gothenburg, Sweden (Mar.28-Apr.13). As their Scandinavian tour continued, audiences began paying closer attention to the youngest member of the troupe, the now 15-year old 'Isabella' Middleton, who's powerful deep soprano voice and her rendition of Stephen Foster's 'Old Folks at Home' kept audiences on the edges of their seats. On May 24th 1895, the troupe arrived in the Russian Empire, appearing in Riga, Latvia's Kaiserlichen Garten (May 24-27). The show later made its way to St. Petersburg and Helsinki's Brunnshuset (Jun.28). During the course of their Russian tour, baritone singer James C. Fields married the sixteen year old Bella Middleton. Born March 6th 1860 in Washington DC, not much is known about the Mr. Fields as hardly any records of him exist. His mentions in his passports, that his last American residence was at 1303 27th Street in DC's southeastern Fairlawn neighborhood, which until 1940 was a very underdeveloped rural district of the city. 

Kharkov (December 1895)

Six months later in December, the troupe arrived in the Ukrainian city of Kharkov, where they appeared at the Alhambra Cafe-Concert. At this point, the young Arabella had become the star of the troupe, billed as the "Black Patti". The following month, the show travelled further east to the city of Rostov-on-Don. After June 1896, the troupe disappeared, several of the members returning to America. Throughout 1897-1899, Arabella, as the Black Patti continued touring Russia as a solo artist.

In the winter of 1899, James and Arabella left for a European tour, the earliest appearance being at Prague's Etablissement Sykora (Nov.1-15) alongside another Afro-American singer known as Miss Rosebuds. The following month, the couple traveled southwest to southern Germany, performing at Augsburg's Apollo Theater (Jan.1-15, 1900).

In December 1900, James Fields organized the "American Jubliee Singers" consisting of James & Bella Fields, James Terry, Mr. Nappy, Alfonzo Colbert and Ida Ennis. The troupe toured across the Netherlands, England and France for the next ten months (December 1900-August 1901). During this tour, Bella Fields was first advertised as the "Black Nightingale" direct from Philadelphia's musical conservatory. Throughout this tour, she was always accompanied by her husband and manager, James who was always bedecked in medals presented to him by Tsar Nicholas II during their time in Russia. 

1900:

(January 1-15) Augsburg, Germany- Apollo Theater 

-February-

-March-

-April-

-May-

-June-

-July-

-August-

-September-

-October-

-November-

(December 4) Zwolle, Holland- Buitensocieteit

(December 9-11) Leuwaarden, Holland- Harmoniezaal 

(December 13) Sneek, Holland- Amicitia Theater 

(December 17) Apeldoorn, Holland- Tivoli Theater

(December 31) Leuwaarden, Holland- Stadschouwburg

1901:

(January 4-5) Groningen, Holland- Harmoniezaal 

(January 7) Veendam, Holland- Hotel de Boer 

(Februry 8) Amsterdam, Holland- Odeon Theater

(February 9) Zwolle, Holland- Zwolle Casino 

(February 12) Eindhoven, Holland- Harmonie Apollo 

(February 17) Delft, Holland- Stads Doelen 

(March-June) British Tour 

(July 5-August 3) Paris, France- "Uncle Tom's Cabin" Theatre Porte St. Martin

-August-

-September-

-October-

-November-

-December-

James & Bella Fields reappear early-1902, performing at Rotterdam's Casino Variete (Jan.1-15). That summer, they were at Berlin's American Embassy (Jul.4) applying for a passport to return east to the Russian Empire, where they were probably residing. However, by August, Arabella was engaged at Hamburg's Hansa Theater (Aug.23) billed as a solo artist, her husband nowhere in sight. Possibly, James Fields continued onwards to Russia on his own.

Arabella resurfaces the following year in the Danish capital, performing at the Tivoli Gardens (Sep.30, 1903). She was later booked for two weeks at Copenhagen's Folketheatrets (Nov.3-15) dancing alongside a dark-skinned "Indian" (possibly James Fields). During her Danish engagement, her cakewalk enticed a young pharmacist, Victor Jorgensen and the two quickly carried on an affair. Sunday, November 1st, Arabella was also engaged in the nearby city of Odense. When she left for her engagement there, her Danish lover accompanied her as her new impresario. The following morning, Jorgensen's mother arrived with the police demanding him to return home and threatening the tearful African-American singer. Jorgensen returned with his mother and Arabella returned to Copenhagen to continue her engagement there.

Hamburg - Tivoli Garten (October 1904)

Early 1904, Arabella was back in Germany, performing at the Residenz Theater (Jan.1-15) in the town of Gera, 47 miles south of Leipzig. This was followed by two more weeks at Berlin's Unions-Brauerei (Jan.16-31) a beautiful leafy beer garden on the Hasenheidestrasse. Three months later, she was at Gustav Behren's Specialitäten Theater (Apr.1-15) billed as Princess Bet-Ti-Filds. That summer, she was employed at Reinhardt's Sommertheater (Jun.16-Jul.20), where she is first mentioned performing German lieder and arias. That fall, while performing at Hamburg's Tivoli Garten (Oct.7-25), Arabella won first place in a German beauty contest. During this time, Arabella met 26-year old German pianist and impresario, Engelhardt Albert Georg Winter. Born December 29, 1878 in Bremen's Gropelingen district to Antoinette Marie Caroline Lulling and Georg Gottfried Winter. Arabella frequently referred to her her husband as being Dutch, so it's possible Engelhardt had Dutch heritage. From 1897-1898, Engelhardt served in the Jager Battalion #9 before returning home to Bremen, residing at Humboldtstrasse 75 (1903) and beginning a career as a pianist. The young Engelhardt possibly met the young American entertainer in Hamburg and soon afterwards the couple married. The couple may have settled into an apartmen in the three-story Humboldstrasse house in the cozy Steintor district.

That summer, now managed by her German husband, Arabella embarked on a 31-month tour across the Netherlands, Austria and the German Reich. 

1905:

-Disappears for 5 months-

(June.11-12) Heerenveen, Holland - Concertzaal Posthuis

(July 1-31) Berlin, Germany - Walhalla Theater

-August-

(September 16-30) Dresden, Germany - Variete Konigshof

-October-

(Nov.16-30) Bremen, Germany - Tivoli Theater

-December-

1906:

(January 1-31) Chemnitz, Germany - Kaiser Cafe

-February-

-March-

-April-

-May-

-June-

(July 16-31) Karlsbad, Austria - Hotel Weber

(August 1-10) Amsterdam, Holland - Concertzaal Panopticum 

(August 16-31) Cologne, Germany - Apollo Theater

(September 16-31) Gorlitz, Germany - Wilhelm Theater

(October 1-15) Lwów, Austria - Colosseum Hermanów

(October 20-28) Teplitz, Austria - Schwan Theater

-November-

-December-

1907:

-January-

-February-

-March-

(April 1-30) Dresden, Germany - Variete Konigshof

-May-

(June 16-30) Reichenburg, Austria - Meininger's Theater

(July 16-30) Prague, Austria - Variete Schoebl

-August-

(September 16-October 15) Wurzberg, Germany - Odeon Theater

(November 1-15) Berlin, Germany - Passage Theater

(November 23-December 31) Berlin, Germany - Cabaret Bierabend

Karlsbad (July 1906)

Billed as "La Belle Fields", the tour began in Northern Holland, with Arabella appearing in Heerenveen's Concertzaal Posthuis (Jun.11-12), later moving on to an extensive year-long German tour. On July 16th, 1906, the Arabella opened as the headliner at Karlsbad's Hotel Weber (Jul.16-31) for two weeks. All over the Austrian resort town, her posters could be seen. Visiting American vaudeville artist, Frederic Melville, was so shocked that a 'colored singer' was the headliner of a European variety bill, that he mentioned her performance in the Buffalo Courier (July 29, 1906). The following month, the couple traveled 508 miles northwest to Amsterdam for two-weeks before crossing back into Germany for another 14-month tour across Germany and Austria's Galicia region.

The tour concluded successfully in the winter of 1907 with two weeks at Berlin's popular Passage-Theater in the Lichtprunksaale (Nov.1-16) and six weeks at the Cabaret Bierabend (Nov.23-Dec.31), also located within the massive Passage. During this engagement, she was received high praise for her performance of the beautiful torch song, Sweet Marguerite Farewell! and the cheeky German folk song, Wenn der Auerhahn balzt. Also around this time, Engelhardt decided it was time for Arabella to capitalize on the latest film and recording technologies. In 1902, fellow African-American entertainer Belle Davis had recorded three songs in London with the Berliner Gramophone Co. and five years later in October 1906, Miss Davis and her Piccaninnies appeared in two short films produced by Pathe Film during a Parisian engagement. These films did well commercially, appearing across France, Germany, England, Russia and the Dutch East Indies.

Danish ad mentioning film: "Hello my Baby" (July 9, 1909)

Around December 1907, Arabella made six recordings: six recordings, My Old Kentucky Home, Because I Love You, Farewell Marguerite, Down on the Farm, Home Sweet Home and Swanee River with Anker Phonogramm Records at the Wintergarten. The records were later developed at a studio on the Ritterstrasse. Around this same time, she also appeared in three short films (now lost): "The Whistling Bowery Boy", "Hello, My Baby!" and "The Song that reached my Heart".

Poster advertising her 1908 Italian Tour

In April 1908, she began a 36-month tour, which opened in Italy. Two weeks in Genoa and Turin, both at the Teatro Eden. A month in Florence at the Alhambra. This was followed by a month at Munich's Bluemensaele. In July, she appeared at the Copenhagen's Over Stalden cabaret in a show headlined by Dagmar Hansen Heinemann. As Autumn arrived, her records were being distributed and sold and her films were also being shown in local theaters as she appeared across various European theaters. Critics spoke extremely well of Fields' performances. In October, Arabella began a 8-month German tour (with a brief two-week intermission in Austria), beginning in the Lower Silesian city of Liegnitz.

In May, Arabella arrived for the first time in the Hungarian capital, Budapest for a two-month engagement. A week at the Eloadas Cabaret. One afternoon dancing at the Karolyi Gardens. A week at the Keckemeti Variete Szinhaz, which ended abruptly after a Hungarian cymbalist, Elek Racz inappropriately groping the American singer and the Black Nightingale punching the musician in the face. After two weeks in the Hungarian town of Szabadka, she returned to Italy for two and half months in Genoa, Turin and an appearance on the island of Sicily. She returned north to the Hungarian capital for a month at the Etablissement Tatra. On November 1st, she opened at Vienna's Budapester Variete for a months engagement. While there, she met Austrian composer (and musical director of the Budapester Variete and K.K. Gartenbau), Theodor Wottitz, whose 1899 composition, "Weil Ich dich Liebe" (Because I Love You) she had recorded three winters earlier. On November 27th, Arabella arrived at the American Embassy for the first time in seven years to apply for a passport to enter Romania in four months. At the Austrian Embassy, she also ran into, Joseph Samuel Papisco, an old compatriot from the San Francisco Minstrels, who had been touring with his European wife.

1908:

-January-

-February-

-March-

(April 1-15) Genoa, Italy - Teatro Eden

(April 16-30) Turin, Italy - Teatro Eden

(May 8-31) Florence, Italy - Teatro Alhambra

(June 1-30) Munich, Germany - Kabarett Bluemensaele

(July 1-August ?) Copenhagen, Denmark - Over Stalden

-September-

(October 1-15) Liegnitz, Germany - Central Theater

(October 16-31) Gorlitz, Germany - Wilhelm Theater

(November 1-15) Munster, Germany - Festhalle

(November 16-30) Krefeld, Germany - Monopol Theater

(December 1-15) Bonn, Germany - Sonne Am Markt Theater

(December 18) Linz, Austria - Colosseum Theater

(December 31) Linz, Austria - Kauffmanischen Bereinshauses

1909:

(January 1-31) Dortmund, Germany - Olympia Theater

(January 3) Linz, Austria - Silvesterfeirn

(February 1-15) Cologne, Germany - Apollo Theater

(March 1-15) Schweidnitz, Germany - Volksgarten

(March 22-28) London, England - Shepherd's Bush Theater *cancelled

(April 1-15) Liegnitz, Germany - Central Theater

(April 17-30) Posen, Germany - Apollo Theater

(May 22-28) Budapest, Hungary - Eloadas Cabaret

(June 1) Budapest, Hungary - Karolyi Gardens

(June 15-20) Budapest, Hungary - Keckemeti Variete Szinhaz

(July 1-15) Szabadka, Hungary - Hotel Hillinger

(July 16-August 1) Genoa, Italy - Lido d'Albano

(August ?) Turin, Italy - Teatro Maffei

(September 1) Catania, Sicily - Tournee Villani

(October ?) Budapest, Hungary - Etablissement Tatra

(November 1-28) Vienna, Austria - Budapester Variete

(December 12) Vienna, Austria - Etablissement Gschwandner

1910:

(January 1-15) Brunn, Austria - Bruenner Variete

(January 16-31) Graz, Austria - Orpheum Theater

(February 1-24) Vienna, Austria - Budapester Orpheum 

(February 26) Vienna, Austria - Militarkasino 

(February 28) Vienna, Austria - Etablissement Gschwandner

(March 13-14) Teschen, Austria - Variete Borstellungen & Etablissement Europas

(March 27) Vienna, Austria - Etablissement Gschwandner

(April 1-15) Budapest, Hungary - Castelul de Flori Cinema

(April 16) Vienna, Austria - Grinzinger Wintergarten

(May 1-June 30) Vienna, Austria - Etablissement K.K. Gartenbau

(July 1-8) Budapest, Hungary - Variete az Otthonban

(July 9-August 31) Baden, Austria - Etablissement Schwanke Maxim

(August 6) Baden, Austria - Hotel Buberl

(August 20) Baden, Austria - Goldner Lowe

(September 1-15) Vienna, Austria - Etablissement K.K. Gartenbau

(September 16-31) Budapest, Hungary - Royal Cabaret

(October 1-30) Vienna, Austria - Etablissement K.K. Gartenbau

(October 22-25) Vienna, Austria - Klub der Egerlander

-November-

(December 1-31) Vienna, Austria - Etablissement K.K. Gartenbau

1911:

(January 1-3) Linz, Austria - Colosseum Theater

(January ?) Geneva, Switzerland

-February-

"Nach Zigeuner Art" sheet music (1910)

January 1st, 1910, Arabella found herself in the Austrian town of Brunn, performing for two weeks at the Bruenner Variete (Jan.1-15) then continuing south to the city of Graz for a performance at the Orpheum Theater (Jan.16-31). Afterwards she returned to Vienna for two weeks back at the Budapester Variete (Feb.1-24) and the Etablissement Gshwandner (Feb.28). In March, she travelled to the city of Teschen, where she performed at the Variete Borstellungen (Mar.13-14) accompanied by her husband Engelhardt on piano. While in the city, the couple also appeared in the late hours at the Etablissement Europas. The end of the month, they were back in Vienna once again at the Etablissement Schwandner (Mar.27). In April, the Black Nightingale arrived in Romania, at Bucharest's popular Cinema Castelul de Flori on the Strada Şelari 10, where Romanian audiences were mesmerized by Arabella's unique Red Indian dances.

Vienna's Etablissement Gartenbau

In May, Arabella had once again returned to Vienna for a lengthy 2-month engagement at the Etablissement K.K. Gartenbau (May 1-Jun.30). There she performed several German lieder and attempts to yodel receiving mixed reviews from critics. Her most popular song during this time was Franz Schubert's "Am Meer", a 90-year old song of how the singer and "her" beloved met in silence beside the sea, and he wept; since then she has been consumed with longing — he has poisoned her with his tears. The performance completely intrigued Austrian audiences. 

Mr. & Mrs. Winter on holiday in Baden (July 1910)

On July 1st, she returned to Budapest for a week at the Variete az Ottonban. On July 9th, Herr and Frau Winter took a little vacation in the Austrian spa-town of Baden, residing at Neustiftgasse 15. Shortly afterwards, Arabella began performing at the Etablissement Schwanke-Maxim (Jul.9-Aug.31) dressed in a Styrian dirndl, yodeling and singing, Wenn der Mondschein schon scheint… (When the Moonlight is shining Beautifully). On August 6th, she participated in "Kunstler-Entre-Nous-Abend" at the Hotel Buberl. A week later, the Badener Zeitung covered a detailed account of Arabella's trip (with her entourage) to the Baden Sulphur Baths (Aug.13). On August 20th, she participated in "Wiener Kunstler-Abend" at the Hotel Goldener Lowe. During her last performance in Baden, she once again met with the journalists of the Badener Zeitung, mentioning her happy marriage to her Germanic blond-haired, blue-eyed impresario and flashing her silver wedding ring.

Budapest's Royal Cabaret (September 1910)

On September 1st, Arabella was back in Vienna at the Gartenbau Etablissement for two weeks before leaving for Budapest's Royal Cabaret. In October she returned to Vienna's Gartenbau for another month (Oct.1-30), this time with a brand new repertoire. This was the height of her tour, as Theodor Wottitz had composed the a beautiful new creation for her. She opened with two American numbers, My Old Kentucky Home and Honey Boy, followed by her soulful performance of Unter dem Lindenbaum dressed as a Tyrolean cowgirl, which left the audience speechless. After another costume change, for the finale Arabella performed Kapellmeister Wottiz's Zigeunerart which she sung while dressed a guitar playing gypsy (the audience was also impressed with her skills with the guitar). This final song was followed by loud applause. In the meantime, for a week, she was also engaged for a week at the Klub der Egerlander. After a month's vacation from the stage, Arabella returned to the Gartenbau in December to end the year. Early 1911, Arabella appeared for three days in Linz at the Colosseum Theater (Jan.1-3) once again performing her usual repertoire of two English songs and Shubert's Am Meer, before departing on January 6th for French-Speaking Switzerland (Suisse Romande) possibly appearing around Geneva and Lausanne. 

Leizpig (May 1911)

In February, Arabella had returned home to Germany, appearing the following month at Hamburg's Trocadero Theater. On April 12th, the Winters renewed their Deutsche Passregister (German Passport). Interestingly, Engelhardt listed his occupation as a engineer. Arabella resumed touring again for another 34-months, beginning May 1911 in Leipzig. This tour took her once again across the European continent and a new exotic destination, Turkey.

1911 (Continued):

(May 1-31) Leipzig, Germany - Kabarett Blumensaele

(June 1-15) Vienna, Austria - Etablissement K.K. Gartenbau

(June 16-30) Frankfurt, Germany - Kristallpalast

(July 1-31) Dresden, Germany - Trocadero Kabarett

-August-

-September-

(October 1-31) Hamburg, Germany - Eden Theater

(November ?) Frankfurt, Germany - Kristallpalast

(Decmber 1-February 29) Vienna, Austria - Etablissement K.K. Gartenbau

1912:

(February 26-29) Vienna, Austria - Nues Orpheum Theater

(March ?) Bucharest, Romania

(April 1-15) Constantinople, Turkey - Kafesantan Parisiana

-May-

(June 12-28) Budapest, Hungary - Szegedi Orfuem 

(July 1-August 31) Frankfurt, Germany - Kristallpalast

(September 1-16) Wurzburg, Germany - Palast-Theater Variete

(October 1-15) Cologne, Germany - Cabaret Simplizissimus

(November 16-30) Bolzano, Austria - Deutstches Variete

(December 1-15) Merano, Austria - Cabaret Marchetti

(December 16-31) Linz, Austria - Colosseum Theater

1913:

(January 1-15) Frankfurt, Germany - Kristallpalast

(February 16-28) Mainz, Germany - Apollo Theater

(March 1-31) Munich, Germany - Kabarett Bluemensaele

(April 15-30) Augsburg, Germany - Apollo Theater

(May 1-15) Nuremberg, Germany - Spever's Wintergarten

-June-

(July 1-15) Cologne, Germany - Cabaret Simplizssimus

-August-

(September 1-30) Cologne, Germany - Metropol Bierpalast

(October 16-31) Stuttgart, Germany - Friedrichbau Variete

-November-

-December-

1914:

(January 1-31) Dusseldorf, Germany - Pavillon Mascotte

(February 1-28) Hamburg, Germany - Eden Theater

-March-

-April-

(May 1-15) Hamburg, Germany - Rathaus Cafe

In May, Arabella was performing in Leipzig at the Kabarett Blumensaele. The following month, she returned to Vienna for another return engagement at the Apollo Gartenbau (Jun.1-15) before heading to Frankfurt for an appearance at the Kristallpalast (Jun.16-30). In July, she engaged in Dresden for two months at the Trocadero Kabarett with the American duo, Rastus and Banks. Followed by an appearance at Hamburg's Eden Kabarett (Oct.1-31), Frankfurt's Kristallpalast (Nov) and ended the year back in Vienna for three months at the Apollo Gartenbau (Dec.1-Feb.24), her final noted performance at the establishment. On February 25th, 1912, Arabella visited Vienna's American Embassy for an emergency passport for an upcoming Romanian concert. For her final week in Vienna, she appeared at the Nues Orpheum Theater (Feb.22-29) alongside Kapellmeister Herman Steinitz. In March, she made her appearance in Bucharest before traveling into the Ottoman Empire's capital Constantinople, where she appeared for two-weeks at the Kafesantan Parisiana (Apr.1-15). By the summer, Arabella had returned to Europe, appearing at Budapest's Szegedi Orfeum (Jun.12-28), Frankfurt's Kristallpalast (Jul.1-Aug.31), Wurzburg's Palast Theater (Sep.1-16), Cologne's Cabaret Simplizissimus (Oct.1-15), in November she was touring the Tyrol region performing at Bozen's DeutchesVariete (Nov.16-30) and Meran's Kabarett Marchetti (Dec.1-15) before ending the year in Linz at the Colosseum Theater (Dec.16-31).

Stuttgart (October 1913)

The year 1913, was another successful year of touring, although for the first time in nine years, Arabella primarily remained within the borders of Germany performing at Frankfurt's Kristallpalast (Jan.1-15), Mainz's Apollo Theater (Feb.16-28), Munich's Kabarett Blumensaele (Mar.1-31), Augsburg's Apollo Theater (Apr.15-30), Nuremburg's Spever Wintergarten (May 1-15), Cologne's Cabaret Simplizissimus (Jul.1-15) and Metropol Bierpalast (Sep.1-30). Her last noted performance that year was in Stuttgart at the Friedrichbau Variete (Oct.16-31). 

Early 1914, Arabella was performing in Dusseldorf at the Pavilion Mascotte (Jan.1-31), the following month, she was was once again in Hamburg, performing at the Eden Theater (Feb.1-28). Three months later, she had moved over to the Rathaus Café (May 1-15). 

1915:

(June 16-30) Wiesbden, Germany - Vergnügungspalast

-July-

(August 30) Bremen, Germany - German Embassy

-September-

(October 1-31) Amsterdam, Holland - Taverne Grand Gala

(November 1-15) The Hague, Holland - Scala Theatre 

(November 22) Rotterdam, Holland - New American Concert Hall

(December 17) Groningen, Holland - Bioscoop Cinema Palace

Painting by Geert Grauss (c. 1915)

In the summer of 1915, Arabella traveled southwest to the spa town of Wiesbaden to the province of Hesse-Nassau, for a two-week appearance at theVergnügungspalast (Amusement Palace). Two months later, the Winters resided for two weeks at Auf der Brake 2 in Bremen's Mitte District. During this time, they filed for passport with the German Embassy, receiving them on August 30th.

The couple then traveled to the Netherlands, establishing a residence in Amsterdam and where for the next four months, Arabella made appearances across the tiny neutral country in Amsterdam, The Hague, Rotterdam and Groningen. During her short Dutch tour during the winter of 1915, she became acquainted with composer, Armand Haagman, who composed for her, Arabella's most popular song during her sourjurn in the Netherlands, "My Indian Boy". The song was advertised as early as December 13th, 1915.

1916:

(January 1-15) Wiesbaden, Germany - Vergnügungspalast

(February 1-March 15) Amsterdam, Holland - Taverne Grand Gala

(April 23) Arnhem, Holland - Musis Sacrum Concertzaal

(May 1-15) The Hague, Holland - Palace Music Hall 

(May 18-21) Tilburg, Holland - Palace Wintergarden

(May 26) Rotterdam, Holland - Cafe Pschorr

(June 22) Breda, Holland - Cinema Hof van Holland

(June 23) Rotterdam, Holland - Cafe Pschorr

(July 6-13) Leiden, Holland - Thalia Theatre

(July 29-31) Rotterdam, Holland - "Great Song Contest" Metropole Theatre

(August 1-12) Middelburg, Holland - "Chanteuse Contest" De Oude Schouwburgzaal

(August 13) Vlissingen, Holland - Schouwburgzaal

-September-

(October 1-15) The Hague, Holland - "International Soubrette Contest" Palace Concert Hall

-November-

(December 15-16) Groningen, Holland - Bioscoop Palace

(December 29) Leiden, Holland - Thalia Theater 

(December 30-January 13) Amsteram, Holland - Taverne Grand Gala

1917:

(January 21) The Hague, Holland - Palace Concert Hall

-February-

-March-

(April 16-28) Amsterdam, Holland - Taverne Grand Gala

(May 1-15) Rotterdam, Holland - "Negress Soubrette Concert" De Matador

(May 31-June 27) The Hague, Holland - Palace Concert Hall

(July 15-30) Amsterdam, Holland - Taverne Grand Gala

(August 1-2)Rotterdam, Holland - Cabaret Artistque

(September 1-2) Tilburg, Holland - Societeit Zang en Vriendschap

-October-

(November 1) Rotterdam, Holland - New American Concert Hall

(December 29-January 16) Leeuwarden, Holland - Cabaret Grand Gala

1918:

(February 28) Middelburg, Holland - De Vergenoeging Concertzaal

-March-

(April 16-30) Amsterdam, Holland - Taverne Grand Gala

(May 1) Breda, Holland - Cinema Pathe

(May 3) Breda, Holland - Cinema Hof van Holland

-June-

-July-

(August 27) Amsterdam, Holland - "Benefit avond Max Divert" Taverne Grand Gala

(September 20-26) Groningen, Holland - Luxor Bioscoop Theater

(October 11-17) Haarlem, Holland - Cinema Palace

(October 29) Breda, Holland - German Embassy

(November 1) Rotterdam, Holland - New American Concert Hall

(December 1-15) Amsterdam, Holland - Taverne Grand Gala

1919:

(Janaury 7) The Hague, Holland - Karseboom Cabaret

(Janaury 16-31) Amsterdam, Holland - Taverne Grand Gala

(February 7-10) Haarlem, Holland - Cinema Palace

(March 16-31) Rotterdam, Holland - Gebouw voor Kunsten en Wetenschappen

-April-

(May 1) Breda, Holland - Cinema Pathe

(May 24) Hamburg, Germany - German Embassy

(June 4-11) Zandvoort, Holland - Cabaret de Paris

(July 1-15) Rotterdam, Holland - Gebouw voor Kunsten en Wetenschappen

-August-

(September 29-October 31) Utrecht, Holland - Hotel de l'Europe

(November 1-14) The Hague, Holland - Pavillon Mascotte

(December ?) Amsterdam, Holland - Folies-Bergere Cabaret

(December 23) Haarlem, Holland - Jacob van Lennep Cabaret

(December 31) Breda, Holland - Pergola Theater

After a brief two-week appearance in Germany, from 1916-1920, The Winters settled in Amsterdam at 21 Huunstraat and Arabella was innudated with numerous contracts from Dutch theatrical agents, as she was employed during this five year period, criss-crossing across the Netherlands non-stop.

1920:

-January-

(February 1-4) Amsterdam, Holland - Cabaret de la Monnaie

-March-

-April-

-May-

-June-

-July-

-August-

-September-

-October-

(November 8-15) Hamburg, Germany - Eden Theater

-December-

1921:

-January-

-February-

-March-

(April 9) Bremen, Germany - Deutscher Garten

-May-

-June-

-July-

-August-

-September-

-October-

(November 17-January 27) Salzburg, Austria - Hotel Horn

1922:

(February 14) Vienna, Austria - Zirkus Metropol

(February 27) Vienna, Austria - Kasino Monte Carlo

-March-

(April 1-5) Prague, Czechoslovakia - Alhambra Theater 

-May-

-June

-July-

-August-

-September-

-October-

(November 6) Vienna, Austria - Ronacher Theater

(December 8-February 4) Budapest, Hungary - Cercle des Estrangers

1923:

-March-

-April-

-May-

-June-

-July-

-August-

-September-

-October-

(November 24) Belgrade, Yugoslavia - Palace Hotel

-December-

On April 29th, 1920, Arabella's German passport expired and she returned to her adopted home of Germany. Seven months later, she opened in Hamburg at her old stomping grounds, the Eden Theater for two weeks.

Billboard Magazine (April 1921)

In April 1921, after a short trip to Sweden, Arabella appeared at Bremen's Deutscher Garten. Seven months later, due to Germany's crumbling economy and inflation, the Black Nightingale departed for a 26-month European Tour. On November 17, 1921, she opened in Salzburg for two-and-a-half months at the Hotel Horn. From 1921-1923, her touring took her across Austria, Hungary and Yugoslavia. She may have even appeared in provincial Germany, Italy, Switzerland, Poland, Romania, Bulgaria and Greece. 

The year 1924, Arabella completely disappears. Most likely she returned to Germany, working quietly in various cafes and cabarets around Hamburg.

1925:

(Janaury 1-15) Hamburg, Germany- Eden Theater

-February-

-March-

-April-

-May-

-June-

-July-

(August 24-September 15) Stockholm, Sweden- "Chocolate Kiddies" Cirkus Theater

(September 16-24) Copenhagen, Denmark- "Chocolate Kiddies" Cirkusbyningen

(September 19) Copenhagen, Denmark - Rode Kro Teater

(September 25) Hannover, Germany

(October) Prague, Czechoslovakia

(November 3-19) Budapest, Hungary- "Chocolate Kiddies" Renaissance Szinhazban

(November 20-December 5) Vienna, Austria- "Chocolate Kiddies" Raimund Theater

1926:

(January 9) Frankfurt, Germany- "Chocolate Kiddies" Thalia Theater

(January 14-Februry 10) Barcelona, Spain- "Chocolate Kiddies" Teatro Olimpia

(February) Madrid, Spain- "Chocolate Kiddies" Circo Price

(March 14-16) Riga, Latvia

(March 19-May 5) Moscow, USSR- "Chocolate Kiddies" Gostsirk

(May 8-23) Leningrad, USSR- "Chocolate Kiddies" Music Hall

(May 28) Konigsberg, Germany

(June 4-11) Danzig, Germany- "Chocolate Kiddies" Wilhelm Theater

(July 14-27) Berlin, Germany- "Black People" Metropol Theater

(August 18) Saltsjobaden, Sweden- "Black People" Grand Hotel

(August 14-26) Stockholm, Sweden- "Black People" Vaasa Teatern

(September 9-14) Oslo, Norway- "Black People" Casino Theater

(September 15-18) Hamburg, Germany

(September 19-23) Bremen, Germany- "Black People" Schauspielhaus

(September 25-October 3) The Hague, Holland- "Black People" Gebouw Wetenschappen

(October 4) Haarlem, Holland

(October 5-6) The Hague, Holland- "Black People" Gebouw Wetenschappen

(October 7-10) Rotterdam, Holland- "Black People" Groote Schouwburg

(October 16-22) Amsterdam, Holland- "Black People" Paleis Volksvlijt

(October 23-26) Dusseldorf, Germany- "Black People" Apollo Theater

(November 2-11) Munich, Germany- "Black People" Deutches Theater

(November 15-18) Zurich, Switzerland- "Black People" Corso Theater

(November 23) Basel, Switzerland

(December) Italy

Madrid (February 1926)

By January 1925, Arabella was back home in Hamburg, appearing for two weeks at the Eden Kabarett-Theater for it's final season (It would be sold and converted into a pub the following year named Gastwirtschaft Oberbayern). 

During the summer, an Afro-American Jazz revue named, "Chocolate Kiddies", swept across Germany with major success and lots of publicity. The cast included Adelaide Hall, Lottie Gee, Greenlee & Drayton and Sam Wooding's Orchestra. Arabella most likely caught a glimpse of the show during its two-week run at Hamburg's Thalia Theater (August 9-23). Shortly afterwards, as the revue departed for Scandinavia, the former Black Nightingale was given a place in the show, performing duets with baritone, Arthur "Strut" Payne. The show played Sweden and Denmark for a month. During the Danish engagement, Arabella also doubled over at the Rode-Kro Teater on her own. During the fall of 1925, the show left for a tour of Czechoslovakia, Hungary and Austria before returning to Germany in January 1926. 

Moscow (March 1926)

From January to February 1926, the revue appeared in Spain, at popular venues in Barcelona and Madrid. The Chocolate Kiddies company arrived in Moscow that spring, where the show performed at the People's Circus, on Bolshaya Sadovaya Street. In May, the revue also performed in Leningrad at the Leningrad Music Hall. The Chocolate Kiddies returned to Germany that summer and merged with the remnants of the tab show, La Revue Negre, before dissolving in mid-June.

In July 1926, Afro-American dancer, Louis Douglas, reruited Arabella to join his "Black People" company. For the next eight months, the company appeared in Germany, Sweden, Norway, Holland, Switzerland, Italy, Spain, Austria, Hungary and Yugoslavia. The company dissolved in March 1927, and Douglas (and other members of the company) departed for the United States to star in "Africana" alongside Ethel Waters. For the next six months, instead of taking this opportunity to return to America (or joining the Chocolate Kiddies on their South American tour), Arabella remained quietly in Germany. When Douglas returned in September, he re-organized the company as the "Black Follies" company, he took the show on another eight month tour across Belgium, Italy, Algeria, France, Spain, Holland, Germany, Romania and Poland. 

1927:

(January 18) Madrid, Spain- "Black People" Teatro Maravillas

(February 13) Vienna, Austria

(February 14-18) Budapest, Hungary- "Black People" Varosi Szinhazban

(February 20) Belgrade, Yugoslavia

-March-

-April-

-May-

-June-

-July-

-August-

(September 9) Brussels, Belgium- "Black Follies" Casino

(October 5) Trieste, Italy

(October 14-15) Turin, Italy

(October 16-17) Bologna, Italy

(October 18) Firenze, Italy

(October 19-26) Milan, Italy- "Black Follies" Teatro del Verne

(November 2-21) Paris, France- "Black Follies" Concert Mayol

(December 13-15) Algiers, Algeria- "Black Follies" Opera d'Alger

(December 24-January 1) Bordeaux, France- "Black Follies" Salle Alhambra

1928:

(January 17-19) Madrid, Spain- "Black Follies" Teatro Comedia

(February 3-12) Barcelona, Spain- "Black Follies" Teatro Novedades

(February 26) Rotterdam, Holland- "Black Follies" Groote Schouwburg

(February 27) The Hague, Holland

(February 28) Arnheim, Holland

(March 1) Utrecht, Holland- "Black Follies" Stadsschouwburg

(March 6) Cologne, Germany- "Black Follies" Reichhallen

(March 15-27) Bucharest, Romania- "Black Follies" Sala Eforie

(April) Warsaw, Poland

(April 24-25) Lodz, Poland- "Black Follies" Philharmonic Hall

-May-

-June-

-July-

-August-

-September-

-October-

-November-

-December-

1929:

(January 25) Amsterdam, Holland- Edison Theater

(February 8) Amsterdam, Holland- Tip Top Theater

-March-

-April-

(May 10-11) The Hague, Holland- Centraal Cabaret-Dancing

(May 25) The Hague, Holland- Florida Cabaret

-June-

-July-

-August-

-September-

-October-

-November-

-December-

The Hague (May 1929)

In April 1928, as Arabella abandoned "Black Follies", she was aproached by British theatrical agents to star in the latest London West End production of "Show Boat" alongside Paul Robeson, set to open May 3rd, 1928, at the Theatre Royal. At a period when African-American Spritiuals and Blues were extremely popular amongst the British public and Black artists such as Zaidee Jackson were successfully recording, touring on variety circuits and appearing on BBC-Radio programs, Arabella Fields could've gained immense success and noteriety amongst the Western European press (and possibly America as well).

Arabella turned down the lucrative offer, instead returning to The Netherlands with her husband for the next two-and-a-half years. As the "Black Venus", Josephine Baker, dominated European stages, the aging Black Nigtingale scrapped by performing a few songs in small, relatively unknown Dutch nightclubs.

1930:

-January-

-February-

-March-

-April-

-May-

(June 3-July 11) Paris, France- "Liza" Theatre Porte St. Martin

(July 26-August 2) Riga, Latvia- "Black Flowers" National Opera

(August 6) Edinburg, Latvia- "Black Flowers" Edinburger Seepavillon

(August 8-9) Tallinn, Estonia- "Black Flowers" Estonia Theater

(August 10-20) Helsinki, Finland

(August 22-30) Copenhagen, Denmark- "Black Flowers" Casino

(September 1-2) Stockholm, Sweden- "Black Flowers" Cirkus Variete

(September 3-16) Djurgarden Island, Sweden

-October-

-November-

(December 17) Venice, Italy- "Black Flowers" Teatro Maliban

1931:

-January-

-February-

(March 14) Frankfurt, Germany- "Louisiana" Schumann Theater

(March 30-April 2) Zurich, Switzerland- "Louisiana" Corso Theater

(April 4-6) Winterthur, Switzerland

(April 29-May 15) Warsaw, Poland

-June-

(July 18) Berlin, Germany- "Louisiana" Deutsche Kunstlertheater

(July 27-31) Riga, Latvia- "Louisiana" National Opera

(August 12-November 28) Nice, France- Studios de la Victorine *filming Baroud

(November 29-December 10) Marrakech, Morocco*filming Baroud

(December 19-January 16) Nice, France- Studios de la Victorine *filming Love In Morocco

Copenhagen (August 21, 1930)

In the summer of 1930, Arabella once again reunited with Louis Douglas in Paris to join his "Black Flowers" company. With a large cast including 26-year old Valaida Snow, the company opened on June 3rd at the Theatre Saint-Porte Martin, where they cast showcased the all-Black operetta, "Liza". This was the same theatre where 22-year old Arabella had appeared in Uncle Tom's Cabin to much acclaim, twenty-nine years earlier. Now 51-year old Arabella was appearing as Liza's Mammy beside the young upcoming vedette, Valaida, who was the star of this operetta and company.

In late July, the Black Flowers company departed for a two-month Baltic and Scandinavian tour.

After traversing around Latvia, Estonia, Finland, Denmark and Sweden, the troupe was renamed the "Louisiana" company and continued touring for the next ten months around Italy, Egypt, Syria, Turkey, Germany, Switerland, Austria and Poland.

July 31, 1931

By July, Irish-American film director, Rex Ingram, who had been occupying the brand new Studios de la Victorine in Southern France, was preparing for his latest film, "Baroud" and needed an older African-American actress capable of speaking in French and English to play the role of the Arab nanny, Mabrouka. No other Black actress in Europe fit that profile but Arabella Fields. Agents chased after Arabella across Poland and Germany until they finally caught up with her in Austria. She was promptly put on a train to the Cote d'Azur to begin filming on August 12th.

For the next four months, Arabella worked closely alongside Ingram, Rosita Garcia, Pierre Batcheff and Roland Caillaux. In-between filming, she occupied herself by drinking and gambling with the film crew. On November 29th, the crew departed for Morocco to film on location in the Atlas Mountains for a month. After filming wrapped up on December 10th, the film crew returned to France to begin filming the English-version of the film, "Love In Morocco", flying back and forth once again between North Africa and the Cote d'Azur. 

After filming wrapped up on January 16th, 1932, 53-year old Arabella Fields disappears, possibly retiring and living quietly in Germany.

Nina Mae McKinney (1912-1967)

 Nina Mae McKinney: The Black Garbo

Nannie Mayme McKinney was born June 12th, 1912 in Lancaster, South Carolina to Georgia Crawford and Hal Napoleon McKinney.

Nannie Mayme's birthplace

Shortly after her birth, her mother, separated from her abusive, alcoholic husband and often would hide in the house of Colonel Leroy Springs (of Springs Industries), whom she worked for as a domestic. 

By 1920, Georgia relocated to Savannah, Georgia, working as a cook for Mrs. Cynthia Withers, her daughter Irene and the rest of the white lodgers. Nannie Mayme remained in Lancaster's Gills Creek neighborhood at her 70-year old paternal grandmother, Mary A. McKinney's home on Gay Street. Her father, Hal supported the family as a delivery man for local drugstore. Later that year, Nannie's mother migrated north to New York, Georgia McKinney, while still in Savannah, remarried to James Edwin Maynor and the couple migrated north to New York. eight-year old Nannie followed them shortly afterwards. However, Nannie's trip north was short lived, and she was sent back down south to stay with her Uncle Curtis and his family in Gills Creek as her father had landed in prison. In 1923, her alcoholic father, serving a prison sentence, escaped from his chain gang, never to be seen in South Carolina again. 

From 1920-1922, Nannie was shifted from relative to relative. After the death of her grandmother, Nannie Mayme was sent to the home of her Great- Aunt Carrie Sanders, who also worked as a maid and a cook for Colonel and Mrs. Leroy Springs, and lived in a small dwelling at the rear of their home.

In 1923, Nannie was sent to live with Col. Springs as a live-in domestic. Her duties were to deliver and collect parcels from the local post office. To entertain herself as she made the trips, she did stunts on her bicycle. She also began performing in small school productions at the Lancaster Training School.

14-year old Nannie Mayme (1926)

Around 1925, 13-year old Nannie Mayme relocated back to Manhattan to stay with her mother and step-father. By the summer of 1927, having decided to give up school completely, Nannie began dancing and singing around Harlem speakeasies. She eventually became close with Bessie Smith's pianist, Porter Grainger, who wrote for Nannie, two rather mature songs for a teenage girl, "Dyin' Crap Shooter's Blues" and "The Band'll Play (Who'd A-Thought It?)". Nannie recorded the two songs at Brunswick Studios at 799 7th Avenue on June 24th. Unfortunately, the songs were only used as tests and never released. 

Ten months later, on April 20th, 1928, a determined Nannie, accompanied by pianist J. C. Johnson, Nannie recorded two Blues numbers with Gennett Records, "Do What You Did Last Night" and "There's Been Some Changes Made". Most likely because of her contract with Brunswick, she recorded under the name, Alice Clinton. 

Blackbirds of 1928 Program

Since January 4th, 1928, Lew Leslie's "Blackbirds Revue" had playing at the Les Ambassadeurs Club. However, by May 9th, the show was renamed "Blackbirds of 1928" and moved over to the Liberty Theatre, where it ran for a successful 518 performances. Nannie probably didn't join the revue until after her 16th birthday, and probably was brought in as last minute replacement for another chorus girl. 

Nannie was now apart of the Blackbirds Beauty Chorus Girls, as Nina Mae McKinney. 

Hallelujah cast members in Memphis (1928)

Early October 1928, during Blackbird's last weeks at the Liberty Theatre, director, King Vidor had arrived in New York searching for actors for his upcoming all-Black soundie, "Hallelujah!". Actor Daniel L. Haynes and dancer, Honey Brown from Club Highland were to be stars of the film. Throughout October, during the film casting in Harlem, Nina made it a daily task to walk back and forth in front of the building in order to catch the attentions of King Vidor. In no time, she landed a minor role in the film.

On October 15th, "Blackbirds" moved over to the Eltinge Theatre for two weeks. Afterwards, the show packed up and moved to Boston for 21 days, however Nina never followed the show to Boston. Instead, along with her mother, she boarded a train west to Memphis, joining the cast of Hallelujah to begin filming. After two weeks spent filming exterior shots in Tennessee and Arkansas, on November 17th, the cast arrived in Culver City, California, to begin filming interior shots at the Metro-Goldwyn-Mayer Studios.

On December 5th, after Honey Brown was injured, it was announced the Nina was to replace her as the new star of the film. During the filming, Nina paired with 39-year old Daniel Haynes ad together they performed in local establishments such as the Mayfair Club and Hotel Somerville. Around this time, Nina returned to the recording studio to record two numbers from the film, "Swanee Shuffle" and "If You Want My Love, You Gotta Do More Than That". Unfortunately, the second was cut from the film and never released. 

On March 20th, 1929 Nina, Daniel Haynes and Victoria Spivey appeared on Radio-KHJ at 9pm. Nina performed numbers from Blackbirds, "I Must Have That Man" and "Diga Diga Doo". 

On May 20th, 1929, it was announced the 17-year old Nina Mae was engaged to James Marshall, director of Harlem's Lafayette Theatre. This event coincided with Nina signing a five-year contract with MGM, making her the first African-American major Hollywood film star.

Nina returned to New York early-May to spend time with her parents and new fiancé. During this time, she also working as a domestic for Col. Leroy Springs, who also had a residence in New York, caring for his ailing wife. Nina remained in New York to appear at the Embassy Theatre on August 20th for the premiere of "Hallelujah!", which was an immense success and secured Nina place as America's latest star. The following day, it was also quietly announced that Nina had wed James Marshall. However there was no more mention of the shortly lived marriage and Nina returned to California in September, moving into the Hotel Dunbar and travelling daily to Culver City to film, "The Bugle Sounds", "Manhattan Serenade" and "They Learned About Women". In between filming, she performed at the Club Apex and Club Montmartre and carried on affairs with actress, Pepi Lederer and Jagatjit Singh, Maharajah of Kapurthala. Nina also returned briefly to South Carolina to attend her Great-Aunt Carrie Saunders' funeral. 

On December 30th, 1929, the cabaret revue "Harlem Scandals" opened at the Lincoln Theatre, with Nina as the star, performing her signature number at the time, "I Must Have That Man" (from Blackbirds). She was replaced by Carolynn Snowden after a week.

"They Learned About Women" (1930)

By late-January 1930, Nina had grown tired of MGM. She had already begun failing to show up for promotional appearances, especially if her name wasn't in lights above the marquee. 

That spring, her new manager, Al Munro, sports writer of the Chicago Whip, arranged a tour of the Mid-West for Nina. She was to appear in Chicago, Detroit, St. Louis, Kansas City, Cleveland and Pittsburgh. In late-March, she left for Chicago to appear in a vaudeville show, "Circus" at the 35th Regiment Armory. The following month, she moved on to the Metropolitan Theatre for two weeks. During this engagement, on April 9th, Nina appeared on two  of Reverend A. W. Nix's Black Diamond Train to Hell sermons (Part 5 and 6), which was recorded at the Brunswick Recording Library. Horrible reviews followed Nina, who declared her a money-hungry, star struck girl who had grown to despise her own race. 

Returning to Los Angeles on June 4th, Nina and her mother moved back into the Dunbar Hotel, where throughout the summer, Nina performed at series of private parties and mingled with Louis Armstrong and Duke Ellington. Also during this time, she married 23-year old NBA Middleweight boxer named, William "Gorilla" Landon Jones, who bought Nina a $6,000 Lincoln Convertible Coupe as wedding present. This marriage was short-lived.

From September to November 1930, there's no account of Nina Mae McKinney, even her mother roamed around Los Angeles searching for her daughter. Nina surfaced in Crown Point, Indiana on October 23rd, to marry Douglas S. Daniels, another short-lived marriage that ended on November 20th.

Nina in front of the Theatre Les Miracles (December 1930)

On December 5th, Nina boarded the SS Bremen, sailing from New York to Cherbourg, France. After eight days at sea, while disembarking from the ship, Nina had a sudden spell of sea-sickness and in the excitement dropped her purse containing $200 was lost in the sea. Her new manager, William Morris Jr. failed to meet her at the port, but luckily a French gentleman paid her train fare and escorted her to Paris. For the next four months, Nina and the cast of Hallelujah embarked on a European tour to promote their successful film. On December 13th, a stage revue "Allelujah!" opened at the Theatre Les Miracles, where it remained for the next three weeks with immense success. After performing all afternoon at the Theatre Les Miracles, she spent evenings singing at the Monseigneur Club on 94, rue d'Amsterdam.

Attending a "Presseball" in Berlin (Feb.2, 1931)

The first two weeks of January 1931, the revue appeared in Cannes and Monte Carlo. On January 16th, the revue opened at Berlin's Kabarett Der Komiker, where it appeared until later February. On February 23rd, the arrived in Belgrade for a weeks appearance at the Corso Theatre. The Hallelujah revue returned to France, early March, where it remained until March 11th, when the troupe boarded the SS Lafayette back to the United States. 

Throughout the spring of 1931, she performed in theatres around Harlem, Astoria and Brooklyn. By May, she was broadcasting from Connie's Inn. In June 1931, she returned to Los Angeles, moving back into the Hotel Dunbar and began filming for the next four months, "Safe In Hell" in the role of the hostel-owner, Leonie.

That fall, Nina returned to New York to appear in a stage play, "Prancing Nigger". However due to the mass disapproval of the African-American community, she turned down the role and the play never materialized. On November 25th, she escaped to Portsmouth, Virginia with her latest lover, 24-year old musician, James Norman Monroe, and got married. This would become her fourth husband. Like her previous husbands, many considered Jimmy Monroe to be an extremely bad influence on Nina, even going as far as introducing the young star to drugs (possibly opium and heroin).

Scene from "Pie, Pie Blackbird"

Nina opened 1932 has the headliner of the "Dear Old Southland" revue, which ran for a week at the Lafayette Theatre starting January 16th. 

The following month, she and Jimmy Monroe left for a tour of the East Coast and Mid-West, appearing in New Jersey, Ohio and Washington DC for the next five months. In-between touring, Nina found the time to film two short soundies with Vitaphone, "Pie, Pie Blackbird" (with the Nicholas Brothers and Noble Sissle's Orchestra) and "Passing The Buck". 

Ballyhoo of 1932

Returning to New York in July, Nina went straight into rehearsals for Max Rudnick's latest production, "Folies Bergere" at the Liberty Theatre. After a brief run in Brooklyn, the revue opened early September at the Sam H. Harris Theatre.

Shortly afterwards, Nina moved over to the 44th Street Theatre, where she appeared in the Broadway production of, "Ballyhoo of 1932", performing "Love, Nuts and Noodles". Opening September 6th, Nina remained with the revue for the next three months. Beginning October 4th, she also began doubling at the brand new Hollywood Restaurant, headlining in a floorshow revue, "Hollywood Revels of 1933". 

After performing for an evening at the Harlem Opera House, on November 28th, Mr. and Mrs. Monroe and the pianist, Garland Wilson sailed to Europe arriving on the French coast early December. On December 8th, Nina opened in Paris at Chez Florence, where she played throughout the month. Afterhours, she doubled at the La Habanera Cabaret. Also at some point during this engagement, Nina found the time to record two songs, "Minnie The Moocher's Wedding Day" and "Rhapsody In Love" with French Brunswick Records.

In January 1933, Nina returned to the Theatre Les Miracles to broadcast on Radio-Poste Parisien before departing for a nightclub engagement in Cannes.

The following month, she flew north to London for a four-month's engagement in the revue, "Chocolate & Cream" at the Leicester Square Theatre, which opened February 13th. Nina was an immense success amongst the British public. A week after the opening, on February 17th, she participated on John Logie Baird's experimental television at the London Broadcasting House, performing a song-and-dance routine from her revue at the Leicester, making her the first Black woman to ever appear on television. By March 7th, Nina was also doubling at London's famous Ciro's Restaurant.

London - Garland Wilson & Nina (Apr.27, 1933)

While still going strong at Leicester Square, on April 4th, Nina began appearing over at the Trocadero Cabaret as the star of Charles Cochran's latest revue, "Revels In Rhythm". Cochran also brought in a film crew to film the cabaret spectacle, to be shown in newsreels across Britain.

Soon however, the director/impresario found his popular headliner becoming extremely moody and temperamental. Nina began failing to show up at the cabaret and even randomly demanding large sums of money. She had grown extremely dependent on drugs and alcohol to cope with her extremely grueling work schedule and with Jimmy Monroe's affairs with his new English mistress. It's even evident in the filmed version of "Revels In Rhythm" that she is unwell when breaks into a coughing fit in the middle of her dance routine. During the summer of 1933, Nina began appearing frequently on BBC Radio and making appearances at Holburn Empire, Hackney Empire and Shepherd's Bush Theatre.

After "Chocolate & Cream" closed late-June, Nina and Garland departed for a three-month provincial tour. On July 25th, Nina was briefly hospitalized with the mumps. Two months later, on September 26th, five minutes before her appearance at Cardiff's New Theatre, Nina collapsed in her dressing room. Carried to her car by her manager, Stanley C. Mills, she was taken to the Royal Infirmary, where it was declared to the press that the American star was suffering from dysentery. Most likely, she may have been suffering from withdrawals from her growing drug addiction.

On November 21st, Nina arrived at Croydon Airport for a flight back to Paris, to care for her ailing husband, who was recuperating from an unknown illness at their Parisian apartment. Eight days later, on November 30th, Nina began a month's engagement at Chez Florence.

In January 1934, Garland Wilson and Nina departed for a tour of the Cote d'Azur, beginning in the city of Nice. This marked the beginning of a successful five month European tour. The following month, the duo enjoyed a success filled month in Prague. On March 2nd, Nina arrived in Budapest, appearing at the Parisian Grill-Bar for another month. In the first week of April, Nina arrived in Athens, Greece to open on the 7th at the Femina Cinema, where she was billed as the Black Garbo (prior to this, she had been referred to only as the Black Clara Bow). As Greek engagement ended around May 6th, Nina, who was preparing to sail for Egypt, received a telegram that her mother was unwell back in America. The Egyptian engagement was likely cancelled and Nina flew back home to London.

Scene from Kentucky Minstrels (1934)

For some strange reason, Nina never returned to America to check upon her mother. Instead, on July 15th, she opened at London's Alhambra Theatre, where she remained for the next two weeks. In the meantime, she also appeared in "Kentucky Minstrels", her first British film, alongside Scott & Whaley and Debroy Somer's Orchestra. This was followed by her appearance on a popular radio show called, Music Hall, where she sang, Dinah.

In-between filming, Bosambo (1934)

During the summer of 1934, alongside Paul Robeson, Nina began filming, Zoltan Korda's "Bosambo" (later known as Sanders of the River) at the Korda Brother's film studios in Denham. During the filming, she carried on an brief affair with Robeson to cope with her adulterous husband. 

Nina resumed working at the Alhambra in October. During this time, her usual moody attitude returned. After being invited to a private reception, hosted by the royal family, Nina arrived extremely late and stayed barely fifteen minutes before departing. She moved over to the Chiswick Empire the following month. During this time, she and Robeson were in rehearsals to appear in a stage production, "Stevedore", which never seems to have opened. In the meantime, Nina's affair with Robeson had ended and she had turned her attentions to Ananias Berry, husband to Valaida Snow, who was visiting England with "Blackbirds of 1934".

After two successful years abroad, on December 18th, Nina returned to America aboard the SS Ile de France, arriving on Christmas Day.

Scene from Reckless (1935)

Shortly after arriving back in the States, Nina and Jimmy Monroe flew to Los Angeles, moving into the Clark Hotel. Although her contract with MGM had expired in 1933, Nina returned to Hollywood in January 1935 to appear in her final film with them, "Reckless", alongside Jean Harlow. She even managed to get Jimmy Monroe a small part in the film. The couple returned to New York in late-March, shortly after filming ended, for the premiere of Sanders of the River on April 4th. Nina announced that she'd never film in Hollywood again, nor would she ever accept maid roles.

On May 26th, Nina opened at Harlem's Lafayette Theatre as the star of Somerset Maugham's "Rain", a stage play set on a Pacific island: a missionary's determination to reform a prostitute leads to tragedy. In late-June, Nina began rehearsals for a new floorshow at the famous Cotton Club, where she remained for the next seven months.

On July 5th, for a week, she appeared for a week at the Apollo Theatre, alongside Gladys Bentley, Earl Tucker and Erskine Hawkins Orchestra. Nina finally opened at the Cotton Club on July 18th, for the 26th edition "Cotton Club Parade of 1936" alongside Butterbeans & Susie, Miller & Mantan and the Claude Hopkins Orchestra. In-between performing at the Cotton Club, she also found the time to appear in the short film, "The Black Network" once again alongside the Nicholas Brothers.

Scene from The Black Network (1936)

In February 1936, Nina left New York for a brief tour of Texas with the Blue Rhythm Show.

Returning to Harlem the following month, after a brief hospitalization, Nina sailed back to Europe aboard the SS Caledonia, arriving just in time open at Glasgow's Royal Theatre on March 30th. Instead of Garland Wilson, she was now accompanied by the pianist team, Rudy Smith & Kirby Walker. For the next ten months, she busied herself with a hectic British tour, doing four shows a day. That summer, she was set to appear once again alongside Paul Robeson in his latest film, "Song Of Freedom". However, due to her temperamental behavior, she was promptly replaced by Elisabeth Welsh. In October 1936, Nina and Jimmy Monroe began contemplating on filing for British citizenship, at the same time, the couple were preparing to adopt a young Afro-British girl, whom Nina had named, Brenda Mae. 

The bliss of finally having a family of her own in her new adopted country ended in early-November, when while performing at Dublin's Royal Theatre, she collapsed onstage. After convalescing for a few days at the Duchess Nursing Home, Nina returned home to discover Jimmy Monroe had fled to Paris with his English girlfriend. He had drained $10,000 from their bank account and opened a nightclub, Au Harlem Cabaret on 58, rue de Notre Dame de Lorette with Freddy Taylor's Orchestra. 

After completing her British tour, Nina returned to London on February 16th to open at the Paramount Theatre. Upon returning from her tour, she had replaced Rudy Smith with the Jamaican pianist, Yorke de Souza. Around this time, she announced her engagement with Jackie Evans (member of the Four Bobs) and began preparations for her latest film, "Unannounced", created especially for her by independent producer, William Newman. Filming never began, nor did her wedding with Jackie Evans.

Rehearsals for "Dark Laughter" (June 1937)

On February 27th, she appeared at Alexandria Palace alongside Afro-American dancer, Johnny Nit, in the televised revue, "Ebony", where she performed the Blues number, "Poppa Tree Top Tall". Over the next three months, she returned on the road for another hectic British tour. By May, she announced her plans to depart for a brief South American tour, which never materialized. On June 5th, Nina and her troupe returned to Alexandria Palace to appear on the televised revue, "Dark Laughter", where she appeared alongside Jamaican trumpeter, Leslie Thompson. 

Having burned bridges with nearly every British theatrical agent and exhausted by non-stop tours across Britain, on July 23rd, Nina and her troupe boarded the SS Mooltan to Australia with a six-month contract. After a month at sea, and passing through Morocco, Egypt, India and Ceylon, Nina finally disembarked at Fremantle on August 24th. From there she traveled to Melbourne, where she opened on September 7th at the Tivoli Theatre in her latest revue, "Hello Harlem!". After a successful month onstage and a brief radio appearance, the revue departed for Sydney's Tivoli Theatre, opening on October 14th for another month. As usual, on November 3rd, Nina collapsed onstage and she recovered at St. Luke's Hospital and her residence at the King's Lynn Apartments. On November 29th, her New Zealand appearance at Auckland's Her Majesty's Theatre was cancelled.

For the next three months, Nina lived quietly in Sydney at her new residence at the Mount Stewart Flats with an Australian woman whom she had been carrying on an affair with. The only media coverage, was a small debt she had to settle with the owner of the King's Lynn Apartments.

On February 17th, 1938, Nina boarded the SS Niagara back to the United States with a contract to appear in Ralph Cooper's latest film, "The Duke Is Tops". However, by the time she arrived on March 12th, filming had already begun and Nina was replaced by the young Lena Horne. She was still asked to appear in Los Angeles on April 1st, to sign with Million Dollar Productions. Afterwards, while finalizing her divorce from Jimmy Monroe (who was still in Paris with a new nightclub), Nina vacationed for the next six months with her parents in Harlem. 

On September 3rd, Nina arrived in Los Angeles to begin filming, "Gang Smashers". Once filming was complete, early-October, she traveled south to Ensenada, Mexico with fellow actor Joel Fluellen, where the two hastily married. However, within weeks, Joel quickly denied any knowledge of the marriage, declaring it was simply publicity for the upcoming film.  Nina promptly left for a engagements in Chicago and Pittsburgh before returning to her Seventh Avenue apartment in Harlem.

On February 23rd, Nina returned to the Apollo Theatre, once again appearing in a production of Somerset Maugham's "Rain" with Tiny Bradshaw's Orchestra. The following month, she left for D.C.'s Howard Theatre. In the spring, she returned to Los Angeles to film, "Straight To Heaven", another Million Dollar Productions picture. From August 17th until the 29th, Nina and other actors employed by Million Dollar Productions travelled to Jamaica to film "Pocomania" (later The Devil's Daughter). While sailing back to the United States, World War II broke out. If Nina had any plans of returning to Europe, those plans were immediately squashed.

On September 19th, in Newark, Nina married 20-year old Apollo Theatre errand boy, Robert "Charleston" Montgomery (making him husband number six), seemingly following the same formula of marrying younger husbands like Valaida Snow. After the wedding, Nina signed a two-year contract with the William Morris Agency and went back on the road. The marriage was already announced to have fell apart by November.

In November 1939, Nina took over Pancho Digg's 13-piece orchestra and left for a two month tour of the South and Mid-West. Beginning on December 28th, Nina Mae McKinney and her orchestra traversed across South Carolina, Florida, Mississippi, Louisiana, Tennessee, Kentucky, Ohio and Indiana in a series of one-nighters. One incident on January 7th, 1940, while travelling from Jacksonville (Jimmy Monroe's hometown) to New Orleans, Nina was attacked by white shop owner. Abandoning the orchestra at the end of January, Nina returned north in March to fulfill an engagements in Massachusetts, Indiana and New York with Tommy Tucker's Orchestra. That summer she was back in Harlem organizing for a new orchestra, which never materialized.

Instead, on October 14th, Nina opened at the West End Theatre in her latest revue, "The Queen of Harlem" with Edgar Hayes Orchestra and 36 chorus girls. The revue ran for a week before closing.

On January 20th, 1941, Irvin C. Miller's "Tan Manhattan" opened for two weeks at Washington D.C.'s Howard Theatre, featuring Nina as one of its headliners. The revue was supposed to go to Broadway the following month at the Shubert Theatre, but, apparently racial barriers are still high and strongly held; they won’t allow African Americans to attest their contribution to the USA. The revue moved over to Harlem's Apollo. Success is enormous, and in order to give 4 performances per day, the show is reduced to 90 minutes instead of the original 2 hours and 30 minutes. Critics were still concerned, saying that even as it assembles so many talents, the show lacks vigor, story and scenario. 

For the last week of February, Nina remained at the Apollo in the next revue, "Up Harlem Way" which also featured 25-year old singer, Billie Holiday, who was Jimmy Monroe's latest girlfriend. Nina made it a frequent habit of hers to terrorize Billie's mother, Sadie Fagan on the phone. Jimmy hastily scared Nina out of town, who went on tour that summer of the Mid-West with the "Tan Town Topics" revue. 

That fall, as Jimmy and Billie married and relocated to California, Nina returned to the East Coast to join the cast of, "The Good Neighbor", a play that toured Connecticut, Maryland and New York. In the meantime, she had quietly become engaged to a slick, ladies-man named Melvin Woolfork.

The years 1942-1944 were extremely slow for the former, Black Garbo. She was finally in her decline. Most of that year was spent in small nightclubs around Harlem, Detroit, Pittsburgh, Montreal and Baltimore. At some point during this period, she finally married her 7th husband, Melvin Woolfork.

A destitute and desperate, Nina returned to Hollywood in July 1944 with a minor role in Rex Ingram's "Dark Waters". That fall, she was also cast to appear in "The Power of the Whistler" and "Together Again".

By 1945, she found employment entertaining in nightclubs around San Francisco, Oakland and Los Angeles.

In the spring of 1946, Nina left with Saunders King's Orchestra and the "Hollywood Cavalcade Revue" for tour of the South before she left for a solo engagement at Washington D.C.'s Club Bali.

From 1947 to 1948, Nina disappears again for over two years. There's no mention of her whereabouts except for her appearance in the film, "Danger Street".

On January 23rd, 1949, Nina was back in New York performing at the Audubon Theatre. Two months later, on March 8th, shortly after having been casted in the film, "Pinky", Nina's step-father, James Maynor passed away.

On March 22nd, Nina arrived in Los Angeles, promptly moving into the Watkins Hotel. A few days later, Nina gave an interview with various newspapers, discussing her plans to return to France once filming was over. For the remainder of March, Nina filmed her few scenes in Pinky, before returning to New York to visit her mother.

On April 17th, Nina returned to Hollywood with her new husband, Frank B. Mickey (musician and engineer) and a role in her final film, "Copper Canyon". The couple remained in California, residing at 122 1-2 West 53rd Street until mid-May, when they returned to New York.

On September 5th, Nina was in Indianapolis in the "Stars On Parade" revue at the Walker Casino alongside, Duke Ellington, Louis Jordan, Lena Horne, Louis Armstrong and her former rival, Billie Holiday. A few weeks later, as Pinky was being released, Nina sued Ebony Magazine for $70,000 before retiring from the stage altogether and living quietly in her Harlem apartment.

In the summer of 1950, Nina announced that she was expecting her first baby. However, no baby ever arrived.

On April 4th, 1951, Nina and Frank Mickey finally received a marriage license. Most likely, the couple weren't legally married until 1951, as she was probably still married to Woolfork.

Five months later, on August 8th,Nina revived the stage production of, "Rain" for a week at the Apollo Theatre. The show then spent two weeks on the road in Brooklyn and Washington DC. The producers hoped that the show would take an extended tour across the United States, but instead the show closed at the end of August and Nina returned to semi-retirement in Harlem.

HUE Magazine (February 1953)

In February 1953, Nina decided to a make a comeback, spending over $1, 000 on new gowns for Manhattan Paul's revue at Small's Paradise. Her latest accompanist was former guitarist for Count Basie, Jimmy McLin. Two months later, the duo traveled down to Delair, New Jersey for an engagement at the New Town Tavern.

That winter, Nina reunited with her former husband, Melvin Woolfork, who had recently opened a Las Vegas nightclub called, Mel's Inn. Together the couple flew to London, where Nina began preparing for her return to Europe. Back in Los Angeles by Christmas week of 1953, Nina was seen in and out of various agencies searching for film and television work.

By February of 1954, no longer accompanied by McLin, Nina had learned to perform the guitar herself and was preparing leave the United States again for a USO tour of Japan.

Afterwards, from 1954-1959, Nina disappears from the America completely. Her husband, was noted in American newspapers, as making frequent trips to Monaco and the Far East (possibly to visit Nina, who was rumored to have resettled in Greece). She isn't mentioned again until July 1960, after she checked into a Harlem hospital for some unknown ailment.

She disappears again until her sudden death on May 3rd, 1967 of a heart attack at the age of 54 at the Metropolitan Hospital in Manhattan.