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.

Miss Zelia Moss: Brazil's first Black Vedette

 Miss Zelia Moss

Details about Zelia Moss' origins and early life are currently shrouded in mystery. She was born in Virginia (according to a 1925 interview with the Brazilian "A Gazeta" newspaper) around c. 1882 according to her death certificate. 

At some point, she migrated north to New York, eventually finding employment as a cook. Some time later, she found employment as the maid of a visiting Russian ballerina, who was appearing in a vaudeville revue. After the show closed, the Russian entertainer returned to Europe, convincing her new Black maid to accompany her. While in Paris, the wealthy French boyfriend of her Russian employer began sponsoring Zelia's dance lessons.

By 1903, Zelia had begun touring as a song-and-dance act, appearing in theatres, circuses, hotels and cabarets around France, performing in French (her most popular song was "Viens Poupole" while dancing a ten minute Cake Walk). In the summer of 1905, she was one of the leading artists at the Casino de Montmartre.

Valencia (May 1906)

In March 1906, she departed for Spain, appearing for four months in Barcelona and Valencia, singing, performing the Cake Walk and the Brazilian Maxixe.

In 1907, Zelia was a regular headliner at the Rat Mort Club, when she given a role as Fleur de Lys in the vaudeville-revue, "La Milieme Constant" at the Folies-Dramatiques, alongside with Paris' Queen of the Musichall, Mistinguett. Created by Henry de Gorsse and Louis Forest, the show opened on October 18th and ran for six months, closing early April 1908. 

During the summer of 1909, Zelia sailed to Brazil for the first time with a two-week contract with Italian impresario, Paschoal Segreto. In June 1909, she arrived in Rio de Janeiro for a week at the Concert Avenida do Pavilhão Internacional. That summer, Rio was swarming with other foreign Black entertainers during the summer of 1909, particularly an Afro-American orchestra from London and Afro-British singer, Josephine Morcashani. Alongside Morcashani, Zelia Moss was one of the earliest foreign Black female performers to grace Brazilian stages (after Sissieretta Jones who visited in the mid-1890s). The Brazilian press hardly paid her much attention, treating her as another visiting foreign artist, however she was enamored with the massive South American republic and was determined to establish herself there. In July, she traveled 274 miles down the coast to Sao Paulo, for another successful week at the Moulin Rouge cabaret. By October, she had returned to France, appearing at a casino in Vincennes, dancing to the sounds of the Fortunia orchestra

Poster for "Claudine" (1910)

In January 1910, Zelia performed for a month at the Theatre des Deux-Masques with a troupe directed by Henri Vaudry. Ten months later, on November 10th, she starred in the three-act operetta-revue (written by Colette Willy & Henry Gauthier-Villars), "Claudine" at the Moulin Rouge with Polaire, Marise Fairy and Claudius heading the cast. Under the direction of M. Faubert and music provided by Rodolphe Berger, the operetta (a musical adaptation of Colette's immensely popular Claudine series) ran for several successful month. Zelia appeared in the third act, as a singer at the L'Abbaye de Theleme performing "Chanson Americaine", a comical song about how the singer dances and sings for her lover Tommy around their little bamboo cabin:

"Li que j'aime d'amour ex-treme, D'son nom d'bapteme. S'appell Tom-my. Li m'en flamme, moi suis le femme. Li le ma-hi! A ne-gresse a-vec ten dresse. Quand li s'a dresse, toujours sou-rit! Pour li plaire et li dis-traire souvent, Moi, je chante en dan-sant! Tom-my! Viens le pe-tit Tommy! Viens gentil Tommy! Beau sa pajou, le p'tit bi-jou, le grand jou-jou!  Tom-my! Viens le pe-tit Tommy! Viens gentil Tommy! Je brul! Je bous par tous les bouts...ca-ban' bam-bous!"

In December, during the run of the operette, Zelia, now considered a serious actress, was approached to join Dufrenne & Grandjean's theatrical company, which was preparing a French Provincial tour for their military drama operettea, "Le Train de 8h47" (a theatrical adaptation of Georges Courteline's 1891 novel).

On January 20th, 1911, Zelia quit the revue and left Paris with Dufrenne & Grandjean's company. Beginning January 24th in the city of Troyes, the company of twenty-one actors toured France and Belgium for over 13 months. In August, during a brief rest from the show, she returned to the French capital to perform for a week at the Jardin de Paris. In March 1912, the company briefly staged, "Un Voyage de Noces", a three-act revue written by Jean Casan and starring singer, Jeanne Bloch, as the headliner. However, the following month, the company departed for North Africa for a two month tour of Tunisia and Algeria. In local theatres across the Atlas mountains, "Le Train 8h47" (with full stage sets, military equipment and an actual train car) and a new five-act operetta, "Prostituee" (written by Victor Margueritte) was a success amongst the locals and the French colonials. In June 1912, shortly after returning to France, Georges Grandjean passed away.

By November, Zelia had quit the company and was dancing in a revue, "Alma, Tout le monde descend!" at the Magic City amusement park.

*

Zelia Moss disappears from the limelight all of 1913, possibly appearing in small clubs around the Montmartre. In December 1913, she sailed from France back to Brazil, this time with a two-month contract with Paschoal Segreto with a salary of 2,000 Francs per month. On December 30th, she opened as one of the headliners of Rio de Janeiro's Theatro Palace for three weeks and became a major curiosity and fascination to the public, performing to the sounds of the popular Portuguese composer Luiz Filgueiras and his orchestra.. 

Miss Moss: Has Two Genders

On January 1st, 1914, while strolling along the Avenida Branco, crowds swarmed the African-American entertainer. Brazilians were unaccustomed to Blacks walking freely through major cities, fashionably dressed in the latest Parisian fashions and smoking cigarettes (which was considered a man' pastime in strictly Catholic Brazil). In Brazil (as in the United States), the Black population was usually kept in the background, employed as domestics, cooks, field hands, etc. The few Afro-Brazilian entertainers that had the opportunity to appear in the circus/beer hall scene were usually boxers, Capoeira fighters and comical vaudeville acts. The end of European immigration in 1910 meant the resurfacing of fears among Brazilian elite about the “blackening” of the population. 

Also Zelia's extremely tall stature and strong features caused many to confuse her with being a female impersonator. She eventually fled to the Confeitaria Colombo, an elegant cafe on the Rua Gonçalves Dias, hoping to escape the gawking masses. Unfortunately, the crowds followed her inside, surrounding her table and observing her smoke. Eventually, she asked the crowds to come watch her perform at the Palace before hailing a taxi back to her hotel. The event caused her to make front pages of the Brazilian press the following day.

Sao Paulo (January 1914)

SS Saturno from Uruguay to Rio (Feb.17, 1914)

On January 22nd, Zelia sailed to Sao Paulo, where she opened that evening at the Casino Antarctica, staying on for very successful two-weeks. On February 7, she left for Santos, to appear at the Hotel Lanterna de Genova. The day before she was set to sail back to Rio, one of the hotel employees stole five rings worth 500 Francs, and two wallets, one containing 1,008 Francs from her room. She immediately reported the incident to the hotel owner and the local police. However, she was disappointed to discover that the local police were unwilling to cooperate with the Black cabaret artist. Disappointed, she sailed back to Rio.From Rio, Zelia sailed to Uruguay, where she spent a week performing in Montevideo. She then boarded the SS Saturno back to Rio, arriving on February 17th, hastily moving into room no.6 at the Hotel Rio-de-Janeiro at 25, Rua Visconde de Inhaúma. The following evening, she resumed her engagement at the Theatro Palace. On February 21st, she conducted an interview with the "A Noite" newspaper, recounting her scandalous ordeal in Santos two weeks prior. Once her second engagement with the Palace had ended, she returned to Europe.

"La Petit Dactylo" as Comtesse Papreka

Zelia doesn't resurface until October 1916, appearing in Paris in the three act vaudeville-operetta, "La Petit Dactylo" at the Theatre du Gymnase for a month. Created by Maurice Hennequin & Georges Mitchell, the star of the revue was the 22-year old singer Yvonne Printemps, supported by Henry Defreyn, Harry Baur, Marcelle Rayne and Lucienne Debrennes and Zelia (as the Comtesse de Papreka, with a headress of white feathers) performing to the sound of H. Maurice Jacquet's orchestra.

*

In January 1917, she was a headliner in variety program at the Theatre Le Peletier. Five months later, in May, she was apart of the revue, "La Revue Caressante" at the Theatre Gaite-Rochechouart for two months. The two act revue, set in Napoleonic Egypt, was created by P. Briollet & Alin Monjardin, the headliner was the Spanish vedette, La Belle Manesca supported by Sinoel, Henry Rossi, Marichal, Vylna, Simonne Sym and others. Zelia was given much praise for her sensual and exotic dance number in the tableaux, "Nuit d'Egypt" (Egyptian Nights).

"Judith, Courtisane..." (1917)

On December 22nd, she opened at the Theatre Michel in the comedy operetta, "Judith, courtisane..." with famous dancer Cleo de Merode, comedian Dorville, Renee Baltha, Madeleine de Barbieux as the principal stars. The production (with two acts and three tableaux) was created by Andre Barde & Michel Carre, music was provided by Charles Cuvillier's Orchestra and costumes and décor designed by the coutier, Paul Poiret. The operetta ran for two month, closing on February 15th, 1918.

Sao Paulo (October 1918)

Circo America (November 1918)

She remained in the French capital until the spring of 1918, when a bad love affair with a Frenchman and heavy German bombardment caused her to flee France permanently. Instead of returning to the United States (where she hadn't been in over fifteen years), Zelia returned to Brazil. By September, where she established herself in a house at 9, Rua Visconde de Uruguai in the Cantareira neighborhood of Niterói across Guanabara Bay from Rio de Janeiro, signing a contract with the Empreza Freitas Soares agency before departing for Sao Paulo, where she opened on October 1st, 1918, at the Miramar Cinema, remaining for a week. On November 14th, as WWI drew to a close, Zelia danced in the "Grande Feira Annual", a large festival of entertainment held at the brand new Circo America (located on the remains of the old Ajuda Convent, beside the Theatro Alhambra). Newspapers mentioned Zelia as: “The beautiful North-American, who performs innovative dances”. On the morning of December 1st, 1918, Zelia boarded a ferry across Guanabara Bay back to Niteroi. While strolling through the streets on her way home, she was arrested by a police officer who accused her of being a female impersonator. After appearing before the local judge and a quick medical exam with Dr. Plinio Travassos, the courts quickly dropped the charges.

Fazendo A America (1925)

During the 1920s, as Jazz and Samba began to sweep across Brazil, Zelia wanted to branch away from dancing attempted numerous times to embark on a full Brazilian tour as a professional concert singer, however, the various theatrical booking agents were unable to secure stable employment for the American star. 

Negresse de la Butte (1926)

By 1925, Zelia Moss, having retired from the stage, relocated to Sao Paulo and rented a room at a brothel at 20, Rua Tymbiras (a street that was well-known for brothels and gambling dens). She was soon able to support herself by providing services as a clairvoyant, palm reader, tarot card reader and selling lucky charms. Zelia became extremely successful in Sao Paulo and was soon charging 3,000 reis per consultation. However, she soon caught the attention of Brazil's Delegado de Costumes e Jogo. The function of this government organization was to investigate and prevent all activities of public drunkeness, lewd books, drawings & prints as well as the suppression of African religions such as Umbanda, Macumba and Candomble. Tarot reading had become an extremely lucrative business in 1920s Sao Paulo and the Delegado was determined to squash it.

On April 1st, 1925, agents of the Delegado de Costumes e Jogo raided Zelia's apartment during one of her consultations and escorted her to their offices at Rua 7 de Abril, where she was photographed and questioned by Dr. Mario Bastos Cruz about her origins. She recounted her life story and her nearly twenty years as a entertainer. She spoke of how she discovered the clairvoyant arts and tarot in Paris, when she visited the famous prophet and clairvoyant, Madame de Thebes. She was released shortly afterwards. Ten months later, Zelia returned to her previous occupation as a Tarot reader, operating in tent on the side of the road. This lead to another arrest on February 25, 1926. 

Companhia Negra (August 14, 1926)

In June 1926, 39-year old singer, composer, De Chocolat (Joao Cândido Ferreira) invited Zelia to Rio to be apart of his new theatrical troupe, Companhia Negra de Revistas. De Chocolat had toured France, Spain and Portugal in the early-1920s, and was fascinated with Parisian musichall and Afro-American culture in the Montmartre district. There he experienced Europe's curiosity for the exoticism of Africa. He had also been fascinated with Zelia's American origins, European career and her ability to perform in the French language. During this period, she was frequently billed under the misspelled names of Miss Mon's, Miss Moons, Miss Moons-Murray. Also due to her ability to perform in French, she was also often advertised as being from Barbados, Martinique and Haiti. 

The Companhia Negra de Revista's first revue, "Tudo Preto" (All Black) opened July 31for a month at the Theatro Rialto. Together with De Chocolat's musical compositions, Portuguese choreographer, Jayme Silva's dances, musician Pixinguinha and a company of 30 dark-skinned Afro-Brazilians, the revolutionary company was a huge success. Zelia appeared towards the end of the first act in a sketch, "Charabia Africanos", where she performed an exotic African batuque dance number, reminiscent of her Parisian days.

Working with a all-Black company, Zelia quickly discovered and experienced the discrimination and racism that Afro-Brazilians suffered. The same discrimination that had caused Zelia to escape from the United States had caught up with her in Brazil. Critics criticized the revue as revolting and uncivilized. The administration of the Rialto had also installed "odorless dressing rooms" and frequently fumigated the theatre for cockroaches. 

On September 2nd, a new revue, "Preto e Branco" (Black & White) opened at the Rialto, this time Zelia appeared in the second act, in the 15th sketch, "Martinho e Catharina", performing a romantic French chanson to Martinho (played by Guilherme Flores) and Catharina (played by Rosa Negra). After two weeks, on September 22nd, the company opened at Niteroi's Theatro Colyseu. However, De Chocolat left the company after a dispute with Jayme Silva and formed the short-lived Ba-Ta-Clan Company.

On October 20th, the Companhia Negra de Revista opened a Sao Paulo's Theatro Apollo and Theatro Malfada for two weeks. On November 17th, for a week, the company played in Santos at the Theatro Guarany with a new revue, "Carvão Nacional". While in Sao Paulo, the company hired the 11-year old dancer, Sebastião Bernardes de Souza Prata (later known as Grande Otelo).

From December 3rd, 1926 to January 10th, 1927, the Companhia Negra toured the state of Sao Paulo, appearing in Ribeiro Preto, Bebedouro, Campinas, Piracicaba and Amparo. In the spring, the company returned to Rio, opening a new revue, "Cafe Torrado" at the Theatro Republica on March 5th for two weeks. The company then played four days in Petropolis. In April 1927, the company left for a tour the states of Pernambuco and Bahia, which lasted three months.

The Company received a contract for a tour of Uruguay and Argentina. Unfortuntely, however the Brazilian government threatened the company with imprisonment and deportation if the "Negro-revue" went abroad as it was felt the company didn't properly represent Brazil.

"A Lei do Inquilinato" (1927)

Returning to Rio in July 1927, Zelia took a rest from the company, having secured a role in William Schocair's latest comedy, "A Lei do Inquilinato". Filming took place at the Quinta da Boa and Jardim da Gloria. The film, a Brazilian attempt at emulating American Westerns, premiered August 20th, 1927.

Zelia was soon back with the Companhia Negra and on September 10th, for a week, the company made its final appearance in Rio de Janeiro at the Circo Central Variedades. Afterwards Zelia Moss disappears for over 12 years. During the late-1920s, she doesn't seemed to have recorded while in Brazil as Afro-Brazilians began capitalizing off recording popular numbers from the Companhia Negra. When the Companhia Mulata Brasileira was formed in September 1930, Zelia would've been too dark-skinned to be apart of the cast.

Zelia Moss retired from the stage during the 1930s-1940a, eventually turning to domestic work to support herself. She returned to the limelight in 1941, joining the Companhia Casa de Loucos. In August 1941, the company performed for the first time in the revue, "Praia Vermelha" (Red Beach) at the brand new Theatro Casa de Loucos on the Rua Pedro I. She's briefly mentioned again in a article the following year, but disappears afterwards, most likely returning to domestic work.

Zelia Moss, aged 70, passed away on June 4th, 1952 in Rio de Janeiro. She was later buried at the Cemiterio de Sao Francisco Xavier.

Claudius Modjesko: The Creole Patti

Claudius Modjesko: Die Kreolische Patti

Born Edward Claude Thompson on December 26th, 1878 in Beaufort, South Carolina. In the late summer of 1893, the Sea Islands Hurricane devastated the Southeastern coast of the United States. Beaufort was especially hit hard, leaving much of the African-American community out of work. 

In 1894, at age 15, Claude began performing as a female impersonator (simply donning evening dresses), possibly in minstrel shows around the Southeastern United States. Three years later, by 1896/97, he had begun donning wigs and applying makeup. Audiences usually were unable to distinguish him from the other women in the show. 

Rome (1898)

By late-1898, received the opportunity to sail overseas to Europe. After a short period in Paris, he left for Rome. In various interviews, Claude claimed to have studied voice at an Italian music conservatory with a "Maestro Mantini". Instead, he roamed the streets of the Italian capital under the pseudonym of Rajah Kanjit Sinhji, soliciting sex from wealthy Italian male clientele. That winter, he began a relationship with, Mantissal, an advisor for the American Embassy. Eventually the relationship turned to Claude threatening to blackmail Mantissal in exchange for money.

Budapest passport (1899)

On October 21, 1899, Claude arrived in Budapest, moving into the Szallodaban Jozef Foherceg (Archduke Joseph Hotel), where for the next 22 days he began relationships with various Hungarian men, later ending with him extorting them for money. Eventually, on November 10th, Claude auditioned and landed a job as a female impersonator at the popular Etablissement Somossy Mulato. He also struck up a friendship with another African-American performer, Edgar Jones, who was also performing at the cabaret. For months, Claude had been the subject of an ongoing investigation involving the Italian government and the American Embassy. He was finally arrested on November 13th and imprisoned for seven days. After intense interrogation, he finally admitted his true identity to the Budapest's American Ambassador. On November 20th, Claude finally made his debut at the Etablissement Somossy. However, on the 22nd, he received his American passport and fled the city after only appearing for three days. 

1898:

Sails to Europe (October)

1899:

Budapest, Hungary- Archduke Joseph Hotel (October 21)

Budapest, Hungary- Etablissement Somossy Mulato (November 20-22)

Stockholm (June 1902)

Claude doesn't reappear until March 1902, performing for a week at Copenhagen's Cirkus Variete as "Modjesko: the Creole Patti". For the next 11 months, he successfully toured across Denmark, Norway, Sweden and Russia. For a brief period, at the beginning of the tour, he often accompanied the African-American entertainer and bandleader, Geo Jackson. In June, he appeared at Stockholm's Crystal Salon, and gave a series of interviews with various Swedish newspapers. He claimed to originate from Bombay, son of a Indian woman and British nobleman who sent him to London at age 3 and later Italy at age 10 to study music. In the fall, Modjesko appeared for three months at Stockholm's Mosebacke Variete, performing duets with the tenor singer, Khan Leopold. During this successful engagement, on October 16, Modjesko's personal valet, an African-American named Joseph Thomas was arrested after being caught stealing backstage.

1902:

Copenhagen, Denmark- Cirkus Variete (March 17-24)

Kristiania, Norway- Cirkus Variete (April 7-May 6)

Kristiania, Norway- Tivoli Haven (May 20)

Stockholm, Sweden- "Summer Revue" Kristallsalongen (June 18-July 12)

Gothenburg, Sweden- Lorensbergs Sommerteater (July 18-31)

Moscow, Russia (August)

Stockholm, Sweden- Mosebacke Variete (October 2-December 31)

1903:

Norrkoping, Sweden- Central Hotellet (January 5-15)

Berlin, Germany (May 8)

Lemberg, Austria- Colosseum Hermanow (May 16-29)

Teplitz, Austria- Variete Schwann (June 20-30)

Brauschweig, Germany (September)

Rome (November 1905)

Early 1905, the Creole Patti was residing west of the German capital at 7 Viktoria-Luise in the comfortable town of Schöneberg. On May 15th, 1905, Modjesko was issued a passport from Berlin's American Embassy for immediate passage to Russia, possibly performing in Moscow despite the ‘05 Revolution raging. From there, he made his way across to Belgium in mid-June for a week. The following month was spent touring across the Netherlands. On August 16th, he debuted at Paris' popular Olympia Musichall, where he shared the bill with Mata Hari, a brand-new exotic East-Indian dancer that had been taking Paris by storm since 1903. After receiving a new passport from the American Consul on August 30th, Modjesko departed in mid-September to Marseille before returning the French capital in October. In November, he departed for Italy, where he distributed signed copies of his publicity shots dressed in beautiful, dramatic gowns and jewelry he had acquired over the course of his tour. He completed the year back in the Netherlands, appearing in The Hague's Scala Theater on December 19th. 

Modjesko on a German postcard (1906)

On March 1st, 1906, Modjesko was back in Paris, headlining at the Alhambra  for another month, before moving on towards engagements in Germany and Italy. On April 24th, shortly after returning home to Berlin, Modjesko wrote a series of letters from his residence at 89 Mauerstraße (located in the middle-class Friedrichstadt District) to British impresarios, particularly a Mr. R. Ruddleslone of Blackpool’s Wintergarden, insisting that he was the only Creole female impersonator on the continent and hoped for a offer of an engagement in Britain during the summer season. Afterwards, Modjesko departed for another small German tour before finally opening in London in August, where he debuted a new song, “My Brazilian Boy” penned for him by the popular African-American composer, Harry Wellmon, whom had recently immigrated to England from the restricting racist American continent. On August 3rd, Wellmon composed another song, “My Blue-Eyed Jane”, which Modjesko performed upon debuting at the Hammersmith Palace Theatre on August 17th. It's unknown if he was engaged in Blackpool, however by the 24th, Modjesko was engaged in Brixton, September 14th at Oxford’s Chelsea Palace Theatre, September 28th at London's Metropolitan Theatre and finally an appearance at the Royal Standard Theatre on October 4th before sailing back to the continent, where he completed the year performing in Hamburg and Rotterdam.

Rotterdam - painting by L. Pissarro (1907)

In February, while in Paris on business, accompanied by his personal couturier, Arthur Brownton, Modjesko was approached by two 20-year old German men, whom called themselves Theodore Frigge and Schmidt. Frigge was really, Herman Otto Ludwig Scholkemeyer, born April 5, 1886 in Seesen, a small town near Hannover. He later settled Wittenberg and Magdeburg, where learned French and English. He first met Modjesko, at age 17 at cabaret in Brauschweig sometime in September 1903. Schmidt was really, Richard Winther, born c. 1886 in Bremen. The two men roamed around Germany, seeking ways to make easy money and running scams. Eventually the two men spent time in Italy, Egypt and Algeria before traveling to France. The two men joined Modjesko's troupe and accompanied him throughout Europe. In March, Modjesko was in Elberfeld, Germany for a week. While the Creole Patti performed, the two men were around town, running scams. Before the engagement was over, they presented Modjesko with a beautiful 400 Franc ring. On March 22, the troupe arrived in London, where Modjesko rented a home at 1 Brook Street, Kennington Road. For the next two weeks, they vacationed in London, while the Creole Patti scrambled to obtain a British booking. On April 8th, they arrived in Gothenburg, Sweden and boarded a train to Stockholm, where they checked into the Hotell Royal. Mrs. Hagman, the directrice of the hotel, quickly became suspicious of the three men and a female impersonator sharing a suite in the luxurious hotel. Eventually Modjesko grew tired of the men, and abandoning them in Scandinavia, fled with his couturier to Belgium on May 24th, where he had a months contract at Brussel's Palais d'Ete. Meanwhile, back in Sweden, on June 26th, Frigge and Schmidt robbed and murdered a Swedish postman named Olsson, fleeing with 700 Kroner only to be caught by the authorities the following day. Modjesko spent the month of July touring across the Netherlands. During this time, he became French Impressionist, Ludovic Pissarro and Dutch Fauvist, Kees van Dongen, who were both so intrigued by with the popular female impersonator, that before long nights onstage, Modjesko found himself being painted by such influential men in the European art scene. Later in the summer, Modjesko embarked on a tour deeper within the European continent. In August, Modjesko resumed his continental tour for two more months, although where he was engaged is unknown. 

Leon Cazauran (1907)

On October 8th, 1907, he was in Liverpool to board the S.S. Caronia on a journey back home to America for the first time in nine years. Upon arriving in New York eight days later, he secured an room at 253 West 30th Street. He was now employed as the personal secretary of the 28-year old French tenor singer, Léon Cazauran from Bayonne (or Bordeaux according to his ship records), who had successfully toured across Southern France, Italy, Algeria and Egypt. In 1906, he had even recorded in Milan. The relationship between the two entertainers is unknown, but the two may have met sometime between 1905-07 in either France or Italy. It's possible that the two were even lovers. 

Central Park

Cazauran finally arrived ten days later  on October 27th aboard the S.S. Kaiserin Auguste Victoria with a contract with the Hammerstein Company to perform in “Les Contes d’Hoffmann” and “Thaïs” at the Manhattan Opera House. Cazauran opened at the Manhattan Opera on November 4th, meanwhile, the duo began frequenting Central Park, strolling through the park together, as Cazauran enjoyed chatting with young boys hanging out at the Monkey House. On November 16th, their activities sparked curiosity in private detective, James J. Cain, who promptly arrested the Cazauran on the charges of corrupted the morals of 12 year old, Eugene Nash. Cazauran, who only spoke French, Spanish and Italian, was constantly shouting, “Eet is amazing!” before rambling on to Modjesko and the judge. Modjesko, who understood what harm an American jury could do to a African-American, took this opportunity to immediately take control of the situation, claiming that he hardly knew English himself, as he claimed he was originally from French West Africa and presented to the court nearly $1000 in bills. The courts immediately decided to drop the charges, however after a brief search of the men, fined Modjesko $10 after discovering a distasteful French nude photograph in his possession. The duo immediately fled back to Cazauran’s apartment at 247 West 34th Street, where they were the following day swamped by journalists. “The arrest won't hurt me much, except in this country, but for Cazauran it is a great tragedy” said Modjesko. “Innocent or guilty, the arrest on such a charge destroys his career. Mr. Hammerstein notified him today that he could not keep his engagement him.” Hammerstein immediately replaced Cazauran with Charles Dalmorès, who learned the role within two weeks. Although in December, Cazauran was allowed to appear in “Don Giovanni”, Modjesko promptly broke off his relationship with Cazauran, packed his bags and returned home to Europe.

1905:

Berlin, Germany- American Embassy (May 15)

Brussels, Belgium- Palais d'Ete (June 24-29)

Rotterdam, Holland- Variete Pflaging (July 29)

Paris, France- Olympia Musichall (August 16-September 21)

Marseille, France- Alcazar Leon Doux (September 22-October 5)

Paris, France- Olympia Musichall (October 6-November 19)

Rome, Italy (November 22)

The Hague, Holland- Scala Theater (December 19)

1906:

Paris, France- Alhambra Musichall (March 1-26)

Dortmund, Germany- Olympic Theater (March 24)

Paris, France- Alhambra Musichall (April 1-17)

Rome, Italy- Etablissement Olympias (April 18)

Paris, France- Alhambra Musichall (April 20-26)

Berlin, Germany (April 24)

Dusseldorf, Germany- Apollo Theater (May 25)

London, England- Hammersmith Palace Theatre (August 17-20)

Brixton, England (August 24-25)

Oxford, England- Chelsea Palace Theatre (September 14-21)

London, England- Metropolitan Theatre (September 28-October 4)

London, England- Royal Standard Theatre (October 5-6)

Hamburg, Germany- Flora Kabarett (November 1-4)

Rotterdam, Holland- Circus Variete (December 14-17)

1907:

Paris, France (February)

Elberfeld, Germany (March 1-7)

London, England (March 22-April 5)

Gothenburg, Sweden (April 8)

Stockholm, Sweden- Hotell Royal (April 8-May 23)

Brussels, Belgium- Palais d'Ete (May 24-June 21)

Amsterdam, Holland- Variete Flora (June 28-July 19)

Rotterdam, Holland- Variete Pflaging (July 26)

Liverpool, England- sails on the SS Caronia back to New York (October 8-16)

New York City, New York- sails back to Europe (December ?)

Paris - painting by K. van Dongen (1907)

On January 23rd, 1908, Modjesko was back in Paris at the Théâtre Scala for a month of whirlwind success. On February, for a brief four days, he was engaged at Antwerp’s Scala Theatre before returning to Paris. Unfortunately, news of the Monkey House incident had reached Western European newspapers. It's unknown how Europeans directors perceived the incident, but Modjesko's contracts in Western Europe began dwindling. He spent the rest of the year touring around France, Switzerland and the Netherlands. 

By 1909, seems to Modjesko have relocated permanently to Central and Eastern Europe, touring frequently between Austria, Hungary and Romania under the new pseudonym, "Claudino". That fall, he returned to Paris, appearing at the Parisiana cabaret for a month. Afterwards he returned east, travelling around Vienna and Prague with the Austrian performer, Pepi Weiss that winter. The Spring of 1910, he appeared in Graz, Budapest (with the Afro-American duo Fredy & Rudy Walker) and Bucharest. In the summer of 1911, while appearing in the Austrian spa town of Karlsbad, he received a passport to enter the Russian Empire. However, on September 11th, he boarded the SS Virginian from Liverpool heading towards Montreal. He's not mentioned appearing anywhere in Canada however. He's back in Europe be the spring of 1912, performing at Prague's Hotel Zentral. 

1908:

Paris, France- Theatre La Scala (January 23- February 28)

Antwerp, Belgium- Scala Theatre (February 15-18)

Basel, Switzerland- Cardinal Theater (April 1-6)

Scheveningen, Holland- Theaterzaal Kurhaus (August 12-28)

Rotterdam, Holland- Casino Variete (September 19)

1909:

Paris, France- Parisiana Cabaret (September 1-October 18)

Vienna, Austria- Etablissement Gartenbau (December 16)

Prague, Austria- Hotel Zentral (December 18)

1910:

Graz, Austria- Grazer Orpheum (March 1-15)

Budapest, Hungary- American Consulate (March 22)

1911:

Karlsbad, Austria- American Consulate (July 5)

Liverpool, England- sails on the SS Virginian to Montreal (September 11)

1912:

Prague, Austria- Hotel Central (April 3-7)

Scenes of Cairo (1914-1916)

After six months in France (according to his passport), Modjesko travelled south to Egypt, arriving a month before the outbreak of WWI. For the duration of the war, he established a residence in the Egyptian capital and toured around the crumbling Ottoman Empire. In January 1920, he began frequently appearing in cabarets and hotels around Beirut. Returning to Cairo in June, he received a new passport from the American Consulate and mentioned his plans of organizing a troupe to take back to Beirut with him for the opening of a new cafe-chantant that Fall. Afterwards, Modjesko disappears, only reappearing briefly on October 13th, 1921 to register with Cairo's American Consulate.

1914:

Arrives in Cairo, Egypt (June 4)

Cairo, Egypt- American Consulate (November 14)

1920:

Arrives in Beirut, Lebanon (January 23)

Beirut, Lebanon- American Consulte (May 11)

Returns to Cairo (June 11)

Cairo Egypt- American Consulate (August 2)

1921:

Cairo, Egypt- American Consulate (October 13)

Cairo - Passport photo (1920)