Cohan, George. M. (1878–1942). Autograph Autobiographical Letter Signed.
Interesting autograph letter signed from the American composer, entertainer and dramatist, who has penned on both sides of his personal letterhead. 2 pp. [N.P., N.D.]. Addressed to "Billy S. Gaines! - My Dear Billie [?]", Cohan writes "The first songs + dances I did was "Sally Maria Kaly Anna Jane" - my own and "She's handsome as a rose." The Dublin Dancing Master was a sort of monologue with dancing and singing. Subject - an Irish dancing master putting his imaginary pupils through different kinds of dancing stunts. I changed the Master later to "The dancing Philosopher" in 69 [1896?] which with Chas. Mac Evans...elaborating the patter and the varied dances - It was a great hit for 20 years. Trust you are well - Best wishes etc. / George M. Cohan." The letter continues to verso with a lengthy postscript signed "G.G.C.," "Thanks for the clippings...Healy and Cohan's...played Robert's Opera House in the fall of 1872, I think. Myself and John E. Healy of N. Haven were partners - I also played in 18[9]10 (there) with McGill and...Minor of Ireland as "Dublin Dan" Think the...was Allen...was succeeded by John M. Burke. Glad you like the book!" In fine condition. 8.5 x 11 inches (21.6 x 28 cm.).
An important letter about the early career of the influential entertainer. The letter is undated but at the conclusion, Cohan refers to "the book," and presumably means his 1925 autobiography Twenty Years on Broadway and the Years It Took to Get There, allowing us thus to date the letter to after that year. At one point he evidently transposes digits of the year 1896 and at another, writes 1810 when he obviously means 1910.
For the first ten years of his career, George was the least popular of the Four Cohans, a vaudeville troupe headed up by his father Jerry, who had been in minstrelsy as early as 1867 doing Irish sketches and was sometimes himself referred to as the "Dublin Dancing Master."
"The Cohan Mirth Makers, or whatever Jerry might name his company, presented an act that expanded to a full evening, when the bookings called for it, and they hired a few extra acts and musicians. When it was only the four of them with a piano player and George on violin, they shortened the act to about 20 minutes. Nellie and Jerry were the backbone of the sketches, Josie had a dance solo, and Jerry took a solo turn as "The Dancing Philosopher." Georgie attempted baton twirling, juggling and delivering a recitation, but he was little more than a filter to allow the others to make costume changes. He was, however, learning a lot about show business, both ends of it: how to make money and what entertained audiences." (Frank Cullen, "George M. and the Four Cohans," in "Vaudeville Old & New," p. 243 - 244)
Cohan, George. M. (1878–1942). Autograph Autobiographical Letter Signed.
Interesting autograph letter signed from the American composer, entertainer and dramatist, who has penned on both sides of his personal letterhead. 2 pp. [N.P., N.D.]. Addressed to "Billy S. Gaines! - My Dear Billie [?]", Cohan writes "The first songs + dances I did was "Sally Maria Kaly Anna Jane" - my own and "She's handsome as a rose." The Dublin Dancing Master was a sort of monologue with dancing and singing. Subject - an Irish dancing master putting his imaginary pupils through different kinds of dancing stunts. I changed the Master later to "The dancing Philosopher" in 69 [1896?] which with Chas. Mac Evans...elaborating the patter and the varied dances - It was a great hit for 20 years. Trust you are well - Best wishes etc. / George M. Cohan." The letter continues to verso with a lengthy postscript signed "G.G.C.," "Thanks for the clippings...Healy and Cohan's...played Robert's Opera House in the fall of 1872, I think. Myself and John E. Healy of N. Haven were partners - I also played in 18[9]10 (there) with McGill and...Minor of Ireland as "Dublin Dan" Think the...was Allen...was succeeded by John M. Burke. Glad you like the book!" In fine condition. 8.5 x 11 inches (21.6 x 28 cm.).
An important letter about the early career of the influential entertainer. The letter is undated but at the conclusion, Cohan refers to "the book," and presumably means his 1925 autobiography Twenty Years on Broadway and the Years It Took to Get There, allowing us thus to date the letter to after that year. At one point he evidently transposes digits of the year 1896 and at another, writes 1810 when he obviously means 1910.
For the first ten years of his career, George was the least popular of the Four Cohans, a vaudeville troupe headed up by his father Jerry, who had been in minstrelsy as early as 1867 doing Irish sketches and was sometimes himself referred to as the "Dublin Dancing Master."
"The Cohan Mirth Makers, or whatever Jerry might name his company, presented an act that expanded to a full evening, when the bookings called for it, and they hired a few extra acts and musicians. When it was only the four of them with a piano player and George on violin, they shortened the act to about 20 minutes. Nellie and Jerry were the backbone of the sketches, Josie had a dance solo, and Jerry took a solo turn as "The Dancing Philosopher." Georgie attempted baton twirling, juggling and delivering a recitation, but he was little more than a filter to allow the others to make costume changes. He was, however, learning a lot about show business, both ends of it: how to make money and what entertained audiences." (Frank Cullen, "George M. and the Four Cohans," in "Vaudeville Old & New," p. 243 - 244)