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Taylorology Issue 29
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* T A Y L O R O L O G Y *
* A Continuing Exploration of the Life and Death of William Desmond Taylor *
* *
* Issue 29 -- May 1995 Editor: Bruce Long bruce@asu.edu *
* TAYLOROLOGY may be freely distributed *
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CONTENTS OF THIS ISSUE:
Taylor's "Lost Years" -- 1908-1912
Wallace Smith: February 25, 1922
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What is TAYLOROLOGY?
TAYLOROLOGY is a newsletter focusing on the life and death of William Desmond
Taylor, a top Paramount film director in early Hollywood who was shot to
death on February 1, 1922. His unsolved murder was one of Hollywood's major
scandals. This newsletter will deal with: (a) The facts of Taylor's life;
(b) The facts and rumors of Taylor's murder; (c) The impact of the Taylor
murder on Hollywood and the nation; (d) Taylor's associates and the Hollywood
silent film industry in which Taylor worked. Primary emphasis will be given
toward reprinting, referencing and analyzing source material, and sifting it
for accuracy.
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Taylor's "Lost Years" -- 1908-1912
William Desmond Taylor deserted his wife and child in October 1908 in New
York; he obtained his first film industry job in December 1912 in Southern
California. Where was he during those intervening years? In Sidney
Sutherland's 1929 recap of the Taylor case (see TAYLOROLOGY #16) it is stated
that there is no definite data for Taylor's whereabouts during that time. On
the contrary, there is considerable specific data, although some gaps remain.
The following items provide some information on Taylor's whereabouts and
activities during that time.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Taylor in Dawson, Yukon Territory
February 11, 1922
LOS ANGELES TIMES
Dawson, Feb. 10--Careful inquiry here indicates that William Desmond
Taylor, the murdered director, did not arrive in Dawson until 1908 or 1909,
ten years after the big rush to the Klondike. He was here as a timekeeper for
the Yukon Gold Company until November 1912, on dredge and hydraulic
operation...His application with the Yukon Gold Company, filed here May 25,
1909, shows him to have been an Englishman, then 35 years of age, said he had
worked for the Grand Trunk Pacific Railway during the construction of the
Skeena River division and gave as reference Manager MacKinnon of the Canadian
Pacific and the Sulphide Pulp Company of Swanson Bay, British Columbia.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 8, 1922
LOS ANGELES TIMES
Dawson City, Feb. 7.--Records of the Yukon Gold Company indicate that
William Desmond Taylor, motion-picture director who was found dead with a
bullet wound in his neck [sic] in Los Angeles recently, added to his
multifarious lists of trades during his sojourn in the Yukon. In Dawson he
worked as timekeeper and commissary clerk from 1908 to 1913 [sic]. He is
remembered as an efficient commissary clerk in several creek stations of the
Yukon Gold Company.
At Claim Seventy-six "below" on Bonanza creek, he is referred to as a
record-breaker in holding down grub allowances. He rode horseback for pastime
and wrote short stories, which were published, it was said, in outside
magazines. It is believed that he originally came from England. In the four-
year period mentioned, he was absent from the Yukon one winter when he went to
Honolulu with a theatrical company.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 5, 1922
SANTA BARBARA PRESS
During most of the time after he disappeared from his home in New York in
1908 and until he went to work for a motion picture company in Los Angeles in
1912 or 1913, William Desmond Taylor, slain motion picture director, was
working in the Yukon as an associate of George Morrison, Santa Barbara city
engineer.
Taylor, or Tanner, came to San Francisco from New York early in 1909,
Mr. Morrison said last night, and there was engaged by the Yukon Gold company,
a Guggenheim corporation, as a timekeeper for one of its Yukon mines. He
arrived in Dawson, Y.T., in March 1909, and there formed an acquaintance with
Mr. Morrison which lasted until Taylor left in 1912. Mr. Morrison was
employed by the same company as hydraulic engineer and Taylor made something
of a confidant of him. He told Mr. Morrison that Taylor was an assumed name
and that he had left New York because of an overwhelming burden of debt he had
contracted while an art dealer in New York. Mrs. Potter Palmer, Chicago
society leader, he told Mr. Morrison, was his principal backer.
When Mr. Taylor came here in the employ of the American Film company the
acquaintance formed in the Yukon was renewed, Mr. Morrison said, and there is
no doubt in his mind that his friend in the Yukon and William Desmond Taylor
of motion picture fame were the same man.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 8, 1922
LOS ANGELES TIMES
William D. Taylor, slain film director, was the dude of Dawson City,
according to Adelbert Bartlett of Santa Monica, who knew him in Alaska [sic]
in 1910.
He wore tweeds, a soft crush hat, tasteful haberdashery, and was
immensely popular with the women. He played crack tennis, was a card expert
and attended most of the big functions in a dress suit, one of the few dress
suits in the town.
At that time Mr. Taylor was timekeeper for the Yukon Gold Company at $175
a month.
"Mr. Taylor gave me the impression of a man on a mysterious mission. At
times he would obscure himself and nobody would know where he was and then
again, he would embark on the heights of sociability. All of the women were
interested in him. The country was more or less unconventional and he was
frequently the escort of married women. In a perfectly proper way, of course.
"There was one case in particular, however, that impressed me at the time
as liable to lead to trouble. Every morning at 10 o'clock he would have a
tete-a-tete over the telephone with a woman. One woman was the wife of a high
employee of the company, and there was some gossip.
"I used to wonder why a man of his personality and culture should spend
his time there at such meager pay and the fact that he was always somewhat
mysterious enhanced this question.
"He was thoroughly familiar with the Yukon Territory and I understood
that he had been there in 1898 and 1899. He used to show me many places of
interest. Robert W. Service, the poet, Mr. Taylor and myself have played
together.
"Mr. Taylor was rather a quiet fellow, but always an outstanding figure.
He attended the society affairs given by the Governor of the Territory and by
the local celebrities and made himself generally agreeable, too.
"Lots of us guessed that he was a typical English remittance man. If
Mr. Taylor was murdered because of any of his actions up there in the Klondike
the grudge must have been harbored for a long time."
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Taylor in Bellingham, Washington
February 3, 1922
BELLINGHAM HERALD
William Desmond Taylor, prominent moving picture director who was shot
and killed under mysterious circumstances a Los Angeles Wednesday night or
early Thursday morning, will be remembered by patrons of Beck's theater who
attended the plays produced by the Beck's theater stock company early in the
winter of 1909. The company was organized by Mrs. S.M. Bruce, who was in
charge of the theater for a season, and staged several plays here which proved
to be of exceptional popularity among Bellingham theatergoers.
Mr. Taylor, who is described by Mrs. Bruce as "a splendid chap to work
with and to work for," well bred, well educated and of charming personality,
took the leading parts in some of the stock plays. Although he was not here
in time to appear in the opening play, "Are You a Mason?" he took the part of
Don Jose in "Carmen" and also took the lead in Clyde Fitch's "Climbers," as
well as other production. Victory Bateman was the leading lady and Sedley
Brown, whose wife is now prominent in character parts in moving pictures, was
the director. Mr. Taylor came here from Vancouver, B.C., at Mrs. Bruce's
request and made many friends among local people during his stay in the city.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 8, 1922
BELLINGHAM HERALD
It was just twelve years ago last week that William Desmond Taylor, slain
moving picture director of Los Angeles, closed a stock company engagement in
Seattle. This is the statement contained in a letter received by Mrs. S. M.
Bruce, of this city, from her daughter, Mrs. George C. Murphy, known
professionally as Olive Adair.
Taylor, known to his friends and the profession as "Bill," was in stock
company in Bellingham during the early part of 1910--or during part of the
period following his mysterious disappearance at New York.
"You know how spooky he always was," the letter to Mrs. Bruce said. "He
was well liked professionally, but he had few intimates. I have frequently
spoken to him about the old times in Bellingham and Seattle."
Olive Adair, then Miss Olive Adair Leonard, was a member of the original
Beck Theater Stock company, organized here when the old Beck theater was under
the management of Mr. and Mrs. Bruce. She went with the company to Seattle
and after a time went into moving pictures. In her letter she said that she
had appeared in two pictures recently produced by Taylor. Incidentally she
mentioned the fact that Victory Bateman, who also was a member of the Beck
Theater Stock company here in 1910, is also in moving pictures at Hollywood.
Taylor was well liked during his stay here. He appeared to be a
polished, affable sort of man who made friends of those with whom he worked.
...Olive Adair played in the stock company, that being her first
professional work on the stage. The stock company was organized for her
benefit. She has been in Los Angeles since 1914 and from time to time has
mentioned Taylor in her letters to Mr. and Mrs. Bruce.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 2, 1910
BELLINGHAM HERALD
The Beck theater announces with a great deal of pride the fact that it
has secured one of the handsomest and most talented leading men in the
profession in the person of William D. Taylor, who will join the company in
that capacity next Tuesday, to begin rehearsals of "Sowing the Wind," in which
play he will take the superb role of Brabazon, which is one of the most
sensationally beautiful parts ever written for a leading man.
In "Sowing the Wind," a powerful play from the pen of Sydney Grundy, no
leading man could ask for a better introduction to his clientele than is
offered in the role of Brabazon. It is powerful in every way and in Mr.
Taylor the new stock company is fortunate indeed to find a man of heroic
appearance and splendid intellectual capacity, bully capable of doing justice
to this magnificent character.
Mr. Taylor has a splendid record in the profession. He was with Charles
Hawtrey, the celebrated English actor, in "The Private Secretary," which
duplicated in England the phenomenal success that characterized Gillette's
appearance in the same piece in America. Mr. Taylor accompanied Hawtrey
throughout his entire English tour, appearing with equal success in London and
the Provinces. He was for many seasons in classic drama with Fanny Davenport,
appearing with her in "Gismonda," "Cleopatra," "Fedora," "La Tosca" and "Joan
of Arc," playing juveniles and characters in all of these productions, and
understudying Melbourne McDowell as leading man. He has played in "La Tosca"
the different roles of Angelotte, Mario, Cavaradossi and Scarpio; Louis
Ispanoff in "Fedora," Marc Antony in "Cleopatra" and similar roles. He was
selected by Miss Davenport to be her special agent in the preparation of her
renowned production of "Joan of Arc." Miss Davenport sent Mr. Taylor to
Paris, where he was put in charge of the selection of all the armor and
similar accoutrements used in "Joan of Arc." He was for several seasons
leading man with the Castle Square Stock company in Boston, and played leading
business in such standard attractions as "Butterflies," "Men and Women," "The
Great Ruby," "The Charity Ball," "Trilby," etc. He was engaged by Daniel
Frohman to play Morgan's part in "Trelawney of the Wells," and he played with
Arthur Elliott in stock in Australia, as well as in English melodrama from the
Adelphi.
Mr. Taylor is a man of commanding appearance and charming manner, finely
educated and of excellent English parentage. He has traveled the world over,
and carries with him the air of a man who knows life in all its phases.
Beck's theater presents Mr. Taylor to Bellingham as Brabazon in "Sowing
the Wind," and in all his later work with ever confidence that he will at once
take and maintain an enviable position in public esteem.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 9, 1910
BELLINGHAM HERALD
William D. Taylor, new leading man with the Beck Stock company, tells the
following story on himself:
"One night during an engagement with Miss Davenport at the Baldwin
theater, in San Francisco, I went in company with some friends to the Palace
hotel for supper after the performance. We chanced to be seated at a table
diagonally across the room from a table occupied by a stag party, the members
of which had evidently been supping, not wisely, but--very well. For some
reason one extreme attracted their attention and in the next few minutes we
overheard several remarks which annoyed us exceedingly.
"I was on the point of calling the head waiter to expostulate when I
happened to hear one of their number, a big, blustering fellow, make a
particularly insulting remark. Involuntarily I jumped to my feed, realizing
almost immediately the mistake I had made, as there were several ladies in our
party. Just as quickly my ponderous friend started across the room, while I
stood there in a quandary.
"To my utter astonishment, when within about ten feet of he, he suddenly
stopped short, stared at me a few seconds, then wheeled and left the
restaurant precipitately. Of course I sat down, vastly relieved, the more so
as there were no more remarks from the stag party. Shortly afterwards, I
heard their waiter say to ours in passing: 'Say, that's Jimmie Corbett
you're waiting on.' I had been mistaken for the redoubtable 'Gentleman Jim,'
who at that time was in the zenith of his glory." [1]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 11, 1910
BELLINGHAM HERALD
Not since Mrs. Patrick Campbell gave her renowned performance of "The
Second Mrs. Tanqueray" three seasons ago, has the stage of Beck's theater been
the scene of such fine acting as Miss Victory Bateman offered the patrons of
that house last night in the superb production of Sydney Grundy's masterpiece,
"Sowing the Wind," the play selected for the stock company bill of the current
week. It was a triumph of old for Miss Bateman, whose brilliant career long
ago accustomed her to the deepest demands and the highest awards of the art of
emotion depiction. This woman is an artist in every sense of the word and
worthy of the appreciation of any discriminating public. She did what she
willed with the audience at Beck's last night and reached a height in the
climax of the great "Sex Against Sex" scene that has not been approached in
this city in years.
...The story of "Sowing the Wind" is sweet and appealing. It held the
audience bound to its thrill and left them happy and satisfied at its close.
Its sweetness is like a benediction and its power and purpose challenge the
best in everyone. It is the kind of play one never forgets. Its lines live
and grow in the memory like some hardy and sweet-scented perennial. There are
not enough plays like "Sowing the Wind" seen nowadays. "Sowing the Wind" has
always been considered too high-class for the West, but its reception at
Beck's last night proved that idea to be a mistake. It is a splendid play
done in splendid style, with fine attention to detail that becomes more and
more prominent in the Beck production.
The company is much stronger in "Sowing the Wind" than in any previous
play since they opened and gave a very even and artistic performance. Mr.
William D. Taylor, the new leading man, appeared in the dominant but kindly
role of Brabazon and gives promise of becoming an interesting and pleasing
member of the stock company, though he was the last to be added to it...
"Sowing the Wind" will run all week without interruption and be followed
on Sunday night by a big spectacular production of "Held by the Enemy," the
play that made William Gillette famous.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 17, 1910
BELLINGHAM HERALD
Another success was added to the increasing list of the Beck Stock company
in the presentation Sunday afternoon and evening of "Held by the Enemy," the
big Gillette war drama, which drew a large house to the evening performance
and scored heavily. Frederick Warde, the distinguished tragedian, who was
passing through the city and witnessed the play, expressed warm admiration for
the company and complimented the theater management upon the quality of
production and ability of the players.
That the Beck Stock company is becoming solidly recognized in Bellingham
is proven by the steadily increasing patronage. The receipts last night were
three times as large as those of any preceding Sunday since the season opened,
and were second only to the Christmas receipts.
The exciting realism of "Held by the Enemy" stirred the house to
enthusiasm, while the dainty comedy furnished by Philip Sheffied and Olive
Adair, in their respective roles of the magazine artist and Susan, kept
everybody laughing and made the hit of the piece. The vivid spectacular
features of "Held by the Enemy," its intense atmosphere of personal danger,
the fascination of thrilling and unexpected dramatic moments, the tender
appeal of love and the stern demands of duty, the opposition of affection and
patriotism in both Northern and Southern hearts, the pathetic struggle of the
women of the South to protect their lives, loves and homes during the terrible
period of the early 1860s when the Civil war directed its grim engines of
destruction through their plantations and their pride alike, are thrown onto
the stage in brilliant relief in this picture of the South, called "Held by
the Enemy."
The staging of the play is truthful and elaborate. In the first and
fifth acts is shown the drawing room of the McCreery mansion, and once proud
room of elegance and luxury, but which at the opening of the play the
encroachment of poverty caused by the war is seen in the last few remnants
that remain.
In the second and fourth acts are shown the forbidding accoutrements of
strife; the rough and ready details of a fort interior; the rushing feet and
booming voices of men too intent upon their errands of destruction to know or
care whether or not speech became either intelligible or offensive. It is all
very grim and thrilling and when across the black background of tumult and
confusion there flash the brief episodes of personal sacrifice and devotion
that grip the heart and make men human and sincere the interest of this play
culminates and holds the listener bound.
Miss Bateman played Rachel, and gives an earnest and womanly performance.
Mr. Taylor makes a heroic looking Colonel Foskett and the remainder of the
company have excellent support in their various capacities. The work of the
fourth act is especially commendable in the big scene where Rachel tries to
smuggle her wounded fiance, who is a prisoner of war, through the Federal
lines, under the pretext that he is dead, and where, during the suspense of a
breathless situation, he really does expire.
Mr. Williams, leader of the orchestra, once more demonstrated himself an
artist by the sympathetic support he lent the various scenes throughout the
action. His intermission music is charming and suggestive of the South in
every way and elicited hearty and repeated applause.
"Held by the Enemy" runs all week with Saturday matinee. Next Sunday
afternoon there will be something entirely new, since arrangements have been
made to present "A Fallen Angel," which will have its first production on the
Coast in this city.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 23, 1910
BELLINGHAM HERALD
For the first time in the history of theatricals in Bellingham, a play is
to be staged here under the personal direction of its author.
"A Fallen Angel," which opens this afternoon at popular prices with the
Beck Theater Stock company is the work of Sedley Brown, stage director at
Beck's theater. This play is a strong, wholesome and interesting melodrama
with a long reputation for big business behind it. It was selected for
presentation here from a large list of similar plays on account of its deep
heart interest and strong moral lesson...
"The Fallen Angel" is a thoroughly impressive and wholesome story. It
teaches that there are still good men and women and that Christianity in the
hands of over-zealous bigots is often made the tool of Satan rather than the
instrument of the Master. Two love stories and a hilarious vein of comedy run
through the play. There are several strong character parts that give the
stock company fine possibilities...
"Mr. Taylor, the handsome leading man, plays a strong role of a minister
whose fine character and stalwart Christianity arouses audiences to
enthusiasm. It is an excellent part for Mr. Taylor to which he will
undoubtedly do justice...
The first performance of "The Fallen Angel" will be given this afternoon
at 2:30.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 24, 1910
BELLINGHAM HERALD
The production of "A Fallen Angel" at the Beck theater this week by the
Beck Theater Stock company is without doubt the most creditable that not only
Bellingham has had the privilege of witnessing in stock, but that the present
organization has thus far presented. Two crowded houses evinced the greatest
delight throughout the play. It combines all the elements of pathos and
comedy, and in many ways is unique. "A Fallen Angel" is melodramatic in
effect, but without the usual blood and thunder and knock-about accessories,
and the story is clean, wholesome, and the moral is an exceptionally good one.
The plot involves woman's unforgiving attitude toward the fallen members
of her sex; of man's more liberal spirit; of a sister's unselfish love for her
brother, which prompts sacrifice which would mean the giving up of love and
happiness, and the voluntary surrender to misery; of the cunning and cowardice
of the villain whose selfish, self-seeking infatuation which runs its baleful
course and ends in his downfall, and of the fallen woman, womanliness rising
superior and triumphant to her surroundings, to her happiness. The story of
"A Fallen Angel" is laid in Pennsylvania, its opening scenes being in a small
interior town. Later the scene takes place in Philadelphia. As usual the
scenic and stage effects were perfect, particularly so the churchyard, which
was very realistic and demanded applause from the audience...
Mr. Taylor's conception and execution of the minister was excellent...
"A Fallen Angel" will run all week with a special matinee on Saturday.
Next Sunday night a fine dramatic version of "Carmen" will be put on here for
the first time.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 31, 1910
BELLINGHAM HERALD
"Carmen" swung itself loose last night at the Beck theater into a booming
and bewildering success. Delightful hardly expresses it, for the play, in
addition to possessing a great deal of merit as dramatized from the thrilling
opera, is produced by the Beck Theater Stock company in a superior manner to
any of the productions that they have thus far offered. They proved
themselves a stock company of most capable people, in fact, every part was in
such able hands that even the smallest role in the play was portrayed as in
real life. It was not only the realistic manner of acting, but so
convincingly real was the play staged that the large audience enjoyed every
moment of the drama.
"Carmen" is a picture drawn in glowing colors and is full of actions and
thrilling in its situations. It depicts life in the locale of the story as it
would be depicted only by those intimately acquainted with the passions,
impulses and motives which inspire the life of Gypsies. Every act is
represented in a careful and painstaking manner, no expense having been spared
in furnishing elaborate scenery, and every accessory is in perfect harmony
with the picturesque surroundings. The stage fairly swarmed with people last
night, with a beautiful and cleverly acting chorus. They made a dazzling show
and helped to keep things lively. The costuming is elaborate and the whole
production was most worthy, and that is saying much.
Victory Bateman was altogether fascinating as Carmen, with her melodious
voice and her tempestuous, fiery outbreaks. This is one of the best
characters she has been seen in here and it is doubtful if one might mind a
more pleasing presentation...William D. Taylor, as Don Jose, takes advantage
of his opportunity and was at his best last night...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 4, 1910
BELLINGHAM HERALD
Tonight, tomorrow afternoon and Saturday night will see not only the last
of the present stock company at the Beck theater, but the last performance of
"Carmen," the beautiful spectacular drama that has made so excellent an
impression upon the theatergoers here...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Taylor in Seattle, Washington
February 7, 1910
SEATTLE POST-INTELLIGENCER
New Stock Company at Seattle Theater
The new stock company at the Seattle theater made its first bow
yesterday afternoon to a packed house and again at night was the announcement
that nothing was left but standing room. The opening bill is "The Night
Before Christmas," by that astute dealer in human emotions, Hal Reid, who has
provided more than one melodramatic success. The entire story is told in the
third act, where the events of the two earlier acts are rehearsed in a
courtroom scene that stretches possibility to the limit, and which is so
technically legal that it threatens in places to become tiresome. In the
third act a judge is compelled to pass sentence of death upon his own wayward
son, who has been falsely accused and convicted of a murder. The curtain
descends upon the last speech of the judge, who is sending the boy to the
electric chair.
The final act is that of the governor's office, to which place the
judge has been elected, and in which he declines to reprieve the boy because
it conflicts with his stern sense of duty. In the same scene the real
murderer enters and confesses that he committed the crime, and that it was
done to revenge himself upon the man who had broken his home and sent his
child out into the world with a blight upon her name. As a means for
introducing another interest, Mr. Reid makes the daughter of the murderer the
sweetheart of the accused Jack Philip, whose marriage had been forbidden by
his father, the judge, on account of a doubt as to the girl's parentage. The
only act in "The Night Before Christmas" that is keyed up to the Seattle
theater notion of things is the second, showing a graveyard, in which the
murder is committed. The particular interest in the occasion is the return
to Seattle of a couple of favorite players and some new people who are going
to make themselves popular down Cherry Street way. The reception of Robert
Webb Lawrence and Philip Sheffield must have been encouraging in the way of
saying, "Welcome to our city," or something like that. Each of these players
acquitted himself creditably, Mr. Webb, as Judge Philip, the dominant figure
of the play, and Mr. Sheffield, as Billy Pickerell, a character study of a
blind man.
Miss Victory Bateman, who is celebrating a honeymoon on the occasion of
her return to local dramatic activities, found that the old Third Avenue
theater clientele, before which she played, has been transferred to the
Seattle theater, and many of the youngsters of her previous days on Third
Avenue are now grown-ups. Miss Bateman is not afforded any emotional
opportunities as Marion Williams, a couple of instances, however, requiring
repression, showing good taste and excellent reading. Mr. Will D. Taylor
plays the limited part of Jack Philip, the wrongfully accused young man,
intelligently, and Mr. Kilbride made the long scene in the courtroom less
tiresome for his good work as the attorney for the defense...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 11, 1910
SEATTLE POST-INTELLIGENCER
The Hal Reid comedy-drama, "The Night Before Christmas," has served to
give the Beck Stock Company a very favorable introduction to local play-
goers, and the size of the house of the opening week is assurance of
continued popularity during the period of its engagement here..."The Night
Before Christmas" will close with the performances of Saturday afternoon and
evening. "Held by the Enemy," the famous war drama, is next week's bill.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 12, 1910
SEATTLE TIMES
Beck Players at Seattle to Be Reorganized
In order to bring it up to the standard demanded by Seattle Theater
audiences the Beck Stock Company is to be reorganized. Several new players
will be added, these to include a new leading man. Victory Bateman and
William Taylor, who have been playing leading roles, will leave the company
next week and they will be replaced with capable players, whose contracts are
now being considered.
Miss Brenda Fowler succeeds to the rank of leading woman for the company,
and will head the company for the first time in "Held by the Enemy," which
opens Sunday afternoon. "The Night Before Christmas" continues as the bill
for the remainder of the present week. This comedy-drama is a play that is of
general interest, and particularly to women and children.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 14, 1910
SEATTLE TIMES
Reorganized, The Seattle Theatre Company, as the players at The Seattle
hereafter will be known, opened for the week yesterday afternoon in what is
far and away one of the, if not the, most finished and delightful performances
offered patrons of the Russell & Draw house in the last six months.
"Held By The Enemy" has seen many presentations in Seattle within the
last decade or so. Its treatment at the hands of the new company, it is safe
to venture, will compare favorably with any that have gone before, for in
practically every instance the parts are undertaken by men and women to whom
they are admirably suited, and nothing has been spared in the way of scenic
investiture to make it thoroughly consistent with the stirring period--the
Civil War--about which the play is written.
This week sees Miss Brenda Fowler playing the lead, Rachel McCreery, and
if she displays the same capabilities in the next few succeeding productions
shown in the offering now running she very probably will be continued in
stellar roles. Her worth is brought out strongest in the tense, emotion
scenes with which "Held By The Enemy" is replete.
William D. Taylor's "Col. Charles Prescott" is a finished piece of work.
Unintentional injustice was done this competent player in a recent
announcement concerning the reorganization of the company. The fact that he
is to accept a place with another company was accompanied by the comment that
his place would be filled with a capable leading man. The natural inference
was that he is not capable, one that is manifestly unfair to him since he is a
player of recognized ability and one whose services are highly valued by the
Russell & Drew organization.
It is in the juvenile and ingenue parts that "Held By The Enemy" carries
a secondary love theme providing a wholesome brand of comedy that is
irresistibly winning as presented by winsome little Olive Adair, as Susan
McCreery, and Phillip Sheffield, as Thomas Henry Bean. Both Miss Adair and
Sheffield won scores of friends yesterday by their delightfully natural work.
To Leo Lindhard, as Lieut. Gordon Hayne, falls the work that draws the
big hand. It is at the end of Act II, when Hayne, on trial for his life as a
spy, admits his guilt rather than see dishonor attached to Col. Prescott, who
withholds damaging testimony because of his love for Hayne's cousin, Rachel
McCreery...
The cast follows:
Co. Chas. Prescott............Wm. D. Taylor
...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 14, 1910
SEATTLE POST-INTELLIGENCER
"Held by the Enemy" has been raised to the dignified plane of a
melodrama, and it is doubtful if William Gillette would recognize more than
the skeleton of his war-time play if he were to drop in and see what is being
done at the Seattle theater. At the same time he could find, upon
investigation, that the changes wrought in "Held by the Enemy" have not been a
tampering with lines or situations, but that the production has been keyed up
to what the Seattle theater following wants. There are a dozen good
situations in the five acts, and some exceptionally strong lines, and they are
emphasized solely with the notion of increasing their melodramatic value.
Probably the most intense situation is that of the fourth act, in which an
attempt is made to get the wounded Lieut. Hayne through the lines, upon the
representation that the man is dead.
...Mr. Taylor plays the manly Col. Prescott to its advantage...
[On February 19 the run of this play ended. The subsequent play, "The Cow
Puncher," did not have Taylor in the cast. From these items it is unclear
whether Taylor played the full week's run of "Held by the Enemy" or left the
cast during the week.]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Taylor in Denver, Colorado
May 1, 1910
ROCKY MOUNTAIN NEWS
Arthur C. Alston's new play, "As the Sun Went Down," will be presented
at the Tabor Grand [in Denver] this week beginning May 8. The company will
be headed by Estha Williams, who played Parepa, the Octoroon, in "At the Old
Cross Roads."
The supporting company includes Edwin Walter, W. A. Whitecar, Arthur E.
Chattedon, George A. Cleveland, Arthur W. Bentley, R. F. Sullivan, William D.
Taylor, Victory Bateman and Flora Byam.
The scenic production is an elaborate one. [This play was presented
from May 8 to May 14, 1910.]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 8, 1922
ROCKY MOUNTAIN NEWS
Fate in one of her capricious moods has made the murder of William
Desmond Taylor, motion picture director of Los Angeles, particularly tragical
for one of Denver's popular actors, George Cleveland, a member of the Wilkes
Players.
William Desmond Taylor, known to his friends of years ago as Dean Tanner
[sic], was the best man at the wedding of Miss Victory Bateman and Mr.
Cleveland in a small town in the state of Washington in 1909. The couple
whose marriage he witnessed have been separated for years and soon will be
divorced. [2]
Dean Tanner, or William Desmond Taylor, and Cleveland had been friends
for years and were inseparable companions for more than a year and a half.
"I do not understand all of these things they are saying about Bill
Taylor," Mr. Cleveland said last evening. "He was always open and above board
and there was certainly nothing mysterious about him. He made no attempt that
I know of to keep the fact that he changed his name a secret. We were going
to open an engagement in New Jersey in 1908 and he took the name of William
Desmond Taylor. Why, he never said, and we never pryed into each others
affairs.
"I have toured the country with Bill Taylor and at one time, years ago,
we were stranded in Denver, and Bill went to a small town in the hills, where
he obtained a job as night clerk in a hotel. I have forgotten where it was,
but I went to California."
Producing plays with local talent found in the far off cities in Alaska,
Mr. Cleveland and Taylor toured that part of the country for several months.
"Bill was a queer chap when he drank, which he did at times, and when one
of these spells came on him he devoted all of his attention to the job," the
actor continued. "You ought to know a man pretty well, sharing the adventures
that come into life in Alaska, but I certainly never knew such a man as they
have described in the papers."
During his long acquaintance with the director, Mr. Cleveland never heard
him mention having a family, and sweethearts and enemies never seemed to enter
his life.
"Taylor was the last man in the world to have had enemies, everyone liked
him," he declared. "Of course, he may have changed when he became very
prosperous and attained fame, but it does not seem possible."
Mr. Cleveland is a clever and popular member of the Wilkes players, and
the circumstances surrounding the death of his friend have affected him
deeply. It is all a mysterious tangle which he is unable to unwind, and
particularly is he mystified concerning the manner in which Taylor's character
has been described.
"Just before I came to Denver last autumn I heard from Bill," he
remarked. "He was dropping his work for several months, he informed me, and
previous to that time I corresponded with him in Australia."
According to Cleveland, Taylor was an interior decorator of ability and
he believes that it was because of his skill in this field that he attained
fame in the motion picture industry. Many of the handsome residences in New
York have been decorated and designed by Taylor, Cleveland declared.
"Bill was a mediocre actor, but certainly an artist, he said. "Despite
the fact he was born in Ireland, he was exceedingly English in his ways, a
fine fellow, and it is hard to realize all of these things that they are
saying about him out there." [3]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Taylor in Telluride, Colorado
February 5, 1922
ROCKY MOUNTAIN NEWS
...In 1910, according to J.A. Segerberg, proprietor of the New Sheridan
hotel at Telluride, Col., Taylor answered an advertisement that he (Segerberg)
had inserted in a Denver paper. Taylor wrote in his letter of application
that he was in Denver without funds, but that he was eager to get located in
the Telluride district.
Segerberg forwarded the transportation fare to Taylor, who went to
Telluride and remained several months as a night clerk in the New Sheridan
hotel. During his leisure time in the afternoons, he is said to have
prospected about the hills near the little mining town.
"He never seemed to have any luck," Segerberg declared. "He was down and
out all right, but we all liked him. He made friends with everybody at the
hotel, and was quiet and unassuming.
"He didn't talk much, but on one occasion he confided in me that he had
been to Alaska, had made a fortune and had lost it. He said he was just
trying to get on his feet again. I considered him a most exceptional man. He
had a fine education and was very much alone, receiving letters but seldom."
...Segerberg said that Taylor went by the name of William D. Taylor while
at his hotel, had no one with him and, as far as he knew, had trouble with no
man. Segerberg considers himself a close friend of the former director,
having heard from him once since he became associated with the world's largest
moving picture foundry.
"When he left Telluride, it was following one of those rare occasions on
which he received any mail. I believe it was a letter, tho it might have been
a telegram. He said that he was called to California by the illness of his
brother. I did not hear from him for several years thereafter, and then only
a single letter."
When the press dispatches first began carrying the details of Taylor's
death, one of the most baffling murders in the history of Pacific coast police
annals, Segerberg recognized the name of his old friend and sent notice of the
dead man's previous residence in Colorado to The News.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 5, 1922
DENVER POST
Broke, a fortune scattered behind him in Alaska where his numerous mining
ventures had failed, William Desmond Taylor, slain film director, drifted into
Denver late in 1909 [sic] and after spending a few days here accepted a
position as a night clerk in the New Sheridan hotel at Telluride...according
to the statement of Miss Fannie Ball of 2018 California Street, cashier at the
Oxford dairy lunch room, Denver, who was cashier at the New Sheridan hotel
during the time that Taylor was there...
"I recognized Mr. Taylor's picture the minute I saw it in the paper,"
said Miss Ball, cashier at the Oxford dairy lunch room. "I was working as
cashier at the New Sheridan in Telluride all the time he was there as night
clerk. I never had any idea that he was interested in a career on stage or in
the movies. He didn't talk much. He didn't associate with anybody and he
didn't go anywhere, but most everybody that came into the hotel got acquainted
with him anyway and liked him."
"I never knew where he went from Telluride, but I remember that we were
all surprised when we learned he was in the movies.
"I never heard of his having any kind of trouble with women or anybody
else while he was in Telluride. He was about 40 years of age at that time and
was one of the finest men I have known."
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 5, 1922
LOS ANGELES EXAMINER
...Taylor appeared in Telluride when apparently at the end of one of the
low ebbs of his financial endeavors. He acted as night clerk for the New
Sheridan Hotel there from June 10, 1910, until December 15, of the same year.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Taylor in Hawaii
February 9, 1922
NEW YORK AMERICAN
New light on the past of William Desmond Taylor and his missing brother
Dennis was thrown yesterday when Harry Corson Clarke, Actor-manager and world
traveller, arrived from California and gave an exclusive interview to the New
York American.
The interview clears up for the first time the whereabouts of Taylor
following his disappearance from this city in 1908 and his reappearance on the
Pacific Coast some years later. The missing man was in the Klondike.
It also furnishes an opinion of Taylor's character from one who knew him
well. Mr. Clarke declares that "Taylor was one of the finest gentlemen that
God ever made, and to be with him was an education."
This opinion was formed after three months with Taylor, who joined
Clarke's stock company and went with him to the Hawaiian Islands, where for
the first three months of 1912 they played a variety of popular plays, with
Taylor as leading man.
Clarke is now staying in this city preparatory to his fourth tour of the
world, and is outspoken in his loyalty to his dead friend. He said yesterday:
"Bunk! That is what I think when I read all this stuff about Taylor
being mixed up with these hop-heads. I don't believe it.
"Women? Sure; women would go crazy about a man like Taylor, particularly
when they had had to associate with the sort of men they are thrown in with in
most movie studios.
"I first met Taylor in December of 1911, in San Francisco. He had come
down from the Klondike and he had been on a spree and he was absolutely down
and out.
"He was fierce to make money. Craved money. Had to have money, and he
told me a story about a claim that he and his brother Dennis had in the
Klondike that he said would sure make them fabulously rich if they could
develop it. He had come down to collect the money to make it a winner.
"Well, I wasn't staking any Klondike claims, but Taylor could act, and I
was just starting for the islands with a show and I took him on.
"I don't remember where they say Taylor was in the first three months of
1912, but I can tell you just where he was. He was playing leads with me in
Honolulu nights and working as a carpenter by day in a theatre which we were
building there.
"We had a great three months.
"Taylor played leads in all the old favorites. 'Why Smith Left Home'
(that must have made him do some thinking); 'Christopher, Jr.'; 'Lost 24
Hours' and a number of those shows which had been popular on Broadway some
seasons before, but went big with the Hawaiians.
"And don't forget that Taylor went big, too. He was a gentleman and we
were received by the best English and American people in the islands. We went
big with the natives, too.
"Once the Princess (I forgot her name, but she was the daughter of Queen
Lilluokalani) and Cleghorn, the Scotchman, received us at Alulua and gave us a
native party. Taylor charmed the natives just as he charmed everybody else he
met.
"After the Islands I was headed for Australia and I wanted him to go bad,
but he wouldn't hear of it.
"All his mind was focused on his old mine in the Klondike, and every cent
he got went up to brother Dennis to develop it, and I left him at the boat for
San Francisco, headed back toward the Arctic.
"Six months ago I met him again in Hollywood. He was riding down the
avenue in a big car, and when he saw me he pulled up. I told him it was not
much like December 1911. He told me for God's sake to forget it.
"I never knew him to have anything to do with any women and I don't
believe he did.
"Oh, yes, there's one other thing I remember about him. He was a mighty
fine actor. And I guess that sums him up. A good man, a fine gentleman and a
good actor. It's a complete characterization, and it sums up Bill Taylor."
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 13, 1912
HONOLULU ADVERTISER
CORSON CLARKE TO COME NEXT WEEK
"I am going to bring as nice a company of actors as ever visited
Honolulu, so don't be afraid to say so," writes Harry Corson Clarke, the
comedian, to D. W. Douthitt, his local representative. Mr. Clarke said also
that although he was to bring only thirteen people, he is bringing eighteen.
His letters indicate that he is coming to Honolulu largely as a matter of
sentiment, because of his visit here in the latter part of the nineties. He
wants to renew old acquaintances, and to see the Islands once more.
...Mr. Clarke and his company will leave San Francisco next Wednesday
[January 17, 1912] on the Wilhelmina.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
January 25, 1912
HONOLULU ADVERTISER
PASSENGERS
Arrived.
Per M.N.S.S. Wilhelmina, from San Francisco, Jan. 24--..Mr. and Mrs. H. C.
Clarke...Wm. D. Taylor....
ACTOR TALKS OF HOPES AND AIMS
"I had the pleasure of taking Will Lewers of Honolulu back to the mainland
when I was last here in 1897," said Harry Corson Clarke, the comedian,
yesterday. "I am very glad to say that he has risen high in the theatrical
profession and has been leading man in many of the most notable American
successes. He has latterly been in Maude Adams' company."
...Mr. and Mrs. Clarke are stopping at the Young while others are at the
Pleasanton, the Donna and the Hawaiian, the scarcity of hotel accommodations
compelling them to break into small parties.
"I know that we'll do well in Honolulu," says Mr. Clarke. "I have kept
in touch with the sentiment here and knows that the newspapers have expressed
the hope that clean, wholesome drama could be given. I have always desired to
return here with my own company, and still believing that what the papers said
was true, selected a company which I believe is one of the best to be picked
up anywhere. In all my stage career I have never descended to slapstick
methods and I trust I never shall. It is my intention to close with the
presentation of a play I have called 'Vollendam,' and this will be the first
production of it in English on the American stage. This is something I
reserved especially for Honolulu.
...The prominent members of the company are Margaret Dale Owen (Mrs.
Clarke), Betty Tracy, Alma Murphy, Nell Franzen, Vail Hobart, Bernice Pierson,
William L. Taylor [sic], Richard S. Barbee, Joseph Cox, Robert Ryles and
William Morris.
The company attended the Kaai Hawaiian musicale last night as the guests
of W. D. Adams.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 1, 1912
HONOLULU ADVERTISER
The Harry Corson Clarke company will present for the first time in
Honolulu, Logan Fuller's and W. A. Tremayne's clever farce, "Lost--Twenty-Four
Hours," beginning tonight and for the remaining performances this week. The
play is full of laughs and is a worthy successor to "What Happened to Jones."
Originally played by Robert Hilliard at the Madison Square Theater, New York,
it ran for three hundred nights. This play will introduce to the playergoers
of Honolulu Mr. Clarke's clever leading man, William D. Taylor.
Mr. Taylor will appear as Richard Swift, the part originated by Robert
Hillard, while Mr. Clarke will play the younger brother, "David," and it goes
without saying he will create the usual amount of merriment. Mr. Taylor only
recently was induced to return to the stage after having spent a winter or two
in Alaska. He was in the Boer War [sic] and is to some extent a "Soldier of
Fortune"...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 6, 1912
HONOLULU ADVERTISER
Beyond question one of the best comedies ever presented in Honolulu is
now on at the Opera House, in "Why Smith Left Home," put on by the Harry
Carson Clarke Company. The comedy is new in Honolulu and is not only worth
seeing, but worth going to see again. It is an amusing skit upon trade
unionism, one at which the fieriest union man may laugh as heartily as the
plutocratic employer, while marital complications include every member of the
cast and add to the success of the piece.
Mr. Clarke appears at his funniest in this play, taking the part of the
"cook lady," who combines in her one red-headed person a tyrannous domestic, a
walking delegate of the Cook Ladies' Union, a schemer and a danseuse. His
appearance last night was always the signal for merriment, the laughter at
times being so general that some of the lines were drowned out.
This play, which is handsomely staged, gives the whole company an
opportunity to really show itself, while a surprise was presented through the
appearance in the case of Marion Dunn, a local favorite. W. D. Taylor was
first-class as the misunderstood husband who cannot get a chance to enjoy his
honeymoon, while Margaret Dale Owen, as his wife, completed the captivation of
those among her audience who had heard and seen her before. As the bride,
anxious to believe her husband in the face of strong evidence against him, but
egged on to rebellion by her shrew of an aunt, she was a picture of charming
irresolution...
Taken altogether, Mr. Clarke appears to have struck the gait that pleases
in "Why Smith Left Home." The piece is one that should fill the Opera House
while it runs and which should set a standard for his company to ensure a
successful engagement. It is a good, clean comedy, worthy of all the support
this city can give it.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 9, 1912
HONOLULU ADVERTISER
American equality, as typified by a Chicago millionaire pork-packer, and
German aristocracy, personified in a Graf whose family history ran back to a
Crusaders' battlefield, clashed on the boards of the Opera House last night in
the opening production of "Mr. Foster of Chicago" by the Harry Corson Clarke
Company. A marriage between the heiress-daughter of the pork-packer and the
only son of the aristocrat brought the irresistible force and the immovable
body into frequent contact, with the result that the audience heard much that
was instructive and a great deal that was mirth-provoking.
The play proved another success for Mr. Clarke and his company, the
former adding to his laurels in the name role. Mr. Clarke did not come on
until well towards the end of the second act, but his frequent appearances
thereafter were the signals for the many gusts of laughter that swept the
Opera House.
In this play, which is splendidly staged, only seven of the cast have
parts that amount to anything, and of the seven there are only three that
really count. Those three were enough, however, to make the piece a go and
satisfy the audience. Mr. Clarke is immense, the second best part that played
by Margaret Dale Owen, the widow of a wealthy brewer, who concealed her wealth
and landed a German Captain. The third leading part was that of the irascible
man of family, played by William D. Taylor.
It was noticeable that the Opera House was much nearer to being filled
last night than on any night since the opening, showing that Honoluluans are
waking up to the fact that an exceptionally good company is in town. As a
matter of fact, were it not that there is also a good show running at the
Orpheum, the Clarke company would be playing to capacity.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 15, 1912
HONOLULU ADVERTISER
Christopher Jr. has been selected by Mr. Clarke as the bill for tonight
and the remainder of the week with a matinee on Saturday. This play has
always proved a popular one with ladies and it is for that reason that it is
put on for the end of the week, giving the ladies an opportunity to witness it
at a matinee performance. It is a delightful comedy with a charming love
story running through it. It had a long run at the Empire Theater New York
when first presented there by John Drew and Maude Adams.
Harry Corson Clarke will assume the part of Mr. Glibb, a most original
part and one that gives full play to the comedian's undeniable talents. Mr.
Taylor will appear as Christopher Jr. and Miss Owen will be seen as Dora, the
part originated by Maude Adams. But one more week remains of the present
theatrical season at the opera House and it is expected that capacity houses
will hold sway for the remainder of the time.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 16, 1912
HONOLULU ADVERTISER
Dragging through the first two acts, waking up in the third and
concluding with a splendid fourth, "Christopher Junior" was played before a
slim house at the Opera House last night, the first production of the piece by
the Harry Corson Clarke Company. The dragging of the opening scenes appeared
to be as much the fault of the audience as of the players. The occupants of
the chairs simply would not enthuse, although the stage setting was good, the
orchestra had played excellently as usual and the actors began with plenty of
ginger. When the house refused to warm up, the actors began to cool down and
at the second curtain it seemed that the play was going to be a dismal
failure.
It was Robert McKim who saved it. When he came on in the third act the
audience came out of its trance and applauded. The applause woke up the
actors, and then, having broken the silence, the crowd kept on applauding, the
company struck its gait again and all was well.
In this play, Mr. Clarke has a walking part which he makes one of the
leading parts. The fact that he doesn't say anything, even when the dialogue
appears to corner him, makes his playing a feature of the comedy. William D.
Taylor carried the bulk of the work and did it well, while the rest of the
company played up to their general good standard.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 24, 1912
HONOLULU ADVERTISER
Opera House
Last Performance Tonight
8:15 o'clock
Harry Corson Clarke
and Margaret Dale Owen
Supported by the
Harry Corson Clarke
Stock Comedy Company
The Three Act Comedy
"Strategy"
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
February 28, 1912
HONOLULU ADVERTISER
PASSENGERS
Departed.
Per str. Mauna Kea, for Hilo, via way ports...Harry Corson Clarke and
wife...W. D. Taylor....
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
March 21, 1912
HONOLULU ADVERTISER
PASSENGERS
Departed.
Per O.S.S. Sierra, for San Francisco, March 20...Wm. Taylor....
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Summary of Taylor's Whereabouts 1908-1912
October 1908 -- Leaves New York
Early 1909 -- in San Francisco
May 25, 1909 -- Begins work for Yukon Gold Co., in Dawson, Yukon
January 5 - February 5, 1910 -- Acting in Bellingham, Washington
February 6-13, 1910 -- Acting in Seattle, Washington
May 8-14, 1910 -- Acting in Denver, Colorado
J
une 10 - December 15, 1910 -- Working at New Sheridan Hotel, in Telluride,
Colorado
1911 -- Returns to Dawson
January 17, 1912 -- Sails for Honolulu from San Francisco
January 24, 1912 -- Arrives in Honolulu
January-March 1912 -- Acting with Harry Corson Clarke in Hawaii
March 20, 1912 -- Sails for San Francisco from Honolulu
mid 1912 -- Returns to Dawson
November 1912 -- Departs Dawson, goes to San Francisco
December 1912 -- Obtains first job in the Southern California movie industry,
acting in "The Counterfeiter" for Thomas Ince's film company in Santa
Monica
There were also reports that Taylor was working in Ouray, Colorado and
Cheyenne, Wyoming, presumably during the early part of 1910. Several of the
clippings imply that Taylor was with his brother during part of 1910-1911,
however Denis Deane-Tanner did not desert his family in New York until
August 4, 1912, which would indicate that Taylor and Denis could not have been
together until Taylor's last few months in Dawson late in 1912.
Thanks to William Sherman for providing some of the clippings.
*****************************************************************************
*****************************************************************************
Wallace Smith: February 24, 1923
The following is another of Wallace Smith's sensationalizing dispatches on
the Taylor case.
February 25, 1922
Wallace Smith
CHICAGO AMERICAN
Hired guards, armed with pistols and clubs, were rushed to the home of
the one woman suspect in the murder of William Desmond Taylor today,
following the report that detectives investigating the weird case were ready
to mutiny, ignore their superiors, seize the famous player and submit her to
a real examination. [4]
They were prepared, it was said, to storm the house in which the woman
is hiding, overpower the guard and kidnap their quarry. The report declared
motors were to carry the kidnapping party into the foothills for questioning
-- for the "third degree," such an extreme if it was found necessary, to
unlock the screen beauty's stubborn lips.
Officials were quick to deny that such a mutinous plot existed. But it
was known that they had checked carefully on the activities of their men
supposed to be running down various angles to the strange case and it was
known, too, that the mutinous spirit has been seething.
Word of the heroic plan, at any rate, was not slow in reaching those
most interested in the protection of the woman. And the guards were placed
on duty, alert for any attempt to pierce the barrier they made and under
order to fight to the last any officer who attempted to force his way into
the refuge without a warrant for the woman's arrest.
Reports of the mutiny started when it was found that all trails
uncovered in the hunt for Taylor's assassin led finally to the door of this
woman. She remained the one tangible thing -- beside the fact that a man was
murdered -- in all the fog of rumors, theories, bungling and misinformation.
Whatever the motive advanced -- the woman lurked in the back of it.
Jealousy, revenge, the drug hunger, a mad quarrel -- always this woman.
Despite these discoveries, the officials have been lenient, to state it
mildly. The woman was questioned secretly and most politely, according to
all information obtainable.
And it is quite certain that she lied.
She denied that she ever used "dope," although her slavery to drugs has
been notorious for years. She swore that her friendship with Taylor was that
almost of daughter and father, although it is known that he was madly in love
with her and although it has been narrated that she was observed in
passionate love scenes with him.
The weary hunters on the trail of the murderer were disheartened and
desperate by the apparent immunity of the woman. They made an effort to
conceal their discontent as each suggestion of clue or evidence forced them
to the belief that she, if she can be made to talk, can solve the mystery.
They feel, too, that there is a way of "making her talk," -- if not to
confess the murder herself at least to reveal who did the murder.
These investigators have found that ten weeks ago she received a
consignment of forbidden heroin. They have long been aware of her reputation
as a dope slave. Through their experience with such persons, they are
convinced that she would speak freely after being deprived of her drug ration
for a short time.
If she actually knows the secret of the crime, the woman can easily be
considered concealing the information to save her own reputation. Just as
well, she can be reasonably pictured fearing the exposure of her slavery to
dope.
Regardless of the truth or falsity of the story told by "Harry, the
Chink," Fields in Detroit -- whose yarn, by the way, has not been entirely
discarded as yet -- the dope ring that has been growing wealthy in Los
Angeles becomes more deeply involved as the investigation goes forward. [5]
Wong Lee, named by Fields as the tong hatchet man who Killed Taylor,
remained a shadowy mystery in Chinatown. The slant eyed Celestials did not
"sabe" Wong Lee. Nor was there any trace of "Johnny Clarke" or "Jenny
Moore," also named as death plotters.
But it was reported that two sisters, known as dope peddlers employed by
the ring, had fled to Bakersfield and, it is believed, farther north
following the crime. Both of these young women, according to police
information, had been most violent in the underworld in urging the killing of
Taylor.
Back of this appeared another story of Taylor's personal encounter with
a drug ring agent -- this time at the home of the woman he sought to save
from the grip of the ring. Taylor was visiting at the woman's home, it was
said, when the peddler arrived. Taylor threw him bodily from the house.
This peddler seemed inclined to "let it go at that." But he told his
story to the two sisters, one of whom was his sweetheart. They were less
forgiving. They dinned into his ears the gospel of revenge. Their best
argument was the fact that he would lose a "customer" who paid him as much as
$2,000 a month if he allowed Taylor to protect this woman.
The report of the flight of the two sisters seemed to dovetail with the
story of Assistant United States District Attorney Green that Taylor had
started a fight against the drug ring to save the woman he loved.
The police of Bakersfield and cities to the north were warned by Los
Angeles officials to be on the watch for the two sisters. [6]
At the same time Detective Sergeant Herman Cline hurried to San
Francisco on a secret mission. It was stated that he was attempting to trace
the telephone call sent by the suspected woman from Los Angeles to San
Francisco the night of Taylor's assassination.
She is known to have telephoned a friend in a San Francisco hotel. She
was heard to cry out:
"I'm in trouble; I'll need all the help I can get."
District Attorney Thomas Lee Woolwine assigned two detectives to the
motion picture studios after hearing the report of Federal Attorney Green.
Other men were assigned to seek a wealthy Los Angeles man, named in a letter
from a New York attorney as the man who did the crime.
Deputies under the direction of Undersheriff Eugene Biscailuz undertook
the search of Chinatown to trace the very loose threads of Fields' story.
They were interested in the sudden return of a Chinese smuggler who
disappeared abruptly the day Fields was arrested in Detroit.
The returned Chinese turned to them a bland, unsmiling countenance.
"No sabe," he replied to all their questions. He didn't understand what
they were talking about.
From the home of Mabel Normand, the subject of Taylor's "blessed baby"
letters, it was reported today that the actress was "considerably improved,"
following the relapse reported by her physicians yesterday. Shortly after
the report was made public word came from the Mack Sennett studios, where
Miss Normand has been performing, denying that she was "gravely ill."
According to physicians, Miss Normand was suffering from an attack of
influenza and her condition was aggravated by the shock she suffered
following Taylor's death.
It was to be remarked that William Davis, chauffeur for Miss Normand,
has been questioned for a fourth time by detectives. He clung, they
reported, to his corroboration of Miss Normand's story of her visit to
Taylor's study.
Edward F. Sands, alias Edwin Fitz Strathmore, [7] also was sought. The
newest clue was a pair of shoes found in Taylor's home, an especially wide
pair, from which, detectives said, Sands' feet could be picked out in a
crowd.
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NOTES:
[1] James Corbett was at that time the boxing Heavyweight Champion of the
World.
[2] Note the above item from the SEATTLE POST-INTELLIGENCER (February 7,
1910) which refers to Victory Bateman's recent marriage.
[3] It appears that Cleveland and Taylor may have indeed been together from
1908 to 1910. The press reviews of the Bellingham and Seattle plays do not
mention George Cleveland, but they do mention George Clawson, perhaps he
changed his stage name between Seattle and Denver; George Clawson and Victory
Bateman were also in the first Seattle play, "The Night Before Christmas,"
and were both absent from the Seattle cast of "Held By The Enemy."
(Coincidentally, Carl Stockdale was also acting on stage in Seattle during
February 1910.) Taylor was never an interior decorator, but during his work
in an antique shop he undoubtedly learned a great deal about the subject.
Taylor was probably never in Australia; Cleveland's statement can be
interpreted to mean that Cleveland was in Australia at that time. Could this
George Cleveland be the same actor with that name who later had an extensive
career playing character roles in films during the 30's and 40's, and who is
today best remembered for his role as "Gramps" in the Lassie television
series?
[4] Once again, Smith is referring to Mabel Normand.
[5] As stated in previous issues, Harry Fields was not Chinese, and it is not
known why this derogatory nickname was applied to him. It is included here
only for historical purposes, to reprint Smith's article as it originally
appeared.
[6] The two sisters were reportedly Jessie and Maudie Cooper. See
WDT:DOSSIER, pp. 353-355.
[7] The correct alias was Edward Fitzwilliam Strathmore.
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For more information about Taylor, see
WILLIAM DESMOND TAYLOR: A DOSSIER (Scarecrow Press, 1991)
Back issues of Taylorology are available via Gopher or FTP at
etext.archive.umich.edu
in the directory pub/Zines/Taylorology
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