THE WRITERS' CLUB OF HOLLYWOOD (c.1920)

[JFK]

http://news.google.com/newspapers?nid=8 ... 15,7033668
http://news.google.com/newspapers?nid=1 ... 84,3683992
http://www.worldcat.org/title/writers-r ... /668111704

THERE'S NOT NOT MUCH ON THE WEB CONCERNING
THE WRITERS' CLUB OF HOLLYWOOD:

They put on revues:

WRITER'S REVUE. The Writer's Revue of 1923.
Los Angeles, Philharmonic Auditorium, April 27-28, 1923.
Book by Frank Condon and Tom Geraghty. Music by Aubrey Stauffer.
Lyrics by Alfred Hustwick. Louis Gottschalk, conductor.
Costumes by James Mitchell Leisen.
Cover art by Martin Justice.
44 pages including original pictorial wrappers
Cast included: Anna May Wong Charles Ray
Harold Grieve Marion Nixon Wallace Beery
Carmel Myers Laura La Plante Adolph Menjou
Reginald Denny Bessie Love

Hosted union meetings

http://www.sagaftra.org/the-first-board-1933
Ivan Simpson #11
Scottish-born "Simmy" was no slacker! His theatrical career began in England, with Henry Irving, touring the provinces in "melodramas and Shakespearean repertoire," before coming to America in 1905. Decades of work followed, often with the British-born star of stage and screen, George Arliss. Simmy attended the March 10, 1933 mass meeting at the Writers Club of Hollywood, called to discuss the proposed, temporary "50 percent cut" in studio workers' salaries (the catalyst for founding the Screen Actors Guild). He was NOT silent: in "Actors in Heated Meeting Fail to Approve the Cut" The Hollywood Reporter praised him thus: "Some enthusiasm was aroused by Ivan Simpson, who declared that the 50 per cent plan was unfair and advocated a sliding scale of cuts so the little fellow wouldn't be hurt so badly." And he was full of "firsts" for the Guild in 1933: writing the first dues check, on July 10; designing our first "logo" (a torch topped with a laurel wreath and the "S.A.G." initials); creating our first, and only motto: "He best serves himself who serves others"; and then, with Kenneth Thomson, devising the first "Statement of Aims and Purposes of the Screen Actors Guild."

Fay Wray
While we were making King Kong in 1932, there was no Guild and the hours could be horrendous. There was one occasion when I worked 22 hours straight through. It was supposed to be test footage for the money-people back east to look at, but subsequently, that material went into the film. I don't know whether I even got paid. This is how things were. There's an evening I remember when I went to a meeting at the Writers Club of Hollywood. The prelude to that event was the 1933 earthquake in Long Beach. That really shook us all up a great deal! I recall that there were chandeliers on the ceilings, and they moved a lot during that evening. The earth moving is fixed in my memory in connection with the start of the Guild. [Note: this meeting of actors was held March 10, 1933 to protest the 50% salary cuts, nearly four months before the Guild wasfounded].

[JFK]

And, they had some plays compiled in book form :

"HOLLYWOOD PLAYS" FOREWORD
It is rather ironical that Hollywood, the web of that monstrous spider, the motion-picture industry, should harbor and
even enthusiastically sponsor an important Little Theatre in its midst that conforms completely to the most exacting standards of the genuine amateur spirit. Amateur, but with a difference. The theatrical activities of The Writers' Club, the organization to which reference is made, are unique in their field. Amateur, the group is, in intention and fact, but its personnel is exclusively professional. Those who write, produce and act plays for it are animated solely by their love of the theatre; they do it "just for the fun of it" and nothing more.
In 1920 the Screen Writers' Guild was founded as the western branch of the Authors' League of America. Out of this there
emerged not long after, The Hollywood Writers' Club, which included among its charter members such names as Rupert
Hughes, William deMille, Rob Wagner, Thompson Buchanan, Frank Condon, Frank E. Woods and Charlie Chaplin. They
built a handsome clubhouse on Sunset Boulevard in the heart of the film colony. Inside, a "playroom" was constructed-a
theatre, small but perfect, containing the latest mechanical equipment. Here, the Club gave its initial performance, "The Writers' Revue ." It was written by Waldemar Young and Alfred A. Cohn, with music and lyrics by Aubrey Stauffer and Harvey Thew. In it appeared no less than "Mary" and "Doug," supported by a million dollar chorus of screen stars.
This auspicious beginning was followed by a regular series of productions. Twice every month a new program was presented, lasting two nights each. This procedure is still in effect.The bills usually consist of from four to six one-act plays and "black-outs," the majority of which are written by members of the Club. When one considers the circumstance, what an amazing task this is! From eight to a dozen new plays a month are brought forth, with all the intricacies of detail involved. It is by no means a light program even for people with nothing else to do. But The Writers' Club members manage it in the time left over from difficult and fatiguing occupations in the motion picture studios. The authors are engaged daily in the gruelling routine of scenario composition, the directors spend their working hours no less exhaustingly. And as for the actors and actresses -that these hard-working individuals are willing to use their
little leisure in rehearsing is indicative of the high honor attached to participation in the Club productions.
When trained professional minds become absorbed in a labor of love such as this, they dispose of their task skillfully. "There is never in any of the productions fumbling for lines or hesitation over "business"; the direction has been thorough and the casts are letter perfect. The sets, too, contribute distinction to the offerings. They are as a rule quite elaborate, and are always carefully executed. No author need complain about botched and inadequate interpretation of his brain-child here. His lot must seem an enviable and delightful one to the usual writer of one-act plays who is at the mercy of the torch-bearing amateur. In the hands of such splendid histrionic talent as Hobart Bosworth, Maude Fulton, Nance O'Neil, Warner Baxter, Owen Moore, Taylor Holmes, Alma Rubens, and Frank Reicher - to mention a few of the prominent players who have appeared before the footlights at the Writers' Club-fine realization of character is a foregone conclusion.
It is inevitable, from the reputation and standing of their sponsors that considerable social eclat should attend these performances. Nobody who is anybody in Hollywood fails to see the bi-monthly entertainments. Probably there is not another audience in America so packed with celebrities. Your neighbor in the next seat may be some outstanding luminary of the film world, or he may be a distinguished visitor to this Mecca of the arts. You can depend upon it that he is renowned for something. Hollywood usually makes an evening of it. The steward of the Club is approached for dinner reservations. There is an enchanting out-door dining-room where one may linger contentedly, savoring the delicious food and the famous California climate. The performance begins at nine. During the intermissions, it Is customary to go outside and stroll on the lawn, smoking and discussing the plays just witnessed. It is altogether as pleasant and stimulating an evening as there is to be had on the "Coast."
Although The Writers' Club has produced more original one-act plays than any other little theatre of its kind in the United
States, this is the first time that a collection of its plays has received publication. The ones included here were chosen because they are representative in character and suitable for general amateur production; they are not, necessarily, the best that have been produced. Certain of the bolder and more esoteric experiments have been omitted. They were addressed to a limited, more or less homogeneous group and therefore, do not possess a general audience appeal.
Those that appear in this anthology cannot fail to interest directors of non-professional organizations. The plays have a freshness of material and viewpoint because, though the work of experienced and able craftsmen, they were written with affection and for their own sake. Their playing quality has been thoroughly tested. They were found eminently satisfactory by an audience which, while friendly, is extremely theatre-wise.
In collecting these plays in book-form, the editor wishes to acknowledge the valuable cooperation given by those author-
members of The Hollywood Writers who have so kindly permitted their efforts to be printed. Thanks are also due to Miss
Jessie Arnold, Mr. Arthur Lubin and Mr. Alfred A. Cohn for their assistance in the preparation of this volume.
KENYON NICHOLSON
New York City
May I5, 1930.

Hollywood Plays (1930)
Table Of Contents:
H. H. Stinson- The Ace Is Trumped
Director: Walter Long Cast: Walter Long Virginia Clearly Frederick Howard
Vernon Smith- A Simple Soul
Director: Lloyd Ingram Cast: Irving Bacon Paul Nichoson Carmelita Geraghty James Finlayson
Rupert Hughes- On The Razor Edge
Director: Rupert Hughes Cast: Vera Lewis Eleanor Boardman Kenneth Gibson William J. Kelly
E. R. Schayer- Private Jones
Director: Fred J. Butler Cast: Curt De Ferburg William Von Brincken Heinz De Feeberg Paul Siegel Otto C, Kottke Frank Heim Robert Ober Owen Moore Karl Herlinger
Tom J. Geraghty- A Pound Of Flesh
Director: Lloyd Corrigan Cast: Purnell Pratt Carmelita Geraghty Speck O’Donnell Lloyd Corrigan James Guilfoyle James Bradbury, Jr. Arthur Hoyt
Frances Marion- The Cup Of Life
Director: Fred J. Butler Cast: Edith Lyle Lillian Leighton Lucien Littlefield Russel Simpson Snitz Edwards Guy Oliver Walter Long
E. P. Heath- A Bird In The Hand
Director: Fred J. Butler Cast: David Butler Rhea Mitchell Dorothea Farley Bernard Randall
Madeline Blackmore- To Die With A Smile
Director: Victor Echevarria Cast: Edgar Dearing Carlos Schipa Belle Mitchell Shep Camp Wallace McDonald
Maude Fulton- Miss Baxter
Director: Frank Reicher Cast: DeWwitt Jennings Marjorie Bennett Maude Fulton Robert Elliott Frank Reicher
T. J. Ahearn- Twelve Before Three
Director: Frederick Burt Cast: James Spottswood James Guilfoyle Frederick Burt Lee Shumway
A. A. Cohn- Semper Fidelis
Director: Fred J. Butler Cast: Robert Ober DeWitt Jennings Marjorie Bennett
Patsy G. Ingersoll- Troupers
Director: Lawrence Grant Cast: Gloria Gordon Greta Granstedt Don Travis

[bobfells]

JFK,

Fascinating material, thanks for posting. Interesting how many actors were in the Writers' Club and many of those seem to be past their career peak. While I was researching John Bowers, I came across a reference to a Writers' Club show in 1929 where Bowers and his wife Marguerite de la Motte appeared.

[Bruce Long]

There is some material on the web about the Writers' Club, but it has to be dug out.

My impression is that the Writers' Club was set up as a subsection of the Screen Writers' Guild. The Club owned its own building, which was used for meetings of the Guild and other Hollywood organizations, and the Club would take care of various social functions.

As this item indicates (upper left corner) the distinction between the two organizations became more formalized in 1923:
http://archive.org/stream/MorningTelegr ... 4/mode/1up" target="_blank