Louise Brooks was born on Wednesday, November 14, 1906 and died on Thursday, August 8, 1985, at the age of 78. All together, her life ran over the course of some 28,758 days. Like any life, it was marked by highs and lows, by success and disappointment.
Despite having been a celebrity and living part of her life in public, little is known, relatively speaking, about what Brooks was doing on any given day. From the mass of material the Louise Brooks Society has gathered, Brooks’ activities can be traced more than a thousand times during her lifetime. Best documented is the 18 year period – running from 1922 through 1940, a period of 6939 days – when Brooks worked as a dancer and actress and many of her activities were a matter of public record.
The Louise Brooks Society has compiled a day-by-day chronology of Brooks’ life. This timeline serves as a record of Brooks’ life both in and out of the spotlight, including her comings-and-goings and activities as a dancer, actress and writer. Its entries are both significant and mundane, and are based on multiple sources including information found in the Barry Paris biography, as well as those recorded by Brooks in her journals and notebooks; other dates were gathered from various magazines and newspapers (especially those located where Brooks was resident), along with other disparate sources, such as census records, passenger manifests, and the memoirs of friends and colleagues.
Dates given are exact, while dates given in italics are approximate within a few days. Denishawn performances are understood to be evening events, unless otherwise noted. The mention of Brooks in a syndicated column are dated according to the clipping found, though such columns could and did run in different newspapers on different dates sometimes as much as a week apart..
Aligned left are those happenings and events with which Brooks was directly involved, or which she would most likely have known.
Aligned right are happenings and events in which Brooks did not participate, but in some way significantly impacted her life, career, or reputation.
The length of this still growing chronology made it necessary to split it in two. This page represents PART 1 of the chronology, covering the years 1906 through 1939 — the years 1940 through 1985 may be found in PART 2. (The years following Brooks’ passing are covered in PART 3.) This chronology, the product of considerable research, is © Thomas Gladysz / Louise Brooks Society. It is a work in progress, with confirmed dates added on an ongoing basis. Have something to add? Please CONTACT the Louise Brooks Society. (This page was last updated in September 2024.)
November 14, 1906
Born Mary Louise Brooks to parents Leonard and Myra Brooks in the town of Cherryvale, Kansas. A small article announcing the birth appears in the two local newspapers; the Cherryvale Daily Republican writes “A brand new baby girl is the attraction just now at the home of City Attorney L.P. Brooks. The daughter came this morning and Mr. Brooks thinks that he will be able to ‘revise’ more ordinances tonight than at any previous sessions”, while on its front page, the Cherryvale Daily News noted, “Attorney L. P. Brooks is stepping around today like a blind horse in a clover patch all on account of a young lady who came to his home this morning where she will reside in the future. All concerned are doing nicely.”
July 3, 1907
Brooks family returns to Cherryvale after an extended visit to Burden, where they visited family.
August 12, 1907
L.P. Brooks purchases a new home for $2,200 in Cherryvale; the warranty deed is signed the following day.
August 31, 1907
Brooks’ family moves into their new home at 320 West Main Street.
September 2, 1907
L.P. Brooks moves into new law offices above the Cherryvale People’s Bank.
August 18, 1908
Brooks family returns to Cherryvale after a few days visit in Humboldt, Kansas.
September 11-25, 1908
Brooks family goes to Burden to visit family.
December 26-29, 1908
Brooks family spends a few days visiting family in Burden.
June 18, 1910
The Cherryvale Journal reports that the Brooks’ family cat is gravely injured when its foot is cut off after being struck by the Cherryvale Interurban streetcar. “… but little Martin, Marie and Louise Brooks thought it the loveliest kitten in the world.”
September 2, 1910
Performs in “Tom Thumb Wedding” at the Cherryvale Christian church. Brooks played the bride, opposite Loren McCrum, who played the groom. Admission is 15 and 25 cents. The following day, a newspaper article states there was “good attendance,” and that the “program pleased the audience, and netted the sum of $300 for the church.”
April 30, 1912
Cherryvale Journal notes that Brooks and others partook in a special birthday party for brother Martin.
August 27, 1912
Along with brother Martin, attends birthday party of a child in Independence, Kansas.
March 22, 1913
Along with brother Martin, attends birthday party of a neighborhood child celebrating his fourth birthday.
April 28, 1913
Attends birthday party of a neighborhood child celebrating her seventh birthday.
July 8, 1913
Martin and Louise accompany their grandfather, T. J. Rude, to Cambridge, Kansas to spend the week.
February 20, 1914
Louise and her brother Martin helped host a party celebrating George Washington’s birthday. Pumpkin pie with whipped cream was served, as was cheese croutons, olives, coffee and candy.
February 25, 1914
Helps serve refreshments at party of a neighbor, who entertained the Good Fellowship class of the M.E. church.
July 22, 1914
Martin, Louise and Theodore attend birthday party of a neighborhood child celebrating his second birthday.
August 22, 1914
Sister June is born in Cherryvale.
January 12, 1915
Mourns the loss of a pair of goldfish.
August 6, 1915
As one of Bertha Nusbaum’s piano students, performs “Little Fairy Waltz Op. 105, No. 1” by Ludovic Streabbog at the home of a neighbor.
November 25-26, 1915
Spends the Thanksgiving holiday with brother Martin at the home of their grandmother in Winfield, Kansas.
April 30, 1916
Attends birthday party of a neighborhood child celebrating her tenth birthday; also in attendance is Vivian Jones (the future Vivian Vance), visiting from Independence.
June 2, 1916
Is a pupil of Miss Minerva Warner’s sewing class, and is named secretary of its West side sewing club. (Myra Brooks is named secretary of its East side sewing club.)
July 14, 1916
With Martin, attends birthday party of a neighborhood child celebrating her sixth birthday. According to the local paper, “The party took their suppers and spent the evening on the creek.”
August 24, 1916
Spends the week visiting a friend in Humboldt, Kansas.
March 7, 1917
Performs “Anitra’s Dance” (from the Peer Gynt ballet by Edvard Grieg) at the Cherryvale Arts Festival; local Reba Randolph accompanies on piano.
April 7, 1917
Spends the afternoon in Independence, Kansas.
May 19, 1917
Spends the day at the city park in Independence, Kansas in the company of Mrs. Buckpitt’s Gymnasium class.
August 29, 1917
Brooks entertained several of her friends with a swimming party at the Cherryvale natatorium.
September 6, 1917
Returns to Cherryvale with Eva Rude after visiting a friend in Humboldt, Kansas.
October 8, 1917
Martin and Louise return to Cherryvale after visiting relatives in Winfield, Kansas.
November 23, 1917
A Cherryvale newspaper reports that Brooks, who has been out of school for almost five weeks due to illness, is expected to return to classes in a few days.
January 8, 9, and 17, 1918
Brooks, who is called “Mistress Mary, Quite Contrary” in the local newspaper, leads a “Dance of the Flowers” with 12 other Flower Maidens in the Mother Goose Pageant at the local High School, a benefit for the Red Cross fund.
February 2, 1918
Assists at a social gathering honoring the visit home of Sergeant Lee Douthat, who is stationed in Camp Doniphan, in Oklahoma.
February 12, 1918
Joins the newly formed G. K. Club (Girls Knitting Club), composed of other local youngsters, who enjoy games, music, treats, and other other activities and meet at the home of a neighbor.
February 15, 1918
Meets with other members of the G.K. Club at the home of a neighbor.
February 19, 1918
Meets with other members of the G.K. Club at the local Leatherlock Hotel.
February 26, 1918
Meets with other members of the G.K. Club at the home of a neighbor; according to a newspaper item, “The girls spent an hour with their knitting,” and then had lunch.
February 27, 1918
Robert Rude, of the 137th U.S. inf., Co. H. of Camp Doniphan, visits the Brooks’ home while on furlough. Also present is Eva Rude, who hosts a party in honor of her soldier-cousin.
March 12, 1918
Hostess to the G.K. Club for their afternoon get together; one member was absent with “Liberty” measles. Brooks “proved to be a delightful entertainer” according to a local newspaper article.
March 26, 1918
Meets with other members of the G.K. Club at the home of a neighbor, where the group plays tennis and other outdoor games.
May 9-10, 1918
Performs a leading role as the Fairy Queen in “On Midsummer’s Day” at the local high school, a benefit to raise money to purchase Victrolas.
July 1, 1918
Visited by a friend from the town of Chanute, Kansas.
July 2-5, 1918
Travels with friend to Chanute to spend a few days.
July 25, 1918
Newspapers report that the Brooks family is packing their household in preparation of moving from Cherryvale to Independence. The move, local paper also report, is being made so that the Brooks children can take advantage of the better school facilities in Independence.
August 1918
Louise Brooks and her family relocate to Independence, Kansas.
September 8, 1918
Brooks enrolls in school in Independence.
October 2, 1918
Myra Brooks attends a “Patroiotic Meeting” at the Cherry Township Hall in Independence.
December 3, 1918
The 12 year old Brooks is taken by her mother to see Ruth St. Denis perform at the Orpheum Theater in Kansas City, Missouri.
1919-1921
Keeps a scrapbook of clippings on dance.
March 22, 1919
Performs “The Gypsies are Coming” by James Hotchkiss Rogers at an invitational recital given by students of the Hubach School of Music in Independence.
May 2, 1919
Dances “The Gloating Dance of Destruction” (as arranged by Mrs. Milburn Hobson) at “The Progress of Peace” pageant at the Beldorf theater in Independence. The event is advertised, and mention is made in the ad of Brooks performance. A “large audience” turns out. The event, under the auspices of the local Y.M.C.A., is a benefit to further the sale of Liberty bonds. (Vivian Jones, the future Vivian Vance, also takes part.)
June 19, 1919
Returns to Independence after visiting Cherryvale to attend a party, where she and other friends spent time at Lake Tanko.
July 12, 1919
Myra Brooks is involved in a minor traffic accident, a fender bender, which is reported in the local press.
Summer (date unknown)
Performs a Grecian dance at the Mead family mansion on Belmont street.
Summer (date unknown)
Engaged to dance on a barge at Ozark Beach, Missouri (a resort area northeast of Branson).
August 14, 1919
Mary Gentry of Winfield is a house guest at the Brooks home in Independence (through approximately August 26).
August 16, 1919
Visits Cherryvale for a reunion of friends, chaperoned by her father (who is identified in a newspaper piece as being resident at North Penn. avenue).
August 21, 1919
Mary Gentry (and Louise Brooks?) accompany Myra Brooks on a visit to Cherryvale.
August 27, 1919
Myra Brooks hosts a dinner party at the Independence Country Club in “honor of her house guest Mary Gentry”.
September 2, 1919
Attends a screening of Boots, starring Dorothy Gish, at the Best theatre in Independence.
September 5, 1919
Attends a screening of You Never Saw Such a Girl, starring Vivian Martin, at the Best theatre in Independence.
September 8, 1919
Begins school.
October 14, 1919
Begins dance instruction at the local Y.W.C.A.
October 21, 1919
Takes a lesson in aesthetic dancing at the local Y.W.C.A. under the supervision of Mae Argue Buckpitt.
October 28, 1919
Performs a solo piece in “Fi-Fi of the Toy Shop,” a musical fantasy by John. B. Rogers.
Noember 15, 1919
Hosts an outing for friends, who take in the Dorothy Gish comedy I’ll Get Him Yet at the Best Theatre, followed by lunch at the Sunflower Pharmacy.
December 10, 1919
Brooks family relocates, taking up residence at 924 North Topeka in Wichita.
June 2, 1920
Performs two solo dances to music, “Japanese Sunset” by Jessie L. Deppen, and the “Rubble Dance” from High Jinks by Kudolph Friml, as part of a program at Philharmony Hall in Wichita. Brooks performs along with other members of the adult dancing class from the Dancing and Expression departments of the Wichita College of Music and Dramatic Art, headed by Alice Campbell.
October 4-16, 1920
Performs twice daily (at 1:30 and 7:00 pm) along with a group of other young women in “The Dance of Wheat” at the International Wheat Show in Wichita’s International Exposition. Also in her group is Domini Marine, who is reported to have performed with Anna Pavlowa and Mikhail Mordkin.
October 12, 1920
At the International Wheat Show, Brooks sees the Pavley-Oukrainsky Ballet from Chicago.
October 31, 1920
In an old-fashioned Southern costume of red and black, dances a solo number, “Dixieland,” at the Wichita Country Club, in an event sponsored by the Lions Club.
November 14, 1920
Receives first diary.
November 23, 1920
Sees the Ruth St. Denis Concert Dancers at the Wichita Forum in Wichita, Kansas.
January 1, 1921
Begins recording entries in diary.
January 2, 1921
Writes in her diary that she is homesick for Independence.
January 5, 1921
Sees Once to Every Woman, starring Dorothy Phillips and Rodolph Valentino, at the Regent theater. The film is heavily promoted in the local papers, plays a full week, and reportedly brought tears to the eyes of many patrons. Brooks critiques the film in her diary.
January 12, 1921
Sees Passion, starring Pola Negri, at the Regent theater, which Brooks records in her diary as being “wonderful.” Advertisements in the local papers claim this is its first showing outside of New York.
January 21, 1921
Performs aesthetic dances at the Wichita College of Music, which Brooks records in her diary were the “hit of the evening.”
January 24, 1921
Reads A Midsummer Night’s Dream in school.
January 25, 1921
Sees The Love Light, starring Mark Pickford, at the Wichita theater.
February 10, 1921
Alice Campbell dismisses Brooks from her dancing class.
February 14, 1921
According to her diary, Brooks performs three dances, including “French Baby.” Afterwords, Louise and her mother attend an orchestra performance.
February 18, 1921
Sees The Passing Show of 1920 at the Crawford Theater. This stage show proved very popular in Wichita, and led some to break their Lenten resolution against pleasurable gatherings.
February 21, 1921
Sees While New York Sleeps, starring Marc McDermott, at the Regent theater.
February 22, 1921
Brooks, described as “clever little fancy dancer,” performed a solo dance, “French Baby,” in costume at the Riverside Shrine Club in Wichita, in a party sponsored by the Western Lithograph Company.
February 24, 1921
See Worlds Apart, starring Eugene O’Brien, during its three day run at the Wichita theater.
February 25, 1921
Attends local dance school led by Edna L. Shaw.
March 10, 1921
Attends a line party with friends at the Wichita theater, where the group sees the locally popular film, Lying Lips, starring Florence Vidor and House Peters.
March 31 – April 1, 1921
Along with 300 other performers, Brooks dances in Follies of 1921, a home talent musical review and benefit for the American Legion at the Beldorf theater in independence. Also performing that evening is the future Vivian Vance.
April 7, 1921
Poses for Mr. Vincent, a local Sunday school teacher and friend of the family.
April 15, 1921
Performs at an evening reception for the Wichita chapter of the Association of Collegiate Alumnae at a private home. Brooks dances “The Garden Dance of Spring” in the garden of the home, where colored lights were thrown on her from the balcony.
April 19, 1921
Sees Way Down East, starring Lillian Gish, in the company of her mother at the New Crawford Theater.
April 27, 1921
The Independence Daily Reporter runs a piece on Brooks titled “Fame as a Dancer,” noting the strides toward fame the former Independence resident is making in Wichita.
May 5, 1921
Leaves for Independence, where Brooks will perform in “The Pageant of Childhood” staged by pupils of Mrs. Buckpitt.
May 6, 1921
Performs two dances, the “Balloon Dance” (also called the “Bubble Dance”) and a Spanish dance in “The Pageant of Childhood” at the Beldorf theater in Independence. Brooks performance is written up in the Wichita, Independence and Cherryvale newspapers.
May 20, 1921
Brooks plays Catherine Rogers in a two-act play, Mr. Bob, staged in the auditorium of the Horace Mann intermediate school in Wichita. Some 600 students attend the event.
May 27, 1921
Reprises her role as Catherine Rogers in Mr. Bob. Graduates from Horace Mann intermediate school.
May 30, 1921
Is a guest at a party honoring a neighbor who is a student at Fairmount College in Wichita.
June 7, 1921
Performs a toe dance at the annual spring recital of the Edna L. Shaw School of Dancing.
June 16, 1921
Takes part in a dance recital put on by the Edna L. Shaw School of Dancing.
July 17, 1921
The Wichita Daily Eagle runs a piece on the local Girl Scout Troups which mentions and pictures Brooks.
July 23, 1921
Performs a dance during a recital at the Edna L. Shaw School of Dancing.
July 27, 1921
Brooks’ girl scout unit, Patrol 1 of Troop 1, is pictured in the Wichita Eagle.
August 30, 1931
Along with Martin, attends but does not perform at a private dance recital and party at a local home.
September 13, 1921
Sees The Four Horseman of the Apocalypse, starring Rudolph Valentino, at the Princess theater. The film played a week, and its presentation featured an augmented orchestra.
September 19, 1921
Sees The Smiles of 1921 at the Arcadia Theater. This stage show, part of the entertainment around the International Wheat Show, featured Hazel Wallek and Her Dancers.
October 5, 1921
Elected to the sophomore class student council.
October 20, 1921
Brooks’ parents attend the wedding of Dorothy Pontious and Robert Rude in Winfield, Kansas.
October 29, 1921
Performs a “Pierrot Dance” at the School of Dance and Stage Arts Halloween party; June performs as a goblin in “The March of the Goblins.”
November 12, 1921
Attends a “jolly house dance party” at a neighbors.
November 17, 1921
Brooks and her mother see Ted Shawn (assisted by Martha Graham and others) dance at the Crawford Theater in Wichita.
November 27, 1921
Sees The Sheik, starring Rudolph Valentino, at the Regent theater during its week-long run.
December 8, 1921
June and Louise dance at a musicale-tea benefit event for the local Twentieth Century Club at a private residence.
December 21, 1921
Attends dress rehearsals at the Wichita Forum for a Christmas-themed program taking place the following day.
December 22, 1921
Performs a solo dance as “Joy” in a Christmas themed program at the Forum sponsored by the Kiwanis Club. (June played the Fairy Queen.)
January 11, 1922
With other students from the Mills-Fischer School of Dance and Dramatic Arts, Brooks attends a performance in Hutchinson, Kansas by Anna Pavlova and her Ballet Russe.
March 3, 1922
Martin and Louise attend a party for the Sunday School Class of the First Presbyterian Church.
March 25, 1922
June Brooks and Katherine Orr perform “Little Tin Soldier and Little Rag Doll,” a dance composed by Louise Brooks and performed before the Saturday children’s movie matinee. Later in the day, Brooks performs a few Spanish dances before members of the Delta Bom Club, which she had just been voted into as a member.
May 18, 1922
Performs an “Egyptian Dance” at the Arcadia Theater at a convention event sponsored by the Kansas Bankers Association.
April 11, 1922
Myra and June pose for “modern paintings reproduced in living pictures” at a meeting of the Twentieth Century Club, with which Myra is a member.
May 18, 1922
Brooks performs an Egyptian dance in the Rose Room of the Wichita Club for a gathering of the Kansas Bankers Association.
June 3, 1922
Brooks hosted a gathering of the Delta Bonn bridge club at her home on North Topeka avenue.
June 4, 1922
Pictured in the Wichita Daily Eagle promoting her June 8th performance. The captioned photo mentions Brooks will leave in July accompanied by her mother to study with Denishawn in New York City.
June 8, 1922
Performs at the Arcadia Theater in a program of dance by students of the Mills-Fischer School of Dancing. Brooks performs two character studies, as Mignonne, and as Media Noche, also as an Egyptian Slave (a Denishawn number), and as a soloist in a flower ballet (as both The Sun and The Moon).
June 28, 1922
News reports state Brooks attends a bridge luncheon at the Wichita Country Club.
June 29, 1922
Leaves Wichita aboard a train headed for New York City (to study with Denishawn), in the company of Alice E. Mills (Mrs. R. M. Mills) of the Mills-Fisher School. According to press reports from only two weeks prior, Brooks mother was to accompany Louise. Press reports also mention that Mills will also study at Denishawn for the Summer.
July 18, 1922
Wichita Daily Eagle reports that Brooks was admitted into the advanced class in dancing at the Denishawn school in New York.
July 24, 1922
Wichita Daily Eagle reports that Brooks has received an offer from the Shubert company, which she rejected; it is reported that she intends to continues her studies with Denishawn before returning home to finish high school.
August 20, 1922
Brooks is pictured in the Wichita Daily Eagle rotogravure section, which mentions her study with Denishawn in NYC.
September 22, 1922
Brooks is mentioned in the Wichita Daily Eagle as having the honor of dancing with Ruth St. Denis and Ted Shawn during a two week engagement on Broadway.
September 23, 1922
Brooks is referenced in an article which appears in the New York Sun; first newspaper mention in connection with Denishawn.
October 2, 1922
Debuts with Denishawn Dance Company in a performance at the Temple Theatre in Lewistown, Pennsylvania.
October 3, 1922
Referenced in a front page review in the Lewistown Sentinel. Later in the day, appears with Denishawn at the Strand Theatre in Shamokin, Pennsylvania.
October 4, 1922
Appears with Denishawn at the Victoria Theatre in Sunbury, Pennsylvania.
October 5, 1922
Appears with Denishawn at the Hippodrome in Pottsville, Pennsylvania.
October 9, 1922
Denishawn Dance Company starts two day run at the Selwyn Theatre in New York City.
October 11, 1922
Receives her first mention in the New York Times in a review of the Denishawn engagement at the Selwyn Theatre. Later in the day, appears with Denishawn at the Opera House in New Castle, Pennsylvania.
October 12, 1922
Appears with Denishawn at matinee and evening performances at the Grand Opera House in Canton, Ohio. Also, Brooks is depicted in two images in the Musical Courier, a trade journal devoted to classical music, dance and the performing arts.
October 13, 1922
Appears with Denishawn at the Carnegie Music Hall in Pittsburgh, Pennsylvania.
October 14, 1922
Appears with Denishawn at matinee and evening performances at the Mishler Theatre in Altoona, Pennsylvania.
October 16, 1922
Appears with Denishawn at the The Playhouse in Wilmington, Delaware.
October 17, 1922
Appears with Denishawn at the Lyric Theatre in Baltimore, Maryland.
October 18, 1922
Appears with Denishawn at the Fairbanks Theatre in Springfield, Ohio.
October 19, 1922
Appears with Denishawn at the Auditorium in Saginaw, Michigan.
October 20, 1922
Appears with Denishawn at the Fuller Theatre in Kalamazoo, Michigan.
October 21, 1922
Appears with Denishawn at the Pabst Theatre in Milwaukee, Wisconsin.
October 23, 1922
Denishawn Dance Company starts two day run at the Orchestra Hall in Chicago, Illinois.
October 25, 1922
Appears with Denishawn at the Rockford Theatre in Rockford, Illinois.
October 26, 1922
Appears with Denishawn at the Hill Auditorium in Ann Arbor, Michigan.
October 27, 1922
Appears with Denishawn at the Rialto Theatre in Elyria, Ohio.
October 28, 1922
Appears with Denishawn at the Sandusky Theatre in Sandusky, Ohio.
October 30, 1922
Appears with Denishawn at the Colonial Theatre in Utica, New York.
October 31, 1922
Appears with Denishawn at the Kalurah Temple in Binghamton, New York.
November 1, 1922
Appears with Denishawn at the Eastman Theatre in Rochester, New York.
November 2, 1922
Appears with Denishawn at the Schubert Theatre in Buffalo, New York.
November 3, 1922
Appears with Denishawn at the Masonic Hall in Cleveland, Ohio.
November 4, 1922
Appears with Denishawn at matinee and evening performances at the Goodyear Theatre in Akron, Ohio.
November 6, 1922
Appears with Denishawn at matinee and evening performances at the Grand Opera House in London, Ontario (Canada).
November 7, 1922
First mention in a Canadian publication: Brooks is referenced in a review in the London Free Press.
November 8, 1922
Appears with Denishawn at matinee and evening performances at the Powers Theatre in Grand Rapids, Michigan.
November 9, 1922
Appears with Denishawn at the East High School in Aurora, Ohio.
November 10, 1922
Appears with Denishawn at the Auditorium in Ripon, Wisconsin.
November 11, 1922
Appears with Denishawn at matinee and evening performances at the Parkway Theatre in Madison, Wisconsin.
November 13, 1922
Appears with Denishawn at the Lyceum in St. Joseph, Missouri.
November 15, 1922
Appears with Denishawn at the Shubert Theatre in Kansas City, Missouri. Also, Brooks is mentioned in “Wichita Girl to Appear Here With World Famous Dancers” in the Wichita Beacon.
November 16, 1922
Appears with Denishawn at the Grand Theatre in Salina, Kansas.
November 17, 1922
Appears with Denishawn at the Brown Grand Theatre in Concordia, Kansas.
November 18, 1922
Appears with Denishawn at the Crawford Theatre in Wichita, Kansas. Brooks is presented with “many flower tributes.” Following the performance, Brooks’ parents host a dinner party at their home, with Ruth St. Denis, Ted Shawn, Martha Graham, Charles Wiedeman, Pearl Wheeler and other members of the Denishawn Company.
November 19, 1922
Appears with Denishawn at the New Joplin Theatre in Joplin, Missouri.
November 21, 1922
Appears with Denishawn at the Orpheum Theatre in Muskogee, Oklahoma.
November 22, 1922
Appears with Denishawn in matinee and evening performances at the Joie Theatre in Fort Smith, Arkansas.
November 1922
Appears with Denishawn at the High School Auditorium in Pine Bluff, Arkansas.
November 1922
Appears with Denishawn at the Lyric Theatre in Memphis, Tennessee.
November 1922
Appears with Denishawn at the Marlowe Theatre in Jackson, Tennessee.
November 1922
Appears with Denishawn at the New Broadway Theatre in Cape Girardeau, Missouri.
November 1922
Appears with Denishawn at the Auditorium in Ponca City, Oklahoma.
November 1922
Appears with Denishawn at matinee and evening performances at High School Auditorium in Oklahoma City, Oklahoma.
December 2, 1922
Appears with Denishawn at the Odeon Theatre in St. Louis, Missouri.
December 4, 1922
Appears with Denishawn at the Murat Theatre in Indianapolis, Indiana.
December 5, 1922
Appears with Denishawn at the Woodland Auditorium in Lexington, Kentucky.
December 6, 1922
Appears with Denishawn at the Ryman Auditorium in Nashville, Tennessee.
December 7, 1922
Appears with Denishawn at the Macauley Theatre in Louisville, Kentucky.
December 9, 1922
Appears with Denishawn at the Majestic Theatre in Peoria, Illinois.
December 11, 1922
Appears with Denishawn at the The Grand Theatre in Keokuk, Iowa.
December 12, 1922
Denishawn Dance Company starts a two day run at the Colonial Theatre in Davenport, Iowa.
December 13, 1922
Ruth St. Denis and Ted Shawn appear on radio station WOC in Davenport, Iowa.
December 14, 1922
Appears with Denishawn in matinee and evening performances at the Brandeis Theatre in Omaha, Nebraska.
December 15, 1922
Appears with Denishawn at the Coliseum in Sioux Falls, South Dakota.
December 17, 1922
Returns home to spend the holidays with her family, with the expectation of rejoining Denishawn after Christmas.
December 24, 1922
Leaves Wichita during the evening to rejoin Denishawn in Denver.
December 26, 1922
Denishawn Dance Company starts a two day run at the Auditorium in Denver, Colorado.
December 28, 1922
Appears with Denishawn at the Burns Theatre in Colorado Springs, Colorado.
December 29, 1922
Appears with Denishawn at the Auditorium in Pueblo, Colorado.
December 30, 1922
Appears with Denishawn at the Convention Hall in Hutchinson, Kansas.
January 1, 1923
Appears with Denishawn at the State Arsenal in Springfield, Illinois.
January 2, 1923
Appears with Denishawn at the Saxon Auditorium in Toledo, Ohio.
January 3, 1923
Appears with Denishawn at the Saxon Auditorium in Toledo, Ohio.
January 4, 1923
Appears with Denishawn at the Park Theatre in Erie, Pennsylvania.
January 5, 1923
Appears with Denishawn at the Playhouse in Rutland, Vermont.
January 6, 1923
Appears with Denishawn at the UVM Gymnasium in Burlington, Vermont.
January 8, 1923
Appears with Denishawn at the High School in Manchester, New Hampshire.
January 9, 1923
Appears with Denishawn at the Lyceum in New London, Connecticut.
January 10, 1923
Appears with Denishawn at the Memorial Auditorium in Lowell, Massachusetts.
January 11, 1923
Appears with Denishawn at the Worcester Theatre in Worcester, Massachusetts.
January 12, 1923
Appears with Denishawn at the Colonial Theatre in Pittsfield, Maine.
January 13, 1923
Appears with Denishawn at the City Hall Auditorium in Portland, Maine.
January 15, 1923
Appears with Denishawn at Bardavon in Poughkeepsie, New York. (Unknown to Brooks, future photographer Lee Miller is in the audience.)
January 16, 1923
Appears with Denishawn at the Plaza Hotel in New York, New York.
January 17, 1923
Appears with Denishawn at the Opera House in Boston, Massachusetts.
January 18, 1923
Appears with Denishawn at the Academy of Music in Philadelphia, Pennsylvania.
January 19, 1923
Appears with Denishawn at the National Theatre in Washington, D.C.
January 20, 1923
Appears with Denishawn at the Lyric Theatre in Baltimore, Maryland.
January 22, 1923
Appears with Denishawn at the Winthrop College Auditorium in Rock Hill, South Carolina.
January 23, 1923
Appears with Denishawn at the Columbia Theatre in Columbia, South Carolina.
January 24, 1923
Appears with Denishawn at the Grand Theatre in Greenville, South Carolina.
January 25, 1923
Appears with Denishawn in matinee and evening performances at the Auditorium in Atlanta, Georgia.
January 26, 1923
Appears with Denishawn at the Grand Theatre in Macon, Georgia.
January 27, 1923
Appears with Denishawn at the Lucerne Theatre in Orlando, Florida.
January 29, 1923
Appears with Denishawn at the Grand Opera House in Meridian, Mississippi.
January 31, 1923
Appears with Denishawn in matinee and evening performances at the Auditorium Theatre in Waco, Texas.
February 1, 1923
Appears with Denishawn in matinee and evening performances at the Hancock Opera House in Austin, Texas.
February 2, 1923
Appears with Denishawn at the Kyle Theatre in Beaumont, Texas.
February 3, 1923
Appears with Denishawn in matinee and evening performances at the City Auditorium in Houston, Texas.
February 5, 1923
Appears with Denishawn at the Walnut St. Theatre in Vicksburg, Mississippi.
February 6, 1923
Appears with Denishawn at the Elks Theatre in Tuscaloosa, Alabama.
February 7, 1923
Appears with Denishawn at the Academy of Music in Selma, Alabama.
February 8, 1923
Appears with Denishawn at the Jefferson Theatre in Birmingham, Alabama.
February 9, 1923
Appears with Denishawn at the Springer Opera House in Columbus, Georgia.
February 10, 1923
Appears with Denishawn at the Brenan Auditorium in Gainesville, Georgia.
February 12, 1923
Appears with Denishawn at the Municipal Auditorium in Savannah, Georgia.
February 13, 1923
Appears with Denishawn at the Academy of Music in Charleston, South Carolina.
February 14, 1923
Appears with Denishawn at the Garden Theatre in Bennettsville, South Carolina.
February 15, 1923
Appears with Denishawn at the Masonic Opera House in Rocky Mount, North Carolina.
February 16, 1923
Appears with Denishawn at the Grand Theatre in Greensboro, North Carolina.
February 17, 1923
Appears with Denishawn at the Auditorium in Asheville, North Carolina.
February 19, 1923
Appears with Denishawn at the Academy of Music in Raleigh, North Carolina.
February 20, 1923
Appears with Denishawn at the Strand Theatre in Salisbury, North Carolina.
February 21, 1923
Appears with Denishawn at the Auditorium in Charlotte, North Carolina.
February 22, 1923
Appears with Denishawn in matinee and evening performances at the Academy of Music in Lynchburg, Virginia.
February 23, 1923
Appears with Denishawn at the National Theatre in Washington, D.C.
February 24, 1923
Appears with Denishawn in matinee performance at the Academy of Music in Philadelphia, Pennsylvania.
February 25, 1923
Appears with Denishawn at the Crescent Temple in Trenton, New Jersey.
February 26, 1923
Appears with Denishawn at the Parsons Theatre in Hartford, Connecticut.
February 27, 1923
Appears with Denishawn at the Town Hall in New York, New York.
February 28, 1923
Appears with Denishawn at the Poli’s Theatre in Waterbury, Connecticut.
March 2, 1923
Appears with Denishawn in matinee performance at the Opera House in Boston, Massachusetts.
March 3, 1923
Appears with Denishawn in matinee and evening performances at the St. Denis Theatre in Montreal, Canada.
March 5, 1923
Appears with Denishawn at the Grand Opera House in Hamilton, Canada.
March 6, 1923
Appears with Denishawn at the International Theatre in Niagara Falls, New York.
March 7, 1923
Appears with Denishawn at the Park Theatre in Youngstown, Ohio.
March 8, 1923
Appears with Denishawn at the Memorial Hall in Columbus, Ohio.
March 9, 1923
Appears with Denishawn at the Marvin Theatre in Findlay, Ohio.
March 10, 1923
Appears with Denishawn at the Orchestra Hall in Detroit, Michigan.
March 12, 1923
Appears with Denishawn at the Pabst Theatre in Milwaukee, Wisconsin.
March 13, 1923
Appears with Denishawn at the Saxe’s Grand Opera House in Oshkosh, Wisconsin.
March 14, 1923
Appears with Denishawn at the Appleton Theatre in Appleton, Wisconsin.
March 15, 1923
Appears with Denishawn at the Orpheum Theatre in Green Bay, Wisconsin.
March 16, 1923
Appears with Denishawn at the Auditorium in Eau Claire, Wisconsin.
March 17, 1923
Appears with Denishawn at the Grand Opera House in Wasau, Wisconsin.
March 18, 1923
Appears with Denishawn at the Metropolitan Opera House in St. Paul, Minnesota.
March 19, 1923
Appears with Denishawn at the Metropolitan Opera House in St. Paul, Minnesota.
March 20, 1923
Appears with Denishawn at the Metropolitan Opera House in St. Paul, Minnesota.
March 21, 1923
Appears with Denishawn in matinee and evening performances at the Metropolitan Opera House in St. Paul, Minnesota.
March 22, 1923
Appears with Denishawn at the Metropolitan Opera House in Minneapolis, Minnesota.
March 23, 1923
Appears with Denishawn at the Metropolitan Opera House in Minneapolis, Minnesota.
March 24, 1923
Appears with Denishawn in matinee and evening performances at the Metropolitan Opera House in Minneapolis, Minnesota.
March 26, 1923
Appears with Denishawn at the Hoyt Sherman Auditorium in Des Moines, Iowa.
March 27, 1923
Appears with Denishawn at the Odeon Theatre in Marshalltown, Iowa.
March 28, 1923
Appears with Denishawn at the Majestic Theatre in Cedar Rapids, Iowa.
March 29, 1923
Appears with Denishawn at the Waterloo Theatre in Waterloo, Iowa.
March 30, 1923
Appears with Denishawn at the Clinton Theatre in Clinton, Iowa.
March 31, 1923
Appears with Denishawn in matinee and evening performances at the Majestic Theatre in Dubuque, Iowa.
April 2, 1923
Appears with Denishawn at the Orchestra Hall in Chicago, Illinois.
April 3, 1923
Appears with Denishawn at the Chatterton Theatre in Bloomington, Illinois.
April 4, 1923
Appears with Denishawn at the Orchestra Hall in Chicago, Illinois.
April 5, 1923
Appears with Denishawn at the Victoria Theatre in Steubenville, Ohio.
April 6, 1923
Appears with Denishawn at the Auditorium in Reading, Pennsylvania.
April 7, 1923
Appears with Denishawn at the Academy of Music in Philadelphia, Pennsylvania.
April 9, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 10, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 11, 1923
Appears with Denishawn in matinee and evening performances at the Town Hall in New York, New York.
April 12, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 13, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 14, 1923
Appears with Denishawn in matinee and evening performances at the Town Hall in New York, New York.
April 16, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 17, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 18 ,1923
Appears with Denishawn in matinee and evening performances at the Town Hall in New York, New York.
April 19, 1923
Appears with Denishawn in matinee and evening performances at the Holyoke Theatre in Holyoke, Massachusetts
April 20, 1923
Appears with Denishawn at the Hyperion Theatre in New Haven, Connecticut.
April 21, 1923
Appears with Denishawn at the Montclair Theatre in Montclair, New Jersey.
April 25, 1923
According to a later report in the Wichita Eagle, Brooks returned to Wichita, where she planned to stay with her parents until a departure for New Hampshire in June.
May 28-June 2, 1923
Brooks gives a “spirited solo” dance before “large audiences” as part of Jazz-A-Week at the Miller theater in Wichita. The performance, billed as part of “The International Conference of Syncopation” with the Diplomats of Jazz” preceded the showing of The Rustle of Silk, a Betty Compson film.
June 8, 1923
Brooks dances during the intermission of the Blue Melody Boys performance at the Shrine club in Wichita.
July 15, 1923
Wichita Eagle reports that Brooks has returned to the Denishawn summer school at Camp Mariarden, near Petersborough, New Hampshire.
August 17-18, 1923
Brooks dances in a production of Cupid and Psyche at Camp Mariarden. Also in the production are Ted Shawn and Lucille Smyser, a Denishawn student from Wichita.
October 15-16, 1923
Appears with Denishawn at the Apollo Theatre in Atlantic City, New Jersey.
October 17, 1923
Appears with Denishawn in matinee and evening performances at the Apollo Theatre in Atlantic City, New Jersey.
October 18, 1923
Appears with Denishawn at the Apollo Theatre in Atlantic City, New Jersey.
October 19, 1923
Appears with Denishawn at the Apollo Theatre in Atlantic City, New Jersey.
October 20, 1923
Appears with Denishawn in matinee and evening performances at the Apollo Theatre in Atlantic City, New Jersey.
October 22, 1923
Appears with Denishawn at the Academy of Music in Brooklyn, New York.
October 23, 1923
Appears with Denishawn at the Memorial Auditorium in Lowell, Massachusetts.
October 24, 1923
Appears with Denishawn at the City Hall in Lewiston, Maine.
October 25, 1923
Appears with Denishawn at the Exposition Building in Portland, Maine.
October 26, 1923
Appears with Denishawn at the City Hall in Bangor, Maine.
October 27, 1923
Appears with Denishawn at the City Hall in Bangor, Maine.
October 29, 1923
Appears with Denishawn at the Majestic Theatre in Bridgeport, Connecticut.
October 30, 1923
Appears with Denishawn at the Lyric Theatre in Baltimore, Maryland.
October 31, 1923
Appears with Denishawn at the Playhouse in Wilmington, Delaware.
November 1, 1923
Appears with Denishawn at matinee performance at the National Theatre in Washington, D. C.
November 2, 1923
Appears with Denishawn at the Academy of Music in Philadelphia, Pennsylvania.
November 3, 1923
Appears with Denishawn at the Academy of Music in Lebanon, Pennsylvania.
November 5, 1923
Appears with Denishawn at the Majestic Theatre in Williamsport, Pennsylvania.
November 6, 1923
Appears with Denishawn at the Academy Theatre in Hagerstown, Maryland.
November 7, 1923
Appears with Denishawn at the Hippodrome in Pottsville, Pennsylvania.
November 8, 1923
Appears with Denishawn at the Fulton Opera House in Lancaster, Pennsylvania.
November 9, 1923
Appears with Denishawn at the Columbia Theatre in Sharon, Pennsylvania.
November 10, 1923
Appears with Denishawn at the Opera House in Ashland, Ohio.
November 12, 1923
Appears with Denishawn at the Masonic Temple in Cleveland, Ohio.
November 13, 1923
Appears with Denishawn at the Masonic Temple in Cleveland, Ohio.
November 14, 1923
Appears with Denishawn at the Palace Theatre in Jamestown, New York.
November 15, 1923
Appears with Denishawn at the Olympic Theatre in Watertown, New York.
November 16, 1923
Appears with Denishawn at the Lyceum Theatre in Ithaca, New York.
November 17, 1923
Appears with Denishawn in matinee and evening performances at the Stone Theatre in Binghamton, New York.
November 19, 1923
Appears with Denishawn at the Park Theatre in Meadville, Pennsylvania.
November 20, 1923
Appears with Denishawn at the Haven Theatre in Olean, New York.
November 21, 1923
Appears with Denishawn in matinee and evening performances at the Eastman Theatre in Rochester, New York.
November 22, 1923
Appears with Denishawn at matinee performance at the Teck Theatre in Buffalo, New York.
November 23, 1923
Appears with Denishawn at the Court Theatre in Wheeling, West Virginia.
November 24, 1923
Appears with Denishawn at the Memorial Auditorium in Columbus, Ohio.
November 26, 1923
Appears with Denishawn at the Hill Auditorium in Ann Arbor, Michigan.
November 27, 1923
Appears with Denishawn at the Sandusky Theatre in Sandusky, Ohio.
November 28, 1923
Appears with Denishawn at the Coliseum in Richmond, Indiana.
November 29, 1923
Appears with Denishawn at the Grand Opera House in Anderson, Indiana.
November 30, 1923
Appears with Denishawn at the Orpheum Theatre in Marion, Indiana.
December 1, 1923
Appears with Denishawn at the Jefferson Theatre in Hamilton, Ohio.
December 2, 1923
Appears with Denishawn at the Columbia Theatre in Alliance, Ohio.
December 3, 1923
Appears with Denishawn at the State Theatre in Uniontown, Pennsylvania.
December 5, 1923
Appears with Denishawn at the Strand Theatre in Morgantown, West Virginia.
December 6, 1923
Appears with Denishawn at the Strand Theatre in Cumberland, Maryland.
December 7, 1923
Appears with Denishawn at the Carnegie Institute in Pittsburgh, Pennsylvania.
December 8, 1923
Appears with Denishawn at the Union Opera House in North Philadelphia, Pennsylvania.
December 10, 1923
Appears with Denishawn at the Moore’s Opera House in Clarksburg, West Virginia.
December 11, 1923
Appears with Denishawn at the Camden Theatre in Parkersburg, West Virginia.
December 12, 1923
Appears with Denishawn at the Woodland Auditorium in Lexington, Kentucky.
December 13, 1923
Appears with Denishawn at matinee performance at the Woman’s Club in Louisville, Kentucky.
December 13, 1923
Appears with Denishawn at the Woman’s Club in Louisville, Kentucky.
December 14, 1923
Appears with Denishawn at the Ryman Auditorium in Nashville, Tennessee.
December 15, 1923
Appears with Denishawn at the Auditorium in Hopkinsville, Kentucky.
December 25, 1923
Appears with Denishawn at the Memorial Auditorium in Dayton, Ohio.
December 26, 1923
Appears with Denishawn at the Emery Auditorium in Cincinnati, Ohio.
December 27, 1923
Appears with Denishawn at matinee performance at the Murat Theatre in Indianapolis, Indiana.
December 28, 1923
Appears with Denishawn at the Illini Theatre in Bloomington, Illinois.
December 29, 1923
Appears with Denishawn in matinee and evening performances at the Pabst Theatre in Milwaukee, Wisconsin.
December 31, 1923
Appears with Denishawn at the Plaza Theatre in Galesburg, Illinois.
January 1, 1924
Appears with Denishawn at the Empire Theatre in Quincy, Illinois.
January 2, 1924
Appears with Denishawn at the Price Theatre in Hannibal, Missouri.
January 3, 1924
Appears with Denishawn at the Lyceum Theatre in St. Joseph, Missouri.
January 4, 1924
Appears with Denishawn at the Auditorium in Ottawa, Kansas.
January 7, 1924
Appears with Denishawn at the Coliseum in Dallas, Texas.
January 8, 1924
Appears with Denishawn at the Auditorium in Waco, Texas.
Jan. 9, 1924
Appears with Denishawn in matinee and evening performances at the Hancock Opera House in Austin, Texas.
January 10, 1924
Appears with Denishawn at the Kyle Theatre in Beaumont, Texas.
January 11, 1924
Appears with Denishawn at the Grand Theatre in Galveston, Texas.
January 12, 1924
Appears with Denishawn in matinee and evening performances at the Auditorium in Houston, Texas.
January 13, 1924
Appears with Denishawn at the The Arcade in Lake Charles, Louisiana.
January 14, 1924
Appears with Denishawn at the Colombia Theatre in Baton Rouge, Louisiana.
January 15, 1924
Appears with Denishawn at the Jerusalem Temple in New Orleans, Louisiana.
January 16, 1924
Appears with Denishawn at the Rapides Theatre in Alexandria, Louisiana.
January 18, 1924
Appears with Denishawn at the Civic Center in Bartlesville, Oklahoma.
January 19, 1924
Appears with Denishawn at the College Auditorium in Manhattan, Kansas.
January 21, 1924
Appears with Denishawn at the Auditorium in Topeka, Kansas.
January 22, 1924
Appears with Denishawn at the Shubert Theatre in Kansas City, Missouri.
January 23, 1924
Appears with Denishawn at the Memorial Hall in Atchison, Kansas.
January 24, 1924
Appears with Denishawn at the Columbia Theatre in Columbia, Missouri.
February 1, 1924
Appears with Denishawn at the Bowersock Theatre in Lawrence, Kansas.
February 2, 1924
Appears with Denishawn at the Carney Music Hall in Pittsburg, Kansas.
February 3, 1924
Appears with Denishawn at the New Joplin Theatre in Joplin, Missouri.
February 4, 1924
Appears with Denishawn at the Convention Hall in Tulsa, Oklahoma.
February 5, 1924
Appears with Denishawn at the Orpheum Theatre in Muskogee, Oklahoma.
February 6, 1924
Appears with Denishawn in matinee and evening performances at the Joie Theatre in Fort Smith, Arkansas.
February 7, 1924
Appears with Denishawn at the Busby Theatre in McAlister, Oklahoma.
February 8, 1924
Appears with Denishawn at the Hippodrome in Okmulgee, Oklahoma.
February 9, 1924
Appears with Denishawn in matinee and evening performances at the High School Auditorium in Oklahoma City, Oklahoma.
February 11, 1924
Appears with Denishawn at the Fifth Avenue Theatre in Arkansas City, Kansas.
February 12, 1924
Appears with Denishawn at the Memorial Hall in Wellington, Kansas.
February 13, 1924
Appears with Denishawn at the Crawford Theatre in Wichita, Kansas.
February 14, 1924
Appears with Denishawn at the Orpheum Theatre in Lincoln, Nebraska.
February 15, 1924
Denishawn Dance Company starts a two day run at the Iowa Theatre in Des Moines, Iowa.
February 18, 1924
Appears with Denishawn at the Auditorium in Sioux City, Iowa.
February 19, 1924
Appears with Denishawn at the Brandeis Theatre in Omaha, Nebraska.
February 20, 1924
Appears with Denishawn at the Brandeis Theatre in Omaha, Nebraska.
February 21, 1924
Appears with Denishawn at the Cecil Theatre in Mason City, Iowa.
February 22, 1924
Appears with Denishawn at the Waterloo Theatre in Waterloo, Iowa.
February 23, 1924
Appears with Denishawn at the Majestic Theatre in Peoria, Illinois.
February 25, 1924
Appears with Denishawn at the Princess Theatre in Fort Dodge, Iowa.
February 26, 1924
Appears with Denishawn at the Englert Theatre in Iowa City, Iowa.
February 27, 1924
Appears with Denishawn at the Grand Opera House in Ottumwa, Iowa.
February 28, 1924
Appears with Denishawn at the Regent Theatre in Keokuk, Iowa.
February 29, 1924
Appears with Denishawn at the Peerless Theatre in Kewanee, Illinois.
March 1, 1924
Appears with Denishawn at the Grand Opera House in Dubuque, Iowa.
March 3, 1924
Appears with Denishawn at the High School Auditorium in Hibbing, Minnesota.
March 4, 1924
Appears with Denishawn at the Armory in Duluth, Minnesota.
March 5, 1924
Appears with Denishawn at the Grand Opera House in Faribault, Minnesota.
March 6, 1924
Appears with Denishawn at the Metropolitan Theatre in Rochester, Minnesota.
March 7, 1924
Appears with Denishawn at the Auditorium Theatre in St. Paul, Minnesota.
March 8, 1924
Appears with Denishawn at the Auditorium Theatre in Minneapolis, Minnesota.
March 10, 1924
Appears with Denishawn at the Orpheum Theatre in Green Bay, Wisconsin.
March 11, 1924
Appears with Denishawn at the Armory in Fond du Lac, Wisconsin.
March 12, 1924
Appears with Denishawn at the Rhode Opera House in Kenosha, Wisconsin.
March 13, 1924
Appears with Denishawn at the Fuller Theatre in Kalamazoo, Michigan.
March 14, 1924
Appears with Denishawn at the New Family Theatre in Adrian, Michigan.
March 15, 1924
Appears with Denishawn in matinee and evening performances at the Orchestra Theatre in Detroit, Michigan.
March 17, 1924
Appears with Denishawn at the Majestic Theatre in Port Huron, Michigan.
March 18, 1924
Appears with Denishawn at the Majestic Theatre in Jackson, Michigan.
March 19, 1924
Appears with Denishawn at the Gladmer Theatre in Lansing, Michigan.
March 20, 1924
Appears with Denishawn at the Powers Theatre in Grand Rapids, Michigan.
March 21, 1924
Appears with Denishawn at the Post Theatre in Battle Creek, Michigan.
March 22, 1924
Appears with Denishawn at the Majestic Theatre in Fort Wayne, Indiana.
March 24, 1924
Appears with Denishawn at the Auditorium in Saginaw, Michigan.
March 25, 1924
Appears with Denishawn at the Faurot Opera House in Lima, Ohio.
March 26, 1924
Appears with Denishawn at the Weller Theatre in Zanesville, Ohio.
March 27, 1924
Appears with Denishawn at the Auditorium in Newark, New Jersey.
March 28, 1924
Appears with Denishawn at the High School Auditorium in Greensburg, Pennsylvania.
March 29, 1924
Appears with Denishawn at the Mishler Theatre in Altoona, Pennsylvania.
April 1, 1924
Appears with Denishawn in matinee and evening performances at the Wieting Opera House in Syracuse, New York.
April 3, 1924
Denishawn Dance Company starts a two day run at the Manhattan Opera House in New York City.
April 5, 1924
Appears with Denishawn at the Academy of Music in Brooklyn, New York.
April 7, 1924
Appears with Denishawn at the Auditorium in Springfield, Massachusetts.
April 8, 1924
Appears with Denishawn at the Worcester Theatre in Worcester, Massachusetts.
April 9, 1924
Appears with Denishawn at the Manhattan Opera House in New York City.
April 10, 1924
Appears with Denishawn at the Stamford Theatre in Stamford, Connecticut.
April 11, 1924
Denishawn Dance Company starts a two day run at the Opera House in Boston, Massachusetts.
April 14, 1924
Appears with Denishawn at the Grand Opera House in Peterbarough, Ontario, Canada.
April 15, 1924
Denishawn Dance Company starts two day run at the Grand Opera House in Hamilton, Ontario, Canada.
April 17, 1924
Appears with Denishawn at the Scott’s Opera House in Galt, Ontario, Canada.
April 18, 1924
Denishawn Dance Company starts a two day run of matinee and evening performances at the Grand Opera House in London, Ontario, Canada.
April 21, 1924
Denishawn Dance Company starts two day run at the St Denis Theatre in Montreal, Canada.
April 23, 1924
Appears with Denishawn at the Auditorium in Ottawa, Canada.
April 24, 1924
Appears with Denishawn at the Grand Opera House in Kingston, Canada.
April 25, 1924
Denishawn Dance Company starts two day run at the Massey Music Hall in Toronto, Canada.
April 28, 1924
Appears with Denishawn at the Harmanus Bleecker Hall in Albany, New York.
April 29, 1924
Appears with Denishawn at the Colonial Theatre in Utica, New York.
April 30, 1924
Appears with Denishawn at the High School Auditorium in Morristown, New Jersey.
May 1, 1924
Appears with Denishawn at the Rivoli Theatre in New Brunswick, New Jersey.
May 2, 1924
Appears with Denishawn at the Savoy Theatre in Asbury Park, New Jersey.
May 3, 1924
Appears with Denishawn at the Palace Theatre in Trenton, New Jersey.
May 4, 1924
Possibly appears with Denishawn at the Weller Theatre in Zanesville, Ohio ?
May 6, 1924
Dismissed by Ruth St. Denis from the Denishawn Dance Company.
June 23, 1924
George White’s Scandals of 1924 opens at the Apollo Theater in Atlantic City, New Jersey for a one week, out-of-town run. Brooks has a small role.
June 29, 1924
Pictured with others in New York Times feature, “Broadway’s Latest Parade of Beauties.”
June 30, 1924
George White’s Scandals of 1924 opens at the Apollo Theater in New York City. Brooks has a small role.
July 8, 1924
New York Telegram and Evening Mail raves about Brooks, which states she is the “fairest youngster that has dawned on Broadway in a long time. This is her first show, and word came from Atlantic City that she was a revelation of superlatively lovely girlhood….”
September 18, 1924
Applies for a passport.
September 20, 1924
Leaves the United States aboard the RMS Homeric bound for Europe. Brooks gives her local address as the Wentworth Hotel.
October 12, 1924
The Witchita Eagle reports Brooks is in Paris, France. The newspaper noted, “Her departure was sudden and her parents have not received a letter from her since her arrival in Paris. She went abroad as a member of a company expecting to appear in the French capital.”
October 1?, 1924
According to Brooks, she was sitting in the lobby of the Hotel Edouard VII (39 Av. de l’Opéra) in Paris when Archie Selwyn encountered her. The well connected American producer persuaded her to go with him to London, where he got her a job dancing at the Cafe de Paris in London. According to the International Herald Tribune, Selwyn was reported to be in Paris on October 14; he was in Paris with his wife and staying at the Hotel Claridge (37 Rue François), working to secure a contract with the Spanish singing star Raquel Meller, who is performing in Paris at the Palace.
October 19, 1924
Brooks is living at 49A Pall Mall in London, England.
October 20, 1924
Begins dance engagement at the Cafe de Paris.
October 21, 1924
Variety reports that Brooks was “cordially received upon opening last night at the Cafe de Paris cabaret,” and that Layton & Johnstone have returned to the establishment for an extended engagement.
November 6, 1924
The Burden Times reports that the Cherryvale Republican reports that the Wichita press reports that Brooks was in Paris, France. The Burden paper notes, “Her departure from France was sudden and her parents have not received a letter from her since her arrival in Paris.”
December 9, 1924
Variety runs a brief bit, “Louise Brooks, former Follies girl now in films, is trying to restrain John de Mirijian, theatrical photographer, from circulating near nude pictures of her. A tabloid has hopped on the story and is running it in serial form with a semi-nude photo of Miss Brooks on the front page, daily.”
December 13, 1924
Brooks appears on the cover of National Police Gazzette.
January 14, 1925
Leaves England for New York City aboard the RMS Homeric, which had embarked at the port of Southhapton. Her age is incorrectly recorded as 19. (In Lulu in Hollywood, Brooks writes the ship left England on February 14, although the alien passenger list states January 14.)
January 30, 1925
The New York Daily News notes “Louise Brooks and Alfred James have been added to Louis the 14th, starring Leon Errol.”
February 17, 1925
Louie the 14th, with Louise Brooks, opens at Ford’s theater in Baltimore, Maryland; the this out-of-town trial engagement runs one week. Florenz Ziegfeld is quoted in the Baltimore News, “Louise Brooks is going to eclipse a lot of the present stars in a very few short years.”
March 3, 1925
“Louie the 14th” opens at the Cosmopolitan Theater in New York City.
April 4, 1925
Brooks appears on the cover of National Police Gazzette.
April 17, 1925
Reported absent from the cast of Louie the 14th.
April 21, 1925
Brooks meets African-American actor Paul Robeson at a party at the apartment of writer / photographer Carl Van Vechten. Robeson thought her “very conceited and impossible.”
April 24, 1925
Appears on the cover of the Police Gazette (first appearance on a magazine cover).
April 25, 1925
Variety reports Brooks, “one of the most popular members of Louie the 14th,” has “mysteriously disappeared from the cast if this musical comedy several days ago and her absence has been traced to the scouting agents of a moving picture company with studios on Long Island.”
May 1925
Production of The Street of Forgotten Men takes place at Paramount’s Astoria Studios on Long Island.
May 5, 1925
New York Evening Post reports Brooks has signed a contract with Famous Players Lasky.
May 9, 1925
Billboard reports that Brooks has returned to the cast of Louie the 14th.
May 16, 1925
Attends the Kentucky Derby in Louisville, Kentucky with director Herbert Brenon.
May 20, 1925
Brooks starts work on The Street of Forgotten Men.
May 30, 1925
The New York Daily News notes Brooks won a swimming match held at a party the previous day at Ethel Shutta’s house in Long Island.
June 21, 1925
Syndicated articles announce Brooks’ entry into film. A bit is carried in the Wichita Eagle.
June 28, 1925
Pictured in the New York Times in “Beauties of the Summer Edition of the Ziegfeld Follies.” The Wichita Eagle reports gossip out of New York that Brooks has been seen in the company of “an important theatrical publicity man.”
June 29, 1925
The Summer edition of the Follies opens at the New Amsterdam theater in New York City. Included in the cast are Will Rogers, Ray Dooley, Lina Basquette, Hilda Ferguson and Brooks.
July 6, 1925
Summer edition of the Ziegfeld Follies opens at the New Amsterdam theater in New York City. Brooks has a small role.
July 7, 1925
Mentioned in NYC newspaper reviews of Summer edition of the Ziegfeld Follies.
July 8, 1925
Mentioned in NYC newspaper reviews of Summer edition of the Ziegfeld Follies.
July 12, 1925
The Wichita Eagle writes, “Louise certainly gets a lot of publcity. She has had her picture in the picture section of the Times for three consecutive weeks. A very lovely one last Sunday.”
July 19, 1925
The Street of Forgotten Men opens at the Rivoli Theater in New York City. Ben Bernie and his Orchestra open.
July 22, 1925
First mention in the Los Angeles Times.
August 1, 1925
Billboard reports that Brooks has been named to the entertainment committee of the Picnic Club, a social group for stage professionals organized by W.C. Fields and Ray Dooley. The committee is headed by Leon Erroll, and includes Peggy Fears. Ethel Shutta is named treasurer of the club.
August 16, 1925
Appears on the cover of the Town Crier, the Sunday magazine of the Wichita Beacon.
August. 24, 1925
The Street of Forgotten Men (Famous Players-Lasky Corporation) is released in the United States. On the same day, production work begins on The American Venus.
August 31, 1925
Though unnamed, Brooks receives her first film notice in the Los Angeles Times.
September 1925
Production continues on The American Venus, in part, at Paramount’s Astoria Studios on Long Island.
September 9, 1925
Variety runs an article, “Tax Payments Reported,” which states that Louise Brooks paid $6,033 in taxes for the year 1924.
September 12, 1925
Brooks and a few others are quoted in Billboard in a piece called “Remarkable Remarks” — “True art instincts lead one up the right alley.”
September 16, 1925
Brooks and a tipsy Herman J. Mankiewicz attend No, No, Nanette at the Globe Theater on Broadway.
September 17, 1925
Brooks’ ghost-written review (by-lined by Herman J. Mankiewicz) of the stage play No, No, Nanette appears in the New York Times.
September 23, 1925
Syndicated columnist James W. Dean writes “Saw Charlie Chaplin and he seemed gay in the company of Louise Brooks, a young chorus dancer.”
October 24, 1925
The New York Daily News notes Brooks has signed a long term contract with Famous Players.
November 1925
Brooks appears on the cover of the November issue of Art & Beauty magazine.
November 1, 1925
Syndicated columnist Louella Parsons begins her column by noting that Brooks has been given a five year contract.
November 5, 1925
In news reports, Charlie Chaplin denies having an affair with Brooks.
November 7, 1925
Motion Picture News reports Brooks has been signed to a contract by Famous Players Lasky.
November 15, 1925
Brooks attends the fifth annual Actor’s Equity Ball at the Hotel Astor in New York City, escorted by actor and costume designer, John Harkrider. Tickets for the event were priced at $33.00, and the event lasted until 5 in the morning. Among those also in attendance were Nazimova, Fanny Ward, George Arlis, Ethel Barrymore, Conway Tearle, Al Jolson, John Emerson and Anita Loos, Cliff Edwards, and Marilyn Miller.
November 17, 1925
Los Angeles Evening Express reports Brooks has been signed by Famous Players Lasky.
November 28, 1925
Production is completed on The American Venus, with the final scenes having been shot the previous week.
November 30, 1925
First report of the “draped nudes scandal” appear in the New York Daily Mirror.
December 1, 1925
Wearing a celebrated “drafty” costume designed by John Harkrider, Brooks attends the Lafayette fête (a society fundraiser) held at the Hotel Astor in New York City. Also there in costume were Gloria Swanson as Marie Antoinette, and Adolphe Menjou as Price Eugene, with Leon Errol acting as master of ceremonies, and Irene Bordoni singing. Also attending were Ethel Barrymore, Noel Coward, Richard Barthelmess, Marilyn Miller, Walter Wanger, Otto Kahn, John Jay Chapman, and others. The photograph by Kadel & Herbert of Brooks wearing a “drafty costume called America, a mixture of frontier and ballroom” is widely distributed.
December 21, 1925
Production of A Social Celebrity begins, in part, at Paramount’s Astoria Studios on Long Island, and elsewhere in New York City.
December 25, 1925
Spends Christmas Day with A.C. Blumenthal and William Fox.
December 31, 1925
The American Venus is shown at the American in Oakland (Fay Lanphier’s hometown) as a New Year’s Eve midnight matinee, benefit screening.
January 11, 1926
The American Venus premieres at the Stanley Theater in Atlantic City, New Jersey.
January 20, 1926
Production of A Social Celebrity ends.
January 24, 1926
Appears on the cover of the Town Crier, the Sunday magazine of the Wichita Beacon.
January 29, 1926
The American Venus opens at the Rivoli in NYC. The theater “packed ‘em in” for a week because Fay Lanphier and seven of the 1925 Miss America contestants appeared on stage. Also making a nightly appearance were winners of the Evening Graphic contest to choose the most beautiful girl from each NYC borough.
January 30, 1926
Moving Picture World announces Louise Brooks will have the “lead feminine role” in It’s the Old Army Game, according to William Le Baron, associate producer in charge at Paramount’s Long Island studio.
January 31, 1926
The American Venus (Famous Players-Lasky Corporation) is released in the United States. Also, Brooks appears again on the cover of Town Crier, the Sunday magazine of the Wichita Beacon.
February 20, 1926
The New York Daily News notes that Brooks, W.C. Fields and others involved in It’s the Old Army Game would leave for Florida in “a few days.” Location shooting for It’s the Old Army Game takes place in Ocala and Palm Beach, Florida.
March 19, 1926
The New York Daily News reports Brooks, Eddie Sutherland, W.C. Fields, Blanche Ring, Mickey Bennett and others were expected to return to New York City from Florida, where they were filming It’s the Old Army Game.
March 21, 1926
Newspapers across the country run an illustrated article on the draped nudes scandal.
March 23, 1926
According to an article in an Atlantic City newspaper, Brooks was expected to be one of the stars in attendance at a large Paramount convention / meeting in New Jersey. Also expected were Thomas Meighan, Adolphe Menjou, W.C. Fields, Carol Dempster, D.W. Griffith, Eddie Sutherland, and Erich von Stroheim. Other notables likewise expected were Florenz Zeigfeld, Adolphe Zukor and Jesse Lasky.
March 29, 1926
A Social Celebrity (Famous Players-Lasky Corporation) is released in the United States.
March 31, 1926
American newspapers run a syndicated article on the draped nudes scandal titled ”Where and Why Miss Brooks Draws the Line.”
April 7, 1926
Texas Guinan’s 300 Club runs an advertisement in Variety boasting of the celebrities who were ring side table holders the prior week, including Brooks, Eddie Sutherland, Harold Lloyd, Norma Talmadge, Marion Davies, Hedda Hopper, Anita Loos, Sid Grauman, Red Grange, Harry K. Thaw, Heywood Broun and others.
April 17, 1926
Moving Picture World reports Brooks will co-star in The Show-Off.
April 18, 1926
A Social Celebrity opens at the Rivoli Theater in New York City.
April 25, 1926
The Mark Hellinger of the New York Daily News reports “Louise Brooks is flashing a new diamond bracelet.”
May 5, 1926
The New York Daily News reports Brooks has been cast in Glorifying the American Girl, which is expected to begin production on May 17.
May 16, 1926
Appears on the cover of the Town Crier, the Sunday magazine of the Wichita Beacon.
May 18, 1926
During a stopover in Newton, Kansas budding film star Buddy Rogers says he expects to be cast in So’s Your Old Man along with Louise Brooks.
May 22, 1926
Moving Picture World reports production work has begun on The Show-Off, with the character Clara being played by Iris Gray.
May 25, 1926
It’s the Old Army Game (Famous Players-Lasky Corporation) is released in the United States.
May 26, 1926
Brooks appears on the cover of the Danish film magazine Ugebladet — probable 1st appearance on a European magazine cover.
June 12, 1926
Moving Picture World announces Louise Brooks will play Clara in The Show-Off.
June 20, 1926
American newspapers run a syndicated profile on Brooks, “Who’s Who on the Screen.” That same day, The New York Herald Tribune reports Brooks was seen reading “Life of Edgar Saltus” (likely Edgar Saltus: The Man, a biography of the decadent American writer by Marie Saltus), at the Algonquin Hotel.
June 24, 1926
The New York Herald Tribune reports that Brooks was at the opening of No Foolin‘ at the Globe, as were Florenz Ziegfeld, George White, Texas Guinan, Ring Lardner, Grantland Rice, Gene Buck, Arthur Hammerstein, Ben Ali Hagin, and others.
July 16, 1926
American newspapers run a syndicated piece attributed to Brooks, “Funny Screen Experiences.”
July 21, 1926
Marries director Eddie Sutherland in New York City; the ceremony was performed by Deputy Clerk William McCormick at the city’s Municipal Building. Articles appear in many newspapers, as well as on the front page of the New York Daily News.
July 23, 1926
Brooks is guest of honor at the Ziegfeld Follies in New York City.
July 28, 1926
The New York Daily News reports Just Another Blonde, under the title The Charleston Kid, is in production at the Biograph studio.
August 2, 1926
Due to the heatwave in NYC, large containers of ice were placed next to electric fans in order to keep actors cool during the filming of The Charleston Kid at the Biograph studio.
August 12, 1926
Filming of Just Another Blonde begins, and takes place in and around New York City including at Coney Island.
August 6, 1926
Attends opening of first sound film, Don Juan (1926), with Peggy Fears and A.C. Blumenthal at the Warner Theater in New York City.
August 16, 1926
The Show-Off (Famous Players-Lasky Corporation) is released in the United States.
August 28, 1926
Filming of Just Another Blonde ends.
August 29, 1926
The New York Herald Tribune reports Brooks was seen “gliding briskly through the lobby of the Ambassador.”
August 30, 1926
Attends Rudolph Valentino’s funeral in New York City.
September 1926
Brooks appears on the cover of the September issue of Paris and Hollywood.
September 5, 1926
Visits Los Angeles and is reunited with husband Eddie Sutherland.
September 10, 1926
Under the title “Hectic Times,” the Los Angeles Daily Illustrated News runs a photo of Brooks and Sutherland.
September 13, 1926
The New York Daily News reports that production on Love Em and Leave Em would begin at the Astoria Studio, and that Esther Ralston would replace Evelyn Brent.
September 18, 1926
Brooks appears on the cover of Puerto Rico Illustrado, an illustrated magazine published in the American territory. On the same day, Roscoe McGowen of the New York Daily News writes an article, “Lady Makes Him Change His Mind, and It Hurts!”, reevaluating Brooks’ acting ability. “Miss Brooks is not a good screen actress-yet. She may be; I hope she will be some day. But that day probably will not arrive until some megaphone wielder with a sort of Prince Lucifer-Shaw-Simon Legree personality is given the job of directing her.”
September 23, 1926
Roscoe McGowen of the New York Daily News writes that Marja Talurjne, who is “only a showgirl, gown model, motion picture actress and artist,” agrees with his “recent animadversions” on Brooks, and thinks she would be “wonderfully successful as Tillie the Toiler“.
October 1926
Brooks appears on the cover of the October issue of Motion Picture Classic.
October 3, 1926
Irene Thirer writes in “Gotham Glimmerings,” her New York Daily News column, “Louise Brooks is having a race with her husband, Director Eddie Sutherland, he who used to be wed to Marjorie Daw. It’s this way: Louise is appearing in Love Em and Leave Em, now in production at the Astoria studio. Eddies at the coast directing We’re in the Navy Now, with Ray Hatton and Wally Berry. If Louise finishes her role first she’ll go out to the coast to visit with Eddie. If he’s finished first, vice versa. At this time, with the picture well on its way at the direction of Frank Tuttle, it looks as though Louise is going to get that westward trip.”
October 19, 1926
The New York Daily News reports that Eddie Sutherland and Louise Brooks have returned to New York City from Hollywood.
October 24, 1926
Irene Thirer writes in “Gotham Glimmerings,” her New York Daily News column, “Came upon Louise Brooks at an uptown tea room the other evening, digesting a sandwich and a movie magazine at the same time. Disturbed the lovely Louise, whereupon she told us she had almost completed her role in Love Em and Leave Em….” and” This is getting to be a column of pet hates…. Louise Brooks hates Hollywood.”
October 31, 1926
Motion Picture World reports that The Charleston Kid (later retitled Just Another Blonde)
“is now in the cutting room.”
October 31, 1926
Irene Thirer writes in “Gotham Glimmerings,” her New York Daily News column, “Met Louise Brooks and her husband, Eddie Sutherland, at the football game, rooting away like college kids.” (That game was likely Columbia vs. Cornell, which was played at the Polo grounds before 40,000 people. Columbia won a thriller, 17-9.)
November 5, 1926
Makes a personal appearance at a benefit pre-release midnight showing at the Rialto Theater of We’re in the Navy Now, directed by Eddie Sutherland, who is also on hand. (As is Betty Bronson, Ricardo Cortez, Richard ‘Skeets’ Gallagher, William Powell, Evelyn Brent, and Philip Strange. Helen Morgan sings.) The event is a benefit showing in aid of the New York American Christmas and Relief Fund.
November 7, 1926
Irene Thirer writes in “Gotham Glimmerings,” her New York Daily News column, “We do hear that Louise Brooks and her husband, Eddie Sutherland, are going to Europe for a honeymoon before either the director or the actress get to work, flickering some more.” That same day, the New York Herald Tribune reports that Brooks was one of a number of celebrities who attended Eddie Dowlings production of Honeymoon Lane at the historic Knickerbocker Theater.
November 19, 1926
Attends the opening of the Paramount theater in New York City, along with many other film stars (Gloria Swanson, Thomas Meighan, Neil Hamilton, Lya De Putti, William Powell) and celebrities (Mayor Jimmy Walker, Thomas Edison, Will Hays, Adolph Zukor, Jesse Lasky, Fannie Hurst, Rex Beach). The New York Daily News reported, “Louise Brooks, in gold cloth, was with her director-husband Eddie Sutherland.” After opening remarks, bits of some early films were shown including those starring Sarah Bernhardt, Mary Pickford, Marguerite Clark, Pauline Frederick and others. Large crowds gathered, blocking the street. The feature film was God Gave Me Twenty Cents.
November 28, 1926
In an interview with the New York Herald Tribune, Eddie Sutherland said he would not really try to help Brooks’ career.
December 5, 1926
The Mark Hellinger of the New York Daily News reports “Louise Brooks has a new bob.”
December 6, 1926
Love Em and Leave Em (Famous Players-Lasky Corporation) is released in the United States.
December 11, 1926
Brooks is present at a ceremony laying the cornerstone of the new Ziegfeld Theater in New York. Will Rogers is Master of Ceremonies, and Billie Burke officiates. Also present among the crowd estimated at 1,500 were William Collier Jr. (named next to Brooks), Lois Wilson, Thomas Meighan, Mary Brian and “many others.”
December 12, 1926
Just Another Blonde, under the title The Girl from Coney Island ,opens at the Mark Strand in New York. The Harry Langdon short, There He Goes, also debuts. Irving Aaronson and His Commanders perform, as does Amanda Brown, a coloratura soprano. At later screenings, the stage acts are replaced. On December 19, Ukelele Ike (Cliff Edwards) performs.
December 13, 1926
Just Another Blonde (First National Pictures) is released in the United States.
January 3, 1927
Production work begins on Evening Clothes (Paramount) in Hollywood.
January 6, 1927
Arrives by train in Hollywood, where she is greeted by director Monte Brice, producer Charles Christie, and writer Thomas Geraghty.
January 7, 1927
The New York Daily News reports “Louise Brooks has gone to the coast to play opposite Adolphe Menjou in Evening Clothes, and her lonesome husband, Director Eddie Sutherland, has remained to direct another movie at Astoria.”
January XX, 1927
Participates in a publicity photo with Adolphe Menjou in which Brooks is depicted painting the historic Lasky barn in Hollywood.
January 20, 1927
Participates in screen tests made for George Young, prize winning Canadian swimmer.
January 21, 1927
Is introduced from the stage along with other cast members prior to the Los Angeles debut of Just Another Blonde at the West Coast Uptown theater. Abe Lyman is master of ceremonies.
January 29, 1927
Production work ends on Evening Clothes (Paramount) in Hollywood.
February 1927
Brooks appears on the cover of the February issue of Photoplay.
February 6, 1927
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News that Brooks and Eddie Sutherland are making belated honeymoon plans, and are expected to come East.
February 23, 1927
Brooks is the guest of honor at Washington’s birthday gathering at the Montmarte Cafe in Hollywood.
February 25, 1927
The New York Herald Tribune reports that Brooks will be Raymond Griffith’s leading lady in The Undying Love, to be filmed in Astoria.
February 2X, 1927
Brooks departs by train for New York City.
March 4, 1927
Evening Clothes (Paramount) has world premiere at the Metropolitan theater in Los Angeles. Adolphe Menjou is in attendance at the special event, as was the noted poet and then current French ambassador to the United States, Paul Claudel. Each were introduced from the stage.
March 6, 1927
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News, “Louise Brooks has already left California on her way to New York to make her next picture here. Louise of the raven locks and bewitching brown eyes will be Raymond Griffith’s leading lady in his next comedy, The Undying Love. Doesn’t sound much like a comedy title, but Ray doesn’t let on that he’s going to try his hand at anything else. Ray Griffith has been promising for several months to make a movie in the east…. Actual filming is scheduled to begin at the end of this week with Frank Tuttle at the megaphone.”
March 19, 1927
Evening Clothes (Famous Players-Lasky Corporation) is released in the United States.
March 26, 1927
Moving Picture World writes “James Hall and Louise Brooks have been cast in the leading roles in Rolled Stockings, according to an announcement from the studio.”
April 1927
Ruth Waterbury profiles Brooks in Photoplay magazine.
April 3, 1927
The New York Daily News reports, “Louise Brooks and Eddie Sutherland are spending their first long spell of being in the same town since their marriage in re-doing Eddies former bachelor home. Louise has not had a home for years as she was formerly a New York chorus girl. She is certainly throwing her heart into her work. When she came here and saw her husband’s big rambling old house she promptly began making a home out of it, tearing out a few partitions and adding verandas and what-nots. The furniture shops are their delight. Buying furniture has became both a passion and an ambition with them.”
April 4, 1927
Production work begins on Rolled Stockings.
April 8, 1927
Cast of Rolled Stockings arrives in Berkeley, California to begin work on the film.
April 9, 1927
Brooks and James Hall make a personal appearance before an evening showing of Evening Clothes at the American Theater in Oakland, California.
May 5, 1927
Production work ends on Rolled Stockings.
May 21, 1927
Washington Times runs an article titled “Louise the Lovely Forging On.”
June 18, 1927
Rolled Stocking (Famous Players-Lasky Corporation) is released in the United States. Also on this day, a syndicated bit runs in newspapers which reads, “Louise Brooks and Eddie Sutherland, Paramounts interesting newlyweds, are planning a big house warming party with the completion of the rebuilding of Sutherland’s old Laurel Canyon home and the final construction of a hillside swimming pool.”
June 19, 1927
Los Angeles Times runs “The Slightly Bored Girl: Louise Brooks’s World-Weary Manner Merely Covers Sensitive Disposition.”
June 22, 1927
Production work begins on The City Gone Wild in and around Hollywood.
July 3, 1927
A syndicated piece published under the headline “Hollywood Fashion Notes” states “Louise Brooks appeared on the lot recently wearing opera pumps, belt, flower, hat, purse and frock all of the same shade of green leather and with her monogram on each piece of apparel.”
July 7, 1927
Production work ends on The City Gone Wild.
July 8, 1927
Attends the West Coast premiere of Way of All Flesh at Criterion Theater in Los Angeles, California. The film’s star, Emil Jannings, appeared on stage; others advertised as also being in attendance were Pola Negri, Clara Bow, Fay Wray, Bebe Daniels, Wallace Beery, Adolphe Menjou, Fred Kohler, Esther Ralston, Chester Conklin and others.
August 1927
Brooks appears on the cover of the August issue of Picture Play.
August 1, 1927
Production work begins on Now We’re in the Air (Paramount) in and around Hollywood.
August 2-4, 1927
On location shooting scenes (exteriors, American aviation field and headquarters) for Now We’re in the Air.
August 5, 1927
At the Paramount studio shooting scenes (interiors, American aviation headquarters) for Now We’re in the Air.
August 8-12, 1927
On location shooting scenes (carnival exteriors and dressing tent) for Now We’re in the Air.
August 10, 1927
Irene Thirer writes the New York Daily News, “Louise Brooks, her husband, Eddie Sutherland, Chester Conklin, W.C. Fields and Louise Fazenda are all going to Europe to make scenes from Tillie’s Punctured Romance, which Sutherland and Al Christie are directing.
August 16, 1927
The Benton Harbor News-Palladium runs a profile of Myra Brooks, “Mother of Screen Favorite,
Louise Brooks, Visits Here.”
August 17, 1927
Myra Brooks visits Benton Harbor, Michigan where she gives a talk at the local Chautauqua.
August 18-19, 1927
On location shooting scenes (exteriors of the German village, barnyard and chateau) for Now We’re in the Air.
August 19, 1927
Hollywood Daily Citizen reports Brooks will appear as Dorothy in Gentleman Prefer Blondes.
August 20, 1927
According to Film Spectator, Brooks is the 65th biggest draw among featured players.
August 20, 1927
At the Paramount studio shooting scenes (German headquarters, interiors & Chelaine’s living room, lap dissolve sequence) for Now We’re in the Air.
August 22-23, 1927
At the Paramount studio shooting scenes (interiors German headquarters, including hallway and dining room) for Now We’re in the Air.
August 24, 1927
Brooks attends a luncheon hosted by Virginia Lee Corbin at the Montmartre in Hollywood. Others in attendance were Mrs. Sam Warner, Phyllis Haver, Janet Gaynor, Lois Moran, Marceline Day, and Ruth Corbin.
August 26, 1927
On location shooting scenes (and isolated trench and a French road) for Now We’re in the Air.
August 27, 1927
At the Paramount studio shooting scenes (interiors in the aviation headquarters and ante room) for Now We’re in the Air. Later in the day attends a Hollywood party in honor of Lina Basquette.
August 29, 1927
At the Paramount studio shooting scenes (the execution yard) for Now We’re in the Air.
August 30, 1927
On location shooting scenes (exteriors for the 2nd, 3rd and 4th sequences in the aviation field and headquarters) for Now We’re in the Air.
September 6-7, 1927
At the Paramount studio shooting scenes (exteriors, on a boat) for Now We’re in the Air.
September 8, 1927
Shooting ends on Now We’re in the Air (Paramount).
September 14, 1927
Syndicated columnist Louella Parsons writes “I refuse to get excited over Paramount’s announcement that a new Dorothy must be found. I refuse to become even interested when they state that Louise Brooks is not the type and has therefore been taken out of the cast. Personally, I think Louise is lucky. There has been too much ballyhooing in advance and too much trying to work up interest. It is my private and personal opinion that Louise Brooks would have stolen the picture completely from Ruth Lee Taylor (Lorelei), and I do not believe I am alone in this opinion.”
September 20, 1927
The New York Daily News notes that Alice White has replaced Louise Brooks as Dorothy in Gentlemen Prefer Blondes.
September 24, 1927
Motion Picture World reports that Brooks has signed a “new long term contract with Paramount,” according to a studio announcement.
October 7, 1927
New York Sun columnist Eileen Creelman notes Brooks has returned to New York from Hollywood.
October 8, 1927
Irene Thirer writes the New York Daily News, “Louise Brooks is in town for a couple of days, doing the shows.”
October 10, 1927
New York Sun columnist Eileen Creelman notes Brooks was among those attending the October 7th opening of Texas Guinan’s new nightclub. (As did Peggy Fears, Herbert Brenon, Gladys Glad, Dagmar Godowsky, Lita Grey, Roger Wolfe Kahn, Lew Cody, Carmel Myers, and others.)
October 11, 1927
New York Sun columnist Eileen Creelman notes Brooks is expected to attend the opening of White Lights at the Ritz Theater. (As is Thomas Meighan, F. W. Murnau, Mabel Normand, Harold Lloyd, Carmel Myers, Henry King and others.) Elsewhere, United Press syndicated columnist Dan Thomas writes, “Meandering through Movieland…. Louise Brooks attempts to carry on a conversation with Emil Jannings’ German parrot.”
October 12, 1927
Irene Thirer writes the New York Daily News, “Harold Lloyd, Thomas Meighan, Louise Brooks, Carmel Myers, Lew Cody, Herbert Brenon and Fred W. Murnau attended the opening of White Lights, spoken drama, last evening.”
October 15, 1927
In his column, “Filmland Amusement Notes,” Geo. Perry writes, “. . . Clara Bow talking it over with lady lady director, Dorothy Arzner; Fred Kohler eating Tamales; Louise Brooks in a spotted dress. . . . ”
October 16, 1927
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News, “Louise Brooks is the kind of gal who must come to New York once in a while even if it’s only for a few days. Last Friday saw Louise, snappily garbed in a tricky brown autumn suit and natty brown felt hat, pacing Broadway. The following Monday saw this piquant brunette on her way back to Hollywood where her way back to Hollywood where her director-husband, Eddie Sutherland, and a good movie part await her. Louise lets us know she’s getting to like Hollywood, though she did think she never could get used to it. Having her family out to stay with her in the new Beverly Hills home for a while, of course means a good deal to the actress, who left nearly all her pals behind in Gotham when she went coastward some months ago.”
October xx, 1927
“One night in New York in Oct 1927 my beautiful nature was expanded to please Peggy Fears by going with Blumie and Joe Schenk to the Richmond club. After looking at Joe for a half-hour I grabbed my expensive cape and purse and rushed to the bar upstairs where Helen Morgan was singing on top of her piano.”
October 20, 1927
New York Sun columnist Ward Morehouse reports Brooks attends The Shannons of Broadway in New York. (As does Peggy Fears.)
October 22, 1927
Now We’re in the Air (Famous Players-Lasky Corporation) is released in the United States.
October 23, 1927
Mark Hellinger of the New York Daily News authors a full-page article about Joe “Two Gun” Murphy which suggests that he and Brooks are acquainted. Brooks is prominently pictured, below which the caption reads “It was nothing for Two Gun Murphy to be welcomed at the cabaret table of Louise Brooks.” In the literature of the times, it is suggested Murphy was a narcotics officer, though elsewhere it is suggested he had underworld involvement.
November ?, 1927
Production work begins on A Girl in Every Port in the Fox Studio in Hollywood.
November 20, 1927
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News, “And Louise Brooks has just gone westward, as well, after a much lengthier vacation here than she expected to have when she arrived in Gotham some weeks ago.”
November 24, 1927
With Eddie Sutherland, attends wedding of Louise Fazenda and Hal Wallis.
December ?, 1927
Production work ends on A Girl in Every Port.
December 9, 1927
The Rialto theater in New York hosts a 9pm “special premiere” of Now We’re in the Air.
December 17, 1927
Irene Thirer writes in the New York Daily News about celebrity plans for celebrating Christmas. Among the guests Mr. and Mrs. Wallace Beery are expected to share the holiday are Mr. and Mrs. Raymond Hatton and “Eddie Sutherland and his lovely wife, Louise Brooks.”
December 18, 1927
In one of the last recorded theatrical screenings, It’s the Old Army Game is shown at the Hudson theater in Richmond, Indiana.
December 25, 1927
Rosalind Shaffer’s Chicago Tribune piece, “Lavish Entertainments Mark Christmas in Hollywood,” notes “Mr. and Mrs. Wallace Beery have a venison feast off a dear that Wallace killed for their day’s feature. Raymond Hatton, Mrs. Hatton, Louise Brooks and Eddie Sutherland, her husband, dine with the Beerys.”
December 30, 1927
In one of the last recorded theatrical screenings, The American Venus is shown at the Ramona theater in Phoenix, Arizona.
January 1, 1928
Meets Pepi Lederer at the home of William Randolph Hearst in San Simeon, California.
January 7, 1928
Attends party with Eddie Sutherland at the Roosevelt Hotel ballroom; also in attendance are Paul Bern and Majorie Daw, Lois Wilson, Herbert Brenon, Edmund Goulding, Alexander Korda, Viola Dana, Thelma Todd, Ruth Taylor, Alice White, Gertrude Olmstead, Tom Mix and others.
January 11, 1928
Irene Thirer writes in the New York Daily News “Louise Brooks will be co-starred with Ruth Taylor in future productions.”
January 19-20, 1928
In one of its very last recorded theatrical screenings, The American Venus is shown at the Valentine theater in Canton, Ohio.
January 27, 1928
Attends pajama party with Eddie Sutherland at Esther Ralston’s Hollywood home; also in attendance are Buddy Rogers, George Bancroft, Mary Brian, Richard Arlen, Chester Conklin, Frank Tuttle, Warner Baxter, and others.
February 1928
Brooks appears on the cover of the February issue of Capt Billy’s Whiz Bang, an American humour magazine. Elsewhere, Myra Brooks’ article, “My Louise,” appears in Screenland magazine.
February 7, 1928
Attends premier of the John Ford film, Four Sons, at Carthay Circle Theater in Los Angeles. Along with the cast members, also attending were Renee Adoree, Thelma Todd, Hope Loring, Patsy Ruth Miller, Sally Rand, Phyllis Haver, Anita Stewart, and others.
February 9, 1928
An article in the New York Daily News states that Brooks has attended parties put on by playboy brokers John and Herbert locke.
February 18, 1928
A Girl in Every Port premieres at the Roxy Theater in New York City.
February 23, 1928
Leaves Los Angeles by train for Miami, Florida.
February 25, 1928
Though announced as attending, does not attend fete for Wampas Baby Stars at Ambassador Auditorium in Los Angeles.
February 26, 1928
A Girl in Every Port (Fox) is released in the United States.
February 27, 1928
Arrives in Miami, Florida.
February 27, 1928
Billboard reports that Paramount has purchased the rights to Beggars of Life, with William Wellman set to direct and with Richard Arlen and Brooks to be featured in the cast.
February 28, 1928
Departs Miami aboard a cruise ship bound for Havana, Cuba.
February 28, 1928
In one of the last recorded theatrical screenings, A Social Celebrity is shown at the Lyric theater in Tucson, Arizona.
March 9, 1928
An Irene Thirer article, “Louise Brooks in Havana,” in the New York Daily News states “And yesterday another movie player slipped out of Hollywood for a vacation in Havana. Louise Brooks left her Beverly Hills and went, without telling a studio soul anything about it until she already was on her way. Then she sent a wire. Louise wasn’t going to be busy at movie making for the next month or so, anyway…. Miss Brooks will come up to Gotham to join her director husband after her Havana stay. And the couple will catch the Century coastward together.”
March 16, 1928
Irene Thirer writes in the New York Daily News “Louise Brooks has arrived in town from Havana. She’s staying at the Ambassador for a week or so.”
March 18, 1928
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News, “Give Louise Brooks a hand! That gal just slips out of the studio gate, whenever she has a mind to, and goes off somewhere without letting anybody know. The other day nobody knew Louise had skipped until they got a wire from the train which was taking her to New Orleans, where she caught a boat to Cuba. From Havana, the lovely Louise will come up north and pay her semi-annual visit to New York. Here’s one young wealthy Hollywood matron (she married director Eddie Sutherland two years ago) who doesn’t forget that once she was a Ziegfeld show girl. In fact, she’s proud of it. She’s going to be starred in Glorifying the American Girl, at Flo Ziegfeld’s personal supervision, you know.”
March 23, 1928
Brooks is one of a handful of stars (Adolphe Menjou & Kathryn Carver, Paul Whiteman, Leon Errol, and others) who appear at the Paramount Movie Ball at the Hotel Astor. Music was provided by Vincent Lopez and two of his celebrated orchestras. The Paramount Pep-O-Grams newsletter described the event, “Ruth Elder, modestly beautiful, mingling with the Paramounteers who will later sell the pictures in which she is to be starred. Louise Brooks, with her customary clam confidence reflected in her face. These and many more made the evening a gay and representative one.”
March 27, 1928
The Brooklyn Standard Union reports Brooks will appear at the following day’s Brooklyn County Fair and Exposition.
March 31, 1928
New York Sun columnist Ward Morehouse reports that Brooks attends a Mayfair dance at the Ritz. (Also there was Helen Chandler, Betty Compton, William Boyd, James Gleason, etc…)
April 18, 1928
Associated Press reports Brooks and Eddie Sutherland have separated.
April 20, 1928
The New York Daily News runs an article stating Louise Brooks intends to sue for divorce, after moving into a hotel from her Laurel Canyon home the previous week.
May 1, 1928
In one of the last recorded theatrical screenings, The Show-Off is shown at the Princess theater in Deming, New Mexico.
May 3, 1928
Brooks files for divorce in Los Angeles. According to the actress complaint of divorce, the Los Angeles Evening Express reported husband Eddie Sutherland “made a practice of bringing boisterous friends home with him and entertaining them at late hours of the night…. Furthermore, Miss Brooks asserts, her husband refused to take her with him on a trip to Europe, saying that he ‘couldn’t be bothered with a wife’.”
May 12, 1928
Brooks and Mary Brian are guests of honor at an afternoon benefit bridge given by the Los Angeles alumni of Pi Kappa Psi, a national education sorority, on the south patio of the Alexandria hotel.
May 18, 1928
Production works begins on Beggars of Life in Hollywood.
May 19, 1928
Hollywood columnist Louella Parsons writes “Estelle Taylor in a brown straw hat and brown costume dining at the Russian Eagle. Louise Brooks, bareheaded, eating at the same restaurant.”
May 30, 1928
Brooks and Wallace Beery arrive in Jacumba, near the California-Mexico border, to begin location shooting for Beggars of Life.
June 8, 1928
Irene Thirer writes in the New York Daily News that Richard Dix and Louise Brooks have been chosen to appear in The Redskin, to be directed by Victor Schertzinger.
June 15, 1928
Location shooting ends on Beggars of Life in and around Jacumba, California (near the border with Mexico).
June 18, 1928
Production works ends on Beggars of Life.
June 19, 1928
In Los Angeles, Judge George W. McDill grants Louise Brooks an interlocutory divorce decree from Eddie Sutherland. According to the Los Angeles Evening Express, the divorce was granted on grounds of “extreme cruelty,” with Brooks being quoted thus, “He said he couldn’t be annoyed taking me out…. He always ssaid he was too busy or not interested.” Elsewhere, the Los Angeles Evening Post-Record reported, “However, when she asked to go to Europe with Sutherland, and he told her she might go to another place, reputed to be warmer, Miss Brooks rebelled.”
June 20, 1928
The captioned photograph in the New York Daily News quotes Sutherland, who reportedly told Brooks she could “go to hell, but you can’t go with me to Europe.”
June 23, 1928
Brooks departs Los Angeles for New York. Irene Thirer writes in the New York Daily News, “Louise Brooks is on her way to town to buy clothes and see the shows. When she returns to Hollywood she’ll be featured in The Canary Murder Case.
July 14, 1928
George Shaffer writes in her “Gotham Glimmerings” column in the New York Daily News, “Louise Brooks will leave in a few days for New York, where she will celebrate her recent marital emancipation from Eddie Sutherland.”
July 15, 1928
According to an article in the New York Daily News, Brooks’ name along with those of other celebrities such as Texas Guinan, Gertrude Lawrence, Mary Eaton, and Betty Compton were found by federal investigators on a “sucker list” of “ladies frequently called” by playboy brokers John and Herbert Locke.
July 17, 1928
The Wichita Eagle reports that Ted Brooks had departed Wichita for California for a vacation with his sister.
August 1928
Brooks portrait is taken by Edward Steichen in Hollywood.
August 14, 1928
In one of the last recorded theatrical screenings, Love Em and Leave Em is shown at the Lyric theater in Tucson, Arizona.
August 18, 1928
Billboard reports that Brooks has been withdrawn from the cast of The Canary Murder Case and reassigned to Redskin. (Mary Brian is reported to replace Brooks in the mystery film.)
August 23, 1928
Newspapers report that Brooks, Richard Dix and other members of the Redskin cast are preparing to depart for New Mexico.
August 25, 1928
Irene Thirer writes in the New York Daily News, “Richard Dix, Louise Brooks and The Redskin entire company will leave for location in northern New Mexico Monday, to make background shots on Indian reservations.”
August 27, 1928
Director Victor Shertzinger and the cast of Redskin leave for New Mexico.
August 28, 1928
In the evening, Brooks, Richard Dix and other 16 others involved in the filming of Redskin arrive in Gallup, New Mexico, where they stay at the El Navajo hotel.
August 29, 1928
Shooting begins on Redskin in New Mexico. Irene Thirer writes in the New York Daily News, “When Richard Dix arrives in Gallup, New Mexico, tonight with the Redskin company, he will be welcomed at the railroad station by 1,000 Navajo Indians, who have assembled there for annual tribal ceremonies. From the New Mexico town, the Dix unit will proceed 110 miles overland to the mouth of the DeChilly canyon, where the first of the natural color exterior sequences for Redskin will be filmed. Louise Brooks is Richard’s leading lady in the picture.”
September 11, 1928
Production works begins on The Canary Murder Case in Hollywood.
September 16, 1928
Newspapers report Brooks has returned to the title role in The Canary Murder Case due to the illness of Ruth Taylor, as well as because Brooks’ “thorough knowledge of Broadway and its life suited her perfectly to the role.”
September 18, 1928
Washington Post reports “To the great disappointment of everybody, Louise Brooks will not play Lorelei Lee’s girl friend in Gentlemen Prefer Blondes.”
September 19, 1928
In one of the last recorded theatrical screenings, The Street of Forgotten Men is shown at the Colonial theater in Bridgeport, Connecticut.
September 22, 1928
Billboard reports Brooks has been replaced by Gladys Belmont in Redskin, and transferred back to The Canary Murder Case. Beggars of Life (Famous Players-Lasky Corporation) is released in the United States.
September 25, 1928
Show Girl begins airing on the radio, with Marcella Shields voicing Dixie Dugan.
September 30, 1928
Appears on the cover of Kinematograph, a German trade journal, promoting her role as Lulu in Pandora’s Box.
October 1, 1928
Principal photography on The Canary Murder Case is completed. Brooks leaves for New York.
October 4, 1928
Irene Thirer writes in the New York Daily News that Louise Brooks will leave the following day for Germany aboard the S.S. Majestic, “where she will make one picture for UFA.”
October 6, 1928
Departs the United States aboard the S.S. Majestic enroute to Europe.
October 12, 1928
Arrives in Cherbourg, France.
October 11, 1928
The Emporia Weekly Gazette incorrectly reports that Brooks will pass through Emporia, Kansas on the east bound no. 20.
October12, 1928
Production works ends on The Canary Murder Case.
October 14, 1928
Arrives in Berlin.
October 17, 1928
In “Chatter in Berlin” (dated October 5), Variety writes “Louise Brooks has been selected as the lead in Lulu, G.W. Pabsts’ film version of Wedekind’s Erdgeist, the play which flopped in New York two seasons ago as The Loves of Lulu.” Production work begins on Pandora’s Box at the Nero-Film Studio in Berlin, Germany.
October 22, 1928
Ink impressions of Brooks’ left and right hands are taken by palmist Marianne Raschig.
November 4, 1928
Chicago Tribune names Beggars of Life one of the best films for the preceding month.
November 23, 1928
Production work ends on Pandora’s Box at the Nero-Film Studio in Berlin.
November 28, 1928
Sails from Cherbourg, France aboard the S.S. Majestic, a White Star liner, headed for New York City.
December 4, 1928
Arrives back in New York City on the S.S. Majestic. She gives her address as the Ambassador Hotel.
December 16, 1928
New York Sun columnist Ward Morehouse reports Brooks has a ringside table at the Club Rendezvous. (As do W.C. Fields, Harry Richman, Ann Pennington, Texas Guinan, Hilda Ferguson and others.)
December 1928
Brooks meets William S. Paley, the new owner of CBS. They keep company for the next two months.
December 19, 1928
Sound retakes for The Canary Murder Case take place without Brooks.
December 28, 1928
Hollywood columnist Louella Parson writes “The name of Louise Brooks seems to be missing from the new contract list. When she went abroad to make a picture for UFA, there was a rumor that this would be her last for Paramount.”
December 28, 1928
The New York Herald Tribune notes Brooks is among those invited to the new Ziegfeld production, Midnight Frolic.
January 8, 1929
Wichita Eagle gossip columnist Mrs. Busy Body writes that rumous had it that it was actess Bebe Daniels who broke up the Brooks-Sutherland marriage.
January 9, 1929
New York Sun columnist Ward Morehouse reports Brooks dining at the Club Rendezvous. (As were Peggy Hopkins Joyce, Paul Whiteman, George Olsen and Ethel Shutta, Ann Pennington, Gertrude Lawrence, Texas Guinan, Helen Kane, Eddie Cantor and others.) Variety reports Brooks on the town with Justine Johnston.
January 23, 1929
Variety writes, “Louise Brooks of the ‘movies’ thinks Jimmy Durante should have that schnozzola patented. Louise is quite the talk of the ringside these nights.”
January 30, 1929
Pandora’s Box (Nero-Film AG) is released in Germany.
February 9, 1929
Pandora’s Box premiere’s at the Gloria–Palast in Berlin.
February 15, 1929
Brooks, as the Canary, appears on the cover of Exhibitor’s Daily Review, a leading American trade journal.
February 16, 1929
The Canary Murder Case (Paramount Famous Lasky Corp.) is released in the United States.
February 23, 1929
Brooks appears on the cover of National Police Gazzette. The Canary Murder Case opens at the Embassy in NYC.
March 4-5, 1929
In one of the last recorded theatrical screenings, Rolled Stockings is shown at the Orpheum theater
in Sioux Falls, South Dakota.
March 6, 1929
After its Berlin debut, Variety reviews Pandora’s Box and declares Brooks ”unsuited to the vamp type.”
March 9, 1929
Billboard erroneously reports that Brooks has received an UFA contract.
March 29, 1929
Wire services report Brooks was to have departed for the continent aboard the Ile-de-France. (Apparently, this trip was postponed until April 29.)
March 30, 1929
Billboard reports Brooks is “out” at Paramount.
April 1929
A. Kraszna-Krausz’s “G.W. Pabst’s Lulu” appears in Close-Up, a London film journal.
April 6, 1929
American newspapers run a syndicated article featuring Brooks titled “Actress Studies Clothes Economy.”
April 10-11, 1929
In one of the last recorded theatrical screenings, Evening Clothes is shown at the Gem theater in Sheboygan, Wisconsin.
April 12, 1929
L’Indépendance Belge, a Belgian newspaper, runs a short review of Pandora’s Box following its
debut in Brussels.
April 15 – May 25, 1929
Brooks’ mother, Myra Brooks, speaks on “agelessness and the necessity and method of keeping youthful” and “What Every Woman Wants to Know” at the Studio of Philosophy in Hollywood.
April 20, 1929
The New York Daily News reports that Louise Brooks has departed for Europe the previous day aboard the Ile-de-France. That same day, Paris newspapers report Brooks is headed for Paris to appear in Prix de beaute.
April 26, 1929
Brooks arrives in Havre, France aboard the Ile-de-France, the French Line’s flagship. Others of note on the ship include author Anita Loos, playwright Philip Barry, socialite-screenwriter Townsend Martin, and actresses Genevieve Tobin and Dora Duby.
April 27, 1929
Brooks and Loulou are the subject of considerable press attention in Paris. Cinèmagazine, Cine-Journal and other publications all run articles.
May 8, 1929
Under the headline “Louise Brooks’ Grouch,” Variety runs a short piece stating the actress plans to bring action against a chorus girl in New York using the same name. “Miss Brooks says her picture has been used in front of theaters where the other girl has played.”
May 11, 1929
A Paris newspaper, L’Intransigeant, runs a picture of Brooks and Pabst together in Paris.
May 12, 1929
A reporter for the Paris-based newspaper, The Chicago Tribune and the Daily News, interviews Brooks at the Hotel Royal Monceau in Paris. A short article appears in the paper the following day.
May 30, 1929
Enjoys an evening out at Joe Zelli’s restaurant in Paris.
date unknown 1929
Autobiographical sketch attributed to Brooks, “Ein Wenig Louise Brooks,” published in Germany in Film Photos Wie Noch Nie.
June 14, 1929
Lady Nicotine, a columnist for the Inter-State Tattler, pens a piece titled “Alberta Hunter Returns,” in which she states that the famed African-American jazz and blues singer had met many celebrities on the Continent, including Alice Terry, Ramon Novarro, Cole Porter, and Louise Brooks.
June 17, 1929
Production work begins on The Diary of a Lost Girl in Berlin, Germany.
June 25, 1929
Variety reports Brooks is in Berlin to begin work on Diary of a Fallen Women, and that she will stay there for three weeks.
June 27, 1929
In one of the last recorded theatrical screenings, Just Another Blonde is shown at the West End theater
in Atlanta, Georgia.
July 6, 1929
Billboard reports that Max Goldberg, treasurer of Moviegraphs Inc. (which operates the 55th Street Cinema in NYC), has returned from Europe, where he and managing director Joseph R. Fleisher closed exhibition deals on a number of films, including Pandora’s Box.
July 13, 1929
The Boston Globe runs a story, “Film Stars, Failing in Talkies, Go to Europe,” which is subtitled “Louise Brooks in German Movies and Company In Paris Is Trying to Sign Her.” The article states, “Louie Brooks is another ex-Paramount star who is doing her starring abroad. She is now making pictures for a German producer, and her present picture is called The Diary of a Fallen Woman.” The Sofa Film Company of Paris also has designed upon the sinuous Louise and are trying to get her to make a picture in France.”
July 26, 1929
Production work ends on The Diary of a Lost Girl.
July 31, 1929
Leaves from Cherbourg, France aboard the S.S. Homeric bound for New York City.
Aug. 6, 1929
Arrives in New York City on the White Star line vessel S.S. Homeric. Brooks gives her address as 11 East 56th Street in New York.
Aug. 29, 1929
Production begins on Prix de beauté in and around Paris.
September 12, 1929
A brief United Press story, “Louise Brooks Star of First French Talkie,” reads “Louise Brooks, American film player, will be the star of the first French talkie, The Beauty Prize, it was announced today. The producers will include shots of crowds at various places and awards a prize to the most beautiful woman among those filmed.”
September 21, 1929
Billboard reports Brooks will star in Prix de Beaute.
September 27, 1929
The Diary of a Lost Girl premieres at the Gartenbau-Kino in Vienna, Austria. Also on this day,Production ends on Prix de beauté.
October 1, 1929
In Harve, Brooks departs France aboard the Ile-de-France. Also on board are Adolphe Zukor, singer Grace Moore, sculptor Paul Manship, and actress Beatrice Lillie. On the same day in the United States, in a syndicated article on beauty, famed literary critic and Pulitzer Prize winner Carl van Doren states Brooks is one of the two most beautiful women in the United States.
October 15, 1929
The Diary of a Lost Girl makes its German debut at the UFA Kurfurstendamn Theater in Berlin.
October17, 1929
First mention of Prix de beauté in the United States in Harry J. Ostrander’s syndicated column, “What’s Doing in Hollywood.”
October 23, 1929
The Diary of a Lost Girl (HOM Film) is released in Germany.
October 28, 1929
Enjoys an evening out at Joe Zelli’s restaurant in Paris.
October 30, 1929
Billboard reports, “Already definitely out of Paramount are Bebe Daniels and Louise Brooks.”
November 3, 1929
Pandora’s Box, as the Box of Pandora, “with foreign cast” is listed as showing at the 55th Street Playhouse in New York City.
November 27, 1929
Sails from Cherbourg, France on the S.S. Majestic headed for New York City. Also on baord are actresses Kathryn Carver (Mrs. Adolphe Menjou) and Edna Wallace Hopper.
November 30, 1929
Pandora’s Box, as the Box of Pandora, opens at the 55th Street Playhouse in New York City. The film runs through December 13. William S. Paley asks Brooks to see the film, but she refuses after reading the film’s poor reviews.
December 3, 1929
Arrives in New York City aboard the S.S. Majestic. Brooks gives her address as 111 East 50th Street.
December 5, 1929
Due to demands of the German state censor, The Diary of a Lost Girl is withdrawn from circulation.
December 6, 1929
New York Sun reports Pandora’s Box “smashed the Fifty-fifth Street Playhouse’s box office records. It will therefore be held for another week.”
December 17, 1929
Variety reports that a “French-speaking femme duped” Brooks’ lines in The Beauty Contest. “Miss Brooks’ French being limited and dialected, she merely memorized the french phrases, moved her lips accordingly and the ghost-voice recorded.” The brief article goes on to state, “Miss Brooks, just arrived in America, returns” to Europe in the spring ” for French and German talkers.”
December 21, 1929
Billboard reports that Brooks’ singing double in Prix de Beaute is Elaine Kennell, an American born lyric soprano.
December 29, 1929
Beggars of Life begins showing in Paris to great acclaim.
December 31, 1929
The New York Herald Tribune reports Brooks has booked a table for a New Year’s Eve party at Club Richman in NYC.
January 1, 1930
Syndicated columnist Hubbard Keavy reports Brooks will return to Hollywood.
January 3, 1930
In one of the last recorded theatrical screenings, Now We’re in the Air shows at the Empress theater in Fairbanks, Alaska.
January 6, 1930
The Diary of a Lost Girl re-released in Germany.
January 7, 1930
The Brooklyn Times Union notes Brooks was in the audience of the premiere of Children of Darkness at the Biltmore Theatre, as was Ralph Barton, Lillian Gish, George Jean Nathan, Robert Benchley and others.
January 9, 1930
Both the New York Daily News and New York Daily Mirror report crooner Harry Richman saying Brooks will reunite with Eddie Sutherland; Richman also claims he will wed Clara Bow.
January 10, 1930
Articles in the New York Daily News and elsewhere state that Louise Brooks will reunite with Eddie Sutherland. Similar articles in other New York newspapers note that the reunion statement was made with Brooks’ consent.
January 12, 1930
Sidney Skolsky, writing in the Daily News, notes “The other evening at a night club Joan Bennett was introduced to Louise Brooks. Miss Bennett on approaching Miss Brooks lifted a lorgnette and peeped at her through it. Louise took this for a ritzy gesture, and later in the evening when she had occasion to walk over to Joan’s table she picked up a spoon and looked at Miss Bennett. The truth of the matter is that Joan Bennett is a charming girl who never puts on the dog but happens, through no fault of hers, to be nearsighted.”
January 15, 1930
New York Sun columnist Ward Morehouse reports Brooks was dining and dancing at the Club Richman. (As were Eddie Sutherland, Joan Bennett, Ann Pennington, Rudy Vallee, Vincent Lopez, Lily Damita, Helen Morgan and others.) That same day, Irene Thirer writes in the New York Daily News that Brooks, along with Lily Damita, Estelle Taylor, Lillian Gish, Phyliss Haver, Maurice Chevalier, Claudette Colbert and others will attend Cynthia White’s Greenwich Village Ball at Webster hall on January 17.
January 17-20, 1930
In one of the last recorded theatrical screenings, The City Gone Wild shows at the Empress theater in Fairbanks, Alaska.
January 26, 1930
Attends cocktail party at Clifton Webb’s. Also present are Fred Astaire and his sister Adele, authors Edna Ferber and Carl van Vechten, singer Libby Holman, actresses Marilyn Miller and Ruth Donnelly, and others (Edward Wasserman, Blanche Knopf ?).
January 27, 1930
Pandora’s Box, as the Box of Pandora, opens at the Little Theater in Baltimore, Maryland. The heavily censored film runs through February 1, 1930.
February 6, 1930
Eddie Sutherland weds Ethel Kenyon in Mexico. The couple separates on August 16.
February xx, 1930
In “Louise Brooks for Vaude,” Variety reports “Louise Brooks, American film player who recently returned from Germany after being featured in a few pictures, is being offered by the M.S. Bentham office for vaude. Miss Brooks may use a sketch by Anita Loos titled “Why Gentleman Marry Brunettes.”
February 14-15, 1930
In one of the very last recorded American theatrical screenings following its release,
A Girl in Every Port shows at the Memorial Opera House in Valparaiso, Indiana.
February 17, 1930
The Chicago Tribune and the Daily News, a Paris-based newspaper, reports “American distributors were so impressed by Miss Europe that they paid a large sum for the American rights.”
February 25, 1930
Attends performance of The Last Mile, a play by John Wexley, at the Sam H. Harris Theatre in New York. Among those in the cast is Spencer Tracey.
March 7, 1930
Ciné-Miroir, a French film journal, publishes an article on fashion attributed to Brooks.
March 12, 1930
Attends opening of Love, Honor, and Betray, starring Alice Brady, at the Eltinge theater in New York City.
March 25-26, 1930
Brooks is featured prominently in an advertising campaign for Lux Toilet Soap which runs in newspapers across the country.
March 26, 1930
Los Angeles Times columnist Grace Kingsley writes, “Charlie Crouch, who coauthored This Is College, seen here not long ago, has become dramatic editor of a theatrical paper, and writes us entertainingly from New York. ‘Louise Brooks,’ says Crouch, ‘has a charming apartment on Park avenue, and is utilizing the money earned by working for the picture companies in Berlin and Paris to take vocal lessons, inasmuch as she is to featured in a musical show here in the fall.”
April 2, 1930
A Paris newspaper reports that sheet music and recordings from Prix de beaute are already selling in Paris, despite the fact that the film had yet to be released.
April 2, 1930
Book columnist William Soskin reports what a few celebrities are said to be reading (Clara Bow, Hulu), and somewhat incredulously notes Brooks is reading Hermann Sudermann’s The Mad Professor and Stefan Zweig’s The Case of Sergeant Grischa.
April 10, 1930
The local gossip olumnist for the Wichita (Evening) Eagle notes “Louise Brooks – she’s getting places in abig hurry. She is in Germany now and has played opposite Emile Jannings in several pictures. Louise is the type for which the German’s have a particular weakness, and great things are prophesisied for her in the talkies – even though she was really too nervous to talk in The Canary Murder Case.”
May 1, 1930
In one of it’s last known overseas screenings, A Social Celebrity is shown in Port-o-Spain, Trinidad.
May 3, 1930
Billboard reports that David Belasco has interviewed Brooks with the thought of starring her in a show.
May 9, 1930
Prix de beauté premieres at the Max Linder-Pathe in Paris, France.
May 12, 1930
The Chicago Tribune and the Daily News, a Paris-based newspaper, writes “Prix de beauté, which is another way of saying Louise Brooks, has arrived at the Max Linder after months of publicity. You will probably think it is the best picture Miss Brooks has made on her free-lance tour of Europe. The American star enjoys great popularity with French fans and it is to be expected that Prix de beauté wil run a goodly season here.”
May 27-28, 1930
Brooks is featured prominently in an advertising campaign for Lux Toilet Soap which runs in newspapers across the United States.
June 1, 1930
Prix de beauté continues at the Max Linder-Pathe in Paris, while Trois pages d’un journal (Diary of a Lost Girl) begins a two week run at another Parisian theater, the Colisée.
June 1-14, 1930
Stays at the Cavalier Hotel while visiting Virginia Beach, near Norfolk, Virginia.
June 11, 1930
The Los Angeles Evening Express reports David Belasco interviewed Brooks “with a view to putting her into his next show, which is scheduled to open in August.”
June 14, 1930
Syndicated columnist Gilbert Swan name-checks Brooks as one of many Broadway hangers-on.
June 15, 1930
Mention of Prix de beauté in the New York Times.
June 21, 1930
Billboard reports that Brooks is the prospective leading lady in a Broadway stage production of Torch Song by Kenyon Nicholson, to be produced by Arthur Hopkins. The play’s story centers on a dance-hall girl who finds reformation via the Salvation Army.
July 12, 1930
Billboard reports that Brooks may be featured in The Greeks Had a Name for It by Zoe Atkins, to be produced by William Harris Jr..
mid-1930
Expecting to meet with Jack Cohn, visits Colombia’s New York offices in search of work.
July 20, 1930
Travels by train (aboard the Twentieth Century) to Los Angeles in the company of Colombia executive Jack Cohn and director Dugal Stewart Walker.
July 30, 1930
Meets with Harry Cohn at Colombia Studios.
July 31, 1930
Syndicated columnist Louella Parsons writes “The sleek, dark-haired Louise Brooks, erstwhile ‘Follies’ girl and former wife of Eddie Sutherland is in Hollywood. I found Louise perched in a chair in the waiting room at Columbia. She had just come on from New York with Jack Cohn, one of the officers of the Columbia corporation and Dugal Stewart Walker who has been signed to direct plays. Columbia’s plan for the former “follies’ favorite is to feature her in a western opposite Buck Jones with Art Ressen directing. Both Cohns, Harry and Jack, were working out the plans yesterday. Meanwhile the ‘starving young actress’ as Louise calls herself, is at the Ambassador receiving all her old-time friends.”
August 3, 1930
Los Angeles Times columnist Myrna Nye reports that Brooks attended a Russian themed party at the home of Dimitri Tiomkin in Los Angeles. Among the many other guests were Edmund Goulding, King Vidor, Eleanor Boardman, Sigmund Romberg, Joseph Mankiewicz, David O. Selznick, Irving Berlin, Dashiel Hammett, Colleen Moore, Ernst Lubitsch, Sam Goldwyn, William DeMille, Agnes DeMille, Constance Bennett, Humphrey Bogart, Paul Bern, Kay Francis, Benjamin Glazer, Carl Laemmle, Basil Rathbone, Maurice Chevalier, Marie Dressler, and others.
August 4, 1930
Hollywood columnist Louella Parson writes “The sleek, dark haired Louise Brooks, erstwhile Follies girl and former wife of Eddie Sutherland is in Hollywood. I found Louise perched in a chair in the waiting room at Columbia. She had just come on from New York with Jack Cohn, one of the officers of the Columbia Corporation, and Dugal Stewart Walker, who has been signed to direct plays. Columbia’s plan for the former Follies favorite is to feature her in a Western opposite Buck Jones with Art Bessen directing. Both Cohns, Harry and Jack, were working out the plans yesterday. Meanwhile, the ‘starving young actress as Louise calls herself, is at the Ambassador receiving all her old-time favorites.”
August 10, 1930
Syndicated columnist Radie Harris reports Brooks is living at Lois Moran’s Malibu home, Halikalani. (Neighbors include John Boles and Ronald Colman.)
August 12, 1930
In an article titled “Wichita Star to Visit Home Soon”, the Wichita (Evening) Eagle writer that Brooks is expected to be in Wichita in September for a short vacation with her father. It also mentioned that Brooks had passed through Wichita a month earlier with sister June.
August 20, 1930
Prix de Beauté (SOFAR Film) is released in France.
August 23, 1930
Syndicated columnist Louella Parsons reports Brooks, “still wearing the distinctive Dutch bob,” was seen dining at the Coconut Grove.
August 24, 1930
Pandora’s Box shows at the Gaiety theatre, Tottenham Court-road in London, England, and is briefly reviewed in the London Observer.
August 26, 1930
Syndicated columnist Hubbard Keavy reports Brooks is set to resume her career.
August 26, 1930
Syndicated columnist Louella Parsons reports Brooks seen at the Coconut Grove “dressed in black chiffon.”
August 30, 1930
A “gala welcome home program in honor of Louise Brooks” is held at Olsen’s in Culver City. The recently opened niteclub is owned by George Olsen.
September 21, 1930
In a syndicated article, “Actress Returns from Stay Abroad,” Brooks is seemingly quoted. “Foreign film producers will never threaten the supremacy of America in the motion-picture industry, asserts Louise Brooks, former Hollywood actress, who for several years has been appearing in pictures abroad. They lack the technique and vision of Americans, she discovered during her sojourn in Germany and England.”
October 5, 1930
In an unattributed article, “Louise Brooks to Stay Here,” the Los Angeles Times reports that “Europe no longer has any lure” for the actress, and that she has turned down three offers to return.
November 1, 1930
Modern Screen magazine reports Brooks attends a party celebrating the 1st wedding anniversary of Marian Nixon and Eddie Hillman, at which she wears coral chiffon. Also present was Jean Harlow, Mary Eaton, Sue Carol, Hoot Gibson and Sally Eilers.
November 4, 1930
Variety reports “Louise Brooks, formerly starred by Paramount and in Germany until a few months ago, has a small part in Paramount’s new talker, Buy Your Women.” It stars William Powell.
November 12-13, 1930
In one of the last recorded American theatrical screenings, Beggars of Life is shown at the Memorial Opera House in Valparaiso, Indiana.
November 16, 1930
Newspapers report “Louise Brooks, newly returned from Europe, has just been signed for a role opposite William Powell in his next Paramount picture, tentatively titled Buy Your Woman.”
November 22, 1930
In one of its last overseas screenings, A Girl in Every Port is shown at Star Pictures in Pittsworth, Queensland, Australia.
November 28, 1930
Syndicated columnist Harrison Carroll writes, “Players whose options are not taken up have a way of finding their way back to the same studio to make pictures. She returns to Paramount to play an important part in William Powell’s new picture, Buy Your Woman. Her last previous role there was in The Canary Murder Case. She went to New York before this picture finally was completed, and Margaret Livingston had to double for her in long shots. In the old days, Louise was Mrs. Eddie Sutherland. She has been back in Hollywood only a short time.”
December 2, 1930
The Diary of a Lost Girl shows in Zurich, Switzerland.
December 19, 1930
Los Angeles Times reports that Brooks has been cast in It Pays to Advertise, along with Carole Lombard and Norman Foster.
January 3, 1931
A syndicated columnist writes, “Hollywood is suffering from a veritable epidemic of divorce and separations. The latest idea in parties is the ‘separation parties.’ The Eddie Sutherlands entertained at one recently…. Sutherland was formerly married to Louise Brooks, and when they were divorced he declared that he would never marry again. But, of course, he did. Six months ago he married Ethel Kenyon, a New York stage actress. And this is the result of that experiment. The separating couple did not announce their plans–but it is said that as soon as the party was over Eddie rushed to Agua Calinte, where Louise Brooks is staying–and the pair of them acted as though they were ever so glad to be together again.”
January 4, 1931
In “Louise Brooks to Be in Film for Paramount,” the Los Angeles Times reports Brooks has been cast in Have You Got It? (later changed to It Pays to Advertise), to be directed by Frank Tuttle.
January 4, 1931
In one of the last recorded theatrical screenings in the 1930s, The Canary Murder Case is shown at the Piccadilly theater in Rochester, New York.
January 6, 1931
Irene Thirer writes in the New York Daily News that Brooks has joined the cast of Have You Got It?
January 13, 1931
Syndicated columnist Louella Parsons reports Brooks has been given a “big role” as a society girl in William Wellman’s The Public Enemy.
January 14, 1931
Los Angeles Times reports that Brooks has been cast in The Devil was Sick (later changed to God’s Gift to Women), with Frank Fay, Joan Blondell, and others.
January 15, 1931
Attends performance of Porgy stage play at the Music Box Theater in Los Angeles. Also in attendance were other cast members of God’s Gift to Women, as well as Barbara Stanwyck, Frank Capra, Jack Holt, Hobart Bosworth, and Ralph Graves.
January xx, 1931
Returns to New York City.
Febuary 3, 1931
New York Sun columnist Ward Morehouse reports Brooks attends the Mayfair dance at the Ritz. (As do Ruth Chatterton, Wesley Ruggles, Samuel Goldwyn, Bert Lahr, Peggy Fears & A.C. Blumenthal, Fred Waring and others.)
February 13-19, 1931
Beggars of Life plays at five historic theaters in Paris, the Voltaire-Palace-Aubert, Gambetta-Palace-Aubert, Grand Cinema Aubert, Convention-Aubert, and Regina-Palace-Aubert.
Febuary 19, 1931
It Pays to Advertise is released in the United States by Paramount Publix Corp; the film opens at the Paramount Theater in New York City. In its review, the New York Daily News reports that Brooks “came in for some hand-claps” when she appeared on screen.
Febuary 22, 1931
Various newspapers report Brooks has been cast in The Public Enemy.
Febuary 25, 1931
Eddie Sutherland’s second wife, Ethel Kenyon, sues for divorce after a brief marriage.
March 21, 1931
Hollywood columnist Louella Parson writes, “Louise Brooks and Mona Maris glimpsed among the interesting looking women at the Cocoanut Grove in the Ambassador Hotel.
March 24, 1931
According to the Los Angeles Times, Brooks is being considered for the role of Poppy in Mrs. Leslie Carter’s upcoming stage production of The Shanghai Gesture at the Hollywood Playhouse.
March 29, 1931
Los Angeles Times runs a photo spread titled “Back in the Race” featuring five actresses attempting a comeback — Brooks, Dolores Costello, Lois Wilson, Gretta Nissen, and Doris Kenyon.
April 5, 1931
Los Angeles Times runs an article, “Septet of Former Screen Favorites Restored to Place in Public Eye,” which discusses Brooks and quotes Brooks’ Mother.
April 15, 1931
God’s Gift to Women is released in the United States by Warner Brothers.
April 16, 1931
God’s Gift to Women opens at the Strand theater in New York City; star Frank Fay makes a personal appearance for a week, presenting a “Laff-Act”.
May 3, 1931
Windy Riley Goes Hollywood is released in the United States by Educational Pictures.
May 17, 1931
Pandora’s Box, with a synchronized soundtrack, opens a short run at the Little theater in Newark, New Jersey.
May 24, 1931
Brooks arrives in Wichita with sister June for a short, two-day visit with her family. Two days later, the Wichita Eagle paper carries a portrait of Brooks and her sister, as well as an interview with the actress.
June 11, 1931
Harrison Carroll’s syndicated column states, “Much craning of necks greeted the appearance of Louise Brooks in evening pajamas on the dance floor of the Ambassador’s Coconut Grove” in Los Angeles.
1931
Brooks returns to New York City.
July 23-24, 1931
In one of the very last recorded theatrical screenings, The Canary Murder Case is shown at the Capitol theater in Portland, Oregon.
September 3, 1931
In one of its last overseas screenings, The City Gone Wild is shown at Stadium Pictures in Darwin, Northern Territory, Australia.
October 14, 1931
In one of it’s last known screenings, Rolled Stockings is shown at Stadium Pictures in Darwin, Northern Territory, Australia.
October 14, 1931
New York Sun columnist Ward Morehouse reports Brooks attends the Earl Carroll Vanities. (As did Jeanette MacDonald, David Selznick, Ginger Rogers, Sophie Tucker, Sue Carroll, Fay Wray, Barbara Bennett & Morton Downey, Lois Moran and others.)
October 19, 1931
Muriel Babcock’s syndicated column notes Brooks is under consideration for the ingenue role in Norma Krasna’s Louder Please, a stage production by A.L. Jones.
October 24, 1931
New York Sun columnist Ward Morehouse reports Brooks attended the Mayfair dance at the Ritz. (As did Jeanette MacDonald, David Selznick, Ginger Rogers, Sophie Tucker, Sue Carroll, Fay Wray, Barbara Bennett & Morton Downey, Lois Moran and others.)
October 26. 1931
Replacing Olive Borden, Brooks appears in a pre-Broadway staging of Norma Krasna’s comedy, Louder, Please, at Brandt’s Boulevard Theater in Brooklyn. Also in the cast are Lee Tracy and Robert Gleckler, as well as Frank Thomas, Aleta Freel, Mildred Wall, Buford Armitage and Charles Laite. A.L. Jones is producer by arrangement with Manny Wolfe. Within days, Brooks leaves the cast and is replaced by Jane Buchanan (as reported November 9).
November 14, 1931
Brooks is reported to be among those who attend the Mayfair Club dance at the Ritz-Carlton. Also attending were Adele Astaire, Monta Bell, George White, Earl Carroll, Joan and Barbara Bennett, Morton Downey, Regis Toomey, Marshall Neilan, NYC Mayor Jimmy Walker and others.
December 8, 1931
In one of it’s last known screenings, Now We’re in the Air is shown at the Don Theater in Darwin, North Australia.
1932
An illustrated novelization of Prix de beauté is published in France, with Brooks’ image on the cover.
1932
A photo and short biography of Brooks appears in Cedric Osmond Bermingham’s Stars of the Screen 1932 (London: Herbert Joseph).
1932
The popular French film magazine, Pour Vous, publishes a list of the best films up until that time. Three of Brooks’ films make the list: Les Mendiants de la vie (Beggars of Life),
A Girl in Every Port (which kept it’s English-language title in France), and Trois pages d’un journal (Diary of a Lost Girl).
January 10, 1932
Florenz Ziegfeld’s article, “I Knew ‘Em When,” notes, “Another name well known to the movies not so long ago was Louise Brooks. She joined my companies as a chorus girl in Louie the 14th. Her beautiful and colorful personality won my immediate attention, however, and I soon decided I must give her some prominence. I placed her in the madcap dance number there fore, a kind of fight number which opened the first act. Her flaming intensity in this flight, her beauty and the cracking of the lash seemed to set off the whole show at a high tempo.”
February 2, 1932
Various newspapers begin reporting on Brooks’ money troubles.
February 10, 1932
United Press reports Brooks files for bankruptcy in Federal Court, listing liabilities as $11,969, and assets only of personal wearing apparel, most of which, according to Associated Press, were “purchased in exclusive Fifth avenue shops.” Brooks gave her occupation as “motion picture actress, unemployed.”
February 14, 1932
News wires report Brooks has left for Bermuda the previous day aboard the Monarch of Bermuda, just a few days after reporting on the actress’ money troubles. The Universal piece reported “She was the last passenger to board the vessel, dashing up the gangway with a Pomeranian dog a minute before sailing. She had reserved one of the least expensive rooms on the ship.” Also on board is Mr. and Mrs. Jesse L. Lasky.
February 25, 1932
Does not board the Monarch of Bermuda, sailing from Hamilton, Bermuda, and fails to return to New York City. On the passenger manifest, Brooks’ given address is the Madison Hotel.
February 25, 1932
In one of its last overseas screenings, The Canary Murder Case is shown at Campbell Town Pictures (as part of a double bill with The Saturday Night Kid) in Launceston, Tasmania, Australia.
March 10, 1932
Associated Press reports Brooks appears at a hearing in New York (presided over by Referee Coffin) on her voluntary bankruptcy petition, and claims to be “flat broke.”
March 19, 1932
Syndicated columnist Maurice Dancer notes Brooks was among the many celebrities who visited the Yeah Man jazz club in Harlem within the last week. Others include Libby Holman, Harold Arlen, Lilyan Tashman, Paul Robeson, Louis Armstrong, Earl Hines, and others.
April 11, 1932
Syndicated columnist Mark Barron writes, “Gloria Fay and Gloria Foy are always getting each other’s mail. And one wonders how all those Louise Brooks girls keep their identities separate. There is Louise Brooks, the actress. Another is a well known debutante. Another is a chorus girl, and another is a style designer.”
April 16, 1932
In one of its last overseas screenings, Now We’re in the Air is shown at the Balaklava Institute Pictures (as part of a double bill with It) in Balaklava, South Australia.
June 5, 1932
Myrtle Gebhart’s article in the Los Angeles Times writes, “For those who go places and see things know that pajamas are now distinctively au fait. Louise Brooks, I believe, was the first to wear them partying, at a Coconut Grove dance, and Lilyan Tashman sponsored them when she appeared at a moonlight garden party in coral lounjamas. They really are the final sartorial syllable.”
June 11, 1932
In one of its last overseas screenings, Beggars of Life is shown at Star Pictures in Darwin, Northern Territory, Australia.
July 17, 1932
Syndicated columnist Mark Barron writes, “We were reminiscing the other night about ‘Follies’ girls and someone recalled the time Louise Brooks and Peggy Fears danced side by side in the chorus . . . They were inseparable companions in those days, but since then they have wandered far apart. Louise, with her brunet Dutch bob, won temporary fame in the movies and married a director . . . Peggy, who didn’t find fame as an actress, married a financier. Today, Louise is practically forgotten as an actress, and it was only a few months ago that she was reported in bankruptcy . . . Peggy is reputedly worth millions and has returned from across the footlights to become a producer . . . Next fall she will present a half dozen new shows on Broadway . . . What a coincidence it would be if Peggy hired Louise for a role.”
July 27, 1932
Articles about the death of Florenz Ziegfeld mention Brooks and her former work in the Follies.
September 22-23, 1932
In one of the last recorded theatrical screenings, Windy Riley Goes Hollywood is shown at the Plaza theater in Lansing, Michigan. The film is also shown in Medford, Oregon at the Roxy theater under the title Windy Riley Goes to Hollywood.
October 1, 1932
Attends a supper-dance at the Pierrette Club at the Waldorf Astoria. (As does Phyllis Haver, O.O. McIntyre, A.C. Blumenthal, Lois Moran, Lilyan Tashman, and others.)
October 8, 1932
In one of its last overseas screenings, The Canary Murder Case is shown at Star Pictures in Darwin, Northern Territory, Australia.
December 21, 1932
The gossip column of the Wichita (Evening) Eagle reports, “Everyone at the Delta Gamma Delta dance at the Broadview roof garden last night was suprised to find Louise Brooks, of stage and screen fame there. Evidentaly Louise is home for the holidays. She still prefers her exteremely short bob and the customary bangs that barely escape her dark brows. Her dress of electric blue had full, puffed sleeves and a crushed belt of cerise crepe.” The paper also reported that sister June was also present, wearing a “charming frock of her own design and make.”
January 8, 1933
Eddie Sutherland marries for the fourth time, to Audrey Henderson.
January 3, 1933
Pandora’s Box is mention in the Los Angeles Evening Post-Record as an outstanding film by G. W. Pabst, whose Kameradschaft is then screening at the local Filmarte theater.
Febuary 15, 1933
Hollywood Reporter reports Brooks at Leon and Eddies nightclub in New York, with a “businessman.”
March 13, 1933
Syndicated columnist Ed Sullivan writes “… Billy Kendall and Louise Brooks have split wider than this …”
March 14, 1933
Syndicated columnist Ed Sullivan writes “It happened the other day in ’21,’ rendezvous of the jaded. Louise Brooks, ex-cinema star, rushed over to talk to Ethel Kenyon. ‘Did you hear about it, Ethel?,’ bubbled Louise. ‘Eddie Sutherland and his new wife, Audrey Henderson will be here next week. I think it would be just TOO funny if you and myself, as Eddie’s former wives, were to meet them at the station. We can charge him with being unfaithful. Here he is married again, and you and I never remarried. Miss Kenyon was blushing, but game: ‘Louise,’ she said, ‘I want you to meet my husband, Charlie Butterworth. I guess you didn’t know.”
March 14, 1933
In one of the last recorded theatrical screenings, God’s Gift to Women is shown at the Imperial theater in Baltimore, Maryland.
May 1, 1933
Brooklyn Daily Eagle columnist Art Arthur reports seeing Brooks at the Ha-Ha Club in New York, where she joined a table with Peggy Fears and Lupe Velez. Other current and former stars were also in attendance, including actress Mae Murray, and director Jack Conway. That say day, Syndicated columnist Ed Sullivan writes “Billy Kendall and Louise Brooks are back together again.”
May 7, 1933
Syndicated columnist Regina Crewe reports Brooks and Billy Kendall are “going places.”
June 16, 1933
Hollywood Reporter reports Brooks at Armonk, a hamlet on the far outskirts of New York, with the same “businessman.”
August 12, 1933
Syndicated columnist Sidney Skolsky writes “There’s a drama in a wardrobe department which doesn’t come in for its share of publicity in the movie magazines. While I was there a call came for a costume worn by Louise Brooks in Rolled Stockings. A bit player is to wear the dress in Too Much Harmony. Rolled Stockings was made long ago, when Louise Brooks was Mrs. Eddie Sutherland. Too Much Harmony is being directed by Eddie Sutherland.”
August 17, 1933
Syndicated articles mention the rumors of a possible engagement of Brooks and Deering Davis. “Miss Brooks, when questioned in Chicago, said, ‘I don’t know. I may have an announcement to make.”
September 2, 1933
Writing in the New York Herald, Parisian columnist Erskine Gwynne states that a caricature of Brooks still hangs on the wall of the Eden Bar in Berlin, along with one of Noel Coward. [Another caricature, of “The Eskimo” (identified as Carl Wijk), he thinks, has been taken down.]
October 10, 1933
Brooks (26) marries wealthy Chicago playboy Deering Davis (36) at City Hall in Chicago, Illinois. The ceremony was read by Judge Francis J. Wilson, and witnessed by Davis’ brother and sister-in-law, Dr. and Mrs. Nathan S. Davis III. After a few days, the couple leave for a three month honeymoon in Tucson, Arizona, where they were expected to “live on a ranch.” The marriage makes news across the country.
October 11, 1933
The two newspapers in Tucson carry stories reporting Brooks would soon come to reside on a ranch near the Arizona town, following her Chicago wedding to Deering Davis.
December 5, 1933
Pandora’s Box, as the Box of Pandora, shows at the 5th Ave. Theater (Broadway at 28th St.) in New York City. The “adults only” film runs through December 7.
Febuary 23-24, 1934
Begins a one-month dance engagement with Deering Davis at the Chez Paree club in Chicago. Shiela Barrett is featured, and Henry Busee’s Band also performs.
March 8, 1934
Brooks and Deering Davis dance after dinner at the Casino club in Chicago as a special favor to the chair of the club’s entertainment committee.
March 11, 1934
A widely syndicated article, “How and Why Feminine Stars of Broadway and Hollywood Dive Into ‘Bankruptcy Bath’ to Dodge Huge Debts of Folly and Extravagance” features Brooks.
March 26, 1934
Variety reports Brooks and Deering Davis have separated, and she is consulting with a Chicago attorney. Variety also reports that Brooks is searching for a new dance partner.
March 27, 1934
According to press reports, Brooks departed Chicago on a late train headed for New York.
March 28, 1934
An Associated Press story, “Dance Romance Tottering,” runs in papers across the country.
March 29, 1934
The Wichita Eagle reports that Brooks’ attorney, Philip R. Davis of Chicago, has told the Associated Press that the actress has left Chicago for New York.
March 30, 1934
Newspaper stories state Brooks and Deering Davis will divorce, and that Brooks will file for divorce in Chicago.
April 7, 1934
Billboard reports “Deering Davis has an engagement at the Congress Hotel [in Chicago] and is looking for a new partner, while Louise Brooks has gone to New York ‘for good’.”
April x, 1934
In New York, where she sees the act Diaro and Diane at the Place Pigalle.
April 12, 1934
Brooks and Dario, who are performing at the Central Park Casino in New York City, dance two numbers, a modern ballroom waltz and a lighter flirtation dance, at the Capitol in New York City.
April 16, 1934
Syndicated columnist Ed Sullivan writes “Louise Brooks, who aired her millionaire hubby in Chicago, will kiss and make up.”
April 27, 1934
Billboard reports that Brooks and Dario, who are performing at the Central Park Casino in New York City, dance two numbers, a modern ballroom waltz and a lighter flirtation dance, at the State in New York City.
May 6, 1934
Pandora’s Box, as the Box of Pandora, shows at Frank Lloyd Wright’s Taliesin playhouse near Spring Green, Wisconsin. The G.W. Pabst film, termed “an outstanding German production,” was shown with English subtitles and accompanied by Old King Cole, a color Silly Simphony and short subjects.
June 29, 1934
As Dario and Louise, begins dance engagement at the Westchester Center Gardens in White Plains, New York. (Meyer Davis leads the orchestra.)
July 26, 1934
Brooks and Dario commence three week dance engagement at the Blossom Heath Inn near Detroit, Michigan.
August 16, 1934
Syndicated columnist Paul Harrison notes, “Louise Brooks , the Kansas lass who was coming into prominence during the last days of silent pictures, is a ballroom dancer now.”
August 17, 1934
Crooner Harry Richman joins Brooks and Dario on the bill at the Blossom Heath Inn.
August 26, 1934
Brooks and Dario conclude dance engagement at the Blossom Heath Inn.
September 18, 1934
Syndicated columnist Harrison Carroll reports ex-husband Eddie Sutherland will stop off in Chicago to see Brooks, who is dancing at the Chez Paree, where both Harry Richman and Helen Morgan will performing.
October 6, 1934
Brooks and Dario conclude dance engagement at the Chez Paree in Chicago.
October 10, 1934
Brooks and Dario begin dance engagement at Place Pigale in New York City. Harry Rosenthal’s orchestra is also on the bill, as were Phil Harris & Leah Ray.
October 11, 1934
Syndicated columnist Walter Winchell writes, “Louise Brooks makes a comeback Oct. 10 at Place Pigale with Dario as her partner… I hear on reputable authority that Trotsky is in town under an assumed name.”
April 16, 1934
Syndicated columnist Ed Sullivan writes “Louise Brooks, who aired her millionaire hubby in Chicago, will kiss and make up.”
January 5, 1935
Brooks and Dario conclude dance engagement at Place Pigale in New York City.
January 10, 1935
Interlocutory decree issued for Brooks-Davis divorce.
January 16-29, 1935
Brooks and Dario dance at the Embassy Club in Palm Beach, Florida. Also on the bill is Enric Madriguera’s Orchestra, entertainer Peter Higgins, and blues singer Marion Chase.
January 21, 1935
Brooks attended a party put on by George Adam Rentschler and his wife, dancer & actress Joan Sawyer. Also in attendence is singer Sophie Tucker, as well as a small number of socialites.
January 23, 1935
The Miami News notes, “There are dance teams and there are dance teams–the town at the moment is fortunate in having a number of good ones. But of the so-called ‘society dancers’ in our midst, there is not another couple with more innate, brittle smartness than Louise Brooks and Dario, at the Embassy. Each of the turns and gestures of their dances has a sort of crisp singleness–far easier to look at than explain.”
January 24, 1935
Brooks performs at the Embassy Club in Palm Beach, Florida, where the guest of honor is Max Baer, Heavyweight Champion of the World. Also in attendence is Mrs. Damon Runyon. The Miami Tribune wrote, “Miss Louise Brooks, of movie fame, was another attrative member of the party. Her dark beauty was set off by a brilliant red dress and loose wrap which she did not remove throughout the evening.”
January 30, 1935
Brooks and Dario begin dance engagement at the Patio in Palm Beach, Florida. Also performing was singer Bruz Fletcher, and Mort Dennis and his Patio Society Orchestra.
January 30, 1935
The Miami News reports Brooks attended a party put on by George Adam Rentschler and his wife, dancer & actress Joan Sawyer, on the Yacht Dragoon, which was moored at the Fleetwood Hotel dock. Also in attendence are Sophie Tucker, Mrs. Edna Wallace Hopper (the “eternal flapper”), Mr. and Mrs. Charles Farrell (Virginia Valli), the Costa Rican consul and other locals.
Febuary 7, 1935
Brooks and Dario continue their dance engagement at the Patio in Palm Beach. The singing duo of Deslys and Clarke begin performing.
Febuary 15, 1935
Brooks and Dario conclude their dance engagement at the Patio in Palm Beach.
Febuary 16, 1935
Brooks and Dario return to the Embassy Club in Palm Beach. The French singer Lucienne Boyer headlines. Also performing are Gali-Gali, an “Arabian conjurer,” and the Meyer Davis Orchestra.
Febuary 18, 1935
Syndicated columnist Ed Sullivan writes: “Dario and Louise Brooks, the former cinema queen, one of the more exciting dance teams in Florida.”
Febuary 21, 1935
Brooks and Dario return to the Patio Club in Palm Beach. Also performing was Arthur Brown, singing duo of Deslys and Clarke, and Mort Dennis and his Patio Society Orchestra.
Febuary 27, 1935
Syndicated columnist Ed Sullivan writes: “Ballroom dance teams are the least successful of all professionals at saving money…. Dario who dances with Louise Brooks, was wealthiest of all, with several dance ballrooms, but the stock market cleaned him out.”
March 11, 1935
Brooks and Dario began a dance engagement at the Central Park Casino in New York. Their opening is noted in Ed Sullivan’s column.
April 11, 1935
In an article in part on G.W. Pabst, W. Ward Marsh of the Cleveland Plain Dealer writes, “But a good deal of his work has not been shown here at all. For example, I should like to see his Love of Jeanne Ney with Brigitte Helm which he did in 1927. A year later, believing he saw something of a plastic talent in our own and now almost forgotten Louise Brooks, he cast her in Pandora’s Box, which apparently proved that he was not entirely right. Just the same I should like to see it.”
April 11-14, 1935
Brooks and Dario, under the management of Edward Meyers, dance at the Capitol Theater in New York; also on their bill is Gai Gali, Llora Hoffman and Barbara Blane.
April 20, 1935
Brooks and Dario begin dance engagement at the New Log Cabin in Louisville, Kentucky. Also on the bill are radio stars Reise and Dunn (the feature attraction, starting April 22), blues singer Vivian Fields, 8 Texas Rockets (dancers), Earl Carroll Vanities star Chaz Chase, and Frank Furneau leading the NBC Broadcasting Band. Russell Swan, of the Chez Paree, Chicago acted as Master of Ceremonies.
April 24, 1935
Variety reports that upon the completion of their Louisville engagement, Brooks and Dario will make a Warner Bros. short in Brooklyn.
May 4, 1935
Brooks and Dario conclude their dance engagement at the New Log Cabin in Louisville, Kentucky. Frank Furncan Orchestra is also on the bill.
June 10, 1935
Brooks and Dario begin dance engagement at the Persian Room in the Plaza Hotel in New York City.
July 8, 1935
Syndicated columnist Ed Sullivan writes “Louise Brooks, former Cinema star, and Eddie Sutherland are Back Together Again.”
August 14, 1935
Syndicated columnist Walter Winchell writes: “Dario, the dancer, is splitting from Louise Brooks to reunite with Diane at the Persian room in the Plaza next week.”
August 16, 1935
Brooks and Dario conclude engagement at the Persian Room in the Plaza Hotel in New York City.
August 17, 1935
Dance team of Brooks and Dario split; on Aug. 19th Dario and Diane open at the Persian Room.
September 10, 1935
Syndicated columnist Walter Winchell reports that “Al Davis is having his paws petted by Louise Brooks, the China Doll.” (Al Davis was the estranged husband of Marianne Davis.)
September 11-14, 1935
Diary of a Lost Girl is shown at the Gaite St.Martin in Saint-Quentin, Aisne, France.
September 14, 1935
L’Intransigeant, a French newspaper, notes in a round-up of news from Hollywood that Brooks has been offered a part in a film in London.
September 30, 1935
Syndicated columnist Walter Winchell writes: “… have the sillies. Ditto Louise Brooks, the dancer with the Japanese doll haircut, and Marianne Davis’ estranged husband Al.”
October 17, 1935
Brooks meets with G.W. Pabst in New York City to discuss a proposed film of Faust.
October 20, 1935
Arrives in Eureka, Kansas to visit her father, who is in the hospital after having been injured in an automobile accident at the Missouri Pacific Railroad crossing at Tonovay.
October 25, 1935
According to an article in the Eureka Herald, Brooks is set to take a passanger plane from Wichita to Los Angeles.
October 28, 1935
Syndicated columnist Sidney Skolsky writes: “Louise Brooks will make another try at the flickers in a Republic picture called Dancing Feet.”
November 4, 1935
Syndicated columnist Ed Sullivan writes “Travis Banton is buying lunch for Louise Brooks.”
November 21, 1935
Brooks is mentioned in a syndicated article by Max Factor. The famed make-up artists writes, “You remeber the hey-day of the ‘flapper.’ Well, it seems that feminine fancies have taken long leaps since the day when Clara Bow, Olive Borden and louise Brooks cavorted across the silver screen.”
December 11, 1935
Eddie Sutherland is divorced from Audrey Henderson.
December 18, 1935
Variety reports Brooks is in Hollywood, awaiting the results of a Republic Pictures screen test.
December x, 1935
According to a Brooks’ letter from 1964, the actress met Erich von Stroheim in G.W. Pabst’s Hollywood apartment. “I shall never forget him sitting tense, separate, flashing me a quick, ugly look and saying not a word as we were introduced. He made not even a gesture of rising. In that look, we knew each other — why pretend?”
February 16, 1936
Syndicated columnist Sheila Graham writes “At a recent coctail party, I spotted Louise Brooks in the largest ‘coal-scuttle’ I have seen to date. It was made out of black felt, and jutted way out in front. Accessories contributing breasted serge suit, and a creamy, lace edged high-necked chiffon blouse. Black pumps completed the attractive ensemble.”
March 30, 1936
Syndicated columnist Sidney Skolsky writes “Louise Brooks, the former screen star, took a screen test for Zanuck.”
May 15-21, 1936
As part of a G.W. Pabst Festival, Pandora’s Box and Diary of a Lost Girl are screened at the Cercle du Cinema in Paris.
May 19, 1936
The Wichita (Evening) Eagle reports that Eddie Sutherland’s TWA flight stopped in Wichita on its way to New Jersey, where he was to catch a dirigible flight to London. The paper also reported that June Brooks and a group of her friends were to meet the director, but changed their minds when the flight ended up arriving four hours late.
May 23, 1936
Los Angeles Times reports Brooks has made a screen test with Twentieth Century-Fox, and “other companies are negotiating.”
May 29, 1936
Los Angeles Times columnist Read Kendall reports Brooks is night clubbing with Mrs. Harold Strokes (Anne Gould).
June 7, 1936
Los Angeles Times reports Brooks attends a costume party; among the costumed guests were Anne Gould, Agnes Ayres, Iris Adrian, Beulah Bondi, Bruz Fletcher, Howard Greer and others.
June 17, 1936
Los Angeles Times columnist Read Kendall reports Brooks was spotted with Mal St. Clair at Cafe La Maze.
June 18, 1936
Louella Parsons writes in her syndicated column “Addison Randall, fast becoming one of the best known men about town, escorting Louise Brooks.”
July 5, 1936
Hollywood columnist Louella Parson writes “Arline Judge and Bob Ritchie dining out; ditto Louise Brooks and Addison Randall, a twosome that has continued since Glenda Farrell said au revoir to him.”
August 2, 1936
Gabrielle Landon reports in the Los Angeles Times that Brooks and Addison Randall was part of a group traveling around by trailer. The party was organized by Howard Greer, who borrowed Paulette Godard’s trailer. Also among those present were Clifton Webb, Howard Shoup and others.
August 3, 1936
Syndicated columnist Sidney Skolsky reports Brooks and Addison Randall “were sitting in the bamboo room at the Brown Derby munching peanuts.”
August 12, 1936
Brooks is among the various Hollywood celebrities who attend the opening of Mary of Scotland at the Pantages theater in Hollywood. Also present were the Alan Mowbrays, Freddie March, Barbara Stanwyck, Ann Southern, Constance Bennett, Janet Gaynor, Herbert Marshall, Warner Baxter, Lily Pons and others.
August 16, 1936
Gabrielle Landon reports in the Los Angeles Times that Brooks attends a party with Addison Randall for Clifton Webb. Also present were Lili Damita and Errol Flynn, Mitchell Leisen, Robert Benchley, Mercedes d’Acosta and others.
August 26, 1936
Production work begins on Empty Saddles in Southern California.
August 30, 1936
Gabrielle Landon reports in the Los Angeles Times that Brooks attended a tennis party with Addison Randall at the home of Audrey Sutherland. Among those present were Eddie Mannix, the Buster Colliers, the Skeets Gallaghers, Betty Compson, Alice White, William Haines, Hoot Gibson and many others.
September 1, 1936
Newspapers across America run a syndicated column mentioning Brooks’ return to movie work.
September 2, 1936
Production work ends on Empty Saddles.
September 3, 1936
Hollywood columnist Lloyd Pantanges writes: “Louise Brooks, the silent star, is up and coming on the road back. As a starter, she is leading lady to Buck Jones in his newest Universal western. The gal bears watching from every eye in pictures, so she shouldn’t remain in westerns long.”
September 3, 1936
New York Times reports, erroneously in part, that ”Louise Brooks, recently returned from a European stage tour, will attempt a screen comeback opposite Buck Jones.” The Los Angeles Times similarly reports that Brooks had been working in British pictures.
September 4, 1936
Los Angeles Times columnist Read Kendall reports Brooks is being tested at Universal, noting it “Looks like a comeback.”
September 5, 1936
United Press reports Brooks will be the lead in Buck Jones “new sage-brush epic, Empty Saddles.”
September 10, 1936
Hollywood columnist Lloyd Pantanges writes: “Louise Brooks is having a fine time in her comeback epic with Buck Jones, entitled Empty Saddles. When she is not strapped to the villain’s horse, being absconded with, she is being thrown off the end of a train into the arms of the hero, Mr. Jones.”
September 18, 1936
Hollywood columnist George Shaffer writes: “Louise Brooks, formerly star of the silents, is Buck Jones leading lady in a current cowboy thriller Empty Saddles.”
September 19, 1936
Hollywood columnist Louella Parsons writes: “Louise Brooks and Audrey Sutherland, both ex-Mrs. Eddie Sutherlands, sitting together and chatting amicably at the Louis Berman fur show.”
September 20, 1936
Los Angeles Times columnist Marshall Kester reports Brooks attends a Beverly Hills party with Addison Randall given by Arline Judge, a Hollywood hostess. Also present were Claire Windsor, Betty Grable and Jackie Coogan, the Jack Haleys, Mr. and Mrs. Roger Wolfe Kahn, Audrey Sutherland, Aileen Pringle, Norman Krasna and others.
September 21, 1936
The INS (International News Service) runs an article about Brooks’ comeback. That same day, the Hollywood Citizen-News reports that “Addison Randall has shifted from Louise Brooks to Audrey Henderson.”
September 25, 1936
Los Angeles Times columnist Read Kendall reports Brooks “found working in her first Western, Empty Saddles, rather difficult. She hadn’t been on a hoss in five years.”
October 5, 1936
Production begins on When You’re in Love at the Columbia Pictures studios in Southern California and elsewhere.
October 25, 1936
Los Angeles Times columnist Gabrielle Landon reports Brooks was seen at the Brown Derby with Addison Randall, as were Margo and Francis Lederer, and Clark Gable and the Mervyn Leroys.
November 5, 1936
Louella Parsons writes in her syndicated column “Wesley Ruggles with Louise Brooks, and Al Hall with Mona Rice occupying a table at the election festivities [at the Coconut Grove]; and not very far away Arline Judge and Pat de Cieco, Wesley and Arline relieving the tension by dancing together…. Audrey Henderson and Addison Randall a new twosome; how that boy does get around!”
November 5-7, 1936
It Pays to Advertise screens at the Vogue theater in Los Angeles, California.
November 7, 1936
Syndicated columnist Sidney Skolsky writes: “Hollywood romantic mixups: At the Clover Club, Wesley Ruggles, dancing with Louise Brooks, bumps into wifie, Arline Judge, dancing with Pat Di Cico. They exchange hellos. Soon Ruggles is dancing with Miss Judge, and Di Cico is dancing with Miss Brooks.”
November 11, 1936
Syndicated columnist Harrison Carroll twice reports Brooks in the company of Wesley Ruggles, then estranged from his wife.
November 24, 1936
Hollywood columnist Louella Parson writes “Wesley Ruggles stepping out again with Louise Brooks the fourth time this week.”
November 26, 1936
Los Angeles Times columnist Read Kendall reports Brooks “visited Caltech to watch the grinding of the world’s largest telescope lens.”
December 4, 1936
Hollywood columnist Louella Parsons writes: “More power to Louise Brooks; she dancing in the chorus of the Grace Moore picture; Louise told Harry Cohn she’d start from scratch.”
December 11, 1936
Associated Press reports Brooks is “starting her movie comeback,” as a chorus girl in the new Grace Moore musical. The AP piece notes that she was a chorus girl in The Canary Murder Case, “her last Hollywood picture.” Many subsequent mentions of Brooks regarding her comeback reference her role as the Canary.
December 20, 1936
Empty Saddles is released in the United States by Universal. On this same day, production ends on When You’re in Love.
December 31, 1936
New York Times notes ”Louise Brooks, star of the silent screen, is making her screen comeback as a member of the ballet in Grace Moore’s forthcoming Columbia production, When You’re in Love.”
January 6, 1937
Newspapers across the United States report Brooks will attempt a comeback.
Febuary 20, 1937
Production begins on King of Gamblers at the Paramount Studios in Hollywood.
Febuary 27, 1937
When You’re in Love is released in the United States by Columbia Pictures.
March 15, 1937
Production begins on King of Gamblers at the Paramount Studios in Hollywood.
April 2, 1937
Los Angeles Times runs an article about Brooks and Evelyn Brent titled “Two ex-Stars in Films Again.”
April 5, 1937
Syndicated columnist Ed Sullivan writes “Louise Brooks and Addison Randall will elope any minute.”
April 10, 1937
Brooks and cowboy actor Addison Randall attend a sporting event.
April 12, 1937
Preview screening of King of Gamblers takes place at the Alexander theater in Glendale, California.
May 3, 1937
King of Gamblers is released in the United States by Paramount Pictures.
May 17, 1937
Los Angeles Times columnist Read Kendall reports “Addison Randall renewing his romance with Louise Brooks at the Brown Derby.”
May 30, 1937
Los Angeles Times columnist Marshall Kester reports Brooks and Addison Randall were “absorbing sustenance in the Luau Room of the Tropics,” as was Gilbert Roland. That same day, Los Angeles Times columnist Read Kendall reports “Addison Randall took Louise Brooks out to hear Bruz Fletcher sing at the Club Bali.”
June 24, 1937
Los Angeles Times pictures Brooks and Evelyn Brent, noting their return to the movies in King of Gamblers.
October 14, 1937
Los Angeles Times columnist Read Kendall reports “Travis Banton and Louise Brooks at the Club Bali.”
November 1, 1937
Los Angeles Times columnist Read Kendall reports “Louise Brooks and Addison Randall, a twosome at Sardi’s.”
November 12, 1937
Syndicated columnist Jimmie Fidler writes, “William Le Baron, boss of production at one of the big studios, is the author of a little squib in which he contends that movie stars really have long careers. To illustrate his contention, he points to Jack Mulhall, Agnes Ayres, Ethel Clayton, Walter McGail, Herbert Rawlinson, Jane Novak, Bryant Washburn, Frank Mayo, Creighton Hale, Louise Brooks, and Evelyn Brent. ‘All of them are old-timers, and all of them are still active in pictures,’ he argues. Seems to me he chose poor examples. Not one of those former greats is earning more than the barest of living today.”
November 16, 1937
Los Angeles Times columnist Read Kendall reports “Addison Randall certainly gets around. This time he was with Louise Brooks at Sardi’s.”
November 27, 1937
Columnist Harrison Carroll notes that Brooks and Billy Selwyn dined together at House of Murphy in Los Angeles.
December 6, 1937
Brooks declares her intention to seek a divorce from Deering Davis while in Wichita.
December10, 1937
Chicago Tribune reports Brooks will divorce Deering Davis.
Febuary 5, 1938
Syndicated columnist Walter Winchell notes Brooks will not receive alimony in her divorce from Deering Davis.
Febuary 7, 1938
Los Angeles Times reports that Brooks and Addison Randall are still romantically linked.
February 21, 1938
Ben Gross’ radio column, “Listening In,” notes that film stars Louise Brooks and Penny Singleton had at one time appeared on a Mack Millar radio show featuring a “chorus girls’ opportunity contest” on WNEW.
Febuary 27, 1938
Los Angeles Times reports that Brooks and Travis Banton put in an appearance at Bruz Fletcher’s Club Bali, a popular nightclub in Los Angeles.
March 21, 1938
Los Angeles Times columnist Read Kendall reports “Addison Randall and Louise Brooks are becoming a familiar twosome around the late spots.”
March 27, 1938
Maxine Bartlett reports in the Los Angeles Times that Louise Brooks and Addison Randall were seen at the Club Bali, as were the Lyle Talbots.
April 6 or April 12, 1938
Attends a showing of The Sheik at the Filmarte theatre in Los Angeles, and leaves before the end because the audience is laughing at star Rudolph Valentino.
April 19, 1938
Syndicated columnist Erskine Johnson reports that Brooks and Travis Banton put in an appearance at Bruz Fletcher’s Club Bali.
April 22, 1938
Los Angeles Times columnist Read Kendall reports Addison “Jack Randall and Louise Brooks lingered long over their desert at the Brown Derby.”
April 23, 1938
Brooks and date Howard Shoup put in an appearance at Bruz Fletcher’s Club Bali.
May 23, 1938
Los Angeles Times columnist Read Kendall reports “Just few minutes after Addison Randall walked into Bruz Fletcher’s Club Bali with Louise Stanley, his former girlfriend, Louise Brooks put in an appearance with Howard Shoup but none appeared embarrassed.”
May 30, 1938
Syndicated columnist Ed Sullivan writes that Brooks and Howard Shoup are “going places.”
June 11, 1938
Los Angeles Times columnist Read Kendall reports “Louise Brooks, under the name Linda Carter, is essaying a comeback through the Bliss-Hayden Miniature Theater. Her first appearance is in the play Miracle for Two by Stanley Kaufman and Effie J. Young. Others in the cast include Beverly Holden, William Stelling, Margaret Meri, Harry Hayden, Howard Johnson, Walter Murray, Nell Keller, Michael Stuart, Mary Rains, Geraldine Gorey and Franco Corsaro.”
June 13, 1938
Louella Parsons reports in her syndicated column that “Louise Brooks has changed her name to Carrington, dyed her hair black and opened in a play at the Bliss-Hayden Theater. It is the first step in her new career.”
June 14, 1938
In its review of Miracle for Two at the Bliss-Hayden Miniature Theater, the Los Angeles Times said, “Linda Carter used her every artifice to give an interesting portrayal.”
June 25, 1938
Brooks and date ‘Prince’ Mike Romanoff put in an appearance at Slapsie Maxies, a well known nightclub in Los Angeles.
July 8, 1938
Syndicated columnist Paul Harrison reports that Brooks, under the stage name Linda Carter, has been appearing in a play in Los Angeles. “A 20th-Fox talent scout spotted a girl called Linda Carter in a little-theatre play and offered her a screen test. It turned out that ‘Linda Carter’ really is Louise Brooks, who’s aiming at a screen comeback under a different name.”
July 24, 1938
Syndicated columnist Ed Sullivan writes “Louise Brooks and Howard Shoup hand-holding.”
August 3, 1938
The Hollywood Citizen-News writes that Brooks begins work tomorrow on Overland Stage Raiders.
August 6, 1938
In an article, “‘Oomph’ and “It’ Boosts Young Stellar Careers,” the Los Angeles Times describes Louise Brooks as “The Million Dollar Legs Girl”.
August 10, 1938
Production of Overland Stage Raiders begins in Southern California, with location shooting done at the Iverson Ranch in Chatsworth, California.
September 28, 1938
Overland Stage Raiders released in the United States by Republic Pictures.
December 9, 1938
The gossip column of the Wichita (Evening) Eagle reports, “It was a gay party last Sunday evening at the L.P. Brooks’ home when they entertained for their daughter, Louise Brooks, who is visiting her from Hollywood.”
January 25, 1939
Hollywood columnist Erskine Johnson writes: “George Sherman, the director, and Louise Brooks are an item.”
March 15, 1939
Syndicated columnist Erskine Johnson reports that Brooks and Overland Stage Raiders director George Sherman are “in love.”
April 10, 1939
Syndicated columnist Ed Sullivan writes “Louise Brooks and Al Lackey something new in twosomes.”
May 3, 1939
Los Angeles Times columnist Read Kendall reports “Louise Brooks looked comfortable in blue slacks” while attending the opening of Gilmore Field, a new baseball ballpark in the Pacific Coast League. Actress and team sponsor Gail Patrick threw out the first pitch. Also in the stands were Joe E. Brown, Buster Keaton, Harold Lloyd, Jack Benny, Roscoe Karns, Rudy Vallee, Slapsie Maxie Rosenbloom and others.
May 5, 1939
Hollywood columnist Louella Parsons writes: “Lew Brice, Fannie’s brother, and Louise Brooks in a ringside seat at Slapsie Maxies.”
June 19, 1939
Syndicated columnist Ed Sullivan writes “Lew Brice and Louise Brooks still at it.”
June 23, 1939
Syndicated columnist Louella Parsons writes that Brooks and Lew Brice dined together with John McClain and Paulette Goddard.
June 24, 1939
The Los Angeles Illustrated Daily News reports that Brooks and Lew Brice, Ben Blue and Franz English, and Tom Brown and Lana Turner were spotted at Marcel’s.
June 28, 1939
Syndicated columnist Harrison Carroll notes that Brooks and Lew Brice were spotted at La Conga in Los Angeles.
June 29, 1939
Syndicated columnist Louella Parsons writes “is it a romance between Louise Brooks and Lew Brice? They’re helping close the night spots these evenings.”
July 25, 1939
Syndicated columnist Ed Sullivan writes that Brooks and Howard Shoup are “hand-holding.”
August 27, 1939
Mentioned in the Boston Herald in an article about G.W. Pabst in connection with a local screening of Kameradschaft: “The other two silent outstanding pictures directed by Pabst were Loves of Jeanne Ney and Pandora’s Box, the sermon version of Frank Wedekind’s play featuring Louise Brooks and Fritz Kortner.” (Kameradschaft is praised as the outstanding film of Pabst’s career, as it shows the friendship between men of different nations. War broke out in Europe just a few days later.)
date unknown 1939
In a 1977 letter, Brooks recounted seeing Buster Keaton at the Arrowhead Springs Hotel in San Bernadino, California: “One night at Arrowhead Springs (1939) I watched him dance the rumba (and damned good) for 2 hours with Sonia Henje who would not have wasted a wiggle of her ass on a man who didn’t spell money.”
October 13, 1939
Hollywood columnist Louella Parsons writes: “… just heard that Louise Brooks is teaching dancing.”
November 4, 1939
Brooks and dance partner Barrie O’Shea performed at a Saturday night party at the Racquet Club of Palm Springs, in support of headliner Rudy Vallee. (Actor Ralph Bellamy, actor Charles Butterworth, director Edmund Goulding, and singer Judy Starr were also present, and took their turn on the Racquet Club stage.) O’Shea, and “his charming partner Louise Brooks, did a very clever mask dance, imitating Mrs. Roosevelt and Chamberlain, doing an old time square dance,” according to the The Desert Sun report.
November 11, 1939
Barrie O’Shea (and Brooks?) performs at a Saturday night party at the Racquet Club of Palm Springs. Also present were Addison Randall, Harry Cohn, Howard Hawks, Franchot Tone, Peter Lorre, Ralph Bellamy, Wesley Ruggles, Charles Butterworth, and others.
November 10, 1939
The Desert Sun reports that Barrie O’Shea and Louise Brooks have been hired as staff dance instructors at the Racquet Club of Palm Springs. “They will teach Saturday and Sunday afternoons until the middle of the season and then every afternoon for the rest of the season. Rhumba and La Conga classes, as well as ordinary ballroom dances and private lessons, will be their feature.”
December 9, 1939
Hollywood columnist Dorothy Manners writes: “Louise Brooks is going over very well with her rhumba classes at the Victor Hugo in the afternoons.”
November 14, 1906
Born Mary Louise Brooks to parents Leonard and Myra Brooks in the town of Cherryvale, Kansas. A small article announcing the birth appears in the two local newspapers; the Cherryvale Daily Republican writes “A brand new baby girl is the attraction just now at the home of City Attorney L.P. Brooks. The daughter came this morning and Mr. Brooks thinks that he will be able to ‘revise’ more ordinances tonight than at any previous sessions”, while on its front page, the Cherryvale Daily News noted, “Attorney L. P. Brooks is stepping around today like a blind horse in a clover patch all on account of a young lady who came to his home this morning where she will reside in the future. All concerned are doing nicely.”
July 3, 1907
Brooks family returns to Cherryvale after an extended visit to Burden, where they visited family.
August 12, 1907
L.P. Brooks purchases a new home for $2,200 in Cherryvale; the warranty deed is signed the following day.
August 31, 1907
Brooks’ family moves into their new home at 320 West Main Street.
September 2, 1907
L.P. Brooks moves into new law offices above the Cherryvale People’s Bank.
August 18, 1908
Brooks family returns to Cherryvale after a few days visit in Humboldt, Kansas.
September 11-25, 1908
Brooks family goes to Burden to visit family.
December 26-29, 1908
Brooks family spends a few days visiting family in Burden.
June 18, 1910
The Cherryvale Journal reports that the Brooks’ family cat is gravely injured when its foot is cut off after being struck by the Cherryvale Interurban streetcar. “… but little Martin, Marie and Louise Brooks thought it the loveliest kitten in the world.”
September 2, 1910
Performs in “Tom Thumb Wedding” at the Cherryvale Christian church. Brooks played the bride, opposite Loren McCrum, who played the groom. Admission is 15 and 25 cents. The following day, a newspaper article states there was “good attendance,” and that the “program pleased the audience, and netted the sum of $300 for the church.”
April 30, 1912
Cherryvale Journal notes that Brooks and others partook in a special birthday party for brother Martin.
August 27, 1912
Along with brother Martin, attends birthday party of a child in Independence, Kansas.
March 22, 1913
Along with brother Martin, attends birthday party of a neighborhood child celebrating his fourth birthday.
April 28, 1913
Attends birthday party of a neighborhood child celebrating her seventh birthday.
July 8, 1913
Martin and Louise accompany their grandfather, T. J. Rude, to Cambridge, Kansas to spend the week.
February 20, 1914
Louise and her brother Martin helped host a party celebrating George Washington’s birthday. Pumpkin pie with whipped cream was served, as was cheese croutons, olives, coffee and candy.
February 25, 1914
Helps serve refreshments at party of a neighbor, who entertained the Good Fellowship class of the M.E. church.
July 22, 1914
Martin, Louise and Theodore attend birthday party of a neighborhood child celebrating his second birthday.
August 22, 1914
Sister June is born in Cherryvale.
January 12, 1915
Mourns the loss of a pair of goldfish.
August 6, 1915
As one of Bertha Nusbaum’s piano students, performs “Little Fairy Waltz Op. 105, No. 1” by Ludovic Streabbog at the home of a neighbor.
November 25-26, 1915
Spends the Thanksgiving holiday with brother Martin at the home of their grandmother in Winfield, Kansas.
April 30, 1916
Attends birthday party of a neighborhood child celebrating her tenth birthday; also in attendance is Vivian Jones (the future Vivian Vance), visiting from Independence.
June 2, 1916
Is a pupil of Miss Minerva Warner’s sewing class, and is named secretary of its West side sewing club. (Myra Brooks is named secretary of its East side sewing club.)
July 14, 1916
With Martin, attends birthday party of a neighborhood child celebrating her sixth birthday. According to the local paper, “The party took their suppers and spent the evening on the creek.”
August 24, 1916
Spends the week visiting a friend in Humboldt, Kansas.
March 7, 1917
Performs “Anitra’s Dance” (from the Peer Gynt ballet by Edvard Grieg) at the Cherryvale Arts Festival; local Reba Randolph accompanies on piano.
April 7, 1917
Spends the afternoon in Independence, Kansas.
May 19, 1917
Spends the day at the city park in Independence, Kansas in the company of Mrs. Buckpitt’s Gymnasium class.
August 29, 1917
Brooks entertained several of her friends with a swimming party at the Cherryvale natatorium.
September 6, 1917
Returns to Cherryvale with Eva Rude after visiting a friend in Humboldt, Kansas.
October 8, 1917
Martin and Louise return to Cherryvale after visiting relatives in Winfield, Kansas.
November 23, 1917
A Cherryvale newspaper reports that Brooks, who has been out of school for almost five weeks due to illness, is expected to return to classes in a few days.
January 8, 9, and 17, 1918
Brooks, who is called “Mistress Mary, Quite Contrary” in the local newspaper, leads a “Dance of the Flowers” with 12 other Flower Maidens in the Mother Goose Pageant at the local High School, a benefit for the Red Cross fund.
February 2, 1918
Assists at a social gathering honoring the visit home of Sergeant Lee Douthat, who is stationed in Camp Doniphan, in Oklahoma.
February 12, 1918
Joins the newly formed G. K. Club (Girls Knitting Club), composed of other local youngsters, who enjoy games, music, treats, and other other activities and meet at the home of a neighbor.
February 15, 1918
Meets with other members of the G.K. Club at the home of a neighbor.
February 19, 1918
Meets with other members of the G.K. Club at the local Leatherlock Hotel.
February 26, 1918
Meets with other members of the G.K. Club at the home of a neighbor; according to a newspaper item, “The girls spent an hour with their knitting,” and then had lunch.
February 27, 1918
Robert Rude, of the 137th U.S. inf., Co. H. of Camp Doniphan, visits the Brooks’ home while on furlough. Also present is Eva Rude, who hosts a party in honor of her soldier-cousin.
March 12, 1918
Hostess to the G.K. Club for their afternoon get together; one member was absent with “Liberty” measles. Brooks “proved to be a delightful entertainer” according to a local newspaper article.
March 26, 1918
Meets with other members of the G.K. Club at the home of a neighbor, where the group plays tennis and other outdoor games.
May 9-10, 1918
Performs a leading role as the Fairy Queen in “On Midsummer’s Day” at the local high school, a benefit to raise money to purchase Victrolas.
July 1, 1918
Visited by a friend from the town of Chanute, Kansas.
July 2-5, 1918
Travels with friend to Chanute to spend a few days.
July 25, 1918
Newspapers report that the Brooks family is packing their household in preparation of moving from Cherryvale to Independence. The move, local paper also report, is being made so that the Brooks children can take advantage of the better school facilities in Independence.
August 1918
Louise Brooks and her family relocate to Independence, Kansas.
September 8, 1918
Brooks enrolls in school in Independence.
October 2, 1918
Myra Brooks attends a “Patroiotic Meeting” at the Cherry Township Hall in Independence.
December 3, 1918
The 12 year old Brooks is taken by her mother to see Ruth St. Denis perform at the Orpheum Theater in Kansas City, Missouri.
1919-1921
Keeps a scrapbook of clippings on dance.
March 22, 1919
Performs “The Gypsies are Coming” by James Hotchkiss Rogers at an invitational recital given by students of the Hubach School of Music in Independence.
May 2, 1919
Dances “The Gloating Dance of Destruction” (as arranged by Mrs. Milburn Hobson) at “The Progress of Peace” pageant at the Beldorf theater in Independence. The event is advertised, and mention is made in the ad of Brooks performance. A “large audience” turns out. The event, under the auspices of the local Y.M.C.A., is a benefit to further the sale of Liberty bonds. (Vivian Jones, the future Vivian Vance, also takes part.)
June 19, 1919
Returns to Independence after visiting Cherryvale to attend a party, where she and other friends spent time at Lake Tanko.
July 12, 1919
Myra Brooks is involved in a minor traffic accident, a fender bender, which is reported in the local press.
Summer (date unknown)
Performs a Grecian dance at the Mead family mansion on Belmont street.
Summer (date unknown)
Engaged to dance on a barge at Ozark Beach, Missouri (a resort area northeast of Branson).
August 14, 1919
Mary Gentry of Winfield is a house guest at the Brooks home in Independence (through approximately August 26).
August 16, 1919
Visits Cherryvale for a reunion of friends, chaperoned by her father (who is identified in a newspaper piece as being resident at North Penn. avenue).
August 21, 1919
Mary Gentry (and Louise Brooks?) accompany Myra Brooks on a visit to Cherryvale.
August 27, 1919
Myra Brooks hosts a dinner party at the Independence Country Club in “honor of her house guest Mary Gentry”.
September 2, 1919
Attends a screening of Boots, starring Dorothy Gish, at the Best theatre in Independence.
September 5, 1919
Attends a screening of You Never Saw Such a Girl, starring Vivian Martin, at the Best theatre in Independence.
September 8, 1919
Begins school.
October 14, 1919
Begins dance instruction at the local Y.W.C.A.
October 21, 1919
Takes a lesson in aesthetic dancing at the local Y.W.C.A. under the supervision of Mae Argue Buckpitt.
October 28, 1919
Performs a solo piece in “Fi-Fi of the Toy Shop,” a musical fantasy by John. B. Rogers.
Noember 15, 1919
Hosts an outing for friends, who take in the Dorothy Gish comedy I’ll Get Him Yet at the Best Theatre, followed by lunch at the Sunflower Pharmacy.
December 10, 1919
Brooks family relocates, taking up residence at 924 North Topeka in Wichita.
June 2, 1920
Performs two solo dances to music, “Japanese Sunset” by Jessie L. Deppen, and the “Rubble Dance” from High Jinks by Kudolph Friml, as part of a program at Philharmony Hall in Wichita. Brooks performs along with other members of the adult dancing class from the Dancing and Expression departments of the Wichita College of Music and Dramatic Art, headed by Alice Campbell.
October 4-16, 1920
Performs twice daily (at 1:30 and 7:00 pm) along with a group of other young women in “The Dance of Wheat” at the International Wheat Show in Wichita’s International Exposition. Also in her group is Domini Marine, who is reported to have performed with Anna Pavlowa and Mikhail Mordkin.
October 12, 1920
At the International Wheat Show, Brooks sees the Pavley-Oukrainsky Ballet from Chicago.
October 31, 1920
In an old-fashioned Southern costume of red and black, dances a solo number, “Dixieland,” at the Wichita Country Club, in an event sponsored by the Lions Club.
November 14, 1920
Receives first diary.
November 23, 1920
Sees the Ruth St. Denis Concert Dancers at the Wichita Forum in Wichita, Kansas.
January 1, 1921
Begins recording entries in diary.
January 2, 1921
Writes in her diary that she is homesick for Independence.
January 5, 1921
Sees Once to Every Woman, starring Dorothy Phillips and Rodolph Valentino, at the Regent theater. The film is heavily promoted in the local papers, plays a full week, and reportedly brought tears to the eyes of many patrons. Brooks critiques the film in her diary.
January 12, 1921
Sees Passion, starring Pola Negri, at the Regent theater, which Brooks records in her diary as being “wonderful.” Advertisements in the local papers claim this is its first showing outside of New York.
January 21, 1921
Performs aesthetic dances at the Wichita College of Music, which Brooks records in her diary were the “hit of the evening.”
January 24, 1921
Reads A Midsummer Night’s Dream in school.
January 25, 1921
Sees The Love Light, starring Mark Pickford, at the Wichita theater.
February 10, 1921
Alice Campbell dismisses Brooks from her dancing class.
February 14, 1921
According to her diary, Brooks performs three dances, including “French Baby.” Afterwords, Louise and her mother attend an orchestra performance.
February 18, 1921
Sees The Passing Show of 1920 at the Crawford Theater. This stage show proved very popular in Wichita, and led some to break their Lenten resolution against pleasurable gatherings.
February 21, 1921
Sees While New York Sleeps, starring Marc McDermott, at the Regent theater.
February 22, 1921
Brooks, described as “clever little fancy dancer,” performed a solo dance, “French Baby,” in costume at the Riverside Shrine Club in Wichita, in a party sponsored by the Western Lithograph Company.
February 24, 1921
See Worlds Apart, starring Eugene O’Brien, during its three day run at the Wichita theater.
February 25, 1921
Attends local dance school led by Edna L. Shaw.
March 10, 1921
Attends a line party with friends at the Wichita theater, where the group sees the locally popular film, Lying Lips, starring Florence Vidor and House Peters.
March 31 – April 1, 1921
Along with 300 other performers, Brooks dances in Follies of 1921, a home talent musical review and benefit for the American Legion at the Beldorf theater in independence. Also performing that evening is the future Vivian Vance.
April 7, 1921
Poses for Mr. Vincent, a local Sunday school teacher and friend of the family.
April 15, 1921
Performs at an evening reception for the Wichita chapter of the Association of Collegiate Alumnae at a private home. Brooks dances “The Garden Dance of Spring” in the garden of the home, where colored lights were thrown on her from the balcony.
April 19, 1921
Sees Way Down East, starring Lillian Gish, in the company of her mother at the New Crawford Theater.
April 27, 1921
The Independence Daily Reporter runs a piece on Brooks titled “Fame as a Dancer,” noting the strides toward fame the former Independence resident is making in Wichita.
May 5, 1921
Leaves for Independence, where Brooks will perform in “The Pageant of Childhood” staged by pupils of Mrs. Buckpitt.
May 6, 1921
Performs two dances, the “Balloon Dance” (also called the “Bubble Dance”) and a Spanish dance in “The Pageant of Childhood” at the Beldorf theater in Independence. Brooks performance is written up in the Wichita, Independence and Cherryvale newspapers.
May 20, 1921
Brooks plays Catherine Rogers in a two-act play, Mr. Bob, staged in the auditorium of the Horace Mann intermediate school in Wichita. Some 600 students attend the event.
May 27, 1921
Reprises her role as Catherine Rogers in Mr. Bob. Graduates from Horace Mann intermediate school.
May 30, 1921
Is a guest at a party honoring a neighbor who is a student at Fairmount College in Wichita.
June 7, 1921
Performs a toe dance at the annual spring recital of the Edna L. Shaw School of Dancing.
June 16, 1921
Takes part in a dance recital put on by the Edna L. Shaw School of Dancing.
July 17, 1921
The Wichita Daily Eagle runs a piece on the local Girl Scout Troups which mentions and pictures Brooks.
July 23, 1921
Performs a dance during a recital at the Edna L. Shaw School of Dancing.
July 27, 1921
Brooks’ girl scout unit, Patrol 1 of Troop 1, is pictured in the Wichita Eagle.
August 30, 1931
Along with Martin, attends but does not perform at a private dance recital and party at a local home.
September 13, 1921
Sees The Four Horseman of the Apocalypse, starring Rudolph Valentino, at the Princess theater. The film played a week, and its presentation featured an augmented orchestra.
September 19, 1921
Sees The Smiles of 1921 at the Arcadia Theater. This stage show, part of the entertainment around the International Wheat Show, featured Hazel Wallek and Her Dancers.
October 5, 1921
Elected to the sophomore class student council.
October 20, 1921
Brooks’ parents attend the wedding of Dorothy Pontious and Robert Rude in Winfield, Kansas.
October 29, 1921
Performs a “Pierrot Dance” at the School of Dance and Stage Arts Halloween party; June performs as a goblin in “The March of the Goblins.”
November 12, 1921
Attends a “jolly house dance party” at a neighbors.
November 17, 1921
Brooks and her mother see Ted Shawn (assisted by Martha Graham and others) dance at the Crawford Theater in Wichita.
November 27, 1921
Sees The Sheik, starring Rudolph Valentino, at the Regent theater during its week-long run.
December 8, 1921
June and Louise dance at a musicale-tea benefit event for the local Twentieth Century Club at a private residence.
December 21, 1921
Attends dress rehearsals at the Wichita Forum for a Christmas-themed program taking place the following day.
December 22, 1921
Performs a solo dance as “Joy” in a Christmas themed program at the Forum sponsored by the Kiwanis Club. (June played the Fairy Queen.)
January 11, 1922
With other students from the Mills-Fischer School of Dance and Dramatic Arts, Brooks attends a performance in Hutchinson, Kansas by Anna Pavlova and her Ballet Russe.
March 3, 1922
Martin and Louise attend a party for the Sunday School Class of the First Presbyterian Church.
March 25, 1922
June Brooks and Katherine Orr perform “Little Tin Soldier and Little Rag Doll,” a dance composed by Louise Brooks and performed before the Saturday children’s movie matinee. Later in the day, Brooks performs a few Spanish dances before members of the Delta Bom Club, which she had just been voted into as a member.
May 18, 1922
Performs an “Egyptian Dance” at the Arcadia Theater at a convention event sponsored by the Kansas Bankers Association.
April 11, 1922
Myra and June pose for “modern paintings reproduced in living pictures” at a meeting of the Twentieth Century Club, with which Myra is a member.
May 18, 1922
Brooks performs an Egyptian dance in the Rose Room of the Wichita Club for a gathering of the Kansas Bankers Association.
June 3, 1922
Brooks hosted a gathering of the Delta Bonn bridge club at her home on North Topeka avenue.
June 4, 1922
Pictured in the Wichita Daily Eagle promoting her June 8th performance. The captioned photo mentions Brooks will leave in July accompanied by her mother to study with Denishawn in New York City.
June 8, 1922
Performs at the Arcadia Theater in a program of dance by students of the Mills-Fischer School of Dancing. Brooks performs two character studies, as Mignonne, and as Media Noche, also as an Egyptian Slave (a Denishawn number), and as a soloist in a flower ballet (as both The Sun and The Moon).
June 28, 1922
News reports state Brooks attends a bridge luncheon at the Wichita Country Club.
June 29, 1922
Leaves Wichita aboard a train headed for New York City (to study with Denishawn), in the company of Alice E. Mills (Mrs. R. M. Mills) of the Mills-Fisher School. According to press reports from only two weeks prior, Brooks mother was to accompany Louise. Press reports also mention that Mills will also study at Denishawn for the Summer.
July 18, 1922
Wichita Daily Eagle reports that Brooks was admitted into the advanced class in dancing at the Denishawn school in New York.
July 24, 1922
Wichita Daily Eagle reports that Brooks has received an offer from the Shubert company, which she rejected; it is reported that she intends to continues her studies with Denishawn before returning home to finish high school.
August 20, 1922
Brooks is pictured in the Wichita Daily Eagle rotogravure section, which mentions her study with Denishawn in NYC.
September 22, 1922
Brooks is mentioned in the Wichita Daily Eagle as having the honor of dancing with Ruth St. Denis and Ted Shawn during a two week engagement on Broadway.
September 23, 1922
Brooks is referenced in an article which appears in the New York Sun; first newspaper mention in connection with Denishawn.
October 2, 1922
Debuts with Denishawn Dance Company in a performance at the Temple Theatre in Lewistown, Pennsylvania.
October 3, 1922
Referenced in a front page review in the Lewistown Sentinel. Later in the day, appears with Denishawn at the Strand Theatre in Shamokin, Pennsylvania.
October 4, 1922
Appears with Denishawn at the Victoria Theatre in Sunbury, Pennsylvania.
October 5, 1922
Appears with Denishawn at the Hippodrome in Pottsville, Pennsylvania.
October 9, 1922
Denishawn Dance Company starts two day run at the Selwyn Theatre in New York City.
October 11, 1922
Receives her first mention in the New York Times in a review of the Denishawn engagement at the Selwyn Theatre. Later in the day, appears with Denishawn at the Opera House in New Castle, Pennsylvania.
October 12, 1922
Appears with Denishawn at matinee and evening performances at the Grand Opera House in Canton, Ohio. Also, Brooks is depicted in two images in the Musical Courier, a trade journal devoted to classical music, dance and the performing arts.
October 13, 1922
Appears with Denishawn at the Carnegie Music Hall in Pittsburgh, Pennsylvania.
October 14, 1922
Appears with Denishawn at matinee and evening performances at the Mishler Theatre in Altoona, Pennsylvania.
October 16, 1922
Appears with Denishawn at the The Playhouse in Wilmington, Delaware.
October 17, 1922
Appears with Denishawn at the Lyric Theatre in Baltimore, Maryland.
October 18, 1922
Appears with Denishawn at the Fairbanks Theatre in Springfield, Ohio.
October 19, 1922
Appears with Denishawn at the Auditorium in Saginaw, Michigan.
October 20, 1922
Appears with Denishawn at the Fuller Theatre in Kalamazoo, Michigan.
October 21, 1922
Appears with Denishawn at the Pabst Theatre in Milwaukee, Wisconsin.
October 23, 1922
Denishawn Dance Company starts two day run at the Orchestra Hall in Chicago, Illinois.
October 25, 1922
Appears with Denishawn at the Rockford Theatre in Rockford, Illinois.
October 26, 1922
Appears with Denishawn at the Hill Auditorium in Ann Arbor, Michigan.
October 27, 1922
Appears with Denishawn at the Rialto Theatre in Elyria, Ohio.
October 28, 1922
Appears with Denishawn at the Sandusky Theatre in Sandusky, Ohio.
October 30, 1922
Appears with Denishawn at the Colonial Theatre in Utica, New York.
October 31, 1922
Appears with Denishawn at the Kalurah Temple in Binghamton, New York.
November 1, 1922
Appears with Denishawn at the Eastman Theatre in Rochester, New York.
November 2, 1922
Appears with Denishawn at the Schubert Theatre in Buffalo, New York.
November 3, 1922
Appears with Denishawn at the Masonic Hall in Cleveland, Ohio.
November 4, 1922
Appears with Denishawn at matinee and evening performances at the Goodyear Theatre in Akron, Ohio.
November 6, 1922
Appears with Denishawn at matinee and evening performances at the Grand Opera House in London, Ontario (Canada).
November 7, 1922
First mention in a Canadian publication: Brooks is referenced in a review in the London Free Press.
November 8, 1922
Appears with Denishawn at matinee and evening performances at the Powers Theatre in Grand Rapids, Michigan.
November 9, 1922
Appears with Denishawn at the East High School in Aurora, Ohio.
November 10, 1922
Appears with Denishawn at the Auditorium in Ripon, Wisconsin.
November 11, 1922
Appears with Denishawn at matinee and evening performances at the Parkway Theatre in Madison, Wisconsin.
November 13, 1922
Appears with Denishawn at the Lyceum in St. Joseph, Missouri.
November 15, 1922
Appears with Denishawn at the Shubert Theatre in Kansas City, Missouri. Also, Brooks is mentioned in “Wichita Girl to Appear Here With World Famous Dancers” in the Wichita Beacon.
November 16, 1922
Appears with Denishawn at the Grand Theatre in Salina, Kansas.
November 17, 1922
Appears with Denishawn at the Brown Grand Theatre in Concordia, Kansas.
November 18, 1922
Appears with Denishawn at the Crawford Theatre in Wichita, Kansas. Brooks is presented with “many flower tributes.” Following the performance, Brooks’ parents host a dinner party at their home, with Ruth St. Denis, Ted Shawn, Martha Graham, Charles Wiedeman, Pearl Wheeler and other members of the Denishawn Company.
November 19, 1922
Appears with Denishawn at the New Joplin Theatre in Joplin, Missouri.
November 21, 1922
Appears with Denishawn at the Orpheum Theatre in Muskogee, Oklahoma.
November 22, 1922
Appears with Denishawn in matinee and evening performances at the Joie Theatre in Fort Smith, Arkansas.
November 1922
Appears with Denishawn at the High School Auditorium in Pine Bluff, Arkansas.
November 1922
Appears with Denishawn at the Lyric Theatre in Memphis, Tennessee.
November 1922
Appears with Denishawn at the Marlowe Theatre in Jackson, Tennessee.
November 1922
Appears with Denishawn at the New Broadway Theatre in Cape Girardeau, Missouri.
November 1922
Appears with Denishawn at the Auditorium in Ponca City, Oklahoma.
November 1922
Appears with Denishawn at matinee and evening performances at High School Auditorium in Oklahoma City, Oklahoma.
December 2, 1922
Appears with Denishawn at the Odeon Theatre in St. Louis, Missouri.
December 4, 1922
Appears with Denishawn at the Murat Theatre in Indianapolis, Indiana.
December 5, 1922
Appears with Denishawn at the Woodland Auditorium in Lexington, Kentucky.
December 6, 1922
Appears with Denishawn at the Ryman Auditorium in Nashville, Tennessee.
December 7, 1922
Appears with Denishawn at the Macauley Theatre in Louisville, Kentucky.
December 9, 1922
Appears with Denishawn at the Majestic Theatre in Peoria, Illinois.
December 11, 1922
Appears with Denishawn at the The Grand Theatre in Keokuk, Iowa.
December 12, 1922
Denishawn Dance Company starts a two day run at the Colonial Theatre in Davenport, Iowa.
December 13, 1922
Ruth St. Denis and Ted Shawn appear on radio station WOC in Davenport, Iowa.
December 14, 1922
Appears with Denishawn in matinee and evening performances at the Brandeis Theatre in Omaha, Nebraska.
December 15, 1922
Appears with Denishawn at the Coliseum in Sioux Falls, South Dakota.
December 17, 1922
Returns home to spend the holidays with her family, with the expectation of rejoining Denishawn after Christmas.
December 24, 1922
Leaves Wichita during the evening to rejoin Denishawn in Denver.
December 26, 1922
Denishawn Dance Company starts a two day run at the Auditorium in Denver, Colorado.
December 28, 1922
Appears with Denishawn at the Burns Theatre in Colorado Springs, Colorado.
December 29, 1922
Appears with Denishawn at the Auditorium in Pueblo, Colorado.
December 30, 1922
Appears with Denishawn at the Convention Hall in Hutchinson, Kansas.
January 1, 1923
Appears with Denishawn at the State Arsenal in Springfield, Illinois.
January 2, 1923
Appears with Denishawn at the Saxon Auditorium in Toledo, Ohio.
January 3, 1923
Appears with Denishawn at the Saxon Auditorium in Toledo, Ohio.
January 4, 1923
Appears with Denishawn at the Park Theatre in Erie, Pennsylvania.
January 5, 1923
Appears with Denishawn at the Playhouse in Rutland, Vermont.
January 6, 1923
Appears with Denishawn at the UVM Gymnasium in Burlington, Vermont.
January 8, 1923
Appears with Denishawn at the High School in Manchester, New Hampshire.
January 9, 1923
Appears with Denishawn at the Lyceum in New London, Connecticut.
January 10, 1923
Appears with Denishawn at the Memorial Auditorium in Lowell, Massachusetts.
January 11, 1923
Appears with Denishawn at the Worcester Theatre in Worcester, Massachusetts.
January 12, 1923
Appears with Denishawn at the Colonial Theatre in Pittsfield, Maine.
January 13, 1923
Appears with Denishawn at the City Hall Auditorium in Portland, Maine.
January 15, 1923
Appears with Denishawn at Bardavon in Poughkeepsie, New York. (Unknown to Brooks, future photographer Lee Miller is in the audience.)
January 16, 1923
Appears with Denishawn at the Plaza Hotel in New York, New York.
January 17, 1923
Appears with Denishawn at the Opera House in Boston, Massachusetts.
January 18, 1923
Appears with Denishawn at the Academy of Music in Philadelphia, Pennsylvania.
January 19, 1923
Appears with Denishawn at the National Theatre in Washington, D.C.
January 20, 1923
Appears with Denishawn at the Lyric Theatre in Baltimore, Maryland.
January 22, 1923
Appears with Denishawn at the Winthrop College Auditorium in Rock Hill, South Carolina.
January 23, 1923
Appears with Denishawn at the Columbia Theatre in Columbia, South Carolina.
January 24, 1923
Appears with Denishawn at the Grand Theatre in Greenville, South Carolina.
January 25, 1923
Appears with Denishawn in matinee and evening performances at the Auditorium in Atlanta, Georgia.
January 26, 1923
Appears with Denishawn at the Grand Theatre in Macon, Georgia.
January 27, 1923
Appears with Denishawn at the Lucerne Theatre in Orlando, Florida.
January 29, 1923
Appears with Denishawn at the Grand Opera House in Meridian, Mississippi.
January 31, 1923
Appears with Denishawn in matinee and evening performances at the Auditorium Theatre in Waco, Texas.
February 1, 1923
Appears with Denishawn in matinee and evening performances at the Hancock Opera House in Austin, Texas.
February 2, 1923
Appears with Denishawn at the Kyle Theatre in Beaumont, Texas.
February 3, 1923
Appears with Denishawn in matinee and evening performances at the City Auditorium in Houston, Texas.
February 5, 1923
Appears with Denishawn at the Walnut St. Theatre in Vicksburg, Mississippi.
February 6, 1923
Appears with Denishawn at the Elks Theatre in Tuscaloosa, Alabama.
February 7, 1923
Appears with Denishawn at the Academy of Music in Selma, Alabama.
February 8, 1923
Appears with Denishawn at the Jefferson Theatre in Birmingham, Alabama.
February 9, 1923
Appears with Denishawn at the Springer Opera House in Columbus, Georgia.
February 10, 1923
Appears with Denishawn at the Brenan Auditorium in Gainesville, Georgia.
February 12, 1923
Appears with Denishawn at the Municipal Auditorium in Savannah, Georgia.
February 13, 1923
Appears with Denishawn at the Academy of Music in Charleston, South Carolina.
February 14, 1923
Appears with Denishawn at the Garden Theatre in Bennettsville, South Carolina.
February 15, 1923
Appears with Denishawn at the Masonic Opera House in Rocky Mount, North Carolina.
February 16, 1923
Appears with Denishawn at the Grand Theatre in Greensboro, North Carolina.
February 17, 1923
Appears with Denishawn at the Auditorium in Asheville, North Carolina.
February 19, 1923
Appears with Denishawn at the Academy of Music in Raleigh, North Carolina.
February 20, 1923
Appears with Denishawn at the Strand Theatre in Salisbury, North Carolina.
February 21, 1923
Appears with Denishawn at the Auditorium in Charlotte, North Carolina.
February 22, 1923
Appears with Denishawn in matinee and evening performances at the Academy of Music in Lynchburg, Virginia.
February 23, 1923
Appears with Denishawn at the National Theatre in Washington, D.C.
February 24, 1923
Appears with Denishawn in matinee performance at the Academy of Music in Philadelphia, Pennsylvania.
February 25, 1923
Appears with Denishawn at the Crescent Temple in Trenton, New Jersey.
February 26, 1923
Appears with Denishawn at the Parsons Theatre in Hartford, Connecticut.
February 27, 1923
Appears with Denishawn at the Town Hall in New York, New York.
February 28, 1923
Appears with Denishawn at the Poli’s Theatre in Waterbury, Connecticut.
March 2, 1923
Appears with Denishawn in matinee performance at the Opera House in Boston, Massachusetts.
March 3, 1923
Appears with Denishawn in matinee and evening performances at the St. Denis Theatre in Montreal, Canada.
March 5, 1923
Appears with Denishawn at the Grand Opera House in Hamilton, Canada.
March 6, 1923
Appears with Denishawn at the International Theatre in Niagara Falls, New York.
March 7, 1923
Appears with Denishawn at the Park Theatre in Youngstown, Ohio.
March 8, 1923
Appears with Denishawn at the Memorial Hall in Columbus, Ohio.
March 9, 1923
Appears with Denishawn at the Marvin Theatre in Findlay, Ohio.
March 10, 1923
Appears with Denishawn at the Orchestra Hall in Detroit, Michigan.
March 12, 1923
Appears with Denishawn at the Pabst Theatre in Milwaukee, Wisconsin.
March 13, 1923
Appears with Denishawn at the Saxe’s Grand Opera House in Oshkosh, Wisconsin.
March 14, 1923
Appears with Denishawn at the Appleton Theatre in Appleton, Wisconsin.
March 15, 1923
Appears with Denishawn at the Orpheum Theatre in Green Bay, Wisconsin.
March 16, 1923
Appears with Denishawn at the Auditorium in Eau Claire, Wisconsin.
March 17, 1923
Appears with Denishawn at the Grand Opera House in Wasau, Wisconsin.
March 18, 1923
Appears with Denishawn at the Metropolitan Opera House in St. Paul, Minnesota.
March 19, 1923
Appears with Denishawn at the Metropolitan Opera House in St. Paul, Minnesota.
March 20, 1923
Appears with Denishawn at the Metropolitan Opera House in St. Paul, Minnesota.
March 21, 1923
Appears with Denishawn in matinee and evening performances at the Metropolitan Opera House in St. Paul, Minnesota.
March 22, 1923
Appears with Denishawn at the Metropolitan Opera House in Minneapolis, Minnesota.
March 23, 1923
Appears with Denishawn at the Metropolitan Opera House in Minneapolis, Minnesota.
March 24, 1923
Appears with Denishawn in matinee and evening performances at the Metropolitan Opera House in Minneapolis, Minnesota.
March 26, 1923
Appears with Denishawn at the Hoyt Sherman Auditorium in Des Moines, Iowa.
March 27, 1923
Appears with Denishawn at the Odeon Theatre in Marshalltown, Iowa.
March 28, 1923
Appears with Denishawn at the Majestic Theatre in Cedar Rapids, Iowa.
March 29, 1923
Appears with Denishawn at the Waterloo Theatre in Waterloo, Iowa.
March 30, 1923
Appears with Denishawn at the Clinton Theatre in Clinton, Iowa.
March 31, 1923
Appears with Denishawn in matinee and evening performances at the Majestic Theatre in Dubuque, Iowa.
April 2, 1923
Appears with Denishawn at the Orchestra Hall in Chicago, Illinois.
April 3, 1923
Appears with Denishawn at the Chatterton Theatre in Bloomington, Illinois.
April 4, 1923
Appears with Denishawn at the Orchestra Hall in Chicago, Illinois.
April 5, 1923
Appears with Denishawn at the Victoria Theatre in Steubenville, Ohio.
April 6, 1923
Appears with Denishawn at the Auditorium in Reading, Pennsylvania.
April 7, 1923
Appears with Denishawn at the Academy of Music in Philadelphia, Pennsylvania.
April 9, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 10, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 11, 1923
Appears with Denishawn in matinee and evening performances at the Town Hall in New York, New York.
April 12, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 13, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 14, 1923
Appears with Denishawn in matinee and evening performances at the Town Hall in New York, New York.
April 16, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 17, 1923
Appears with Denishawn at the Town Hall in New York, New York.
April 18 ,1923
Appears with Denishawn in matinee and evening performances at the Town Hall in New York, New York.
April 19, 1923
Appears with Denishawn in matinee and evening performances at the Holyoke Theatre in Holyoke, Massachusetts
April 20, 1923
Appears with Denishawn at the Hyperion Theatre in New Haven, Connecticut.
April 21, 1923
Appears with Denishawn at the Montclair Theatre in Montclair, New Jersey.
April 25, 1923
According to a later report in the Wichita Eagle, Brooks returned to Wichita, where she planned to stay with her parents until a departure for New Hampshire in June.
May 28-June 2, 1923
Brooks gives a “spirited solo” dance before “large audiences” as part of Jazz-A-Week at the Miller theater in Wichita. The performance, billed as part of “The International Conference of Syncopation” with the Diplomats of Jazz” preceded the showing of The Rustle of Silk, a Betty Compson film.
June 8, 1923
Brooks dances during the intermission of the Blue Melody Boys performance at the Shrine club in Wichita.
July 15, 1923
Wichita Eagle reports that Brooks has returned to the Denishawn summer school at Camp Mariarden, near Petersborough, New Hampshire.
August 17-18, 1923
Brooks dances in a production of Cupid and Psyche at Camp Mariarden. Also in the production are Ted Shawn and Lucille Smyser, a Denishawn student from Wichita.
October 15-16, 1923
Appears with Denishawn at the Apollo Theatre in Atlantic City, New Jersey.
October 17, 1923
Appears with Denishawn in matinee and evening performances at the Apollo Theatre in Atlantic City, New Jersey.
October 18, 1923
Appears with Denishawn at the Apollo Theatre in Atlantic City, New Jersey.
October 19, 1923
Appears with Denishawn at the Apollo Theatre in Atlantic City, New Jersey.
October 20, 1923
Appears with Denishawn in matinee and evening performances at the Apollo Theatre in Atlantic City, New Jersey.
October 22, 1923
Appears with Denishawn at the Academy of Music in Brooklyn, New York.
October 23, 1923
Appears with Denishawn at the Memorial Auditorium in Lowell, Massachusetts.
October 24, 1923
Appears with Denishawn at the City Hall in Lewiston, Maine.
October 25, 1923
Appears with Denishawn at the Exposition Building in Portland, Maine.
October 26, 1923
Appears with Denishawn at the City Hall in Bangor, Maine.
October 27, 1923
Appears with Denishawn at the City Hall in Bangor, Maine.
October 29, 1923
Appears with Denishawn at the Majestic Theatre in Bridgeport, Connecticut.
October 30, 1923
Appears with Denishawn at the Lyric Theatre in Baltimore, Maryland.
October 31, 1923
Appears with Denishawn at the Playhouse in Wilmington, Delaware.
November 1, 1923
Appears with Denishawn at matinee performance at the National Theatre in Washington, D. C.
November 2, 1923
Appears with Denishawn at the Academy of Music in Philadelphia, Pennsylvania.
November 3, 1923
Appears with Denishawn at the Academy of Music in Lebanon, Pennsylvania.
November 5, 1923
Appears with Denishawn at the Majestic Theatre in Williamsport, Pennsylvania.
November 6, 1923
Appears with Denishawn at the Academy Theatre in Hagerstown, Maryland.
November 7, 1923
Appears with Denishawn at the Hippodrome in Pottsville, Pennsylvania.
November 8, 1923
Appears with Denishawn at the Fulton Opera House in Lancaster, Pennsylvania.
November 9, 1923
Appears with Denishawn at the Columbia Theatre in Sharon, Pennsylvania.
November 10, 1923
Appears with Denishawn at the Opera House in Ashland, Ohio.
November 12, 1923
Appears with Denishawn at the Masonic Temple in Cleveland, Ohio.
November 13, 1923
Appears with Denishawn at the Masonic Temple in Cleveland, Ohio.
November 14, 1923
Appears with Denishawn at the Palace Theatre in Jamestown, New York.
November 15, 1923
Appears with Denishawn at the Olympic Theatre in Watertown, New York.
November 16, 1923
Appears with Denishawn at the Lyceum Theatre in Ithaca, New York.
November 17, 1923
Appears with Denishawn in matinee and evening performances at the Stone Theatre in Binghamton, New York.
November 19, 1923
Appears with Denishawn at the Park Theatre in Meadville, Pennsylvania.
November 20, 1923
Appears with Denishawn at the Haven Theatre in Olean, New York.
November 21, 1923
Appears with Denishawn in matinee and evening performances at the Eastman Theatre in Rochester, New York.
November 22, 1923
Appears with Denishawn at matinee performance at the Teck Theatre in Buffalo, New York.
November 23, 1923
Appears with Denishawn at the Court Theatre in Wheeling, West Virginia.
November 24, 1923
Appears with Denishawn at the Memorial Auditorium in Columbus, Ohio.
November 26, 1923
Appears with Denishawn at the Hill Auditorium in Ann Arbor, Michigan.
November 27, 1923
Appears with Denishawn at the Sandusky Theatre in Sandusky, Ohio.
November 28, 1923
Appears with Denishawn at the Coliseum in Richmond, Indiana.
November 29, 1923
Appears with Denishawn at the Grand Opera House in Anderson, Indiana.
November 30, 1923
Appears with Denishawn at the Orpheum Theatre in Marion, Indiana.
December 1, 1923
Appears with Denishawn at the Jefferson Theatre in Hamilton, Ohio.
December 2, 1923
Appears with Denishawn at the Columbia Theatre in Alliance, Ohio.
December 3, 1923
Appears with Denishawn at the State Theatre in Uniontown, Pennsylvania.
December 5, 1923
Appears with Denishawn at the Strand Theatre in Morgantown, West Virginia.
December 6, 1923
Appears with Denishawn at the Strand Theatre in Cumberland, Maryland.
December 7, 1923
Appears with Denishawn at the Carnegie Institute in Pittsburgh, Pennsylvania.
December 8, 1923
Appears with Denishawn at the Union Opera House in North Philadelphia, Pennsylvania.
December 10, 1923
Appears with Denishawn at the Moore’s Opera House in Clarksburg, West Virginia.
December 11, 1923
Appears with Denishawn at the Camden Theatre in Parkersburg, West Virginia.
December 12, 1923
Appears with Denishawn at the Woodland Auditorium in Lexington, Kentucky.
December 13, 1923
Appears with Denishawn at matinee performance at the Woman’s Club in Louisville, Kentucky.
December 13, 1923
Appears with Denishawn at the Woman’s Club in Louisville, Kentucky.
December 14, 1923
Appears with Denishawn at the Ryman Auditorium in Nashville, Tennessee.
December 15, 1923
Appears with Denishawn at the Auditorium in Hopkinsville, Kentucky.
December 25, 1923
Appears with Denishawn at the Memorial Auditorium in Dayton, Ohio.
December 26, 1923
Appears with Denishawn at the Emery Auditorium in Cincinnati, Ohio.
December 27, 1923
Appears with Denishawn at matinee performance at the Murat Theatre in Indianapolis, Indiana.
December 28, 1923
Appears with Denishawn at the Illini Theatre in Bloomington, Illinois.
December 29, 1923
Appears with Denishawn in matinee and evening performances at the Pabst Theatre in Milwaukee, Wisconsin.
December 31, 1923
Appears with Denishawn at the Plaza Theatre in Galesburg, Illinois.
January 1, 1924
Appears with Denishawn at the Empire Theatre in Quincy, Illinois.
January 2, 1924
Appears with Denishawn at the Price Theatre in Hannibal, Missouri.
January 3, 1924
Appears with Denishawn at the Lyceum Theatre in St. Joseph, Missouri.
January 4, 1924
Appears with Denishawn at the Auditorium in Ottawa, Kansas.
January 7, 1924
Appears with Denishawn at the Coliseum in Dallas, Texas.
January 8, 1924
Appears with Denishawn at the Auditorium in Waco, Texas.
Jan. 9, 1924
Appears with Denishawn in matinee and evening performances at the Hancock Opera House in Austin, Texas.
January 10, 1924
Appears with Denishawn at the Kyle Theatre in Beaumont, Texas.
January 11, 1924
Appears with Denishawn at the Grand Theatre in Galveston, Texas.
January 12, 1924
Appears with Denishawn in matinee and evening performances at the Auditorium in Houston, Texas.
January 13, 1924
Appears with Denishawn at the The Arcade in Lake Charles, Louisiana.
January 14, 1924
Appears with Denishawn at the Colombia Theatre in Baton Rouge, Louisiana.
January 15, 1924
Appears with Denishawn at the Jerusalem Temple in New Orleans, Louisiana.
January 16, 1924
Appears with Denishawn at the Rapides Theatre in Alexandria, Louisiana.
January 18, 1924
Appears with Denishawn at the Civic Center in Bartlesville, Oklahoma.
January 19, 1924
Appears with Denishawn at the College Auditorium in Manhattan, Kansas.
January 21, 1924
Appears with Denishawn at the Auditorium in Topeka, Kansas.
January 22, 1924
Appears with Denishawn at the Shubert Theatre in Kansas City, Missouri.
January 23, 1924
Appears with Denishawn at the Memorial Hall in Atchison, Kansas.
January 24, 1924
Appears with Denishawn at the Columbia Theatre in Columbia, Missouri.
February 1, 1924
Appears with Denishawn at the Bowersock Theatre in Lawrence, Kansas.
February 2, 1924
Appears with Denishawn at the Carney Music Hall in Pittsburg, Kansas.
February 3, 1924
Appears with Denishawn at the New Joplin Theatre in Joplin, Missouri.
February 4, 1924
Appears with Denishawn at the Convention Hall in Tulsa, Oklahoma.
February 5, 1924
Appears with Denishawn at the Orpheum Theatre in Muskogee, Oklahoma.
February 6, 1924
Appears with Denishawn in matinee and evening performances at the Joie Theatre in Fort Smith, Arkansas.
February 7, 1924
Appears with Denishawn at the Busby Theatre in McAlister, Oklahoma.
February 8, 1924
Appears with Denishawn at the Hippodrome in Okmulgee, Oklahoma.
February 9, 1924
Appears with Denishawn in matinee and evening performances at the High School Auditorium in Oklahoma City, Oklahoma.
February 11, 1924
Appears with Denishawn at the Fifth Avenue Theatre in Arkansas City, Kansas.
February 12, 1924
Appears with Denishawn at the Memorial Hall in Wellington, Kansas.
February 13, 1924
Appears with Denishawn at the Crawford Theatre in Wichita, Kansas.
February 14, 1924
Appears with Denishawn at the Orpheum Theatre in Lincoln, Nebraska.
February 15, 1924
Denishawn Dance Company starts a two day run at the Iowa Theatre in Des Moines, Iowa.
February 18, 1924
Appears with Denishawn at the Auditorium in Sioux City, Iowa.
February 19, 1924
Appears with Denishawn at the Brandeis Theatre in Omaha, Nebraska.
February 20, 1924
Appears with Denishawn at the Brandeis Theatre in Omaha, Nebraska.
February 21, 1924
Appears with Denishawn at the Cecil Theatre in Mason City, Iowa.
February 22, 1924
Appears with Denishawn at the Waterloo Theatre in Waterloo, Iowa.
February 23, 1924
Appears with Denishawn at the Majestic Theatre in Peoria, Illinois.
February 25, 1924
Appears with Denishawn at the Princess Theatre in Fort Dodge, Iowa.
February 26, 1924
Appears with Denishawn at the Englert Theatre in Iowa City, Iowa.
February 27, 1924
Appears with Denishawn at the Grand Opera House in Ottumwa, Iowa.
February 28, 1924
Appears with Denishawn at the Regent Theatre in Keokuk, Iowa.
February 29, 1924
Appears with Denishawn at the Peerless Theatre in Kewanee, Illinois.
March 1, 1924
Appears with Denishawn at the Grand Opera House in Dubuque, Iowa.
March 3, 1924
Appears with Denishawn at the High School Auditorium in Hibbing, Minnesota.
March 4, 1924
Appears with Denishawn at the Armory in Duluth, Minnesota.
March 5, 1924
Appears with Denishawn at the Grand Opera House in Faribault, Minnesota.
March 6, 1924
Appears with Denishawn at the Metropolitan Theatre in Rochester, Minnesota.
March 7, 1924
Appears with Denishawn at the Auditorium Theatre in St. Paul, Minnesota.
March 8, 1924
Appears with Denishawn at the Auditorium Theatre in Minneapolis, Minnesota.
March 10, 1924
Appears with Denishawn at the Orpheum Theatre in Green Bay, Wisconsin.
March 11, 1924
Appears with Denishawn at the Armory in Fond du Lac, Wisconsin.
March 12, 1924
Appears with Denishawn at the Rhode Opera House in Kenosha, Wisconsin.
March 13, 1924
Appears with Denishawn at the Fuller Theatre in Kalamazoo, Michigan.
March 14, 1924
Appears with Denishawn at the New Family Theatre in Adrian, Michigan.
March 15, 1924
Appears with Denishawn in matinee and evening performances at the Orchestra Theatre in Detroit, Michigan.
March 17, 1924
Appears with Denishawn at the Majestic Theatre in Port Huron, Michigan.
March 18, 1924
Appears with Denishawn at the Majestic Theatre in Jackson, Michigan.
March 19, 1924
Appears with Denishawn at the Gladmer Theatre in Lansing, Michigan.
March 20, 1924
Appears with Denishawn at the Powers Theatre in Grand Rapids, Michigan.
March 21, 1924
Appears with Denishawn at the Post Theatre in Battle Creek, Michigan.
March 22, 1924
Appears with Denishawn at the Majestic Theatre in Fort Wayne, Indiana.
March 24, 1924
Appears with Denishawn at the Auditorium in Saginaw, Michigan.
March 25, 1924
Appears with Denishawn at the Faurot Opera House in Lima, Ohio.
March 26, 1924
Appears with Denishawn at the Weller Theatre in Zanesville, Ohio.
March 27, 1924
Appears with Denishawn at the Auditorium in Newark, New Jersey.
March 28, 1924
Appears with Denishawn at the High School Auditorium in Greensburg, Pennsylvania.
March 29, 1924
Appears with Denishawn at the Mishler Theatre in Altoona, Pennsylvania.
April 1, 1924
Appears with Denishawn in matinee and evening performances at the Wieting Opera House in Syracuse, New York.
April 3, 1924
Denishawn Dance Company starts a two day run at the Manhattan Opera House in New York City.
April 5, 1924
Appears with Denishawn at the Academy of Music in Brooklyn, New York.
April 7, 1924
Appears with Denishawn at the Auditorium in Springfield, Massachusetts.
April 8, 1924
Appears with Denishawn at the Worcester Theatre in Worcester, Massachusetts.
April 9, 1924
Appears with Denishawn at the Manhattan Opera House in New York City.
April 10, 1924
Appears with Denishawn at the Stamford Theatre in Stamford, Connecticut.
April 11, 1924
Denishawn Dance Company starts a two day run at the Opera House in Boston, Massachusetts.
April 14, 1924
Appears with Denishawn at the Grand Opera House in Peterbarough, Ontario, Canada.
April 15, 1924
Denishawn Dance Company starts two day run at the Grand Opera House in Hamilton, Ontario, Canada.
April 17, 1924
Appears with Denishawn at the Scott’s Opera House in Galt, Ontario, Canada.
April 18, 1924
Denishawn Dance Company starts a two day run of matinee and evening performances at the Grand Opera House in London, Ontario, Canada.
April 21, 1924
Denishawn Dance Company starts two day run at the St Denis Theatre in Montreal, Canada.
April 23, 1924
Appears with Denishawn at the Auditorium in Ottawa, Canada.
April 24, 1924
Appears with Denishawn at the Grand Opera House in Kingston, Canada.
April 25, 1924
Denishawn Dance Company starts two day run at the Massey Music Hall in Toronto, Canada.
April 28, 1924
Appears with Denishawn at the Harmanus Bleecker Hall in Albany, New York.
April 29, 1924
Appears with Denishawn at the Colonial Theatre in Utica, New York.
April 30, 1924
Appears with Denishawn at the High School Auditorium in Morristown, New Jersey.
May 1, 1924
Appears with Denishawn at the Rivoli Theatre in New Brunswick, New Jersey.
May 2, 1924
Appears with Denishawn at the Savoy Theatre in Asbury Park, New Jersey.
May 3, 1924
Appears with Denishawn at the Palace Theatre in Trenton, New Jersey.
May 4, 1924
Possibly appears with Denishawn at the Weller Theatre in Zanesville, Ohio ?
May 6, 1924
Dismissed by Ruth St. Denis from the Denishawn Dance Company.
June 23, 1924
George White’s Scandals of 1924 opens at the Apollo Theater in Atlantic City, New Jersey for a one week, out-of-town run. Brooks has a small role.
June 29, 1924
Pictured with others in New York Times feature, “Broadway’s Latest Parade of Beauties.”
June 30, 1924
George White’s Scandals of 1924 opens at the Apollo Theater in New York City. Brooks has a small role.
July 8, 1924
New York Telegram and Evening Mail raves about Brooks, which states she is the “fairest youngster that has dawned on Broadway in a long time. This is her first show, and word came from Atlantic City that she was a revelation of superlatively lovely girlhood….”
September 18, 1924
Applies for a passport.
September 20, 1924
Leaves the United States aboard the RMS Homeric bound for Europe. Brooks gives her local address as the Wentworth Hotel.
October 12, 1924
The Witchita Eagle reports Brooks is in Paris, France. The newspaper noted, “Her departure was sudden and her parents have not received a letter from her since her arrival in Paris. She went abroad as a member of a company expecting to appear in the French capital.”
October 1?, 1924
According to Brooks, she was sitting in the lobby of the Hotel Edouard VII (39 Av. de l’Opéra) in Paris when Archie Selwyn encountered her. The well connected American producer persuaded her to go with him to London, where he got her a job dancing at the Cafe de Paris in London. According to the International Herald Tribune, Selwyn was reported to be in Paris on October 14; he was in Paris with his wife and staying at the Hotel Claridge (37 Rue François), working to secure a contract with the Spanish singing star Raquel Meller, who is performing in Paris at the Palace.
October 19, 1924
Brooks is living at 49A Pall Mall in London, England.
October 20, 1924
Begins dance engagement at the Cafe de Paris.
October 21, 1924
Variety reports that Brooks was “cordially received upon opening last night at the Cafe de Paris cabaret,” and that Layton & Johnstone have returned to the establishment for an extended engagement.
November 6, 1924
The Burden Times reports that the Cherryvale Republican reports that the Wichita press reports that Brooks was in Paris, France. The Burden paper notes, “Her departure from France was sudden and her parents have not received a letter from her since her arrival in Paris.”
December 9, 1924
Variety runs a brief bit, “Louise Brooks, former Follies girl now in films, is trying to restrain John de Mirijian, theatrical photographer, from circulating near nude pictures of her. A tabloid has hopped on the story and is running it in serial form with a semi-nude photo of Miss Brooks on the front page, daily.”
December 13, 1924
Brooks appears on the cover of National Police Gazzette.
January 14, 1925
Leaves England for New York City aboard the RMS Homeric, which had embarked at the port of Southhapton. Her age is incorrectly recorded as 19. (In Lulu in Hollywood, Brooks writes the ship left England on February 14, although the alien passenger list states January 14.)
January 30, 1925
The New York Daily News notes “Louise Brooks and Alfred James have been added to Louis the 14th, starring Leon Errol.”
February 17, 1925
Louie the 14th, with Louise Brooks, opens at Ford’s theater in Baltimore, Maryland; the this out-of-town trial engagement runs one week. Florenz Ziegfeld is quoted in the Baltimore News, “Louise Brooks is going to eclipse a lot of the present stars in a very few short years.”
March 3, 1925
“Louie the 14th” opens at the Cosmopolitan Theater in New York City.
April 4, 1925
Brooks appears on the cover of National Police Gazzette.
April 17, 1925
Reported absent from the cast of Louie the 14th.
April 21, 1925
Brooks meets African-American actor Paul Robeson at a party at the apartment of writer / photographer Carl Van Vechten. Robeson thought her “very conceited and impossible.”
April 24, 1925
Appears on the cover of the Police Gazette (first appearance on a magazine cover).
April 25, 1925
Variety reports Brooks, “one of the most popular members of Louie the 14th,” has “mysteriously disappeared from the cast if this musical comedy several days ago and her absence has been traced to the scouting agents of a moving picture company with studios on Long Island.”
May 1925
Production of The Street of Forgotten Men takes place at Paramount’s Astoria Studios on Long Island.
May 5, 1925
New York Evening Post reports Brooks has signed a contract with Famous Players Lasky.
May 9, 1925
Billboard reports that Brooks has returned to the cast of Louie the 14th.
May 16, 1925
Attends the Kentucky Derby in Louisville, Kentucky with director Herbert Brenon.
May 20, 1925
Brooks starts work on The Street of Forgotten Men.
May 30, 1925
The New York Daily News notes Brooks won a swimming match held at a party the previous day at Ethel Shutta’s house in Long Island.
June 21, 1925
Syndicated articles announce Brooks’ entry into film. A bit is carried in the Wichita Eagle.
June 28, 1925
Pictured in the New York Times in “Beauties of the Summer Edition of the Ziegfeld Follies.” The Wichita Eagle reports gossip out of New York that Brooks has been seen in the company of “an important theatrical publicity man.”
June 29, 1925
The Summer edition of the Follies opens at the New Amsterdam theater in New York City. Included in the cast are Will Rogers, Ray Dooley, Lina Basquette, Hilda Ferguson and Brooks.
July 6, 1925
Summer edition of the Ziegfeld Follies opens at the New Amsterdam theater in New York City. Brooks has a small role.
July 7, 1925
Mentioned in NYC newspaper reviews of Summer edition of the Ziegfeld Follies.
July 8, 1925
Mentioned in NYC newspaper reviews of Summer edition of the Ziegfeld Follies.
July 12, 1925
The Wichita Eagle writes, “Louise certainly gets a lot of publcity. She has had her picture in the picture section of the Times for three consecutive weeks. A very lovely one last Sunday.”
July 19, 1925
The Street of Forgotten Men opens at the Rivoli Theater in New York City. Ben Bernie and his Orchestra open.
July 22, 1925
First mention in the Los Angeles Times.
August 1, 1925
Billboard reports that Brooks has been named to the entertainment committee of the Picnic Club, a social group for stage professionals organized by W.C. Fields and Ray Dooley. The committee is headed by Leon Erroll, and includes Peggy Fears. Ethel Shutta is named treasurer of the club.
August 16, 1925
Appears on the cover of the Town Crier, the Sunday magazine of the Wichita Beacon.
August. 24, 1925
The Street of Forgotten Men (Famous Players-Lasky Corporation) is released in the United States. On the same day, production work begins on The American Venus.
August 31, 1925
Though unnamed, Brooks receives her first film notice in the Los Angeles Times.
September 1925
Production continues on The American Venus, in part, at Paramount’s Astoria Studios on Long Island.
September 9, 1925
Variety runs an article, “Tax Payments Reported,” which states that Louise Brooks paid $6,033 in taxes for the year 1924.
September 12, 1925
Brooks and a few others are quoted in Billboard in a piece called “Remarkable Remarks” — “True art instincts lead one up the right alley.”
September 16, 1925
Brooks and a tipsy Herman J. Mankiewicz attend No, No, Nanette at the Globe Theater on Broadway.
September 17, 1925
Brooks’ ghost-written review (by-lined by Herman J. Mankiewicz) of the stage play No, No, Nanette appears in the New York Times.
September 23, 1925
Syndicated columnist James W. Dean writes “Saw Charlie Chaplin and he seemed gay in the company of Louise Brooks, a young chorus dancer.”
October 24, 1925
The New York Daily News notes Brooks has signed a long term contract with Famous Players.
November 1925
Brooks appears on the cover of the November issue of Art & Beauty magazine.
November 1, 1925
Syndicated columnist Louella Parsons begins her column by noting that Brooks has been given a five year contract.
November 5, 1925
In news reports, Charlie Chaplin denies having an affair with Brooks.
November 7, 1925
Motion Picture News reports Brooks has been signed to a contract by Famous Players Lasky.
November 15, 1925
Brooks attends the fifth annual Actor’s Equity Ball at the Hotel Astor in New York City, escorted by actor and costume designer, John Harkrider. Tickets for the event were priced at $33.00, and the event lasted until 5 in the morning. Among those also in attendance were Nazimova, Fanny Ward, George Arlis, Ethel Barrymore, Conway Tearle, Al Jolson, John Emerson and Anita Loos, Cliff Edwards, and Marilyn Miller.
November 17, 1925
Los Angeles Evening Express reports Brooks has been signed by Famous Players Lasky.
November 28, 1925
Production is completed on The American Venus, with the final scenes having been shot the previous week.
November 30, 1925
First report of the “draped nudes scandal” appear in the New York Daily Mirror.
December 1, 1925
Wearing a celebrated “drafty” costume designed by John Harkrider, Brooks attends the Lafayette fête (a society fundraiser) held at the Hotel Astor in New York City. Also there in costume were Gloria Swanson as Marie Antoinette, and Adolphe Menjou as Price Eugene, with Leon Errol acting as master of ceremonies, and Irene Bordoni singing. Also attending were Ethel Barrymore, Noel Coward, Richard Barthelmess, Marilyn Miller, Walter Wanger, Otto Kahn, John Jay Chapman, and others. The photograph by Kadel & Herbert of Brooks wearing a “drafty costume called America, a mixture of frontier and ballroom” is widely distributed.
December 21, 1925
Production of A Social Celebrity begins, in part, at Paramount’s Astoria Studios on Long Island, and elsewhere in New York City.
December 25, 1925
Spends Christmas Day with A.C. Blumenthal and William Fox.
December 31, 1925
The American Venus is shown at the American in Oakland (Fay Lanphier’s hometown) as a New Year’s Eve midnight matinee, benefit screening.
January 11, 1926
The American Venus premieres at the Stanley Theater in Atlantic City, New Jersey.
January 20, 1926
Production of A Social Celebrity ends.
January 24, 1926
Appears on the cover of the Town Crier, the Sunday magazine of the Wichita Beacon.
January 29, 1926
The American Venus opens at the Rivoli in NYC. The theater “packed ‘em in” for a week because Fay Lanphier and seven of the 1925 Miss America contestants appeared on stage. Also making a nightly appearance were winners of the Evening Graphic contest to choose the most beautiful girl from each NYC borough.
January 30, 1926
Moving Picture World announces Louise Brooks will have the “lead feminine role” in It’s the Old Army Game, according to William Le Baron, associate producer in charge at Paramount’s Long Island studio.
January 31, 1926
The American Venus (Famous Players-Lasky Corporation) is released in the United States. Also, Brooks appears again on the cover of Town Crier, the Sunday magazine of the Wichita Beacon.
February 20, 1926
The New York Daily News notes that Brooks, W.C. Fields and others involved in It’s the Old Army Game would leave for Florida in “a few days.” Location shooting for It’s the Old Army Game takes place in Ocala and Palm Beach, Florida.
March 19, 1926
The New York Daily News reports Brooks, Eddie Sutherland, W.C. Fields, Blanche Ring, Mickey Bennett and others were expected to return to New York City from Florida, where they were filming It’s the Old Army Game.
March 21, 1926
Newspapers across the country run an illustrated article on the draped nudes scandal.
March 23, 1926
According to an article in an Atlantic City newspaper, Brooks was expected to be one of the stars in attendance at a large Paramount convention / meeting in New Jersey. Also expected were Thomas Meighan, Adolphe Menjou, W.C. Fields, Carol Dempster, D.W. Griffith, Eddie Sutherland, and Erich von Stroheim. Other notables likewise expected were Florenz Zeigfeld, Adolphe Zukor and Jesse Lasky.
March 29, 1926
A Social Celebrity (Famous Players-Lasky Corporation) is released in the United States.
March 31, 1926
American newspapers run a syndicated article on the draped nudes scandal titled ”Where and Why Miss Brooks Draws the Line.”
April 7, 1926
Texas Guinan’s 300 Club runs an advertisement in Variety boasting of the celebrities who were ring side table holders the prior week, including Brooks, Eddie Sutherland, Harold Lloyd, Norma Talmadge, Marion Davies, Hedda Hopper, Anita Loos, Sid Grauman, Red Grange, Harry K. Thaw, Heywood Broun and others.
April 17, 1926
Moving Picture World reports Brooks will co-star in The Show-Off.
April 18, 1926
A Social Celebrity opens at the Rivoli Theater in New York City.
April 25, 1926
The Mark Hellinger of the New York Daily News reports “Louise Brooks is flashing a new diamond bracelet.”
May 5, 1926
The New York Daily News reports Brooks has been cast in Glorifying the American Girl, which is expected to begin production on May 17.
May 16, 1926
Appears on the cover of the Town Crier, the Sunday magazine of the Wichita Beacon.
May 18, 1926
During a stopover in Newton, Kansas budding film star Buddy Rogers says he expects to be cast in So’s Your Old Man along with Louise Brooks.
May 22, 1926
Moving Picture World reports production work has begun on The Show-Off, with the character Clara being played by Iris Gray.
May 25, 1926
It’s the Old Army Game (Famous Players-Lasky Corporation) is released in the United States.
May 26, 1926
Brooks appears on the cover of the Danish film magazine Ugebladet — probable 1st appearance on a European magazine cover.
June 12, 1926
Moving Picture World announces Louise Brooks will play Clara in The Show-Off.
June 20, 1926
American newspapers run a syndicated profile on Brooks, “Who’s Who on the Screen.” That same day, The New York Herald Tribune reports Brooks was seen reading “Life of Edgar Saltus” (likely Edgar Saltus: The Man, a biography of the decadent American writer by Marie Saltus), at the Algonquin Hotel.
June 24, 1926
The New York Herald Tribune reports that Brooks was at the opening of No Foolin‘ at the Globe, as were Florenz Ziegfeld, George White, Texas Guinan, Ring Lardner, Grantland Rice, Gene Buck, Arthur Hammerstein, Ben Ali Hagin, and others.
July 16, 1926
American newspapers run a syndicated piece attributed to Brooks, “Funny Screen Experiences.”
July 21, 1926
Marries director Eddie Sutherland in New York City; the ceremony was performed by Deputy Clerk William McCormick at the city’s Municipal Building. Articles appear in many newspapers, as well as on the front page of the New York Daily News.
July 23, 1926
Brooks is guest of honor at the Ziegfeld Follies in New York City.
July 28, 1926
The New York Daily News reports Just Another Blonde, under the title The Charleston Kid, is in production at the Biograph studio.
August 2, 1926
Due to the heatwave in NYC, large containers of ice were placed next to electric fans in order to keep actors cool during the filming of The Charleston Kid at the Biograph studio.
August 12, 1926
Filming of Just Another Blonde begins, and takes place in and around New York City including at Coney Island.
August 6, 1926
Attends opening of first sound film, Don Juan (1926), with Peggy Fears and A.C. Blumenthal at the Warner Theater in New York City.
August 16, 1926
The Show-Off (Famous Players-Lasky Corporation) is released in the United States.
August 28, 1926
Filming of Just Another Blonde ends.
August 29, 1926
The New York Herald Tribune reports Brooks was seen “gliding briskly through the lobby of the Ambassador.”
August 30, 1926
Attends Rudolph Valentino’s funeral in New York City.
September 1926
Brooks appears on the cover of the September issue of Paris and Hollywood.
September 5, 1926
Visits Los Angeles and is reunited with husband Eddie Sutherland.
September 10, 1926
Under the title “Hectic Times,” the Los Angeles Daily Illustrated News runs a photo of Brooks and Sutherland.
September 13, 1926
The New York Daily News reports that production on Love Em and Leave Em would begin at the Astoria Studio, and that Esther Ralston would replace Evelyn Brent.
September 18, 1926
Brooks appears on the cover of Puerto Rico Illustrado, an illustrated magazine published in the American territory. On the same day, Roscoe McGowen of the New York Daily News writes an article, “Lady Makes Him Change His Mind, and It Hurts!”, reevaluating Brooks’ acting ability. “Miss Brooks is not a good screen actress-yet. She may be; I hope she will be some day. But that day probably will not arrive until some megaphone wielder with a sort of Prince Lucifer-Shaw-Simon Legree personality is given the job of directing her.”
September 23, 1926
Roscoe McGowen of the New York Daily News writes that Marja Talurjne, who is “only a showgirl, gown model, motion picture actress and artist,” agrees with his “recent animadversions” on Brooks, and thinks she would be “wonderfully successful as Tillie the Toiler“.
October 1926
Brooks appears on the cover of the October issue of Motion Picture Classic.
October 3, 1926
Irene Thirer writes in “Gotham Glimmerings,” her New York Daily News column, “Louise Brooks is having a race with her husband, Director Eddie Sutherland, he who used to be wed to Marjorie Daw. It’s this way: Louise is appearing in Love Em and Leave Em, now in production at the Astoria studio. Eddies at the coast directing We’re in the Navy Now, with Ray Hatton and Wally Berry. If Louise finishes her role first she’ll go out to the coast to visit with Eddie. If he’s finished first, vice versa. At this time, with the picture well on its way at the direction of Frank Tuttle, it looks as though Louise is going to get that westward trip.”
October 19, 1926
The New York Daily News reports that Eddie Sutherland and Louise Brooks have returned to New York City from Hollywood.
October 24, 1926
Irene Thirer writes in “Gotham Glimmerings,” her New York Daily News column, “Came upon Louise Brooks at an uptown tea room the other evening, digesting a sandwich and a movie magazine at the same time. Disturbed the lovely Louise, whereupon she told us she had almost completed her role in Love Em and Leave Em….” and” This is getting to be a column of pet hates…. Louise Brooks hates Hollywood.”
October 31, 1926
Motion Picture World reports that The Charleston Kid (later retitled Just Another Blonde)
“is now in the cutting room.”
October 31, 1926
Irene Thirer writes in “Gotham Glimmerings,” her New York Daily News column, “Met Louise Brooks and her husband, Eddie Sutherland, at the football game, rooting away like college kids.” (That game was likely Columbia vs. Cornell, which was played at the Polo grounds before 40,000 people. Columbia won a thriller, 17-9.)
November 5, 1926
Makes a personal appearance at a benefit pre-release midnight showing at the Rialto Theater of We’re in the Navy Now, directed by Eddie Sutherland, who is also on hand. (As is Betty Bronson, Ricardo Cortez, Richard ‘Skeets’ Gallagher, William Powell, Evelyn Brent, and Philip Strange. Helen Morgan sings.) The event is a benefit showing in aid of the New York American Christmas and Relief Fund.
November 7, 1926
Irene Thirer writes in “Gotham Glimmerings,” her New York Daily News column, “We do hear that Louise Brooks and her husband, Eddie Sutherland, are going to Europe for a honeymoon before either the director or the actress get to work, flickering some more.” That same day, the New York Herald Tribune reports that Brooks was one of a number of celebrities who attended Eddie Dowlings production of Honeymoon Lane at the historic Knickerbocker Theater.
November 19, 1926
Attends the opening of the Paramount theater in New York City, along with many other film stars (Gloria Swanson, Thomas Meighan, Neil Hamilton, Lya De Putti, William Powell) and celebrities (Mayor Jimmy Walker, Thomas Edison, Will Hays, Adolph Zukor, Jesse Lasky, Fannie Hurst, Rex Beach). The New York Daily News reported, “Louise Brooks, in gold cloth, was with her director-husband Eddie Sutherland.” After opening remarks, bits of some early films were shown including those starring Sarah Bernhardt, Mary Pickford, Marguerite Clark, Pauline Frederick and others. Large crowds gathered, blocking the street. The feature film was God Gave Me Twenty Cents.
November 28, 1926
In an interview with the New York Herald Tribune, Eddie Sutherland said he would not really try to help Brooks’ career.
December 5, 1926
The Mark Hellinger of the New York Daily News reports “Louise Brooks has a new bob.”
December 6, 1926
Love Em and Leave Em (Famous Players-Lasky Corporation) is released in the United States.
December 11, 1926
Brooks is present at a ceremony laying the cornerstone of the new Ziegfeld Theater in New York. Will Rogers is Master of Ceremonies, and Billie Burke officiates. Also present among the crowd estimated at 1,500 were William Collier Jr. (named next to Brooks), Lois Wilson, Thomas Meighan, Mary Brian and “many others.”
December 12, 1926
Just Another Blonde, under the title The Girl from Coney Island ,opens at the Mark Strand in New York. The Harry Langdon short, There He Goes, also debuts. Irving Aaronson and His Commanders perform, as does Amanda Brown, a coloratura soprano. At later screenings, the stage acts are replaced. On December 19, Ukelele Ike (Cliff Edwards) performs.
December 13, 1926
Just Another Blonde (First National Pictures) is released in the United States.
January 3, 1927
Production work begins on Evening Clothes (Paramount) in Hollywood.
January 6, 1927
Arrives by train in Hollywood, where she is greeted by director Monte Brice, producer Charles Christie, and writer Thomas Geraghty.
January 7, 1927
The New York Daily News reports “Louise Brooks has gone to the coast to play opposite Adolphe Menjou in Evening Clothes, and her lonesome husband, Director Eddie Sutherland, has remained to direct another movie at Astoria.”
January XX, 1927
Participates in a publicity photo with Adolphe Menjou in which Brooks is depicted painting the historic Lasky barn in Hollywood.
January 20, 1927
Participates in screen tests made for George Young, prize winning Canadian swimmer.
January 21, 1927
Is introduced from the stage along with other cast members prior to the Los Angeles debut of Just Another Blonde at the West Coast Uptown theater. Abe Lyman is master of ceremonies.
January 29, 1927
Production work ends on Evening Clothes (Paramount) in Hollywood.
February 1927
Brooks appears on the cover of the February issue of Photoplay.
February 6, 1927
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News that Brooks and Eddie Sutherland are making belated honeymoon plans, and are expected to come East.
February 23, 1927
Brooks is the guest of honor at Washington’s birthday gathering at the Montmarte Cafe in Hollywood.
February 25, 1927
The New York Herald Tribune reports that Brooks will be Raymond Griffith’s leading lady in The Undying Love, to be filmed in Astoria.
February 2X, 1927
Brooks departs by train for New York City.
March 4, 1927
Evening Clothes (Paramount) has world premiere at the Metropolitan theater in Los Angeles. Adolphe Menjou is in attendance at the special event, as was the noted poet and then current French ambassador to the United States, Paul Claudel. Each were introduced from the stage.
March 6, 1927
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News, “Louise Brooks has already left California on her way to New York to make her next picture here. Louise of the raven locks and bewitching brown eyes will be Raymond Griffith’s leading lady in his next comedy, The Undying Love. Doesn’t sound much like a comedy title, but Ray doesn’t let on that he’s going to try his hand at anything else. Ray Griffith has been promising for several months to make a movie in the east…. Actual filming is scheduled to begin at the end of this week with Frank Tuttle at the megaphone.”
March 19, 1927
Evening Clothes (Famous Players-Lasky Corporation) is released in the United States.
March 26, 1927
Moving Picture World writes “James Hall and Louise Brooks have been cast in the leading roles in Rolled Stockings, according to an announcement from the studio.”
April 1927
Ruth Waterbury profiles Brooks in Photoplay magazine.
April 3, 1927
The New York Daily News reports, “Louise Brooks and Eddie Sutherland are spending their first long spell of being in the same town since their marriage in re-doing Eddies former bachelor home. Louise has not had a home for years as she was formerly a New York chorus girl. She is certainly throwing her heart into her work. When she came here and saw her husband’s big rambling old house she promptly began making a home out of it, tearing out a few partitions and adding verandas and what-nots. The furniture shops are their delight. Buying furniture has became both a passion and an ambition with them.”
April 4, 1927
Production work begins on Rolled Stockings.
April 8, 1927
Cast of Rolled Stockings arrives in Berkeley, California to begin work on the film.
April 9, 1927
Brooks and James Hall make a personal appearance before an evening showing of Evening Clothes at the American Theater in Oakland, California.
May 5, 1927
Production work ends on Rolled Stockings.
May 21, 1927
Washington Times runs an article titled “Louise the Lovely Forging On.”
June 18, 1927
Rolled Stocking (Famous Players-Lasky Corporation) is released in the United States. Also on this day, a syndicated bit runs in newspapers which reads, “Louise Brooks and Eddie Sutherland, Paramounts interesting newlyweds, are planning a big house warming party with the completion of the rebuilding of Sutherland’s old Laurel Canyon home and the final construction of a hillside swimming pool.”
June 19, 1927
Los Angeles Times runs “The Slightly Bored Girl: Louise Brooks’s World-Weary Manner Merely Covers Sensitive Disposition.”
June 22, 1927
Production work begins on The City Gone Wild in and around Hollywood.
July 3, 1927
A syndicated piece published under the headline “Hollywood Fashion Notes” states “Louise Brooks appeared on the lot recently wearing opera pumps, belt, flower, hat, purse and frock all of the same shade of green leather and with her monogram on each piece of apparel.”
July 7, 1927
Production work ends on The City Gone Wild.
July 8, 1927
Attends the West Coast premiere of Way of All Flesh at Criterion Theater in Los Angeles, California. The film’s star, Emil Jannings, appeared on stage; others advertised as also being in attendance were Pola Negri, Clara Bow, Fay Wray, Bebe Daniels, Wallace Beery, Adolphe Menjou, Fred Kohler, Esther Ralston, Chester Conklin and others.
August 1927
Brooks appears on the cover of the August issue of Picture Play.
August 1, 1927
Production work begins on Now We’re in the Air (Paramount) in and around Hollywood.
August 2-4, 1927
On location shooting scenes (exteriors, American aviation field and headquarters) for Now We’re in the Air.
August 5, 1927
At the Paramount studio shooting scenes (interiors, American aviation headquarters) for Now We’re in the Air.
August 8-12, 1927
On location shooting scenes (carnival exteriors and dressing tent) for Now We’re in the Air.
August 10, 1927
Irene Thirer writes the New York Daily News, “Louise Brooks, her husband, Eddie Sutherland, Chester Conklin, W.C. Fields and Louise Fazenda are all going to Europe to make scenes from Tillie’s Punctured Romance, which Sutherland and Al Christie are directing.
August 16, 1927
The Benton Harbor News-Palladium runs a profile of Myra Brooks, “Mother of Screen Favorite,
Louise Brooks, Visits Here.”
August 17, 1927
Myra Brooks visits Benton Harbor, Michigan where she gives a talk at the local Chautauqua.
August 18-19, 1927
On location shooting scenes (exteriors of the German village, barnyard and chateau) for Now We’re in the Air.
August 19, 1927
Hollywood Daily Citizen reports Brooks will appear as Dorothy in Gentleman Prefer Blondes.
August 20, 1927
According to Film Spectator, Brooks is the 65th biggest draw among featured players.
August 20, 1927
At the Paramount studio shooting scenes (German headquarters, interiors & Chelaine’s living room, lap dissolve sequence) for Now We’re in the Air.
August 22-23, 1927
At the Paramount studio shooting scenes (interiors German headquarters, including hallway and dining room) for Now We’re in the Air.
August 24, 1927
Brooks attends a luncheon hosted by Virginia Lee Corbin at the Montmartre in Hollywood. Others in attendance were Mrs. Sam Warner, Phyllis Haver, Janet Gaynor, Lois Moran, Marceline Day, and Ruth Corbin.
August 26, 1927
On location shooting scenes (and isolated trench and a French road) for Now We’re in the Air.
August 27, 1927
At the Paramount studio shooting scenes (interiors in the aviation headquarters and ante room) for Now We’re in the Air. Later in the day attends a Hollywood party in honor of Lina Basquette.
August 29, 1927
At the Paramount studio shooting scenes (the execution yard) for Now We’re in the Air.
August 30, 1927
On location shooting scenes (exteriors for the 2nd, 3rd and 4th sequences in the aviation field and headquarters) for Now We’re in the Air.
September 6-7, 1927
At the Paramount studio shooting scenes (exteriors, on a boat) for Now We’re in the Air.
September 8, 1927
Shooting ends on Now We’re in the Air (Paramount).
September 14, 1927
Syndicated columnist Louella Parsons writes “I refuse to get excited over Paramount’s announcement that a new Dorothy must be found. I refuse to become even interested when they state that Louise Brooks is not the type and has therefore been taken out of the cast. Personally, I think Louise is lucky. There has been too much ballyhooing in advance and too much trying to work up interest. It is my private and personal opinion that Louise Brooks would have stolen the picture completely from Ruth Lee Taylor (Lorelei), and I do not believe I am alone in this opinion.”
September 20, 1927
The New York Daily News notes that Alice White has replaced Louise Brooks as Dorothy in Gentlemen Prefer Blondes.
September 24, 1927
Motion Picture World reports that Brooks has signed a “new long term contract with Paramount,” according to a studio announcement.
October 7, 1927
New York Sun columnist Eileen Creelman notes Brooks has returned to New York from Hollywood.
October 8, 1927
Irene Thirer writes the New York Daily News, “Louise Brooks is in town for a couple of days, doing the shows.”
October 10, 1927
New York Sun columnist Eileen Creelman notes Brooks was among those attending the October 7th opening of Texas Guinan’s new nightclub. (As did Peggy Fears, Herbert Brenon, Gladys Glad, Dagmar Godowsky, Lita Grey, Roger Wolfe Kahn, Lew Cody, Carmel Myers, and others.)
October 11, 1927
New York Sun columnist Eileen Creelman notes Brooks is expected to attend the opening of White Lights at the Ritz Theater. (As is Thomas Meighan, F. W. Murnau, Mabel Normand, Harold Lloyd, Carmel Myers, Henry King and others.) Elsewhere, United Press syndicated columnist Dan Thomas writes, “Meandering through Movieland…. Louise Brooks attempts to carry on a conversation with Emil Jannings’ German parrot.”
October 12, 1927
Irene Thirer writes the New York Daily News, “Harold Lloyd, Thomas Meighan, Louise Brooks, Carmel Myers, Lew Cody, Herbert Brenon and Fred W. Murnau attended the opening of White Lights, spoken drama, last evening.”
October 15, 1927
In his column, “Filmland Amusement Notes,” Geo. Perry writes, “. . . Clara Bow talking it over with lady lady director, Dorothy Arzner; Fred Kohler eating Tamales; Louise Brooks in a spotted dress. . . . ”
October 16, 1927
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News, “Louise Brooks is the kind of gal who must come to New York once in a while even if it’s only for a few days. Last Friday saw Louise, snappily garbed in a tricky brown autumn suit and natty brown felt hat, pacing Broadway. The following Monday saw this piquant brunette on her way back to Hollywood where her way back to Hollywood where her director-husband, Eddie Sutherland, and a good movie part await her. Louise lets us know she’s getting to like Hollywood, though she did think she never could get used to it. Having her family out to stay with her in the new Beverly Hills home for a while, of course means a good deal to the actress, who left nearly all her pals behind in Gotham when she went coastward some months ago.”
October xx, 1927
“One night in New York in Oct 1927 my beautiful nature was expanded to please Peggy Fears by going with Blumie and Joe Schenk to the Richmond club. After looking at Joe for a half-hour I grabbed my expensive cape and purse and rushed to the bar upstairs where Helen Morgan was singing on top of her piano.”
October 20, 1927
New York Sun columnist Ward Morehouse reports Brooks attends The Shannons of Broadway in New York. (As does Peggy Fears.)
October 22, 1927
Now We’re in the Air (Famous Players-Lasky Corporation) is released in the United States.
October 23, 1927
Mark Hellinger of the New York Daily News authors a full-page article about Joe “Two Gun” Murphy which suggests that he and Brooks are acquainted. Brooks is prominently pictured, below which the caption reads “It was nothing for Two Gun Murphy to be welcomed at the cabaret table of Louise Brooks.” In the literature of the times, it is suggested Murphy was a narcotics officer, though elsewhere it is suggested he had underworld involvement.
November ?, 1927
Production work begins on A Girl in Every Port in the Fox Studio in Hollywood.
November 20, 1927
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News, “And Louise Brooks has just gone westward, as well, after a much lengthier vacation here than she expected to have when she arrived in Gotham some weeks ago.”
November 24, 1927
With Eddie Sutherland, attends wedding of Louise Fazenda and Hal Wallis.
December ?, 1927
Production work ends on A Girl in Every Port.
December 9, 1927
The Rialto theater in New York hosts a 9pm “special premiere” of Now We’re in the Air.
December 17, 1927
Irene Thirer writes in the New York Daily News about celebrity plans for celebrating Christmas. Among the guests Mr. and Mrs. Wallace Beery are expected to share the holiday are Mr. and Mrs. Raymond Hatton and “Eddie Sutherland and his lovely wife, Louise Brooks.”
December 18, 1927
In one of the last recorded theatrical screenings, It’s the Old Army Game is shown at the Hudson theater in Richmond, Indiana.
December 25, 1927
Rosalind Shaffer’s Chicago Tribune piece, “Lavish Entertainments Mark Christmas in Hollywood,” notes “Mr. and Mrs. Wallace Beery have a venison feast off a dear that Wallace killed for their day’s feature. Raymond Hatton, Mrs. Hatton, Louise Brooks and Eddie Sutherland, her husband, dine with the Beerys.”
December 30, 1927
In one of the last recorded theatrical screenings, The American Venus is shown at the Ramona theater in Phoenix, Arizona.
January 1, 1928
Meets Pepi Lederer at the home of William Randolph Hearst in San Simeon, California.
January 7, 1928
Attends party with Eddie Sutherland at the Roosevelt Hotel ballroom; also in attendance are Paul Bern and Majorie Daw, Lois Wilson, Herbert Brenon, Edmund Goulding, Alexander Korda, Viola Dana, Thelma Todd, Ruth Taylor, Alice White, Gertrude Olmstead, Tom Mix and others.
January 11, 1928
Irene Thirer writes in the New York Daily News “Louise Brooks will be co-starred with Ruth Taylor in future productions.”
January 19-20, 1928
In one of its very last recorded theatrical screenings, The American Venus is shown at the Valentine theater in Canton, Ohio.
January 27, 1928
Attends pajama party with Eddie Sutherland at Esther Ralston’s Hollywood home; also in attendance are Buddy Rogers, George Bancroft, Mary Brian, Richard Arlen, Chester Conklin, Frank Tuttle, Warner Baxter, and others.
February 1928
Brooks appears on the cover of the February issue of Capt Billy’s Whiz Bang, an American humour magazine. Elsewhere, Myra Brooks’ article, “My Louise,” appears in Screenland magazine.
February 7, 1928
Attends premier of the John Ford film, Four Sons, at Carthay Circle Theater in Los Angeles. Along with the cast members, also attending were Renee Adoree, Thelma Todd, Hope Loring, Patsy Ruth Miller, Sally Rand, Phyllis Haver, Anita Stewart, and others.
February 9, 1928
An article in the New York Daily News states that Brooks has attended parties put on by playboy brokers John and Herbert locke.
February 18, 1928
A Girl in Every Port premieres at the Roxy Theater in New York City.
February 23, 1928
Leaves Los Angeles by train for Miami, Florida.
February 25, 1928
Though announced as attending, does not attend fete for Wampas Baby Stars at Ambassador Auditorium in Los Angeles.
February 26, 1928
A Girl in Every Port (Fox) is released in the United States.
February 27, 1928
Arrives in Miami, Florida.
February 27, 1928
Billboard reports that Paramount has purchased the rights to Beggars of Life, with William Wellman set to direct and with Richard Arlen and Brooks to be featured in the cast.
February 28, 1928
Departs Miami aboard a cruise ship bound for Havana, Cuba.
February 28, 1928
In one of the last recorded theatrical screenings, A Social Celebrity is shown at the Lyric theater in Tucson, Arizona.
March 9, 1928
An Irene Thirer article, “Louise Brooks in Havana,” in the New York Daily News states “And yesterday another movie player slipped out of Hollywood for a vacation in Havana. Louise Brooks left her Beverly Hills and went, without telling a studio soul anything about it until she already was on her way. Then she sent a wire. Louise wasn’t going to be busy at movie making for the next month or so, anyway…. Miss Brooks will come up to Gotham to join her director husband after her Havana stay. And the couple will catch the Century coastward together.”
March 16, 1928
Irene Thirer writes in the New York Daily News “Louise Brooks has arrived in town from Havana. She’s staying at the Ambassador for a week or so.”
March 18, 1928
Irene Thirer writes in her “Gotham Glimmerings” column in the New York Daily News, “Give Louise Brooks a hand! That gal just slips out of the studio gate, whenever she has a mind to, and goes off somewhere without letting anybody know. The other day nobody knew Louise had skipped until they got a wire from the train which was taking her to New Orleans, where she caught a boat to Cuba. From Havana, the lovely Louise will come up north and pay her semi-annual visit to New York. Here’s one young wealthy Hollywood matron (she married director Eddie Sutherland two years ago) who doesn’t forget that once she was a Ziegfeld show girl. In fact, she’s proud of it. She’s going to be starred in Glorifying the American Girl, at Flo Ziegfeld’s personal supervision, you know.”
March 23, 1928
Brooks is one of a handful of stars (Adolphe Menjou & Kathryn Carver, Paul Whiteman, Leon Errol, and others) who appear at the Paramount Movie Ball at the Hotel Astor. Music was provided by Vincent Lopez and two of his celebrated orchestras. The Paramount Pep-O-Grams newsletter described the event, “Ruth Elder, modestly beautiful, mingling with the Paramounteers who will later sell the pictures in which she is to be starred. Louise Brooks, with her customary clam confidence reflected in her face. These and many more made the evening a gay and representative one.”
March 27, 1928
The Brooklyn Standard Union reports Brooks will appear at the following day’s Brooklyn County Fair and Exposition.
March 31, 1928
New York Sun columnist Ward Morehouse reports that Brooks attends a Mayfair dance at the Ritz. (Also there was Helen Chandler, Betty Compton, William Boyd, James Gleason, etc…)
April 18, 1928
Associated Press reports Brooks and Eddie Sutherland have separated.
April 20, 1928
The New York Daily News runs an article stating Louise Brooks intends to sue for divorce, after moving into a hotel from her Laurel Canyon home the previous week.
May 1, 1928
In one of the last recorded theatrical screenings, The Show-Off is shown at the Princess theater in Deming, New Mexico.
May 3, 1928
Brooks files for divorce in Los Angeles. According to the actress complaint of divorce, the Los Angeles Evening Express reported husband Eddie Sutherland “made a practice of bringing boisterous friends home with him and entertaining them at late hours of the night…. Furthermore, Miss Brooks asserts, her husband refused to take her with him on a trip to Europe, saying that he ‘couldn’t be bothered with a wife’.”
May 12, 1928
Brooks and Mary Brian are guests of honor at an afternoon benefit bridge given by the Los Angeles alumni of Pi Kappa Psi, a national education sorority, on the south patio of the Alexandria hotel.
May 18, 1928
Production works begins on Beggars of Life in Hollywood.
May 19, 1928
Hollywood columnist Louella Parsons writes “Estelle Taylor in a brown straw hat and brown costume dining at the Russian Eagle. Louise Brooks, bareheaded, eating at the same restaurant.”
May 30, 1928
Brooks and Wallace Beery arrive in Jacumba, near the California-Mexico border, to begin location shooting for Beggars of Life.
June 8, 1928
Irene Thirer writes in the New York Daily News that Richard Dix and Louise Brooks have been chosen to appear in The Redskin, to be directed by Victor Schertzinger.
June 15, 1928
Location shooting ends on Beggars of Life in and around Jacumba, California (near the border with Mexico).
June 18, 1928
Production works ends on Beggars of Life.
June 19, 1928
In Los Angeles, Judge George W. McDill grants Louise Brooks an interlocutory divorce decree from Eddie Sutherland. According to the Los Angeles Evening Express, the divorce was granted on grounds of “extreme cruelty,” with Brooks being quoted thus, “He said he couldn’t be annoyed taking me out…. He always ssaid he was too busy or not interested.” Elsewhere, the Los Angeles Evening Post-Record reported, “However, when she asked to go to Europe with Sutherland, and he told her she might go to another place, reputed to be warmer, Miss Brooks rebelled.”
June 20, 1928
The captioned photograph in the New York Daily News quotes Sutherland, who reportedly told Brooks she could “go to hell, but you can’t go with me to Europe.”
June 23, 1928
Brooks departs Los Angeles for New York. Irene Thirer writes in the New York Daily News, “Louise Brooks is on her way to town to buy clothes and see the shows. When she returns to Hollywood she’ll be featured in The Canary Murder Case.
July 14, 1928
George Shaffer writes in her “Gotham Glimmerings” column in the New York Daily News, “Louise Brooks will leave in a few days for New York, where she will celebrate her recent marital emancipation from Eddie Sutherland.”
July 15, 1928
According to an article in the New York Daily News, Brooks’ name along with those of other celebrities such as Texas Guinan, Gertrude Lawrence, Mary Eaton, and Betty Compton were found by federal investigators on a “sucker list” of “ladies frequently called” by playboy brokers John and Herbert Locke.
July 17, 1928
The Wichita Eagle reports that Ted Brooks had departed Wichita for California for a vacation with his sister.
August 1928
Brooks portrait is taken by Edward Steichen in Hollywood.
August 14, 1928
In one of the last recorded theatrical screenings, Love Em and Leave Em is shown at the Lyric theater in Tucson, Arizona.
August 18, 1928
Billboard reports that Brooks has been withdrawn from the cast of The Canary Murder Case and reassigned to Redskin. (Mary Brian is reported to replace Brooks in the mystery film.)
August 23, 1928
Newspapers report that Brooks, Richard Dix and other members of the Redskin cast are preparing to depart for New Mexico.
August 25, 1928
Irene Thirer writes in the New York Daily News, “Richard Dix, Louise Brooks and The Redskin entire company will leave for location in northern New Mexico Monday, to make background shots on Indian reservations.”
August 27, 1928
Director Victor Shertzinger and the cast of Redskin leave for New Mexico.
August 28, 1928
In the evening, Brooks, Richard Dix and other 16 others involved in the filming of Redskin arrive in Gallup, New Mexico, where they stay at the El Navajo hotel.
August 29, 1928
Shooting begins on Redskin in New Mexico. Irene Thirer writes in the New York Daily News, “When Richard Dix arrives in Gallup, New Mexico, tonight with the Redskin company, he will be welcomed at the railroad station by 1,000 Navajo Indians, who have assembled there for annual tribal ceremonies. From the New Mexico town, the Dix unit will proceed 110 miles overland to the mouth of the DeChilly canyon, where the first of the natural color exterior sequences for Redskin will be filmed. Louise Brooks is Richard’s leading lady in the picture.”
September 11, 1928
Production works begins on The Canary Murder Case in Hollywood.
September 16, 1928
Newspapers report Brooks has returned to the title role in The Canary Murder Case due to the illness of Ruth Taylor, as well as because Brooks’ “thorough knowledge of Broadway and its life suited her perfectly to the role.”
September 18, 1928
Washington Post reports “To the great disappointment of everybody, Louise Brooks will not play Lorelei Lee’s girl friend in Gentlemen Prefer Blondes.”
September 19, 1928
In one of the last recorded theatrical screenings, The Street of Forgotten Men is shown at the Colonial theater in Bridgeport, Connecticut.
September 22, 1928
Billboard reports Brooks has been replaced by Gladys Belmont in Redskin, and transferred back to The Canary Murder Case. Beggars of Life (Famous Players-Lasky Corporation) is released in the United States.
September 25, 1928
Show Girl begins airing on the radio, with Marcella Shields voicing Dixie Dugan.
September 30, 1928
Appears on the cover of Kinematograph, a German trade journal, promoting her role as Lulu in Pandora’s Box.
October 1, 1928
Principal photography on The Canary Murder Case is completed. Brooks leaves for New York.
October 4, 1928
Irene Thirer writes in the New York Daily News that Louise Brooks will leave the following day for Germany aboard the S.S. Majestic, “where she will make one picture for UFA.”
October 6, 1928
Departs the United States aboard the S.S. Majestic enroute to Europe.
October 12, 1928
Arrives in Cherbourg, France.
October 11, 1928
The Emporia Weekly Gazette incorrectly reports that Brooks will pass through Emporia, Kansas on the east bound no. 20.
October12, 1928
Production works ends on The Canary Murder Case.
October 14, 1928
Arrives in Berlin.
October 17, 1928
In “Chatter in Berlin” (dated October 5), Variety writes “Louise Brooks has been selected as the lead in Lulu, G.W. Pabsts’ film version of Wedekind’s Erdgeist, the play which flopped in New York two seasons ago as The Loves of Lulu.” Production work begins on Pandora’s Box at the Nero-Film Studio in Berlin, Germany.
October 22, 1928
Ink impressions of Brooks’ left and right hands are taken by palmist Marianne Raschig.
November 4, 1928
Chicago Tribune names Beggars of Life one of the best films for the preceding month.
November 23, 1928
Production work ends on Pandora’s Box at the Nero-Film Studio in Berlin.
November 28, 1928
Sails from Cherbourg, France aboard the S.S. Majestic, a White Star liner, headed for New York City.
December 4, 1928
Arrives back in New York City on the S.S. Majestic. She gives her address as the Ambassador Hotel.
December 16, 1928
New York Sun columnist Ward Morehouse reports Brooks has a ringside table at the Club Rendezvous. (As do W.C. Fields, Harry Richman, Ann Pennington, Texas Guinan, Hilda Ferguson and others.)
December 1928
Brooks meets William S. Paley, the new owner of CBS. They keep company for the next two months.
December 19, 1928
Sound retakes for The Canary Murder Case take place without Brooks.
December 28, 1928
Hollywood columnist Louella Parson writes “The name of Louise Brooks seems to be missing from the new contract list. When she went abroad to make a picture for UFA, there was a rumor that this would be her last for Paramount.”
December 28, 1928
The New York Herald Tribune notes Brooks is among those invited to the new Ziegfeld production, Midnight Frolic.
January 8, 1929
Wichita Eagle gossip columnist Mrs. Busy Body writes that rumous had it that it was actess Bebe Daniels who broke up the Brooks-Sutherland marriage.
January 9, 1929
New York Sun columnist Ward Morehouse reports Brooks dining at the Club Rendezvous. (As were Peggy Hopkins Joyce, Paul Whiteman, George Olsen and Ethel Shutta, Ann Pennington, Gertrude Lawrence, Texas Guinan, Helen Kane, Eddie Cantor and others.) Variety reports Brooks on the town with Justine Johnston.
January 23, 1929
Variety writes, “Louise Brooks of the ‘movies’ thinks Jimmy Durante should have that schnozzola patented. Louise is quite the talk of the ringside these nights.”
January 30, 1929
Pandora’s Box (Nero-Film AG) is released in Germany.
February 9, 1929
Pandora’s Box premiere’s at the Gloria–Palast in Berlin.
February 15, 1929
Brooks, as the Canary, appears on the cover of Exhibitor’s Daily Review, a leading American trade journal.
February 16, 1929
The Canary Murder Case (Paramount Famous Lasky Corp.) is released in the United States.
February 23, 1929
Brooks appears on the cover of National Police Gazzette. The Canary Murder Case opens at the Embassy in NYC.
March 4-5, 1929
In one of the last recorded theatrical screenings, Rolled Stockings is shown at the Orpheum theater
in Sioux Falls, South Dakota.
March 6, 1929
After its Berlin debut, Variety reviews Pandora’s Box and declares Brooks ”unsuited to the vamp type.”
March 9, 1929
Billboard erroneously reports that Brooks has received an UFA contract.
March 29, 1929
Wire services report Brooks was to have departed for the continent aboard the Ile-de-France. (Apparently, this trip was postponed until April 29.)
March 30, 1929
Billboard reports Brooks is “out” at Paramount.
April 1929
A. Kraszna-Krausz’s “G.W. Pabst’s Lulu” appears in Close-Up, a London film journal.
April 6, 1929
American newspapers run a syndicated article featuring Brooks titled “Actress Studies Clothes Economy.”
April 10-11, 1929
In one of the last recorded theatrical screenings, Evening Clothes is shown at the Gem theater in Sheboygan, Wisconsin.
April 12, 1929
L’Indépendance Belge, a Belgian newspaper, runs a short review of Pandora’s Box following its
debut in Brussels.
April 15 – May 25, 1929
Brooks’ mother, Myra Brooks, speaks on “agelessness and the necessity and method of keeping youthful” and “What Every Woman Wants to Know” at the Studio of Philosophy in Hollywood.
April 20, 1929
The New York Daily News reports that Louise Brooks has departed for Europe the previous day aboard the Ile-de-France. That same day, Paris newspapers report Brooks is headed for Paris to appear in Prix de beaute.
April 26, 1929
Brooks arrives in Havre, France aboard the Ile-de-France, the French Line’s flagship. Others of note on the ship include author Anita Loos, playwright Philip Barry, socialite-screenwriter Townsend Martin, and actresses Genevieve Tobin and Dora Duby.
April 27, 1929
Brooks and Loulou are the subject of considerable press attention in Paris. Cinèmagazine, Cine-Journal and other publications all run articles.
May 8, 1929
Under the headline “Louise Brooks’ Grouch,” Variety runs a short piece stating the actress plans to bring action against a chorus girl in New York using the same name. “Miss Brooks says her picture has been used in front of theaters where the other girl has played.”
May 11, 1929
A Paris newspaper, L’Intransigeant, runs a picture of Brooks and Pabst together in Paris.
May 12, 1929
A reporter for the Paris-based newspaper, The Chicago Tribune and the Daily News, interviews Brooks at the Hotel Royal Monceau in Paris. A short article appears in the paper the following day.
May 30, 1929
Enjoys an evening out at Joe Zelli’s restaurant in Paris.
date unknown 1929
Autobiographical sketch attributed to Brooks, “Ein Wenig Louise Brooks,” published in Germany in Film Photos Wie Noch Nie.
June 14, 1929
Lady Nicotine, a columnist for the Inter-State Tattler, pens a piece titled “Alberta Hunter Returns,” in which she states that the famed African-American jazz and blues singer had met many celebrities on the Continent, including Alice Terry, Ramon Novarro, Cole Porter, and Louise Brooks.
June 17, 1929
Production work begins on The Diary of a Lost Girl in Berlin, Germany.
June 25, 1929
Variety reports Brooks is in Berlin to begin work on Diary of a Fallen Women, and that she will stay there for three weeks.
June 27, 1929
In one of the last recorded theatrical screenings, Just Another Blonde is shown at the West End theater
in Atlanta, Georgia.
July 6, 1929
Billboard reports that Max Goldberg, treasurer of Moviegraphs Inc. (which operates the 55th Street Cinema in NYC), has returned from Europe, where he and managing director Joseph R. Fleisher closed exhibition deals on a number of films, including Pandora’s Box.
July 13, 1929
The Boston Globe runs a story, “Film Stars, Failing in Talkies, Go to Europe,” which is subtitled “Louise Brooks in German Movies and Company In Paris Is Trying to Sign Her.” The article states, “Louie Brooks is another ex-Paramount star who is doing her starring abroad. She is now making pictures for a German producer, and her present picture is called The Diary of a Fallen Woman.” The Sofa Film Company of Paris also has designed upon the sinuous Louise and are trying to get her to make a picture in France.”
July 26, 1929
Production work ends on The Diary of a Lost Girl.
July 31, 1929
Leaves from Cherbourg, France aboard the S.S. Homeric bound for New York City.
Aug. 6, 1929
Arrives in New York City on the White Star line vessel S.S. Homeric. Brooks gives her address as 11 East 56th Street in New York.
Aug. 29, 1929
Production begins on Prix de beauté in and around Paris.
September 12, 1929
A brief United Press story, “Louise Brooks Star of First French Talkie,” reads “Louise Brooks, American film player, will be the star of the first French talkie, The Beauty Prize, it was announced today. The producers will include shots of crowds at various places and awards a prize to the most beautiful woman among those filmed.”
September 21, 1929
Billboard reports Brooks will star in Prix de Beaute.
September 27, 1929
The Diary of a Lost Girl premieres at the Gartenbau-Kino in Vienna, Austria. Also on this day,Production ends on Prix de beauté.
October 1, 1929
In Harve, Brooks departs France aboard the Ile-de-France. Also on board are Adolphe Zukor, singer Grace Moore, sculptor Paul Manship, and actress Beatrice Lillie. On the same day in the United States, in a syndicated article on beauty, famed literary critic and Pulitzer Prize winner Carl van Doren states Brooks is one of the two most beautiful women in the United States.
October 15, 1929
The Diary of a Lost Girl makes its German debut at the UFA Kurfurstendamn Theater in Berlin.
October17, 1929
First mention of Prix de beauté in the United States in Harry J. Ostrander’s syndicated column, “What’s Doing in Hollywood.”
October 23, 1929
The Diary of a Lost Girl (HOM Film) is released in Germany.
October 28, 1929
Enjoys an evening out at Joe Zelli’s restaurant in Paris.
October 30, 1929
Billboard reports, “Already definitely out of Paramount are Bebe Daniels and Louise Brooks.”
November 3, 1929
Pandora’s Box, as the Box of Pandora, “with foreign cast” is listed as showing at the 55th Street Playhouse in New York City.
November 27, 1929
Sails from Cherbourg, France on the S.S. Majestic headed for New York City. Also on baord are actresses Kathryn Carver (Mrs. Adolphe Menjou) and Edna Wallace Hopper.
November 30, 1929
Pandora’s Box, as the Box of Pandora, opens at the 55th Street Playhouse in New York City. The film runs through December 13. William S. Paley asks Brooks to see the film, but she refuses after reading the film’s poor reviews.
December 3, 1929
Arrives in New York City aboard the S.S. Majestic. Brooks gives her address as 111 East 50th Street.
December 5, 1929
Due to demands of the German state censor, The Diary of a Lost Girl is withdrawn from circulation.
December 6, 1929
New York Sun reports Pandora’s Box “smashed the Fifty-fifth Street Playhouse’s box office records. It will therefore be held for another week.”
December 17, 1929
Variety reports that a “French-speaking femme duped” Brooks’ lines in The Beauty Contest. “Miss Brooks’ French being limited and dialected, she merely memorized the french phrases, moved her lips accordingly and the ghost-voice recorded.” The brief article goes on to state, “Miss Brooks, just arrived in America, returns” to Europe in the spring ” for French and German talkers.”
December 21, 1929
Billboard reports that Brooks’ singing double in Prix de Beaute is Elaine Kennell, an American born lyric soprano.
December 29, 1929
Beggars of Life begins showing in Paris to great acclaim.
December 31, 1929
The New York Herald Tribune reports Brooks has booked a table for a New Year’s Eve party at Club Richman in NYC.
January 1, 1930
Syndicated columnist Hubbard Keavy reports Brooks will return to Hollywood.
January 3, 1930
In one of the last recorded theatrical screenings, Now We’re in the Air shows at the Empress theater in Fairbanks, Alaska.
January 6, 1930
The Diary of a Lost Girl re-released in Germany.
January 7, 1930
The Brooklyn Times Union notes Brooks was in the audience of the premiere of Children of Darkness at the Biltmore Theatre, as was Ralph Barton, Lillian Gish, George Jean Nathan, Robert Benchley and others.
January 9, 1930
Both the New York Daily News and New York Daily Mirror report crooner Harry Richman saying Brooks will reunite with Eddie Sutherland; Richman also claims he will wed Clara Bow.
January 10, 1930
Articles in the New York Daily News and elsewhere state that Louise Brooks will reunite with Eddie Sutherland. Similar articles in other New York newspapers note that the reunion statement was made with Brooks’ consent.
January 12, 1930
Sidney Skolsky, writing in the Daily News, notes “The other evening at a night club Joan Bennett was introduced to Louise Brooks. Miss Bennett on approaching Miss Brooks lifted a lorgnette and peeped at her through it. Louise took this for a ritzy gesture, and later in the evening when she had occasion to walk over to Joan’s table she picked up a spoon and looked at Miss Bennett. The truth of the matter is that Joan Bennett is a charming girl who never puts on the dog but happens, through no fault of hers, to be nearsighted.”
January 15, 1930
New York Sun columnist Ward Morehouse reports Brooks was dining and dancing at the Club Richman. (As were Eddie Sutherland, Joan Bennett, Ann Pennington, Rudy Vallee, Vincent Lopez, Lily Damita, Helen Morgan and others.) That same day, Irene Thirer writes in the New York Daily News that Brooks, along with Lily Damita, Estelle Taylor, Lillian Gish, Phyliss Haver, Maurice Chevalier, Claudette Colbert and others will attend Cynthia White’s Greenwich Village Ball at Webster hall on January 17.
January 17-20, 1930
In one of the last recorded theatrical screenings, The City Gone Wild shows at the Empress theater in Fairbanks, Alaska.
January 26, 1930
Attends cocktail party at Clifton Webb’s. Also present are Fred Astaire and his sister Adele, authors Edna Ferber and Carl van Vechten, singer Libby Holman, actresses Marilyn Miller and Ruth Donnelly, and others (Edward Wasserman, Blanche Knopf ?).
January 27, 1930
Pandora’s Box, as the Box of Pandora, opens at the Little Theater in Baltimore, Maryland. The heavily censored film runs through February 1, 1930.
February 6, 1930
Eddie Sutherland weds Ethel Kenyon in Mexico. The couple separates on August 16.
February xx, 1930
In “Louise Brooks for Vaude,” Variety reports “Louise Brooks, American film player who recently returned from Germany after being featured in a few pictures, is being offered by the M.S. Bentham office for vaude. Miss Brooks may use a sketch by Anita Loos titled “Why Gentleman Marry Brunettes.”
February 14-15, 1930
In one of the very last recorded American theatrical screenings following its release,
A Girl in Every Port shows at the Memorial Opera House in Valparaiso, Indiana.
February 17, 1930
The Chicago Tribune and the Daily News, a Paris-based newspaper, reports “American distributors were so impressed by Miss Europe that they paid a large sum for the American rights.”
February 25, 1930
Attends performance of The Last Mile, a play by John Wexley, at the Sam H. Harris Theatre in New York. Among those in the cast is Spencer Tracey.
March 7, 1930
Ciné-Miroir, a French film journal, publishes an article on fashion attributed to Brooks.
March 12, 1930
Attends opening of Love, Honor, and Betray, starring Alice Brady, at the Eltinge theater in New York City.
March 25-26, 1930
Brooks is featured prominently in an advertising campaign for Lux Toilet Soap which runs in newspapers across the country.
March 26, 1930
Los Angeles Times columnist Grace Kingsley writes, “Charlie Crouch, who coauthored This Is College, seen here not long ago, has become dramatic editor of a theatrical paper, and writes us entertainingly from New York. ‘Louise Brooks,’ says Crouch, ‘has a charming apartment on Park avenue, and is utilizing the money earned by working for the picture companies in Berlin and Paris to take vocal lessons, inasmuch as she is to featured in a musical show here in the fall.”
April 2, 1930
A Paris newspaper reports that sheet music and recordings from Prix de beaute are already selling in Paris, despite the fact that the film had yet to be released.
April 2, 1930
Book columnist William Soskin reports what a few celebrities are said to be reading (Clara Bow, Hulu), and somewhat incredulously notes Brooks is reading Hermann Sudermann’s The Mad Professor and Stefan Zweig’s The Case of Sergeant Grischa.
April 10, 1930
The local gossip olumnist for the Wichita (Evening) Eagle notes “Louise Brooks – she’s getting places in abig hurry. She is in Germany now and has played opposite Emile Jannings in several pictures. Louise is the type for which the German’s have a particular weakness, and great things are prophesisied for her in the talkies – even though she was really too nervous to talk in The Canary Murder Case.”
May 1, 1930
In one of it’s last known overseas screenings, A Social Celebrity is shown in Port-o-Spain, Trinidad.
May 3, 1930
Billboard reports that David Belasco has interviewed Brooks with the thought of starring her in a show.
May 9, 1930
Prix de beauté premieres at the Max Linder-Pathe in Paris, France.
May 12, 1930
The Chicago Tribune and the Daily News, a Paris-based newspaper, writes “Prix de beauté, which is another way of saying Louise Brooks, has arrived at the Max Linder after months of publicity. You will probably think it is the best picture Miss Brooks has made on her free-lance tour of Europe. The American star enjoys great popularity with French fans and it is to be expected that Prix de beauté wil run a goodly season here.”
May 27-28, 1930
Brooks is featured prominently in an advertising campaign for Lux Toilet Soap which runs in newspapers across the United States.
June 1, 1930
Prix de beauté continues at the Max Linder-Pathe in Paris, while Trois pages d’un journal (Diary of a Lost Girl) begins a two week run at another Parisian theater, the Colisée.
June 1-14, 1930
Stays at the Cavalier Hotel while visiting Virginia Beach, near Norfolk, Virginia.
June 11, 1930
The Los Angeles Evening Express reports David Belasco interviewed Brooks “with a view to putting her into his next show, which is scheduled to open in August.”
June 14, 1930
Syndicated columnist Gilbert Swan name-checks Brooks as one of many Broadway hangers-on.
June 15, 1930
Mention of Prix de beauté in the New York Times.
June 21, 1930
Billboard reports that Brooks is the prospective leading lady in a Broadway stage production of Torch Song by Kenyon Nicholson, to be produced by Arthur Hopkins. The play’s story centers on a dance-hall girl who finds reformation via the Salvation Army.
July 12, 1930
Billboard reports that Brooks may be featured in The Greeks Had a Name for It by Zoe Atkins, to be produced by William Harris Jr..
mid-1930
Expecting to meet with Jack Cohn, visits Colombia’s New York offices in search of work.
July 20, 1930
Travels by train (aboard the Twentieth Century) to Los Angeles in the company of Colombia executive Jack Cohn and director Dugal Stewart Walker.
July 30, 1930
Meets with Harry Cohn at Colombia Studios.
July 31, 1930
Syndicated columnist Louella Parsons writes “The sleek, dark-haired Louise Brooks, erstwhile ‘Follies’ girl and former wife of Eddie Sutherland is in Hollywood. I found Louise perched in a chair in the waiting room at Columbia. She had just come on from New York with Jack Cohn, one of the officers of the Columbia corporation and Dugal Stewart Walker who has been signed to direct plays. Columbia’s plan for the former “follies’ favorite is to feature her in a western opposite Buck Jones with Art Ressen directing. Both Cohns, Harry and Jack, were working out the plans yesterday. Meanwhile the ‘starving young actress’ as Louise calls herself, is at the Ambassador receiving all her old-time friends.”
August 3, 1930
Los Angeles Times columnist Myrna Nye reports that Brooks attended a Russian themed party at the home of Dimitri Tiomkin in Los Angeles. Among the many other guests were Edmund Goulding, King Vidor, Eleanor Boardman, Sigmund Romberg, Joseph Mankiewicz, David O. Selznick, Irving Berlin, Dashiel Hammett, Colleen Moore, Ernst Lubitsch, Sam Goldwyn, William DeMille, Agnes DeMille, Constance Bennett, Humphrey Bogart, Paul Bern, Kay Francis, Benjamin Glazer, Carl Laemmle, Basil Rathbone, Maurice Chevalier, Marie Dressler, and others.
August 4, 1930
Hollywood columnist Louella Parson writes “The sleek, dark haired Louise Brooks, erstwhile Follies girl and former wife of Eddie Sutherland is in Hollywood. I found Louise perched in a chair in the waiting room at Columbia. She had just come on from New York with Jack Cohn, one of the officers of the Columbia Corporation, and Dugal Stewart Walker, who has been signed to direct plays. Columbia’s plan for the former Follies favorite is to feature her in a Western opposite Buck Jones with Art Bessen directing. Both Cohns, Harry and Jack, were working out the plans yesterday. Meanwhile, the ‘starving young actress as Louise calls herself, is at the Ambassador receiving all her old-time favorites.”
August 10, 1930
Syndicated columnist Radie Harris reports Brooks is living at Lois Moran’s Malibu home, Halikalani. (Neighbors include John Boles and Ronald Colman.)
August 12, 1930
In an article titled “Wichita Star to Visit Home Soon”, the Wichita (Evening) Eagle writer that Brooks is expected to be in Wichita in September for a short vacation with her father. It also mentioned that Brooks had passed through Wichita a month earlier with sister June.
August 20, 1930
Prix de Beauté (SOFAR Film) is released in France.
August 23, 1930
Syndicated columnist Louella Parsons reports Brooks, “still wearing the distinctive Dutch bob,” was seen dining at the Coconut Grove.
August 24, 1930
Pandora’s Box shows at the Gaiety theatre, Tottenham Court-road in London, England, and is briefly reviewed in the London Observer.
August 26, 1930
Syndicated columnist Hubbard Keavy reports Brooks is set to resume her career.
August 26, 1930
Syndicated columnist Louella Parsons reports Brooks seen at the Coconut Grove “dressed in black chiffon.”
August 30, 1930
A “gala welcome home program in honor of Louise Brooks” is held at Olsen’s in Culver City. The recently opened niteclub is owned by George Olsen.
September 21, 1930
In a syndicated article, “Actress Returns from Stay Abroad,” Brooks is seemingly quoted. “Foreign film producers will never threaten the supremacy of America in the motion-picture industry, asserts Louise Brooks, former Hollywood actress, who for several years has been appearing in pictures abroad. They lack the technique and vision of Americans, she discovered during her sojourn in Germany and England.”
October 5, 1930
In an unattributed article, “Louise Brooks to Stay Here,” the Los Angeles Times reports that “Europe no longer has any lure” for the actress, and that she has turned down three offers to return.
November 1, 1930
Modern Screen magazine reports Brooks attends a party celebrating the 1st wedding anniversary of Marian Nixon and Eddie Hillman, at which she wears coral chiffon. Also present was Jean Harlow, Mary Eaton, Sue Carol, Hoot Gibson and Sally Eilers.
November 4, 1930
Variety reports “Louise Brooks, formerly starred by Paramount and in Germany until a few months ago, has a small part in Paramount’s new talker, Buy Your Women.” It stars William Powell.
November 12-13, 1930
In one of the last recorded American theatrical screenings, Beggars of Life is shown at the Memorial Opera House in Valparaiso, Indiana.
November 16, 1930
Newspapers report “Louise Brooks, newly returned from Europe, has just been signed for a role opposite William Powell in his next Paramount picture, tentatively titled Buy Your Woman.”
November 22, 1930
In one of its last overseas screenings, A Girl in Every Port is shown at Star Pictures in Pittsworth, Queensland, Australia.
November 28, 1930
Syndicated columnist Harrison Carroll writes, “Players whose options are not taken up have a way of finding their way back to the same studio to make pictures. She returns to Paramount to play an important part in William Powell’s new picture, Buy Your Woman. Her last previous role there was in The Canary Murder Case. She went to New York before this picture finally was completed, and Margaret Livingston had to double for her in long shots. In the old days, Louise was Mrs. Eddie Sutherland. She has been back in Hollywood only a short time.”
December 2, 1930
The Diary of a Lost Girl shows in Zurich, Switzerland.
December 19, 1930
Los Angeles Times reports that Brooks has been cast in It Pays to Advertise, along with Carole Lombard and Norman Foster.
January 3, 1931
A syndicated columnist writes, “Hollywood is suffering from a veritable epidemic of divorce and separations. The latest idea in parties is the ‘separation parties.’ The Eddie Sutherlands entertained at one recently…. Sutherland was formerly married to Louise Brooks, and when they were divorced he declared that he would never marry again. But, of course, he did. Six months ago he married Ethel Kenyon, a New York stage actress. And this is the result of that experiment. The separating couple did not announce their plans–but it is said that as soon as the party was over Eddie rushed to Agua Calinte, where Louise Brooks is staying–and the pair of them acted as though they were ever so glad to be together again.”
January 4, 1931
In “Louise Brooks to Be in Film for Paramount,” the Los Angeles Times reports Brooks has been cast in Have You Got It? (later changed to It Pays to Advertise), to be directed by Frank Tuttle.
January 4, 1931
In one of the last recorded theatrical screenings in the 1930s, The Canary Murder Case is shown at the Piccadilly theater in Rochester, New York.
January 6, 1931
Irene Thirer writes in the New York Daily News that Brooks has joined the cast of Have You Got It?
January 13, 1931
Syndicated columnist Louella Parsons reports Brooks has been given a “big role” as a society girl in William Wellman’s The Public Enemy.
January 14, 1931
Los Angeles Times reports that Brooks has been cast in The Devil was Sick (later changed to God’s Gift to Women), with Frank Fay, Joan Blondell, and others.
January 15, 1931
Attends performance of Porgy stage play at the Music Box Theater in Los Angeles. Also in attendance were other cast members of God’s Gift to Women, as well as Barbara Stanwyck, Frank Capra, Jack Holt, Hobart Bosworth, and Ralph Graves.
January xx, 1931
Returns to New York City.
Febuary 3, 1931
New York Sun columnist Ward Morehouse reports Brooks attends the Mayfair dance at the Ritz. (As do Ruth Chatterton, Wesley Ruggles, Samuel Goldwyn, Bert Lahr, Peggy Fears & A.C. Blumenthal, Fred Waring and others.)
February 13-19, 1931
Beggars of Life plays at five historic theaters in Paris, the Voltaire-Palace-Aubert, Gambetta-Palace-Aubert, Grand Cinema Aubert, Convention-Aubert, and Regina-Palace-Aubert.
Febuary 19, 1931
It Pays to Advertise is released in the United States by Paramount Publix Corp; the film opens at the Paramount Theater in New York City. In its review, the New York Daily News reports that Brooks “came in for some hand-claps” when she appeared on screen.
Febuary 22, 1931
Various newspapers report Brooks has been cast in The Public Enemy.
Febuary 25, 1931
Eddie Sutherland’s second wife, Ethel Kenyon, sues for divorce after a brief marriage.
March 21, 1931
Hollywood columnist Louella Parson writes, “Louise Brooks and Mona Maris glimpsed among the interesting looking women at the Cocoanut Grove in the Ambassador Hotel.
March 24, 1931
According to the Los Angeles Times, Brooks is being considered for the role of Poppy in Mrs. Leslie Carter’s upcoming stage production of The Shanghai Gesture at the Hollywood Playhouse.
March 29, 1931
Los Angeles Times runs a photo spread titled “Back in the Race” featuring five actresses attempting a comeback — Brooks, Dolores Costello, Lois Wilson, Gretta Nissen, and Doris Kenyon.
April 5, 1931
Los Angeles Times runs an article, “Septet of Former Screen Favorites Restored to Place in Public Eye,” which discusses Brooks and quotes Brooks’ Mother.
April 15, 1931
God’s Gift to Women is released in the United States by Warner Brothers.
April 16, 1931
God’s Gift to Women opens at the Strand theater in New York City; star Frank Fay makes a personal appearance for a week, presenting a “Laff-Act”.
May 3, 1931
Windy Riley Goes Hollywood is released in the United States by Educational Pictures.
May 17, 1931
Pandora’s Box, with a synchronized soundtrack, opens a short run at the Little theater in Newark, New Jersey.
May 24, 1931
Brooks arrives in Wichita with sister June for a short, two-day visit with her family. Two days later, the Wichita Eagle paper carries a portrait of Brooks and her sister, as well as an interview with the actress.
June 11, 1931
Harrison Carroll’s syndicated column states, “Much craning of necks greeted the appearance of Louise Brooks in evening pajamas on the dance floor of the Ambassador’s Coconut Grove” in Los Angeles.
1931
Brooks returns to New York City.
July 23-24, 1931
In one of the very last recorded theatrical screenings, The Canary Murder Case is shown at the Capitol theater in Portland, Oregon.
September 3, 1931
In one of its last overseas screenings, The City Gone Wild is shown at Stadium Pictures in Darwin, Northern Territory, Australia.
October 14, 1931
In one of it’s last known screenings, Rolled Stockings is shown at Stadium Pictures in Darwin, Northern Territory, Australia.
October 14, 1931
New York Sun columnist Ward Morehouse reports Brooks attends the Earl Carroll Vanities. (As did Jeanette MacDonald, David Selznick, Ginger Rogers, Sophie Tucker, Sue Carroll, Fay Wray, Barbara Bennett & Morton Downey, Lois Moran and others.)
October 19, 1931
Muriel Babcock’s syndicated column notes Brooks is under consideration for the ingenue role in Norma Krasna’s Louder Please, a stage production by A.L. Jones.
October 24, 1931
New York Sun columnist Ward Morehouse reports Brooks attended the Mayfair dance at the Ritz. (As did Jeanette MacDonald, David Selznick, Ginger Rogers, Sophie Tucker, Sue Carroll, Fay Wray, Barbara Bennett & Morton Downey, Lois Moran and others.)
October 26. 1931
Replacing Olive Borden, Brooks appears in a pre-Broadway staging of Norma Krasna’s comedy, Louder, Please, at Brandt’s Boulevard Theater in Brooklyn. Also in the cast are Lee Tracy and Robert Gleckler, as well as Frank Thomas, Aleta Freel, Mildred Wall, Buford Armitage and Charles Laite. A.L. Jones is producer by arrangement with Manny Wolfe. Within days, Brooks leaves the cast and is replaced by Jane Buchanan (as reported November 9).
November 14, 1931
Brooks is reported to be among those who attend the Mayfair Club dance at the Ritz-Carlton. Also attending were Adele Astaire, Monta Bell, George White, Earl Carroll, Joan and Barbara Bennett, Morton Downey, Regis Toomey, Marshall Neilan, NYC Mayor Jimmy Walker and others.
December 8, 1931
In one of it’s last known screenings, Now We’re in the Air is shown at the Don Theater in Darwin, North Australia.
1932
An illustrated novelization of Prix de beauté is published in France, with Brooks’ image on the cover.
1932
A photo and short biography of Brooks appears in Cedric Osmond Bermingham’s Stars of the Screen 1932 (London: Herbert Joseph).
1932
The popular French film magazine, Pour Vous, publishes a list of the best films up until that time. Three of Brooks’ films make the list: Les Mendiants de la vie (Beggars of Life),
A Girl in Every Port (which kept it’s English-language title in France), and Trois pages d’un journal (Diary of a Lost Girl).
January 10, 1932
Florenz Ziegfeld’s article, “I Knew ‘Em When,” notes, “Another name well known to the movies not so long ago was Louise Brooks. She joined my companies as a chorus girl in Louie the 14th. Her beautiful and colorful personality won my immediate attention, however, and I soon decided I must give her some prominence. I placed her in the madcap dance number there fore, a kind of fight number which opened the first act. Her flaming intensity in this flight, her beauty and the cracking of the lash seemed to set off the whole show at a high tempo.”
February 2, 1932
Various newspapers begin reporting on Brooks’ money troubles.
February 10, 1932
United Press reports Brooks files for bankruptcy in Federal Court, listing liabilities as $11,969, and assets only of personal wearing apparel, most of which, according to Associated Press, were “purchased in exclusive Fifth avenue shops.” Brooks gave her occupation as “motion picture actress, unemployed.”
February 14, 1932
News wires report Brooks has left for Bermuda the previous day aboard the Monarch of Bermuda, just a few days after reporting on the actress’ money troubles. The Universal piece reported “She was the last passenger to board the vessel, dashing up the gangway with a Pomeranian dog a minute before sailing. She had reserved one of the least expensive rooms on the ship.” Also on board is Mr. and Mrs. Jesse L. Lasky.
February 25, 1932
Does not board the Monarch of Bermuda, sailing from Hamilton, Bermuda, and fails to return to New York City. On the passenger manifest, Brooks’ given address is the Madison Hotel.
February 25, 1932
In one of its last overseas screenings, The Canary Murder Case is shown at Campbell Town Pictures (as part of a double bill with The Saturday Night Kid) in Launceston, Tasmania, Australia.
March 10, 1932
Associated Press reports Brooks appears at a hearing in New York (presided over by Referee Coffin) on her voluntary bankruptcy petition, and claims to be “flat broke.”
March 19, 1932
Syndicated columnist Maurice Dancer notes Brooks was among the many celebrities who visited the Yeah Man jazz club in Harlem within the last week. Others include Libby Holman, Harold Arlen, Lilyan Tashman, Paul Robeson, Louis Armstrong, Earl Hines, and others.
April 11, 1932
Syndicated columnist Mark Barron writes, “Gloria Fay and Gloria Foy are always getting each other’s mail. And one wonders how all those Louise Brooks girls keep their identities separate. There is Louise Brooks, the actress. Another is a well known debutante. Another is a chorus girl, and another is a style designer.”
April 16, 1932
In one of its last overseas screenings, Now We’re in the Air is shown at the Balaklava Institute Pictures (as part of a double bill with It) in Balaklava, South Australia.
June 5, 1932
Myrtle Gebhart’s article in the Los Angeles Times writes, “For those who go places and see things know that pajamas are now distinctively au fait. Louise Brooks, I believe, was the first to wear them partying, at a Coconut Grove dance, and Lilyan Tashman sponsored them when she appeared at a moonlight garden party in coral lounjamas. They really are the final sartorial syllable.”
June 11, 1932
In one of its last overseas screenings, Beggars of Life is shown at Star Pictures in Darwin, Northern Territory, Australia.
July 17, 1932
Syndicated columnist Mark Barron writes, “We were reminiscing the other night about ‘Follies’ girls and someone recalled the time Louise Brooks and Peggy Fears danced side by side in the chorus . . . They were inseparable companions in those days, but since then they have wandered far apart. Louise, with her brunet Dutch bob, won temporary fame in the movies and married a director . . . Peggy, who didn’t find fame as an actress, married a financier. Today, Louise is practically forgotten as an actress, and it was only a few months ago that she was reported in bankruptcy . . . Peggy is reputedly worth millions and has returned from across the footlights to become a producer . . . Next fall she will present a half dozen new shows on Broadway . . . What a coincidence it would be if Peggy hired Louise for a role.”
July 27, 1932
Articles about the death of Florenz Ziegfeld mention Brooks and her former work in the Follies.
September 22-23, 1932
In one of the last recorded theatrical screenings, Windy Riley Goes Hollywood is shown at the Plaza theater in Lansing, Michigan. The film is also shown in Medford, Oregon at the Roxy theater under the title Windy Riley Goes to Hollywood.
October 1, 1932
Attends a supper-dance at the Pierrette Club at the Waldorf Astoria. (As does Phyllis Haver, O.O. McIntyre, A.C. Blumenthal, Lois Moran, Lilyan Tashman, and others.)
October 8, 1932
In one of its last overseas screenings, The Canary Murder Case is shown at Star Pictures in Darwin, Northern Territory, Australia.
December 21, 1932
The gossip column of the Wichita (Evening) Eagle reports, “Everyone at the Delta Gamma Delta dance at the Broadview roof garden last night was suprised to find Louise Brooks, of stage and screen fame there. Evidentaly Louise is home for the holidays. She still prefers her exteremely short bob and the customary bangs that barely escape her dark brows. Her dress of electric blue had full, puffed sleeves and a crushed belt of cerise crepe.” The paper also reported that sister June was also present, wearing a “charming frock of her own design and make.”
January 8, 1933
Eddie Sutherland marries for the fourth time, to Audrey Henderson.
January 3, 1933
Pandora’s Box is mention in the Los Angeles Evening Post-Record as an outstanding film by G. W. Pabst, whose Kameradschaft is then screening at the local Filmarte theater.
Febuary 15, 1933
Hollywood Reporter reports Brooks at Leon and Eddies nightclub in New York, with a “businessman.”
March 13, 1933
Syndicated columnist Ed Sullivan writes “… Billy Kendall and Louise Brooks have split wider than this …”
March 14, 1933
Syndicated columnist Ed Sullivan writes “It happened the other day in ’21,’ rendezvous of the jaded. Louise Brooks, ex-cinema star, rushed over to talk to Ethel Kenyon. ‘Did you hear about it, Ethel?,’ bubbled Louise. ‘Eddie Sutherland and his new wife, Audrey Henderson will be here next week. I think it would be just TOO funny if you and myself, as Eddie’s former wives, were to meet them at the station. We can charge him with being unfaithful. Here he is married again, and you and I never remarried. Miss Kenyon was blushing, but game: ‘Louise,’ she said, ‘I want you to meet my husband, Charlie Butterworth. I guess you didn’t know.”
March 14, 1933
In one of the last recorded theatrical screenings, God’s Gift to Women is shown at the Imperial theater in Baltimore, Maryland.
May 1, 1933
Brooklyn Daily Eagle columnist Art Arthur reports seeing Brooks at the Ha-Ha Club in New York, where she joined a table with Peggy Fears and Lupe Velez. Other current and former stars were also in attendance, including actress Mae Murray, and director Jack Conway. That say day, Syndicated columnist Ed Sullivan writes “Billy Kendall and Louise Brooks are back together again.”
May 7, 1933
Syndicated columnist Regina Crewe reports Brooks and Billy Kendall are “going places.”
June 16, 1933
Hollywood Reporter reports Brooks at Armonk, a hamlet on the far outskirts of New York, with the same “businessman.”
August 12, 1933
Syndicated columnist Sidney Skolsky writes “There’s a drama in a wardrobe department which doesn’t come in for its share of publicity in the movie magazines. While I was there a call came for a costume worn by Louise Brooks in Rolled Stockings. A bit player is to wear the dress in Too Much Harmony. Rolled Stockings was made long ago, when Louise Brooks was Mrs. Eddie Sutherland. Too Much Harmony is being directed by Eddie Sutherland.”
August 17, 1933
Syndicated articles mention the rumors of a possible engagement of Brooks and Deering Davis. “Miss Brooks, when questioned in Chicago, said, ‘I don’t know. I may have an announcement to make.”
September 2, 1933
Writing in the New York Herald, Parisian columnist Erskine Gwynne states that a caricature of Brooks still hangs on the wall of the Eden Bar in Berlin, along with one of Noel Coward. [Another caricature, of “The Eskimo” (identified as Carl Wijk), he thinks, has been taken down.]
October 10, 1933
Brooks (26) marries wealthy Chicago playboy Deering Davis (36) at City Hall in Chicago, Illinois. The ceremony was read by Judge Francis J. Wilson, and witnessed by Davis’ brother and sister-in-law, Dr. and Mrs. Nathan S. Davis III. After a few days, the couple leave for a three month honeymoon in Tucson, Arizona, where they were expected to “live on a ranch.” The marriage makes news across the country.
October 11, 1933
The two newspapers in Tucson carry stories reporting Brooks would soon come to reside on a ranch near the Arizona town, following her Chicago wedding to Deering Davis.
December 5, 1933
Pandora’s Box, as the Box of Pandora, shows at the 5th Ave. Theater (Broadway at 28th St.) in New York City. The “adults only” film runs through December 7.
Febuary 23-24, 1934
Begins a one-month dance engagement with Deering Davis at the Chez Paree club in Chicago. Shiela Barrett is featured, and Henry Busee’s Band also performs.
March 8, 1934
Brooks and Deering Davis dance after dinner at the Casino club in Chicago as a special favor to the chair of the club’s entertainment committee.
March 11, 1934
A widely syndicated article, “How and Why Feminine Stars of Broadway and Hollywood Dive Into ‘Bankruptcy Bath’ to Dodge Huge Debts of Folly and Extravagance” features Brooks.
March 26, 1934
Variety reports Brooks and Deering Davis have separated, and she is consulting with a Chicago attorney. Variety also reports that Brooks is searching for a new dance partner.
March 27, 1934
According to press reports, Brooks departed Chicago on a late train headed for New York.
March 28, 1934
An Associated Press story, “Dance Romance Tottering,” runs in papers across the country.
March 29, 1934
The Wichita Eagle reports that Brooks’ attorney, Philip R. Davis of Chicago, has told the Associated Press that the actress has left Chicago for New York.
March 30, 1934
Newspaper stories state Brooks and Deering Davis will divorce, and that Brooks will file for divorce in Chicago.
April 7, 1934
Billboard reports “Deering Davis has an engagement at the Congress Hotel [in Chicago] and is looking for a new partner, while Louise Brooks has gone to New York ‘for good’.”
April x, 1934
In New York, where she sees the act Diaro and Diane at the Place Pigalle.
April 12, 1934
Brooks and Dario, who are performing at the Central Park Casino in New York City, dance two numbers, a modern ballroom waltz and a lighter flirtation dance, at the Capitol in New York City.
April 16, 1934
Syndicated columnist Ed Sullivan writes “Louise Brooks, who aired her millionaire hubby in Chicago, will kiss and make up.”
April 27, 1934
Billboard reports that Brooks and Dario, who are performing at the Central Park Casino in New York City, dance two numbers, a modern ballroom waltz and a lighter flirtation dance, at the State in New York City.
May 6, 1934
Pandora’s Box, as the Box of Pandora, shows at Frank Lloyd Wright’s Taliesin playhouse near Spring Green, Wisconsin. The G.W. Pabst film, termed “an outstanding German production,” was shown with English subtitles and accompanied by Old King Cole, a color Silly Simphony and short subjects.
June 29, 1934
As Dario and Louise, begins dance engagement at the Westchester Center Gardens in White Plains, New York. (Meyer Davis leads the orchestra.)
July 26, 1934
Brooks and Dario commence three week dance engagement at the Blossom Heath Inn near Detroit, Michigan.
August 16, 1934
Syndicated columnist Paul Harrison notes, “Louise Brooks , the Kansas lass who was coming into prominence during the last days of silent pictures, is a ballroom dancer now.”
August 17, 1934
Crooner Harry Richman joins Brooks and Dario on the bill at the Blossom Heath Inn.
August 26, 1934
Brooks and Dario conclude dance engagement at the Blossom Heath Inn.
September 18, 1934
Syndicated columnist Harrison Carroll reports ex-husband Eddie Sutherland will stop off in Chicago to see Brooks, who is dancing at the Chez Paree, where both Harry Richman and Helen Morgan will performing.
October 6, 1934
Brooks and Dario conclude dance engagement at the Chez Paree in Chicago.
October 10, 1934
Brooks and Dario begin dance engagement at Place Pigale in New York City. Harry Rosenthal’s orchestra is also on the bill, as were Phil Harris & Leah Ray.
October 11, 1934
Syndicated columnist Walter Winchell writes, “Louise Brooks makes a comeback Oct. 10 at Place Pigale with Dario as her partner… I hear on reputable authority that Trotsky is in town under an assumed name.”
April 16, 1934
Syndicated columnist Ed Sullivan writes “Louise Brooks, who aired her millionaire hubby in Chicago, will kiss and make up.”
January 5, 1935
Brooks and Dario conclude dance engagement at Place Pigale in New York City.
January 10, 1935
Interlocutory decree issued for Brooks-Davis divorce.
January 16-29, 1935
Brooks and Dario dance at the Embassy Club in Palm Beach, Florida. Also on the bill is Enric Madriguera’s Orchestra, entertainer Peter Higgins, and blues singer Marion Chase.
January 21, 1935
Brooks attended a party put on by George Adam Rentschler and his wife, dancer & actress Joan Sawyer. Also in attendence is singer Sophie Tucker, as well as a small number of socialites.
January 23, 1935
The Miami News notes, “There are dance teams and there are dance teams–the town at the moment is fortunate in having a number of good ones. But of the so-called ‘society dancers’ in our midst, there is not another couple with more innate, brittle smartness than Louise Brooks and Dario, at the Embassy. Each of the turns and gestures of their dances has a sort of crisp singleness–far easier to look at than explain.”
January 24, 1935
Brooks performs at the Embassy Club in Palm Beach, Florida, where the guest of honor is Max Baer, Heavyweight Champion of the World. Also in attendence is Mrs. Damon Runyon. The Miami Tribune wrote, “Miss Louise Brooks, of movie fame, was another attrative member of the party. Her dark beauty was set off by a brilliant red dress and loose wrap which she did not remove throughout the evening.”
January 30, 1935
Brooks and Dario begin dance engagement at the Patio in Palm Beach, Florida. Also performing was singer Bruz Fletcher, and Mort Dennis and his Patio Society Orchestra.
January 30, 1935
The Miami News reports Brooks attended a party put on by George Adam Rentschler and his wife, dancer & actress Joan Sawyer, on the Yacht Dragoon, which was moored at the Fleetwood Hotel dock. Also in attendence are Sophie Tucker, Mrs. Edna Wallace Hopper (the “eternal flapper”), Mr. and Mrs. Charles Farrell (Virginia Valli), the Costa Rican consul and other locals.
Febuary 7, 1935
Brooks and Dario continue their dance engagement at the Patio in Palm Beach. The singing duo of Deslys and Clarke begin performing.
Febuary 15, 1935
Brooks and Dario conclude their dance engagement at the Patio in Palm Beach.
Febuary 16, 1935
Brooks and Dario return to the Embassy Club in Palm Beach. The French singer Lucienne Boyer headlines. Also performing are Gali-Gali, an “Arabian conjurer,” and the Meyer Davis Orchestra.
Febuary 18, 1935
Syndicated columnist Ed Sullivan writes: “Dario and Louise Brooks, the former cinema queen, one of the more exciting dance teams in Florida.”
Febuary 21, 1935
Brooks and Dario return to the Patio Club in Palm Beach. Also performing was Arthur Brown, singing duo of Deslys and Clarke, and Mort Dennis and his Patio Society Orchestra.
Febuary 27, 1935
Syndicated columnist Ed Sullivan writes: “Ballroom dance teams are the least successful of all professionals at saving money…. Dario who dances with Louise Brooks, was wealthiest of all, with several dance ballrooms, but the stock market cleaned him out.”
March 11, 1935
Brooks and Dario began a dance engagement at the Central Park Casino in New York. Their opening is noted in Ed Sullivan’s column.
April 11, 1935
In an article in part on G.W. Pabst, W. Ward Marsh of the Cleveland Plain Dealer writes, “But a good deal of his work has not been shown here at all. For example, I should like to see his Love of Jeanne Ney with Brigitte Helm which he did in 1927. A year later, believing he saw something of a plastic talent in our own and now almost forgotten Louise Brooks, he cast her in Pandora’s Box, which apparently proved that he was not entirely right. Just the same I should like to see it.”
April 11-14, 1935
Brooks and Dario, under the management of Edward Meyers, dance at the Capitol Theater in New York; also on their bill is Gai Gali, Llora Hoffman and Barbara Blane.
April 20, 1935
Brooks and Dario begin dance engagement at the New Log Cabin in Louisville, Kentucky. Also on the bill are radio stars Reise and Dunn (the feature attraction, starting April 22), blues singer Vivian Fields, 8 Texas Rockets (dancers), Earl Carroll Vanities star Chaz Chase, and Frank Furneau leading the NBC Broadcasting Band. Russell Swan, of the Chez Paree, Chicago acted as Master of Ceremonies.
April 24, 1935
Variety reports that upon the completion of their Louisville engagement, Brooks and Dario will make a Warner Bros. short in Brooklyn.
May 4, 1935
Brooks and Dario conclude their dance engagement at the New Log Cabin in Louisville, Kentucky. Frank Furncan Orchestra is also on the bill.
June 10, 1935
Brooks and Dario begin dance engagement at the Persian Room in the Plaza Hotel in New York City.
July 8, 1935
Syndicated columnist Ed Sullivan writes “Louise Brooks, former Cinema star, and Eddie Sutherland are Back Together Again.”
August 14, 1935
Syndicated columnist Walter Winchell writes: “Dario, the dancer, is splitting from Louise Brooks to reunite with Diane at the Persian room in the Plaza next week.”
August 16, 1935
Brooks and Dario conclude engagement at the Persian Room in the Plaza Hotel in New York City.
August 17, 1935
Dance team of Brooks and Dario split; on Aug. 19th Dario and Diane open at the Persian Room.
September 10, 1935
Syndicated columnist Walter Winchell reports that “Al Davis is having his paws petted by Louise Brooks, the China Doll.” (Al Davis was the estranged husband of Marianne Davis.)
September 11-14, 1935
Diary of a Lost Girl is shown at the Gaite St.Martin in Saint-Quentin, Aisne, France.
September 14, 1935
L’Intransigeant, a French newspaper, notes in a round-up of news from Hollywood that Brooks has been offered a part in a film in London.
September 30, 1935
Syndicated columnist Walter Winchell writes: “… have the sillies. Ditto Louise Brooks, the dancer with the Japanese doll haircut, and Marianne Davis’ estranged husband Al.”
October 17, 1935
Brooks meets with G.W. Pabst in New York City to discuss a proposed film of Faust.
October 20, 1935
Arrives in Eureka, Kansas to visit her father, who is in the hospital after having been injured in an automobile accident at the Missouri Pacific Railroad crossing at Tonovay.
October 25, 1935
According to an article in the Eureka Herald, Brooks is set to take a passanger plane from Wichita to Los Angeles.
October 28, 1935
Syndicated columnist Sidney Skolsky writes: “Louise Brooks will make another try at the flickers in a Republic picture called Dancing Feet.”
November 4, 1935
Syndicated columnist Ed Sullivan writes “Travis Banton is buying lunch for Louise Brooks.”
November 21, 1935
Brooks is mentioned in a syndicated article by Max Factor. The famed make-up artists writes, “You remeber the hey-day of the ‘flapper.’ Well, it seems that feminine fancies have taken long leaps since the day when Clara Bow, Olive Borden and louise Brooks cavorted across the silver screen.”
December 11, 1935
Eddie Sutherland is divorced from Audrey Henderson.
December 18, 1935
Variety reports Brooks is in Hollywood, awaiting the results of a Republic Pictures screen test.
December x, 1935
According to a Brooks’ letter from 1964, the actress met Erich von Stroheim in G.W. Pabst’s Hollywood apartment. “I shall never forget him sitting tense, separate, flashing me a quick, ugly look and saying not a word as we were introduced. He made not even a gesture of rising. In that look, we knew each other — why pretend?”
February 16, 1936
Syndicated columnist Sheila Graham writes “At a recent coctail party, I spotted Louise Brooks in the largest ‘coal-scuttle’ I have seen to date. It was made out of black felt, and jutted way out in front. Accessories contributing breasted serge suit, and a creamy, lace edged high-necked chiffon blouse. Black pumps completed the attractive ensemble.”
March 30, 1936
Syndicated columnist Sidney Skolsky writes “Louise Brooks, the former screen star, took a screen test for Zanuck.”
May 15-21, 1936
As part of a G.W. Pabst Festival, Pandora’s Box and Diary of a Lost Girl are screened at the Cercle du Cinema in Paris.
May 19, 1936
The Wichita (Evening) Eagle reports that Eddie Sutherland’s TWA flight stopped in Wichita on its way to New Jersey, where he was to catch a dirigible flight to London. The paper also reported that June Brooks and a group of her friends were to meet the director, but changed their minds when the flight ended up arriving four hours late.
May 23, 1936
Los Angeles Times reports Brooks has made a screen test with Twentieth Century-Fox, and “other companies are negotiating.”
May 29, 1936
Los Angeles Times columnist Read Kendall reports Brooks is night clubbing with Mrs. Harold Strokes (Anne Gould).
June 7, 1936
Los Angeles Times reports Brooks attends a costume party; among the costumed guests were Anne Gould, Agnes Ayres, Iris Adrian, Beulah Bondi, Bruz Fletcher, Howard Greer and others.
June 17, 1936
Los Angeles Times columnist Read Kendall reports Brooks was spotted with Mal St. Clair at Cafe La Maze.
June 18, 1936
Louella Parsons writes in her syndicated column “Addison Randall, fast becoming one of the best known men about town, escorting Louise Brooks.”
July 5, 1936
Hollywood columnist Louella Parson writes “Arline Judge and Bob Ritchie dining out; ditto Louise Brooks and Addison Randall, a twosome that has continued since Glenda Farrell said au revoir to him.”
August 2, 1936
Gabrielle Landon reports in the Los Angeles Times that Brooks and Addison Randall was part of a group traveling around by trailer. The party was organized by Howard Greer, who borrowed Paulette Godard’s trailer. Also among those present were Clifton Webb, Howard Shoup and others.
August 3, 1936
Syndicated columnist Sidney Skolsky reports Brooks and Addison Randall “were sitting in the bamboo room at the Brown Derby munching peanuts.”
August 12, 1936
Brooks is among the various Hollywood celebrities who attend the opening of Mary of Scotland at the Pantages theater in Hollywood. Also present were the Alan Mowbrays, Freddie March, Barbara Stanwyck, Ann Southern, Constance Bennett, Janet Gaynor, Herbert Marshall, Warner Baxter, Lily Pons and others.
August 16, 1936
Gabrielle Landon reports in the Los Angeles Times that Brooks attends a party with Addison Randall for Clifton Webb. Also present were Lili Damita and Errol Flynn, Mitchell Leisen, Robert Benchley, Mercedes d’Acosta and others.
August 26, 1936
Production work begins on Empty Saddles in Southern California.
August 30, 1936
Gabrielle Landon reports in the Los Angeles Times that Brooks attended a tennis party with Addison Randall at the home of Audrey Sutherland. Among those present were Eddie Mannix, the Buster Colliers, the Skeets Gallaghers, Betty Compson, Alice White, William Haines, Hoot Gibson and many others.
September 1, 1936
Newspapers across America run a syndicated column mentioning Brooks’ return to movie work.
September 2, 1936
Production work ends on Empty Saddles.
September 3, 1936
Hollywood columnist Lloyd Pantanges writes: “Louise Brooks, the silent star, is up and coming on the road back. As a starter, she is leading lady to Buck Jones in his newest Universal western. The gal bears watching from every eye in pictures, so she shouldn’t remain in westerns long.”
September 3, 1936
New York Times reports, erroneously in part, that ”Louise Brooks, recently returned from a European stage tour, will attempt a screen comeback opposite Buck Jones.” The Los Angeles Times similarly reports that Brooks had been working in British pictures.
September 4, 1936
Los Angeles Times columnist Read Kendall reports Brooks is being tested at Universal, noting it “Looks like a comeback.”
September 5, 1936
United Press reports Brooks will be the lead in Buck Jones “new sage-brush epic, Empty Saddles.”
September 10, 1936
Hollywood columnist Lloyd Pantanges writes: “Louise Brooks is having a fine time in her comeback epic with Buck Jones, entitled Empty Saddles. When she is not strapped to the villain’s horse, being absconded with, she is being thrown off the end of a train into the arms of the hero, Mr. Jones.”
September 18, 1936
Hollywood columnist George Shaffer writes: “Louise Brooks, formerly star of the silents, is Buck Jones leading lady in a current cowboy thriller Empty Saddles.”
September 19, 1936
Hollywood columnist Louella Parsons writes: “Louise Brooks and Audrey Sutherland, both ex-Mrs. Eddie Sutherlands, sitting together and chatting amicably at the Louis Berman fur show.”
September 20, 1936
Los Angeles Times columnist Marshall Kester reports Brooks attends a Beverly Hills party with Addison Randall given by Arline Judge, a Hollywood hostess. Also present were Claire Windsor, Betty Grable and Jackie Coogan, the Jack Haleys, Mr. and Mrs. Roger Wolfe Kahn, Audrey Sutherland, Aileen Pringle, Norman Krasna and others.
September 21, 1936
The INS (International News Service) runs an article about Brooks’ comeback. That same day, the Hollywood Citizen-News reports that “Addison Randall has shifted from Louise Brooks to Audrey Henderson.”
September 25, 1936
Los Angeles Times columnist Read Kendall reports Brooks “found working in her first Western, Empty Saddles, rather difficult. She hadn’t been on a hoss in five years.”
October 5, 1936
Production begins on When You’re in Love at the Columbia Pictures studios in Southern California and elsewhere.
October 25, 1936
Los Angeles Times columnist Gabrielle Landon reports Brooks was seen at the Brown Derby with Addison Randall, as were Margo and Francis Lederer, and Clark Gable and the Mervyn Leroys.
November 5, 1936
Louella Parsons writes in her syndicated column “Wesley Ruggles with Louise Brooks, and Al Hall with Mona Rice occupying a table at the election festivities [at the Coconut Grove]; and not very far away Arline Judge and Pat de Cieco, Wesley and Arline relieving the tension by dancing together…. Audrey Henderson and Addison Randall a new twosome; how that boy does get around!”
November 5-7, 1936
It Pays to Advertise screens at the Vogue theater in Los Angeles, California.
November 7, 1936
Syndicated columnist Sidney Skolsky writes: “Hollywood romantic mixups: At the Clover Club, Wesley Ruggles, dancing with Louise Brooks, bumps into wifie, Arline Judge, dancing with Pat Di Cico. They exchange hellos. Soon Ruggles is dancing with Miss Judge, and Di Cico is dancing with Miss Brooks.”
November 11, 1936
Syndicated columnist Harrison Carroll twice reports Brooks in the company of Wesley Ruggles, then estranged from his wife.
November 24, 1936
Hollywood columnist Louella Parson writes “Wesley Ruggles stepping out again with Louise Brooks the fourth time this week.”
November 26, 1936
Los Angeles Times columnist Read Kendall reports Brooks “visited Caltech to watch the grinding of the world’s largest telescope lens.”
December 4, 1936
Hollywood columnist Louella Parsons writes: “More power to Louise Brooks; she dancing in the chorus of the Grace Moore picture; Louise told Harry Cohn she’d start from scratch.”
December 11, 1936
Associated Press reports Brooks is “starting her movie comeback,” as a chorus girl in the new Grace Moore musical. The AP piece notes that she was a chorus girl in The Canary Murder Case, “her last Hollywood picture.” Many subsequent mentions of Brooks regarding her comeback reference her role as the Canary.
December 20, 1936
Empty Saddles is released in the United States by Universal. On this same day, production ends on When You’re in Love.
December 31, 1936
New York Times notes ”Louise Brooks, star of the silent screen, is making her screen comeback as a member of the ballet in Grace Moore’s forthcoming Columbia production, When You’re in Love.”
January 6, 1937
Newspapers across the United States report Brooks will attempt a comeback.
Febuary 20, 1937
Production begins on King of Gamblers at the Paramount Studios in Hollywood.
Febuary 27, 1937
When You’re in Love is released in the United States by Columbia Pictures.
March 15, 1937
Production begins on King of Gamblers at the Paramount Studios in Hollywood.
April 2, 1937
Los Angeles Times runs an article about Brooks and Evelyn Brent titled “Two ex-Stars in Films Again.”
April 5, 1937
Syndicated columnist Ed Sullivan writes “Louise Brooks and Addison Randall will elope any minute.”
April 10, 1937
Brooks and cowboy actor Addison Randall attend a sporting event.
April 12, 1937
Preview screening of King of Gamblers takes place at the Alexander theater in Glendale, California.
May 3, 1937
King of Gamblers is released in the United States by Paramount Pictures.
May 17, 1937
Los Angeles Times columnist Read Kendall reports “Addison Randall renewing his romance with Louise Brooks at the Brown Derby.”
May 30, 1937
Los Angeles Times columnist Marshall Kester reports Brooks and Addison Randall were “absorbing sustenance in the Luau Room of the Tropics,” as was Gilbert Roland. That same day, Los Angeles Times columnist Read Kendall reports “Addison Randall took Louise Brooks out to hear Bruz Fletcher sing at the Club Bali.”
June 24, 1937
Los Angeles Times pictures Brooks and Evelyn Brent, noting their return to the movies in King of Gamblers.
October 14, 1937
Los Angeles Times columnist Read Kendall reports “Travis Banton and Louise Brooks at the Club Bali.”
November 1, 1937
Los Angeles Times columnist Read Kendall reports “Louise Brooks and Addison Randall, a twosome at Sardi’s.”
November 12, 1937
Syndicated columnist Jimmie Fidler writes, “William Le Baron, boss of production at one of the big studios, is the author of a little squib in which he contends that movie stars really have long careers. To illustrate his contention, he points to Jack Mulhall, Agnes Ayres, Ethel Clayton, Walter McGail, Herbert Rawlinson, Jane Novak, Bryant Washburn, Frank Mayo, Creighton Hale, Louise Brooks, and Evelyn Brent. ‘All of them are old-timers, and all of them are still active in pictures,’ he argues. Seems to me he chose poor examples. Not one of those former greats is earning more than the barest of living today.”
November 16, 1937
Los Angeles Times columnist Read Kendall reports “Addison Randall certainly gets around. This time he was with Louise Brooks at Sardi’s.”
November 27, 1937
Columnist Harrison Carroll notes that Brooks and Billy Selwyn dined together at House of Murphy in Los Angeles.
December 6, 1937
Brooks declares her intention to seek a divorce from Deering Davis while in Wichita.
December10, 1937
Chicago Tribune reports Brooks will divorce Deering Davis.
Febuary 5, 1938
Syndicated columnist Walter Winchell notes Brooks will not receive alimony in her divorce from Deering Davis.
Febuary 7, 1938
Los Angeles Times reports that Brooks and Addison Randall are still romantically linked.
February 21, 1938
Ben Gross’ radio column, “Listening In,” notes that film stars Louise Brooks and Penny Singleton had at one time appeared on a Mack Millar radio show featuring a “chorus girls’ opportunity contest” on WNEW.
Febuary 27, 1938
Los Angeles Times reports that Brooks and Travis Banton put in an appearance at Bruz Fletcher’s Club Bali, a popular nightclub in Los Angeles.
March 21, 1938
Los Angeles Times columnist Read Kendall reports “Addison Randall and Louise Brooks are becoming a familiar twosome around the late spots.”
March 27, 1938
Maxine Bartlett reports in the Los Angeles Times that Louise Brooks and Addison Randall were seen at the Club Bali, as were the Lyle Talbots.
April 6 or April 12, 1938
Attends a showing of The Sheik at the Filmarte theatre in Los Angeles, and leaves before the end because the audience is laughing at star Rudolph Valentino.
April 19, 1938
Syndicated columnist Erskine Johnson reports that Brooks and Travis Banton put in an appearance at Bruz Fletcher’s Club Bali.
April 22, 1938
Los Angeles Times columnist Read Kendall reports Addison “Jack Randall and Louise Brooks lingered long over their desert at the Brown Derby.”
April 23, 1938
Brooks and date Howard Shoup put in an appearance at Bruz Fletcher’s Club Bali.
May 23, 1938
Los Angeles Times columnist Read Kendall reports “Just few minutes after Addison Randall walked into Bruz Fletcher’s Club Bali with Louise Stanley, his former girlfriend, Louise Brooks put in an appearance with Howard Shoup but none appeared embarrassed.”
May 30, 1938
Syndicated columnist Ed Sullivan writes that Brooks and Howard Shoup are “going places.”
June 11, 1938
Los Angeles Times columnist Read Kendall reports “Louise Brooks, under the name Linda Carter, is essaying a comeback through the Bliss-Hayden Miniature Theater. Her first appearance is in the play Miracle for Two by Stanley Kaufman and Effie J. Young. Others in the cast include Beverly Holden, William Stelling, Margaret Meri, Harry Hayden, Howard Johnson, Walter Murray, Nell Keller, Michael Stuart, Mary Rains, Geraldine Gorey and Franco Corsaro.”
June 13, 1938
Louella Parsons reports in her syndicated column that “Louise Brooks has changed her name to Carrington, dyed her hair black and opened in a play at the Bliss-Hayden Theater. It is the first step in her new career.”
June 14, 1938
In its review of Miracle for Two at the Bliss-Hayden Miniature Theater, the Los Angeles Times said, “Linda Carter used her every artifice to give an interesting portrayal.”
June 25, 1938
Brooks and date ‘Prince’ Mike Romanoff put in an appearance at Slapsie Maxies, a well known nightclub in Los Angeles.
July 8, 1938
Syndicated columnist Paul Harrison reports that Brooks, under the stage name Linda Carter, has been appearing in a play in Los Angeles. “A 20th-Fox talent scout spotted a girl called Linda Carter in a little-theatre play and offered her a screen test. It turned out that ‘Linda Carter’ really is Louise Brooks, who’s aiming at a screen comeback under a different name.”
July 24, 1938
Syndicated columnist Ed Sullivan writes “Louise Brooks and Howard Shoup hand-holding.”
August 3, 1938
The Hollywood Citizen-News writes that Brooks begins work tomorrow on Overland Stage Raiders.
August 6, 1938
In an article, “‘Oomph’ and “It’ Boosts Young Stellar Careers,” the Los Angeles Times describes Louise Brooks as “The Million Dollar Legs Girl”.
August 10, 1938
Production of Overland Stage Raiders begins in Southern California, with location shooting done at the Iverson Ranch in Chatsworth, California.
September 28, 1938
Overland Stage Raiders released in the United States by Republic Pictures.
December 9, 1938
The gossip column of the Wichita (Evening) Eagle reports, “It was a gay party last Sunday evening at the L.P. Brooks’ home when they entertained for their daughter, Louise Brooks, who is visiting her from Hollywood.”
January 25, 1939
Hollywood columnist Erskine Johnson writes: “George Sherman, the director, and Louise Brooks are an item.”
March 15, 1939
Syndicated columnist Erskine Johnson reports that Brooks and Overland Stage Raiders director George Sherman are “in love.”
April 10, 1939
Syndicated columnist Ed Sullivan writes “Louise Brooks and Al Lackey something new in twosomes.”
May 3, 1939
Los Angeles Times columnist Read Kendall reports “Louise Brooks looked comfortable in blue slacks” while attending the opening of Gilmore Field, a new baseball ballpark in the Pacific Coast League. Actress and team sponsor Gail Patrick threw out the first pitch. Also in the stands were Joe E. Brown, Buster Keaton, Harold Lloyd, Jack Benny, Roscoe Karns, Rudy Vallee, Slapsie Maxie Rosenbloom and others.
May 5, 1939
Hollywood columnist Louella Parsons writes: “Lew Brice, Fannie’s brother, and Louise Brooks in a ringside seat at Slapsie Maxies.”
June 19, 1939
Syndicated columnist Ed Sullivan writes “Lew Brice and Louise Brooks still at it.”
June 23, 1939
Syndicated columnist Louella Parsons writes that Brooks and Lew Brice dined together with John McClain and Paulette Goddard.
June 24, 1939
The Los Angeles Illustrated Daily News reports that Brooks and Lew Brice, Ben Blue and Franz English, and Tom Brown and Lana Turner were spotted at Marcel’s.
June 28, 1939
Syndicated columnist Harrison Carroll notes that Brooks and Lew Brice were spotted at La Conga in Los Angeles.
June 29, 1939
Syndicated columnist Louella Parsons writes “is it a romance between Louise Brooks and Lew Brice? They’re helping close the night spots these evenings.”
July 25, 1939
Syndicated columnist Ed Sullivan writes that Brooks and Howard Shoup are “hand-holding.”
August 27, 1939
Mentioned in the Boston Herald in an article about G.W. Pabst in connection with a local screening of Kameradschaft: “The other two silent outstanding pictures directed by Pabst were Loves of Jeanne Ney and Pandora’s Box, the sermon version of Frank Wedekind’s play featuring Louise Brooks and Fritz Kortner.” (Kameradschaft is praised as the outstanding film of Pabst’s career, as it shows the friendship between men of different nations. War broke out in Europe just a few days later.)
date unknown 1939
In a 1977 letter, Brooks recounted seeing Buster Keaton at the Arrowhead Springs Hotel in San Bernadino, California: “One night at Arrowhead Springs (1939) I watched him dance the rumba (and damned good) for 2 hours with Sonia Henje who would not have wasted a wiggle of her ass on a man who didn’t spell money.”
October 13, 1939
Hollywood columnist Louella Parsons writes: “… just heard that Louise Brooks is teaching dancing.”
November 4, 1939
Brooks and dance partner Barrie O’Shea performed at a Saturday night party at the Racquet Club of Palm Springs, in support of headliner Rudy Vallee. (Actor Ralph Bellamy, actor Charles Butterworth, director Edmund Goulding, and singer Judy Starr were also present, and took their turn on the Racquet Club stage.) O’Shea, and “his charming partner Louise Brooks, did a very clever mask dance, imitating Mrs. Roosevelt and Chamberlain, doing an old time square dance,” according to the The Desert Sun report.
November 11, 1939
Barrie O’Shea (and Brooks?) performs at a Saturday night party at the Racquet Club of Palm Springs. Also present were Addison Randall, Harry Cohn, Howard Hawks, Franchot Tone, Peter Lorre, Ralph Bellamy, Wesley Ruggles, Charles Butterworth, and others.
November 10, 1939
The Desert Sun reports that Barrie O’Shea and Louise Brooks have been hired as staff dance instructors at the Racquet Club of Palm Springs. “They will teach Saturday and Sunday afternoons until the middle of the season and then every afternoon for the rest of the season. Rhumba and La Conga classes, as well as ordinary ballroom dances and private lessons, will be their feature.”
December 9, 1939
Hollywood columnist Dorothy Manners writes: “Louise Brooks is going over very well with her rhumba classes at the Victor Hugo in the afternoons.”