Theatrical Clubs. Social clubs made up of members of the theatre profession or recommended theatre observers have long been popular in London. In New York the first such organization, though not strictly a theatrical one, was the Lotos Club, founded in 1870 in response to a New York mayor's plea for a suitable place to entertain foreign visitors. The club soon broadened its aim “to let in such businessmen as were lovers of literature and art.” It has been called “The Godfather of the Arts.” Since 1947 it has been housed in a one‐time Vanderbilt residence. Many famous theatrical personalities have either been members or have been honored by the organization. The first true theatrical society was the Lambs Club, founded in 1874 by a group of men, most of whom were members of the cast of
The Shaughraun, as a supper club and named it after a similar London society. Until that time most actors had used either Union Square or public bars as meeting places. The club was incorporated in 1877 and moved to its first permanent home shortly thereafter. In short order the members became famous for their camaraderie and conviviality. Their president was known as their Shepherd, their vice president as the Boy. In 1904 the club moved into impressive new quarters on 44th Street just east of Broadway, complete with its own theatre, all designed by Stanford White. One of the group's most famous functions was the
Lambs' Gambols, in which members performed for no fee and whose proceeds were offered to charity. During the club's heyday, several of these
Gambols toured the country. Financial difficulties forced the club to sell its building in 1974, and the organization now operates on a more restricted scale.
The most distinguished of American theatrical clubs is the Players, incorporated in 1888. Noteworthy theatrical figures such as Lawrence
Barrett, Edwin
Booth, Augustin
Daly, John
Drew, Joseph
Jefferson, and A. M.
Palmer were among the charter members, but founders also included Mark Twain and General William Tecumseh Sherman, since the group, which was patterned after London's Garrick Club, was aiming to bring together not only professionals but others interested in the theatre. Booth purchased a large house on Gramercy Park, in which he retained a small apartment until his death, and bequeathed the building to the club. He served as its first president and was succeeded by such celebrated men as Jefferson, Drew, Walter
Hampden, Howard
Lindsay, Dennis
King, Alfred
Drake, and José
Ferrer. The club possesses a fine collection of theatrical memorabilia and a superb library, named for Hampden. For many years its members mounted an annual revival of a classic play, which was presented in a regular Broadway house. Although that policy has been discontinued, the club still offers productions for members on its own small stage and at frequent intervals has black‐tie “Pipe Nights” in honor of some celebrated theatrical figure.
The Friars Club was organized in 1904 as the Press Agents' Association, or the National Association of Press Agents, by Charles Emerson Cook, Channing
Pollock, John W. Rumsey, and several other men, and it rapidly became a popular theatrical club, and so changed its name and constitution in 1907. Although the name has no real connection with the theatre, the club has been consistent in its nomenclature, calling its clubhouse a monastery and its chief officer an abbot. Its clubhouses were first situated in the heart of the theatre district, but the last of these was disposed of during the Depression. A new clubhouse was established in 1948, away from the main theatre area, and in 1956 the club moved to its present building on East 55th Street. The organization has regularly mounted celebrated shows known as
Frolics, giving the proceeds to charity. George M.
Cohan served as abbot for nearly twenty years, while later abbots have included George
Jessel, Milton Berle, Joe E. Lewis, Ed Sullivan, and Frank Sinatra. As the record of leadership indicates, the club has drifted away from primarily legitimate theatre membership. A Los Angeles Friars was organized with permission of the New York club. None of these organizations allowed women at first.
Four women's theatrical clubs were established in Manhattan as well. The Twelfth Night Club was founded in 1891 to provide financial assistance and moral support for actresses. The Professional Women's League, started the following year, also helped actresses. The Charlotte
Cushman Club, started in 1907, and the Rehearsal Club, begun in 1913, provided inexpensive lodgings and home‐style food for young actresses. Losses were underwritten by a philanthropic board of directors. The latter club inspired the background for several plays, most notably
Stage Door (1936). The inflation of the 1970s, combined with a changing canon of conduct, prompted its closing in 1980, but the Cushman Club continued into the 1990s, leaving behind the Charlotte Cushman Foundation that makes theatre‐related gifts.
