252:, to a mother Margaret Friganza of Spanish descent and an Irish father Cornelius O'Callaghan, and was raised in Cincinnati, Ohio. She had two younger sisters, and along with their mother, these four women were a tightly knit unit growing up. She was educated at St. Patrick's School in Cincinnati, beginning what would become a lifelong allegiance to the Catholic Church. When asked by a reporter why she took the name Friganza she replied, “I didn't marry it”; Friganza, in fact, is her mother's maiden name (Margaret Jane Friganza), which she both liked and found to be suitable for the stage. A friend and colleague of hers by the name of
372:, however, she did perform in a few dramatic productions, opting to return to comedic performance relatively soon thereafter. Below is a list in chronological order of the productions with which she was involved. Supplementary information (roles; theatre company; additional cast members; theatre technicians; directors; producers; personal statements or experiences), when available, is provided. (dates placed in italics are guesstimated based on the chronology of her performances, meaning the performance likely took place in that year but research did not provide a hard date to confirm this)
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324:, but nothing more was said of this and she did not in fact marry the man. Her third marriage, taking place in New York on March 10, 1912, was to her manager, Charles A. Goettler. She filed for a divorce in the summer of 1914 on the grounds of "failure to provide" and "cruelty". Records do not indicate that she was ever married again. During all of her marriages she never changed her name and was adamant about continuing her career in show business. None of the relationships yielded any children for her.
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no fewer than ten times, headlining five times from April 1924 through April 1929. Records from the
Theatre documented performers' success by rating their reception, applause, counting the number of laughs received and how they finished. Records from appearances during the week ending April 28, 1918,
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This article written by Trixie argued that in the future female comics would be selected not based on reputation, rather on their excess pounds. She recognized the value of having thin actresses play leading dramatic and romantic roles, but if any woman would succeed in comedy it would be the larger
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pg. 199). She correctly identified the many comic and dramatic tropes borrowed from the stage and incorporated into
American cinema and television. Despite her popularity, theatrical achievements and record of stage and cinematic productions, she died of arthritis in relative obscurity in Flintridge
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where she delivered a speech for women's rights. She donated money to the cause and repeatedly went on record as an advocate for women's rights, equality and independence. Her own personal life is consistent with those ideals; having taken her mother's maiden name and refusing to leave her career in
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She began working at a young age (12 or 13) in order to help support her family, securing a cash girl position at Pogue's store, and earning $ 3 per week. When she was age 16, she was promoted to the handkerchief counter at Pogue's and her salary went up to around $ 4.50–$ 5.00 per week, which was a
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lists her first appearance at the
Hammerstein's Theatre in New York City, in the summer of 1906. Regardless, from that time forward she shuttled back and forth between the theatre and the vaudeville stage until 1912–1913 when she began working primarily within the vaudeville circuit. Her fame as a
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Trixie toured with many theatre companies in the coming years working her way from roles in the chorus to more prominently featured roles with speaking parts. Part of her success can be attributed to her constant willingness to step in and take over roles when others fell ill or could not appear.
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Her mother was inconsolable and devastated at her daughter's decision to take to the stage. She notified
Cleveland authorities who brought Trixie before a Cleveland judge to justify her decision to work in theater. She presented such a compelling and rational case for this career move (she had to
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She transitioned to film in the early 1920s mostly playing small characters that were quirky and comedic. She retired from the stage in 1940 due to health concerns. She spent her last years teaching drama to young women in a convent school and when she died she left everything to the convent. She
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Although
Friganza used her occasional single status to sing songs (like "No Wedding Bells for Me") and make jokes about being desperate for a man, she had many beaus. Her first marriage was to an unknown man in the late 1890s and newspapers reported that she was divorced from this "John Doe" in
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Younger women were concerned with sexual freedom and equality, and demonstrated this by experimenting with "public behavior and new gender roles" (Glenn 6). Friganza used her celebrity status to promote and further the rights of women as well as other causes such as promoting the arts to the
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prove to the judge that she was neither “silly” nor “stage-struck”, that this was a business move) that the judge granted her clemency and telegraphed her mother saying that Trixie was doing the right thing. She remained on stage in some form or another for the next fifty years.
336:, a convent and school in La Canada Flintridge, California. She taught drama there as long as she could until her health prevented her from doing so. She reportedly had a room in the institution that overlooked the city of Pasadena where every year she would watch the
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The article derived from an interview in which the reporter quoted T.F. at length, her dialogue comprising over 70% of the text. In it she shares her desire to play to women's sense of humor, encouraging their laughter, and the theatrical strategies necessary to do
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These instances provided her an opportunity to demonstrate her ability and ingenuity. She impressed agents, audiences and other actors alike with her stellar singing voice and ability to command audiences with her humorous interpretation of characters.
267:(1889). She got the part but in order to avoid any embarrassment to her mother and family (stage careers for women were not considered reputable at the time) she opted to begin performing once the production moved up to Cleveland, Ohio.
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substantial increase in income for her. It was her boyfriend at the time who encouraged her not to waste her talents as a singer and actress and to venture onto the stage where she could double or triple her current salary.
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reported successful completion of a 75-week tour on the Keith vaudeville circuit; during this time, she never missed a performance, never was late or was involved in any altercations with the stage or house manager.
1266:, pg. 199). She was an advocate for being plump, topping the scales herself at 180 lbs, and went as far as suggesting that her success as a comic correlated directly to her mass. On July 21, 1915, the
1288:. The first minute of the picture is lost to nitrate decomposition, but the entire Vitaphone soundtrack survives, preserving a glimpse of what must have been part of her vaudeville act of the time.
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Trixie
Friganza suffered from arthritis beginning in the 1930s and because of it by 1940 could no longer work in Hollywood or on stage. In 1940 she turned over all of her assets and money to the
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called her act, “My Little Bag O' Trix,” “a riotous hit” (March, 1920). Other one-woman shows included the “Trixie
Friganza Road Show” (1921) and numerous others that she performed untitled.
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Motivated by the desire to provide more for her family, and the responsibility she must have felt due to being the oldest of the three daughters, she auditioned for a chorus girl position in
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She performed many successful acts, many of which revolved around her plus-sized figure, which she described as the “perfect forty-six”, and the trials and tribulations of love (Slide,
1245:. In 1919, she toured with an act called At a Block Party, which featured songs and witty repartee representative of an actual city block party. Frederick James Smith, writing for the
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economically disenfranchised. Newspapers noted that many performances in which she was involved held performances for orphans and children from lower income families.
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Offered the lead role of “Kate” by
Colburn who saw her performing in the chorus and wanted her to star in her play, which became T.F's first starring role on stage.
320:. She and the doctor were divorced several years later, though the exact date is unknown. On August 20, 1909, tabloids reported that Friganza was to be engaged to
232:, and her run as a vaudeville headliner. During the height of her career, she used her fame to promote social, civic, and political issues of importance, such as
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F.C. Havenmeyer, a wealthy 71-year-old man, followed the production around the country showering the female actresses with gifts from
Tiffany's, T.F. included.
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Trixie
Friganza easily made the transition from musical comedy to vaudeville though her first vaudeville appearance is a contested matter. The newspaper,
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When asked to kick a tambourine as the character does in the German translation of the play, she “refused to stultify her artistic conscience in that way”
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During her career, Trixie Friganza published articles and poems in newspapers, some of which still exist today in the Robinson Locke Collection at the
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volume#2 D-H page 890; compiled from editions originally published annually by John Parker; 1976 edition by Gale Research..Retrieved October 4, 2018
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A collection of humorous short anecdotes, most of which seem to derive from real life experiences and place the woman as the humorist or satirist.
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September 1899. Her second marriage, which took place during the summer of 1901, was to a Dr. Barry, the physician hired aboard the steamship
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256:(of the Digby Bell Opera Co.), christened her “Trixie” early on and the name stuck, for she had never been fond of the name Delia.
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at age 84 on February 27, 1955. She bequeathed all her possessions to the academy and left a legacy to the American public.
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indicate that the audience's response to Trixie Friganza was huge, where she elicited a total of 29 laughs, second only to
351:, she confessed to enjoying watching TV a great deal saying “that's where vaudeville has gone – into television” (Slide,
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Bill available from the Park Theatre (Robinson Locke Collection, New York City Public Library for the Performing Arts)
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200:; November 29, 1870 – February 27, 1955) was an American actress. She began her career as an operetta
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and the promotion of a positive female body image. On October 28, 1908, Trixie attended a women's suffrage rally at
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1499:. Those still available (mostly on microfilm) are listed below accompanied by a short description of content.
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424:, said of Trixie “The attendant Ganymede of Trixie Friganza, in later years a very heavy maiden, amuses me.”
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spite of marriage, she defied society's proprieties and norms, modeling what Susan Glenn calls "New Woman".
216:(she played "Aramanthe Dedincourt") and is best known for her stage roles of Caroline Vokes (or Vokins?) in
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comic actress buoyed her success and she soon became a headliner, given top billing in the shows.
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Opened on Broadway, New York, July 4, 1903 and in Shaftesbury, London, May 14, 1904
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Role of “Julie Bonbon” (principal); Show toured back in the U.S. and in Montreal
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1735:. Westport, Connecticut & London: Greenwood Press, 1994, pp. 198–99.
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Understudied for Kate Davis and got to play the principal when she fell ill
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1721:, Vol. 15: 1891–94. New York, NY: Columbia UP, 1949. (Chapter I & VII)
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B.F. Keith's ledger for Theatre in Indianapolis: Aug. 29th– June 14, 1925
1742:. Metuchen, New Jersey & London: The Scarecrow Press, Inc., 1988, 88.
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Presented at Palmer's Theater in NYC running from July 18th – October 1st
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Friganza was civic minded and socially attuned. She aligned herself with
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The poem documented the internal questions and worries of a stage actor.
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claims that her debut was at Keeney's Theatre, May 6, 1905, whereas the
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Performed with Walter Jones, Eddie Redway, Lou Middleton, Harry Conor,
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Director Frank L. Perley; music by Isidore Witmark; book and lyrics by
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1521:“Six Trixie Friganza Tricks Which Make Women Laugh” – May 16, 1909,
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Opened at the Chicago LaSalle Opera House, August 8 and went on tour
1249:(February 8, 1919) called her show “a vigorous comedy act” (Slide,
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Trixie Friganza portrait as a young woman (with hour glass figure)
1539:“These Stories” – June 26, 1910, published in an unknown newspaper
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became a highly sought after comic actress after the success of
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1506:“Comediennes Chosen By Weight” – April 1907, Newspaper Article
1714:. Cambridge, Mass. & London, England: Harvard UP, 2000.
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Opened in Winter Garden, New York, July 22 and went on tour
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Wears a gown covered with roses which was her “invention.”
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Production opened at the Palmer's Theater in New York City
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Female Spectacle: The Theatrical Roots of Modern Feminism
1645:"The Feminist History of 'Take Me Out to the Ball Game'"
1553:“Bromides” – February 3, 1915, poem in New Jersey Star
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University of Louisville Macauley Theater Collection
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Robinson Locke Collection of Theatrical Scrapbooks,
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Roles of “Keokuk,” “Julia Scream,” and “Nancy Sikes”
1040:Role of “Caroline Vokes” (or Vokins?) (principal)
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1253:, pg. 88). During one appearance at the Palace,
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436:(comic opera) – 1892–1894 – Digby Bell Opera Co.
400:and took her part when she was unable to appear.
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1685:New York Public Library for the Performing Arts
1497:New York Public Library for the Performing Arts
710:Performed with Henry E. Dixey and Madge Lessing
957:Opened in Manhattan Beach, New York, July 21st
870:Opened in Crystal Gardens, New York, June 22nd
937:Opened in Weber's M.H., New York, February 13
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347:At the age of 79, in an interview with the
954:Revived role of “Julie Bonbon” (principal)
887:Role of “Mrs. Madison Crocker” (principal)
791:Role of “Aramanthe Dedincourt” (principal)
303:Friganza at 1908 suffragette demonstration
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1847:Burials at Calvary Cemetery (Los Angeles)
1282:and available in the Warner Bros. DVD of
602:Show opened in Lyrie, New York, October 9
69:Learn how and when to remove this message
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1278:short titled "My Bag o'Trix" as seen on
1070:Role of “The Girl from Yama” (principal)
974:Role of “Matilda Grabfelder” (principal)
934:Role of “Mimi de Chartreuse” (principal)
476:Written by C.A. Byrne and Louis Harrison
410:(comic opera) – 1891 – Carlton Opera Co.
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185:Dr. William J.M. Barry (1901–1911)
32:This article includes a list of general
1728:Lincoln Center, Volume 220 (Microfilm).
1575:"The Perpetual Flapper" dubbed this by
1470:How to Undress in Front of Your Husband
1126:Role of “Mrs. Ned Radcliffe (principal)
1109:Opened in New York, New York, October 5
664:Opened in Casino, NY; had a chorus role
593:Role of “Henry” (boy's part– principal)
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733:One of the four daughters (principal)
187:Charles A. Goettler (1912–1914)
713:Opened in London, September 11, 1901
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1812:19th-century American women singers
1602:Who Was Who in the Theatre: 1912-76
1087:Role of “Mrs. Waxtapper (principal)
622:Role in the front row of the chorus
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1852:Actresses from Greater Los Angeles
1837:American people of Spanish descent
1226:During her career she appeared at
800:Opened in New York, NY on June 5th
686:First appearance in London at the
683:Role of “Mrs. Muggins” (principal)
446:Role of “Frederic, Prince of Pisa”
38:it lacks sufficient corresponding
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1643:Laymon, Anna (October 10, 2019).
1274:In 1929, Trixie made a 10-minute
1106:in Buffalo, New York, September 7
927:or Joe Weber Music Hall Stock Co.
1832:American people of Irish descent
1776:American Variety Stage 1870–1920
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1102:First public performance at the
690:in this role – February 21, 1901
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1862:20th-century American actresses
1141:– 1912–1913 – Winter Garden Co.
841:The Darling of the Gallery Gods
574:Role of the “Widow” (principal)
334:Flintridge Sacred Heart Academy
1857:American vaudeville performers
1827:American silent film actresses
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1018:Role of “Katrinka” (principal)
850:Role of “Whoa San” (principal)
158:Calvary Cemetery (Los Angeles)
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1807:19th-century American singers
1740:Selected Vaudeville Criticism
1619:Digital Newspaper Collections
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1251:Selected Vaudeville Criticism
1208:Vaudeville career (1906–1932)
977:Opened at Joe Weber's Theatre
867:Role of “DuBarry” (principal)
771:Role of “Salvation Army girl”
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1719:Annals of the New York Stage
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1119:(musical comedy) – 1910–1911
833:Played at McVicker's Theater
466:(musical comedy) – 1893–1894
422:Annals of the New York Stage
183:“John Doe” (1899–1900)
16:American actress (1870–1955)
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1683:Robinson Locke Collection,
1621:. March 28, 1911. p. 3
1181:Conceived of and staged by
830:Role of “Sally” (principal)
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1766:Internet Broadway Database
1733:Encyclopedia of Vaudeville
1696:Encyclopedia of Vaudeville
1264:Encyclopedia of Vaudeville
1232:Palace Theatre in New York
1220:Encyclopedia of Vaudeville
1117:The Sweetest Girl in Paris
1021:Performed with Harry Kelly
360:Theatre career (1889–1917)
224:The Sweetest Girl in Paris
1842:Actresses from Cincinnati
1446:Wanderer of the Wasteland
1402:Thanks for the Buggy Ride
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1378:The Whole Town's Talking
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1178:Role of “Albany Dayline”
1138:The Passing Show of 1912
925:Joe Weber's All Star Co.
707:Role of “Samanthy Brown”
552:Performed with Della Fox
229:The Passing Show of 1912
226:, for multiple roles in
1822:American film actresses
1171:(musical comedy) – 1915
1080:(musical comedy) – 1908
784:(musical comedy) – 1902
502:Chorus role along with
368:She worked mainly with
53:more precise citations.
1738:Slide, Anthony (Ed.).
1651:. Smithsonian magazine
1201:Role of “Blanche Moss”
512:in New York, August 30
383:The Tar and the Tartar
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146:Flintridge, California
1572:"The Cincinnati Girl"
1481:(1940) cameo role in
1357:(1926) (not released)
1340:The Road to Yesterday
1051:Herald Square Theatre
761:The Belle of New York
698:The Whirl of the Town
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248:Friganza was born in
1673:at IBDb.com database
1584:"The Champagne Girl"
878:The Prince of Pilsen
673:The Belle of Bohemia
522:(comedy) – 1894–1895
420:George Odell in the
222:, Mrs. Radcliffe in
1717:Odell, George C.D.
1433:(1930) (uncredited)
1053:, New York, April 8
1009:His Honor the Mayor
999:Chicago Opera House
945:The Girl From Paris
913:Role of the “Widow”
742:The Girl From Paris
610:The Man in the Moon
564:A Trip to Chinatown
487:One Christmas Night
389:– Carlton Opera Co.
265:The Pearl of Pekin'
1423:Strong and Willing
1332:The Coming of Amos
1239:'s motion picture
1061:The Girl from Yama
901:The Sultan of Sulu
821:Sally in Our Alley
642:Role in the chorus
493:The Little Trooper
417:Role of “Ganymede”
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1454:Silks and Saddles
1078:The American Idea
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630:The Country Sport
531:Carrie W. Colburn
396:Understudied for
349:Los Angeles Times
198:Delia O'Callaghan
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138:February 27, 1955
123:November 29, 1870
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508:Opened at the
506:
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489:(drama) – 1894
483:
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473:Role of “Isis”
468:
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456:
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451:Henry E. Dixey
449:Also starring
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142:(aged 84)
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1578:The Billboard
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1416:Free and Easy
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1409:My Bag o'Trix
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1370:Almost a Lady
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782:The Chaperons
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353:Encyclopedia…
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340:games at the
339:
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309:
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297:
294:
290:
283:Personal life
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214:The Chaperons
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154:Resting place
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101:The Chaperons
96:
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84:
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73:
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62:
52:
48:
42:
41:
35:
30:
21:
20:
1739:
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1711:
1695:
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1679:
1670:
1665:
1653:. Retrieved
1648:
1623:. Retrieved
1618:
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1601:
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1522:
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1468:
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1306:
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1273:
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1263:
1261:
1254:
1250:
1246:
1242:A Dog's Life
1240:
1225:
1219:
1213:
1211:
1191:
1166:
1157:Oliver Twist
1155:
1154:A Parody of
1136:
1116:
1104:Star Theatre
1098:George Beban
1077:
1060:
1028:
1008:
984:
964:
944:
920:
904:
900:
877:
857:
840:
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781:
759:
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724:
721:The Rounders
720:
697:
671:
652:
633:
629:
613:
609:
581:
562:
543:Fleur de Lis
542:
519:
492:
486:
463:
459:
431:
421:
407:
386:
382:
376:
367:
363:
352:
348:
346:
331:
322:Nat M. Wills
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286:
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262:
258:
247:
227:
223:
217:
213:
210:
197:
193:
192:
140:(1955-02-27)
100:
99:Friganza in
80:
65:
56:
37:
1802:1955 deaths
1797:1870 births
1655:October 13,
1483:Bing Crosby
1362:Monte Carlo
1316:Proud Flesh
1308:The Charmer
1292:Filmography
1228:B. F. Keith
1194:– 1916–1917
1183:Ned Wayburn
1168:Town Topics
1096:Costarring
1090:Written by
1033:– 1906–1907
805:Eva Tanguay
745:– 1901–1902
676:– 1900–1901
567:– 1896–1897
529:Written by
59:August 2014
51:introducing
1791:Categories
1589:References
1049:Opened in
1030:The Orchid
460:Prince Kam
433:The Mascot
328:Later life
254:Digby Bell
244:Early life
240:movement.
238:Suffragist
219:The Orchid
206:vaudeville
164:Occupation
119:1870-11-29
34:references
1567:Nicknames
1276:Vitaphone
1045:Eddie Foy
987:– 1906 –
923:– 1905 –
809:May Boley
634:1898–1899
614:1898–1899
598:Anna Held
583:La Poupee
504:Della Fox
344:stadium.
342:Rose Bowl
234:self-love
208:circuit.
202:soubrette
180:Spouse(s)
1702:, p. 199
1625:July 20,
338:football
314:Bohemian
236:and the
1764:at the
1581:in 1931
1256:Variety
408:Jupiter
167:Actress
47:improve
1473:(1937)
1465:(1937)
1457:(1936)
1449:(1935)
1441:(1933)
1419:(1930)
1405:(1928)
1397:(1928)
1389:(1927)
1381:(1926)
1373:(1926)
1365:(1926)
1351:(1925)
1343:(1925)
1335:(1925)
1327:(1925)
1319:(1925)
1311:(1925)
1303:(1923)
1063:– 1907
1011:– 1906
967:– 1905
947:– 1906
880:– 1903
860:– 1903
843:– 1903
823:– 1903
807:, and
764:– 1902
700:– 1901
688:Apollo
657:– 1900
586:– 1897
545:– 1895
510:Casino
495:– 1894
379:– 1889
196:(born
148:, U.S.
129:, U.S.
103:(1902)
36:, but
1757:IMDb
1657:2019
1627:2015
1485:film
905:1904
725:1901
387:1890
135:Died
109:Born
1755:at
1532:so.
1280:TCM
1230:'s
462:or
1793::
1698:,
1647:.
1635:^
1617:.
903:–
723:–
632:–
612:–
385:–
1659:.
1629:.
121:)
117:(
72:)
66:(
61:)
57:(
43:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
