Lottice Howell (1897-1982) was a versatile soprano who was happy in both opera and the vaudeville stage.
Howell signed a contract with MGM in 1929, but only appeared in a handful of films before returning to the stage. Two of these were the musicals Free and Easy and In Gay Madrid.
John Leslie Coogan (1914-84) claimed his place in cinema history at a very young age when he played the eponymous character in Chaplin’s The Kid (1921). It is a performance for the ages, though the downside is that Coogan’s parents exploited his earnings, with subsequent legal action culminating in the California Child Actors Bill (the Coogan Act).
Unlike many other child actors who have immediate success, Coogan had other substantial parts while young, such as Oliver Twist (1922) and Tom Sawyer (1930), and also continued his career into adulthood. He found renewed fame in the sixties playing Uncle Fester in The Addams Family (1964-66). His final credit, as far removed as possible from The Kid, was in the 1983 slasher movie The Prey.
Jackie Coogan made two appearances in Metro musicals, and with the longest gap between of any performer. In 1930 he appeared as himself in the Hollywood-set Free and Easy. Thirty-five years later he played a cop in Girl Happy (1965), an Elvis Presley vehicle. Chaplin to Presley is a long journey.
Edward Santree Brophy (1895-1960) was one of the most recognizable character actors in Golden Age Hollywood, both physically and vocally. He made his first screen appearance in 1920, but mostly worked as a unit manager or assistant director during the twenties.
After standing in for an absent actor in Buster Keaton’s The Cameraman (1928) (on which he was working as unit manager), Brophy’s acting career took off, aided by several other supporting roles with Keaton. He specialized in cops, gangsters and sidekicks, notably Goldie Locke in the Falcon series. His distinctive New York accent also won him the voice role of Timothy Q Mouse in Disney’s Dumbo (1941).
Brophy made a couple of uncredited appearances in MGM musicals: with Keaton again, in Free and Easy, and in Broadway to Hollywood. He was then credited as Zeke, one of the settlers who tramp-tramp-tramps with Nelson Eddy in Naughty Marietta.
In keeping with Brophy’s Runyonesque personality, it is fitting that he is alleged to have died while watching a boxing match.
Actor, poet, suffragist and body-positive activist Delia O’Callaghan (1870-1955) had been a star in vaudeville for many years before making her first film appearance in 1923. She had a featured role in Gentlemen Prefer Blondes (1928), but her best part was probably Ma Plunkett in Free and Easy, which allowed her to demonstrate some of the comedic and musical skills she had honed on the stage.
The weirdest item in Friganza’s filmography is How to Undress in Front of Your Husband (1937), an ‘educational’ short in which she and Elaine Barrymore demonstrate the right and wrong ways for a woman to get ready for bed. Friganza was 67 at the time, but still game.
Stella Dorothy Sebaston (1904-57) was a chorus girl who became a stage and then screen actor, securing a five-year contract at Metro. She appeared with Joan Crawford and Johnny Mack Brown in Our Dancing Daughters (1928), and supported them again in Montana Moon, playing Crawford’s sister.
Sebastian appeared in one other MGM musical, Free and Easy, with her friend Buster Keaton. Her contract ended and her career declined through minor studios, ending in playing bit parts.
John Brown (1904-74) was a college football star whose good looks secured him a screen test and a five-year contract with MGM. He played opposite Joan Crawford in Our Dancing Daughters (1928), but his thick Alabama accent meant he was never going to be cast as a city sophisticate after the introduction of sound. Brown’s accent was suitable, however, for the cowboy he played when reteamed with Crawford in Montana Moon.
Brown’s career suffered a double blow in 1931 when he was replaced by the rising Clark Gable in Laughing Sinners, and then failed to secure the lead in Tarzan the Ape Man. His MGM contract ended and Brown spent the rest of his, very successful and prolific, career in Poverty Row westerns, frequently playing characters called ‘Johnny Mack Brown’.
Marion Helen Schilling (1910-2004) was arguably the cinema’s first Scream Queen. With a technique she developed playing onstage with Bela Lugosi in Dracula, she utilized her scream both in her own performances and as a scream-double for other stars.
Shilling’s screen career only involved seven years of her very long life, and was mostly spent in second features, including many low-budget westerns.
The love interest in Lord Byron of Broadway, being both an ‘A’ picture and a musical, was an outlier in Shilling’s career.
Ethelind Terry (1899-1984) made her name on Broadway in the 1920s, most notably as the eponymous heroine of Rio Rita in the original 1927 production.
In 1930 Terry was cast as the vampish Ardis in Lord Byron of Broadway. The film was not a success and she made only one other film appearance, in a 1937 Tex Ritter western.
Charles Kaley (1902-65) was a popular singer and band leader who was unexpectedly–perhaps inexplicably–cast in the lead role in Lord Byron of Broadway. The film provided him with a successful recording of ‘Should I?,’ but Kaley’s acting career progressed no further than a handful of appearances in Poverty Row shorts and features.
Napoleon Bonaparte Kubuck (1893-1953) notched up over 660 film and TV appearances, most of them uncredited.
Phelps was in twenty MGM musicals: They Learned About Women, The Florodora Girl, A Lady’s Morals, Flying High, Dancing Lady, Reckless, A Night at the Opera, Rose-Marie, The Bohemian Girl, The Great Ziegfeld, Sweethearts, Balalaika, Little Nellie Kelly, Born to Sing (a rare onscreen credit), Music for Millions, Anchors Aweigh, The Harvey Girls, Till the Clouds Roll By, Take Me Out to the Ball Game and That Midnight Kiss.
