IDA FORSYNE - "THE GREATEST RUSSIAN DANCER OF THEM ALL"

We have travelled back in time for this personality, back to the end of the 19th century-beginning of the 20th century, to explore a self-taught dancer who improvised a lot of her moves and she if no-one else did, enjoyed every moment she was entertaining 1 audience or another. She laid claim that the 9 years she spent across Europe & Russia were the best times she ever had, from 1905 - 1914-at the beginning of WW I, when she finally returned to the USA. So Ida Forsyne This Is Your Life, or as much of it as I can find. The photo I have recovered is rather rare and a little different from the others online.

IDA FORSYNE born in Chicago 1-1-1883 died in Brooklyn 19-8-1983 Cakewalk Expert, Jazz Dancer, Improvised Russian Dancer, Singer, Stage/TV/Film Actress. Ida was born in South Side, Chicago, Illinois, where her family lived above a brothel. Her mother was a domestic/servant, her father she never knew because he deserted the family when she was only 2 years old(the family unit was left as a mother-daughter-son). At the age of 10 the young girl was singing/dancing for small sums of money, at the local candy store, as well as local house-rent parties; she cakewalked for 25cents a day. N.B. = Definitions (i) Cakewalk-historical : a dancing contest among the African/American population, where the most extravagant dance won the cake or a slice of. (ii) Informal : To achieve or win something with apparent ease. At The Chicago World Fair 1893, still aged 10, she travelled through the festival site, in a wagon with a ragtime band to drum-up trade. Many of the travelling/minstrel shows originated in Chicago, so young Ida haunted The Alhambra Theatre, where she watched the rehearsals for "Coontown 400," "The South Before The War," as well as others. 4 years on at 14, Ida ran away with The Black Bostonians Coon Town 400, a travelling show where everyone did their own act. Young Miss Ida Forsyne performed "My Hannah Lady," she also performed a Buck Dance(African/American folk dance apparently originated during "the slavery period"), in her own eccentric style; that included rhythmic stepping(relating to or involving rhythm); Legomania(speciality type dance done as a limited eccentric dance-style, also known as Rubberlegging or Rubberlegs). She also sang a duet with Rosie Grayson a lullaby called "Drowsy Babe." The finale of the show was a plantation scene that included the entire cast. Due to the company becoming insolvent Ida and another youngster Eddie Grey got stranded in Bute, Montana. Although Ida had not written to tell her mother what had happened; when her mother knew she had been stranded, it was she that contacted the fire + police departments along with the mayor to. "Send my children home." With that Ida and another youngster Eddie Gray were sent home. Idas' mother gave her consent for her tours, in return Ida helped her mother + brother financially as she earnt her money, she tells you. "My mother was very understanding. She let me go on these tours. She was a maid and, my father had left her when I was two years old. My mother didn't mind whatever I did as long as it wasn't domestic work." Then in 1898 at the age of 15, Ida joined Sissieretta Jones and her Black Patti Troubadours. "A girl in the show was sick, so I went down and did my number My Hannah Lady, got the job at $15 a week. I was the only young girl in the company of twenty six. For my speciality, I pushed a baby carriage across the stage and sung a lullaby; "You're Just a Little Nigger but You're Mine All Mine." Ida told Marshall Stearns.(an American jazz historian + musicologist. He also researched/wrote the book "The History of Jazz-1956) The show also had a cakewalking contest at every performance, where Ida and her partner won it 7 nights in a row, by adding legomania and tumbling in the music-breaks. Like some musicians that can play by ear, just by hearing a tune once; So young Ida could with dance-steps. When she saw a move or combination of moves, she could repeat them straight afterwards. In 1889 on her 16th birthday Ida recalled a time in San Francisco, when the Black Patti Troupe arrived + stayed at a fine white hotel, where they ate together at a long table. "Everyone was so nice to us." In the same year October 28th1899, still with Black Patti, still pushing the baby carriage across the stage this time in Chicago. Then 2 years on in the spring of 1901, they returned to Chicago, this is what newspaper correspondent from the "Freeman" newspaper remembered. "Ida Forcen, the little Chicago sunbeam, was greeted at every performance by rounds of applause. Everyone still remembers You're Just a Little Niger, it being her master rendition."

On their return to New York City, Ida easily got jobs in New Jersey, Atlantic City, Coney Island; working in minstrel-styled shows such as Hendersons Big Theatre, Coney Island, with big acts like Eddie Cantor. Ida lost her voice in an "all song-and-dance" format : performers sing a verse of a song; followed by a chorus of the song; then dance a chorus all 1 after the other. It was here Ida strained then lost her voice permanently. "I was like a coon shouter(1 who sings in the fashion/style of a black-corked performer) until my voice gave out." She had a strong alto-range voice, then after that incident Ida learnt to put a song across by "sort of talking it." 1902 : Ida joined the original Smart Set; an all coloured show produced by the white Gus Hill. It featured Ernest Hogan(dancer-musician-comedian); Billy McClain(American actor), Daisy M. Cheatham(African/Am actress-songwriter); Aida Overton Walker(famous American international stage actress). Ida talked the song "Moana," then performed a solo jazz dance. Ida returned to The BlackPattis in 1903, where she was billed as "Unbleached Soubrette." She then moved on to Will Marion Cooks' "The Southerners" ~1904, where she was part of the performance on the Casino Roof Garden Theatre, New York City. When the show began there were only 50 people in the roof top audience. But people leaving the main downstairs show, heard the magnificent choral singing coming from up above. Whereupon they rushed to see who was performing. By the end of the opening chorus the house was packed solid, then at the end of the program the performers were given a 10 minute ovation. 1905 was a big year for Ida the dancer; she joined the The Tennessee Students a large troupe of minstrels, many who played stringed instruments and, sang in transitional-style; between ragtime and jazz. Will Marion Cook had decided to take 17 company members on his European tour, along with that dancer Ida Forsyne, his wife and himself. When the company returned to the USA in May 1906, Ida decided to stay. At this point in her career Ida is now 22 years of age. She has A radiant smile and was petite in stature : Ida was about 4' 11'' she wore a size 2 shoe, weighed in at 100 pound = 7stone 2lb. She was married 3 times : James Frank Dougherty; Usher Henry Watts-a singer who was with Ida while she was in Europe/Russia

Arthur Belton Hubbard-German. I have no dates or other details my apologies.

When their show opened at The Palace Theatre (at this time the theatre was called : Palace Theatre of Varieties. It changed its name to : The Palace Theatre in 1911), London 1905, Idas' photo was on the front page of the show program. She was the billing star singing "Topsy, The Famous Negro Dancer." With her radiating personality, her personable smile, her facial expression , she was immediately noticed. The Daily Telegraph wrote. "If Topsy is not soon the talk of the town we are very much mistaken." From her 1st appearance in London, December 1905, her dances/dance-styles distinguished her in the cast of The Tennessee Students. Tiny, ebony, quick-footed, costumed in a bandana + gingham dress, her stage alter-ego was Topsy. Under her full page photo on the cover of The Sketch, Wednesday 20th December 1905, Ida is pictured thus. "The coloured dancer who has made such a hit at the Palace, is perhaps the best example of negro dancing ever seen in this country." Topsy was called half-a-dozen times each evening, from then Ida Forsyne was booked as "Topsy" in London. A picture of Ida from a Palace Theatre bill appeared on the side of buses as well as on the front/back/inside covers of magazines. Because in 1905 the buses servicing London were motorised for the 1st time, Idas' visual completeness/image circulated through the then modern metropole

. After 12 months The Tennessee Students left and went back to America, but young Miss Ida Forseyne stayed in Europe with the guidance/management of The Marinelli Agency, the largest of its kind at that time. This would be the peak of Idas' Career and she enjoyed every golden moment of it. The young Miss Forsyne was then booked throughout England, where for the 1st time she saw 2 fellow Americans, Bill Robinson-tap dancer/actor and Ralph Cooper-actor/screenwriter. Then Ida performed at The Alhambra Theatre, London, where she introduced her Sack Dance; to special music with a ballet company. A stagehand carried a large potato sack onto the stage, promptly dumped it in the middle then exited stage left. Then Ida threw 1 leg out, then 1 arm, then the other leg then the other arm; finally revealing herself completely from the sack, then stood centre stage. She then danced before a backup chorus-line of ballet dancers, who were paid extra to appear in blackface. While the performance was considered arty at the time, Ida had improvised her steps to fit with the music. Dancers were acutely watchful in the 1900s, for new trends, fashions in their visual art tapestry; it enabled them to expand their choreography and dance-expression. While living in St. Petersburg and Moscow, Ida Forsyne composed her own interpretation of the Russian peasant dance format. "When I got to Russia, I looked especially for heavy women. I stole all The steps I could. I liked Russian dancing so much as I wanted to be different from most coloured performers." I wanted to do a different kid of act." Stealing is essential when it comes to expressive arts, yet what is different about Idas' appropriations is they enacted a correlation between the migratory experiences through the African in the U.S. and the emerging proletariat in Russia, as she brought the dance of the former serfs, to the centre of a new metropolis. Ida connected with the rigor of the dances , commenting on how demanding/physical they were as well as how much discipline they required. "You can't just get up and say I am going to do Russian dancing. You can't come up out of a gin mill and do a a Russian dance. It's a very strenuous dance." From the beginning of the 20th century, up until the beginning of WW I-1914, a community of African/Am women artists were living/performing in St. Petersburg, touring their acts across Russia as well as Eastern Europe. The community was fostered by the eloquent dancer Miss Ida Forsyne; along with her cousin Ollie Burgoyne + Laura Bowman. The 2 cousins were both seasoned variety performers, both having worked solo and the vaudeville circuit since they were children aged 6. We know about Idas transition from dancing in the candy store, to her professional standing across various vaudeville acts. With her cousin Miss Burgoyne it was similar in all respects. as with Ida she arrived on tour in Europe with The Tennessee Students. With Miss Burgoyne she arrived in Germany as part of the revue known as "Louisiana Amazon Guard"(HISTORICAL NOTE : This revue was created by Paula Kohn-Wollner, wife of a German theatre owner, who arrived in Brooklyn in the spring-1901, to find 6 dancers willing to go back to Germany with her and to perform there. The 6 original African/Am females she took with her were : Ollie Burgoyne-Fannie Wise-Emma Harris-Florence Collins-Alverta Burley-S. T. Jubrey. 2 of them had previous stage experience Ollie Burgoyne +Emma Harris. Paula applied for new passports for the 6 performers, 10th April 1901, they boarded the S.S. Deutschland; 7 days later they arrived in Hamburg. Their 1st performance of a 4 act revue at The Kaiserkrone in Kiel, Prussia, was Sunday 9th June 1901. If you would like to read more go to : blackjazzartists.com/2017/10/the-louisiana-amazon-guards.html) This is how Ollie Burgoyne arrived in Europe, then eventually Russia. This little community survived during a period called/known as The Silver Age of Theatre in Russia. The flaneur(an idle man-about-town) must travel to gather impressions and thus give him the thought to interpret other worlds/visions he has seen or been involved with. The dancer Ida Forsyne understood the importance of being mobile, being able to expand ones' perspective/knowledge. She herself implored other African/Am to. "Go see something and learn something about the world." Ida learnt various languages Norwegian-Russian-German-French. "I went all over. I practised everyday. I'd have breakfast and go to the theatre and do a regular act. Ida travelled separately from her husband the singer Usher Watts. "I was married but I wasn't gonna let him hold me back. I went on tour by myself." Ida, Ollie, Laura and other performers working out of St. Petersburg, were warned off the street in 1905, due to the ongoing Russo-Japanese War, which had started on 8th February 1904, lasted until 5th September 1905. Then the Bloody Sunday catastrophe on January 9th 1905 : when peaceful demonstrators were massacred in St. Petersburg-which in turn led the the 1st Russian Revolution, which started on the 22-1-1905. So the Russian armed forces were fighting their own people, as well as the Japanese. Shortly afterwards all foreigners were encouraged to leave the country, at the earliest possible moment. "We had special permission to leave, accompanied by the consul and a guard of soldiers, who accompanied all the way to the trains and, saw to it that we got on." Laura Bowman remembered, she also recalls the interchanges held on the train carriages as they left Russia. "One old lady insisted on talking and knowing our history, which Ida and Ollie were telling. They both spoke perfect Russian, when news got out we were on our way to America, everybody wanted to ask us a hundred questions. We left that to Ida. She seemed to enjoy that immensely." With Ida acting as interpreter Bowman was able to describe to the Russian passengers, the sad sight of soldiers going off to the front, with women and children running after them in the streets. Idas skills were essential at the border, where she helped the others negotiate their passports. "We were very lucky to have Ida to interpret." Laura Bowman remembered. They returned to Europe in the early part of 1906. When WW I broke out in Europe-1914, Ida, Ollie, Laura all returned to the USA. Ida Forsynes re-entry proved a more inhospitable home-coming, than she thought possible. Times had changed drastically! She had a hard time finding steady work. "After 1914 I starved to death." She stated. "They wanted light skinned girls. When I got back I couldn't get a job nowhere. I wasn't used to the way the performers had to do cabarets here. They used to have to go to the tables and mingle with the audience, or do a shake dance at their tables. In Europe there was none of this." For Ida 1 event alone underscored the traumatic experience of returning to her home in the USA. Leaving an anti-climax of a performance in Cleveland, Ida sold her signature pair of leather boots, handcrafted for her in Russia, to a vaudevillian performer, while on a train to New York. Then Ida had to turn to domestic work to survive. "I'd never learned to make beds, cook-couldn't even wash out a hankerchief because I never had to; but when I got back things were different. I got a job dusting furniture at $15 a week and, did this for four and a half years." Like many other African/Am performers Ida had to fuse her her domestic work, with her stage work. There is perhaps a "bone of contention" here. Most of the sites I have visited mention : that Ida Forsyne did a Royal Command Performance, but they do not mention which Royal Family she performed in front of. I have checked the records of the theatre; that started off as (i) Royal English Opera House-January 1891. (ii) 1897-renamed Palace Theatre of Varieties. (iii) 1911-changed its name again to The Palace Theatre. (iv) The 1st Royal Variety Performance was shown in the Presence of King George V & Queen Mary on Monday July 1st 1912. The performers were all British at this performance the likes of : Barclay Gammon; The Palace Girls; Fanny Fields; Vesta Tilley; Harry Lauder; Cecilia Loftus and many more. So it is fairly safe to say Ida did not perform here. The next Royal Variety Performance was not decreed until 7 years later, due to WW I. By that time Ida was back in the States. Then from my reading Ida on this tour made her hub in St. Petersburg, Russia. But it was her cousin Olga Burgoyne and her friend the Russian speaking Laura Bowman, who both performed for Tzar Nicholas II at his Winter Gardens. 1911, Ida was performing in Moscow, on stage during her dance programme, she suddenly inserted a series of improvised kazotsky kicks into her usual routine; which brought the house down. The Russian audience cheered, applauded and she was immediately hailed as the "GREATEST RUSSIAN DANCER OF THEM ALL." A Russian audience should know I guess?? There after she closed her act with the kazotsky kicks. Which began from a squat-arms folded at the chest-legs kicking out; first 1 leg, then the other. Though Russian dancers usually stood-up between steps, Ida could not wait. She changed steps then travelled the stage crouched; working out new combinations. She flung both legs out in front of her touched her toes with her hands, before coming down in time with the music. She also mixed down-steps with up-steps and cross-ankle steps. Then as a finale she would kazotsky all the way across the stage, then return backwards. European theatres booked Ida 9 years without a break. She popularised Russian dancing in the USA, after pioneering the style abroad. While Ida was returning to the States, just as a young man named Eugene Bullard an African/Am arrived in London. He was as it turned out to be a spy-soldier-pilot-boxer in WW I + WW II. He had resorted to boxing/the stage to make a living. He had arrived at 2 Coram Street, in the spring of 1913, where he had found himself in the middle of the African/Am expatriate enclave, in the heart of London. Located not far from Soho Square Mrs. Carters Boarding House, was in the Holborn area, a section in which performers such as the vetran American dancer Ida Forsyne, known on the london billboards as "Topsy, the famous Negro Dancer had resided, then entertained in nearby theatres such as The Palace, The Alhambra and others. In 1914 Ida returned to the USA, due to the threat of a world war, but in doing so she found it very difficult to get any gainful employment. Between 1914-15 Ida worked at the Lafayette Theatre in a musical revue named "Darkydom." The most impressive feature of "Darkydom," was the sheer size of the cast along with the elaborate costumes, sets. It was a 2act play in the township of Mount Bayou, Mississippi. The musical score was composed by Marion Cook. After its' initial opening in New Jersey, it then moved to The Howard Theatre, Washington D.C. opening Monday 18th October 1914.Then after a week there it moved again, to The Lafayette Theatre, New York City, when it opened on Monday 25th October. But it never got to appear on Broadway. Ida also recalled being booed on stage. "Lincoln audiences were terrible and always booed anything artistic. All they wanted was bumps and shake dancing." Ida was considered too dark for Harlem nightclub circuit at this time, she explains herself. "I couldn't get a job because I was black and my own people discriminated against me." Ida did appear in the musical comedy "Darkydom"-1914 at the Lafayette Theatre. At this time a lot of theatres did not present "of-colour blues singers, comedians, shake dancers from T.O.B.A. circuits. In 1916 Ida saw Darktown Follies, she remembers it was the talk of the town. Eddie Rector was featured in his smooth military routine; Toots Davis was doing his Over The Top routine, there were new steps in the routines back then. In 1917 Miss Forsyne had joined a vaudeville circus act named Wolfscales aggregation. Following the 1917 circus season Wolfscales aggregation appeared in vaudeville theatres with "Moonlight on the Levee." Which was billed as "Princess Wee Wee And Her Jazz Band Company." According to the Indianapolis Freeman newspaper the company consisted of : Princess Wee Wee-Ida Forsyne-Edna Parker-Slim Mason-Tommy Woods- Jessie Schaffer-James Wolfscale-Johnny Brown-Willie Green-F. Ford Lewis-Kilmer Jackson-Troy Wolfscale. Miss Ida Forsyne and Tommy Woods held down the dancing part of the act and, more than pleased at every performance. Ida Forsyne found the time to talk to Marshall Stearns. She explained times were hard for her, so she took the position as Sophie Tuckers personal maid; on + off the stage from 1920-1922 for $50 a week. While Sophie Tucker incorporated African/Am women in her performance routines, usually as back-up dancers or comic foils, her defiance of racial boundaries was not limited only to on-stage. As it turned out she did protest at the indignity of blackface not only for herself-a lot earlier in her career. Now emboldened by her new power as a headliner/personality, Sophie began to dictate her own terms and conditions. When Ida known for her Russian dance routines appeared in Sophies' act, it was she that defied the management, it was she that insisted Ida would NOT perform black-faced. Also aware of the lack of opportunity for African/Am dancers, Sophie stepped in and employed her co-performer for 2 years. Ida was 1 of the several African/Am women employed by Sophie Tucker, who allowed her to gain proximity to their African culture, acted as ago-between with other African/Am in the entertainment world. On-stage Sophie Tucker sang 13 songs accompanied by Al Seeger, they wanted a dancer to help arouse the audience into spontaneous applause, at the end of the show. So it was her maid Ida Forsyne that filled position more than adequately with her eccentric dance routines. But this part of the act was finally cut from the performance, where on the Keith Circuit in Washington D.C., new rules disallowed African/American performers to appear on stage with a white performer, unless the African/Am was "black-faced." Furthermore, no African/Am performer who worked backstage was permitted to watch the show. It was Sophie Tucker who refused to let Ida don the blackened cork. But while Ida was banned from being part of the performance, she was permitted to watch the show from the wings. This sadly saw the demise of Miss Ida Forsyne as Miss Tuckers maid in Washington D.C. She also remembered many early jazz tap-steps, among them were "Going To The World Fair," which was a strut : the dancer put both feet together then moved forward on their toes. Another step was "Scatchin' the Gravel" or the "Sooey." : a short sliding motion alternately on each foot; Ida described it as a two-step with a dip. then in 1925 she toured with Clinton "Dusty" Fletcher-comedian/singer. In an interview Ida remembered her times in Europe. " Everywhere I went I was lauded I was paid good money and I had a ball. Everything I ever wanted I've had it. I bought with my good money in Europe. I enjoyed every minute." She then recalled coming back to the USA. "It was really hard to go from star status to nothing in a blink of an eye. Then with Miss Sophie Tucker she stated. "I got $50 a week and did the maid part on and off the stage. I was dressed in a black dress and white apron."

By 1924 the T.O.B.A. had reclaimed Miss Ida Forsyne, for a tour of duty as she was unable to get work elsewhere. First in 1924, she toured with Mamie Smith(blues singer) as 1 of her 6 dancing girls, for $35 a week. The following year 1925, she toured with Clinton "Dusty" Fletcher-vaudeville comedian/singer. With Bessie Smith in 1927. she was allowed to reprise her old routines within the show; especially her Russian dance performances; quite often Bessie would stand in the wings and shout encouragement to her friend. "Go on Ida, show 'em." Ida left Bessies' show in 1928. Ida also toured with a late version of the Smart Set. It was after this leg of the journey Ida returned to New York City. At this time around 1926-27 the Harlem nightclub scene was thriving and full of life, but the entertainment portfolio had changed once again Ida found it very difficult to get a foothold in any of the nightclubs, as she and her routines were now considered "old Hat from a bygone era." She had been refused after an audition at the famous Cotton Club, Connies Inn(nightclub in Harlem), The Nest(cabaret bar in Harlem). They like all the other night-spots had a penchant for light-skinned scantily-clad chorus girls. Miss Ida Forsyne was promised a job at Smalls Paradise,(a basement jazz nightclub) but it never materialised. Jack "Legs" Diamond-infamous Irish/American bootlegger/gangster- recommended The New World Cafe, Atlantic City, to Ida. But this time it was Miss Forsyne who rejected the venue, as she did not approve of abbreviated, scanty costumes that the female jazz dancers had to wear. At this point Ida quit the dancing scene. Miss Ida Forsyne moved on with her life, which started with working 3 1/2 years as a domestic, then as an elevator girl in an uptown hotel.

In 1936 the stage show Called "Green Pastures" was produced as a film, after the phenomenal success of the live performances. The details of the film are : Warner Brothers Pictures Inc. production-used Western Electric Sound System-10 reels of 90-93 minutes film time. Ida Forsyne- Wife to Noah, Eddie Anderson - Noah. Cost of the film-$750,000, the film was banned in : Italy-Latvia-China-Palestine-Finland-Australia-Hungary. New York Opening date was : Thursday16th July 1936. You might have to excuse me again, as you might suspect I have omitted Idas' performance in the Broadway show of "The Green Pastures." But I have found nowhere that tells me she appeared on Broadway, in the stage show. I have checked with : (i) playbill.com (ii) ibdb.com they both tell me that a different actress played the part of Noahs' Wife in both the original version-26-2-1930, and the revival-1935. The actress that actually played the part was a Miss Susie Sutton-actress, singer, dancer.

The same year Ida appeared in the film version of "Green Pastures," she was in the stage version of "The Emperor Jones," with Rex Ingram. In 1937, The Negro Actors Guild was instituted, I have found a couple of items that inform me Ida was active from within the Guild, but not necessarily from the beginning. Still working in 1951, she assisted Ruthanna Boris, in the choreography for the New York City Ballet new work entitled "The Cakewalk." Then she devoted her spare time to visiting various hospitals, where she entertained/cheered-up her sick friends. By 1966, she had retired to Concord Baptist Nursing Home, Brooklyn; where she passed away in 1983.

With Idas' different transitions to + from different vaudeville shows, I will present the known ones and the lesser known ones Miss Ida Forsyne took an active part in.

THE BLACK BOSTONIANS : 1897 : Ida performed "My Hannah Lady" as the revue was inclusive and everyone did their own speciality. The revue finished with a plantation scene with everyone within it.

THE BLACK PATTI TROUBADOURS : 1902 : A Filipino Misfit as Miss Arlie from Texas

1904 : Cooney Dreamland : Musical Comedy 1 act : Ida Forsyne as a Kafir Queen she sings-"Maiden of Timbuctoo." August 1904-it played in Indianapolis

1903 : Darktowns Circus Day : Musical Comedy 3 scenes opened March 1903 Ida was M'm'selle Hoplightly-Queen of the Arena. She sang "Mandy" with the whole company.

SMART SET COMPANY : 1902 : Enhancement

THE SOUTHERNERS : 1903 : as a solo dancer where Abbi Mitchell was a noted singer

1905-1914 TOURED EUROPE + RUSSIA after she originally left with Abbie Mitchell and The Tennessee Students.

On her return to America in 1914, she found no steady work but still operated as a performer in various shows, when she was given the chance. Here are some she frequented. These are Billy King Stock Company touring shows, where the Grand Theatre, Chicago was 1 of his prime stops. He did tour from Chicago to New York and beyond. "Darktown Follies-1914;" "Over The Top;" " "They're Off;" 1919-1920 In this show Ida appeared alongside her cousin Ollie Burgoyne

DARKYDOM 1914-15 Musical Revue : a series of sketches + speciality acts. It toured the theatres of the Quality Amusement Chain including : Howard Theatre-Washington D. C.-1914; Lafayette Theatre-Harlem-beginning 23rd October 1915 : with dancer Ida Forsyne.

Then Ida toured with several Harlem dance revues : "Strutt Your Stuff;" "Town Top Piks;" "Beale Street To Broadway;" in and around 1920-21. Then "Holiday In Dixie;" about 1922. Then "Malinda" in 1929.

BEALE STREET TO BROADWAY 1920 Touring Revue : Produced by Aaron Gates the cast was : Ida Forsyne-dancer;-India Allen-blackface comedian;-Billy Gulfport + Will Brown-comedians.

OLLIE BURGOYNE AND HER DARKTOWN STRUTTERS-1925 Miss Burgoyne produced/directed her own show. She herself featured in the show as a "Classic Dancer." Her cousin Ida Forsyne appeared as a "Russian Dancer."

Ida Forsyne appeared in 3 films, obviously we know about "The Green Pastures," of 1936. The other 2 were of the Oscar Micheaux stable of films.

(1) A DAUGHTER OF THE CONGO Adventure Oscar Micheaux film released 5th April 1930 Miss Ida Forsyne is just listed as a member of the cast

(2) BIRTHRIGHT Drama Oscar Micheaux film 1938 Certificate-PG 1 hour 14 minutes Miss Ida Forsyne as Rose filmed on location in Ridgefield New Jerse

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MEDIA FOR MISS IDA FORSYNE

(1) THE NEW YORK AGE Thursday 14TH October 1915 Page 6 "BIG SHOW IN WASHIGTON NEXT WEEK; All Washington is agog over the announcement made this week by manager Andrew Thomas, that the latest and biggest of all coloured shows "Darkydom," - headed by Miller and Lyles would open at the Howard Theatre Mon., Oct 18.

(2) THE NEW YORK AGE Thursday 21st October 1915 Page 6 "400 TO BE AT OPENING; With the public hungry for good musical shows the Lafayette Theatre management, will make a grand effort to give local theatre goers what is wanted by presenting "Darkydom." Others well known will be seen. Ida Forsyne who recently returned from Europe, where she was for years a sensation in foreign productions.

(3) THE NEW YORK AGE Thursday 11th November 1916 Page 6 (((Refers to the show "Darkydom."))) The chorus is larger with several boys in it, four of them composing a quartet. A little girl who divals the ace of spades for colour and a racing engine for ginger outdistances all the others, for getting over personality and work. She is Ida Forsyne. There might be a soubrette role written in the piece for her. The girl doesn't deserve to remain in the ranks, for two reasons , she is beyond that and "shows up" the other chorus girls, is the disadvantage of the performance. Miss Forsyne led "Scay-a-da-Mootch," one of the beat rags of the evening, but it remains a question whether any but a coloured person could get the number over as it should be done."

THE ALLENTOWN DEMOCRAT Pennsylvania Saturday 17th November 1917 Page 15 "MOONLIGHT ON THE LEVEE; 12 people Vaudevilles Greatest Coloured Artists in Songs, Dances and the only Heal Jazz Band See Princess Wee Wee The Tiniest Mite on Earth.

CALIFORNIA EAGLE Friday 31st January 1936 Page 7 "WHAT WILL HOLLYWOOD DO TO "THE GREEN PASTURES?" BY RUBY BERKLEY GOODWIN

THE NEW YORK TIMES Friday 17th July 1936 "The Green Pastures" at Last Seen in Film at Music Hall - Rex Ingram as De Lawd. ((right at the bottom of the piece where the cast is mentioned : Noahs Wife Ida Forsyne

EL PASO HERALD-POST Texas Saturday 18th July 1936 Page 7 "SOMETHING new and different came to the screen at the Ellanay Theatre yesterday, when the Warner Bros. production "The Green Pastures," opened. Warner Bros. have given the drama a lavishness of production that far outstrips the stage play. Ida Forsyne as Noahs Wife.

BALTIMORE AFRO AMERICAN Saturday 25th July 1936 Section : Entertainment "Green Pastures" in the Movies Is Called Insult to "De Lawd."

(4) WILKES-BARRE TIMES LEADER Pennsylvania Wednesday 29th July 1936 Page 22 "At last "The Green Pastures" the play that ran Eighteen solid months on Broadway and travelled throughout the United States, thrilling millions of people comes to the screen. The picture that retains all the unique qualities that made the stage production known as, "Americas Best Loved Play," will have its local premiere at the Capital Theatre July 11.

(5) THE BROOKLYN DAILY EAGLE Saturday 8th August 1936 Page 12 "THE GREEN PASTURES" has been transferred to the celluloid and may be seen at the Brooklyn Paramount and, while it was issued with the appropriate fanfare of publicity, its reception seems to have fallen somewhat short of the expectations of the producing gentlemen. A Warner Brothers Picture with the following cast Rex Ingram Eddie Anderson, Ida Forsyne.

THE ARGUS Melbourne Victoria Australia Friday 21 August 1936 "GREEN PASTURES FILM BANNED; Chief Censors Decision Warner Brothers photopplay "The Green Pastures"has been refused a certificate of exhibition by the chief film censor Mr. Creswell O' Reilly.

DAILY NEWS New York Sunday 13th September 1936 Page 435 ""LIFT FILM BAN" Port of Spain Trinidad Sept 12; A special Board of Appeal named by the Governor, today lifted Trinidads ban on the American film "Green Pastures."

THE OMARA GUIDE Omara Nebraska City Edition Saturday 26th September 1936 Page 2 "West Indies Ban Green Pastures" George town British Guiana Sep 26 (By Samuel A. Boyea for A.N.P.) - West Indians have been denied the pleasure of seeing "The Green Pastures." It is claimed there are certain features which are "objectionable."

TORRANCE HERALD Torrance California Thursday 8th October 1936 SECTION B-Drama + Art Cinema + Music "SPECTACULAR SCENE IN FILM FABLE; When artist Harold Fox III visited Warner Bros. Studios during the filming of "The Green Pastures", he drew a the sketch of one of the pictures most spectacular scenes.

DAILY NEWS FROM NEW YORK Saturday 7th November 1936 Page 116 "Arthur Treacher has one of the leading roles of this delightful piece "The Green Pastures," he was cleared of a third-degree assault charge yesterday in Harlem Court. The complaint was withdrawn by Murray J. Cohen a process server.

THE QUEENSLANDER Brisbane Queensland Australia 24th December 1936 Page 33 "THE GREEN PASTURES" Released Excised Version Will Not Give Offence QUITE the most important event in the London film world, this week ha sbeen its first showing of "The Green Pastures." For some time it was doubtful if this film could be shown in England at all. "It is said that the picture was shown to various officials of the Board of Censorship, including Lord Tyrell as many as fifteen times before the necessary permission was given.

SATURDAY 22ND APRIL 1944 ((Not sure where this snippet came from, but incorporated Ida with the Negro Actors Guild)) "Ida Forsyne, staunch member of the Negro Actors Guild and former dancer, is making speeches in Schenectady, on Racial inharmony."

THE NEW YORK AGE Saturday 29th October 1949 Page 55 "New Board and committee members after the voting. SICK COMMITTE : CHAIRWOMAN-Ida Forsyne + ASSISTANT-Marian H. Brandley.

THE NEW YORKER Saturday 23rd June 1951 Page 23 "Interview with Ida Forsyne who used to be known as "Queen of the Cakewalk." With Miss Forsyne was Ruthanna Boris dancer/choreographer putting finishing touches to her ballet "Cakewalk." It had its first performance by the New York City Ballet last week.

THE NEW YORK AGE Saturday 22nd August 1953 Page 7 By IDA FORSYNE "Ida Forsyne Remembers When Talent Helped In Show Business."

THE NEW YORK AGE Saturday 18th December 1954 Page 16 "Very wonderful and amazing Ida Forsyne, will be honoured with a gala birthday party at Smalls Paradise, on Sunday evening Jan 2. We're waiting until that time to print in its entirety a really significant letter by Miss Forsyne, written to this corner full some weeks ago.

THE NEW YORK AGE Saturday 15th January 1955 Page 12 "All Showbusiness Pays Tribute As Ida Forsyne Marks 72 Year; A committee of friends sponsored the first "SRO" affair of 1955, one of the finest cabaret crowds of ny year turned out at Smalls Paradise Sunday, for the 72nd birthday of one of Showbusiness "First Ladies" Ida Forsyne.

THE PROVINCE Vancouver B. C. Canada Thursday 12th September 1957 Page 5 : At the Movies by Les Wedman Entertainment Editor "The Classic Film Society - one of at least three such organisations in Vancouver - launches its new season on Oct 11 with a silent Charlie Chaplin feature title as yet not available. Other full length selected for viewing by its members, include the Japanese film "Children of Hiroshima" on Nov 8; "Green Pastures" the 1936 U.S. all-Negro classic Dec 13.

ALBUQUERQUE JOURNAL NEW MEXICO Friday 10th April 1967 Page 20 "Cakewalk grew out of need. Ballet choreographer Ruthanna Boris saw when she visited last fall. She'll return next week to polish the work and watch the company perform it. After she stopped performing in 1960, Ruthanna trained in dance therapy. She was professor of dance & adjunct professor of psychiatry at the University Guild in New York and, asked if there were any Cakewalk dancers left. The syncopated Negro dance gets its name from a piece of cake, given to the dancer performing the most virtuoso and intricate steps. The Negro Actors Guild recommended Ida Hubbard Frosyne. They said she was very old. She spent most of her career in Europe. She was known as Miss Topsy. She married a German. She lives up in Harlem and spends most of her timevisiting her dying friends and praying with them. Ruthanna reported she invited Ida to dinner. "When I told her what I was doing." She said. "You're crazy girl. You cant cakewalk on your toes." But Ruthanna persisted. After the choreography was well under way, she invited Miss Ida to a rehearsal . "The girls started doing the struts and this and that and she said. "That's wonderful. You've got the cakewalk there girl." Boris' ballet ends with the entire company traversing the stage in a strenuous hopping strut

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