Summary Information
St. John Terrell Papers
1949-1964
Mss 669
7.2 c.f. (18 archives boxes)
Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research Contact Information
Wisconsin Historical Society (Map)
Primarily business papers of an actor-businessman who founded and operated several music circuses, combining aspects of a traditional circus and the legitimate theater. Included for the Lambertville (New Jersey) Music Circus are general correspondence, and such business records as casting correspondence and audition lists; personnel files; contracts; financial statements; production and operating reports; budgets; box office statements; tax returns; insurance records; advertising and publicity materials; and correspondence and records regarding equipment and physical plant improvements. There are only fragmentary production files concerning plays and musicals produced from 1949, when the Lambertville Music Circus was established, through 1961. Several of Terrell's other music circuses in New Jersey, Florida, California, and Texas are represented by small quantities of records, as are the Motor Music Circus and Musical Arena Theatres' Association.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-mss00669 ↑ Bookmark this ↑
Biography/History
St. John Terrell (ne George Clinton Eccles, Jr.) was born December 12, 1916, in Chicago. His parents were George C. Eccles, Sr., a lumber broker, and Reta Terrell Eccles. St. John Terrell attended Columbia University, New York University, York Collegiate Institute, Washington and Lee University, and Northwestern University. During World War II he served with the U.S. Army Air Force (1942-1945) as a Flight Officer until he was injured. In 1952 he married Elrita Bartholomew.
Terrell's profession and greatest love was performing. During school summer vacations in Chicago he learned the art of fire-eating and performed as a carnival side-show attraction. Later, he played the part of Jack Armstrong, the All-American boy, on a radio serial before making his Broadway debut with a small part in Judgment Day (Belasco Theatre, September 12, 1934). In 1935 he played in Small Miracle and Winterset (Martin Beck Theatre, September 25, 1935) and toured with the Walter Hampden's Shakespearean Repertory Company. While acting in Winterset, Terrell met actor Richard Bennett; subsequently, the two went into business together, operating the Players Theater in Clinton, Connecticut, in 1938, and the Bucks County Playhouse, New Hope, Pennsylvania, in 1939.
While touring the South Pacific with a USO troupe in 1945, Terrell first conceived the idea of a music circus, where live shows could be presented on a round stage under a protective, yet movable, circus tent. After the war Terrell joined his family's perfume business, but soon purchased land in New Jersey for a music circus. On July 4, 1949, St. Johyn Terrell's Music Circus opened at Lambertville, New Jersey, then the only theater of its kind in the country. After a summer at Lambertville, the Circus moved to Miami Beach, Florida, for a winter season. Terrell also secured a trademark on the term “music circus,” and patented his design for a tent. Then, he established affiliate circuses at Hyannis, Massachusetts; Brandywine, Pennsylvania; Rye, New York; and Neptune, New Jersey. Terrell also started a Motor Music Circus, which traveled to Palm Beach, Florida, Sacramento, California, and various cities in Texas. He was an organizer of the Music Circus Company of America, designed to sell “packaged” music circuses to individuals and communities and then to act as a booking organization to supply shows, acts, and technical personnel. Eventually, Terrell co-founded the Musical Arena Theatres' Association.
Terrell's music circuses combined features of a circus, with its large tent and typical live circus and animal acts and a carnival atmosphere, and a legitimate theater, with some permanent facilities (heating, cooling, and lighting systems) and Broadway shows. As an added benefit, production costs for shows in a music circus were lower than for a standard theatrical performance. These features allowed the Music Circus to operate for a 16-week season, about six weeks longer than most summer theaters. In its first season, the Lambertville Music Circus played to 55,000 people in an 11-week season; the following year the audience numbered 150,000, many of whom were drawn from Philadelphia, New York City, and the surrounding area.
Following a per-season method of casting for the entire summer schedule of shows, Terrell produced a new show every week or two throughout the summer. The music circus maintained a year-round professional theater staff, with a chorus, orchestra, and ballet company employed for an entire summer season. Generally a star was hired to carry each show, and supporting cast members employed as needed from New York or the surrounding area. Apprentices, usually college students, were also employed to learn about and help with production. Not all Broadway shows were adaptable to the music circus setting, and Terrell's productions concentrated on light musicals and operettas. Among the shows produced most successfully during the 1950's were The Merry Widow, Naughty Marietta, Rose Marie, The Desert Song, Annie Get Your Gun, Brigadoon, and Finian's Rainbow.
Scope and Content Note
The papers of St. John Terrell document the business aspects of a music circus, with fragmentary files concerning the productions. Records of all of his music circuses are present and are generally integrated together, but those of the Lambertville Music Circus predominate.
There are numerous folders of general correspondence, and correspondence with unions, other music circuses, lawyers, and accountants, documenting general business practices. One folder contains background and biographical information on both Terrell and his business enterprises, while another has scattered business records for the Brandywine, Rosecroft, and Rye Music Circuses. Advertising and publicity techniques for the Lambertville and Neptune Music Circuses are seen in the files of art and printing bills, correspondence about outdoor advertising, signs, and window ads; press releases and press lists; advertising copy and correspondence soliciting ads for Music Circus programs; and correspondence concerning tours and tour bus arrangements.
Terrell's business operations are illustrated further in the casting and staffing files of correspondence, audition records, cast lists, resumes, and applications from actors, singers, dancers, musicians, apprentices, and technical production staff seeking employment with the Music Circuses. Personnel records, mainly consisting of payrolls, payroll work sheets and summaries, general employee records, and unemployment compensation records also document hiring and employment practices.
The physical aspects of production are shown in material concerning costume and wardrobe costs, and correspondence and inventories concerning equipment, supplies, and repairs of the physical plant. The latter include orders, invoices, price quotations, letters of inquiry, samples of new products, seating layouts, and property maps, all showing how Terrell established and managed a music circus. Correspondence concerning tickets, purchase agreements, ticket and printing orders, and other records indicate the heavy emphasis of the Music Circuses on tours and group visits. Individual production files, arranged alphabetically by title, are quite fragmentary, containing only a few items about each production. They serve, however, to indicate the type of show most popular with music circus audiences.
Financial records consists of bank statements; box office statements for the Haddonfield, Lambertville, Miami, and Neptune Music Circuses; promissory notes; annual financial reports; production and operating statements for all circuses; budgets; gross receipts; and tax records. There are comprehensive files of insurance policies and summaries, correspondence, and accident reports. Legal files include numerous Actors' Equity Association and Chorus Equity Association contracts with cast members, and other general contracts, deeds, and property leases.
Smaller files give a glimpse of Terrell's related activities, including the Motor Music Circus, represented by financial statements and an itinerary; Musical Arena Theatres' Association, with articles of association, by-laws, minutes, lists of members, form letters, and bulletins; and a separate file of manager's reports and a financial statement from Neptune Music Circus.
Administrative/Restriction Information
Presented by St. John Terrell, Lambertville, New Jersey, 1967-1968. Accession Number: MCHC67-065, 68-038, 68-051
Processed by William Beaudreau and Menzi Behrnd-Klodt, March 1986.
Contents List
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Box
1
Folder
1
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Addresses and Contact Lists
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Advertising and Publicity Files
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Box
1
Folder
2
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Art and Printing Bills, Correspondence, and Samples of Artwork, 1950-1959
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Box
1
Folder
3
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Newspaper Advertising Bills; Other Bills, 1950-1959
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Box
1
Folder
4
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Other Publicity and Promotional Material
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Box
1
Folder
5
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Outdoor Advertising and Signs, Window Ads, 1950-1959
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Box
1
Folder
6
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Press Releases and Flyers; Press Lists
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Box
1
Folder
7
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Program, 1955
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Box
1
Folder
8-9
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Program Advertising and Correspondence, 1950-1955
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Box
2
Folder
1
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Tours and Tour Bus Arrangements, 1950-1955
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Box
2
Folder
2
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Background and Biographical Information
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Box
2
Folder
3
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Brandywine, Rosecroft, and Rye Music Circuses Operating Statements, Contracts, and Other Records
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Casting and Staffing Records
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Box
2
Folder
4-7
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Cast and Audition Lists, Address Lists, Resumes, Applications, Photographs
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Box
3
Folder
1-4
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Correspondence re: Auditions and Hiring, 1949-1959
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Box
4
Folder
1-3
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Correspondence re: Auditions and Hiring, continued
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Box
4
Folder
4
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Instructions to Cast and Crew; Schedules
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Box
4
Folder
5
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Staff Applications and Correspondence
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Box
4
Folder
6
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Concessions Statements and Agreement; Souvenir Book Sales
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Correspondence
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General
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Box
4
Folder
7-8
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1949-1951
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Box
5
Folder
1-5
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1952-1955
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Box
6
Folder
1-4
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1956-1960, undated
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Box
6
Folder
5
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Actors' Equity Association, 1950-1956, 1959
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Box
6
Folder
6
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American Federation of Musicians, 1951-1953
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Box
6
Folder
7
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Chorus Equity Association, 1950-1952, 1955
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Box
6
Folder
8
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Re: Florida Circuses (Miami and Palm Beach), 1950-1953, 1955
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Box
7
Folder
1
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Goldstein, Golenbock, and Barell, New York, New York, 1951-1956, 1959
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Box
7
Folder
2
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Housing for Actors, 1952, 1955-1956
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Box
7
Folder
3
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Lewis and Young Productions, 1951-1954
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Box
7
Folder
4
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Lutz and Carr, New York, New York, 1951-1956, 1959-1960
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Box
7
Folder
5
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Costumes, 1949-1959
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Equipment and Physical Plant
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Correspondence and Inventories
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Box
7
Folder
6
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1949-1951
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Box
8
Folder
1-3
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1952-1959
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Box
8
Folder
4
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Seating Charts and Layouts, Property Maps
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Financial Records
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Box
8
Folder
5
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Bank Statements, 1959
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Box Office Statements
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Box
8
Folder
6
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Haddonfield, 1956
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Lambertville
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Box
8
Folder
7-8
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1940-1950
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Box
9
Folder
1-10
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1951-1959, 1961
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Box
10
Folder
1
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1964
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Box
10
Folder
2
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Miami, 1951, 1953
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Box
10
Folder
3-4
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Neptune, 1954-1956, 1959
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Box
10
Folder
5
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Promissory Notes
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Box
10
Folder
6
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Miscellaneous Records
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Box
10
Folder
7
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Reports, 1952-1953, 1955
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Statements
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Box
10
Folder
8
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Annual Production and Operating Statements, Other Circuses, Budgets, and Other Records (all circuses)
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Box
10
Folder
9
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Lambertville Statements, 1950-1959
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Box
10
Folder
10
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Neptune Statements, 1954-1959
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Box
10
Folder
11
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Stocks
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Box
10
Folder
12
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Summary of Gross Receipts, 1050-1053; Other Records of Grosses
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Taxes
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Box
10
Folder
13
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1950-1954
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Box
11
Folder
1
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1955-1960
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Insurance Records
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Box
11
Folder
2
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Accident Reports
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Policies and Related Correspondence
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Box
11
Folder
3-7
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Lambertville, 1950-1956, 1958-1959
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Box
11
Folder
8
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Miami, 1951, 1952
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Box
12
Folder
1
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Personal, 1952-1954, 1958
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Box
12
Folder
2
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Policy Summaries
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Legal Files
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Box
12
Folder
3-11
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AEA and CEA Contracts, 1951-1954, 1956, 1958-1961
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Box
13
Folder
1
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Contract Termination Notices, 1951-1956
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Box
13
Folder
2
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Other Contracts, 1950-1956, 1959
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Box
13
Folder
3
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General Legal
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Motor Music Circus
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Box
13
Folder
4
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Financial Statements, 1952-1953; Itinerary, , 1953
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Musical Arena Theatres' Association
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Box
13
Folder
5
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Articles of Association, By-Laws, Minutes, Members, Form Letters, Bulletins, 1955-1956
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Neptune Music Circus
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Box
13
Folder
6
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Manager's Reports, 1959; Financial Statement, , 1958
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Personnel Records
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Payrolls
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Box
13
Folder
7
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1950
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Work Sheets
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Box
13
Folder
8-10
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1951-1954
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Box
14
Folder
1
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1955-1956, 1959
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Box
14
Folder
2
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Payroll Summaries, 1949
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Box
14
Folder
3-7
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Employee Records
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Box
15
Folder
1
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Employee Records, continued
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Box
15
Folder
2
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Unemployment Compensation Records
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Box
15
Folder
3
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Vacation Employment Certificates
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Production Files
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Box
15
Folder
4
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After the Ball, 1955, 1956
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Box
15
Folder
5
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Allegro, 1952
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Box
15
Folder
6
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Annie Get Your Gun, 1951, 1956
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Box
15
Folder
7
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Anything Goes, 1950, 1955
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Box
15
Folder
8
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Louis Armstrong Show, 1959
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Box
15
Folder
9
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Auntie Mame, 1958
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Box
15
Folder
10
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Bells Are Ringing, 1959
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Box
15
Folder
11
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Bigamy Jones, 1955
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Box
15
Folder
12
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Bittersweet, 1949
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Box
15
Folder
13
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Bloomer Girl, 1950, 1951
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Box
15
Folder
14
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Blossom Time, 1952
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Box
15
Folder
15
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The Boy Friend, 1959
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Box
15
Folder
16
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Boys From Syracuse, 1954
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Box
15
Folder
17
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Brigadoon, 1950, 1951, 1954, 1959
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Box
15
Folder
18
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By the Beautiful Sea, 1955
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Box
15
Folder
19
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Cabin in the Sky, 1959
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Box
15
Folder
20
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Call Me Madam, 1953
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Box
15
Folder
21
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Camden County, 1956
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Box
15
Folder
22
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Can-Can, 1956
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Box
15
Folder
23
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Carmen Jones, 1950, 1951, 1952, 1956
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Box
15
Folder
24
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Carousel, 1952, 1954
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Box
15
Folder
25
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Cat and Fiddle, 1950
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Box
15
Folder
26
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The Chocolate Soldier, 1949, 1950, 1951, 1952, 1954
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Box
15
Folder
27
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The Countess Maritza, 1954
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Box
15
Folder
28
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Damn Yankees, 1958
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Box
15
Folder
29
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Desert Song, 1949, 1951, 1961
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Box
16
Folder
1
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Destry Rides Again, 1961
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Box
16
Folder
2
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Du Barry Was a Lady, 1959
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Box
16
Folder
3
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Duke Ellington Show, 1959
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Box
16
Folder
4
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Fanny, 1961
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Box
16
Folder
5
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Finian's Rainbow, 1951, 1954, 1960
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Box
16
Folder
6
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The Firefly, 1952
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Box
16
Folder
7
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Die Fledermaus, 1958, 1961
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Box
16
Folder
8
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General, G, 1950-1958, undated
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Box
16
Folder
9
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Erroll Garner Show, 1959
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Box
16
Folder
10
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Gentlemen Prefer Blondes, 1953
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Box
16
Folder
11
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George Gershwin Festival, 1959
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Box
16
Folder
12
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Gilbert and Sullivan Shows, 1960
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Box
16
Folder
13
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Girl Crazy, 1952
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Box
16
Folder
14
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Jose Greco Show, 1952
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Box
16
Folder
15
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Guys and Dolls, 1955
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Box
16
Folder
16
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Gypsy, 1961
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Box
16
Folder
17
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Happy Hunting, 1958
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Box
16
Folder
18
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High Button Shoes, 1951, 1953, 1961
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Box
16
Folder
19
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Irene, 1951
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Box
16
Folder
20
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Jamaica, 1959
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Box
16
Folder
21
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The King and I, 1956, 1961
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Box
16
Folder
22
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Kismet, 1955, 1956
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Box
16
Folder
23
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Kiss Me Kate, 1952, 1954
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Box
16
Folder
24
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General, L, 1959, undated
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Box
16
Folder
25
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Liberace Show, 1961
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Box
16
Folder
26
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L'il Abner, 1959
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Box
16
Folder
27
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General, M, 1952, 1953
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Box
16
Folder
28
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A Majority of One, 1961
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Box
16
Folder
29
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Me and Juliet, 1955
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Box
16
Folder
30
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The Merry Widow, 1949, 1951, 1955, 1956, 1959
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Box
16
Folder
31
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The Most Happy Fella, 1958
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Box
16
Folder
32
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My Maryland, 1954, 1961
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Box
16
Folder
33
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Naughty Marietta, 1949, 1951, 1953
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Box
16
Folder
34
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New Moon, 1950, 1953, 1960
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Box
16
Folder
35
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No No Nanette, 1950
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Box
16
Folder
36
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No Time For Sergeants, 1958
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Box
17
Folder
1
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Oklahoma, 1954
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Box
17
Folder
2
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Orpheus in the Underworld, 1953
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Box
17
Folder
3
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General, P, 1953, 1959
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Box
17
Folder
4
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Paint Your Wagon, 1953, 1954
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Box
17
Folder
5
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Pal Joey, 1954, 1961
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Box
17
Folder
6
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Plain and Fancy, 1956
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Box
17
Folder
7
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Red Mill, 1954
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Box
17
Folder
8
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Redhead, 1960
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Box
17
Folder
9
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Roberta, 1949, 1952
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Box
17
Folder
10
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Robin Hood, 1956
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Box
17
Folder
11
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Rosalinda, 1949
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Box
17
Folder
12
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Rose Marie, 1949, 1951
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Box
17
Folder
13
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Sari, 1950
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Box
17
Folder
14
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Showboat, 1950, 1951, 1952, 1952, 1958, 1961
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Box
17
Folder
15
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Song of Norway, 1950, 1953, 1958
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Box
17
Folder
16
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South Pacific, 1955, 1960
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Box
17
Folder
17
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Student Prince, 1952, 1956
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Box
17
Folder
18
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Sunrise at Campobello, 1960
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Box
17
Folder
19
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Sweethearts, 1949, 1953
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Box
17
Folder
20
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General, T, 1951, 1955
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Box
17
Folder
21
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The Teahouse of the August Moon, 1956
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Box
17
Folder
22
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Tenderloin, 1961
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Box
17
Folder
23
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The Three Musketeers, 1952
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Box
17
Folder
24
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A Tree Grows in Brooklyn, 1953
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Box
17
Folder
25
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Two for the Seesaw, 1960
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Box
17
Folder
26
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Vagabond King, 1949, 1951
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Box
17
Folder
27
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Waltz Down the Aisle, 1954
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Box
17
Folder
28
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Where's Charley?, 1952
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Box
18
Folder
1
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Wish You Were Here, 1954, 1955, 1956, 1961
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Box
18
Folder
2
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Wonderful Town, 1955
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Box
18
Folder
3
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The World of Suzie Wong, 1955, 1956, 1958, 1960
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Box
18
Folder
4
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Ziegfeld Follies, 1959
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Box
18
Folder
5
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Zippy, undated
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Box
18
Folder
6
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General, 1952, 1954, 1960
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Box
18
Folder
7
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Song Lyrics
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Ticket Records
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Box
18
Folder
8-10
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Group Ticket Agreements and Related Correspondence, 1951-1952, 1956, 1959
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Box
18
Folder
11
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Printing Orders, Correspondence, Special Orders
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