FIXING SISTER
1916
Fixing Sister is a four-act play by Lawrence Whitman (aka William Hodge). It was originally produced by Lee Shubert starring Mr. Hodge.
‘Fixing Sister’ tells how a devoted brother outwits a headstrong sister who has been carried away by the temptations of luxury, title-hunting, and bridge whist gambling, in the midst of the gay society life of the metropolitan rich. As a result of her foreign travels, she has almost annexed a foreign nobleman of untested lineage. Her brother. John Otis, a representative American of a shrewd and humorous sort, learning of his sister’s peril, hastens to New York from Kansas City. It Is his native common sense and shrewdness which effect a not sudden, but finally very effective, cure, including staging a police raid at her bridge party. He also rescues his own sweetheart, a tantalizingly Independent sort of American girl, from the wiles and the guiles of New York society and foreign nobility.
All four acts take place in New York City.
Bridge whist is a card game popular in the early 20th century. It was derived from whist with the additional rules that the players would take turns as dummy and that the trump suit would be deliberately chosen (including the option not to have one) on each deal rather than random.
"Next Thursday night will be ‘police night' at Maxine Elliott's Theater, when the members of the police department gambling squad will attend in a body to see the performance of William Hodge in ‘Fixing Sister,' in order to enjoy the spectacular police raid of a gambling party, which furnishes an exciting climax to the third act.” ~ EVENING STAR
The somewhat odd title was one of a dozen considered by Hodge. It was originally announced as The Social Climbers, but that seemed too similar to Clyde Fitch’s 1901 play The Climbers.
Fixing Sister opened in Atlantic City at Nixon’s Apollo Theatre on January 16, 1916. From there, it traveled to Wilmington DE, Altoona PA, Pittsburgh PA, and Boston MA.
After Beantown (Boston), Hodge and company went to the Motor City (Detroit) before returning to Boston’s Majestic, where business was brisk.
“As an indication of the volume of business being done, it was necessary, on Ash Wednesday, to place the orchestra on the stage and sell seats in the pit usually occupied by the musicians.”
In mid-March 1916, Hodge made a formal announcement confirming the rumors that he was indeed playwright Lawrence Whitman. At the end of March, Hodge took on a second play in his downtime: Hobson’s Choice at the Wilbur. He requested that Mr. Shubert cancel one of his Fixing Sister matinees so that he might perform in Hobson’s, but Shubert declined. Instead, he arranged a special benefit of Hobson’s at an alternate time.
Although the above item appears to be an article, it is actually a paid advertisement! Do not send Miss Maxwell-Conover stray cats!
The Boston engagement finally came to an end on April 22, 1916. Although Broadway seemed the next logical step, the play moved to Maine through the end of the month. Hodge then retired to his summer home on Long Island to be with his wife and three small children, looking forward to bringing the play to Broadway in the new season.
Getting the play back on its feet, Hodge chose Pittsburgh, returning to the Alvin, where the play initially enjoyed a brief stay.
Fixing Sister opened on Broadway at Maxine Elliott’s Theatre (109 West 39th Street) on October 4, 1916.
“Early in the play the audience is let into the secret. The onlooker is taken into the confidence of the leading character and the game is won. The audience plays the rest of the piece. The interest and enthusiasm is so alive that it comes in waves to me across the footlights. Such a play is bound to be a delight to both the folk who play it and those who are entertained by it.” ~ WILLIAM HODGE
“Mr. Whitman’s play dramatizes the yellow journal idea of society life in Manhattan.” ~ BROOKLYN DAILY EAGLE
“When will Missouri stop ‘showing’ us New York?” ~ CHARLES DARNTON
Hodge’s character, John Otis, is from Kansas City, Missouri (aka the ‘Show Me’ State)
“Interest is sustained as long as [Hodge] is on the stage, making droll remarks about everything in general in his inimitable manner, but it lags perceptibly when the other characters are depended upon to keep things going.” ~ BROOKLYN LIFE
In early November, the production cleverly addressed rumors that Hodge would close the New York production and tour. A week later, the play was extended, selling advance tickets for as far ahead as New Year’s.
Despite this, Hodge packed his tents and moved the play to Chicago a week before Christmas. It ran on Broadway for 85 performances.
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My favorite Black couples in Period Films/Series.
An anon recently asked me about my favorite Black couples in period films/series. I have a few! Some of which come along with trigger warnings and a bit of a heads up on not so happy endings. Some of these couples have happy endings, some have endings that leave you wondering, and some have beautiful relationships that ended tragically.
Happy Endings (To me anyway.)
Jackie Robinson (Chadwick Boseman) & Rachel Robinson (Nicole Beharie) in 42 (2013).
Katherine G. Johnson (Taraji P. Henson) & Colonel Jim Johnson (Mahershala Ali) in Hidden Figures (2016).
Chicken George (Regé-Jean Page) & Matilda (Erica Tazel) in Roots (2016).
Marie Ste. Marie (Nicole Lyn) & Richard Lermontant (Jason Olive) in The Feast of All Saints (2001).
The characters in this miniseries go through a lot. TW for SA.
Not So Happy Endings (SPOILER-ISH!!)
Rosalee (Jurnee Smollett) & Noah (Aldis Hodge) in Underground (2016-2017).
Canceled on a cliffhanger.
Tish Rivers (KiKi Layne) & Alonzo 'Fonny' Hunt (Stephan James) in If Beale Street Could Talk (2018).
The ending isn’t definite. I choose to think positively about their story.
Cora William (Thuso Mbedu) & Royal (William Jackson Harper) in The Underground Railroad (2021).
This story ends tragically.
Roots: The Next Generations (1979) has generations of a few sweet relationships that I enjoy watching.
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1. I say high-functioning because that's the way I'm used to referring to myself, kind like how an elder trans person would say "when I used to be this gender". And I do see myself that way, because while I'm high-functioning, I am also high support needs, so I need to make that distinction. Besides, it's a form of reclamation. For me at least.
2. For the characters pictured here who aren't explicitly depicted as neurodivergent in canon, these are all my personal headcanon, ones that I have because I see those traits in those characters, and particularly because I identify with them, and feel safe. If you disagree, that's fine, but don't you dare go being nasty about it this month, on the neurodivergent website no less.
[Image ID:
A three-by-three alignment chart meme. The headers at the top read, from left to right: "bold of you to assume", "how dare you assume" and "please assume" respectively. The headers on the left of the chart read, from top to bottom: "I'm high-functioning", "I'm low support needs" and "I'm neurotypical" respectively.
Each slot in the grid has a picture of a character from the series CSI or CSI: Vegas in it, with their canon or headcanoned neurodivergence additionally typed on the pictures themselves by the creator. However, the centre slot, the one denoted by "how dare you assume I'm low support needs" does not have any picture. Instead, it has the typed words "Me Autistic/ADHD/OCD". "Me" refers to the creator of this meme.
For the rest of the grid, we have:
Bold of you to assume I'm high-functioning - Greg Sanders, main character from CSI and CSI: Vegas, headcanoned to be ADHD
How dare you assume I'm high-functioning - Josh Folsom, main character from CSI Vegas, headcanoned to be autistic
Please assume I'm high-functioning - David Hodges, main character from CSI and CSI Vegas, headcanoned to be Autistic/ADHD
Bold of you to assume I'm low support needs - Beau Finado, main character from CSI Vegas, headcanoned to be ADHD/OCD
How dare you assume I'm low support needs - Me, who is Autistic/ADHD/OCD
Please assume I'm low support needs - Gil Grissom, main character from CSI and CSI Vegas, canonically autistic
Bold of you to assume I'm neurotypical - Aaron Pratt, character who appears in season 2 episode 7 of CSI, canonically Autistic/ OCD
How dare you assume I'm neurotypical - Randy Trachsel, character who appears in season 3 episode 8 of CSI, canonically had Down's Syndrome
Please assume I'm neurotypical - Sara Sidle, main character in CSI and CSI Vegas, headcanoned to be Autistic
/end ID]
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