Irving Aaronson (1895-1963) directed two big bands during the 1920s and 1930s; the first band was the Crusaders Dance Band, and the second was called Irving Aaronson and His Commanders. Artie Shaw and Gene Krupa were among the musicians who played with Aaronson and later became famous.

DeLyle Alda was a stage name of Delilah Alda Leitzel (1894-1927). She sang and acted in the theatre and in films.

She performed with the Boston Grand Opera as well as singing in vaudeville, performing at the Seattle Orpheum in November 1915.

Ernest Ball composed many popular American songs in the early part of the 20th century. Among these were "Mother Machree," "Till the Sands of the Desert Grow Cold," "Love Me and the World Is Mine," and "When Irish Eyes Are Smiling." He played at the Alhambra Theater the week of Oct. 15, 1916. In performance, he played many of his own compositions on the piano.

Julia Ballew was part of an act with Bob Carleton, her husband.

Ivan Bankoff trained at the Imperial Ballet Russe and arrived in the United States as understudy to Pavlova's partner Mordkin. When Mordkin could not perform because of illness, Bankoff got his start on the American stage. He then performed in vaudeville with partner Lola Girlie and an eight girl corps de ballet led by Madeleine Harrison. Bankoff's known appearances in Seattle include performances in April 1915, February 1916, and November 1916.

The Barry Girls were sisters who appeared in an act titled "Popular Melodies" for a week beginning April 31, 1917 at the Alhambra Theater.

Lois Bennet performed in Seattle in February 1922.

Bonita was the stage name of Pauline des Landes, one half of a comedic duo with Lew Hearn (also in this collection). According to the Carl Reiter Seattle Orpheum scrapbooks, they performed in Seattle during March 1915 and April 1916.

Comedian Jack Boyle performed in Seattle in February 1915 with stage partner James Hussey.

Burley and Burley were comedians.

Madeline and Dorothy Cameron were dancers. They performed in Seattle during January 1922.

Siblings Eduardo and Elisa Cansino had a dance act in vaudeville. They appeared several times in Seattle, including in November 1915 at the Orpheum Theater and in March 1917 at the Alhambra Theater. Eduardo Cansino's daughter was famous screen actress Rita Hayworth.

Carleton wrote the popular song "Jada" in 1918 while working as a pianist in a nightclub. He performed in vaudeville with his wife Julia Ballew.

Emma Carus was a headlining vaudeville singer. She appeared in Ziegfeld's first and was a member of the New York Stock Theater Company. She appeared in Seattle at least once, in April 1915 at the Orpheum Theater.

Lucille Cavanaugh was a dancer. She performed at the Moore Theater in June 1918.

Jean Challon was a singer. She appeared at the Orpheum for a week beginning on December 12, 1915.

Anna Chandler (1884-1957) was a vaudeville actress and singer. She appeared at the Orpheum Theater in Seattle at least once, in December 1914.

Lita Grey Chaplin, born Lillita Louise MacMurray (1908-1995) was an actress in silent films and was Charlie Chaplin's second wife. She married Chaplin at the age of sixteen, and appeared in uncredited roles in , , and .

A Seattle newspaper review from April 1917 describes these performers as a "singing male quartet of Chinamen" and as being native Chinese who sang in English.

Ciccolini performed at the Seattle Orpheum Theater for a week beginning March 1, 1916.

Eva Clark (sometimes spelled Clarke) is listed as a performer in several Broadway shows in the 1920s.

Jane and Erwin Connolly are listed as performers on the Orpheum Circuit in the , 1919.

Corelli and Gillette performed a knockabout acrobatic speciality. They performed in Seattle at least once, at the Orpheum Theater for a week beginning January 23, 1916.

Coscia and Verdi played the violin and cello in their act "Stringing Comedy."

Cecil Cunningham (1888-1959) was an actress who appeared in many Hollywood films in small roles. Her known performances in Seattle include a week's engagement at the Orpheum Theater in December 1915.

Dainty Marie was the stage name of Marie Meeker, a wire walker. Meeker's uncle was Seattle pioneer Ezra Meeker. She was apparently a dynamic presence in her interviews with the Seattle press: In an article in the newspaper from October 19, 1915, Dainty Marie discussed her fervent Christian Scientist beliefs and according to the reporter, "preached" a sermon about the value of exercise and moral reform.

Harry Delmar (1892-1984) began as a song-and-dance man in vaudeville, then produced shows such as , and later produced and directed films.

Diamond and Brennan played the Seattle Orpheum during the week beginning on November 7, 1915.

Rene Dietrich partnered with Horace Wright for a song and patter act. They played the Alhambra Theater in April 1917.

Kitty Doner (1895-1988) was one of the most famous male impersonators in vaudeville. She began her career when her father, a performer who had wanted a son, declared that she had better appear dressed as a boy because she did not have the looks to be successful dressed as a girl; however, her acts often involved an appearance in both male and female clothes, and critics admired her graceful feminine performances as well as her skilled mimicry of male mannerisms.

Mary Duncan was a singer. She appeared in an act called "Opera and Jazz Inc." with Gertrude Moody at the Moore Theater for a week beginning on February 16, 1921.

Dupont, known as "the living Venus," appeared in an act where she posed against various scenes projected against a screen. She appeared in Seattle at least once, in September 1915.

Comedienne Gracie Emmett (1862-1940) played Irish characters in vaudeville.

Sallie Fisher was an actress and singer. She performed in Seattle at least once, at the Moore Theater in May 1918.

Lillian Fitzgerald played the Seattle Orpheum Theater for a week beginning on February 13, 1916.

Frank Fogarty, known as "the Dublin Minstrel" told Irish anecdotes in his act. He performed at the Seattle Orpheum Theater for a week beginning on January 8, 1916.

Folsom was a female performer who appeared as a headlining single act. Advertisements in Seattle newspapers also describe her as appearing with Jack Denny and His Metropolitan Band in December 1922.

Frederic Fradkin (1892-1963) was an American classical violinist born of Russian immigrant parents. He studied at the Paris Conservatoire and became concert master at the Boston Symphony in 1918. Following dismissal by the Symphony because of his union organizing activities, Fradkin worked as a radio orchestra musician and later opened a restaurant in New York. Fradkin performed at the new Seattle Orpheum Theater in 1927.

Trixie Friganza (1870-1955) was born Delia O'Callahan. She became a well-known vaudeville singer-comedienne. Many of her comic bits hinged on references to her weight. Friganza participated in the women's suffrage movement. She acted in films during her later career, but in 1939 sold her possessions and retired to live in a convent until her death.

Trixie Friganza appeared in Seattle at least once, during October 1917.

"Happy Jack" began his career in the 1880s. As a singer and comic, he often performed in blackface. He and his wife were members of the Muskegon Actors' Colony (1908-1938), where vaudeville performers such as Buster Keaton took summer retreats. Gardner died in 1929 at Muskegon.

Clark and Gerard (also spelled Gerrard) appeared at the Orpheum Theater in October 1915. A newspaper account describes Clark as being born in Jerusalem, Palestine.

Glason was a singer, comedian and songwriter.

Reisner's name was sometimes spelled Riesner, as it appears on this photo. After time in vaudeville as a "bag puncher," in an act demonstrating various methods of hitting a punching bag, Reisner became a director of such films as Buster Keaton's

Henrietta Gores had a roller skating act, and was married to Reisner at one point, according to an account by Reisner's son Dean (from another marriage).

Gores and Reisner played the Seattle Orpheum Theater for a week beginning on February 13, 1916.

Harry Green performed in Seattle several times, including a week's engagement at the Seattle Orpheum Theater in March 1916. The newspaper account of the March 1916 performance describes Green as a "young Jewish actor" in a playlet "The Cherry Tree" about "George Vashington Cohen" who "never told a lie."

Grohs and Baraban were dancers who performed modern dances such as the foxtrot. They performed at the Seattle Orpheum Theater in March 1915.

The singer Marion Harris was an early popularizer of blues and jazz who recorded for the Victor and Columbia record labels. She toured the vaudeville circuit as well as performing in Florenz Ziegfeld's . Later in her career, she appeared in films.

Orville Harrold was an opera singer discovered while singing in a vaudeville act by producer Oscar Hammerstein.

Marie Hartman was a comedienne. She performed at the Orpheum Theater for a week's engagement in March 1923.

Sessue Hayakawa (1889-1973) achieved fame as a silent film star through his role in Cecil B. DeMille's controversial 1915 film , which told the story of a white woman's passionate affair with an Asian ivory merchant. The movie was a huge box office success and turned Hayakawa into the first Japanese matinee idol in Hollywood history. Hayakawa remained popular through the 1910s, but a rise in racism in the U.S. sparked by anger over immigration ended his stardom in 1922. In the 1920s, Hayakawa began a new career in Europe, acting in the French and British movie industry. He tried but failed to regain his career as a star in the U.S., which can be partly attributed to the revelation of his heavy accent after the advent of "talking" pictures. After WWII, Hayakawa turned himself into a character actor, which led him to play the POW camp commander in David Lean's (1957). For this role, he was nominated for an Academy award for best supporting actor, making him one of the only eight actors of Asian descent to date to be nominated for an Academy award in an acting category.

Lew Hearn (1882-1965) was a comedian and singer who started his career in burlesque and then moved into vaudeville. When not a solo act, his stage partner was Bonita (Pauline des Landes). Before breaking into show business, Hearn earned his living entertaining drunk audiences in a Pacific Northwest honky-tonk.

Frankie Heath performed at the Moore Theater for a week's engagement beginning on September 27, 1917.

Josie Heather was an English comedienne.

Singer Ruby Helder performed at the Seattle Orpheum Theater for a week's engagement beginning on December 19, 1915.

Hendler played the Alhambra for a week's engagement beginning on March 24, 1917.

Herb and the boys, as the signature on this photo reads, are probably Herb Wiedoeft and the Cinderella Roof Orchestra. They were a popular band during the 1920s, particularly on the West Coast, where they typically played at the Biltmore Hotel in Los Angeles. Herb Wiedoeft played the trumpet. Wiedoeft died in 1928 in a car accident.

The monologuist Harry Hines performed at the Seattle Orpheum Theater for a week's engagement beginning on March 1, 1916. From newspaper descriptions, it appears his act included songs and patter.

Nicknamed the "lady who never smiles" for her serious facial expression while dancing, Harriet Hoctor danced in vaudeville and burlesque and later performed as a featured dancer for the 1929 . She opened her own ballet school in Boston in 1941.

John B. Hymer performed on the stage, but the bulk of his credits are for writing plays. He is the father of actor Warren Hymer.

Jackson was a crooner who appeared as a sidekick to comedian Jimmy Durante.

Dorothy Jardon, an opera singer, performed in the Seattle Orpheum Circuit theatres at least twice, at the Orpheum Theater in February 1916 and the Alhambra Theater in February 1917. A newspaper account from the Seattle press describes her allegedly diva-like behavior, including her claim that she bathed in perfume and had at one time required a massage with tiger fat from her maid prior to each performance.

This was an act featuring four female pianists on four baby grand pianos. In this postcard for the act, the pianists are identified as Jerry, Mollie, Mary, and Genevieve.

Jomelli sang at the Metropolitan Opera Company. She performed at the Seattle Orpheum Theater in January 1915. This picture may have been signed for Burnett at the Palace Hotel in San Francisco, where he worked with the orchestra during the summer hiatus of the Seattle Orpheum Theater in 1916.

Jonas was a Spanish pianist. Burnett studied with him in Europe.

The Jordan sisters were members of the Flying Jordans, an acrobatic and trapeze act, begun by their parents Lew and Mamie Jordan. In advertisements for their engagement at the Moore Theater for a week beginning on September 27, 1917, the name of their act is the "Jordan Girls," which indicates that the sisters were not appearing with the rest of the Flying Jordans.

Simeon Karavaeff was a dancer who appeared in the as well as other musical revues.

Mary Kelly performed in Seattle on the Orpheum Circuit for a week's engagement beginning October 12, 1921.

King's talent was toe dancing, as represented in this photo. She appeared at the Seattle Orpheum Theater in October 1915.

According to the , July 1, 1917, the Kouns sisters were daughters of Charles Kouns, the general manager of the Santa Fe Railroad. In vaudeville, they were advertised as concert soprani.

La Graciosa was the stage name of Florence Ewer. She was the sister of two other performers, Mildred (La Regaloncita) and Lenora (La Preciosa). In 1894, the sisters performed in E.E. Rice's burlesque, . Because they were children at the time, their performance was protested by the Gerry Society in New York. The Acting Mayor of New York, George B. McClellan Jr., allowed them to perform if they posed but did not dance. As an adult, La Graciosa performed as a single act. From these images, it seems likely that La Graciosa posed against scenes projected onto a screen.

This group sang excerpts from opera.

Lamberti's act included musical impersonations, performed on violin, piano, and cello. One engagement in Seattle occurred in March 1915 at the Orpheum Theater.

Laurie and Bronson were the married couple Joe Laurie Jr. and Aleen Bronson. They were divorced by 1922. After the dissolution of the partnership of Laurie and Bronson, Laurie went on to perform as a solo act as a monologist. He wrote the "Letters to Lefty" column in for many years, and from 1950-51, he appeared on the ABC show "Can You Top This?" as a panelist. Laurie co-wrote the book "Show Biz: From Vaude to Video" (1951) with Abel Green and wrote (1953).

Aleen Bronson's name appears in the Library of Congress copyright catalog as one of the authors of the one-act comedy (1930).

Max Le Hoen and Mademoiselle Dupreece were sharpshooters. They performed at the Seattle Orpheum Theater for a week's engagement beginning December 12, 1915.

Autograph lists under Lee's name. This is the title of a hit play from 1917 by C.W. Bell and Mark Swan.

Jane (1912-1957) and Katherine (1909- ?) performed in many silent films as child stars. They also performed in a vaudeville act together. After growing up as child performers, Jane and Katherine Lee continued in the business as young women, mostly continuing on together as a sister act, but also performing in films. In the 1950 film , Jane Lee has an uncredited role as a teacher.

Jane and Katherine Lee performed in Seattle at least twice, for a the week beginning October 30, 1921, when they were children, and in February 1931, when they were in their twenties.

Silent film actress Lila Lee (1901-1973) was born Augusta Appel and known as "Cuddles" to her colleagues. Paramount studio head Jesse L. Lasky discovered Lee and featured her in many films, beginning in 1918. Lee appeared in the well-known silent film (1922). She married film star and silent film director James Kirkwood, with whom she had a son, James Kirkwood Jr., before the marriage ended in divorce. James Kirkwood Jr. wrote the musical .

Lee appeared in an act with Georgie Price at the Moore Theater in September 1917. Seattle newspaper accounts put her age in 1917 at twelve, which suggests that she may have been pretending to be younger than she actually was for her stage roles.

Sammy Lee (1890-1968) started in vaudeville as a child, and then paired up with Ruby Norton for a double act. He turned to choreography in the 1920s, becoming dance director of the 1927 . In 1929, he contracted with MGM as a choreographer for musicals, but by the end of his career, he had worked on the films of many other studios.

Tina Lerner was a Russian pianist. She divorced her first husband in 1915 and married Vladimir Shavitch; this photo is autographed Tina Lerner-Shavitch.

LeVere was the wife of Lou Handman, also in this collection.

Jess Libonati was a ragtime zylophonist. According to the Carl Reiter Orpheum scrapbooks, he appeared at the Orpheum Theater for a week beginning April 29, 1916 and at the Moore Theater for a week beginning Oct. 24, 1917.

Annette Woodman and Guy Livingston were dance partners. Livingston also appeared at the Seattle Orpheum Theater in November 1915 with dance partner Bessie de Voie.

Alice Lloyd was a British singer who was a popular performer in the United States between 1906 and 1927. She was the sister of the famous British music hall star Marie Lloyd. Both sisters were known for songs with suggestive lyrics. She performed at the Seattle Orpheum Theater in December 1914. Seattle newspaper accounts describe her singing of "It's a Long Way to Tipperary," the iconic British song often sung during WWI. This was a controversial choice because the United States had yet to enter the war, and President Wilson had enjoined Americans to be neutral in the conflict. Although the audience applauded, they reportedly would not join in the chorus with Lloyd.

Nick Lucas was a pioneering guitarist and singer. In his vaudeville act, he accompanied himself on the guitar. The first guitarist to have a guitar custom-made using his name (by Gibson), Lucas became popular as a radio crooner as well as a guitarist in jazz bands.

George Lyons and Rocco Giuseppe Iosco (Bob Yosco) were a harpist and mandolinist (or violinist) respectively. Yosco was born in Italy in 1874 and died in New York in 1942. Lyons and Yosco composed the song "Spaghetti Rag" in 1910. According to Seattle newspaper accounts, the act "Lyons and Yosco" featured the two performers singing and playing the harp and violin. They performed in Seattle in October 1921.

A vaudeville actress.

The Maryland Singers were one of several acts produced by Ralph Dunbar, a theatrical producer based in Chicago. The act featured four young women and one young man with a banjo playing songs of the American South. In the Seattle advertisements for this November 1916 engagement, the group is called the "Ralph Dunbar Singers."

Stella Mayhew was a long-time performer in vaudeville and in Broadway musicals and revues. She began her career singing in blackface before breaking into more mainstream roles. After marrying Billee Taylor, a vaudeville song-and-dance man, the two performed as a couple. Between 1909 and 1912, Mayhew made several cylinder recordings for Edison.

Harry Mayo and Harry Tally were originally part of a vaudeville singing group called the Empire City Quartet. They also recorded five records together as a tenor-bass duo. Tally, the tenor, made many recordings as a solo artist. The duo performed at least once in Seattle, at the Orpheum Theater for a week beginning on December 19, 1915.

Canadian-born baritone MacFarlane (circa 1877-1932) performed in operettas, Broadway musical theatre, and feature films. He recorded songs for the Victor and the Columbia record labels.

McCarty (also spelled McCarthy in newspaper advertisements) and Lewis appeared at the Orpheum Theater in October 1915 in an act called "Dainty Different Doings."

James McIntyre and Thomas Heath were famous for their long-running blackface minstrel comedy act between 1874 and 1924, in which Heath was the straight man. There were rumors that the two did not speak to each other when not on stage; however, this was disputed by McIntyre and Heath.

Marguerite McNulty was an actress in at least one silent film, (1925). For a week's engagement beginning on October 13, 1916, she was part of the Wilkes Players on the Alhambra Theater playbill.

Artir "Artie" Mehlinger performed a "musical melange" at the Alhambra Theater for a week in April 1917.

Singer Florrie Millership performed at the Seattle Orpheum Theater for a week's engagement beginning November 28, 1915 and at the Moore Theater in September 1918.

George Austin Moore appeared several times on the Orpheum Circuit in Seattle. He was married to his vaudeville partner Cordelia Haager. The two had a song and dance act.

Silent film actress and comedian Polly Moran appeared in the film serials. She performed at the Moore Theater in April 1919.

Rosita Moreno was born in Spain in 1910. She started in vaudeville and Spanish films, and then appeared in Hollywood films such as (1934).

Betty Morgan was a singer. She performed at the Moore Theater in December 1917.

Joe Morris and Flossie Campbell were a comedy duo. They performed at the Alhambra Theater for a week beginning December 24, 1916 in a comedy skit called "The Avi-ate-her."

Murphy, advertised as Master Frankie Murphy, was a child performer. He appeared in Seattle for a week's performances beginning on February 13, 1916.

Murray and Alan were comedians who performed a novelty act set 3,000 years in the past.

A story in the from March 2, 1916 relates that while the Natalie Sisters were in Seattle to perform at the Orpheum Theater on their American debut tour, they performed their act for patients at the Firland Sanatorium. The three sisters were Hungarians who trained in Vienna, and included Clara (20) on piano, Ethel (19) on cello, and Lilly (18) on violin.

Neilson-Terry (1892-1977) was born into British theatrical royalty. Her aunt was Dame Ellen Terry, and her parents, grandparents and many other relatives were successful actors. Neilson-Terry played many of Shakespeare's heroines in the United Kingdom and toured in North America, performing on the American vaudeville circuit in 1917. Her tour included a week's performances at the Seattle Alhambra Theater beginning on December 31, 1916.

Daisy Nellis was classical pianist on the vaudeville circuit.

Nichols (1885-1971) was a singing and dancing comedian in vaudeville and in films. She was known for songs and dances impersonating ethnic characters and for parodic interpretations of popular songs. Nichols performed in Seattle several times, including an engagement at the Orpheum Theater in September 1915. She also performed at the Alhambra Theater in December 1916 in her act, "Will Someone Name My Nationality?"

Nonette was a vaudeville violinist. She was married to the lyricist, playwright and director Alonzo Price. Nonette appeared several times in Seattle, including in November 1915.

One of the premier female impersonators of the vaudeville era, Karyl Norman billed himself as "The Creole Fashion Plate." His act borrowed from the conventions of blackface performers, who often appeared in drag in their acts. Norman was born George Francis Peduzzi (or Peduzze) in 1897 and is thought to have died circa 1947. Norman performed in Seattle at least once, in September 1922.

Vivien Oakland (1895-1958), born Vivien Anderson, appeared in a number of silent film comedies of the 1920s for Hal Roach Studios. She performed in Seattle for a week's performances beginning near the end of the month of February 1924.

A comedian, Osterman was called the "Bad Boy of Broadway," in part because of his drinking problem. He debuted in Jerome Kern's 1917 musical, , and by the 1920s he headlined in vaudeville shows and in revues. He died in 1939 at around the age of 37 (his date of birth is not known).

Isabella Patricola, known professionally as Miss Patricola, was a vaudeville violinist. Critics and audiences liked her performances, and Patricola reached the heights of vaudeville, headlining at the famous Palace Theater in New York for four separate engagements.

Daphne Pollard (1892-1978) performed in musical theatre and on the vaudeville circuits between circa 1907 - 1924, and acted in silent and talking pictures between 1927 and 1943. Born Daphne Trott in Australia, she took the name Pollard after joining the Pollard Lilliputian Opera Company at the age of six with her sister Ivy.

Vaudeville headliner George E. Price (1901-1964) was a song-and-dance man and impressionist. He began as a child performer, at one point in an act with Lila "Cuddles" Lee.

Edward Prinz appeared in dance films of the 1930s and beyond in small roles and then worked as a choreographer. He started in vaudeville and theatre.

This group performed in Seattle at least once, at the Seattle Orpheum Theater for a week's performances beginning December 26, 1915.

Jessie Reed appeared in the Florenz Ziegfeld's (1919) and in the as a featured performer (1921-1924). In the 1920s, Reed's succession of marriages to two millionaires and then the heir to a fortune gained her notoriety as a gold digger. In all, she married five times (twice to fellow performers), but none of the marriages lasted long. Reed died in poverty at the age of 42. Her daughter Ann de Brow became a Ziegfeld girl after her mother's death.

Ruth Roland (1892-1937) starred in silent films and performed in vaudeville. Beginning as a young child in vaudeville, she performed under the name "Baby Ruth." As an adult, she acted in many silent films and then became a producer of a series of films starring herself. Roland's life ended early from cancer, but she succeeded in becoming a star and a very successful business woman in her short life.

Roland performed at the Moore Theater in August 1923.

The duo Ryan and Lee performed in Seattle for at least two week-long engagements, at the Orpheum Theater beginning December 5, 1915 and at the Alhambra Theater beginning February 5, 1917.

Tenor Umberto Sacchetti sang for both the Boston and Metropolitan Opera Companies. A competition for opera singers in Bologna, Italy bears his name. He appeared in Seattle at least once, during the week beginning on February 20, 1916.

Marie Bishop was a violinist. She was the wife of Charles "Chic" Sale, who even though he died at the age of fifty-two, was noted for playing the part of an old man in vaudeville and then in films. Marie Bishop is mentioned as playing a violin solo at the National American Woman Suffrage Association convention in Seattle on July 2, 1909. She and "Chic" Sale performed in separate acts in a week's performances beginning January 2, 1916 at the Seattle Orpheum Theater.

Rae Samuels (1887-1979) was the child of Welsh immigrants, known in vaudeville playbills as "the blue streak of vaudeville." She started in vaudeville as a young girl and worked her way up to a successful single act performing comic, ethnic, and "rube" songs. She headlined several times at the Palace Theater in New York, and was the first performer to sing Irving Berlin's "Oh How I Hate to Get Up in the Morning" (1918). Her husband and manager, Marty Forkin, managed famous tap dancer Bill Robinson's career. Samuels worked in vaudeville through the early 1930s.

Samuels (her name spelled Ray Samuels in advertisements) appeared in Seattle theatres several times. Her Seattle Orpheum Circuit appearances include performances in February 1915 at the Orpheum Theater and in November 1916 at the Alhambra Theater.

Zelda Santley was a singer and performer. She appeared in on Broadway.

Grand opera basso Henri Scott made his professional debut with the Manhattan Opera House in New York in 1909. Subsequently he sang for the Chicago Opera Company for three years; in 1911, the Metropolitan Opera Company hired him as a leading basso. He then sang in vaudeville.

Blossom Seeley, the "Queen of Syncopation" rivaled Mae West as a singer with sex appeal. Her stage partner (from circa 1921 onwards) was her husband Benny Fields, although Seeley was the star of the act. The two appeared in George Gershwin's short jazz opera at Carnegie Hall in 1925. Paramount Studios produced a film of Seeley and Fields' life story called (1952). The couple appeared regularly on the .

Sadie Sherman performed southern dialect stories and character impersonations.

From photo, Simpson appears to have had a one-man percussion act involving at least drums, cymbals, and zylophone.

Slivers was the famous stage name of Frank Oakley (1871-1916). He performed for Ringling Brothers, the Barnum and Bailey Circus, and headlined at the New York Hippodrome. His most well-known act featured a one-man baseball game with Slivers playing all the positions. Slivers committed suicide by gas asphyxiation. In newspaper accounts, his motivation for suicide was attributed to heartbreak over a rejected proposal of marriage. The proposal was an attempt to parole Viola Stoll, a young vaudeville actress, from the Bedford Reformatory where she was imprisoned after allegedly stealing the jewelry of Oakley's late wife. Slivers' may have been further motivated by the decline in his career after the popularity of films starring silver screen clowns such as Charlie Chaplin.

Luise Squire was a vaudeville performer and early silent film actress.

The Victor Record Company gave the nickname "Victrola Girl" to Aileen Stanley in 1926. Stanley (1893-1982) was born Maude Elsie Aileen Muggeridge, but took her brother's first name as her stage name. She became one of the most popular female singers of the 1920s, performing in vaudeville, appearing in Broadway revues, and making at least 215 recordings. Stanley's Broadway shows were: (1920), (1929), and .

Max Steindel was principal cellist for the St. Louis Symphony Orchestra.

Edwin Stevens acted and sang in operas, dramas, musical comedies, and classical plays, appearing on Broadway and in vaudeville. He was born in 1860 and was educated at the University of California before becoming a professional actor. He performed in Seattle at the Orpheum Theater in January 1915.

Belle Story (sometimes spelled Storey) was a headlining opera singer in vaudeville. She appeared at the Alhambra Theater for a week's performances beginning April 31, 1917.

Acts featuring siblings, or acts featuring performers pretending to be siblings, were common in vaudeville. The Three Leightons, a "brother act," featured brothers Bert and Frank Leighton, who were joined circa 1906 by Joe Leighton, who was probably no relation. They had a singing and dancing minstrel act including skits involving blackface comedy routines.

Toney and Norman had a comedy act with Toney as the comedian and Norman as the "straight woman."

Toto's real name was Alfonso Novello. He was born in Genf, Switzerland in 1888. He starred in comedic shorts for filmmaker Hal Roach, and started in vaudeville in 1918. His act included a dog named Whiskey, who rode along with Toto in his clown car. Toto headlined at the New York Hippodrome and the Palace Theater. He died in 1938 while in the process of suing the for mistakenly reporting his death.

The Tuscano Brothers juggled battle axes. They performed at the Orpheum Theater during a week in early January 1916.

Harry and Eva Puck were a brother and sister act between circa 1898 and 1911, when Eva left the act to marry.

Eva Puck (1892 -1979) married Sammy White, and they formed the act "Puck and White." In the original production of , Puck and White played Frank Schultz and Ellie May Chipley. The Puck and White routine "Opera versus Jazz" was filmed by Lee De Forest in the Phonofilm sound-on-film process (1923), and is now preserved in the Library of Congress. Eva Puck also appeared in many Broadway musicals as a solo act.

Harry Puck (1891-1964) composed songs such as "My Parcel Post Man" (1913), in honor of the U.S. Postal Service's introduction of parcel post service, and "The Foot-Warmer" (1914). Like his sister, he appeared in many Broadway shows as a solo performer.

An actress and singer who appeared on Broadway as well as in vaudeville, she was the daughter of actor and cellist August Van Biene.

Gertrude Vanderbilt was a dancer and singer. She performed in many Broadway shows, was a featured performer in the 1914 and became a business executive after she left the stage.

One-named performer Vannessi is listed in the cast of several Broadway musicals from 1924 through 1945.

Oliver Wallace (1887-1963) composed film scores and conducted for Walt Disney Studios, beginning in 1936. Among his film scores are those for and , and he worked as musical director on . He was a close friend of Charles Burnett.

Effie Conley Warren sang and danced in vaudeville along with her husband Fred Warren.

Married couple Guy Weadick (1886-1953) and Flores La Due (1883-1951) were rodeo and vaudeville performers. Weadick produced the first Calgary Stampede in 1912.

Walter Weems performed a blackface monologue in vaudeville and then became a screenwriter in Hollwood.

Frances White (born Seattle in 1896 or 1898, died 1969), performed in many musical comedies and revues including the of 1916 and Ziegfeld's (1919). At one time, she was the partner of William Rock. Rock and White performed at the Orpheum Theater for a week in January 1916.

H.W. Winston had a performing sea lion act. He owned Curley the sea lion, who worked for Paramount Studios and appeared in and .

May Wirth (1894-1978) was an Australian-born circus rider who performed with her adoptive family, "The Royal Wirth Family" and as a solo act.

Swan Wood was a dancer. She performed at the Seattle Orpheum in November 1915 accompanied by eight barefoot dancing girls in an act called "Ballet Divertissement."

British comedian Wood (1895-1979) was born George Bramlett. He began his career at the age of six, and played child roles throughout his career because of his stunted height. He debuted in American vaudeville in 1915.

Horace Wright was a tenor known for singing Italian character songs. He partnered with Rene Dietrich for a vaudeville act.