Mapping the Dudley Circuit

In a February 9, 1907 profile of the famous comedian, Sherman H. Dudley, The Indianapolis Freeman wrote: "He sees with the eyes of a prophet a chain of negro theaters controlled by a syndicate of negro managers, duplicating in every city in the country where there is considerable colored population" [1]. In a segregated theatrical climate where black vaudeville performers were shut out of white theaters or charged exorbitant prices, Dudley's dream of a syndicated vaudeville performance network for African American performers seemed like both a pipe dream and a salvation. In 1912, Dudley began organizing a consolidated network of theaters colloquially known as the "Dudley Circuit." While the exact number of theaters on the Dudley Circuit is unclear, during its heyday from 1912-15, Dudley managed at least several dozen theaters.

1. Indianapolis Freeman, Indianapolis, IN, February 9, 1907, Readex Allsearch.

Using digitized historical newspapers, I collected data from Dudley's weekly syndicated newspaper column "What's What on the Dudley Circuit" from July 1912 until August 1913. I chose to collect data from the first season of the Dudley circuit in order to answer the following questions: How many theaters did Dudley manage? How fast did the Dudley Circuit grow? Which theaters were the most active?

Newspaper data reveals, Dudley amassed a network of thirty-five theaters during his first season as a theatrical proprietor. I've chosen to overlay my data onto a percentage map of the African American population by U.S. County from the 1910 census. Notably all of Dudley's theaters are located in counties with African American populations above 5%, with the majority located in counties with African American populations above 25%.

Discussion of the Dudley Circuit is impossible without discussion of Dudley's reception in the black press. Dudley's circuit was widely advertised and prominently featured in black newspapers, such as the Indianapolis Freeman. On March 23, 1912, The Freeman printed the following cartoon depicting Dudley forging a chain of theaters through brute force. While the circuit was colloquially known as the Dudley circuit, it is misleading to portray Dudley as the sole entrepreneur forging a chain through brute strength. While Dudley was the public figurehead of his circuit, he was never a sole proprietor. Even in its first season, the Dudley Circuit was a professional business enterprise. Dudley repeatedly advertised his theatrical business with the advertisement depicted below, "Some are Wise, Some are Otherwise." This advertisement positions Dudley as the leader of a theatrical enterprise and prominently lists their dual bureaus in both Washington, DC and Indianapolis.

It is important to recognize the data presented in these maps is limited in scope. A more diverse and contextual map could be achieved by collecting data from a greater time period. The Dudley Circuit is important because it laid the foundation for the TOBA circuit. Interviews and profiles of Dudley in black newspapers, describe Dudley's newspaper circuit as a type of salvation on behalf of African American vaudeville performers. In May 1913, The Freeman wrote: "With Mr. Dudley booking these houses, he will be able to offer the performers from 10 to 20 consecutive weeks at their salary. As it is now, negro vaudeville performers get bookings only occasionally...They must realize by this time that the time has come when they must look to the negro theatre if they wish to remain in the profession and they must look to Mr. Dudley as their salvation, as he is single-handedly attempting something that means so much to every negro who contemplates making a living on the American Stage" [1].

[1] Indianapolis Freeman, Indianapolis, IN, May 23, 1913 Readex AllSearch