7 minute read

Fairfield’s Ethel Atwood

Founder of a first all-women orchestra

by James Nalley

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In 1888, an all-women orchestra was founded in Boston, Massachusetts, by a Maine-born violinist and orchestra musician. The original group of six instrumentalists quickly expanded to 30 within the first year. They also became known for performing the latest classics and wearing shimmery gowns to match. This attracted the attention of renowned vaudeville manager B.F. Keith, who booked them in his theaters throughout the country. Over the course of its 30-year run, the group had performed more than 6,000 concerts, with approximately half of them as headliners in first-class vaudeville theaters.

Ethel Atwood was born in Fairfield on September 12, 1870. She began

— Ethel Atwood in 1893 — studying the violin at the age of eight, but the lack of means and competent teachers in the area prevented her from acquiring the proficiency to become a violin soloist. However, by her midteens, she realized that to find work and make a living, a move to a major city was necessary. In this case, she headed for Boston, which was extremely active. In fact, by the turn of the 20th century, the city had become a hub for the performing arts. For example, there was the Boston Symphony Orchestra (1881), the Boston Orchestral Club (1885), the Boston Opera Company (1909), the Boston Flute Players Club (1920), and the Boston Saxophone Or(cont. on page 38)

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(cont. from page 37) chestra (1925). Within this wide array of groups, Atwood found a niche: an all-women orchestra.

Subsequently, Atwood teamed up with violinist/conductor Caroline Nichols, who is credited as one of the first women in the United States to make a successful career out of conducting. Together, they formed the Fadette Ladies’ Orchestra, eventually known as the Fadettes of Boston. After the original group of six expanded to 13 and then to 30, the full-sized orchestra consisted of a first violin/director, four first violins, four second violins, two violas, two cellos, two contrabasses, timpani, two flutes, two clarinets, two trumpets, two French horns, three trombones, and percussion.

Being a smart businesswoman, Atwood immediately had the name of the orchestra copyrighted. She also rented an office, which served as her business headquarters. As stated earlier, the pro-

The 1907 cover of The Gartland March featuring the Fadette Ladies’ Orchestra.

fessionalism, musical selections, and uniformed shimmery gowns attracted the attention of vaudeville manager B.F. Keith. According to an article about the orchestra in the Pittsburgh Press (September 20, 1902), the “Fadettes played marches, waltzes, songs and arias by European composers such as Daniel Auber and Karl Michael Ziehrer.” Within seven years, the same newspaper would state, “The Fadettes of Boston: The Greatest Organization of Women Musicians in the World.”

As the orchestra created a following and reputation, it was also solely responsible for training more than 600 women for professional careers as orchestra musicians. Most importantly, it became instrumental in helping women become financially independent, which was unheard of at the time. Meanwhile, the orchestra traveled all over the country and maintained an extremely busy schedule performing to packed audiences at first-class vaudeville theaters. Although many orchestra members came and went, Nichols remained as its

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conductor and Atwood continued as the group’s violinist and business manager.

Meanwhile, not one to rest on her laurels, Atwood found lucrative work in other areas. For instance, after discovering that prompting (i.e., a person who cues actors/dancers when they forget their lines or neglect to move to a certain point on stage) was a well-paying career, she went on to become one of Boston’s best prompters. In fact, at the time, she was listed as the only female prompter in the U.S. business listings.

By the 1920s, interest in vaudeville performances waned. Contrary to popular belief, the loss of interest was not due to the emerging silent film industry. According to the article Vaudeville: A History of the Musical (2003) by John Kenrick, “The most truthful answer is that the public’s tastes changed and vaudeville’s managers (and most of its performers) failed to adjust to these changes.”

In 1920, the Fadettes of Boston disbanded after more than 6,000 performances. Nichols retired in Boston but continued to train women as potential orchestra members. She died in Boston in 1939 at the age of 75. Meanwhile, Atwood continued her work, both as a prompter and as a musician for hire. She eventually died on April 9, 1948, at the age of 78.

Interestingly, as a sign of the times, audiences were not necessarily amazed at the Fadettes of Boston for their musical performances. Instead, it was due to the ongoing myth that women did not have the lung capacity to sustain long notes when playing wind/brass instruments. Audiences also believed that women lacked the strength to physically play string instruments for an extended period without losing musical integrity.

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