Harry Girard was a well-known vaudeville actor and composer in Seattle during the first quarter of the twentieth century. Girard first gained notoriety as a composer of comedic, musical operettas, which revolved around a Northwestern-frontier theme very popular with the audiences of the region. In addition to composing these acts, Girard would also lend his baritone singing voice to the productions, in counter-point to the soprano of his wife, Agnes Cain Brown.
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On December 28, 1907, Harry Girard and Company performed his Klondike-themed operetta "The Alaskan," as the opening show in the newly-constructed Moore Theatre. Though Girard and Company had performed the show a month earlier in Tacoma, the house was packed with 3,000 people, despite the 2,400-person capacity of the theatre.
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By the mid-nineteen-twenties, Agnes and Harry's acting company had begun performing more wholly vaudevillian performances; the last mention of the acting company in the Seattle Times mentions them returning to headline at the Pantages Theatre on July 25th, 1926, with a "singing and dancing revue".
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Agnes Cain Brown was a vaudeville actress who gained popularity for her performances alongside her husband, Harry Girard, in musical comedies of his own composition. Agnes was known for her soprano voice, with which she performed opposite Girard's baritone in lead roles in his operettas, which often revolved around a Northwestern-frontier theme.
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In the 1910's, Harry Girard and Company performed their operettas around the region in Seattle, Bellevue, and Tacoma. On December 28 1907, Harry Girard and Company performed his Klondike-themed operetta "The Alaskan," as the opening show at the newly-constructed Moore Theatre. Though Girard and Company had performed the show a month earlier in Tacoma, the house was packed with 3,000 people, despite the 2,400-person capacity of the theatre.
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By the mid-nineteen-twenties, Agnes and Harry's acting company had begun performing more wholly vaudevillian performances; the last mention of the acting company in the Seattle Times mentions them returning to headline at the Pantages Theatre on July 25th, 1926, with a "singing and dancing revue."
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