Olive Thomas: New Amsterdam Theatre, Part ll

Olive Thomas

In 1920, Olive Thomas a former Ziegfeld girl and a silent screen actress was on a second honeymoon in Paris with her husband Jack Pickford. The two had been out partying and drinking when they returned to the Hotel Ritz.

Olive in search of something to calm her nerves found in the suite’s bathroom a large blue flask that smelled like alcohol, she thought it was a sleeping draught that would help her. She drank it down. As this liquid flowed down her throat it burned.

She screamed waking her husband in the next room. Too hazy to understand, she had ingested the topical mercury bichloride that Jack was using to treat his chronic syphilis.

Jack tried to induce vomiting but this did not work. Olive was taken to the nearby Neuilly Hospital. In the hours that followed she had fits where she would gain consciousness briefly. She apologized to Jack, who stayed by her side, and then called for her mother.

The amount of toxic fluid she ingested shut down her kidneys and she tragically passed. Jack accompanied Olive’s body back to the U.S. Her funeral service was packed, it was held at St. Thomas Episcopal Church in New York City. She was buried in Woodlawn Cemetery in the Bronx in September of 1920.

Olive Thomas Pickford's
mausoleum at Woodlawn.

Rumors flew about her death, it was speculated that it was actually a suicide or murder—all untrue. While alive the couple had been dubbed, “the gayest, wildest brats who ever stirred the stardust of Broadway.”

After the scandal of her death, the Hollywood studios used Thomas, the Arbuckle scandal (1921), which I discuss here and the murder of William Desmond Taylor (1922) to instate “morality clauses” into actors’ contracts.

My favorite true ghost story author, Tom Ogden in his book Haunted Theaters retells several stories that indicate Olive Thomas’ spirit returned to haunt the New Amsterdam Theater shortly after her death.

Olive’s ghost often appears partly faded. She has been seen both backstage and in the lounges at the New Amsterdam. She is seen wearing her green beaded dress with the matching headband and sash.

Main stage

New Amsterdam
Theatre

A workman at the theater in 1952 saw her ghost twice. He noticed the name “Olive” written across her sash. Both times this figure disappeared right in front of him as she held a large blue bottle in her hands.

He recognized her without this ID for he had worked at the theater as a young man during the time she was a Ziegfeld girl.

As many old buildings the New Amsterdam fell into massive disrepair over the years. One preservationist group tried to restore the building in the 1970s but failed. In 1979, the building was declared a New York City landmark.

In 1993, Disney bought the building and spent $35 million restoring it. The man in charge of this restoration, Dana Amendola began to receive reports from workmen that the building was haunted.

These reports did not surprise him for research he did on the history of the theater mentioned Olive, her tragic death and the fact her ghost lingers.

Several night watchmen told him that they had seen a glowing image of a beautiful young woman on the main stage. They also saw this apparition in the dressing rooms.

One watchman stated he captured this image within the beam of his flashlight. “The beads from her Follies dress, headpiece and sash sparkled in the glare.”

This man said this figure held a big blue flask. He challenged her. “Miss, stop, who are you? You shouldn’t be here.”

He said a demure smile formed on the woman’s lips. She then turned and drifted across the stage. He watched as she walked right through a solid outside wall.

Olive’s ghost when seen always carries this blue flask. The male witnesses said she often flirted with them. She whispered, "Hi fella and then would bat her eyes before disappearing."

She was also heard calling out, “Hey, how re doin’?” At other times night watchmen and workers found items moved without explanation.

Production of Aladdin at
theatre.

After Disney re-opened the theater to the public, cast and crew have reported seeing Olive's ghost. She appears at night after audiences have left.

She has made the sets shake and she has caused all the lights to blow out in the upper floor offices. Her ghost tends to appear more often when changes are made.

She has also been seen on the Amsterdam’s rooftop floating near where the old glass dance floor used to be.

Two portraits of Olive hang in the theater. Today actors that perform in the various Disney productions often acknowledge Olive’s presence as they pass these two pictures. They stop and say, “Goodnight Olive” or they say, “Welcome Home.”

In Part l of Olive Thomas: New Amsterdam Theatre I talk about Olive’s scandalous time as a Ziegfeld girl and her marriage to Jack.

Here is a brief video with Dana Amendola talking about Olive's ghost at the New Amsterdam.

I Have a Friend

This is a 1^st person account of how a ghost when simply acknowledged became a real asset by showing its’ appreciation later on.

In the early 70s I was attending a local college as an undergraduate. I was involved in the campus theatre and spent many hours acting and painting sets.

This is the story of how a ghost saved me from getting my “ass kicked.”

Frequently when I worked in the theatre I was alone--at least I thought I was. I often heard my name called when no one else was in the building.

Wondering if the theatre was haunted I asked around. I was told the story of a student who died in the crawlspace while working under the stage. He broke a steam pipe by accident and then was killed by the spraying steam.

I felt bad this had happened, it was a horrible way to die.

One stairwell that led up to a costume shop was always colder than the rest of the building. Plants that lined the windows near this staircase always died. There was a lot of sunlight so this mystified everyone.

I began to sit on these stairs to eat my lunch “so I could reach out to the ghost and befriend him.” After a few weeks the plants in the windows started to perk up--they had new shoots and leaves.

It was at this time that the campus concert choir was preparing for their big spring show. Several others and I set up the collapsible risers on the stage for this group.

After one rehearsal a member of this choir approached me. Earlier he had seen me talking to his girlfriend. It was obvious he was out to intimidate me. He demanded I stick around after everyone left. He announced menacingly “we need to talk.”

This guy was twice my size and he was furious. I waited to everyone left the building. As he approached I tried to explain that I was not interested in his girl--we had just engaged in small talk. I told him I was interested in and dating another girl.

But he didn’t believe me and approached where I stood on a top riser. It was clear to me he was itching for a fight.

As I watched him step onto the bottom riser a calm settled over me. I sensed that I would be all right and that I was not alone.

He stopped on the top riser next to mine, as he drew back his arm to take a swing at me-- I told him, “I wouldn’t do that if I were you.”

He laughed, “What’s that supposed to mean?”

Now hesitant I stated, “I have friends.”

He looked around and then sneered, “Well, they are not here now. No one can save you. You’re dead.”

Just as he said this the riser he was standing on collapsed from under him. He fell back into the concrete wall behind the stage.

I watched as he stood up dazed holding the back of this head. He now looked up at me with mounting fear.

“I tried to warn you--now leave me alone!”

He never bothered me again.

I believe the ghost appreciated the fact I had taken the time to acknowledge him--so he assisted me. I just treated him the way I would have wanted to be treated if I were in his place.

Drury Lane: The Clown and the Man in Grey

The Theatre Royal Drury Lane is the oldest “legitimate” theatre in London. Located in the West End in Covent Garden in Westminster the present building dates from 1812, the first theatre on this site was founded in 1663.

Several ghosts haunt Drury Lane. Here are just two stories.

The Clown

Grimaldi

Joseph Grimaldi had a long and distinguished theatrical career as the first noted pantomime. His white-faced roguish clown became the role model for most modern “joeys.” His character gave the gift of laughter, so his fans adored him.

Grimaldi’s craft took a terrible toll on his health, and he finally had to give up acting. By 1818, Grimaldi who suffered from a crippling disease was destitute, so Drury Lane arranged a benefit performance. 

It is said that Grimaldi’s clown was still able to make the audience laugh even though he by this time, was confined to a chair.

Since his death in 1837 Grimaldi’s ghost has been seen countless times at the Theatre Royal. His spirit often gives people working in the Drury a swift kick. No workers are immune to this--actors, cleaners, and ushers all have been kicked.

Before his death, Grimaldi had one last odd wish. He requested that his head be severed from his body before burial. This was evidently done for many witnesses have reported seeing a disembodied white face floating around the theatre.

Man in Grey

Insider Theatre Royal Drury Lane

The most famous ghost at Drury Lane is the Man in Grey. This apparition is a young man who is seen limping. A powdered wig adorns his head covered by a 3-cornered hat. 

He wears a ruffled white shirt and a grey riding cloak. Some witnesses report he also has a sword.

His ghost is always seen during the day, and it appears this haunting is residual in nature for he is almost always seen following the same pattern. His spirit is seen walking from one side of the upper circle * to the other side. He then just “melts into the wall.”

In 1939, half the cast of “The Dancing Years” was on stage for a photo call when they witnessed the Man in Grey cross the upper circle and then disappear through the wall. 

Over the years numerous witnesses, including famous actors, firemen, theatre managers, and other staff have all reported seeing him.

On rare occasions, his ghost has been seen sitting on an end seat in the 4^th row near the central gangway of the upper circle.

One cleaner new to the Theatre Royal encountered his ghost. Thinking he was an actor, she put down her supplies and spoke to him at which point he just disappeared. 

Confused she looked around and was astonished to see him vanish into one upper circle wall.

Precisely who the Man in Grey is, remains a mystery. During a renovation of Drury in the 1870s, during the Victorian era, one worker found a concealed room behind the wall where this ghost always disappears. 

He discovered a male skeleton with a dagger sticking out of its rib cage.

Some feel this explains his ghostly presence. Stories began to circulate that this young man gained the affection of an actress who performed at the theatre during the time of Queen Anne. 

An actor who also had vied for her hand was enraged at his loss. Consumed with jealousy, he killed his rival and then hid the body.

One photo captured of Man in Grey
Click to enlarge

Whatever the reason for this ghost’s presence he is universally liked for his appearances are considered a “good omen.”

It is believed that if he appears at the theatre before or during a new production, it will have a long successful run. “The King and I,” “South Pacific,” and “Oklahoma” are just three productions that saw the Man in Grey before they opened--they all were hits.

During the long run of “Lady Saigon” at Drury Lane the Man in Grey appeared each time there was a change in cast. Not surprising--actors talk about this ghost with much affection.

*  The upper circle sometimes is called the “the gods” because it is the highest tier balcony at large theatres. These seats are usually a considerable distance from the stage. In America, they are known as the “nosebleed” seats.