Olga “Ollie” Burgoyne (June 13, 1878- April 2, 1974), also known as Ollie Burgoyne-Calloway, was an American dancer, actress and businesswoman who gained popularity during the Harlem Renaissance. Although history has established Burgoyne as one of the lesser known African American figures in entertainment, she made her mark as one of the eight most significant and influential African American dancers and choreographers during this time (other notable mentions include: Katherine Dunham, Hemsley Winfield and Edna Guy.[1]
| Olga Burgoyne | |
| Birth Date: | June 13, 1878 |
| Birth Place: | Chicago, Illinois, United States |
| Death Date: | April 2, 1974 |
| Death Place: | Oxnard, California, United States |
| Occupation: | Actress, dancer |
Burgoyne started her stage career in 1901 at the early age of six when she began performing in minstrel shows. In 1903, she performed in Vaudeville with the Seven Creole Girls and in her later career, continued to perform in this genre with her own company, the Burgoyne Musical Company.[1] [2] As her career progressed, she explored her vaudeville talents and mastered oriental dances internationally in Germany, Turkey, France, Denmark, Switzerland, Hungary, Egypt and Sweden.[2] [3]
Burgoyne continued to make a name for herself through song and dance during her eight year tour of Europe. She returned to the United States in 1909. Following 1909, she crossed the Atlantic 15 times before settling in Russia.[2] There, she resided in St. Petersburg for 14 years. As she became a well known entertainer, she developed the reputation of a 'fire cracker". She was also given the opportunity to perform for the nobles of the country.[1] [2] While in Russia, she danced to earn a living. With her earnings, she purchased and owned an elegant lingerie shop called Maison Creole and employed 27 workers. Although famous for her performances, Burgoyne was also given the reputation of a stern business woman.[1] In addition to this, other business credits include the management of Ward Calloway’s Hotel.
When she returned to the United States, her ‘exotic dancing’ such as The Snake Dance and the Brazilian and Spanish Dance trademarked as her most memorable movement qualities. As a result of the 'remarkable ease of her arm and hand motions as well as the gracefulness in her sways', theatrical critics have styled Burgoyne as “the peer of any dancer in the world regardless of color.[2]
| Second Scene: Banjo-Serenade | “The lighting effects for this act are nothing less than grandiose and this scene passes by just like a fairy tale”Sfft- [=Seiffert], July 21, 1901 | |
| Third Scene: The Cake-Walk |
“The Creole girl Bourgogne, an exotic beauty with sparkling eyes, a teint of soft bronze and dazzling white teeth, performs with a strange charm the favourite dance of her American home, the cake-walk..” -A.B, 6 October 1907
“...The pretty appearances of the six coloured ladies, and particularly their excellent voice material一a special mention is due to the splendid first soprano一 give the troupe the stamp of a unit which will cause a sensation in the world of variety. The many changing scenes which accommodate the need for both the serious and the comic are designed in such a clever and effective way that even the daughter from the girls school could be taken out to see the show. The costumes, the scenery and last not least the music一which latter has benefitted from the gifted hands of our Capellmeister Th. Walther一have been designed in such an elegant way that only words of highest praise could be used to describe them”. -Sfft- [=Seiffert], 21 July 21, 1901
“We have to admit it: We were surprised by the achievements of the American girls. We never expected so much charm and grace from the black ladies. The dance act really captivates the public but nevertheless decency has been maintained throughout…” -Sfft- [=Seiffert], 21 July 21, 1901
“...The young negresses are really one of the best song-and-dance ensembles of to-day…” -Viktor Happrich, 8 December 1901
There is no reference of the Louisiana Guards after 1902. Some suggest that the group may have changed its name. There is speculation that the group, "Louisiana Troupe" and/or The "5 Louisianas" may be an offspring of the original.[3]
Burgoyne appeared in ten Broadway productions between 1926 and 1937. A few of her most well known credits include, “Tired Businessman”, “Lulu Bell” and “The Constant Sinner”.[1]
Performance Credits and Notes[4] [1]
| In Dahomey | Written by Bert Williams and George Walker. Toured in London in 1903 after performances in New York City | |
| Follow Me (1923) | Developed by Mamie Smith | |
| Lulu Belle (1926) | As Mabel De Witt (Broadway original) Opened February 9, 1926 | |
| Tired Business Man (1929) | As Juanita (Broadway original) Opened June 3, 1929 | |
| Make me Know It (1929) | As Mirandy (Broadway original) Opened November 4, 1929 | |
| Laughter (1930) | Short film feature | |
| The Constant Sinner (1931) | As Clara (Broadway original) Opened September 14, 1931 | |
| Blessed Event (1932) | As MME. Fleurette (Broadway original) Opened February 12, 1932 | |
| Run, Little Chillun (1933) | ||
| The Perfumed Lady (1934) | As Eva Mordecai (Broadway original) | |
| All Rights Reserved (1934) | As Minnie (Broadway original Opened November 6, 1934 | |
| Kiss the Boys Good-Bye (1938) | As Maime (Broadway original) Opened September 28, 1938 |
In the later part of her life, Burgoyne taught Russian dancers and worked in the movie industry with a small feature in the romantic comedy film, Laughter (1930). Her career spanned nearly 50 years and during this time, she made an extraordinary mark on the entertainment industry.
At the age of 95, Olga "Ollie" Burgoyne died on April 2, 1974, in Oxnard, California.[1]