Cleon Throckmorton

After noticing Throckmorton's set design work for Ridgely Torrence's Simon the Cyrenian at Howard University, producer George Cram Cook recruited Throckmorton to create the sets for the Provincetown Players' upcoming production of playwright Eugene O'Neill's The Emperor Jones. Following the success of The Emperor Jones, Throckmorton became one of the most prolific set designers of the Jazz Age. His set designs were featured in over six hundred productions. During the heyday of his career, it was said that the only person whose name appeared on more playbills than Throckmorton's was the fire commissioner. He was posthumously inducted into the American Theater Hall of Fame in 2002.

• Name — Cleon Throckmorton • Born — 8 October 1897 • Birthplace — Absecon, New Jersey, U.S. • Died — 23 October 1965 • Place of death — Atlantic City, New Jersey, U.S. • Occupation — Theatrical designer • Education — Carnegie Institute of Technology George Washington University • Works — The Emperor Jones (1920) Porgy (1928) • Father — Ernest Throckmorton • Mother — Roberta Cowing

• Illustration — Throckmorton in 1918 civil service photo. Born in Absecon, just outside Atlantic City, New Jersey, Throckmorton's parents Ernest Upton Throckmorton and Roberta Cowing Throckmorton had moved to Washington, D.C. by 1912 where Ernest ran a cigar store. His mother was an artist employed by the U.S. Department of Agriculture. Throckmorton's early years were spent in Atlantic City and Washington, D.C. He purportedly was deeply influenced by the gothic atmosphere of the American South which he drew upon in later years when he designed sets for All God's Chillun Got Wings (1924) and Porgy (1928). As a young man, Throckmorton studied engineering at the Carnegie Institute of Technology from 1917–18 and George Washington University from 1918–19. As a student, he worked as a lab assistant at the National Institute of Standards and Technology. He developed an interest in painting, and studied painting with portraitist Charles Webster Hawthorne and Alexis Many. According to Throckmorton, his career began as a bet made with other artists in Washington, D.C. The artists claimed he could not succeed both in engineering and painting. Within a year, Throckmorton won the bet by graduating with an engineering degree and had an exposition of his paintings at the Biennial Exposition of Contemporary Artists. Attempting to reconcile his passion for painting with his love of engineering, he gradually became aware of "the perfect marriage of the two professions—set designing."

After obtaining an engineering degree and following an exhibition of his paintings, Throckmorton began advertising himself as a specialist "in difficult tasks for the theater that require the combination of the artist and the engineer." Soon after, he became a frequent collaborator and associate with the African-American drama department at Howard University, a federally chartered historically black research university in Washington, D.C. He taught classes, produced plays, and designed sets at Howard University circa 1920–22. While associated with Howard University, Throckmorton operated the Krazy Kat Klub, a raucous nightclub and speakeasy situated at No. 3 Green Court near Washington, D.C.'s Thomas Circle. As a pre-Raphaelite impressionist, Throckmorton believed that artists should pursue their vocation day and night by surrounding themselves with appropriate settings that inspired creativity, and the venue fulfilled that purpose. Due to its courtyard and tree-house, the establishment became as an idyllic haunt for artists, bohemians, flappers, and other free-wheeling "young moderns" during the Jazz Age. A frequent club habitué was Kathryn Marie "Kat" Mullin, a model and sketch artist known for her radio performances as a singer and ukulele player with the Crandall Saturday Nighters. During this period, a 24-year-old Throckmorton married his model and muse 19-year-old Kathryn Mullin on January 10, 1922, in Manhattan, New York. While operating the Krazy Kat Klub speakeasy in Washington, D.C., Throckmorton became acquainted with theater producer George Cram Cook, a key figure in the experimental theater collective known as the Provincetown Players located in Provincetown, Massachusetts. Cook had been impressed by Throckmorton's avant-garde work on Ridgely Torrence's Simon the Cyrenian at Howard University, and he offered Throckmorton the opportunity to design the sets for the upcoming first production of Eugene O'Neill's The Emperor Jones (1920). Throckmorton completed the sketches and sets in only three days, and the play opened to rave reviews on November 1, 1920.

After his artistic zenith during the Jazz Age, Throckmorton's theatrical work steadily declined in the 1940s, and he was forced to move on to other ventures. He became an event planner, created murals for restaurants and nightclubs, and designed private homes. He also did pioneering television work designing simulations of historical events, battles, and other events that could not be filmed. He became the first art director for the Columbia Broadcasting System (CBS) during the early years of television. As his career declined, Throckmorton divided his time between his Greenwich Village apartment and a residence in the Bahamas. In his final years, Throckmorton lived with his second wife Juliet Brenon in semi-retirement at 33 South North Carolina Avenue in Atlantic City, New Jersey. He died at 68 years old on October 23, 1965. Nearly forty years after his death, he was posthumously inducted into the American Theater Hall of Fame in 2002.

• Illustration — Kathryn Marie "Kat" Mullin, Throckmorton's first wife and model. Throckmorton's first wife was Kathryn Marie "Kat" Mullin (1902–1994). A model, sketch artist and later costume designer, Mullin was a frequent habitué of Throckmorton's speakeasy known as "The Kat" in Washington, D.C., and she was known for her radio and stage performances as a singer and ukulele player with the Crandall Saturday Nighters. For her stage performances, she was billed as "The Girl With the Million Dollar Legs." When not performing, she was a renowned expert in women's saber fencing and gave public exhibitions. After four years of marriage, Kathryn sued Cleon for divorce on December 17, 1926, after catching him in an extramarital affair with an unidentified woman—possibly silent movie actress Juliet Brenon—in their Greenwich Village apartment in New York City. Kathryn's friend, African-American stage actress Blanche Dunn, served as a witness on her behalf in the divorce suit. Cleon did not contest the divorce, and Kathryn did not seek alimony. After her uncontested divorce from Throckmorton, Kathryn married New York Daily News political journalist John Parsons O'Donnell on May 6, 1927, in a civil ceremony, but they divorced shortly thereafter in 1929. Immediately after his divorce from Kathryn Mullin, Throckmorton married his second wife, silent movie actress Juliet Brenon (1895–1979) on March 13, 1927. The Brenons were a musical and theatrical family; her father Algernon had been a music critic, and her uncle Herbert Brenon was a prolific film director who directed the first cinematic adaptation of The Great Gatsby in 1926. Juliet's sister Aileen (1894–1967) was a music critic and theatrical publicist whose husband was art critic Thomas Craven. During the 1930s, Throckmorton's and Brenon's Greenwich Village apartment became an after-hours salon for thespians, artists, and intellectuals such as Noël Coward, Norman Bel Geddes, Eugene O'Neill, and E.E. Cummings. Their politically leftward salon notably raised funds for the Republican faction during the Spanish Civil War.