Algonquin Round Table History,News Sergeant Woollcott’s 1919 Postcard from France

Sergeant Woollcott’s 1919 Postcard from France

Castle of Pierrefonds

The legends of the Algonquin Round Table trace their roots not to Manhattan but to places such as the Chateau De Pierrefonds. Never heard of it? The Round Table was born in World War I. Half of the 30 members were in France in uniform, or else as civilians working as volunteers or journalists. A postcard that was included in the Franklin P. Adams Archive from 1919 is one part of this legacy.

It is widely known that Capt. Adams, Pvt. Harold Ross, and Sgt. Alexander Woollcott were all members of The Stars and Stripes, the Army newspaper written and edited by Doughboys, for the Doughboys, at the behest of Gen. John J. Pershing. The trio formed a long friendship that would continue after the war.

Castle of Pierrefonds

When the Armistice was declared on Nov. 11, 1918, Adams was already back in New York. He served 196 days overseas and then returned home, arriving in New York on September 8, 1918, and honorably discharged December 3. But Ross and Woollcott remained behind, running the last issues of the newspaper and enjoying their time overseas. When the U.S. military was shipping home hundreds of thousands of men and women in uniform from France to go home, Ross and Woollcott were not on the packed troopships, jammed in with hordes of men who needed a bath. After wrapping up their Army careers, they took their discharges in France and took a civilian ocean liner home after a nice Spring vacation with a cruise around the Mediterranean. They didn’t get back to New York Harbor for several weeks.

FPA ID

Meanwhile, F.P.A. was back at work at the New York Tribune on Park Row. He continued to receive cards and letters from his friends stationed in France. Woollcott sent him a Christmas card of a fat Santa Aleck trying to get down a chimney. In March, a postcard arrived. Woollcott was touring battlefields with Pvt. C. LeRoy Baldridge, the staff illustrator on Stars and Stripes, who would later go on to publish a book of his Army art with Woollcott’s help.

The pair were doing what so many other Doughboys were doing, seeing the battlefields and no doubt collecting souvenirs. The soldiers found themselves at Chateau De Pierrefonds, in the Oise department in the Hauts-de-France region of Northern France. This was where fierce fighting had just occurred mere months before. Woollcott was right where today is the stunning and beautiful Oise-Aisne American Cemetery and Memorial which contains the graves of 6,013 American soldiers who died in battle.

A cheeky Woollcott sent this to F.P.A. on March 2, 1919:

Woollcott Postcard

Baldridge and I are out cruising around the battlefields and having a whale of a time. Pvt. Ross, our boss, says we must be back Tuesday but to hell with him. This little shack was infected with Americans all Summer.
A. Woollcott

[Underneath the Passed as Censored stamp is the name Stephen T. Early, who was an officer who worked in the office with the men, and went on to work for FDR.]

Shortly after this postcard was mailed, the men all lined up to be discharged. “The day after Sgt. Woollcott was demobilized he met General Pershing. “He’s a civilian now,” said Lieutenant Early, who introduced Woollcott to the C. in C. “He looks like a soldier to me,” said the General. “In Sgt. Woollcott’s twenty-two months in the Army, it was the first time anybody had said anything of the kind to him.”

Three months later, on a warm day in June, the Algonquin Round Table met for the first time in the Pergola Room on the Hotel Algonquin. Woollcott later presented a soldier’s portrait of himself–drawn by Baldridge–to Adams and Ross.

For more stories about the Algonquin Round Table, pick up a copy of The Algonquin Round Table New York, A Historical Guide</em> (Lyons Press), available wherever you buy books.

Related Post

Marie Carroll, Robert Williams, Harry Bradley, Alfred White, John Cope and Howard Lang in scene from Abie's Irish Rose. Credit: Billy Rose Theatre Division, The New York Public Library.

Centennial of Abie’s Irish RoseCentennial of Abie’s Irish Rose

Marie Carroll, Robert Williams, Harry Bradley, Alfred White, John Cope and Howard Lang in scene from Abie's Irish Rose. Credit: Billy Rose Theatre Division, The New York Public Library.

Marie Carroll, Robert Williams, Harry Bradley, Alfred White, John Cope and Howard Lang in scene from Abie’s Irish Rose. Credit: Billy Rose Theatre Division, The New York Public Library.


Today the New York Times published a very thorough and detailed account of the centennial of Abie’s Irish Rose, a hit show 100 years ago that the Algonquin Round Table by turns roasted and scorned. The article quotes Robert Benchley and Alexander Woollcott, with a passing reference to another Vicious Circle member, Harpo Marx.

Opening a few days after St. Patrick’s Day 1922, Abie’s Irish Rose was the miracle show of the decade. Despite withering reviews and serving as the butt of jokes all over town, it ran for 2,327 performances—five years and five months. Anne Nichols wrote the unpretentious comedy allegedly based on a real-life story of a mixed-marriage she heard about. In her story, young Abraham Levy brings home from the war his blushing bride, Rosemary Murphy, a girl he met in France while she was entertaining the doughboys. But knowing how his family would take the news, he introduced her to his parents as Rosie Murpheyski. In the next act the Murphy clan comes over for a visit, and hilarity ensues.

The show appealed to audiences everywhere; at one time six road companies were touring the United States and others were in England and Australia. The playwright raked in more than $6 million and eventually had to cut down on the road companies because the income taxes were crushing her. All the major critics blasted the show, with the exception of Alexander Woollcott. One standout, and long-suffering, reviewer was Robert Benchley. He had to compose a few lines each week for a capsule review in Life. Among his finest gems were, “People laugh at this every night, which explains why democracy can never be a success,” and “Where do the people come from who keep this one going? You don’t see them on the streets in the daytime.”

Dorothy Parker, who is not included in the article, was working for Ainslee’s at the time. She lumped it in with another play of a similar type. In September 1922, she wrote, “And then there came, in quick succession, The Rotters and Abie’s Irish Rose. Despite its having one night’s start on its opponent, The Rotters was defeated by Abie’s Irish Rose for the distinction of being the season’s worst play.”

As the Times points out, no modern theater company is currently interested in a revival of Abie’s Irish Rose. Which may be a good thing.

The Dorothy Parker reviews from the era are collected in Dorothy Parker Complete Broadway, 1918-1923.

Video From Talk About Vicious Circle WomenVideo From Talk About Vicious Circle Women

For the centennial of the first meeting of the Algonquin Round Table, author Kevin C. Fitzpatrick presented a brief talk at the Algonquin Hotel. He presented the women of the Vicious Circle–the ones not named Dorothy Parker and Edna Ferber. In this talk, learn about Jane Grant, who co-founded The New Yorker; Ruth Hale, who fought to preserve her maiden name after marriage; Neysa McMein, the popular magazine illustrator & artist; Beatrice Kaufman, the editor not ashamed of her husband’s cheating; Margaret Leech, the 2-time Pulitzer Prize winner; and the popular actresses Margalo Gillmore and Peggy Wood, both of whom were onstage for 50 years. Thank you Michele Gouveia for filming this.

For more about this subject, read the 2015 article 6 Women You Didn’t Know Were Members of the Algonquin Round Table.

Heywood Broun

Heywood Broun on Actors and VaudevilleHeywood Broun on Actors and Vaudeville

Heywood Broun

Heywood Broun


On this day in 1938 Heywood Broun died. Here is a sample of one of his columns. From “It Seems To Me.” He loved vaudeville and the stage.

On Actors

Nothing in the world dies quite as completely as an actor and the greater the actor the more terrifying becomes the sudden transition from radiance to darkness. One day he is there with all his moods and complexities and curious glints of this and that, and the next day there is nothing left but a few wigs and costumes; perhaps a volume of memoirs, and a scrapbook of clippings in which we learn that the dead player was “majestic in presence” that “the poise of his head was stag-like” that he had “a great voice which boomed like a bell,” that he was “regal, subtle, pathetic,” and that “every one who was ever associated with him loved and respected him.”

Ask some veteran theatergoer “What was Booth like as Hamlet?” and he will say “Oh, he was wonderful.” Perhaps the face of the old theatergoer will grow animated and Booth may live again for a moment in his mind, but we who have never seen Booth will never know anything about him. Nobody can recreate and explain the art of a dead actor to the next generation. Even men who do tricks and true magic with words are not adept enough to set down any lasting portrait of an actor on the wing.