Harold Atteridge

Also credited on4 works

Sinbad
Ziegfeld Follies
Greenwich Village Follies
Paris

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature2 passages

• At a time when it was not uncommon for musicals to be built around the talents of one individual, no shows were more vehicular than those created to spotlight the exuberant personality of “Mammy” singer Al Jolson. Though they had large casts, such extravaganzas as Robinson Crusoe, Jr . (1916), Sinbad, Bombo (1921), and Big Boy (1925) were…Broadway Musicals, Show By Show - Seventh Edition - Stanley Green & Cary Ginell
• Most popular of all was the rag number; musical comedy wasn’t musical comedy without one, though rags found their way into comic opera as well. Madame Sherry (1910)—so gently musicalized that its hit tune was a sweet little “Polka française” “Ev’ry Little Movement (has a meaning all its own),” suffered a rag insert. Karl Hoschna and Otto…Anything Goes_ A History of American Musical Theatre - Ethan Mordden

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

• What this person played. No cast list we hold records a character against a performer.
• Any staging. This name appears in no production cast list we hold, most often because the person was a writer, composer or designer rather than a performer.
• Any portrait. Most people in this catalogue don't have one, so this is the usual case rather than the exception.
• Which of the credits above the roles on this record (lyricist, book writer) apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.