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Spring 2023 Issue

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HISTORY<br />

Lake Hopatcong’s Music Man<br />

34<br />

by MARTY KANE<br />

Photos courtesy<br />

of the<br />

LAKE HOPATCONG<br />

HISTORICAL<br />

MUSEUM<br />

December 11, 1957, Lake Hopatcong, NJ –<br />

Arthur N. Green, 69, song writer [sic] and pianist<br />

known as the ‘Man of a Million Melodies,’ died<br />

at his home yesterday. Before World War I,<br />

Green was a composer for Irene and Vernon<br />

Castle. He was a vaudeville headliner for 20<br />

years.<br />

With these words, the New York Daily<br />

News summed up the lengthy career<br />

of Arthur Green, one of the most interesting<br />

individuals ever to call Lake Hopatcong home.<br />

Born in London, England, in 1888, Green came<br />

to New York City as a teen to seek work as a<br />

pianist and songwriter. It was there that he<br />

crossed paths with Irene and Vernon Castle, a<br />

dance couple who captured the heart of the<br />

American public even before Fred Astaire and<br />

Ginger Rogers.<br />

Exploding upon the scene in New York City<br />

in 1912, the husband-and-wife team mesmerized<br />

the country with their dance routines, greatly<br />

influencing the popularity of social dancing. The<br />

duo was soon in demand for vaudeville, motion<br />

pictures and Broadway. By 1914, they opened a<br />

dance school called Castle House, as well as a<br />

nightclub and restaurant.<br />

The Castles taught New York society the<br />

latest dance steps at Castle House by day and<br />

greeted guests and performed at the club and<br />

cafe by night. They were also in demand for<br />

private lessons and appearances at fashionable<br />

parties.<br />

As David A. Jasen explained in his book “Tin<br />

Pan Alley,” the popularity of the tango and other<br />

steps popularized by the Castles led to the<br />

opening of dance schools across the country.<br />

The man at the piano for the Castles was<br />

Green, who also wrote the music to several of<br />

their popular dances. The sheet music for his<br />

1913 composition, “Tango Argentino,” featured a<br />

photo of Irene and Vernon Castle dancing the<br />

tango.<br />

In his book “The Tango in the United<br />

States,” Carlos G. Groppa credited this song—<br />

supposedly the first tango composed in<br />

America—with originating the nation’s tango<br />

craze in the 1910s. Over the next few years, Green<br />

LAKE HOPATCONG NEWS <strong>Spring</strong> <strong>2023</strong><br />

penned several other hits, including “Innovation<br />

Tango,” “Sans Souci,” “Half and Half,” “Buenos<br />

Ayres” and “The Royal Arab.”<br />

During this period, any time Green performed<br />

without the Castles, advertisements and the<br />

event program featured his affiliation with<br />

the dance team. At times, Green’s name was<br />

billed larger than that of the singer he was<br />

accompanying.<br />

In a 1948 interview, Green recalled one of<br />

his proudest moments was receiving partial<br />

composing credit for George M. Cohan’s<br />

famous World War I song “Over There,” which<br />

was published in 1917.<br />

World War I would completely upended<br />

Green’s career. During the war, Vernon Castle<br />

returned to his native England to serve as a<br />

combat pilot. After coming back to the U.S. to<br />

train American pilots, Castle died in an accident.<br />

Devastated, Green did not write another song<br />

for some 20 years.<br />

After Castle’s death, Green created a<br />

vaudeville act with his wife, Anna, a singing<br />

comedienne who performed first as Doris LaFell<br />

and later as Anna LaFell. Their act, known as<br />

Green and LaFell, was billed as “lyric and melody<br />

specialists” and a “pianologue.”<br />

The act remained popular on the vaudeville<br />

circuit from 1919 to 1928. It was during this time<br />

that Arthur and Anna Green learned about Lake<br />

Hopatcong.<br />

From the 1910s through the 1930s, the lake<br />

was a popular destination for vaudeville and<br />

burlesque stars, who generally had time off<br />

in the summer when many theaters closed.<br />

Within two hours of New York City by train,<br />

yet completely removed from the world of<br />

trouping, the lake provided a welcome respite<br />

for these performers who were on the road for<br />

most of the year.<br />

Bigger<br />

stars stayed<br />

at hotels or bought<br />

cottages, while those<br />

earning a more modest<br />

living on the circuit<br />

found low-cost rentals.<br />

The most popular<br />

spot on the lake for<br />

performers was the<br />

Northwood section of<br />

Hopatcong, which the<br />

Lake Hopatcong Breeze dubbed the “actor’s<br />

colony.”<br />

As Bob Thomas explained in his book “Bud<br />

and Lou,” for vaudevillians and burlesque<br />

entertainers, Lake Hopatcong “had become the<br />

oasis at the end of the long winter’s travels, the<br />

place where comics and straight men rested<br />

beyond the reach of dunning hotel managers<br />

and mean-hearted theater owners, where<br />

strippers could eat their fill and not worry about<br />

diets until the last two weeks of summer.<br />

“For the children it was heaven. During the<br />

year they had been entrusted to grandparents<br />

and aunts while the parents traveled. Now the<br />

family was reunited and the kids could boat and<br />

swim and bask in the New Jersey sun.”<br />

The Lake Hopatcong Breeze first mentioned<br />

the Greens in 1925, noting that “Green and<br />

LaFell are still here. They will put over several<br />

new numbers next season that are sure to go<br />

over big.” The couple, along with daughter Aline<br />

(known as Billie), returned the next summer

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