The Mask and Wig Club was established at the University of Pennsylvania by Clayton Fotterall McMichael, a student with a vision of creating a dedicated space for male students to express themselves theatrically. At the time, theatrical pursuits were often dismissed as frivolous extracurricular activities, but McMichael’s ambition was to elevate them to a professional level. With the motto “Justice to the stage; credit to the University,” the club set out to distinguish itself as a bastion of creativity and excellence.

Its inaugural performance, Lurline, debuted in 1889 and set the tone for what would become an enduring tradition of musical comedy productions. These shows were notable not only for their humor but also for their elaborate costumes, original music, and intricate choreography, all created and performed by club members.

The East Side Club was a small, unassuming venue located at 12th and Chestnut Streets, a stone’s throw from the bustling heart of Center City. While its name might not ring a bell for everyone, for those in the know, it was a cultural hub that punched well above its weight. The East Side Club was a melting pot of punk, new wave, post-punk, and experimental music in the late 1970s and early 1980s. This era marked a seismic shift in the music world, and the East Side Club became Philadelphia’s intimate answer to New York City’s iconic CBGB and The Mudd Club.

Originally opened as the Gibson Theatre, it was renamed in honor of famed African American poet Paul Laurence Dunbar, whose work celebrated Black identity and resilience. In the 1920s and 1930s, the theater became a hub for Black entertainment, hosting legendary jazz musicians like Duke Ellington, Count Basie, and Cab Calloway. These performances helped solidify Philadelphia’s role in the broader jazz scene alongside New York and Chicago, making the Dunbar a cornerstone of the Harlem Renaissance's cultural expansion beyond Harlem.