Who Was San Diego’s Original Theater Star?

There was once an actress known as “San Diego’s Sweetheart” who mailed herself to Los Angeles—donning a helmet covered in postage stamps and boarding a two-seater, single-engine mail plane. The publicity stunt was billed as the first air parcel package in the US. It wasn’t. She wasn’t even the first human to be mailed: When the US parcel post started in 1913, at least seven people mailed their newborns to relatives (an innovative loophole eventually outlawed).

Technicalities be damned. That kind of nose for spectacle was why Virginia Brissac was such a star—landing bit parts in TV shows (I Love Lucy, Dragnet) and 155 films, notably playing James Dean’s grandmother in Rebel Without a Cause. “Nobody could help but love her,” her dresser told San Diego Magazine in a 1971 feature, published when Brissac was 88 years old.

September 2, 2026

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In 1911, she topped the Playbill at the opening of the Savoy Theatre at 3rd and C streets in Downtown—a grand live-performance hall built for $150,000 ($5.2 million in today’s money). It became one of the premiere vaudeville theaters in the country (under vaudeville king Alexander Patages). The theater helped make San Diego a destination for stars like silent-film comedian Roscoe “Fatty” Arbuckle, heavyweight champ Jack Dempsey, plus classical legends Rachmaninoff and Anna Pavlova. As theaters converted to movie houses through the ’20s and ’30s, the Savoy remained dedicated to live humans. It closed in 1940, and the Civic Theater now stands in its footprint.

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As for Brissac, during a time when women couldn’t even vote, she led a stock company under her own name at the Strand Theatre. The Brissac Company held a four-year residency, “an all-time successful record run for San Diego,” the article says. That classic Ocean Beach theater (featured in San Diego film legend Cameron Crowe’s Almost Famous) has been closed for decades, its bones now a chain beachwear and souvenir store. But Brissac’s legacy lives through the women leading San Diego’s theater scene.

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Read the entire 1971 article by Merle Clayton below…