In 1892, Moses recorded that he found some work with Will F. Hamilton. They were making models and scenery for a production of Ben-Hur. Moses would eventually leave the Sosman & Landis studio, forming a partnership with Hamilton, then moving to New York in 1900. About “Ben-Hur” Moses wrote, “I enjoyed this work – very interesting. This was before the story was dramatized. It was to be done as a tableaux and pantomime.”
“Ben-Hur” in Dramatic Tableaux and Pantomime was arranged by Lew Wallace for Messrs. Clark & Cox and based on the author’s “Ben-Hur: A Tale of the Christ” (1880, Harper & Brothers). In an attempt to make his popular novel even more profitable, Wallace licensed his literary property to business managers and formed a tableau company for the purpose of presenting an adaptation of the novel for commercial purposes. This created a significant new and authorized market for the phenomenon. The author insisted on maintaining control and this is what differentiated this endeavor from previous ones of publications such as “The Last Days of Pompeii,” “Alice’s Adventures in Wonderland,” “Uncle Tom’s Cabin” and “20,000 Leagues Under the Sea.” This was also on a much grander scale than previous tableaux popularized throughout the 1880s. In many ways, Wallace’s endeavor was unprecedented for a licensed literary property in the 1890s and was not terminated even after the appearance of Klaw & Erlanger’s production of “Ben-Hur” that opened at the Broadway Theatre on November 29, 1899. For the Broadway opening, Wallace was the special guest of honor. Interestingly, the Broadway production was designed by Moses’ long-time friend Ernest Albert (see past installment #137 that includes images from the souvenir program).
Here is the division of scenes for “Ben-Hur in Dramatic Tableaux and Pantomime” in its entirety:
Act I
Scene 1 – Meeting of the Three Wise Men
Scene II – Joseph and Mary at the Joppa Gate
Scene III – The Three Wise Men at the Damascus Gate
Scene IV – The Three in the Palace before Herod
Scene V – Ben-Hur and Messala in the Garden
Scene VI – Street in Jerusalem
Scene VII – Deck of a Roman Trireme. Arrius and Ben-Hur in Conversation
Scene VIII – Entrance Gate of the Grove of Daphne
Scene IX – The Fountain of Castalia
Scene X – The Orchard of Palms
Scene XI – Door of Ilderim’s Tent
Scene XII – Same Interior of Tent
Scene XIII – Iras and Ben-Hur on the Lake at the Orchard of Palms
Scene XIV – Interior of Simonide’s House
Scene XV – Saloon in the Palace on the Island
End of Act – The Chariot Race
Tableaux – The Chariot Race
Act II
Scene I – A Splendid Atrium in a Roman Place
Scene II – Desolate Home of the Hurs. The Gates of the South Side. Bright Moonlight
Scene III – The Well En-Rogel
Scene IV – The Road-side between Bethany and Jerusalem east of Mount Olivet
Scene V – On the Roof of the Restored Palace of the Hurs
Scene VI – In a Summer House on the Roof
Scene VII – The Shadow of the Cross
Scene VII I– Chamber in the Villa by Misenum
End of the Second Act
Transformation, Iras Story of the Nile
Scene 1 – Iras relating the story
Scene 2 – The Nile – Sphynx – Pyramids
Scene 3 – Opening of the Lotus Flower
Scene 4 – The Temples of Egypt
Scene 5 – The Priestesses of Isis and Osiris
In the January 4, 1893 issue of the “Wichita Daily Beacon” (page 4), the Amusements section reported on the production of “Ben Hur,” under the management of Messrs. Clark & Cox, “who have won remarkable success in the larger cities of the east.” The article noted “’Ben Hur’ is presented in the form of a spectacular pantomime, beautiful, impressive, refined, sanctioned and approved by Gen. Lew Wallace, author of Ben Hur. A special car load of scenery, painted by Chicago artist, Thomas G. Moses, representing historic scenes in Jerusalem and the Holy Land, will be brought to Wichita.” The article went on to describe that there were “twenty-two scenes of surpassing beauty” and that 150 people took part in the living tableaux.
On May 10, 1896, “The Nashville American” published and article “Scenes of the Orient” that described the scenery painted by Moses for the Ben-Hur production (Part 2, Vol. XX, No. 7123, pages 9 to 16). The Woman’s Board of Tennessee Centennial were preparing for the production of the “grand spectacular, Ben Hur at the Vendome beginning the week of May 18.“
The article noted, “The scenery used is from the brush of the celebrated scenic artist Thomas G. Moses, of the Schiller Theatre, Chicago, and the subject of the play itself offers for spectacular effects the best opportunity of any amateur production ever had in Nashville. Rapidly shifting scenes will pass before the eyes of those who have taken delight in reading Gen. Lew Wallace’s incomparable tale of Ben Hur.
The play will begin in the lonely desert where the Magi meet, Joseph and Mary will appear at the Joppa Gate, and the Wise Men will arrive at the Damascus Gate in search of him who is to be born King of the Jews. The appearance of these men before Herod and all the Bible story will be vividly presented. The scenes will again shift, and Ben Hur will be introduced in all the beauty and strength of his youth. The succeeding scenes will carry him through the thrilling experiences of the tale, from the home of happy companionship to the sad position of a galley slave.
The famous chariot race will be introduced, and this part is almost unexcelled in scenic pantomime. The reuniting of the separating families will be shown, ending with the dramatic farewell to Iras. The production will close with a beautiful transformation scene, Iras’ Dream of the Nile. In this closing view is represented $10,000 worth of scenery and costumes, and, taken together with the many pretty faces of Nashville’s society girls, it will be the most gorgeous spectacle to gaze upon.”
Even in 1899, the same year that Klaw “Erlanger’s Braodway production opened, Moses’ contribution was still noted in newspaper publications as the production continued to tour. The “Harrisburg Star-Independent (Feb 10, 1899, page 2) published “Thomas G. Moses of Chicago, an artist of national repute, with two assistants, worked for a whole year on the scenery employed in the production, which is conceded to be the finest of its kind ever shown in America.”
Well, it might have taken Moses a whole year to finish the scenery as he was juggling numerous projects throughout the duration of the year, but this was not his sole focus during his employment in 1892.
To be continued…
