Thomas Moses’ salary increased from $18.00 to $20.00 per week during the spring of 1881. He was also ambitious to work on other painting projects beyond that offered in the Sosman & Landis studio. He began to look for other employment opportunities and first sought out Lou Malmsha who was still painting at McVickers Theatre, but there were no openings. Moses eventually secured additional work with Lem Graham at the Academy of Music who was painting the scenery for that venue. Moses wrote, “I enjoyed the work, even if I had to do it evenings and Sundays. I received good pay for this, which all helped. The plays were mostly of the melodramatic order and required a lot of scenery.”
Moses’ sister Illie was a member of the stock company at the time. Illie was twenty years old and I had to wonder if she had also run away from home. Born with the name Illinois Mary Moses on December 25, 1860, little is known of “Illie” other than she remained single and lived until May 27, 1932 in Oak Park, Illinois.
The Chicago Tribune on December 12, 1880 (page 18) noted “Miss Illlie Moses” was part of the company for “Neck and Neck” that was being performed at the Academy of Music under the management of Emmett. The lead for the production was E.T. Stetson.
In 1885, Illie performed in “A Mountain Pink” that was presented at the Opera House in Emporia, Kansas. The Emporia Daily February 27, 1885 (page 1) reviewed the performance, noting that Illie Moses “displayed much ability” when she played the dual role of Belle Trafton, “a refined young lady,” and Samantha Weeks, “the old and surly wife of a Moonshiner. She was the supporting role to the production’s lead Laura Dainty.
By 1885, she had briefly returned to Sterling, Illinois to perform the parts of Belle and Samantha in “A Modern Pink.” The Sterling Standard (1 Jan 1885, page 8) remembered her as “an old Second Ward girl,” “a graduate of the class of ’76 in the high school,” and someone “making her way as an actress.”
During 1893, “Illie Moses” was in Montgomery, Alabama for a brief stay, having arrived at the Exchange hotel. It was advertised in the “Personal” section of the Montgomery Advisor on Oct. 4, 1883 (page 4).
I find it interesting that Moses seldom mentioned his sister in his typed manuscript, especially as they both worked in show business. It is possible that their paths never crossed again on the stage or at any other performance venue. Moses’ last mention of his sister was when she passed away. He recorded that he was called to her apartment that Sunday morning. They were both living in Oak Park, Illinois at the time.
There are emotional events throughout Moses’ typed manuscript in terms of business relationships, artistic colleagues and making a living, but few personal descriptions of familial ties beyond mentions of Ella. His writings primarily document his professional interactions and artistic ambitions. In short, his writings are a work log of travel, professional projects, and economic activities pertaining to his career as an artist and not as a brother or father. Even as a son and husband, there are very limited entries. The value of his diaries lies in the notations and descriptions pertaining to various theatrical productions and popular entertainments. From these records, one can trace down further information and details such as venues, years, and coworkers that highlight a particular network of theatrical manufacturers and suppliers.
When Moses helped Lem Graham at the Academy of Music, he commented that Sosman & Landis were very aware of his moonlighting activities and encouraged him to accept the work. Moses wrote “Sosman and Landis knew I was helping Graham and seemed to be pleased that I was forging ahead.” His ambition would ultimately cause him to depart the studio numerous times in search of greener pastures.
To be continued…
