Moses returned to Chicago on April 20, 1890 after being away from for seven months. Moses wrote, “My little family was certainly glad to see me back, as I was to get back. Seven months is a long time to stay away – a big change in all of the children. I was strange to them for some-time.” The four children were still little and must have grown considerably during his absence. Seven years earlier Moses had already commented on his extended absences, writing in 1883, “It was hard on Ella and I felt I was neglecting her a good deal, but I couldn’t see any other way to progress.” At the time, he was referring to his working in the scenic studio, taking art classes, and leaving for sketching trips. I often wonder about his regrets later in life when he realized just how many moments he missed while his children were growing up.
Even after his seven-month absence, however, Moses could only remain in Chicago for a few days rest. Soon the studio sent him to Denver, Colorado. He was sent there to close a contract with the Broadway Theatre. The theatre was to be part of the new Metropole Hotel. Designed by Chicago architect Col. J. W. Wood, the hotel was one of the first “fireproof” hotels in the country, employing hollow clay fired tile units for all partition, floors, ceilings, and walls.
Part of the hotel included a performance venue. The Broadway Theater was also advertised as the first “fireproof theatre” in the West and opened on August 18. Look’s Opera Company performed the “Bohemian Girl.”
When Thomas G. Moses later went to paint scenery for this theatre, he took his entire family along. Renting a furnished house with a big yard for $50.00 per month, they got settled in very quickly. Moses recounts a story about the transportation of his art and modeling supplies at the beginning of the journey. While packing for their departure in Chicago, Moses’ model trunk had fallen 54 feet from his paint room window when it was being hauled outside. It struck a pile of loose planks (as they were having some work done on their stairway) and only manage to break a hinge. That’s very little damage for such a substantial drop! Then I thought back to my trip last fall when I looked at his Masonic theatre model and traveling trunk in the Harry Ransom Center. I was impressed with its sturdy construction and now understand why it was built that way.
In his typed manuscript Moses commented that the Broadway Theatre project was “an ideal one” and they had “good facilities to work.” For this project he had made all new scenery models for a presentation. On of his designs the included a cyclorama drop that measured 36 feet high and 250 feet long. The large cyclorama curtain ran on a track and they could create three distinct backings; a plain sky, a cloudy sky and a moonlit sky. Moses wrote about the stage, commenting, “No borders. We trimmed the front stuff down to low enough to mask. All rows were profiled; very effective.”
For the Broadway Theatre project, Moses’ painting crew included Ed Loitz, William and Charlie Minor, and Billie Martin. Nearby in Pueblo, Colorado, Walter Burridge and Ernest Albert were also painting on a project and called on Moses while he was working at the Broadway. During the visit, all three all took a day off and enjoyed each other’s company and went on a sketching trip. Early in 1891, “Albert, Grover & Burridge” established their new studio at 3127 State Street in Chicago. Their establishment as a marked departure from previous studios as they implemented advancements in the methods of mounting and presenting stage plays. Just prior to founding their new business venture, Albert was the scenic artist for the Chicago Auditorium, Burridge was the scenic artist for the Grand Opera House and McVicker’s, and Oliver Grover was a professor Chicago’s Art Institute. I wonder if Albert and Burridge had approached Moses in Denver about being their third business partner before selecting an academician. Albert, Moses and Burridge would have made quite a painting team.
During Moses’ stay in Denver, he took his family on several trips into the mountains.
He recorded that on one trip they traveled fourteen miles from Denver to Manitou and enjoyed seeing the scenery at Ute Pass, Williams Canyon and Garden of the Gods. All three were already popular tourist destinations, drawing throngs of visitors in horse-drawn wagons.
Moses wrote, “We enjoyed these trips.” It had to have been one small way to make up for his seven-month absence. Sadly, a telegram soon called Moses back to the studio in Chicago for some special work. As it was nearing the time for school to start anyway, they decided to all head home at the same time. Moses wrote, “Ella packed up everyone in a day.” They gave up their Denver house and arrived in Chicago by early September.
Loitz and the Minor brothers remained in Denver to complete the painted interiors for the Broadway Theatre in Denver. Moses stayed in Chicago until November 4, and then returned to Denver to complete their contract. This means that scenic work had continued on the Broadway Theatre for three months after opening with “Bohemian Girl.”
To be continued…
