Tales from a Scenic Artist and Scholar. Part 252 – Thomas G. Moses at the Yo Semite Theatre in Stockton, California 

 Thomas G. Moses and Ed Loitz traveled to Stockton, California, on June 23, 1892. Moses wrote, “The weather was immense. Even when we were passing through the Humboldt Desert.” They went through San Francisco and visited “the boys.” They then continued onto Stockton by steamer, nearly missing it as they went to the wrong dock. Moses recalled that the boat had to “crawl through the rushes as there was no good channel.” In Stockton they met with Harrington who had been “hustling” to complete the painting framework for the drops. Sosman and Landis had contracted to paint an act for “Lost Paradise.”

Yo Semite Theatre in Stockton, California, in 1892. Thomas G. Moses painted the scenery for “Lost Paradise” at this theatre in 1892 when it opened to the public.

Moses did the drop curtain first, and the principle scenes, so he wouldn’t have to hustle at the opening. He wrote, “I got a good color scheme for the curtains. I met a number of old Sterling people who were in business here.” Within a month they completed the project and headed home on July 25, arriving in Chicago on August 1, 1892.

Theatre arrived to Stockton, California in the 1850. The first theatrical performances in Stockton were given in the assembly room of the Stockton house at El Dorado and Channel Streets. Known as the Stockton House Theatre this space was converted into a makeshift theatre for entertainment. This was a large building constructed at an expense of $100,000. The venue only lasted three years.

Undated image of the Stockton Theatre.

In 1853, Emiele Hestress, a Frenchman, also renovated a portion of his own brick building to include a 700-seat theatre. His space was on the corner of Main Street and El Dorado. He also had a stock company – the George Ryer Company. His venue opened with the productions “The Lady of Lyons” and “Pretty Sadly.” The opening engagement lasted for two month time and was followed by such famous acts as Laura Keane, Helena Modjeska, Lotta Crabtree, George Marion, James O’Neil, John McCullough, Lawrence Barrett, Clara Morris and other well-known starts. This theatre only lasted until 1890 when it was destroyed by fire on the evening of July 4. By 1883, the Avon Theatre opened with “Hazel Kirke” and the following decade the Yo Semite Theatre opened.

The Yo Semite Theatre was dedicated on July 12, 1892 with the production of “Lost Paradise,” starring Maud Adams as Little Nell. This was the show Moses was in town to paint. The Yo Semite theatre was located on 22 North San Joaquin in Stockton as a complex with theater and offices. In addition to offices, it housed the Yo Semite Club from 1892 until 1908. The building was designed by the architectural firm of Weeks and Day (William Penn Day and William Henry Weeks). The theatre was on the ground floor with a seating capacity of 1,350. The illumination of the auditorium and stage was alternated between gas and electricity. The proscenium measured 36 feet wide by 40 feet high with a distance of 40 feet from the footlights to the back wall. There was three feet between the footlights and the front curtain. The height to the fly galleries was 28 feet with the height to the rigging loft measuring 60 feet. The depth under the stage was 10 feet and accommodated three traps.

Image of an Ad drop at the Yo Semite theatre, date unknown.

The venue was closed in 1920 and was later converted into a movie house called the Fox State with a new entrance on Main Street. In 1955 it became the “new” Esquire Theatre. It survived until 1971 when it was razed for a parking lot.

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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