During 1893, Thomas G. Moses worked on a variety of productions, spectacles and other attractions, including an elaborate revival of the “Black Crook” for Imre Kiralfy (1845-1919). The June 12, 1892, issue of the “Chicago Tribune” included the article, “Kiralfy’s New Pantomime for Chicago.” The article reported that Henry Abbey made a contract with Imre Kiralfy to furnish a new pantomime and produce it at the Auditorium in Chicago during the Columbian Exposition.
Kiralfy’s 1893 revival of “The Black Crook” was intended to be one of his largest indoor productions to date. Imre and his brother Bolossy (1848-1932) had previously staged a revival of “The Black Crook” during August 1873. It was their first musical spectacle at Niblo’s Garden Theatre and played over one hundred performances. Then the production went on tour, breaking the record number of performances for a revival. It was this production that brought the brothers immediate fame in America.
Imre and Bolossy were born to Jacob Königsbaum and Anna Weisberger in Budapest, two of seven children. The brothers were trained as dancers and soon performed for a variety of venues, such as the Hungarian Circus. They traveled throughout Europe under the stage name “Kiralfy” due to their father’s activities during the Hungarian revolution. Their other siblings also joined the dance industry and the family motto became, “All the World’s a Stage.” The Kiralfys soon became producers and organized pageants by their mid-twenties.
Their travels eventually brought them to America in 1869 where they produced extravagant stage shows with spectacular scenic effects, large casts and stunning costumes. The brothers later separated, but each continued to produce shows. Imre primarily focused on grand spectacles, such as “The Fall of Rome” that was staged on Staten Island with two thousand performers.
Imre’s 1892 revival of “The Black Crook” was intended to challenge Eugene Tompkins’ version at the New York Academy of Music. Tompkins production opened in August 1893 and the September 5 Chicago Tribune review of his production reported, “Expectation has been both filled and disappointed in the “Black Crook” at the [New York] Academy. For sightlines in its costumes and scenery the spectacle has never been surpassed in this country.”
During October 1892 there was another revival of “The Black Crook” that appeared for a week at the Criterion in Chicago with the Alexander and Allen Company. No further mention or advertisements were published of Imre’s intended production, but it did merit mention in Moses’ manuscript that he produced the scenery. It is possible that his scenery was eventually used for the Criterion Theatre production.
Kiralfy also created two other spectacles to coincide with the Columbian Exposition – “Columbus” and “America.” Each would prove to be a grand success. Their patriotic theme and consecutive appearance at the Civic Auditorium might have been why the “Black Crook” revival fell to the wayside and was never performed at the Auditorium as intended.
Kiralfy’s son Charles assisted with the opening of “America, 400 Years of American History.” It premiered at the Auditorium in Chicago and coincided with the opening of the World’s Columbian Exposition. It grossed almost one million dollars in its seven-month run.
Imre also produced “Columbus and the Discovery of America” that opened at the Madison Square Garden Theatre, later touring to the Auditorium in Chicago during the World Fair. For this production, he hired Thomas G. Moses to create the scenery. “Columbus” then toured for two years.
The amount of scenery that Moses produced from 1892 to 1893 is astounding. There is also an added interest for me concerning Moses’ involvement in the 1893 revival. At this same time, he was working with David Austin Strong, one of the original scenic artists for the 1866 production of the show. Moses had been painting with Strong since starting at the Sosman & Landis studio. His typed manuscript records that he and Strong painted a panorama of Grant’s trip around the world, the first project completed after the main studio was built.
What a small world, then and now.
There is also one more connection that affects another history beyond the stage; Kiralfy, Strong and Moses would all become Scottish Rite Masons.
To be continued…
I am the Kiralfy brothers great great granddaughter. ( yes they are both my great great grandfathers as their children (first cousins married).
This is lovely to read, thank you.
This can be proved by DNA
That is absolutely fascinating! And thank you for your kind words. Do you have any family pictures that you were willing to share? I ask as it is always nice to see photographs of the people whose histories I explore. Have a great day!