Back to 1894
During the summer of 1894, Thomas G. Moses painted a number of small shows. The work kept the annex studio open, despite the decline in projects after the close of the Columbian Exposition. He wrote that the annex staff was needed to “get the work out on time” and fall engagements included productions of “Athenia” and “School for Scandal.” Moses was working for the manager Leonard Wales and the actress Julia Marlowe.
“Athenia” was written by John O’Keefe and composed by Leonard Wales. It opened at McVicker’s Theater in Chicago on September 10, 1894, and played for three weeks. The Chicago Inter Ocean reported that for this production “splendid scenic equipment has been provided” (9 Sept. 1894, page 29). C. D. Marius was the stage director with Adolph Liesegang as the musical director. The show was managed by W. H. Fitzgerald and was well received by the Press. Interestingly, the Wales Opera Company of fifty-three people sang “Athenia” when it played at the Masonic Temple in Fort Wayne (Fort Wayne Journal-Gazette 20 Oct. 1894, page 3).
The story of “Athenia” depicted the adventures of Alchibiades Gunn, a representative from Uta-in-Macedonia. It was a satire on the United States Senate. Something we need now. The played opened with senators grouped in the Peristyle of the Athenian Senate.
Sidenote as I am contemplative today: Peristyle is a row of columns surrounding a space, such as a garden or court. It was also a familiar composition for the Sosman & Landis scenic artists when painting Masonic scenery. At the Columbian Exposition it was an architectural landmark – the Peristyle Gate.
I use “peristyle” quite frequently when writing scenery evaluations and condition reports that include a degree description. It is a word flagged by spellcheck on my computer every time as it is no longer a common term. “Epistyle” or “per style” is always recommended to replace the word “peristyle.” For the Ancient and Accepted Scottish Rite of Freemasonry’s 18th degree, it denoted a row of columns overlooking a picturesque landscape. This would be the INRI (Infifnity, Nature, Reason and Immortality) translucency at the top of a colonnade.
I am including a few pictures of the Peristyle Gate from the Columbian Exposition and the later “Peristyle” design designated by Sosman & Landis Studio. I just find it interesting, but I digress.
Another show that Moses was working on during the summer of 1894 was Richard Brinsley Sheridan’s “School for Scandal,” starring Julia Marlow (1866-1950). Marlowe was an English-born American actress known for her Shakespearean roles. However, she introduced to add a few contemporary pieces to her repertoire, soon performing on Broadway by 1895. In “The School for Scandal,” Marlowe played Lady Teazle in her revival of the production (Inter Ocean, 18 Nov. 1894, page 33).
The show opened at the Metropolitan Opera House during September 1894 (Star Tribune, 26 Sept. 1894, page 5). She was supported by Robert Taylor and under the management of Fred Stinson.
In Chicago, it played for three weeks at McVicker’s Theatre. As on tour, it played in rep with “Twelfth Night,” “As You Like It,” “Romeo and Juliet,” “Belle’s Stratagem,” “Chatterton” and “Ingomar” (Chicago Tribune 14 Nov. 1894, page 8). Not all of the productions were created by Moses or received rave reviews. The Chicago Tribune panned the scenery for “Twelfth Night,” stating, “Any person in the audience with the slightest taste and knowledge of stage propriety could get up a more artistic setting with three or four discarded dry goods boxes covered with half a dozen second-hand curtains” (Chicago Tribune , 15 Nov. 1894, page 8). Ouch. I have to wonder who was responsible for the construction of the “Twelfth Night” set.
Although little is recorded of the scenic elements produced by Moses for Marlowe or Wales, I once again ponder, “Who didn’t he know? Who didn’t he work for?” Joe Jefferson, John Cort, Helena Modjeska, William Haworth, Buffalo Bill Cody…the list of those who Moses knew goes on and on. I am astounded at the people he encountered throughout his career. Was he the best artist? No. But he kept a record, and sometimes, just sometimes, that leaves a much larger legacy than anyone can ever anticipate.
To be continued…
