Part 347: Thomas G. Moses during the First Half of 1896
Thomas G. Moses continued to financially struggle during the first half of 1896. Scenic art projects included a production of “Mountebank” for Frederick Warde; a production of “Sea King” for J.H. Shunk (Chicago, proprietor of the Calhoun Opera Company); a production of “Santa Maria” for Camille DeArville, “the Queen of comic opera”; a theatre installation in Anderson, Indiana; stock scenery for the Hopkins Theatre in St. Louis, Missouri; and a small project in Toledo.
By early May, Moses traveled to Boston where he painted a production of R. A. Barnet’s “The Merry-go-Round. ” It was a project for Harry Askins. Of the production Moses wrote, “I was fortunate enough to make a hit in Boston. The show was fairly good.” The Boston Post reported the show as “a brilliant burlesque of contemporary local interest by R. A. Barnet, which will be given a colossal spectacular production,” featuring 150 people with 500 costumes (17 May 1896, page 10). The production team for “The Merry-go-Round” included William A. Seymour (stage producer); Thomas G. Moses (scenic artist); Mme, Seidle (costume designer); W. E. McQuinn (Musical Director); Gustave Sohlke (Ballet Master); Joseph Halliday (mechanical effects); and J. G. Estee (Properties), and others.
During his absences from the studio, Moses left Ed Loitz in charge. Loitz was his long-time assistant and friend. In reality, he was Moses’ “right-hand man” for almost every project that he accepted. Whether working at Sosman & Landis or not, Loitz remained loyal to Moses and accompanied him on many adventures. He would still be working with him in 1923. However, in the scenic studio, Loitz was no Moses. When Moses was away, production slowed down. Furthermore, Moses’ stylistic flare was absent from the final product when he was on the road.
As with many studios, one name was on the work, but the painting was competed by many hands. That is one of the significant feature that made the Fort Scott Scottish Rite collection so unique; in 1924, it was solely painted by Moses on site – no big studio crew. In most cases, a Scottish Rite collection was composed of dozens of backdrops in a very limited timeframe, thus necessitating many people simultaneously working on the project. There are very few of these Scottish Rite collections that can solely be attributed to one scenic artist and a stage carpenter. They provide a unique glimpse into the past when individual artists were forced to complete a massive project by themselves. You can tell on certain drops when they were running out of steam.
Other 1896 shows that weren’t recorded in Moses’ typed manuscript included “The Bells.” The Times Herald reported, “Manager [Ira J.] LaMotte has given Mr. Clay Clement a superb scenic production of ‘The Bells,” painted by Thomas G. Moses with costumes by Schoultz & Co., so that a complete production in every detail can be expected” (7 Nov. 1896, page 7). Moses also painted the scenery for “The New Dominion” that toured with “The Bells.” The St. Louis Post – Dispatch commented that both plays were painted “from the brush of well-known scenic artist, Thomas G. Moses” (31 August 1896, page 2). The St. Joseph Herald reported “The company carries a car load of scenery from the brush of Thomas G. Moses of Chicago” (St. Joseph, Missouri, 29 August 1896, page 3)
Moses also painted another “Ben-Hur” set in 1896. A Tennessee newspaper article described how the Women’s Board of the Tennessee Centennial were preparing for the production of the grand spectacular at the Vendome (The Tennessean, Nashville, 10 May 1896, page 9). The article reported, “The scenery used is from the brush of the celebrated scenic artist, Thomas G. Moses, of the Schiller Theatre, Chicago, and the subject of the play itself offers spectacular effects the best opportunity of any amateur production ever had in Nashville.”
The description of this particular production is especially delightful, as it provided a sense of Moses’ designs:
“The play will begin in the lonely desert where the Magi meet, Joseph and Mary will appear at the Joppa Gate, and the Wise Men will arrive at the Damascus Gate in search of him who is born King of the Jews. The appearance of these men before Herod and all the Bible story will be vividly presented.
The scenes will again shift, and Ben Hur will be introduced in all the beauty and strength of his youth. The succeeding scenes will carry him through the thrilling experiences of the tale, from the home of happy companionship to the sad position of a galley slave.
The famous chariot race will be introduced, and this part is almost unexcelled in scenic pantomime. The reuniting of the separated families will be shown, ending with the dramatic farewell to Iras. The production will close with a beautiful transformation scene, Iras’ Dream of the Nile. In this closing view is represented $10,000 worth of scenery and costumes, and taken together with the many pretty faces of Nashville’s society girls, it will be the most gorgeous spectacle to gaze upon.”
Although the amount of scenery produced by Moses and his crew during the first half of 1896 seems somewhat staggering, it was simply not enough for him to survive on his own. Sosman & Landis had been keeping a watchful eye on their former employee and decided to approach him that July. They were still short one man and Moses was now desperate. It seemed to be a good time to bring him back on board for a reasonable price.
To be continued…
