Part 359: Thomas G. Moses and “In Mizzoura”
David Hunt, of the theatrical management firm Sosman, Landis & Hunt occasionally found fault with Thomas G. Moses. Throughout Moses’ typed manuscript, he recounts several stories about his various interactions with Hunt. Here is one such tale where Hunt chastised Moses for inserting a comic bit when it wasn’t requested as part of the stage design.
Moses mentions a painted detail from the play “Mizzowa.’” It took a little detective work to realize that he was referring to the Augustus Thomas play “In Mizzoura,” and the setting for Act IV. Moses saw a chance for a little comedy. He painted a sign on the farm fence reading “No shooting aloud.” Moses wrote, “One of the papers took it up and said scenic artists ought to go to high school and learn how “allowed” should have been used, instead of “aloud.” Of course, David Hunt also found fault. Moses had painted the “N” and “S” turned around. Moses continued, “I found that my comedy was not appreciated and that very few had even been very far in the country, where a sign of that description actually could be found. When I found I couldn’t convince them that I was right, I went back and said I meant it just as it read, not “allowed.” I was told the company had a salaried comedian and I needn’t “butt in.”
Here is some information about the 1897 touring production of “In Mizzoura.” The four-act play was advertised as “the story of the love affairs of the simple and generous sheriff, Jim Radburn” (Chicago Tribune, 4 January, 1897, page 3). Advertised as a rural comedy, it premiered at Hooley’s theatre during 1893. The title was based on the regional pronunciation of “Missouri.” A line from Act II provides an example: “…why, Kate, I care more for how you feel about anything than I do for anybody in the State of Mizzoura—that’s just how it is.”
The play premiered in Chicago on August 7, 1893 during the venue’s twenty-third season. Under the direction of George J. Appleton, the show starred Nat C. Goodwin and other famous personalities such as Francis Carlyle and William C. Beach. The production went on to appear at the Fifth Avenue Theatre in New York City on September 4, 1893.
The stage settings for the production’s 1893 premiere were “painted from sketches made of the exact locality” by Ernest Albert and Walter Burridge, two good friends of Moses.
The touring production that Moses created scenery for was at McVicker’s Theatre in Chicago. The show starred Frank C. Hamilton, Charles G. Hall, and Jean Evelyn. The company of Hamilton’s Players numbered eighteen in all. The Evening Star reported, “All scenery, furniture and property used in this production are carried by the company, so that the most elaborate presentation will be given” (Washington D.C., 27 March 1897, page 24).
Here is a synopsis of the scenic requirements:
ACT I.—Living room of Jo Vernon’s house. Bowling Green, Pike County, Missouri. Time—Evening in June. The script detailed a setting that consisted of a dining-room, living-room and kitchen combined. A line of broken plaster and unmatched wall-papers marks the ceiling and back flat a little left of center. Doors right and left in 3. Door in right flat. Old-fashioned table. Dresser, low window with many panes, window-sash sliding horizontally—outside of door is pan of leaves burning to smoke off mosquitoes.
ACT II.—Blacksmith shop of Jo Vernon adjoining his residence. Time—Morning of the second day. The script detailed a setting that depicted the blacksmith shop, adjoining Vernon’s living-room. Forge. Door to living-room above forge. Bellows down stage below forge. Bench with vise at left. Big double doors. Trusses. Tub of water back of anvil.
ACT III.—Living room of Jo Vernon. Time—Evening of the second day (same as ACT I, but tidy. The script detailed a stage setting with doors closed and lamp lighted. Song in blacksmith shop before rise of curtain.
ACT IV.—Home and door yard of Jim Radburn. Time—The next Morning. Exterior of Radburn’s cabin-front, stoop and steps showing. The script detailed a setting with rail-fence partly broken down is across the stage at right and continues in painting on the panorama back-drop of rough country with stacks of cord wood. Many stumps showing. A mud road winds into the distance, a stile crosses fence.
“In Mizzoura” later became a 1919 silent film, directed by Hugh Ford and starring Robert Warwick.
To be continued…
You can also read “In Mizzoula” online as free eBook. Here is the link: https://books.google.com/books?id=0eAVAAAAYAAJ&pg=PA11&lpg=PA11&dq=%22In+Mizzoura%22&source=bl&ots=h93WIvSfXx&sig=QgO6X9E7uzIw2-gLFHFD2bWbsv8&hl=en&sa=X&ved=0ahUKEwjyoOnHwuTZAhWm54MKHTbpABkQ6AEISjAG#v=onepage&q=%22In%20Mizzoura%22&f=false
