Part 376: Henry W. Savage and the American Theatre, A Permanent Home for Opera in English
Thomas G. Moses traveled from San Diego to New York during August 1899. Of his West Coast departure, Moses commented that Mme. Modjeska’s company gave him a “fine send-off.” He wrote, “a large tent was put up on a vacant lot; refreshments were served and different members of the company did a little stunt. After a hearty God-speed, I was off for New York City. I regretted not being able to stay until Modjeska opened, but I knew I had a big time ahead of me in New York.” Moses was leaving to work for Henry W. Savage at the American Theatre. His contract began on August 27.
Moses wrote, “I was in hopes of being able to remain at home [in Chicago] for a week or so before going east, for the awful separation from my family was getting under my skin in bad shape. I felt as if I would like to throw up the New York job, but had signed a contract to be there in time to do the first opera.”
Henry W. Savage contracted Moses to produce scenery for the Castle Square Opera Company’s third season in New York. Other notable scenic artists had worked for Savage during the first two seasons, such as Walter Burridge, Frank King, H. Logan Reid, and John Clare. The increased volume of subscriptions during the first three seasons of the Castle Square Opera Company, supported Savage’s plan to establish at the American Theatre a permanent home for opera in English. The opera company also had branches in Chicago and St. Louis. By 1900, it was advertised as “the largest operatic company in the world,” having “gained a larger clientele than any other established musical organization.” A commemorative book, “500 Times,” documented the success of the Castle Square Opera Company’s performance of operas in English by Monday, October 16, 1899.
Moses’ first project for Savage was designing and painting “Die Meistersinger.” This was the show that would open the third season for the Castle Square Opera Company on October 2, 1899.
Moses wrote, “On my arrival in New York, I found working conditions very good; wide bridge and large frames; congenial men in charge of the theatre. My first opera was “Der Meistersinger.” I had a chance to get some good settings and I succeeded. The street scene was the most effective. It was built to the back wall and continued through the large door into the scene room, compelling the chorus to enter from the outside door. The perspective was in proportion to the characters. Mr. Savage paid me a flattering compliment on the production.”
By Christmas, Moses had painted several heavy operas, among them were “Martha,” “Rigoletto,” “Aida,” “Faust,” and “Tannhäuser.” Of “Tannhäuser” the Brooklyn Daily Eagle article reported, “Scenically and sartorially the production will conform to the accepted traditions. Thomas G. Moses has provided a series of beautiful stage pictures, which will be rendered more effective by the appropriate costumes, especially designed for the occasion” (22 October 1899, page 20). The amount of scenery produced under Moses’ supervision from August 27 until three shows opened in October is astounding. It also speaks to the speed of which scenery was painted at the time.
During September 1899, the “Chicago Tribune” reported that the Castle Square opera company had assembled at the Studebaker Theatre in Chicago (7 September 1899, page 8). The newspaper noted, “Mr. Savage returned to New York last evening to witness the rehearsals of Wagner’s ‘Die Meistersinger,’ which is about to be given for the first time in English in America by the New York section of the Castle Square Company. The New York Company will come to Chicago during the grand opera season in December to present the opera at the Studebaker.”
By January 1900, Metropolitan Magazine (New York) reported, “One of the most important musical events of the past season has been the first production in English in this city, and first time here of “At the Lower Harbour,” the English version of Niccola Spinelli’s “A Basso Porto.” It was given by the Castle Square Opera Company at the American Theatre on January 22. The other operas given for the first time in English in this city have been Wagner’s “Die Meistersinger” and “Tannhäuser,” Weber’s “Der Freischütz,” and Beethoven’s “Fidelio.” (Vol. 11, No. 1, January 1900, page 326). Once again, Moses was there to be part of something new and exciting. Opportunities abounded in New York. Some were so appealing that Moses would consider permanently relocating to the East Coast in 1900.
To be continued…
