Part 412: Moses & Hamilton – “Quo Vadis”
Thomas G. Moses & William F. Hamilton established the scenic art firm of Moses & Hamilton during the spring of 1900. Their first production, “Quo Vadis,” was a project for the theatrical management firm of Sosman, Landis & Hunt – the same Sosman & Landis who owned the scenic studio in Chicago. Earlier that spring, the “New York Times” reported, “Manager David H. Hunt was one of the gentlemen interested in the production of the Jeanette Gilder’s version of Quo Vadis” (6 April 1900, page 2).
The Sosman, Landis & Hunt production of “Quo Vadis” used a script that was prepared by Jeanette Leonard Gilder (1849-1916). Gilder was a pioneer for United States women in journalism. She came from a family of distinguished journalists. By the age of ten, she had published her first story in the “New York Weekly,” – “Kate’s Escapade.” Later, she worked with her brother, Richard Watson Gilder, for “Scribner’s Monthly.” Gilder also worked for the New York Tribune as “J. L. Gilder,” and spent six years on the staff of the New York Herald as their literary, musical and dramatic critic. In 1881, she established “The Critic” (later “Putnam’s Magazine”) with another one of her brothers, Joseph B. Gilder, and was the co-editor of the magazine during her time there. Gilder also wrote several books of that included “Pen Portraits of Literary Women” in 1887. She was a friend of Robert Louis Stevenson and his family.
There were a few “Quo Vadis” productions that appeared alongside Gilder’s. Each production was an abstract of Henry Sienkiewicz’s historical and religious story; a love story set in imperial Rome. Sienkiewicz’s story was published in three installments in Polish; his novel told of a love that developed between a young Christian woman, Lycia (Ligia in Polish) and Marcus Vinicius, a Roman patrician. It takes place in the city of Rome under the rule of emperor Nero in 64AD.
One “Quo Vadis” dramatization was written by Marie Doran for the Baker Stock Company, while another was written Stanislaus Stange. Stange’s version was produced by F. C. Whitney and Edwin Knowles, it opened at the New York Theatre. Many criticized that all versions of “Quo Vadis” too closely resembled Wilson Barrett’s 1895 production of “The Sign of the Cross,” that appeared prior to Sienkiewicz’s writings. Barrett explained that the Christian theme was an attempt to bridge the gap between the church and the stage.
Gilder’s production opened at the Herald Square Theatre – 1331 Broadway (the corner of 29th and 35th Street). The premiere was April 9, 1900, but it closed after only 32 performances. The competing Whitney and Knowles production at the New York Theatre ran for 96 performances. The “Buffalo Courier” later reported, “Mr. Whitney’s production forced Hunt out of the business in New York, where it was billed for an indefinite run, and compelled its withdrawal after a run of four weeks” (Buffalo, New York, 10 May 1900, page 9). Of the Herald Square production Moses wrote, “It was not a success, as another company with the same play got in a week ahead of this production at a better theatre, which naturally killed the Herald Square Show.” Regardless of their failure in New York, Sosman, Landis & Hunt toured their production to other cities.
The “New York Tribune” characterized the New York Theatre production as “literary art” and labeled the Herald Square production as a “scenical picture,” commenting that each show included “considerable stage carpentry” (14 April 1900, page 9). The production was often credited solely to David Hunt, instead of the theatrical management firm of Sosman, Landis & Hunt. It would be Hunt’s name, and neither Sosman nor Landis, who would later be connected to the failed show – smart men.
Interestingly, the Sosman & Landis Scenic Studio did not produce the scenery for the production either; instead they secured a variety of scenic artists to produce individual scenes. Maybe they sensed that this production was a sinking ship. The use of multiple scenic artists, however, was a common practice throughout the nineteenth century, as individual artists were selected to be responsible for a single scene.
In addition to Moses & Hamilton, other scenes were created for the show by John H. Young, Gates and Morange, and Fred McGreer. From an April article in the “Cincinnati Enquirer” we know that McGreer designed and painted the setting for Nero’s banquet hall and the arena scene (15 April 1900, page 12). The show was reported to be “rich in scenic opportunities.” The article provided some details about the “Quo Vadis” banquet hall and arena settings:
“The entire scene was originally painted on one big drop and then after it was completed I ‘red lined’ the whole scene. This is to outline the columns and vases with a delicate red line, which the carpenter follows in sawing out these separate sections. They are then all placed in position on the stage and the stuff that has been cut out is fastened together with a delicate netting which is invisible to the audience. The perspective created the impression that they are standing alone though really the entire set is one big drop. Some idea of the work required can be gained from the explanation that a single drop of this description generally requires the efforts of the carpenter and four assistants an entire evening to fix up. On the drop for this garden scene we used 1080 feet of cloth and about 75 pounds of paint. In order to attach them to the rigging loft about 300 feet of rope is also used. Now another heavy scene is in the arena setting for the last act, in which over 700 feet of platform space is required, built up to a height running from two feet and reaching the topmost platform 15 feet above the stage. These platforms are all hinged and made so they will fold for shipment as the piece goes on the road after it is used here. In ‘Quo Vadis’ every scene is numbered and arranged so that it can be put together hurriedly and when brought into a theater is very much like the animal puzzles that are so popular with the Children at Christmas. Only the stagehands will just know where every piece goes without being puzzled.”
In addition to McGreer’s contribution to the production, Young painted two scenes, and Gates and Morange painted one scene. It is unknown which scenes Moses & Hamilton painted, but the “Buffalo Courier” reported, “The play was produced in seven acts and nine scenes” (22 May 1900, page 7). This meant that Moses & Hamiton would have created four of the nine scenes. One spectacular scenic effect was the burning of Rome.
But the trials and tribulations for the theatrical management firm of Sosman, Landis & Hunt did not end after the show’s short run. Two years later, “The New York Times” published an article, “Miss Gilder Goes to Law.” It reported a court case against Sosman, Landis & Hunt filed by Miss Gilder (Oct 19, 1902, page 1). The company failed to produce Gilder’s exact version of “Quo Vadis ” for five weeks each in two years at their various theatres, including the Pike Theatre Opera House in Cincinnati.” A legal battle with a member from a family of well-respected journalists must have been costly, and it could have contributed to the quick end of Sosman, Landis & Hunt around this same time.
To be continued…
