In 1900, Thomas G. Moses wrote, “We also secured paint frames at the 125th Street Theatre, which gave us four frames.” Moses & Hamilton hired Al Roberts, Edward Loitz and Otto Armbruster to do the majority of the stock work at Proctor’s 125th Street Theatre in New York. The theater building was designed by the New York architectural firm McElfatrick & Sons. Julius Cahn’s Official Theatrical Guide (1901-1902) reported that the theater was quite large and had a seating capacity of 4,450 people. The proscenium measured 40 feet wide by 39 feet high with a stage depth of almost 35 feet, and 70 feet between the sidewalls. There was also 70 feet from the stage and the rigging loft, with two bridges. The depth under the stage was 12 feet with six traps. One important feature that made make this place ideal for Moses & Hamilton was the addition of a scene room to the stage. Space and location were the key to any studio’s overall success; scenic artists needed access to multiple frames throughout a city when a very large project hit. Scenic studios would refer to these additional spaces as “annex studios,” or temporary locations that complimented their main studio and business offices.
As noted yesterday, Moses & Hamilton used the paint frames at three theaters for their projects: Proctor’s Twenty-third Street Theatre, the American theatre, and Proctor’s 125th Street Theater. Moses was the lead scenic artist at the American Theater, Hamilton was the lead scenic artist for Proctor’s Twenty-third Street Theatre, and Al Roberts was the lead scenic artist for Proctor’s 125th Street Theatre, with Otto Armbruster and Ed Loitz working there most of the time.
One of the early productions that Moses & Hamilton designed in 1900 was “Floradora.” John C. Fischer, John W. Dunne and Thomas Ryley secured the American rights for “Floradora,” producing the first Broadway version. Of the production, Moses wrote, “Mr. John C. Fisher had closed the season with Mme. Modjeska and had got an interest in ‘Floradora.’” The previous year, Moses designed all of the scenery for Modjeska and Fischer in California, then he left for New York to work for Henry W. Savage at the American Theatre.
The London premiere of “Floradora” at the Lyric Theatre opened on November 11, 1899, running for 455 performances. The Broadway “Floradora” production with Moses’ designs opened 10 November 1900 at the Casino Theatre (39th Street and Broadway). Moses wrote, “I was called in and made models and was soon started on the production. We turned out some very effective settings.” By 1901, the production was reported to be the “reigning success of the East” (San Francisco Call, 24 July 1901, page 7).
“Floradora” was based on the book by Owen Hall (1853-1907). Here is a brief synopsis of the play for those who are unfamiliar with the show:
Floradora – Act I
Floradora is a small island in the Philippines where the essence of the Floradora flower is manufactured as a perfume. Cyrus W. Gilfain, an American, owns both the island and the perfume factory. Gilfain swindled the business away from Dolores, who has rightful claim to the Floradora fortune; he also now controls the island, forcing Dolores to work for him. Enter Lord “Frank” Abercoed. Frank arrives in disguise to act as Gilfain’s manager, immediately falling in love with Dolores. When Gilfain discovers that Frank and Dolores are in love, he attempts to split up the lovers and marry Dolores himself.
Enter Lady Holyrood, who is titled, but in a penniless situation. Holyrood has traveled to find a husband at Gilfain’s suggestion and she waits aboard ship in the harbor. She is accompanied by Gilfain’s daughter Angela, who is betrothed to Captain Arthur Donegal (Lady Holyrood’s brother). Also aboard the ship is Anthony Tweedlepunch, a detective who is searching for the girl who rightfully owns the perfume business – Dolores. Tweedlepunch comes to the island disguised as a traveling showman, phrenologist, hypnotist, and palmist.
Gilfain hires the “actor” Tweedlepunch to break up the love affair between Dolores and Frank, thereby making Dolores available to marry him, and Frank available to marry Angela. He introduces Tweedlepunch as a highly respected phrenologist, plotting to marry off all his clerks to the young Floradora farm girls, granting him even more control over the island.
At the end of Act I, Frank refuses to marry Angela and is subsequently discharged by Gilfain, forcing him to return to England. Before he departs, he tells Dolores to wait for his return.
Floradora – Act II
Six months have passed and Gilfain is the the new owner of Abercoed Castle, Frank’s ancestral home in Wales. Tweedlepunch also discovers that Dolores is the rightful heir to the Floradora fortune and reveals that her father was his only friend, promising to help retrieve her family fortune. As they attempt to leave they are confronted; in desperation they try to convince everyone that they are the evening’s entertainment.
Although Frank is banned from the castle by Gilfain, he manages to make his way inside the courtyard where he sees Dolores for the first time since leaving the island. Frank reveals his true identity as Lord Abercoed and his mission. Tweedlepunch finally confronts Gilfain, spinning a tale that terrifies Gilfain into admission of his wrongful deeds. Gilfain returns the properties that he swindled from Dolores and Frank, Frank marries Dolores, Gilfain marries Lady Holyrood, and Angela marries Captain Arthur Donegal.
The Buffalo Morning Express and Illustrated Buffalo News, reported that Edna Wallace-Hopper, who was cast as “Angela,” spent two weeks in London studying the role, as it was performed in the London production (16 Sept. 1900, page 21). Francis “Fanny” Reynolds Johnston played the part of Dolores. Sydney Deane, the English Baritone, played the part of Frank. Willie Edouin, the English Comedian, was also engaged for the production.
“Floradora” introduced the famous female sextette and their song “Tell Me, Pretty Maiden;” it was one of the highlights that made the show a success.
Interestingly, during the fall of 1900, the Gramaphone Company invited the members of the cast of “Floradora” into its studios to record some of the songs. Some consider this to be one of the first known “cast recordings.” “Floradora” records were made over the course of four sessions during October 1900.
The New York show was directed by Lewis Hopper and staged under the supervision of Willie Edouin. Moses & Hamilton’s painted settings depicted the island of Floradora, the garden at Abercoed Castle, and the ballroom at Abercoed Castle. Of the show’s very first performance, Moses traveled to its debuted in New Haven, CT, on November 9, 1900. He wrote, “I went to New Haven with the show for the first performance. I didn’t like it, and a great many others thought the same. The show went back to New York; opened at the Casino; after several weeks of doubtful existence, it sprang into flame and went like a cyclone – a wonderful hit. We did four other productions for the same show and Fisher and Ryley cleaned up a net profit of $637,000.00 before it began to dwindle.”
On Broadway, it played at the Casino Theatre for 379 performances before transferring to the New York Theatre for a grand total of 549 performances on Broadway. Then the show started a tour, returning to New York in 1902, where it ran from November 10 to January 25, 1902.
After the success of “Floradora, “ Moses wrote, “Fisher thought he could do as well with anything he saw fit to produce. He jollied himself with the idea that it was his fine management that made a success, so he put on “Princess of Kensington” next and soon lost $30,000.00.” After that loss, Fisher put on “Glittering Gloria,” “Crystal Slipper” and “Medal and the Maid – not a winner among them.”
To be continued…
