Tales from a Scenic Artist and Scholar. Part 421 – Coney Island – Thomas G. Moses and “20,000 Leagues Under the Sea”

Part 421: Coney Island – Thomas G. Moses and “20,000 Leagues Under the Sea”

A postcard depicting the entrance of Thompson and Dundy’s Luna Park on Coney Island.

In 1902, Thomas G. Moses recorded that Fred Thompson was building Luna Park, opposite Dreamland and Steeple Chase Park on Coney Island. Moses & Hamilton would paint several projects for Thompson at Luna Park.

Thompson and Dundy’s “Trip to the Moon” at Luna Park. This attraction was moved from Steeplechase Park in 1902 to be the premiere attraction at the new Luna Park.

Thompson and Dundy’s “A Trip to the Moon” was extremely successful at Steeplechase Park during 1901; over 850,000 people took a voyage on the airship Luna. Even though much of the summer was cold and rainy, the attraction greatly contributed to the overall success of Steeplechase Park. In fact, Steeplechase was the only park to turn a profit that summer. At the end of the season, however, the amusement park’s owner, George Tilyou, decided to increase his profits for the next season, offering Thompson and Dundy 40% of their profits instead of the customary 60%. Thompson and Dundy decided to take their attraction elsewhere and start their own park. They leased the nearby Sea Lion Park and an adjacent parcel of land on the seaward side, planning to build an new 22-acre park.

Luna Park at night

Luna Park opened during the spring of 1903, with a staggering price of $700,000 to construct. The grand opening for Luna Park was scheduled for May 16. For the dedication, 250,000 electric lights were switched on at 8PM and a five-lane gate opened to a stream of visitors. In two hours time, attendance had reached over 60,000 visitors, signaling Thomson and Dundy’s success. By mid-summer, all of their loans were repaid while the profits continued to roll in. Those who had helped out that first summer, struggling alongside Thompson and Dundy, were rewarded. For example, the head of publicity who had worked the entire first summer on a percentage basis with no salary, received a huge bonus. At the close of the season, Thompson and Dundy paid him $116,000.

Luna Park was named to honor Thompson & Dundy’s main attraction – “A Trip to the Moon.” In addition to this featured ride, Thompson designed two other massive attractions – “20,000 Leagues Under the Sea” and “The War of Worlds.” Although they were not ready for the opening, visitors came to the park in droves. Moses & Hamilton were hires to create the scenic illusion for both of these new rides.

A postcard depicting the ride at Luna Park – “20,000 Leagues Under the Sea.”

In his typed manuscript, Moses wrote, “Our first big job for ‘Luna Park’ was ‘20,000 Leagues Under the Sea.’ It was a very unique show and kept us busy for several months. We had a real submarine boat in front of the show that actually sank with the passengers and was totally submerged. The passengers were then taken out of the boat through a passageway into another boat, a duplicate of the one they first entered. Then, the effect of under the sea was sprung on them and it worked perfectly. The illusion was very convincing.” The total cost to create this illusion was approximately $180,000.

A submarine took passengers on a realistic underwater journey to the North Pole, very much in the same way that the Luna airship took riders to the moon. The ride was in a building that covered 65,000 square feet. The entrance alone was 125 feet wide by 70 feet high, and 150 feet deep.  Between 100 and 200 riders walked down a ramp and boarded a Holland-class submarine replica. They sat sit facing large portholes that presented a view of the ocean around them on the journey. After the hatch was latched shut, the submarine submerged under water in a 24-foot-deep pool.

Moses & Hamilton painted a panorama purportedly measuring 3 ½ miles long, depicting the underwater voyage from the Indian Sea to the North Sea. The canvas that was allegedly held on twenty-four spools with various underwater compositions depicting seaweed, coral reefs, schools of fish, sharks, sea monsters, a mermaid, and even the shipwreck of the Flying Dutchman.

The air inside the Nautilus submarine was cooled as the passengers traveled closer to the North Pole.  It was an exciting journey as the submarine narrowly missed colliding with a ship passing overhead, and later struck then an iceberg when ascending to the surface.

At the North Pole, passengers exited the vessel and were greeted with a blast of cold Arctic air. Eskimos in fur skins emerged from their igloos, eager to meet the new arrivals. Real seals and polar bears also cooled themselves on nearby icebergs. Passengers were encouraged to take and ice chips as a temporary memento on each hot summer day. Before boarding the Nautilus for their return home, visitors were treated to a spectacular view of the Aurora Borealis in the night sky.

Entrance to “20,000 Leagues Under the Sea” (left).

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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