Tales from a Scenic Artist and Scholar. Copyright © 2018 by Wendy Waszut-Barrett
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Part 433: Thomas G. Moses and “Robert Emmet”
In 1902, Thomas G. Moses wrote, “Among the shows we did this season was “Robert Emmet” at the 14th Street Theatre for Brandon Tynan. This was a very important production.” Moses worked with J. Wesley Rosenquest to provide the painted settings at the 14th street theatre on Homer F. Emens’ paint frames.
“Robert Emmet, the Days of 1803” opened at 14th Street Theatre on August 18, 1902. The Brooklyn Daily Eagle reported, “The new play will be presented with entirely new scenery and costumes and an auxiliary force of 100 men and women (27 July 1902, page 25). The show ran for 80 performances until October 1902 and then went on tour. Tynan both wrote and starred in this premiere production that was produced by Rosenquest. Born in Ireland, Tynan (1875-1967) was a writer, performer and director who worked throughout the New York area. He later performed in the Ziegfeld Follies of 1922-1924, in addition to a variety of Broadway comedies.
By 1903, additional scenery was added to the production of ‘Robert Emmet” after going on tour. “The New York Times” reported, “Since the play was seen here last several changes have been made to it, and one or two new scenes have been built. One shows the Wicklow Mountains, another St. Kevin’s Churchyard, and another the trial of Robert Emmet” (27 December 1903, page 11).
Haverly’s 14th Street Theatre was located at 107 West 14th Street in New York City. It was built in 1866 and had a seating capacity of 1100. The proscenium measured 30’-9” wide by 30’ high. The height from the stage to the rigging loft was 90 feet with only 1 set of grooves. The depth under the stage was 14 feet with usual traps. For the venue, “H. F. Emens” was listed as the scenic artist in Julius Cahn’s Official Theatrical Guide of 1903. Emens had worked at the 14th Street theatre since 1892. At the height of Emen’s career, newspapers reported that he managed the frames at eight different theaters. In 1902, pscenic artists that Emens worked with included the work John H. Young, Gates & Morange, and Moses & Hamilton. These artists painted on shows together for well over a decade.
“The Evening World” went into detail about the 1902 production after it opened (New York, 19 August 1902, page 7): “With characteristic Celtic daring Brandon Tynan made a double bid for popular favor at the Fourteenth Street Theatre last evening appearing as playwright and star In the production of his melodrama ‘Robert Emmet.’ A fascinating young Irishman Mr. Tynan proved to be, bringing good looks and grace and dash of manner to the interpretation of the most romantic of Irish conspirators, and in his dramatic essay revealing native wit, felicity of phrase and a perfect insight into Irish character. ‘Robert Emmet’ is a melodrama which appeals only to those of Irish blood, but the play and its author in conjunction present to a wider audience an interesting study in hereditry. To local theatre-goers Mr. Tynan has been known only as an interesting-looking young man who carried himself gracefully through juvenile roles in several of Mr. Frohmans productions. Until he was announced as the author of an Irish melodrama his identity as the son of Patrick Tynan the famous ‘No. 1’ of the Phoenix Park conspiracy was not suspected. What would the son of an arch-conspirator do in a dramatic embodiment of the most picturesque and romantic of Irish conspiracies? Mr. Tynan’s play answers the question satisfactorily. It throbs with the fervent pulse beat of the author’s patriotism and carries a defense as well as an exposition of conspiracy. But Mr. Tynan is to be congratulated on not overdoing the strenuously patriotic side of his subject. His sunny temperament gets him away from the heroics to delineation of the homely humor of the Irish peasantry. May be there is a bit too much of this, for it makes the action drag at times but every line of it is genuine and has the true Celtic sparkle.
Mr. Tynan is not a master of stagecraft but he has made ingenious use of his historical material. His first act climaxes with Emmet’s vindication before Sarah Curran, and the closing scene is simply a stage setting of the historic speech from the dock.
As an actor Mr. Tynan is to be congratulated for his self-restraint. Not once was he guilty of overacting Intact. In fact he carried his reserve too far in the trial scene, where the defense of the condemned patriot could appropriately be given with more robust declamation. But Mr. Tynan makes love like the born Irishman that he is. His passages with Sarah Curran were given with o finish that is rarely seen even in a Broadway production.
Much of the charm of the performance was contributed by the remarkably clover acting of Mr. Tynan’s supporting company. William H. Thompson gave a splendid portrayal of Michael Dwyer a rough mountaineer, with a heart of gold. William Elton made even the informer, Jimmie Noonan, Interesting. Francis Powers was as finished as a government spy. James Bradbury’s Antrim Jack was an excellent bit of low character work, and Owen Fawcett, Luke Martin and P. Aug. Anderson were at ease in their roles. Angela Russell was sympathetic in the role of Sarah Curran, and Margaret Hayward’s Ann Devlin was picturesquely done.
The scenic setting provided by J. Wesley Rosenquest was handsome the representation of a glen in the Wicklow Mountains being particularly effective. David Belasco and Mrs. Leslie Carter were interested and enthusiastic auditors.”
To be continued…
