Part 441: Thomas G. Moses and “The Charity Nurse”
Thomas G. Moses created the painted settings for Col. James E. Fennessy in 1902. Moseds recorded that the scenery was for “The Charity Nurse,” a four-act melodrama advertised as “a play appealing to every woman in America. Written by a student of nature” (Indianapolis Star, 15 Hanuary 1905, page 15). Well, it was written by Theo. Oakley, but Fennessy had held the copyright for the story since Feb 4, 1903.
The story involved the life history of a blind pastor’s daughter, whose ambition to assist her afflicted father induces her to clandestinely leave the church circle, lured by the attractions of a New York “shark” who hoped to take advantage of her natural talents by engaging her to appear before the swell clubs of the metropolis for which he was to receive a large sum of money. Luckily, she escaped his clutches, becoming a charity nurse and eventually returned to the home fireside.
The 1903 Clipper reported ‘The Charity Nurse’ is an interesting sensational melodrama, well put together, with all necessary effects to make it a success. The story deals with a young and talented girl, who is led on by the apparently grand prospect offered by a scheming villain who leads her into a maze of wonderful scenes and thrilling situations, and almost succeeds in accomplishing her downfall. He is defeated, however, and the girl, after getting out of his clutches, becomes a charity nurse, and though the whole world seems against her, the cloud is dispelled at the last act and happiness prevails. Selma Herman plays the heroine very cleverly. The house was packed from top to bottom.”
“The Charity Nurse” was managed by George E. Heuck & James E. Fennessy of Heuck & Fennessy. The theatrical managers were also involved in the development and management of the Heuck Opera Company of Cincinnati, Ohio. Fennessy was the proprietor of Heuck’s Opera House and well-known throughout the country as a leading member of the vaudeville theatrical syndicate.
The initial presentation of “The Charity Nurse” was held at Burt’s Theatre in Toledo (The Cincinnati Enquirer, 19 April 1903, page 6). This was prior to the hiring of the leading actress, Selma Herman, to play the role of Bessie Chambers. Herman was hired to officially star in the production for the next season and rehearsals commenced in New York City early that summer. The production then appeared in Meriden, Connecticut on August 27, before playing in New York City at the New Star Theatre the week of August 31.
The numerous theatrical interests of the Heuck Opera Company necessitated that they establishe regional offices in New York at 1432 Broadway. Fennessy was able to witness rehearsals as “The Charity Nurse” was rehearsed at the Fourteenth Street Theatre in that city (The Cincinnati Enquirer, 12 April 1903, page 25). After rehearsing in New York, the initial Cincinnati presentation was at Heuck’s Opera House.
Fennessy is an interesting individual who worked in both Ohio and New York during the 1890s and into the 20th century, but continually listed his residence in Kentucky. He began his theatrical career at an early age working for the elder Heuck, who operated Heuck’s Opera House. Fennessy later became a partner at the venue. He was later known as the manager of the People’s Theatre during the heyday of burlesque. When the Lyric Theatre was constructed, Fennessy also became manager of that playhouse too.
In 1903, Fennesy married Grace Morand, daughter of James E. Morand, president of the Indianapolis Transfer Company. One year after their marriage, Fennessy instigated divorce proceedings. Shortly thereafter, his wife became despondent and committed suicide by taking carbolic acid (Des Moines Register, 20 Nov. 1904, page 14).
Fennessy’s obituary in the “Cincinnati Enquirer” commented on his genial personality and popular public persona by all manner of theatre folk. The newspaper reported, “During his years of activity in the theater management he came in contact with producers, players and public, and was loved and respected by all who knew him. He was considered an authority upon all things pertaining to the stage, and the story often has been told that performers coveted his personal praise more than a favorable critical review of their work. He was a member of the lodge of Elks and frequently prevailed upon fellow workers in the theatre to entertain the members of the organization” (14 Sept. 1925, page 2).
Over the years, however, Fennessy was also the subject of multiple lawsuits. In perusing the numerous court cases that he was involved in throughout the decades, he certainly had a penchant for opportunism that did not always fall within the constraints of the law. I will cover some of Fennessy’s escapades tomorrow as they provide fascinating insight into the theatrical syndicate, especially the Empire Circuit’s activities during the time when Moses was creating sets for Fennessy & Heuck.
To be continued…
