Month: June 2018

Part 442: James E. Fennessy and the Empire Circuit

James E. Fennessy (1856-1925) was introduced yesterday as a theatrical manager who hired Thomas G. Moses in 1902 to paint the setting for “The Charity Nurse.” Fennessy partnered with George E. Heuck, to form the theatrical management firm of Fennessy & Heuck; they were also major players in the Empire Circuit Company – the Western Wheel of the burlesque circuit, also known as the Empire Association.

At the turn of the twentieth century, a successful burlesque producer had forty possible weeks of engagements during a season on the combined circuit, or “wheel” as they were called in burlesque. The agenda for individual circuits was to provide a booking system, establish territorial limits, minimize unprofitable gaps between engagements, and stand in unity against contract violators. That being said, the Eastern, or Columbia Wheel regarded itself as an association of “clean” burlesque, meaning slightly less offensive than what appeared in many western venues.

The Empire Circuit was a group of western burlesque theatrical managers and producers, formed on 18 October 1897. The Empire Circuit operated theatres in Baltimore, Birmingham, Buffalo, Cleveland, Cincinnati, Chicago, Detroit, Memphis, Milwaukee, Minneapolis, New Orleans, Pittsburgh, Philadelphia, St. Louis, St. Paul, Toledo, and Washington, D.C. Their business offices were located in Cincinnati, Ohio, but they also had offices in New York as some of the influential leader resided there.

Since 1900, the officers of the Empire Circuit company consisted of James J. Butler, president; Hubert Heuck, vice-president; James E. Fennessy, secretary; John H. Whalen, treasurer; and board members consisting of James L. Kernan, Harry W. Williams, W. T. Campbell, and George W. Rife. Butler was also a member of Congress at the time, residing in St. Louis, Missouri.

In 1905, the Billboard included an article titled “The Burlesque Situation,” reporting, “There seems to be no concessions to be made on either side in the burlesque war which originated in that little Boston affair some time since.” The article continued, “The managers of the Eastern Circuit met in Cincinnati in the offices of Messrs. Heuck & Fennessy at the People’s Theatre. It was their regular annual business meeting at which time they met for the discussion of matters relating to the circuit; however, it was the most important gathering of that body in years. It is said that if the Empire managers are worried they did nothing that would in any manner show their anxiety either before, at, or after the meeting. One of the managers who attended the meeting gave the expression to the assertion that as far as the Empire Circuit’s houses are concerned they are prepared to take care of all shows that are entitled to bookings in their various theatres. Harmony prevailed throughout the entire meeting. Important parts of the program for the coming season were considered, also the relations of the association to the Eastern Circuit” (May 13, 1905). The article reported that at the meeting James A. Butler was elected president of the Eastern Circuit Association, with Hubert Heuck as first vice-president and James E. Fennessy as secretary. The Eastern Circuit was not to be confused with the Columbia Circuit, only the Empire Circuit expanding east.

In 1905, “The Scranton Truth” reported, “This year will witness a big change in the burlesque business as there are now two ‘wheels,’ the Empire Circuit and the Columbia Amusement Company fighting each other in the east. Previously these two organizations divided territory of the east and west, but they split and the battle royal is on. The Star Theatre still admits its allegiance to the Columbia Amusement Company. Where heretofore there have been forty burlesque companies, there will be seventy this season. The will play week instead of three day stands in this city” (27 July 1905, page 3).

The Empire Circuit was expanding its territory, planning to construct the “largest and most important circuit of theatres ever combined for this department of the theatrical business.” In 1905, their holdings were thirty-two theaters that covered the best paying burlesque fields in the country. Their acquisitions included the Trocadero of Philadelphia, Monumental of Baltimore, Lyceum of Washington, Academy of Music of Pittsburgh, People’s of Cincinnati, Buckingham of Louisville, Empire of Indianapolis, Standard of St. Louis, New Century of Kansas City, Folly of Chicago, Trocadero of Chicago, Star of Milwaukee, Dewey of Minneapolis, Star of St. Paul, Smith’s Opera House of Grand Rapids, Avenue of Detroit, Star of Cleveland, LaFayette Square of Buffalo, Majestic of Toronto, Theatre Francaise of Montreal, Columbia Music Hall of Boston, Miner’s Eighth Avenue of New York, Miner’s Bowery of New York, London of New York and the Bon Ton of New Jersey. They were negotiating the inclusion of theatres in New Orleans, Memphis and Nashville that were dependent on railroad facilities and several other theatres in the eastern fields. The Billboard summed up the situation in 1905, commenting, “To use a wall street phrase, it would appear that the fight has resulted in one faction being long on theaters and short on attractions, and the other the reverse. Developments will be watched with interest, and we hope in the near future to be able to publish an agreement between the two factions. This country may be large enough for two wheels, but one big wheel with a solid hub, long spokes and tight rim surrounded by a strong tire of superiority and quality will be greatly desired by the burlesque loving contingent” (13 May 1905, page 10). By 1911, the Empire Circuit controlled 37 theaters nationwide.

In 1912, the report of the Interstate Commerce Commission listed a court case: the United States v. Harry J. Rhein, James E. Fennessy, the Heuck Opera House Co., the Empire Circuit, and the Big Four Railroad Co. (district court, northern Illinois). The aforementioned were charged with “indictment for conspiracy to refund portion of the legal transportation charges paid by various burlesque companies for transportation over New York Central Lines, the refunds being paid under the guise of compensation for advertising earned in certain theatrical programs (5 counts).”

By 1913, the Empire Circuit was absorbed by the Columbia Amusement Company and by 1914 nearly 80 shows were touring in 81 theaters that stretched from New York to Omaha, entertaining 700,000 customers annually (Vaudeville Old & New: an Encyclopedia of Variety Performances in America, page 164)

This occurred only a few years after Fennessy retired from all theatrical business. In 1910 Fennessy suffered from a severe injury exercising at the Cincinnati Gymnasium; he fell over a ladder in the swimming area (Cincinnati Enquirer, 20 July 1925, page 3). In 1925 while undergoing a minor operation to repair damage from the 1910 accident, Fennessy died unexpectedly while recovering at home.

To be continued…

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…

Part 440: Thomas G. Moses and Nain Grute’s “Man to Man”

Thomas G. Moses recorded creating scenery for “Man to Man” in 1902. This was a “great sensational drama” by Nain Grute that was presented by Butterfield & Bromilow. It opened at the Lyric Theatre in Hoboken on April 3, 1902. Next, the show toured to the Academy in Buffalo (Buffalo Enquirer, 26 April, 1902, page 12). A melodrama in four acts and 6 scenes, the play was copyrighted on August 10, 1902. The show then went to the Star Theatre in New York where it opened on August 25, 1902. It was advertised as “distinctly modern and sensational” (The Buffalo Morning Express and Illustrated Buffalo Express, 24 April 1902, page 9).

Two acts of the shows were placed in the Adirondack mountains, with the other two acts set in New York City. The primary stage settings represented a cave in the Adirondacks mountains; Mrs. Harvey Grant’s New York Home; and a dive under the Brooklyn Bridge (The Reading Times, 9 April 1903, page 2). Another scene depicted a gambling den in New York’s famous “White Light District” (24 April 1902, page 9).

“The Buffalo Courier” described the story of “Man to Man” as follows:

“It concerns the love of a young Harvard graduate, David Morton, for Elsie, the beautiful ward of Jasper Geoffrey, a scheming and cunning miser, who has accumulated a store of diamonds which he worships even above Elsie, whose parents he has parted. Morton, on account of ill-health, has given up his studies and become a guide in the Adirondack mountains, at a hotel owned by Geoffrey; outwardly a summer hotel, but really conducted as a rendezvous by Geoffrey from which to carry on thieving operations. It is not until after Geoffrey attempts to force his attention upon Elsie, and is prevented by Morton, that a plot to do away with him is hatched. He is falsely accused of theft, thrown into a makeshift jail in a mountain village, and that night is kidnapped by Geoffrey and his accomplices who take him to a mountain cave.

The cave is used by Giovanni Lombarda, an intimate friend of Geoffrey, as a bear pen for a trained animal he has brought with him from the Australian diamond fields.

The bear has become cross and unruly, and everything is done to make it appear that Morton escaped from the jail, and unwillingly sought shelter in the cave occupied by the bear. But Elsie who has overheard the plotting of the “gang,” gains entrance to the cave before Morton and is brought to it, cuts his bonds as soon as he is thrust inside, and while Geoffrey and Lombarda are busied in the darkness in closing its entrance with a huge boulder, both escape into the night.

Elsie returns home and Morton now cleared of the charge of theft is given shelter by an old minister on the outskirts of town. From this point on truth and honor triumph, and Geoffrey who attempts to rid himself of Lombarda is stabbed by the Italian in a quarrel. A strong comedy vein, which is carried deftly through the story, revolves around the doings of a country sheriff, a country boy and a chambermaid at the hotel” (27 April 1902, page 28).”

“The Buffalo Express” further detailed, “A realistic battle for life and liberty ensues, the bear fighting unmuzzled” (24 April 1902, page 9). “The Buffalo Commercial” reported, “The most realistic and thrilling situation in the play is a fight between a man and a black mountain bear in a cave in the mountains. A bear standing five feet on his haunches is carried with the production, and has been so well trained that it fights unmuzzled” (The Buffalo Express, 24 April 1902, page 10).

The production company included George Whitman, Eloise Davis, James Young, Lillian Lancaster, William Hunt, George W. Mitchell, Eugene Keith, Keehan Buell, Madge Whyte, Frederick Davis, Phillip O. Irving, Charles D. Moore, and “little Irene Clarke, the very clever child actress, with her whistling cuckoo song and tambourine dance.”

The author, Nain Grute (1863-1929), was a veteran journalist and playwright. His obituary reported, “Born in Youngstown, Ohio, he joined the staff of the Kansas City Star in 1893, and later assisted in establishing the Kansas City World, which has since ceased to exist. In 1897 he joined the staff of the New York Herald, later going to the New York World and still later to the New York Times, where he was employed until his death. He wrote several plays, among them “Man to Man” (Indianapolis Star, 21 Aug 1929, page 3).

Grute also partnered with Wade Mountfortt to write “The Missourians,” a show that also included a spectacular horse race scene with treadmills (The Pittsburgh Press, 27 Nov 1904, page 33).

To be continued…

Part 439: Thomas G. Moses and “Winchester“

Thomas G. Moses recorded creating scenery for Edward McWade’s play “Winchester.” McWade was the author of this early Civil War drama. The five-act play premiered in 1897 and was an immediate success. The Buffalo Courier advertised “Winchester “ as the “best of all war plays” with “beautiful and realistic scenes” (22 Dec. 1901, page 22).

The play was about a romance, set in Winchester, Virginia during 1863. Virginia Randolph nurses a wounded Northern officer, Major Frank Kearney, back to health in her home. While there, Frank teaches Virginia telegraphy, unintentionally teaching her to intercept Union messages and send them to her brother, a Confederate captain. Although discovered, Franks’ romantic rival, Col. Dayton, and a Northern spy, Phillip Allen, accuse Kearney of treachery. Frank is court-martialed and scheduled to be executed at dawn. Virginia confesses her guilt to the commanding general, and then mounts her horse and rides down the moonlit roads with Frank’s reprieve in hand. This scene was popularized as “the race for life.” Advertisements for the show included a quote from the New York Morning Telegraph, “The second scene of the fifth act of “Winchester” would carry it; the heroine is shown in a wild ride with a reprieve for her lover, who is to be shot.” Virginia is pursued by the villainous Allen, whom she is forced to shoot from his horse during her dangerous ride. She reaches the firing squad just in the nick of time!

The show toured with treadmills for the horses and a moving panorama for this exciting scene. “Winchester” is also a significant production when examining the earliest uses of the moving pictures for stage-and-screen hybrid presentations. For a few productions, instead of using a moving panorama, a moving projection appeared in the upstage area to simulate the moving panorama. The consistent use of this scenic effect remains unclear, nor its overall success. There must have been the novelty of a new media incorporated into the stage, but could it really meet audience expectations for a moving panorama and onstage horse race? There would be a simple lack of color and atmosphere; a stage aesthetic that an early black and white film could never convey.

In 1901 McWade organized a new and ambitious production in New York at the American Theatre, hiring Margaret May Fish, a western actress and his future wife, to appear with her jumping horse Mazeppa. The show was to again use the racing machines popularized in earlier productions, such as “The County Fair.” This was the production that Moses worked on while living in New York. The new “Winchester” was to include 100 men and 25 horses for a full run of the show (The Saint Paul Globe, 28 Jan. 1902, page 6). Advertisements of the new touring production promised, “The same powerful cast, the same complete scenic equipment, the same thoroughbred racehorses, the same calcium lights exactly as used during the New York run. Guaranteed to be the best war play ever seen” (The Public Ledger, 16 February 1903, page 3).

The Public Ledger reported, “A carload of special scenery, properties and electrical effects are utilized scenically and mechanically, and two thoroughbred race horses are carried to vividly portray the thrilling ride” (17 February 1903, page 1).

Edward McWade (1865-1945) was an actor and writer who transitioned from the stage to film. He appeared in more than 132 films. His father and brother were also notable stage personalities, Robert McWade, Sr. (1835-1913) and Robert McWade, Jr. (1872-1938). Both McWade brothers went from Broadway to Hollywood, continuing successful acting careers. Edward McWade and his wife Margaret May performed in a number of stage and film productions together.

To be continued…

Part 438: Thomas G. Moses and “Rip Van Winkle”

In 1902, Thomas G. Moses created all of the scenery for Joseph Jefferson’s brand-new production of “Rip Van Winkle.” Moses had previously painted scenery for Jefferson in 1895 “to pad out his Rip Van Winkle play.”

The story was about a lazy man who drinks himself into a magical 20-year sleep. He wakes up after two decades to realize that he not only slept through the Revolutionary War, but his family no longer recognizes him. The play concludes with Rip promising to stay sober and his wife promising to be a better spouse.

The Jefferson name had been associated with Rip Van Winkle since 1859 when he starred in the role of Rip at Carusi’s Hall in Washington, D.C. This version of the show was a combination of the Washington Irving story, material from previous interpretations, and Jefferson’s own writing.

Jefferson prevailed on Dion Boucicault while in London to create a new four-act adaptation of the play. This 1865 version of “Rip Van Winkle” premiered at the Adelphi Theatre and was a great success with London audiences. The production then toured to New York, opening at the Olympic Theatre in 1866. By 1870, Jefferson was still playing the role of Rip at Booth’s Theatre where the show celebrated one hundred performances that year. “Rip Van Winkle” became Jefferson’s vehicle to fame and fortune.

In 1896, Joseph Jefferson also created a film version of the production; eight scenes from the show that were sold independently of each other. These shorts, running approximately 20-25 seconds each were later edited together and released as “Rip Van Winkle” in 1903.

The 1902 date on the title frame of each scene was when the copyright was secured by making a bromide print of every single frame. The scenes were filmed at Joseph Jefferson’s “Buzzard’s Bay” estate in 1896 by the American Mutograph Company.

Dickson left working with Thomas Edison after an incident when securing the rights to Thomas Arnat’s projections device. Edison renamed this machine, the Vitascope. Dickson created his own version of the machine and called it the Biograph, calling his company the American Mutograph and Biograph Company in 1899, and later the American Biograph Company.

Jefferson was one of the investors in this early film studio that produced hundreds of movies. The 1899 35mm mutograph camera used non-perforated film. It perforated the film inside the camera – this is how they got around the Edison patent of the time.

The films produced in 1896 consisted of eight short scenes: Rip’s Toast, Rip Meets the Dwarf, Rip and the Dwarf, Rip Leaving Sleepy Hollow, Rip’s Toast to Hudson and Crew, Rip’s Twenty Years’ Sleep, Awakening of Rip, and Rip Passing Over Hill. Here is a link to the film starring Jefferson and directed by W. K. L. Dickson: https://archive.org/details/rip_van_winkle_1896

By 1905, Jefferson’s son Thomas began his Broadway interpretation of the Rip role. Although it initially met with a lukewarm reception, Thomas continued to play the role of Rip, starring in the 1914 film. Jefferson signed with B. A. Rolfe Photo Plays, Inc., to portray Rip. The movie was filmed at the locations mentioned by Washington Irving in his novel. Jefferson was filmed wandering thru the brambles, thickets and streams of the Catskills near Palenville, New York. The film was released only a month after Jefferson signed the contract.

Here is a link to Thomas Jefferson’s film: https://www.youtube.com/watch?v=LMM_q_W7hB4

To be continued…

Part 437: Thomas G. Moses and “Shadows of a Great City”

In 1902, Thomas G. Moses created scenery for Chas. Jefferson’s production of “Shadows of a Great City.” He wrote that the action necessitated the use of real water in a big tank, making the show “very melo-dramatic.”

Moses was talking about Charles Burke Jefferson (1851-1908), the first of four children born to Joseph Jefferson and named after his father’s half-brother, actor and comedian, Charles Burke. Although an actor in his own right, Chas. Jefferson primarily worked as a theatrical manager; first as father’s business manager and later as the manager of his own shows.

“Shadows of a Great City” was advertised as “a new domestic sensational drama,” or melo-drama. The show premiered at McVicker’s Theatre on July 14, 1884. At that time, Charles Jefferson and another brother managed the show as it toured the country (Detroit Free Press, 21 September 1884, page 6).

The play was written by Livingston Robert Shewell (1833-1904). The Perry Pilot reported the production was “written by the experienced actor Mr. L. R. Shewell at his country seat in Kent county, near Tolchester Beach. The merit of the work so impressed Mr. Joseph Jefferson that he entered into partnership with Mr. Shewell for its production (The Perry Pilot, 6 August 1884, page 6).  C. B. Jefferson, L. R. Shewell, and T. Jefferson copyrighted the story in 1884. Here is the link to the story of the play and the proposed original cast and premiere: https://archive.org/details/shadowsofgreatci00shew

“Shadows of a Great City” was first brought to Chicago, before it toured other Western cities, “drawing large audiences “(The Baltimore Sun, 24 Oct. 1884, page 2). The original cast included Joe Jefferson, Frederic Paulding, Miss Belgarde and Mrs. Annie Yeamans (Chicago Tribune, 6 July 1884, page 6). By December of that year, advertisements promised the show to be, “Realistic and original. Magnificent scenery, startling mechanical results, superb stage settings and scenic effects” (The Critic, Washington, D.C. 5 Dec. 1884, page 3).

The play is set New York, opening in a pawnbroker’s shop on Catherine Street. The second act takes place on Blackwell Island, with the third and fourth acts on the Harlem River. The “big tank of real water” that Moses mentioned in his memoirs was used to represent the Harlem River setting. The setting for the fifth, and final, act is in the mansion of the city banker, Thos. Benson. The scenery was painted at McVickers while the show was rehearsed in New York, before everything was assembled in Chicago for the July 14, 1884 premiere (The Inter Ocean, 6 July 1884, page 13).

The 1902 revival was solely managed Charles Jefferson (Detroit Free Press, 29 July 1902, page 4). Interestingly, it starred Mrs. Annie Yeaman, again, as the principal comedienne for the revival. While researching the play, I came across a fascinating article about the various activities of the Jefferson family in 1902. It provides a wonderful context for that year, especially as Moses worked on of two Jefferson productions mentioned in the article– “Shadows of a Great City” and a brand new version of “Rip Van Winkle.”

The Chicago Tribune commented on the Jefferson Clan and Charles B. Jefferson’s production (26 Jul 1902, page 18). “If the Jefferson family would unite in a grand revival of “Rip Van Winkle” there would be no necessity of paying salaries outside the home circle. Being independent Americans, however, they prefer to make their money in their own way, and are already preparing to favor every section of the country where the name of Jefferson is known next season. Joseph Jefferson will present his usual repertoire during a brief season which may not last more than twelve weeks, and will in all probability be divided into fall and spring tours of six weeks each. While he presents “Rip Van Winkle,” “The Cricket on the Hearth,” and “The Rivals,” his sons, Thomas, Joseph, and William will each arrange to cover territory which their distinguished father will find it impossible to traverse. Thomas Jefferson’s tour in “Rip Van Winkle” is to be a distinct and separate venture. He will play in the far west, while his father appears in the east. The tour of Joseph and William Jefferson in “The Rivals” will not begin until the middle of November, after their father has closed his preliminary season. Young Joe Jefferson is to play Sir Lucius O’ Trigger, and William will play Bob Acreas, a part in which he has already won distinction. The Jefferson boys will manage themselves, as well as their father’s affairs. Charles B. Jefferson, the oldest son, not to be outdone by his younger brothers, is said to be figuring on a revival of the old melodrama “Shadows of a Great City” with Mrs. Annie Yeaman as the star.”

“Shadows of a Great City” was later translated into film by the English in 1913 and the American’s in 1915. The American version was filmed in New York City and released on April 5. The director was Herbert Blaché and the film starred Thomas Jefferson and Adelaide Thurston.

To be continued…

Part 436: Thomas G. Moses and “The Village Postmaster”

Thomas G. Moses recorded that he created settings for “The Village Postmaster,” a domestic drama in four acts that was originally written by Alice E. Ives and Jerome H. Eddy in 1894. By the time Moses created the scenery for the third revival production, it was wildly successful production.

The show premiered at Haverly’s 14^th Street Theatre on April 3, 1896. As an original melodrama for Broadway, the first scenic design was credited to Homer F. Emens. The show was revived a few times at Haverlys 14^th Street Theatre. By January 6, 1902, the “Star-Gazette” reported that the production had recently celebrated its one thousandth performance, having most recently played at the 14^th Street Theatre in New York 227 times and in Chicago for 125 nights (Elmira, NY, page 3). When the show reached it’s 100^th performance mark in Chicago, silver pie knives were handed out as souvenirs (The Daily Review, 29 Oct. 1902, page 3). The show also played numerous runs in Brooklyn, Philadelphia and other large cities, with 100 nights in Boston (The Buffalo Enquirer, 13 Sept. 1902, page 7). In 19continued on its tour.

The play begins in the Autumn of 1852. The central figure is a local mail official, who is also the general shopkeeper. The captain of the militia is a perpetual candidate for minor political honors and, in short, a sort of “poobah of the town” (Portsmouth Herald, 8 March 1902, page 4).

The story begins on the morning of training day in Bridgewater, a New Hampshire Village. A note in the script explains, “Up to about 1853 in New England, and in many of the Northern states the law compelled every able-bodied citizen to assemble spring and autumn for a drill in the manual of arms, there being at this time no regular state militia. The event was a holiday of considerable importance to the villagers, and was called “General Training Day.” The action of “The Village Postmaster” begins on this day.

“The Portsmouth Herald” reported, “The cities of New York and Chicago were most lavish in their praise of the play during its long run in those cities. The Herald said of it, ‘New York has never seen a better drama of rural life than The Village Postmaster. The play carried with it the smell of new mown hay, apple blossoms and pure country air and it is enacted by a company fully capable of retaining this atmosphere.’ (Portsmouth Herald, 8 March 1902, page 4). The article continued, “The scenes of the play were a general store, the village green, with a country dance on Training Day, ending with a realistic shower of rain; the minister’s donation party; a realistic farm scene, with an old-fashioned threshing machine at work, and a village church where great preparations are being made for the night wedding of the postmaster’s daughter.” Can you imagine handling a hors-drawn threshing machine during load in, especially if the theatre was located on the second floor?

“The Fort Smith Times” published a scene from the play and reported, “It takes two baggage cars to carry the scenery and properties of ‘The Village Postmaster’” (23 November 1902, page 9). The “Fitchburg Sentinel” commented, “In the matter of scenery and setting it is the most elaborate production ever made of any rural play” (14 March 1902, page 6). The “Austin Statesman” noted, “A thunderstorm with real rainwater” ended the first Act (14 Dec. 1902, page 10).

“The Quad City Times” published a very entertaining article about the production in regard to the stage pig (17 Oct 1902, page 5): “The education of the pig in “The Village Postmaster” is no light matter to all concerned, ‘and the worst of it is,’ said ‘Props’ plaintively, ‘I no sooner get him beautifully broken in, so that he doesn’t balk at his cue, nor run over the footlights in to the bass drum, than he gets too large to play small parts, and has to be sold to the butcher for pork. If I only knew some way for keeping him from being a hog.”

To be continued…

Part 435: Thomas G. Moses and “Lights of Home”

In 1902, Thomas G. Moses recorded that he created settings for “Lights of Home,” “The Village Postmaster,” and “Shadows of a Great City.”

“Lights of Home” was a new play by Lottie Parker Blaire that did not open until the fall of 1903. The show was delayed due to the playwright being ill at the end of 1902. At the beginning of 1903, “The Dayton Herald” reported that the author had just recovered from a recent illness and was currently completing the final act of her play “Lights of Home” (10 January 1903 Page 6).

Blaire was also the author of “Under the Southern Skies” and “Way Down East.” “The Daily Arkansas Democrat” commented that Blaire “stands at the head of women dramatic writers in point of furnishing money-producing plays” (9 July 1903, page 6). The article continued, “It is claimed that the profits of ‘Under the Southern Skies’ and ‘Way Down East’ alone amount to more that the total profits on all other plays combined written by women.” Moses produced the scenery for Blaire’s productions of “Under Southern Skies” and “Lights of Home.”

“Lights of Home” was the season’s house production at Haverly’s 14^th Street Theatre in New York during November 1903. This was the production that Moses mentions in his typed manuscript. The four-act play tells the story of a hero, who is cast off by his wealthy father for marrying a penniless girl. The hero’s half brother plays the villain, who accuses the hero of forgery. Fortunately the hero escapes to sea on a sailing vessel. The villain then attempts to murder the hero’s wife and child to gain the inheritance.

The Buffalo Express reported, “It is a thrilling melodrama of perilous situations and gratifying ways of getting the heroine and her child out of them. The poor girl who marries the rich man’s son suffers much through the intriguing of a band of rascals, male and female, headed by the husband’s stepbrother. The story lends itself to elaborate devices in the way of stage scenery, which heightens the effect of the soul-stirring situations” (New York 22 Nov 1904, page 7).

The stage settings included the recreation pier where the child is stolen; a river where an ocean liner almost runs over the child in an open boat; the smuggler’s bluff where the husband is imprisoned; and a cave where the wife is washed into it from sea, but is saved by men forming a human chain with their bodies. “The Anaconda Standard” reported, “One scene showing the rising tide in a cave was wonderfully realistic and thrilling” (Anaconda, Montana, 8 Nov. 1903, page 14). Of the stage action, an article in “The Evening World” questioned, “Why has the human chain been overlooked? Why is it that in the mad whirl of the buzz saw, the locomotive, and the mine explosion drama, nobody ever picked out the human chain as a vehicle of the most enthusiastic possibilities, that is, nobody until Lottie Blair Parker seized it and thrust it bodily into the fourth act of her play…And hurrah for the human chain! (3 Nov. 1903, page 7).

The plot was advertised to include “a knife, a gun, a real warship, a steam launch, a sea scene with a dark unfathomed cave in the background and a deep-dyed villain who talks like “Big Bill” Devery and really acts” (The Evening World, 3 Nov. 1903, page 7).

Forrest Robinson played the role of the hero, Jack Stanton, while Georgia Wells played the heroine Tress Purvis. George D. Parkes played the part of the villain – who could “really act.” Of the performance at Haverly’s Fourteenth Street Theatre, newspapers recorded, “The curtain was scarcely up two minutes when the gallery was whistling; in fifteen minutes it was y-a-a-hing, and in half an hour all the women in the house were enjoying a good social cry”(The Evening World, 3 Nov. 1903, page 7).

The song from the second scene, “On the Recreation Pier,” was a musical number that newspapers repeatedly commented as extremely popular. The “Evening World” noted, “The song will be all over the town in a week” (3 Nov. 1903, page 7).

To be continued…