Month: December 2018

Part 601: “Custer’s Last Rally” at Ravinia Park

In 1908, Thomas G. Moses wrote, “I closed a contract for ‘Custer’s Last Rally’ at Ravinia Park for $3,150.00. It was a big show.”

Ravinia Park opened in 1904 on land purchased by A.C. Frost. It was intended to be a year round amusement park, complete with a pavilion, theater, spectator stadium, casino, skating rink, slide and a small hotel.

Although he referred to “Custer’s Last Rally,” he likely meant “Custer’s last stand fight spectacle” that was included in the 108Ravinia Park production – “The Battle of Little Big Horn.” Moses’ show was possibly held in the spectator stadium as a large outdoor spectacle.

The “Chicago Tribune” reported, “The ‘Battle on Little Big Horn’ – the Custer’s last stand fight spectacle – is drawing better than ever” (Chicago Tribune, 28 June 1908, page 64). The newspaper also noted that the three-act spectacle had considerably changed and was “a great deal improved.”

Ravinia park reopened during June of 1908 after the park shifted management. Early in 1908, an interesting article appeared in the “Chicago Tribune” – “Ravinia Park to Continue as an Amusement Resort. North Shore Pleasure Ground Will Be Operated Under a Lease, with Its Customary Features.”

The article reported, “Speculation as to the effects of the tangle of the affairs of the Chicago and Milwaukee electric road upon the management of Ravinia park was ended yesterday by an announcement that the park will be operated next summer under a lease.

President A. C. Frost built the park, as an adjunct to the trolley line, at an expense of $300,000. It never has been a profitable enterprise, for no outlay has been spared in giving the north shore suburbs the highest class entertainment procurable, chief among which have been the concerts of the Thomas and Damrosch orchestras.

It is expected that they extensions of the Northwestern elevated railroad of the Evanston terminal of the Milwaukee electric next summer will increase the number of park patrons to an extent that will make a continuation of this program possible.

Bion J. Arnold’s report of the expense of completing the Frost road into Milwaukee will be submitted today to the receivers. It will verify the estimates of the engineers of the road that about $600,000 is needed for the work” (Chicago Tribune, 18 Feb, 1908, page 7).

The park lease receiver was George M. Seward. Seward announced that the park would reopen June 20, 1908. The park was open by June 5. Admission to the park was set at twenty-five cents, with reserved seats in favorable locations costing an additional fifty cents to a dollar. On May 1, 1908, the “Inter Ocean” announced that park tickets would be available for sale in books of forty for $10.00. The hope was that 2000 books would sell in the first few days, helping the financial situation of the park (Inter Ocean, 1 May 1908, page 9).

Unfortunately, by 1910 the railroad failed and the property went into receivership. It was a group of North Shore residents who believed in the potential of Ravinia Park, purchasing the park and founding the Ravinia Company. The Company was under the leadership of philanthropist Louis Eckstein, who served as impresario for 20 years.

The park reopened in 1911, featuring classical music in the summer. Opera was added in 1912 and Ravinia soon gained the reputation as “America’s summer opera capital.” The park only went silent for five years during the great depression, but reopened by 1936. Today, Ravinia is internationally known for its music festivals. Here is the link to Ravinia Park: https://www.ravinia.org/Page/AboutUs

To be continued…

Part 600: Why Do I Write?

There is so much more information to discover online that a decade ago. I can quickly scan through thousands of newspapers with keyword searches, gathering information about a late-nineteenth century scenery installations and Scottish Rite degree productions. My trips to the rare books room are almost non-existent, as I am able to access a ridiculous amount of information in a relatively short period of time. When preparing for my posts, I dig through old photos, slides and research files from my predecessors, digital collections, online archives, historical newspapers, and other public databases. It takes time though.

Why do I take time every day to blog about the life and times of Thomas G. Moses? I made a commitment to myself during September 2016 to share my discoveries, while providing me with both incentive and inspiration to continue. When my position as Curatorial Director at the Minnesota Masonic Heritage Center was eliminated, I encountered a unique form of character assassination. It was an extremely difficult time as I went through the varying stages of grief. Much of the passion that I had for Minnesota Masonry simply died, and I had to focus on Freemasonry elsewhere.

In the middle of a particularly low point, I made a decision about my future. I decided to take the high road, ignore the continued attacks, and make a positive contribution. I decided to share all of the information that I had gathered over the years in a public forum, one that would benefit both theatre and fraternal communities; to increase the awareness of historic scenery as cultural artifact; to change the perception of historic scenery from old stage backings to large-scale artworks created by nationally recognized artists; and to broadcast the need for proper handling and preservation of extant scenery collections. I decided to start writing – a lot.

Writing one or two pages for a daily blog makes me re-evaluate preconceived notions and accepted theories, ranging from painting techniques to basic theater history. I try to catch things that I may have missed in the past. Hopefully, my journey will never be about being right, but about getting it right. I also gather more information than I need, as I never know if a historic scenery collection will still be hanging upon my return. Scenery and stage machinery hold telltale signs for the common practices associated with early-twentieth century scenic studios and artists. Each scenic studio had something akin to a signature. They all had a specific way of doing things, whether in the sewing room, carpentry shop, paint studio, or during an installation. The width of cotton sheeting, the direction of seams on a backdrop, the shape of a wooden batten, the type of stage hardware, the color used to ink a composition, and the preferred fabric manufacturer are only a few examples.

It may be the next generation who pieces together my research. This is a primary reason that I am digitizing and posting as much as possible. Ideally, some scenic artist, theatre historian or Masonic scholar may be able to see the connections that I cannot. I may simply be planting seeds for another to find shade in a future tree. If I am able to help another along the way, that would be the best feeling of all, because then I become part of something much bigger than myself.

Tomorrow, I return to the life and times of Moses in 1908.

To be continued…

Part 599: A Treasure Map to the Past

I return to my blog after a bad case of the flu and holiday obligations. Before returning to the life and times of Thomas G. Moses in 1908, however, I am taking the chance for a little self-reflection. The end of the year provides me with an opportunity to contemplate why I write a blog. Curiosity is my incentive. For years, I have spent every spare moment researching historical scenic art and scenic artists from long ago. This intense focus was primarily to satisfy my own interest about historical theatre practices, traditional materials and long-forgotten visionaries. My research wasn’t for any particular publication or event. Like many, I never stopped being a student. I love learning about new things, whether they pertain to theater, people, places, events, or art. At first, I simply wrote them down in a notebook and tucked away each paper into a neatly-labeled file. They were always intended for future reference. Maybe, I was waiting for the right time to do something with the information – like now.

All academic intentions aside, it is exciting to explore unchartered territory, especially when it involves creating art and architecture. I find historic buildings and scenery on a stage far more thrilling than blueprints, scale models, or brilliantly-painted designs. Existing scenery is transformative in nature, as each backdrop has the possibility to dance with the lighting. Settings for the stage offer much more than a pleasant composition, for they are interactive. It is this aspect of illusion that intrigues me, as well as the technique behind the trade.

Historic backdrops are riddled with clues, and I often feel like a detective while looking at a scenery collection. I regard each piece of scenery and machinery as a puzzle, always trying to assemble the border before moving to the center. You just have to know what shape to look for, and then identify the connections. It may take me years to make one small connection, or find the missing piece; those moments that result in a brief “ah-ha.” More so than each revelation is the search. Along the way I often will find supplementary information that wasn’t even on my radar at the time. Sometimes, these unanticipated discoveries are much more significant than what I was looking for in the first place. The life of Thomas G. Moses has created the road map for my research, but there are so many interesting rest areas and side trips along the way.

What I have realized over the years is that when examining extant scenery, it is important to remember that many of the clues are on the back, or hidden beneath a patch or between sandwich battens. Charcoal notations, studio stencils, union bugs, maps and other cartoons are all awaiting discovery. There are the visible signs on the surface, yet often the most significant finds lay hidden and are not discovered until a restoration. Between sandwich battens there is a plethora of information, such as mechanical drawings or the organization of line sets. Battens provided a form of durable paper on site as members of the installation crew solved problems, whether mathematical or aesthetic. More tomorrow.

If you are interested, there are many more examples that I posted to my FB Group Dry Pigment.

To be continued…

 

 

 

Part 598: “Polly of the Circus”

In 1908, Thomas G. Moses wrote, “I started ‘Polly of the Circus’ for Fred Thompson. When completed I went to Troy, New York, to put it on. Everything was good. “

The “Washington Times” reported, “Frederick Thompson, who has recently branched out as a producer of plays and who is to present for the first time on any stage, ‘Polly of the Circus,’ at the National, December 9, was the manager of the Pan-American Exposition at Buffalo. Mr. Thompson also founded and constructed the famous Luna Park, Coney Island, the most gigantic outdoor amusement place in America. He is thirty-two years of age” (Washington, D.C., 1 Dec. 1907, page 36).

Moses first mentions working for Thompson in 1901. That year, he wrote, “We had the contract for the ‘Trip to the Moon,’ a big amusement park novelty owned by Thompson and Dundy.” In 1902, Moses completed another project for Thompson, creating the attraction “20,000 Leagues Under the Sea” his new amusement Park on Coney Island – Luna Park. Moses and his partner Will F. Hamilton were involved in both painting the scenery and engineering some of the scenic effects for this wildly popular ride.

By 1908, Thompson still sought out Moses to manufacture his theatrical vision for “Polly of the Circus.” Moses would have been a natural choice, especially in light of his recent work for Ringling Brothers’ circus spectacles. The scenic requirements for the production ranged from a Midwestern parson’s home to spectacular acts under the big top. On June 26, 1907, the “New York Times” reported, “Mabel Taliaferro, who is to appear next season in the leading role in “Polly of the Circus,” left yesterday for Albany with her husband, Frederick Thompson. The object of her trip is to get the proper ‘atmosphere’ for her part in the circus play. She will be the guest of John Ringling of the Ringling Brothers’ Circus” (page 7).

“Polly of the Circus” was written by Margaret Mayo as a novel. Transformed into a in three act play with two tableaux for the stage, the “Sandusky Star-Journal” reported, “The play is a strange but pleasing conglomeration of humor, pathos and melodrama, and spectacular stage business. It runs strongly to the pathetic, but the vein of humor is prominent enough to overshadow the tearful effects” (Sandusky, Ohio, 28, 1907, page 8).

“Polly of the Circus” tells the story of trapeze artist Polly Fisher who is hurt while performing her act, falling fifty fett. Taken to the house of nearby minister, John Hartley, The doctor advises against moving her, and as she recuperates, Polly and the minister fall in love and secretly marry. However, when their marriage is discovered, John’s congregation rebels at having a circus woman as their minister’s wife, and he is fired. Seeing how miserable her husband is, Polly goes to plead for the bishop’s help, but he remains unmoved. She is willing to give John up, but is told that a divorced minister is equally unacceptable. Polly sees only one way out – as a widower, John could return to the church. She pretends that she has tired of her husband and returns to the circus, planning to have a fatal “accident.” John discovers her plan and arrives at the circus in the nick of time.

The original play opened in New York on 23 December, 1907 at the Liberty Theatre, 234 W. 42nd St. and ran for 160 performances until May, 1908. Mabel Taliaferro played Polly. The rest of the cast included Herbert Ayling, Joseph Brennan, Mattie Ferguson, John Findlay, Guy Nichols, Elsie St. Leon and Malcolm Williams.

Wildly popular, a third “Polly of the Circus” company was organized with Fay Wallace in the title role. The “Evening Star,” reported, “Miss Wallace took Mabel Talliaferro’s part in the piece during the recent illness of the latter” (Evening Star, Washington, D.C., 13 Dec 1908, page 27). It is possible that this was the production that Moses worked on during 1908.

Of located a program from the production when it was performed at the Illinois Theatre in Chicago during September 1908. Mable Taliaferro starred in the leading role of Polly. Fred Thompson was credited with the design of all scenery and effects. The show was built a the Luna Park Studios and Shop.

Here is the synopsis of the scenes:

Act I – Scene 1: The Pastor’s Study. (Night.) Scene 2: Bedroom Above Study. (Next Morning.)

Act II-Rear Garden of Parsonage Eleven Months Later (Afternoon.)

Act II-Scene 1: Behind the Scenes Adjoining the Main Tent. Scene 2: The Circus Scene 3: Circus Lot After the Performance. (Night.)

PLACE-A Small Town in the Middle West

Interestingly, the “New York Times” reported, “The circus performance on the stage was omitted from the production of ‘Polly and the Circus’ at the Liberty Theatre last night. Fred Thompson, under whose management the piece is offered, explained that he omitted the scene purely as an experiment on the advise of friends, but the scene will henceforth be included. ‘I followed the advice of people who said that the scene had been ‘dragged in,’ said Mr. Thompson. ‘However, many people said the same thing of the ship scene in Brewster’s Millions.’ And one experiment has convinced me my original plan was correct” (25 Dec. 1907, page 7).

There were two film versions of “Polly of the Circus.” In 1917, the film starred Mae Marsh and Vernon Steel. The 1932 film starred Marion Daves and Clark Gable. Here is a short clip showing Polly during her recovery at the minister’s house: https://www.youtube.com/watch?time_continue=3&v=et49CmRpycE

To be continued…

Part 597: Fred Thompson’s “Polly and the Circus”

In 1908, Thomas G. Moses wrote, “I started “Polly of the Circus” for Fred Thompson. When completed I went to Troy, New York, to put it on. Everything was good. “

There is an entertaining tale that tells of the play’s origin. I am including it in its entirety today, as it provides some historical context. Here is the article written by Matthew White, Jr. and published in “Munsey’s Magazine” (Munsey’s Magazine, Vil. 32, page 846).

“I tell you a play ought to please over here,” said an American whom I met in London. “That’s ‘Polly of the Circus.’”

Without committing myself in respect to this prophecy, I have no doubt that Londoners would like Mabel Taliaferro, whose personal charm, in its ability to reach out over the footlights, bids fair to rival even that of Maude Adams.

By the way, I have learned of a pretty little romance in connection with Miss Taliaferro and ‘Polly of the Circus.’ It seems that ‘Polly,’ like so many other recent successes was originally a one act play. When Margaret Mayo – it’s author, and wife of Edgar Selwyn, the actor – developed it into three acts, an actress who wished to star became interested in the thing, but her manager could not see it, as the phrase runs on the Rialto. This was some three or four years ago, and meanwhile the piece awaited production, passing through various vicissitudes in its manuscript stage, until finally Mrs. Taliaferro, Mabel’s mother, heard of it and thought it might suit her daughter, who was then playing with Henry Miller in “Pippa Passes.” So an arrangement was made that Miss Taliaferro should dine one night with the Selwyns and hear all about the play. Just before she arrived, Mr. Selwyn received a telephone message from his friend, Fred Thompson, founder of Luna Park and manager of “Brewster’s Millions.”

“I’m coming to dinner tonight, Edgar,” he said. “It’s alright, I hope?”

“Y-e-s,” answered Mr. Selwyn; “only we are having a young actress to see about one of my wife’s plays, and we shall have to talk that almost exclusively at the table. You won’t mind, will you?

“Oh, that’ll be alright,” replied Mr. Thompson.

In due course the self-invited guest arrived in his automobile, and he was presented to Miss Taliaferro as they sat down. As soon as he heard that the play under discussion had a circus in it, he became interested, for it must be remembered that Mr. Thompson built the New York Hippodrome and managed it for two seasons.

“What’s the name of the piece?” he inquired.

“Polly of the Circus,” he was told.

“Splendid!” exclaimed Mr. Thompson. “I’ll take it and star you as Polly, Miss Taliaferro.”

“But you have never seen me act,” protested the girl in astonishment.

“And you have never read the play,” added Mrs. Selwyn.

“Don’t have to do either,” insisted the manager. “I have seen you, Miss Taliaferro, and I know the play is about a circus. That is all I consider necessary. Now that that’s settled, let’s talk about something besides business for the rest of the evening,”

“But Mr. Miller may want the piece,” Mr. Selwyn ventured to interpose. “Miss Taliaferro is now playing under his management.”

“He hasn’t signed for the play, or said in so many words he would take it, has he?” Mr. Thompson inquired.

“No, but do you really –“

“I’ve said I want to produce it, and I will, if Miss Taliaferro will be Polly.”

Miss Taliaferro was delighted to accept, and after dinner retired to her corner with Mr. Thompson to discuss- well, as the manager had said he was tired of business, it was probably not circuses or acting. In any event, when it was time to leave, Mr. Thompson took her home in his car; and three days later the Selwyns were electrified to receive a telephone message to the effect:

“You people come around and celebrate to-night. Mabel and I have just been married!”

As all playgoers know, Mr. Thompson kept his promise. He produced “Polly of the Circus,” last winter, and it ran in New York for five months. Mabel Taliaferro’s younger sister, Edith, is to play Polly in the piece this autumn, while Mrs. Thompson prepares for her début in the new version of “Cinderella,” in which her husband is to star at Christmastime.”

To be continued…

Part 596: Charles Rand Kennedy and “Winterfeast”

In 1908, Thomas G. Moses wrote, “Made a model for Charles Rand Kennedy for his new play “Winter Feast” late in September.” Moses’ designs included a setting that depicted the interior of a Viking chieftain homestead.

“Winterfeast” was a tragedy in five acts written by Charles Rann Kennedy. The “Los Angeles Herald” provides a description for the play’s setting: “Its scenes are laid in Iceland of the heroic age, when Druidism still lingered there, and there is an echo of the early discovery of America as Vinland by the sturdy Icelanders of that time” (Los Angeles Herald, 14 Sept. 1908, page 2). The “Inter Ocean,” added, “The time, 1020 A.D., will place the story in the atmosphere of the conflict between the White Christ of the new generation and the grim Thor of the old Scandinavian mythology. Echoing through the drama will be the romance of the Viking voyages to ‘Vinland,’ by which Eric and Leif and Bjorn and other bold navigators forestalled Columbus in reaching the new world” (27 Sept 1909, page 37).

“Winterfeast” was first staged in Chicago where it was performed at a series of special matinees. After a brief success in the windy city, the show opened in New York at the Savoy Theater. The reception was not as well received in the East, as its run was less than three weeks.

The tragedy was described in the “Democrat and Chronicle:”

“Thorkel, the old Viking, according to the drama, had been a Skald, a poet and singer of his people, and like his son Valbrand, had been more at ease in verse than in fight, though his foster brother, Bjorn was a mighty man with the sword. It was to the latter that the heart of the beautiful Herdisa turned, for that is the way with women, to love that which is strong, through she herself is weak. So Herdisa, unasked, had told Bjorn of the love and placed her bracelet upon his arm as a testament of her affection. Then Thorkel and his two sons sailed for Vineland, the new country, the father returning with Valbrand later to tell Herdisa that Bjorn had scorned her love and sent back a taunting message. When the play opens, some twenty years after that is supposed to have happened, Herdisa is the wife of Valbrand and it is through the malevolent utterances of Ufeig, a turncoat priest, that the old story is revived.

Bjorn returns, is coldly received, but refuses to regard himself as an unwelcome guest and ultimately in a powerful scene, he learns of the trick practiced upon him and the woman he loves. He had been married in the far off country, but he tells Herdisa that she alone has had his heart through all the years. Then she sends him forth to do vengeance. Through a skillfully contrived arrangement the spectator is left in uncertainty as to which of the two men has been killed in combat” (Democrat and Chronicle, 1 Dec 1908, page 7).

The cast included Edith Wynne Matthison (Herdisa), Robert Cummings (Thorkel), Frank Mills (Valbrand), Walter Hampden (Bjorn/Olaf), Arthur Lewis (Ufeig), Ben Field (Odd), and Gladys Wynne (Swanhild). Matthison was the author’s wife.

Charles Rann Kennedy (1871-1950) was an actor, playwright, press agent, and theatrical business manager. Born in Derby, England, he began his career as an office boy, but soon began writing and lecturing. He wrote short stories, critical articles and poems, later teaching for several years at Bennett Junior College in Millbrook, New York. His first theatrical success as a playwright was “The Servant in the House.” Produced in 1908, it was this success that caused Kennedy to immediately produce an earlier play that he had written – “Winterfeast.” Other Kennedy plays included, The Terrible Meek (1911), The Necessary Evil (1913), The Idol-Breaker (1914), The Rib of the Man (1916), The Army with Banners (1917). In 1898, he married English actress Edith Wynne Matthison who was identified with “Everyman” and Shakespearean productions. She played the female lead in “Winterfeast.” The Kennedys retired in Los Angeles, California.

 

To be continued…

Part 595: A Postcard from Victor Higgins in 1908

In 1908, Thomas G. Moses received a postcard from Victor Higgins, A.N.A. (1884-1949). Higgins was once a scenic artist at Sosman & Landis studio who left to persue a fine art career in 1905. When Higgins left studio, Moses wrote, “Victor Higgins, one of our promising young men, quit to take up picture painting and started with a strong determination to win, and I think he will.” Moses was right.

On May 5, 1908, Higgins sent a postcard to Moses prior to his departure for Europe. It was a picture postcard showing Higgins outside with his easel and umbrella while plein air painting. The front of the postcard read, “Dear Mr. Moses, Notice that pained expression on my face. V. Higgins.” Although the face is scratched out and faded, it once held a cartoon expression. This shows the camaraderie between Moses and the young artist.

Another postcard from Higgins was mailed from London during 1909. It was addressed to “Mr. Thos. G. Moses, 417 So Clinton St, Chicago, Ill, USA.” On the back, Higgins wrote, “Your letter received. With the gift settled, I will write you all of it. Lots of fun in sights. Regards to the boys. V. Higgins.” The boys were the scenic artists at Sosman & Landis. Moses frequently referred to his painting crew as “the boys.” The London postcard depicted the entrance to the hotel and grill room at the Strand Palace Hotel part of the Kingsway Real Photo Series. The image is reminiscent of the many palace interior drops produced for the stage during that time. I wonder if that was one of the reasons for selecting this particular subject, or to share that the hotel had recently opened.

Although I have explored life and work of Higgins in the past, here is a brief recap. Born in Shelbyville, Indiana, historical records indicate that it was a visiting sign painter who inspired Higgins to become an artist. Higgins left home at the age of 15 in 1899 and entered the Chicago Art Institute. During this time, he also worked as a scenic artist, a common practice for many aspiring artsts. He soon met Moses at Sosman & Landis. While there, Higgins worked with Art Oberbeck, Fred Scott, Edgar Payne, Ansel Cook, Walter C. Hartson, William Nutzhorn, and David Austin Strong. He was one of the artists who also migrated east to work for David Hunt at Sosman & Landis’ eastern affiliate New York Studios. In New York, he worked alongside William Smart, Art Rider, and Al Dutheridge. During this time, he maintained close ties to Chicago’s artistic and theatrical scene.

Higgins’ artistic training prompted him do what many young aspiring artists did at this time – continue his training in Europe. Higgins had the opportunity to study at the Académie de la Grand Chaumière in Paris, becoming a pupil of Rene Menard and Lucien Simon. He then traveled to Munich where he studied with Hans von Hyeck. His travels were funded, however, by the former Chicago Mayor and avid art collector, Carter H. Harrison. I have mentioned this before, but Chicago offered many opportunities for aspiring artists during this beginning of the twentieth century during Mayor Harrison’s administration. Although Harrison would personally fund the travel of many artists, he was instrumental in in the creation of the Commission for the Encouragement of Local Art in 1914. This commission used taxpayer money to purchase paintings and sculpture created by Chicago artists.

Higgins kept in contact with Moses over the years, even returning to paint at Sosman & Landis every once in a while. In 1909, Higgins briefly returned to work for Sosman & Landis again, including the interior decoration of the Chicago’s American Music Hall. Beginning in 1912, Higgins exhibited his artwork with the Palette & Chisel Club, He earned national recognition and was awarded the Gold Medal in 1913. Other artistic awards included the Municipal Art League (1915), the Logan Medal of the Art Institute of Chicago (1917), and the first Altman prize for the National Academy of Design (1918). Higgins work is part of many public and private collections across the United States, including the Art Institute in Chicago, the Corcoran Gallery in Washington, D.C., and the Los Angeles museum.

To be continued…

Part 594: David Higgins and “Captain Clay of Missouri”

In 1908, Thomas G. Moses wrote, “Made such effective models for Dave Higgin’s show ‘Captain Clay of Missouri’ that we got a $3,200.00 contract, which I painted and went to Grand Rapids to put on. It was a success in every way.” “Captain Clay of Missouri” was first produced at McVickers Theatre in Chicago.

The four-act play was written by brothers David K. and Milton O. Higgins. The “Fort Wayne Daily News” reported, “David Higgins has provided himself with an ideally fitting role in his new play, ‘Captain Clay, of Missouri,’ in which he will be seen soon at the Majestic Theatre. He will play the title role, Captain Robert Claybourne, a southern gentleman of the old type; a man forty years old, perhaps, in whom reverence and love for women is inborn; who is as fearless and brave as he is chivalrous; who stands by a friend to the last ditch, and who fights his enemies with every power at his command” (10 Aug 1908, page 8).

The play was set in a small town in southwestern part of Missouri. In the town of Cornville, Captain “Bob” Clay has control over of the political party in his district. The political intrigue, however, is a mere sub plot to the central love story.

The “Brazil Daily Times” described the production, “The new play, which had a run of several weeks at McVicker’s theatre, Chicago, deals with the men and women who people one of the small towns in Southwest Missouri – the land where Southern traditions and rules of conduct still hold sway. The chief citizen of the town is Captain Bob Clay, a genial, whole-souled man who loves Melissa Benton with his whole soul, but who has a strong liking for horse racing, mint juleps and gambling, and whose power in politics makes him the ruler of his party in the district. Melissa has held Captain Bob at arm’s length for ten years, and her gentle nature revolts at the sports and pastimes of her lover and it is not until accident reveals to her his magnanimous conduct in taking the guilt of her brother on his shoulders, that she yields her heart to him. With her love comes rehabilitation for Captain Bob and his nomination for a seat in congress. As Part of the story, and bearing strongly on some of its phases are an exciting base ball game in which are engaged the youths of two rival towns: a bit of political chicanery that threatens to defeat the dearest plans of the hero; a fiery combat on a banquet table, and the rescue of Captain Bob’s fine racing mare from the hands of a constable” (24 Oct 1908, page 7).

The “Fort Wayne News” reported, “Captain Clay, the hero of the drama, is a very likeable character as Mr. Higgins portrayed him. Quietly, easily, and naturally the actor presented Captain Clay to his audience. Mr. Higgins was not lacking in the ability to strike the strongest notes surely and throughout the portrayal was consistent, Mary Servoss as Melissa Benton, the girl whom Captain Clay is endeavoring through his many and complicated difficulties to win, succeeding at last, was very good and she interpreted the role with charm and womanliness, Bliss Milford had the part of Charlotte Ross, a rather quaint and amusing girl of all work. Se played it capitally. Clare Armstrong as Leslie Benton creditably impersonated that character. Frederick E. Wright gave a good presentation of Charles Hadron, doing especially meritorious work in the third act where Hadron seeks to force Captain Clay to his side in the political contest. Mark Smith as Richard Hampton and John Webb Dillon as Smith Barnell enacted those roles capably. Good work was also done by Fred G. Hearn as Corporal Billy Cartmill, Bert S. Frank as Sergeant Orin Frye, Georgie Mack as the jockey and Margaret McDonald as Della Thurston. The baseball game scene with an umpire armed with sword cane was a good feature of the production (13 Aug 1908, page 8).

The show also played at the Majestic Theatre in Grand Rapids, Michigan, opening on August 10, 1908. The “New Castle Herald” reported, “The scenes of the play are laid in the mythical town of Cornville, Missouri and it has true Missouri flavor. There is love making, horse racing, mint juleps, political fights and other elements that go to make up life in a small town” (1 Jan 1909, page 4). The Star Tribune added that “An integral part of the story included a jockey, a horse, and a race upon which many important things hang” (Star Tribune, Minneapolis, 13 Sept. 1908, page 36). The company was composed of thirty-two people that traveled with the show. In regard to Moses’ scenery for the production, “Captain Clay of Missouri” was advertised as traveling with “Two carloads of beautiful scenery” (Fort Wayne News , 13 Aug 1908, page 8). The “Fort Wayne Journal” stated that the scenery was “magnificent” (13 Aug 1908, page 7).

To be continued…

Part 593: The Wheeling Scottish Rite, 1908

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.”

For the past two days, I have examined the subject of the scenes that Moses worked on in 1908 – Darius Palace and approach to Jerusalem. Today’s post is about the actual Scottish Rite building in Wheeling, West Virginia, where the scenery was delivered. In 1907, the Wheeling Scottish Rite Masons began the construction of a massive edifice, complete with a theater and scenery by Sosman & Landis. The Wheeling Scottish Rite was built on the corner of Fourteenth and Byron Streets in Wheeling, West Virginia. Previously at that location, was the residence on Mr. James Caldwell. Soon after his marriage in 1839, Caldwell erected a residence, which, with its garden and stable yard.

The Sosman & Landis Studio’s work was short lived, however, as the Wheeling Scottish Rite Cathedral was destroyed by fire on March 4, 1915. Losses were estimated at $50,000. While looking for information to include in the timeline for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” I read that the Wheeling Scottish Rite Cathedral was destroyed by fire on the morning of March 5 (“Santa Fe Scottish Rite Bulletin,” April 1915, Vol. II No 4, page 8).

Last week, I discovered another article about the fire published on April 7, 1915. Interestingly, it was posted at fireengineering.com:

“The Masonic Scottish Rite Cathedral at Wheeling, W. Va., was partially destroyed by fire on March 4th, with an estimated loss of about $50,000. The fire started in the basement and is attributed to rubbish. The fire was discovered at 12:20 A. M., and the alarm was sent in over the Gamewell system from a street box. When the department, commanded by Chief Engineer Edward T. Rose arrived, fire was coming out of the windows in the basement. The flames spread through an airshaft to the back of the stage in the main auditorium on the second floor and swept through that and the upper portion of the building, the first floor being damaged by smoke and water. The building, a four story structure, was less than ten years old, and was constructed with brick walls, wood joists and tar paper roof. All partition walls were hollow. There were few hand extinguishers in the building. There was in service one first size Ahrens-Fox engine, two third size Ahrens-Fox engines, one Silsby third size engine, one 85foot aerial ladder, and 9,000 feet of 2 1/2-inch hose. Three 6-inch and five 4-inch hydrants were available, the distance between them being 800 to 1,000 feet. The water pressure at the hydrants was 80 to 65 pounds. In all 11 streams were thrown, including three hydrant and eight engine streams. Three turrets and one cellar nozzle were used. The loss on building amounted to $30,000, and on contents to $20,000. The contents included scenery on stage, paraphernalia of the order, and a large pipe organ. Chief Rose is quoted as saying the fire demonstrated the danger of vertical openings and lack of fire stops, there being a large space under the roof without a fire stop of any kind. Chief Rose sounded a genera! alarm and a call was sent in to Martin’s Ferry and an auto truck responded. (https://www.fireengineering.com/articles/print/volume-57/issue-14/features/scottish-rite-cathedral-at-wheeling-partially-destroyed.html)

The Wheeling Scottish Rite immediately began plans for a new building in 1915, and by October 1916, the new Scottish Rite was completed, dedicated, and held the first reunion. I have uncovered very little about the original Scottish Rite, other than the opening was postponed. On March 18, 1908, the “Daily Telegram” reported “Postponed Is Dedication of Scottish Rite Cathedral as Interior Work Will Not Be Finished” (Clarksburg, West Virginia, page 1). The article continues, ”The new Scottish Rite cathedral, corner of Fourteenth and Byron streets, Wheeling, will not be dedicated until the latter art of June, as the interior work will not be completed until that month. Elliot & Winechell, contractor who built the Empire building and the county jail and sheriff’s residence in the city, are building the cathedral.

It was originally intended to hold the dedication exercises at the time of the spring convocation or reunion of the Consistory of the Valley of West Virginia, but he high officers of the society were notified by the contractors that it would be an impossibility to have it completed and ready for dedication by that time. The paraphernalia for the degree work has been already ordered from the manufacturers.

The spring convocation will be held in the old temple, on Market street Easter week, closing the usual Maundy Thursday banquet. The latter will probably be held in the Arion hall. There will be work in all of the degrees, and they will be exemplified at the old temple.”

Volland business records indicate that the new scenery was delivered by Toomey & Volland Studios of St. Louis, Missouri in 1916. I was surprised when I encountered a image of the 1916 drop curtain for the auditorium. The design reminded me of a Sosman & Landis version (c. 1898-1908) now used in Yankton, South Dakota. It is very likely that some of the scenery delivered for the new Scottish Rite stage was previously owned and painted by Sosman & Landis artists. The drop curtain is characteristic of Sosman & Landis designs, not that delivered by Toomey & Volland artists.

To be continued…

Part 592: The Approach to Jerusalem

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I began with the Sosman & Landis scenic design for “Darius Palace” yesterday. Today, I am looking at the “Approach to Jerusalem” design, also titled the “Road to Jerusalem,” by some scenic studios.

Moses’ statement suggests that he found these two specific compositions interesting to paint. This is a consistent sentiment, as throughout his memoirs Moses mentions that Masonic scenery was enjoyable to work on due to the variety. It may also imply that the standard design used for past installations changed and was now more interesting. For example, in 1908 the Darius Palace scene design took on a new look when the composition shifted from vibrant colors, to a classical ivory interior with colorful garlands.

The approach to Jerusalem was a fairly straightforward design that included a cut drop and backdrop. The cut drop depicted the beginning of a dirt road that continued into the distance toward a walled city. This particular cut drop was able to be used for multiple Scottish Rite degrees, not with just the Jerusalem backdrop. The design was generic enough to be pair with not only an ancient city, but also a variety of other exterior backdrops.

The beauty of Scottish Rite stage designs is their versatility, with many being relatively generic compositions that could span continents and eras. Unfortunately, many Scottish Rite stage crews and degree directors do not understand that there are many more compositions that can be created beyond the specific shipping label located on the stage right side. For example, the cut drop for the approach to Jerusalem was also paired with the wood drop. Instead of a road to Jerusalem, it became a path into the forest or to a distant medieval castle. This shifted the setting from a biblical one to a medieval one. Just as there were certain masking drops to accompany many scenes – drapery, wood, rough cut stone, or classical – there were many cut drops that would alter the stage setting.

I have noticed that over time, there were certain stage designs for Scottish Rite degree production that “evolved,” while others remained cemented in the past. I am not simply suggesting that the Northern Masonic Jurisdiction of the Scottish Rite altered its stage settings for specific degrees more frequently than the Southern Jurisdiction. Although this is true, I believe that there is much more to Moses’ statement. The 1908 the scenic interpretation for the two sixteenth degree settings “evolved,” breaking from past designs.

In some cases, scenic studios unified the Scottish Rite degree work and established a standard expectation for every Valley throughout the United States. In the nineteenth century, many of the theatrical interpretations for degree work on the Scottish Rite stage were similar. Both the Southern Jurisdiction and Northern Jurisdiction purchased similar settings for their respective degree productions. During the first decade of the twentieth century, this began to change.

To place the production of Scottish Rite scenery in context, we also need to look at the studio artists at Sosman & Landis during that time. Often a variety of scenic artists contributed to the production of new Scottish Rite scenery collection. In scenic studios during the early twentieth century, many of the scenic artists specialized in a particular genre – draperies, exteriors, interiors, etc. This was a shift from the previous generations of scenic artists – it was implemented for efficiency, increasing the overall speed of production. This also makes sense from an efficiency standpoint; the studio would want and artist familiar with the scene to do the work, one who had painted it before. Moses was known for his exterior woodland scenes, however, he was trained as a scenic artist during a period in American history when theatre worked necessitated that itinerant artists be equally skilled in all genres.

Keep in mind that in 1908, Moses had been working as a scenic artist for 44 years. His skill at painting landscapes was well-known and sought after, but he could also paint draperies, exteriors, ornament and figures. It would certainly make sense that he painted both the Darius Palace and the approach to Jerusalem drops for Wheeling. The approach to Jerusalem was a picturesque landscape with a road winding to a city in the distance. The palace of King Darius was often decorated with floral garlands that held dozens of roses.

It is relatively easy to identify individual artists who produced certain settings for Scottish Rite scenery collections. Although they may currently remain nameless, their paint application is like a signature, and a specific artist can be traced from one collection to another; it just takes time and energy to make the identification. It is obvious when a particular setting is produced by a different hand at Sosman & Landis. I have tracked the painting techniques for various scenes from one Scottish Rite to another. The approach to Jerusalem provides an ideal opportunity to examine aesthetic shifts from 1896 to 1914.

Almost identical Sosman & Landis designs were produced for the Scottish Rite in Little Rock, Arkansas, in 1896 and Wichita, Kansas, in 1898. A similar design was again produced in 1914, for the Scottish Rite in Tucson, Arizona. Comparing and contrasting these designs provides an ideal opportunity to examine shifts in composition, artistic interpretation, predominant colors, and scenic art techniques.

To be continued…