Tales from a Scenic Artist and Scholar. Part 594 – David Higgins and “Captain Clay of Missouri”

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).

David Higgins pictured as Captain Clay in the “New Castle Herald,” 1 Jan 1909, page
David Higgins in his role of Captain Clay, from the “Fort Wayne Sentinel,” 8 Aug 1908
David Higgins as “Captain Bob Clay,” pictured in the “Fort Wayne Daily News,” 13 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).

A scene from “Captain Clay of Missouri,” published in the “Brazil Daily Times,” 24 Oct 1908, page 7. The scenery for the production was by Thomas G. Moses.
A scene from “Captain Clay of Missouri,” published in the “Brazil Daily Times,” 24 Oct 1908, page 7. The scenery for the production was by Thomas G. Moses.

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…

Author: waszut_barrett@me.com

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

Leave a Reply

Your email address will not be published. Required fields are marked *