Month: January 2019

Part 622: Leftover Lights for Lawrence, Kansas

In 1909, the Scottish Rite Masons in Lawrence, Kansas, were planning for the construction of a new home. By 1911, their Egyptian-Revival style building included a stage with 55 backdrops produced by Sosman & Landis studio in Chicago, Illinois. Between the initial planning stages and final dedication ceremony, several things were in play in regard to stage, scenery and lighting. Let’s start with lighting.

In 1910, the Scottish Rite in Lawrence was mentioned in a letter from Bestor G. Brown, western sales representative for M. C. Lilley & Co., to Frank A. Derr, secretary of the Oklahoma Consistory, in Guthrie, Oklahoma. Guthrie was enlarging the stage of their building, requiring all new scenery and stage machinery.

The used scenery was returned for credit on the new scenery. The Guthrie bodies were upgrading all of their equipment, including the border lights. On July 26, 1910, Brown wrote, “I shall probably go to Lawrence some time within the next few days and if I can dispose of your electrical equipment, I will be very glad to do so. It is old and will not pass inspection. The borders have a wooden strip on the top and that disqualifies them under the present regulations. If the Lawrence people want to buy them with the full knowledge of the facts, I shall be very glad indeed to see them get them.” In other words, “these could catch on fire, but if they know that we’re all good.”

Brown continued in his letter, “The battens on the scenery could be left there if you want to use new battens for your job. In that event, however, the people at Lawrence would have to pay us more than we allowed you for your scenery because you will remember we were to retain the battens at Guthrie and use them in your new scenery. It is impossible to get lumber that is the equal of the lumber in your own battens. I do not think you will have a great deal of trouble with the new lumber, but at the same time, the old battens will curl less in Guthrie than the new battens would curl in Lawrence on account of the difference in climate.” This is the first mention that I have ever encountered about warping battens. The lumber that was always specified noted white pine. This meant old growth, first cut pine.

The original stage lighting for Guthrie was listed in a contract between the Guthrie Scottish Rite and E. A. Armstrong Mfg. Company of Chicago, dated April 28, 1900. The Armstrong company was located at 300-302-304 Wabash Avenue, Chicago, and listed as “Manufacturers of Secret Society, Military and Band Supplies.” The lighting, scenery and stage work for the new Guthrie stage was provided by through M. C. Lilley and Co. The companies western sales manager, well-known Mason Bestor G. Brown, subcontracted the new work to Sosman & Landis.

The original stage lighting order from Armstrong for Guthrie included:

“Four (4) Borders, each 24 feet long, each containing 60 lights wired for three colors; sockets and wiring complete but no lamps-

Four (4) portable ground rows, each 10 feet long, each containing 15 lights, wired for three colors, sockets and wiring complete – but no lamps

Two (2) Strip rows, each 16 feet long, each containing 24 lights, wired for three colors; sockets and wiring complete but no lamps

Two (2) eight light, porcelain lined, swing head, iron stand bunch lights; complete with extension cord and plug, but no lamps-

Six (6) Cast iron floor pockets

Twenty-four (24) Slate receptacles

Fourteen (14) Plugs for receptacles, three attached to each of the ground rows and one each to bunch lights

Four (4) 40 Ampere dimmers, German silver wire wound

Three (3) Ampere dimmers, German silver wire wound

One (1) Slate switch board, full fused, containing 1 main 3 service and 32 subordinate double contact knife switches – 36 switches in all; connections on board all made

$620.00 (Today’s equivalent in approximately $18,200 – pretty good deal).

Sockets all of Edison pattern

MISCELLANEOUS LIGHTING APPARATUS

One (1) Lamp and chaser                                                                                            32.00

One (1) 4,000 c/p focusing lamp and reflector, stand and rheostat included             42.50

Large and small carbons – no charge

One (1) Lighting box, Complimentary

Note – Goods packed and shipped by American Reflector and Lighting Co. Charges collect, but to be paid and applied on bill.”

 

Keep in mind that Abraham Perry Landis, of Sosman & Landis, was one of the founders for the American Reflector and Lighting Co. Joseph S. Sosman was also an investor in the company.

 

 

To be continued…

Part 621: Meanwhile in Lawrence, Kansas

 

In 1909, the Topeka Scottish Rite membership was soaring and the scenery provided by Sosman & Landis to the Valley in 1906 was still an unprecedented success. Meanwhile in Lawrence, Kansas, there were new plans a brewin’…

“The Lawrence Daily World” included the article “Scottish Rite Temple Here” (29 April 1909, page 1). The first four lines printed in bold included:

Plans Are Underway for a $20,000 Building

AN OLD MUSIC HALL CORNER

Secured Option on Property Today for $10,500.

Will Probably Erect New Building This Coming Summer – To Help Masonry Here.”

There you have it; big beautiful buildings incited men to join the Ancient and Accepted Scottish Rite of Freemasonry. The bigger, the better. Impressive edifices signaled a successful group of men doing exciting things.

Little did Lawrence Masons realize that their vision for the future would never last. Could they have even conceived that by the summer of 2018, the Lawrence Scottish Rite Bodies would move once again from a space in a shopping mall to a nondescript metal warehouse.

As we drove through Lawrence on our way home last summer, I desperately tried to find the current Scottish Rite location; we were making stops along the way from Santa Fe to Minneapolis. After making several circles around a shopping mall parking lot, we finally found the new building a few blocks over, and my expectations were crushed. I have never encountered any building with less character and I could not help think of the irony when reflecting on the degree work that heralded King Solomon’s Temple and the chief architect Hiram. I could hear the arguments to move to a smaller, and less-expensive location, citing declining membership and increasing building expenses. I am sure not all jumped on board as the Scottish Rite Masons left their magnificent home.

So lets go back to 1909 and see how these beautiful buildings ushered in a wave of membership and newspapers reported that new buildings were being constructed to “Help Masonry”

The Lawrence Daily World” reported,

“A committee of five from the Ancient and Accepted Scottish Rite lodge of Perfection visited J. B. Watkins this morning and secured an option for the old Methodist church at the corner of Berkely and Massachusetts street, for $4500 less than what Mr. Watkins figured was a reasonable interest on his investment.” Today’s monetary equivalent of $4500 in 1909 is $124,173.79. That is a lot of money to give up for a good cause, even if you are a Mason.

The article continues, “Mr. Watkins made this special price of $10,500 because he said he considered the property as sacred ground, and favored a Scottish Rite temple being built on the site.

This encouragement and the words of Governor Stubbs in Topeka yesterday, that the Scottish Rite body of Lawrence ought to have a temple, together with the enthusiasm of the fifty members present at the meeting last night, and the recent words of Grand Inspector General Thomas W. Harrison, of Topeka, encouraging the Scottish Rite bodies to press forward enthusiastically and increase their membership and build a building if they ever expected to have a consistory here, all seemed to make this an opportune time to seize this opportunity and start immediately effecting plans for the building, and raising the money from the members by subscription to stock to build a temple that would easily accommodate and enrolled membership of a thousand.

A Lawrence consistory of 32^nd degree, Ancient and Accepted Scottish Rite Masons would have jurisdiction over the state of Kansas, except those countries in which there were already established consistories – like Topeka, Wichita, etc. Also it would have the added advantage of securing new members from among the student Masons attending K. S. U., besides the 500 Blue Lodge Masons in Lawrence, and all Blue Lodge Masons in adjoining towns, the insuring continued and rapid growth and assured success to the enterprise.

The plans are estimated to require an expenditure, all told, or some $20,000, and figured on a strictly business basis of income from the building, and increase in the membership to create a sinking fund expected to clean up its indebtedness in from five to seven years, as that has been the history of the success of every Scottish Rite body that has taken an aggressive stand and started to build a temple, as can readily be proven by the records of the many temples in Kansas.

It is eminently fitting that the Lawrence bodies should have a template of their own, as it was the first Scottish Rite organization in Kansas, and has installed the bodies of the Topeka, Fort Scott, and most of the other prominent lodges in the state.

This is also a good thing for Lawrence, and the Masonic bodies in general, as it is aiding to cement them all the more closely together, and is evidence of the rapid march of Lawrence to the front as one of the wide awake towns in the state.” The Ancient and Accepted Scottish Rite Cathedral Committee of Lawrence Kansas, was listed as J. H. Cohn, C. W. Murphy, F. P. Smith, T. J. Edmonds, and Frederick Crowe.

In 2003, the “Lawrence Journal-World” included the article “Landmark sheds its wraps; Masons seek temple buyer” (14 May 2003). The executive secretary of the Scottish Rite commented that the Scottish Rite in Lawrence, Kansas, was “Faced with aging membership and ever-increasing costs.” Lawrence-area Freemasons decided to sell the majestic Scottish Rite Temple.

The asking price for the 1911 Egyptian-Revival style building was $775,000. At the time, the stage included 55 backdrops. It was another collection that Thomas G. Moses recorded being responsible for at Sosman & Landis. The fate of the scenery is currently unknown.

 

To be continued…

Part 620: 1909 Masonic Work – Topeka

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” He also commented, “I think we should turn out some work and we do. It is often a puzzle to me where it all goes, but the Masonic work requires a lot of time, and there is an average of eighty drops in each order so it makes plenty of work and is very interesting. The artists never grumble when they get it to do.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas; Winona, Minnesota; and Atlanta, Georgia. From 1906-1907, he had already supervised scenery for Scottish Rite theaters in Detroit, Michigan; Topeka, Kansas; Fort Wayne, Indiana; Salt Lake City, Utah; Wheeling, West Virginia; Dubuque, Iowa; Danville, VA; Wichita, Kansas; and Clarksburg, West Virginia. By 1909, Moses’s resume recorded that he had supervised the creation of eighteen Scottish Rite scenery installations.

Masonic work now made up between 25% and 30% of all projects in the Sosman & Landis studio. The Scottish Rite was growing extremely fast. Newspaper articles even detailed the necessary qualifications for Scottish Rite membership: “An applicant for the degrees of the Ancient and Accepted Scottish Rite must be an affiliated Master Mason of good standing and a resident of the state of Kansas” (Topeka State Journal, 19 March 1909, page 1).

During 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.” The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5). Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka.

 

Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. In many ways, membership growth and the construction of Scottish Rite theaters across the country became quite a competition. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity. Spring and Fall Scottish Rite Reunions were big news in many areas. I have heard so many people say, “My grandfather was a Scottish Rite Mason, but he never spoke of it and we had no idea what he did.” I believe that communities from the first decade of the twentieth century had a pretty good idea of what happened during Scottish Rite Reunions. Schedules were published, candidates were listed by name, and impressive images of Scottish Rite building interiors dominated newspapers around Reunions time. Sure, not ever detail was provided, but one was able to gather quite a bit of information pertaining to the various events and banquets held throughout the Reunion.

The “Topeka State Journal” described the four-day Fall Reunion from November 8-11, 1909, in great detail. It was the thirty-third semi-annual gathering and included a Scottish Rite Class of 100 candidates (30 Oct. 1909, page 6). Images included with the article, pictured two stage settings for the Peristyle Scene (3^rd Apartment of the 18^th Degree) and the Egyptian Scene (31^st degree Hall of Justice).

The fact that they pictured two stage settings used during degree work is mind boggling to me. This was a “look at the cool stuff we do” moment for area Masons.” I am including a few paragraphs about the Topeka Reunion as it really provides some historical context for the Fraternity using media to entice new members across the country. One just had to read the paper to understand the extent of activities happening at the Scottish Rite in many cities at this time. Here is a small section of the article from the Topeka State Journal:

“The Rite of Freemasonry called by the French writers the ‘Ancient and Accepted Scottish Rite,’ which title is now generally adopted as the correct one, although one of the youngest of the Masonic Rites, having been established not earlier that the year 1801 is today one of the most popular and extensively diffused. Supreme councils and governing bodies are to be found in almost every country of the world and in many of them it is the only Masonic obedience.

Outline of Work.

In speaking of the new features among the detail program of the reunion this fall, William M. Shaver, director of the work said: ‘With a view to placing candidates who reside outside of Topeka on the same basis with those who reside in Topeka, as nearly as may be, as to the cost of obtaining the Scottish Rite Degrees, the Topeka bodies have adopted a new rule which will go in to effect with this coming fall reunion. The rule is this: Non-residents of Shawnee county, who take the entire series of degrees form the 4 degree to the 32 degree inclusive at the same reunion, will have refunded to them their actual railroad expense from their home to Topeka and return…The bodies will continue to bear the hotel expense of candidates as has been the custom on the past.”

Topeka was trying many new things to increase membership. Earlier that year, “The Topeka Daily Capital” reported, “The Topeka bodies of the Scottish Rite began their evening class work in the Lodge of Perfection degrees at the Masonic temple on Friday evening. This evening work is designed for the accommodation of Topeka Masons who thus avoid the loss of time in business hours necessarily attendant upon regular reunion work and the plan is increasing in favor. About one hundred and twenty-five members and visitors sat down to a 6 o’clock supper in the new banquet hall and this number was largely increased as others dropped in later in the evening to see the work. A number if sojourning legislators and politicians were among the visitors” (25 Jan. 1909, Page 8).

The Topeka Scottish Rite figured something out in 1909, they had to invest in their members and understand their outside obligations that may prohibit men from joining. They took this into account, and made it possible for many more men to join.

To be continued…

Part 619: Theatrical Guides –Western and Canadian Theatrical Guides

In 1907 two new theatrical guides were published, one focusing on the western United States and the other focusing on Canada.

HENRY’S Official Western Theatrical Guide focused on theaters in Arizona, British Columbia, California, Colorado, Hawaii, Montana, Nevada, New Mexico, Oregon, Utah and Washington. The guide advertised that it contained “Authentic information of theatre and attractions in the territory from Denver west to the Coast, and a list of reliable hotels, transfer companies and bill posters.” It was compiled and edited by W. R. Dailey, published at 289 Thirteenth Street in San Francisco, California. The price for Henry’s Guide was only $1,00, a third of what was charged by some of the other Theatrical Guide publishers. However it contained far less information, solely focusing on a particular region and not the whole of North America.

Henry’s Guide also included the addresses of “Prominent Western Theatrical Managers,” as well as “Some Out-of-the-Way Routes That Mean Money for Small Shows, and included the Marshfield Circuit, the Wagon Circuit, The Southern Oregon Circuit, The Picture Show Route, the ‘Kite’ Circuit, the South San Joaquin Valley Route, and the North San Joaquin Valley Route.

Another guided appeared at the same time, focusing on Canadian theaters – Quintus Brooks’ ‘Canadian Theatrical Guide.” “The Gazette” reported “ The first volume of a new handbook which will prove of increasing value to all interested either directly of indirectly in affairs theatrical, has just been issued. This is Mr. H. Quintus Brooks’ ‘Canadian Theatrical Guide,’ which is planned to be annual publication, appearing about July 15” (Montreal, 24 Oct., 1907, page 5). The article continued, “The extra labor made necessary by the preliminary compilation, delayed the publication of the first volume, which now goes before the public. The guide follows the lines laid down by similar publications in the United States, containing in brief form information relating to Canadian theatres from the Atlantic to the Pacific Coast, this information including statistics with regard to the population of the cities and towns, the seating capacity of the playhouses and music halls, the newspapers, the hotels and the railway communications. Mr. Brooks in his position as representative of the J. B. Sparrow Theatrical and Amusement Company, Ltd., at His Majesty’s, is well suited to the work of editing the volume which now appears. The office of publication is 448 Guy street, Montreal, and the price is 25 cents.” By 1914, the publication was called “H. Quintus Brooks’ Canadian Theatrical Guide and Moving Picture Directory.”

Henry’s and Brooks’ theatrical guides, when added to the list of Cahn’s, Donaldson’s and Jeffery’s, provide insight into the complex network of performance venues. Time and time again, I am blown away by the sheer number of theaters throughout North America. So many of this venues still existing awaiting their still undecided fate of demolition or renovation. This was such a massive industry, providing an amazing range of employment possibilities, especially when considering those who were theatrical suppliers. Tomorrow, I return to the projects of Thomas G. Moses during the theatrical season of 1908-1909.

To be continued…

Part 618: Theatrical Guides – Jno. B. Jeffery

Jno. B. Jeffery was a printer and engraver. He was listed as the sole proprietor and manager of the Jno. B. Jeffery’s Show Printing and Engraving House of Chicago.

The first edition of “Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America” was published in Chicago during 1878. The title page noted that the publication was “Intended for the use of amusement managers and their agents, lecturers and proprietors of public halls, theatres and concert rooms, bill posters, hotel proprietors, and the traveling public generally.”

The Preface to the Fifth Edition commented, “Long before the first edition was compiled, we realized that the days of ‘stock companies’ were past, and that a new era was dawning upon the amusement world. As we then predicted, traveling organizations are now almost the sole reliance of the amusement loving public. We also realized the necessity for a book which would, at the same time, be a guide to agents and managers of all amusement enterprises, and a medium through which owners and managers of houses of amusement could make full and fair report of their respective towns and houses – one that could be relied upon by the traveling organizations as being correct. That our GUIDE meets these requirements, the success of the first four editions is sufficient proof.”

The original introduction in 1878 provides some wonderful insight into the theatre industry:

“Since Eighteen Hundred and Sixty, the Amusement Professions have shared in the extraordinary developments visible in every material interest which had aided to convert an almost limitless and thinly populated territory into an empire which already excites the wonder and admiration of older and less vigorous civilizations.

The American Stage ranks in importance with that of England and France, and its personnel, in either quality or number, has attained a recognized position as first among the first of any country in the world. Intellectual foreigners have been astounded at the rapidity with which a vast wilderness has been transformed into a Nation thickly dotted with centres of industry, commerce and art; and all the refinements pertaining to the most exalted state of modern culture. Where only a few years ago the red man reigned supreme, stately edifices, superior in many instances to those which are the pride of the chief capitals of Europe, are now occupied by the servants of Art, and are nightly thronged with her ardent votaries.

The full extent of this marvelous progress has not been recognized generally as it deserved. Earnest reflections upon the subject of the advancement of American amusement interests incited the author to attempt the task of placing before the members of the profession what may be figuratively called a panoramic view of the showable towns and villages of this vast country – thus facilitating the business interests of the entire amusement guild of the United States.

This comprehensive Guide, as will be evident, is the result of years of labor, enterprise, study and personal experience – it is hoped that its contents will not fail to prove both correct and useful. Its compilation has been in the nature of work of love, and it is now offered to the entire amusement profession of this country as the humble tribute of its most devoted servant,

Jno. B. Jeffery.

Chicago, 1878”

The Jeffrey Directory and Guide promised to his first edition subscribers that the second edition would be made available to them free of charge. Of this choice, the third edition preface noted, “although the experiment was an expensive one, the compiler is fully remunerated in the evidences he has received of the value set upon it by its possessors.” The third edition was sold for three dollars per copy (today’s monetary equivalent of approximately $75.00). By the eleventh edition, Jeffery promised, “The Guide is strictly a business book, for business men, all extraneous matter has been excluded, and the space thus gained is utilized for information absolutely necessary.” But here was an interesting addition – “A Brief Sketch of the Early History of the Benevolent and Protective Order of Elks,” as well as the Elk’s Lodge Directory.

Jeffery’s Guide also included a Circus Directory, a listing of Circus Organizations (1879-1882), Dramatic and Musical Critics (listed by city), “Jeffery’s Hints,” and the standard Theatre Directory for the United States, its Territories, Canada, and the Australasian Colonies.

“Jeffery’s Hints” are pretty hysterical and specified for managers, agents, bill posters, hall owners, hotel proprietors and to members of the company. My favorite advice from Jeffery is “The management of a Theatre, or any amusement organization requires integrity, capital, enterprise, industry, perseverance, patience, urbanity and experience, in order to secure permanent success. Unfortunately, an almost universal belief pervades the community that any person can run a show, hotel, or a newspaper; a brief practical experience utterly demolishes this Jack-o’-lantern theory, In addition to the qualifications already mentioned, the manager of any amusement enterprise must possess superior executive ability together with a thorough knowledge of human nature.”

To be continued…

 

Part 617: Theatrical Guides – Harry Miner

Before “Julius Cahn’s Official Theatrical Guide” or the “Donaldson Guide,” there was “Harry Miner’s American Dramatic Director, a complete Directory of the Dramatic and Operatic Professions and a Guide to the Opera Houses, Theatres and Public Halls of America together with much other Information of Value to the Amusement Profession.”

Harry Minor was the editor and the guide was published by the Wolf & Palmer Dramatic Publishing Company, No.s 81 and 83 Elm Street in New York. The Preface for the 1884-1885 season states:

“In compiling and presenting this work to the public I have endeavored to fill a hitherto vacant place in the useful department of American libraries.

The growing popularity of the Stage, and almost universal desire to become better acquainted with things theatrical, convinced me several years since that a Directory would be not only eagerly sought after, but, if accurate, greatly simplify the labors of both managers and agents. I accordingly instructed the agents and managers of my various combinations to forward from time to time correct information regarding theatres, halls, hotels, railways and steamers to the office of the Pope’s Theatre, where I carefully revised and arranged the volumes of matter thus collected; and I take this opportunity to furnish them for the use of the public in general, and the theatrical profession in particular.

Having a regularly organized staff of traveling managers and agents constantly employed in the working of my amusement enterprises, and being in communication with the leading representatives of the Theatrical World, I enjoy advantages that enable me to make the work I have undertaken more thorough and complete than any Guide or Directory ever published in America.

The routed around the world, capacity of public buildings, distance and census tables have been gathered from reliable sources, and if they prove as useful to my readers as they have been difficult to obtain, I shall be amply repaid for my time and labor.

Very truly yours,

HARRY MINER.

People’s Theatre, October, 1884.”

The Guide began with a “Route Around the World,” noting “The following route around the world has been taken from the private diary of MR. J. CHARLES DAVIS, who compiled it from his actual experience in the different localities – Mr. Davis having spent seven years abroad with amusement enterprises, leaving San Francisco in June, 1877, and returning in June, 1884.” The route included cities in Japan, China, Philippine Islands, Malaya, Ceylon, British Burmah, India, South Africa, Mauritius (or Isle of France), Java, Australia, New Zealand, Tasmania, and Queensland.

A Professional Directory was divided by: Actors and Actresses; Managers, Agents, Etc.; Dramatic Authors, Adapters, Etc.; Musical Directors, Composers, Etc.; Dramatic Agents; and Scenic Artists. The final portion of the publication was a “Theatre Directory.” Miner wrote, “The ‘Theatre Directory’ has been prepared with the view of serving the interests of both the combination and theatre manager. Its design is to give the manager of the combination every fact about a town or theatre which he must know, or which it is desirable he should know before booking his attraction.”

In addition to the United States (39), the Directory included US Territories (Arizona, Dakota, Idaho, Montana, New Mexico, Utah, Washington and Wyoming), Canada, and Mexico. After the Theatre Directory, there was also a listing of Dramatic and Musical Editors and Critics, Combinations Upon the Road, Nov. 1, 1884, and the Routes of Harry Miner’s Specialty Company. The Specialty Company Routes started with the season of 1879-1880.

There was also a section on the Time Differences, Population, Air-line and Railroad Distances from New York to Fifty Cities, and distances around the world too. This section is absolutely fascinating.

To be continued…

 

Part 616: Theatrical Guides – W. H. Donaldson and His Cipher for Drunkenness

“The Donaldson Guide” was published by W. H. Donaldson (1864-1925) in Cincinnati, Ohio.

Col. William H. Donaldson was born in Dayton, Kentucky, the son of William M. Donaldson. After High School, Donaldson worked for his father who ran an art store and picture framing establishment in Cincinnati. His father then established a poster business at 127 West Eighth street, Cincinnati, which later became Donaldson Lithographing Company. Donaldson worked for his father as a salesman and “proved to be remarkably capable, winning and acknowledged place as the best poster salesman in the country” The Cincinnati Enquirer, 2 Aug. 1925, page 5). Donaldson rose to nationwide prominence as a circus and theatrical publisher.

In 1894, Donaldson founded and published two new publications – “The Donaldson Guide” and “The Billboard.” That same year, he was appointed Secretary of the Protective League of American Showman (The Cincinnati Enquirer, 31 Dec. 1894, page 8). The first issue of the Billboard was published during November at 127 East Eighth Street, Cincinnati, containing only eight pages, with its contents being devoted solely and entirely to bill-posting, poster-printing and advertising agency interests. In 1899, the Donaldson plant moved to Newport, Kentucky. Donaldson remained with the business until 1904 when he resigned to devote his entire time the Billboard. He was the president of the Billboard Publishing Company.

The Donaldson Guide was published “for the use of showmen, theatrical managers, circus managers, managers of opera-houses, dramatic, musical, and variety agents, bill posters, show printers, costumers, and all Persons identified or connected with the show business in an manner whatever.”

The publication was advertised as, “containing a list of all opera-houses in the United States and Canada with description of their stages, their seating capacity, and the names of the managers of each; the populations of cities, and the names and population of adjacent towns to draw from; the names of city bill-posters, baggage express men, hotels, boarding-houses, newspapers, vaudeville resorts, museum, beer gardens, fairs, race meetings, circus licenses, and miscellaneous facts, dates, etc., of great value to managers.” Donaldson Guide also noted that it was published “in conjunction with the Showman’s Encyclopedia, “the International Professional Register,” and “the complete code of the Donaldson cipher.” Wow – a lot of stuff.

The Showman’s Encyclopedia was noted as “A compilation of information for showmen, performers, agents, and everyone identified with the theatrical, vaudeville, or circus business, such as ticket tables, internet tables, the address of show-painters, costumes, dramatic agents, theatrical architects, scenic artists, aeronauts, playwrights, etc…” and “the International Professional Register, a directory of the names and address of dramatic people, variety people, minstrel people, circus people, freaks, acrobats, operatic artists, musicians, and farce-comedy artists.

The Donaldson cipher and key are absolutely intriguing. Here is what was offered:

TO CONSTRUCT a message use the Key to the Cipher. The phrases will be found arranged under convenient headings, with directions under each for finding readily any needed clause.

TO DECIPHER a message use the Index to the Cipher. The cipher words are all arranged alphabetically, and can be found as quickly as in a dictionary.

TELEGRAPH IN CIPHER TO the manager of any Opera House, Theatre, Museum, Music-Hall, or Vaudeville Resort; any Show-Printer, Costumer, Dramatic, Variety, or Vaudeville Agent, or “The Clipper,” “Mirror,” “Dramatic News,” “Dramatic Weekly, “Dramatic Journal,” “dramatic Star,” “Music and Drama,” or any theatrical paper whatever in the United States or Canada, whose name appears in the Guide or Encyclopædia. A copy of the index of the Donaldson Cipher has been sent to each and every one of then free of charge. Remember, if the names of any person engaged in any of the callings appear in either the GUIDE or ENCYCLOPÆDIA, you may telegraph to them in cipher with perfect impunity.

THE ADVANTAGES of the Cipher are many and varied. Foremost among them, of course, is the great savings which may be had in the matter of telegraph charges. A glance at the following pages can not fail to demonstrate the truth of this assertion to the entire satisfaction of even the most skeptical, for there are few messages indeed which can not be kept within the limit of ten words prescribed by telegraph companies. But economy is not the only advantage it has to recommend it. The mere fact that the message is unintelligible to anyone except the party for whom it is intended is often times a source of wonderful satisfaction, both to the sender and recipient; and this, added to the fact that experience has proven that there is less danger of errors, confusion, and mistakes in cipher message than those couched in ordinary language, renders it a most desirable medium of communication.”

The key to the Donaldson cipher included phrases pertaining to actors, actresses, addresses, advertisements, aeronauts, agencies, agency business, agents, answers, attractions, billing, bill-boards, booking, burlesque people, business manager, calcium lights, calls, canvas-maker, circus manager, circus people, C.O.D. shipments, collections, concert, couriers, dates (printing house, calendar), deposits, dodgers, dramatic people-men, dramatic people-women, drunkenness, duns, engagements-artist to manager, engagements-manager to artist, expenses, financial straits, free list, hangers, heralds, hippodrome, house show, instructions-manager to agent, leaders, letter-style of, lithograph boards, lithographers, lithographs, local manager, mail, managers of combinations, managers of opera houses, managing editor, measurements, medicine show, minstrel people, money, musicians, no (street numbers, catalogue numbers, etc.), numerals (for quantities, amounts, etc., but not money), operatic people, opposition, orders, paper, partner, percentages, posters, printer, printing, programmes, property man, prospects, qualifications of people, receipts, remittances, repertoire people, reports, routes, salary, samples, sharing, shipping instructions, shows, side-show or museum, sizes, spaces, special delivery, specialties, stage carpenter, stands, streamers, terms, time of day, traveling managers, two weeks’ notice, Uncle Tom’s Cabin, Variety People, weather, and window work-lithographers.

The fact that any cipher was created to relay information about drunkenness says a lot. Here are a few examples for your amusement.

Unacted….I (we) understand my (or our) agent is drinking

Unactive…If this is the case wire me at once

Unapt….Let me know if he is in condition to transact business

Unarm….I understand that you are drinking

Unasked….Sober up at once

Unawed….And get down to business in dead earnest

Unbar….Or I shall discharge you forthwith

Unbed….I have no sympathy or patience with a drunkard

Unbend….Do not let him have any money

Unbit….Try and sober up

Charter….Any information you may see fit to let me (or us) have will be gratefully received and treated strictly confidential.

 

Hopefully the person operating the telegraph or delivering the telegram did not moonlight at the theatre. I wonder how often someone received:

Unarm. Unasked. Unawed. Unbar.

The Cincinnati Enquirer reported “Mr. Donaldson was a member of the Masonic Order and Odd Fellows, to which he devoted much attention” (2 Aug. 1925, page 5). Donaldson passed away in 1925. An article in the “Cincinnati Enquirer” reported that “Colonel Donaldson founded the Billboard and published it until two years. Ago. He was interested in prison reform, employed many former convicts upon release from prison, and declared that he was never defrauded by any of them” (4 Aug. 1925, page 2). He was survived by his widow Jennie (Hassan) and daughter Marjorie (Mrs. Roger S. Littleford), his father William H. and three brothers (Andrew, Lincoln and Archibald) and two sisters (Mrs. Charles Longley and Mrs. Dr. George W. Brown). Donaldson’s death in Sarasota Florida at the relatively young age of 61 came as a shock to his family. Having been in failing health for some time, he came to Sarasota at the suggestion of his friends, Charles and John Ringling (The Jacksonville Daily Journal, 2 Aug. 1925, page 3).

To be continued…

Part 615: Theatrical Guides – Cahn-Leighton and Julius Cahn-Gus Hill

In 1911, Julius Cahn and R. Victor Leighton created the successor to the Julius Cahn’s Official Theatrical Guide. It was the Cahn-Leighton Official Theatrical Guide. The 1912-1913 season publication noted it was “the first combined effort to give the theatrical public a guide with many radical changes and new ideas.” Cahn & Leighton wrote, “the object of this guide is to assist the producer and theatre manager to reach each other in a practical business-like manner with the least trouble. Among the new features in their guide was several tables of freight rates, party fares and the mileage to next point from each point in the guide.”

It contained, “Authentic Information Regarding all Cities, Towns, and Villages wherein Theatrical Organizations may find a Theatre, Opera House or Hall to exhibit in as well as the Information pertaining to these places of Amusement, the Railroads, Express Companies, Newspapers, Billposters, Transfer Companies, Hotels, &c., throughout the United States, Canada, Mexico, Hawaii and Cuba.” The publication office was New Amsterdam Theatre Building, located at West 42^nd Street, New York, New York.

For the second publication, Cahn & Leighton wrote, “Today we are offering our patrons the best and most complete edition ever published. The past year we made a number of changes in the construction of the guide, toward the betterment of the publication and the present issue offers not alone the oldest, but most reliable publication of its kind ever printed. It is the only recognized book of reference of the theatrical profession as well as those who come in contract or do business with this class of patronage. We bespeak from our friends an appreciation of the merits of the book and a frank and friendly criticism of what they consider its faults.”

The Cahn-Leighton partnership was short lived as Cahn then partnered with Gus Hill and the guide became known as the “Julius Cahn-Gus Hill Official Theatrical Guide and Moving Picture Directory.” Times were changing and many theaters began featuring films for entertainment.

Before partnering with Cahn, Hill published his own guide. His first publication for the 1914-1915 Season was “Gus Hill’s National Theatrical Directory,” published by Hill’s National Theatrical Directory, Inc. in the Columbia Theatre Building, New York. Hill (1858-1937) was a performer turned burlesque and vaudeville entrepreneur, becoming one of the Columbia Amusement Company founders. Once a wrestler and juggler, he later became a manager and producer. One of his popular entertainments was a series of cartoon theatricals. These were musical comedies based on cartoon strips.

According to Hill, his Guide contained “The most complete list of Theatres yet compiled for the United States and Canada, arranged alphabetically according to the States and Cities in which they are located.” It promised, “condensed information as to Towns, Theatres, Billing, Hotels, Newspapers, Railroads, Express Companies, etc.” as well as:

“A complete list of Theatrical Managers, Producers and Booking Agents

A list of plays, Musical and Dramatic.

A list of the Vaudeville Theatre, Agencies, Acts and Performers.

A list of the Moving Picture Houses and Film Exchanges.

A list of Representative Attorneys qualified to handle theatrical business.”

Hill’s book included something new – “The Reporting System.” The publication noted, “In conjunction with this Directory, the publishers will establish a Reporting System, which is intended to be to the theatrical business what Dunn and Bradstreet are to the commercial world.”

From Julius Cahn’s premier issue in 1896 to the Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory, one can explore a shift within the entertainment industry. There is an amazing amount of information waiting for someone to see how quickly the popularity of “Moving Pictures” swept the country. Many of the theatrical guides are available as free downloads. What makes this wonderful is that one can complete keyword searches and quickly access information.

 

To be continued…

Part 614: Theatrical Guides – Julius Cahn

While looking for information about the theatre architect J. M. Wood’s first theatre deign in Cedar Rapids, Iowa, I came across a new theatre guide published in the 1880s. This was the fifth late-nineteenth-century theatrical guide that I have encountered over the past five years.

In 2014 I was sitting at Anoka-Ramsey Community College waiting for my daughter to finish her SAT testing. While connected to the college’s guest Wi-Fi, I was searching for information about Sosman & Landis installations. After clicking several newspaper article links, I came across an interesting pdf for an entire book with multiple mentions of Sosman & Landis- “Julius Cahn’s Official Theatrical Guide Containing Information of the Leading Theatres and Attractions in America.”

It was the fifth edition for the 1901-1902 theatre season. Sosman & Landis were listed as the scenic artists for several venues across the country, and I began scanning the publication for the mention of other studios and scenic artists. As I examined each entry, I was flabbergasted to see the technical information for a variety of venues, ranging from small town theaters and opera houses to massive metropolitan theaters. Stage measurements included more than I could take in at first glance – the proscenium opening, width of the stage area, depth of the stage, distance between side walls, the distance from the footlights to the curtain line, height to the rigging loft, number of grooves (and if they could be removed), distance between fly girders, depth under the stage, number of traps, number of sets, and if there was a scene room.

There was also information about the illumination, seating capacity, standard ticket pricing, names of managers, stage carpenters, scenic artists, electricians, orchestra leaders, attorneys, and many other professionals or service providers. And there was more…local hotels, newspapers, program publishers, who provided bill posters, recommended railways, transfer companies, and marketing information. The guide included transportation maps, timetables, recognized holidays, populations and drawing communities. There were advertisements for a variety of theatrical manufacturers, professionals, performers, touring companies, opera houses, theaters, music academies, auditoriums, decorators, architects, lighting suppliers, theatrical lumber companies, costume suppliers, tailors, theatrical fire insurance companies, wig makers, theatrical flower decorating companies, theatrical companies, scenic studios, scenic artists, hotels, railroads, transfer companies, and a variety of other business, too numerous to list. All told, there were 148 advertisers in the first 1896 publication, complete with pictures of painted scenery!

 

There is an amazing wealth of information pertaining to our theatre heritage, painting a very clear picture of the intricate network of performance venues for touring companies in the United States, Canada, Mexico, and Cuba. The first publication by Julius Cahn came out for the 1896 season. He registered a copyright in 1895. In his first theatrical guide, the “Greeting,” Chan stated his desire to present “those associated in a general way with the theatrical business… a compendium of information more thorough in its general details and more accurate in its various topics than any work of the kind that has ever before been issued.”

There were other theatrical guides that predated Cahn’s – Harry Miner’s, W. H. Donaldson’s, and Jno. B. Jeffery’s. Each provides a unique snapshot of theatrical activity in North America, from small rural towns to large metropolitan areas from the 1880s to the 1920s. This is a HUGE resource for theatre historians, technicians, and historic theatre owners.

The entries about scenic artists, however, can be a little confusing as the individual listed for a the theater could mean two things. It may suggest the individual or studio responsible for the stock scenery when the theater was built, or it could also pertain to the current artist responsible for scene painting at the venue. There is no clarification, and in some cases, it could mean both, if the scenic artist created the stock scenery for the venue and also worked on site to add new pieces for touring shows.

The publication office for “Julius Cahn’s Official Theatrical Guide” was located in New York’s Empire Theatre Building. The Guide’s greeting stated, “Mr. Cahn’s long and active experience in the theatrical business as the Manager of Charles Frohman’s Booking Department, impressed upon him the need of a complete and official Theatrical Guide that would give the managers of theatres throughout the country, the managers of traveling attractions, and other closely interested in their affairs, a complete and exhaustive volume pertaining to the various branches of the business, arranged in a concise and clear manner, so as to make it both valuable and available as a book reference.”

So who was Cahn? He the manager of the Charles Frohman’s Booking Department at the Empire Theatre. Advertisements reported, “Representing all the leading Theatre in America, and always on tour from 20 to 30 of the Leading Attractions of America and England.” In 1896, the same year that Cahn’s first theatrical guide came out, Charles Frohman (1856-1915) co-founded the Theatrical Syndicate with Al Hayman, A. L. Erlanger, Marc Klaw, Samuel F. Nirdlinger, and Frederick Zimmerman, all theatrical managers and/or booking agents. The Syndicate was an organization that controlled the booking of the top theatrical attractions in the United States. The six founders had great influence over theatre throughout the country. Frohman’s chain of theaters crossed the entire country. Frohman and Hayman owned theaters in New York and the surrounding areas. Klaw and Erlanger were booking agents for the majority of major theaters in the southern United States, Nirdlinger and Zimmerman controlled most of the theaters in the Ohio region. In order for the Syndicate to succeed, it needed to form a monopoly, and the six men’s theaters were organized into a national chain. You may understand how Julius Cahn’s Theatrical Guide would have greatly benefited the Theatrical Syndicate, as it was controlled by the head of Frohman’s booking department.

 

The first issue admitted to “errors,” explaining “Sources of information are sometimes at fault, for which [Cahn] feels confident that due allowances will be made. In some instances towns have been omitted, due to the fact that managers of the theatres in those places did not feel sufficient interest to send the desired information.” I wonder if any omissions may have occurred on purpose.

 

To be continued…

Part 613: Scenic Artists as Theatre Managers – Sosman, Landis & Hunt and Noxon, Albert & Toomey

Greene’s Opera House opened its 1885-86 season under new management – the well-known scenic trio of “Messrs. Noxon, Albert & Toomey.” When I realized that this St. Louis scenic studio expanded their business to include theatre management, I immediately thought of another scenic studio who did the same thing – Sosman, Landis & Hunt. Sosman & Landis was not only involved with the manufacture of painted scenery and stage machinery, but also the founding of the American Reflector & Lighting Company.

The 1890s were a time of transition for Soman & Landis, as the two men expanded their business and diversified their investments. Although they were primarily involved with the manufacture of theatrical supplies, Sosman & Landis entered the theatre management business when they became involved with the construction and management of two electric scenic theatres atop the Masonic Temple Roof during 1894. When the Columbia Exposition closed during the fall of 1893, Sosman & Landis began plans to convert the Masonic Temple roof top into two electric scenic theatres. The “roof garden” space atop the Masonic Temple was 302 feet from the ground, an incentive to draw any audience to see a show. It was Sosman & Landis who designed and managed the venue, complete with chasing electric lights that ran up the center of the building from the first floor to the top.

Sosman, Landis & Hunt also managed the Pike Opera House in Cincinnati during 1894. They soon added a second venue – the Grand Opera House in Indianapolis and the Grand Opera Stock Company there. By 1900 the theatrical management firm was contemplating a move to Detroit and I wondered if this was yet another connection to theatre architect J. M. Wood, as well as the Detroit Opera House and Temple Theatre. David Hunt, of Sosman, Landis & Hunt, was a manager and theatrical producer who ran this this particular branch of the Sosman & Landis empire.

Hunt first worked in a marketing position as an employee of Sosman & Landis until Sosman, Landis & Hunt was formed in 1894. By 1897, Hunt led the remodeling and redecorating the Pike Theater in Cincinnati, hiring Chicago theatric architect Sidney R. Lovell – J. M. Wood’s business partner of the time (Wood & Lovell, see past installment 610). This is also just prior to Wood’s work on the Temple Theatre in Detroit and the subsequent 1898 roof collapse.

Sosman, Landis & Hunt primarily managed big vaudeville theaters, but also managed touring stock companies, such as the Pike Opera House Company. In addition to large vaudeville houses, and touring shows, the firm also looking after four summer theaters that they controlled in Atlantic City and Asbury Park.

Hunt later moved to New York and founded New York Studios, the eastern affiliate of Sosman & Landis. Similarly, the Sosman & Landis Studio was referred to as the western representative of New York Studios. I have covered Hunt extensively in past posts (see installments #304-307)

For me, discovering a second studio that also entered the theatre management business is significant. Looking at the all the players and the relationships, it was really a small world with a very tight network for such a large country.

To be continued…