Month: June 2019

In 1910, Thomas G. Moses wrote, “Mme. Sarah Bernhardt bought the nucleus of several plays.  We contracted to fill the necessary scenes to make her plays complete, which amounted to over $7,000.00.  Our first one was ‘L’Aiglon.’ At the close of her engagement, we did a special production of “Judas” which was produced in New York City.  I had to visit her every morning at her hotel to arrange the models for ‘Judas.’  I had to talk through an interpreter.  She was very nice about everything and seemed pleased when I would catch her idea quickly.  After she had produced the play she sent a telegram, thanking us for the brilliant success of the scenery – no trouble to please a person of Bernhardt’s class, but a rough neck actor, like a great many I know, it is next to impossible to please.”

The amount of scenery purchased by Bernhardt in 1910 is equivalent to $188,298.53 today, a significant contract for Sosman & Landis at the time. On October 22, 1910. The necessary scenes designed by Moses and produced at the Sosman & Landis studio in Chicago was for Bernhardt’s seventh tour in the United States.

Newspapers reported that the trip was Sarah Bernhardt’s final tour in America. A theatrical icon, the public embraced the sixty-six-year-old actresses. Her tour began in Chicago at the Studebaker Theatre on October 31. Her first appearance was in “L’Aiglon” (The Joliet News, 12 Oct. 1910, page 4).  

The first week’s bill included:

Oct. 31 – L’Aiglon

Nov. 1 – La Tosca

Nov. 2 – L’Aiglon

Nov. 2 – Les Bouffons and Las Bois Sacre

Nov. 3 – Camille

Nov. 4 – Fedore

Nov. 5 – Phedre

Nov. 5 – Jeanne d’Arc

After performing in Chicago, she traveled to New York for four weeks before beginning her cross-country tour. In 1910, Bernhardt’s repertoire included the following:

“L’Aignon” by Rostand

“Jeanne d’Arc” by Emile Moreau

“Les Buffons” by Miguel Zamacois

“Sapho” by Alphonse Daudet

“La Sorcerie” by Victor Sardou

“La Dame aux Camelias” by Dumas

“La Beffa,” “Phedre,” and “La Rampe” by Rothschild

“La Tosca” by Sardou

“La Passe” by G. de Porte-Riche

“Fedora” by Sardou

“Monna Vanna” by Maeterlinck

“Hamlet”

“Resurrection” by Bataille, from Tolstoy’s novel “Le Bois Sacre”

“Romanesques” and “La Princess Leontine” by Rostand

Prior to her departure, the French actor Le Bargy arrived during her last week of performance. He appeared with Bernhardt in both “La Princess Leontine” and “Faust.” Once the tour was completed, Berhardt returned to Paris where she began another season, opening with “La Princess Leontine” and “Faust.” The productions for both shows were made in the United States and exported to France.

To be continued…

In 1910, Thomas G. Moses wrote, “Miles of Detroit for $3,800.00 which was $1,050.00 higher that a close competitor.” Moses was referring to the new Miles Theatre at 1220 Griswold St., Detroit, Michigan, that opened on May 15, 1910. It was designed by the architectural firm Kees & Colburn of Minneapolis. George D. Mason of Detroit was the supervising architect for the project.

On May 15, 1910, “Detroit Free Press” described the auditorium, “The walls of the auditorium are so stenciled and tinted as to represent rare tapestries of red, pale and silver hues. Over the proscenium arch and in the frieze work of the foyer, Judson Smith, of Detroit, has wrought realistic presentations of scenes of the Caesarian epochs of Rome. Separating the orchestra from the first row of the parquet is a partition made to resemble Italian marble. The effect is realized by concrete work worked over with scagliola. The columns supporting the balcony are constructed in the same way, and give the same appearance. This entire decorative scheme followed is artistic, in every detail. The wrought work along the balcony is in festoons and garlands and the flowers are painted in natural color. Plate glass mirrors panel the walls” (page 1).

C. H. Miles was the president and general manager of the Miles Detroit Theatre Company. He operated the Miles circuit with many theaters scattered across the country, including in his hometown of Minneapolis. He set his sights on Detroit during 1909 to build another popular-priced vaudeville house. Arriving to the city that summer, Miles secured a 99-yer lease of the property between the Chamber of Commerce and the Bank. The theater’s policy included three shows a day, with extra matinees on Saturday and Sunday; listed prices for entertainment were 10, 20, and 30 cents.

The success of Miles’ policy was noted on March 16, 1913, in the “Detroit Free Press, “People soon found that they could go down-town after supper, see an entire performance and get back home in time to retire at the usual house. Or, if they were detained down-town by business or a dinner party, they found it convenient to drop in for the second show and still get home at a reasonable hour. Thus, very shortly, going to the Miles came to be a regular habit and the Miles clientele steadily grew larger. In the meantime, stores and offices erected by Miles as part of the general structure were leased by various concerns and Griswold Street, north of State, began to take a commercial look. Property values around Capitol Park began to soar. Men of large means began to take an interest in the development of Griswold Street. Car lines were re-routed, old brick pavements were supplanted by the more modern creosote block…That is the story of the rejuvenation of Griswold street, and to Mr. Miles, as the man who took the initiative, is due a large share of the credit. It is just another illustration of how much can be accomplished through that happy combination of courage, determination and far-sightedness” (page 83).

The property had a frontage of 152 feet on Griswold Street between State Street and Grand River Avenue. Once built, his theater’s policy included three shows a day, with extra matinees on Saturday and Sunday. On May 30, 1911, the “Detroit Press” included an advertisement to buy stock for the Miles Theatre, promising “You will be paid dividends every three months” (page 3). The advertisement commented, “It is the largest, most handsome, update and complete theatre in Detroit – the Miles Theatre has been in operation over one year and is earning money every day.” It continued to explain that the theatre was ideally located and convenient to every carline in the city, and near one of the busiest marts. Miles and Mr. C. W. Porter, local manager, personally looked after the sale of stocks in the Miles theatre building daily.

The last show at the Miles Theatre was on Nov. 28, 1927. By May 1928 the theater was demolished to make way for the Griswold Building, designed by Albert Kahn, a structure that still exists today.

To be continued…

In 1910, Thomas G. Moses wrote, “We did an odd set for Gallagher in vaudeville – three drops set to represent a battleship from any angle of the theatre, very effective.” 

Sosman & Landis created a naval-themed olio setting for Gallagher and Shean, the vaudeville comedy team. Their olio sketch was written by Edward Gallagher and called “Battle of Bay Run” (Philadelphia Inquirer, 30 Aug. 1910, page 5). The use of the term “olio” is referring to a musical number, one that is independent from the featured performance.

In 1910, Gallagher and Shean partnered to present “Big Banner Show,” and toured across the country (The Buffalo Enquirer, 27 Dec. 1910, page 10).

The program was composed of a two-act musical comedy, “The Girl from Paris,” olios, and several high-end vaudeville acts. Gallagher’s olio “The Battle of Bay Run” featured a naval travesty, in used the setting created by Sosman & Landis (St. Louis Star and times, 31 Oct. 1910, page 3). Another olio for the show featured Shean as “The Dandy Little Dutchman.” Of the vaudeville acts, the Potter-Hartwell Trio, an acrobatic team, in “The Man with Two Heads,” Annette Goldie singing Southern songs, and a “Hokey-Pokey” girl chorus. (The Evening Sun, Baltimore, Maryland, 3 Sept. 1910, page 7).

 “The Baltimore Sun” commented on the production, “[It] is really a clever concoction, more of a musical comedy than a burlesque. At times it is very pretentious, both in musical numbers and scenery. Mr. Gallagher, as an American in Paris, is ‘roped in’ by one of those French maidens who conveniently faints, is clever in his manner of handling the comedy and the plot, and has a good voice. Mr. Shean’s droll German dialect is not introduced until the closing number, as the proprietor of a hotel in Switzerland. The girls are some numbers above the average and sing and dance well. With ‘Money,’ a novelty march song, and ‘Three Jolly Scotchmen,’ in which they are seen in the regulation Scotch attire, decided hits are made. Edna Davenport, as the girl from Paris, carried the house with her ‘Espanola Prance.’ The best olio feature was Gallagher and Shean’s naval travesty” (6 Sept, 1910, page 9).

Edward Gallagher partnered with Al Shean early in his career. Shean’s birth name was Abraham Elieser Adolph Schönberg. He was born in Dornum, Germany, the son of ventriloquist Levy Schönberg, and yodeling harpist Fanny Salomons. The couple immigrated to New York City in approximately 1880 with Shean and his sister Miene. Miene, nicknamed “Minnie,” married Samuel “Frenchie” Marx in 1884; they were the parents of the later well-known Marx Brothers.

Moses would also work with the Marx Brothers on a project in 1926, although he was not impressed with the famous performers at all. Of them, Moses wrote, “Made several sketches for Marks Brothers.  I have no faith in them.  I think them very cheap.”

Gallagher and Shean partnered in 1910, the same year that Moses was hired to create the battleship scene. Each had begun their career as a small-time performer in burlesque and variety shows. Shean initially made a reputation for himself performing in “Quo Vadis Upside Down.”

Gallagher and Shean were later featured in the “Ziegfeld Follies” and other reviews, associated with the popular patter song “Mister Gallagher and Mister Shean.” That song included the lyrics: “Absolutely Mr. Gallagher? Positively Mr. Shean!” and was recorded after their 1922 Ziegfeld Follies performance. The lyrics were credited to Brian Foy with music by Shean.

Here is a 1922 recording of their song: https://www.youtube.com/watch?v=6bBvYO5FigI

From 1914-1920, the duo briefly parted, but reunited after the urging of Minnie Marx. Their reunion would not last long, however, with the partnership ending in 1925. The dissolution of their partnership was one in a series of challenges that Gallagher faced during the 1920s. Other obstacles included a prolonged dispute with Foy over song writes to “Mister Gallagher and Mister Shean,” difficulties with the Schubert Brothers, and a divorce from his third wife. Gallagher finally suffered a nervous breakdown and later died in a sanatorium in 1929.

Shean, on the other hand, went onto enjoy a successful career on both the stage and screen, appearing in 25 Hollywood films from 1934 to 1943. He would continue performing the patter song, partnering with Charles Einninger for the 1941 Ziegfeld Follies. Here is their performance in front of an Egyptian setting: https://www.youtube.com/watch?v=HkzAEGarl9Q).  

To be continued…

In 1910, Thomas G. Moses wrote, “We received a good contract from Guadlahara, Mexico.  All Spanish correspondence.  Some job getting it translated.  Mr. Evans did most of it for us.”

Julius Cahn’s Official Theatrical Guide for the 1910-1911 season listed three theaters in Guadalajara. With a population of 101,208 at the time, the city government managed the Degollado Theatre. This venue had a seating capacity of 2,000 with a stage measuring 15×25 metres. The second theater listed in Cahn’s Guide was the Principal Theatre, managed by T. Davilla Suer and a seating capacity of 1,600. The Principal Theatre’s stage measured 8×12 metres stage. The third theater listed in Cahn’s Guide was the Apolo Theatre managed by C. Paniagua. It had a seating capacity of 1,400 with the smallest stage measuring 6×10 metres.

Of the three, it was the Teatro Degollado that underwent a significant renovation between 1909 and 1910. It was Roberto Montenegro who led the work, focusing on the reconstruction and decoration of the interior of the building. The project included the addition of a crystal lamp on the theater’s vault. Located in the central plaza of Guadalajara, on Belen Street between Hidalgo Avenue and Morelos Avenue, it is possible that Sosman & Landis received the contract for the new scenery. The grand opening for the newly renovated space was September 15, 1910. Here is a link for some history about the building: http://en.ofj.com.mx/teatro-degollado/

Cahn’s Guide included an entire section on Mexico:

“Mexico affords many allurements to the operatic, vaudeville or spectacular class of entertainment, as the natives liberally patronize performances that appeal to the eye or, in case of opera, to the ears, as they possess a remarkable musical liking and will respond in large numbers.

Every city owns one or more Spanish papers, with editors who will gladly translate English notices into the Spanish language.

The established local rates in Mexico on the principal lines are on the basis of, first class three cents, second class two cents, third class one and one-half cents, plus two per cent. per kilometer, about five-eights of one mile. These rates in Mexican currency. The railroad lines in Mexico are disposed to be liberal in matter of rates and conditions of tickers for the transportation of theatrical companies, with a view to encouraging them to visit the country.

The duty on printed matter taken into Mexico is little or nothing. In some cases a small tax or nominal charge is levied.

Special mention should be made of the strict observance of rigidly adhering to showing every act or scene that is advertised in papers, boards or heralds, for every failure to produce as represented in billing is subject to a heavy fine or imprisonment. At every performance an official witnesses the performance to see that the performance lives up to the representations in advance.

The best time for a tour of Mexico is from November to March. The days are warm, but the nights are cool and warm clothing is essential in cities on the high table land in the interior. The duty is charged on all articles purchased in Mexico over $100 by any one person. Theatrical property, costumes, scenery, etc., can be placed in bond, the bond being cancelled upon return of property to the United States.

So called “Diverse Route,” or “Variable Route,” tickets can now be obtained from San Antonio, Texas, via Laredo and the National Railroad of Mexico, to the City of Mexico, returning thence via Mexico Central Railway to El Paso, or returning via the Mexican Central through Torreon and the Mexican International Railroad to Eagle Pass, Texas, or vice versa, at very reasonable rates, this touring embracing nearly every important theatrical city in Mexico.

The prices of admission in Mexico run from 25c. to $3. The value of the Mexican dollar is now stable, being equal to 50c. in the United States currency.”

Cahn’s Guide listed theaters in the following cities: Aguas Caliented, Celaya, Chihuahua, City of Mexico, Ciudad Juarez, Durango, Guadalajara, Guadalupe, Guanajuato, Lampazos, Leon, Monterey, Morelia, Pachuca, Puebla, Queretaro, Saltillo, San Luis Potosi, San Miguel de Allende, Tampico, Toluca, and Zacatecas.

To place this project within some historical context of the times, I am including a brief article published in the “Boston Globe” on November 14, 1910. The article was entitled “Mutual Concern” and reported the following:

“Confronted by a more delicate situation than ever as a result of the occurrences of the past few days, the governments of Mexico and the United States were making every effort to restrain their citizens from acts of violence and to smooth over the difficulties. The already serious problem before the two nations, resulting from the burning at the stake in Texas of Antonio Rodriguez, and the riotous demonstrations against Americans in Mexico City and elsewhere, was further complicated during the past 48 hours by the shooting of Jesus Loza by Carlos B. Carothers, an American, at Guadalajara, Mexico, and the assassination of Chief of Police W. C. Temple of Anadarko, Oklahoma, by a Mexican. Ambassador De La Barra presented today to the state department the dispatch from Foreign Minister Creel in which Pres. Diaz addressed satisfaction with President Taft’s assurance that he would do all in his power to punish those guilty of the death of Rodriguez. Pres. Diaz in this message, said the Mexican government had instituted proceedings against the persons responsible for the misdemeanors in Mexico and expected to repress, with all the vigor of the law, all offenses whatsoever against Americans who live there.”

To be continued…

In 1910, Thomas G. Moses wrote, “Closed with the Murat Theatre of Indianapolis for $4,000.00.” The equivalent purchasing power today is $107,599.16, a sizable scenery project for the time. The building was named after the Nubian desert oasis Bin Murat. Bin Murat was named after Napoleon’s general, Joachim Murat, during his Egyptian campaign; an interesting nod to past French Masonic heritage.

The Murat Shrine building was located at the corner of Massachusetts Avenue and New Jersey Street. The Shrine Theater opened on March 1. By March 3, 1910, “The Waterloo Press” included a lovely article on the new structure in an article entitled “New Murat Theatre Opens” (page 2). Here is the article in its entirety:

“The Murat Theatre contained in what is said to be the most elaborate Mystic Shrine temple in the United States, was opened at Indianapolis, Ind., under the management of the Schubert Theatrical Producing Company. The temple, completed, will cost $250,000 but only the theatre has been finished. James T. Powers and his company, in the musical comedy, “Havana,” gave the first performance in the theatre. Only the members of the Mystic Shrine were admitted but the subsequent performances will be public. The theatre is decorated with mural pictures representing camel caravans passing through a desert and approaching an oasis, and with other allegorical paintings symbolic of the significance of the Mystic Shrine.”

What is interesting about this theater is that the Shrine is using the stage for their ceremonials, but also leasing the house and generating a significant amount of income, a win-win situation. The Schuberts leased the theater from 1910 to 1930. In 1910 Sosman & Landis also provided stock scenery for the Schuberts’ newly acquired Great Northern Theatre in Chicago.

The Murat Theatre was a Moorish-revival style structure, with the building featuring minarets, terra cotta trim, and brown and yellow banding. In 1922, the structure was expanded to include an Egyptian-themed auditorium. Interestingly, it was planned prior to the discovery of Tutankhamen’s tomb that same year. The 2,500-seat auditorium offered a secondary performance venue, to the original 1,800-seat concert hall. Between 1948 and 1963, the venue was primarily used by road shows. In 1963 it became the home for the Indianapolis Symphony Orchestra. In 1968, the building was expanded; the addition collapsed after a fire in 1988.

Over the years, the building was known as the Murat Shrine Temple, Murat Shrine Theatre, Murat Theatre, and Old National Centre. It is now called the Murat Theatre at Old National Centre, located at North and New Jersey Street in Indianapolis. Noted at the oldest stage house in downtown Indianapolis, it is still in use. There are currently nine areas for hosting events, including the Egyptian room, the Corinthian Hall, the Corinthian annex, the Corinthian meeting room, the Great Hall, the Imperial Lounge (formerly known as the “Crowne Room”) and various lobby areas.

In terms of the Fraternity, the Ancient and Arabic Order of the Nobles of the Mystic Shrine was organized in Indianapolis during 1882, receiving a charter on June 4, 1884. Regular meetings were held at the old Scottish Rite at the Townsley and Wiggens Pork House; a space that I have written extensively about in past posts (see installments # 199-201, and 237). As a side note, Henry C. Tryon was the scenic artist responsible for the earliest scenery in the Indianapolis Scottish Rite where the Murat Shrine initially met; Tryon was later on the staff at Sosman & Landis and an asset to their Masonic projects at the time.

By 1909, the Indianapolis Shrine began the construction of the Murat Temple. Considering the reputation garnered by Sosman & Landis in 1909 and their connection with Tryon, it is not surprisingly that they received the contract for the Murat stock scenery collection. In terms of the architecture, the William P. Jungclaus Company used the designs of Murat Shriner Oscar D. Bohlen.

The theater opened on February 28, 1910, with Murat nobles and ladies treated to opening night; this became a tradition while the Schuberts leased the building. The theater had a seating capacity of 1,950 (lower floor, 1155, balcony, 624, and boxes, 24). Located on the ground floor, the space was illuminated with electricity (110-220 D.C., 1,500 Amp.). The proscenium opening measured 40×36 ft. with a depth of 40 ft. from the footlights to the back wall. There were 91 feet between the side walls and a 3 ft. apron. It was 76 ft. from the stage to rigging loft and 31 ft. from the stage to fly gallery.  The Cahn-Leighton Official Theatrical Guide for 1912-1913 Season listed the theater as the “Schubert-Murat Theatre” managed by Fred J. Daily.

Here is an interesting link to the Murat Shrine: https://www.muratshrine.org/PP_history.php

To be continued…

In 1910, Thomas G. Moses wrote, “We did an elaborate set for Mme. Butterfly for the Aborn Opera Company at McVicker’s.” The “Gibson City Courier” noted the production’s “special scenery of unusually beautiful design” (6 May 1910, page 6).

On May 6, 1910, “The Daily Herald” reported, “ ‘Madame Butterfly,’ the most popular of the modern reperatory of operas, will be used by the Aborn Grand Opera Company to inaugurate their season of grand opera in English at McVicker’s Theatre, Chicago, Sunday night, May 8” (Arlington Heights, Illinois, page 9). Other shows that season included “Il Trovatore,” May 15; “Faust,” May 22, and “Aida,” May 29.

The “Daily Herald” also noted, “ Edward Temple, stage manager at the wonderful New York Hippodrome for three years, and for many seasons stage director at the Metropolitan Opera House in New York, has been engaged to stage the grand operas in English, which will be heard at McVicker’s Theatre, beginning Sunday, May 8, with a production of Puccini’s ‘Madame Butterfly” (15 April, 1910, page 5).

The cast included Dora De Fillippe in the title role, with Joseph Sheehan playing the role of Pinkerton. Other performers in the cast included Ethel Dufre Houston, Ottley Cranston and Chevalier N. B. Emanuel.

The “Daily Herald” reported, “There has never been an attraction in Chicago which has received such an enthusiastic praise as has the Aborn Grand Opera Company in its performances of grand opera in English at McVicker’s Theater, Chicago…The critics of Chicago, without exception, have talked of the wonderful orchestra, the complete mise-en-scene, the splendid principals, the adequate scenic production and the excellence of the big chorus employed by the Aborn company.”

Prices for the production in Chicago were the standard 25 cents, 50 cents, and 75 cents with $1 options.

The Aborn Opera Company was active from 1895 until 1922. Founded by Milton and Sargent Aborn in New York City, the company toured extensively across the country. The two brothers began as theater managers in 1885.

To be continued…