Tales from a Scenic Artist and Scholar. Part 764 – The Light Eternal, 1911

In 1911, Thomas G. Moses wrote, “Some hangovers from last year started the New Year in good order, including some Los Angeles and Majestic work.  A large cyclorama for ‘Light Eternal.’  A view of Ancient Rome came out very good.”

“The Light Eternal” was a dramatization of Cardinal Wiseman’s historical novel “Fabiola,” written by Martin V. Merle in 1905.  Classified as a “devotional drama,” it was advertised as an “inspiring romance on Christian Martyrdom” (Fort Wayne News, 11 Jan. 1911, page 4). During this time, other popular Biblically-themes productions were “The Sign of the Cross,” “Ben Hur,” “Quo Vadis,” and “The Rosary.”

Martin penned the script during his senior year at Santa Clara College. It was solely intended for college theatre, until San Francisco’s Majestic Theatre manager decided to professionally produce the show (Sunset Magazine, Vol XVI, Dec. 1905, No.2 page 191). Merle later wrote “The Vagabond Prince” and “Lady O’ Dreams.” As an interesting aside, Merle is credited with providing American soldiers on the fighting lines with cigarettes during WWI (Los Angeles Herald, Vol. XLIV, No. 12, 15 Nov. 1918). He had “a score of aviators drop thousands of cigarettes as they flew over American lines. Each pack was labeled “Compliments of the Knights of Columbus.”  Pretty fascinating story, here is the digital article: https://cdnc.ucr.edu/?a=d&d=LAH19181115.2.327&e=——-en–20–1–txt-txIN——–1 His fraternal connection was as a Knights of Columbus secretary.

The 1907 touring production of “The Light Eternal” starred husband and wife team, James Neill and Edythe Chapman. It was advertised as “A powerful story of early Rome” with “gorgeous scenic investiture and a “superb dramatic company,” that was better play than “Ben Hur” or “Quo Vadis” (The Index, Pittsburgh, PA, Vol. 16, No. 9, March 2, 1907, page 18).

Of the 1907 scenic effects, “The Index” reported, “…the stage settings are unusually handsome, the garden scene in the second act, bring forth bursts of applause. The climax of the third act, when the image of Jupiter, before which Diocletian forces Marco to pay homage, is­ struck by lighting, and a cross of fire appears, is a particularly fine mechanical effect, and is reached by a cleverly contrived electric storm” (The Index, Vol. 16, No.11, March 16, 1907, page 232). The script provided ample opportunities for miraculous events to be stage with cutting edge theatrical technology.

In regard to the scenery that Moses produced for the 1911 production, it was possibly for the version featuring Eugenie Blair and thirty-five member cast. “Light Eternal” initially appeared at Fort Wayne’s Majestic Theatre on January 14, matching Moses’ diary entry. “The Light Eternal” then toured to Chicago where it was featured at the Crown Theatre before continuing the tour (Chicago Tribune, 18 Jan. 1911, page 11). The show eventually returned to Chicago that fall, playing at the National Theatre the week of October 29. Advertisements reported “massive scenic equipment,” yet failed to credit any individual or scenic studio (Englewood Economist, 30 Oct. 1911, page 3).  

As I explored the various “Light Eternal” productions that appeared during 1911 and 1912, one particular event caught my eye.  It is unlikely that Moses worked on this production due to the timing, but the theatre is quite interesting.

“The Light Eternal” was the featured production at the newly opened Parish Theater in Fort Wayne. With a cast of thirty people, the Parish Theatre production in the Athenaeum building included the talents of Maud Schillo, Margartet Schumaker, and Louise Charbonier. Advertisements for the production were published in the “Fort Wayne News” reporting “The stage settings for the play are massive and the costumes gorgeous” (14 Dec. 1912, page 3). The theater was erected by the Redemtorist priests in charge of St. Alphonsus church on Lincoln and Southport avenues, for the exclusive use of the members of the congregation. The space was intended “to be used by the young people of the congregation for operettas and entertainments by the children of the parish schools and for moving pictures illustrating historical lectures, comedies and refined sketches, all given under the direct management of Redemptorist fathers in charge of the parish.”

The “Fort Wayne News” described the new building on Dec. 14, 1912:

“The theatre which forms the rear section of the great parish athenaeum is complete in every detail. It has a seating capacity of 1,000, one of the largest stages in the city, steel curtain and fireproof scenery. The drop curtain has a painting of a rural scene in France and the feature of the gold, cream, and blue decorations of the playhouse is the large circular painting of Dante’s meeting with Beatrice.  Boxes and balconies are arranged close to the stage. In the main lobby are wardrobe rooms, reception rooms and men’s smoking room. The orchestra pit, ten dressing rooms, lavatories, wardrobe and rest rooms beneath the stage. The main section of the Athenaeum, which fronts on Southport avenue, has on the lower floor a gymnasium 80×100 feet, bowling alleys with four alleys, pool and billiard rooms with four tables each, library, reading and music rooms for young men, also bath rooms, lockers, lavatories and three shower baths. The young ladies are provided for on the main floor with library and reading rooms, assembly halls seating 500, reception rooms, tea room, music room, bath and shower baths. On the second floor there are five spacious society halls, with seating capacity from two to four hundred. The top floor will be occupied by the superintendent of the building and his family.”

It is unclear who provided the stock scenery or the production’s settings, but the scope of the project was quite elaborate overall.

To be continued…