Month: July 2019

From July 11 until July 20, 2019, I was on the road, traveling from Minneapolis to Philadelphia and then back again.  In Philadelphia I attended the League of Historic American Theaters National conference from July 14-17. My good intentions to daily write about interesting sites and events were rapidly dashed when I realized that there was simply not enough time each morning.

As one of 330 attendees, I participated in a series of educational sessions and networking opportunities. The conference also included trips to visit nearby historic theaters on two of the four days.  Our first visit was to the well-known Academy of Music in Philadelphia, an entertainment venue considered to be the oldest opera house in the United States that is still used for its original purpose. As noted in the LHAT program: “The Academy of Music is currently owned by the Philadelphia Orchestra and managed by Kimmer Center Inc. but the long-term caretaking of the building is overseen by a third entity: the Academy of Music Restoration Fund Office, a non profit with its own board of trustees and a mission to raise all the money required for the ongoing capital projects that ensure the structural integrity and long-term preservation of a National Historic Landmark.”

I was excited to see the Academy of Music because of one particular scenic artist who once painted for the venue. Although this aspect of the theater’s history is no longer part of the current steward’s story, the nineteenth century scenic illusion and dramatic painting delivered to Philadelphia audiences should not be forgotten; it is extremely exciting in its own right. Exciting enough that I felt my eyes tear up when I walked into the space.  Creating the drop curtain and scenery for this theater placed a feather in the cap of any scenic artist during the nineteenth or twentieth century. His work was viewed by thousands of theater patrons.

This spring, my “Tales of a Scenic Artist and Scholar” looked at painted contributions to Philadelphia theaters noted in an 1894 newspaper article. “Well-known Drop Curtain in Philadelphia Theatres,” was published in “The Philadelphia Inquirer” on Dec. 18, 1894. One section of the article described four painted curtains by Russell Smith for the Academy of Music. They included the drop curtain, a Romeo and Juliet drop, an asbestos curtain, and a Japanese silk tableau curtain.

Of Russell Smith’s scenic contributions to the Academy of Music, the article continues:

“It is claimed by managers that a handsome drop curtain has much to do with the drawing qualities of the house. A charming landscape depicting the greenest of lawns, sparking fountains, rare shrubbery and bright flowers, the dimpled surface of a placid lake, with magnificent hills or rugged mountains in the distance to kiss the brightest fleecy clouds, forms an ensemble well calculated to put the audience in good humor to witness a play. And when let down between the acts it has a tendency to calm the soul after turbulent passages and rouses it to cheerfulness after tearful ones.”

“One of the happiest examples of this style of curtain is seen on the handsome ‘drop’ at the Academy of Music. It was painted by Russell Smith in 1857, and has been in continuous use for the past thirty-seven years, during which time has apparently lost none of its original freshness of coloring, and is considered one of the finest specimens of that famous artist’s work. It is entitled “Como,” but the actual scene is from sketches made by the artist at the head of Lake Lugano, in Northern Italy. A conventional design representing a huge frame, surrounds the picture while in the center of the lower border is a Greek bust. The scene pictures a view of “Como” in summer time. There are the finest of Italian skies, the glitter and sheen of the greenish blue waters of one of the loveliest lakes in the world. In the left foreground rises a terrace with broad, low steps leading down to the shimmering waters of the lake. To the right, in the immediate foreground is a mass of semi-tropical foliage overhanging the cool and sparkling waters of the lake. Beyond rise several palaces of the nobility; while in the background the sloping sides of the mountains are gemmed with castles and palaces. Gondolas float on the placid waters of the lake, while some of the palaces seem set like jewels in the opalescent waters.”

I am still surprised that the drop curtain had remained in place for thirty-seven years by 1894, when many other theaters replaced their drop curtain and scenery every decade. This suggests to popularity of Smith’s work, especially in light of the drop curtain’s purpose described above. To last in place for almost four decades and remain unknown by the current theater stewards today is surprisingly. The 1894 article continued to describe the composition of another drop painted for the Academy of Music by Smith in 1883:

“The main curtain, often called the Romeo and Juliet drop, in use at the famous temple of music was painted by Russell Smith in 1883. It represents a moonlight scene from a terrace overlooking a lake. A gondolier has approached an overhanging balcony window, and delivers himself of his tender passion to the lady, who leans over the balcony rail while she listens to the music of his mandolin. The whole scene, faintly illuminated by the mystic light of the silvery moon falling on the rippling waters of the mist-covered lake, and the blue velvet curtains that drape the door opening on the terrace, with its mosaic floors and stone balustrade, making a witching moonlight scene.”

Smith also painted a fire curtain for the Academy of Music three decades after delivering the initial drop curtain. His asbestos curtain was claimed to be the first of its kind in the United Stated:

“The asbestos curtain at the Academy of Music is distinguished as the first asbestos curtain ever put in any American playhouse in America, and as far as is known, is the first in use in the world. It is made in three sections, the lower third of which has the asbestos pressed in on both sides. It was also painted by Russell Smith in 1887, and represents only a flight of steps nearly hid by a mass of red drapery.”

Finally, the article noted another scenic contribution by Russell, a tableau curtain:

“Another curtain at the Academy is the tableau curtain, made of pure Japanese silk and handsomely decorated along the border by Russell Smith, who has also painted 80 per cent of all the scenery at the Academy. The tableau curtain is made of a series of alternating perpendicular breadths of light blue and white Japanese silk with a satin finish to its surface. The curtain is divided down the center and has a border of flowers around each half. Along the bottom on an eight-foot border, are placed six large medallions representing scenes from ancient history and mythology on the left and modern views on the right.”

I was most intrigued with this particular scenic piece described in the article. This is the first description of a tableau curtain that I have encountered to date. The specific mention of Japanese silk makes me consider the incredible expense of the piece, as well as the difficulty in its painting. The decoration of the eight-foot high border was quite complex, especially when considering that individual scenes were painted in each of the in six medallions within the floral area.

This is such an astonishing heritage, transforming the theater experience for each event. It is a shame that we have lost so much beauty over the decades. Just imagine if those same scenes were redelivered today, would they still stun audiences?

To be continued…

 In 1894, the “Donaldson Guide” listed that the Howell Opera house had a seating capacity of 750. This number was 100 seats less than those included in earlier directories, such as Harry Miner’s or Jno. B. Jeffery’s theatrical guides.  It may simply suggest the purchase of new seats, or a clerical error, but the number varies from earlier seating capacities. The Donaldson Guide also listed that the theater was now under management of W. E. Beach, with ticket prices being 25, 35, and 50 cents. No rental information was provided.

The “Donaldson Guide” was published by W. H. Donaldson (1864-1925) in Cincinnati, Ohio. It is certainly a publication worth perusing.

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 billposting, 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.”

The “Showman’s Encyclopedia” portion of the “Donaldson Guide” 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 Guide” also included a cipher and key that are quite intriguing.  Here is what was offered at the time for telegrams:

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 Guide” 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.

Donaldson passed away in 1925. That year, 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). Another article reported, “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” (Cincinnati Inquirer, 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…

Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, staff and local network of support for touring groups. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters,” however, there were other theatrical guides too, including: Harry Miner’s American Dramatic Directory; The Donaldson Guide; Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatre, Public Halls, Bill Poster, Etc. of the Cities and Towns of America; and Henry’s Official Western Theatrical Guide. Each provides a unique snapshot of theatrical activity and stage houses in North America. From small rural towns to large metropolitan areas during the 1880s through 1920s, one understands the scope of American theater construction, as well as the daily operation. These guides are a wonderful resource for historians, historic theatre enthusiasts and theatre technicians.

In 1884, the Howell Opera House was listed in “Harry Miner’s American Dramatic Directory.” Published by the Wolf & Palmer Dramatic Publishing Company, in New York, the publication was advertised as “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.”  

The Howell Opera House entry listed a seating capacity of 825, with a stage measuring 26×44. Both Donaldson and Jeffrey confirm this size stage in their respective publications. It was only Harry’s Miner’s Directory that provided additional measurements and other technical specifications. The Howell’s proscenium opening was 19 feet high by 20 feet wide. This opening suggests that many of the roll drops were approximately that size, give or take a foot, depending on the painted side tormentors and other wings. The height from the stage to the top grooves measured 13 feet with 22 feet from the stage to the rigging loft. The groove height was to accommodate the painted side wings to mask the sides of the stage. The depth under the stage was 5 ½ feet with one trap in the stage floor. Traps allowed action to either emerge from, or disappear into, the stage floor, such as an apparition.

Harry Miner’s Directory also listed eight sets of scenery that were created by Sosman & Landis, with R. T. Holmes was listed as the stage carpenter. This was a standard delivery that would contain eight backdrops. The subject mater would range from landscapes, seascapes, woods and garden scenes to city scenes, fancy interiors, plain interiors and prisons.  Each scene would utilize at least one pair of wings to conceal backstage activities. These wings were likely 4 to 6 feet wide by 13 feet high. It remains unclear how many sets of grooves were installed during the original installation of stage machinery and scenery. Additionally the original scenery installation would have included painted flats and profile pieces, such as garden balustrades, statuary, or rocks.

Some of the of the most exciting backstage elements that I noticed at the Howell were the extant border lights. A wooden base held the sockets; this same type of system was originally installed at the Scottish rite Theater in Guthrie, Oklahoma, only to be removed and replaced with a metal version less than a decade later. This was the first example that I have encountered since reading a description written by M. C. Lilley western sales manager, Bestor G. Brown.

Another exciting artifact was an original windlass, still positioned in the stage left wings, waiting to raise and lower the front curtain. There were so many other historically significant artifacts littering the old stage, that it blurred my focus; too much information to take in at once. I could have stayed for hours, but my guide had an impending dinner appointment.

From an administrative perspective, Harry Miner listed the Howell’s rental rates as $25 for one night and $50 for three nights. This number varies a bit from Jeffrey’s 1882 guide that reported rental rates were one night, $30; two nights, $50; three nights, $70, and one week, $125. Both publications noted that the preferred “to play on shares with good attractions.” The equivalent purchasing power of $100 in 1882 is around $2500 today. Between 1882 and 1884, the management of the venue went from Hunter & Holmes to just T. B. Hunter.

In addition to the above information, Miner’s noted the advertising protocol and local marketing expenses for touring production advertising.  The local newspaper was the “Republican,” with advertising rates being $3 per column. Touring companies received a special rate at the hotels of $1.25.

Initially the Howell was illuminated by gas, with the gas jet holes for footlights, still being visible on the edge of the stage’s apron.  As with many theaters during the turn of the twentieth century, gas jets were replaced with electrical fixtures. At the Howell, original gas fixtures were simply converted to electric.  What is exciting about this aspect is that almost all of the original fixtures still exit, preserving the historical aesthetic throughout much if the building. The auditorium’s chandelier is a treasure to behold, instantaneously transporting any visitor to the 1880s.

During my tour of the Howell, my guide discussed many of the original artifacts that still exist. For example, poster bills and the signatures of famous personalities still grace the walls backstage. The amount of information contained in a relatively small area upstage of the proscenium wall, would cause any theatre historian’s heart to rapidly flutter. Each pasted piece of paper represents a production, providing a sneak peak into the performers and technical crews of the past.  Most recently, piles of peanut shells were found under the balcony’s floorboards, left from patrons munching during a show over a century ago.

Although some physical alterations have occurred over the decades, most instigated by well-meaning architects and structural engineers, much remains preserved. For example, even though the original grand staircase that led from the street to the second floor theater was removed, the original front doors were carefully sets aside.  One of two original box offices, located at the top of the grand staircase, also remains as a window into the past.  Although some of the dressing rooms were walled off when I new backstage staircase was constructed, they were not gutted, just entombed for another generation.

This theater is silently waiting for the renovation to continue.

To be continued…

Late nineteenth century theatrical guides provide great insight into historic theaters, especially the technical specifications, the staff and network of support for touring shows. I often cite Julius Cahn’s Official Theatrical Guide when writing about various historic theaters.

Julius Cahn was the manager of the Charles Froman’s Booking Department at the Empire Theatre.  In the theatrical guide’s foreword Cahn states his reason for the publication, citing the need for a “complete and official Theatrical Guide that would give the managers of theaters throughout the country, the managers of traveling attractions and others closely interested in their affairs, a complete and exhaustive volume pertaining to the various braches of business, arranged in a concise and clear manner, so as to make it both valuable and available as a book reference” (Julius Cahn’s Official Theatrical Guide, 1895-1896, page VII).

Great idea, but there is the element of human error. Theaters owners, manager and staff submitted the information in regard to their space, mailing it to Cahn’s office.  As far as I can determine, there was no independent study to verify that the submitted information was correct. I have noticed that the names of many scenic artists are misspelled.

In the case of the Howell opera house, the scenic artist credited with the stock scenery in Cahn’s Theatrical Guide is “S. E. Landis (Chicago).” This was Sosman and Landis. My guess is that the individual submitting the information read the ampersand as the letter “E” – so he read “Sosman E. Landis.” Thinking that this was an individual and not a company, he further shortened the name to S. E. Landis. I have encountered Sosman & Landis spelled in various ways throughout Cahn’s Guide, including Sausman & Landis, Sussman & Landis, Sosman & Lundis, and Sussman & Lundus to name a few.

In regard to their work for the Howell Opera House, however, corroborating information from many other sources confirms that the company painted the original scenery for the Howell stage.  An 1882 article published in the “Macomb Journal” lists all of the theaters “fitted up” by Sosman & Landis from June 1881 to July 1882.  The New Opera House in Howell, Michigan, is one of the 73 theaters listed in the article.

Regardless, it is possible that local individuals or other professional scenic artists added to the original scenery collection over the years. In regard to the Howell, the roll drops that have not been unfurled in decades. Although they look in fair shape from the stage floor, there is no way to anticipate the condition of the painted surface or verify a specific scenic artist.

When I visited the Howell opera house on July 11, 2019, I had the opportunity to examine an enlarged photograph of the original drop curtain.  It depicted a lovely Venetian composition, one popular for drop curtains at the time, especially those credited to Sosman & Landis.  Purportedly, the original drop curtain is still in place, and the painted details visible from the stage floor support that idea.

During the 1880s, Sosman and Landis sent out teams of scenic artists to paint scenery. Joseph S. Sosman and Thomas G. Moses traveled as a team, following Abraham “Perry” Landis as he secured contracts across the country. At the time, there were five scenic artists on staff; it is unclear if this number included studio founder Sosman.

The 1882 “Macomb Journal” article reports, “A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen at this time give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.” Any one of the five scenic artists working for the firm at this time could be responsible for the drop curtain in Howell.  Until the Howell drops are unrolled, it is impossible to identify any potential artist.

Although Moses painted in the studio, he was on the road – a lot – traveling from city to city to paint stock scenery and drop curtains on site. In addition to painting scenery at their Chicago shop and shipping it by rail to distant venues, scenery was still painted on site. When looking at the listed of theaters supplied with scenery from 1881 to 1882, the main Sosman & Landis studio could not accommodate the sheer amount of work contracted by their salesmen. Therefor, pairs of artists were also sent on site to paint scenery. Paint frames were constructed for each stage, providing a temporary studio for scenic artists to work.  This not unusual, a common practice for nineteenth century itinerant artists, especially as the scenic studio system was relatively new to the country.  Keep in mind, that at the time only a handful of scenic studios had been established, with the majority of work being completing by individual scenic artists or pairs or artists in temporary partnerships.

At Sosman & Landis, Moses records that he went on the road to paint scenery with not only with Sosman but also Will Davis and Lem Graham.

More about the Howell Opera House tomorrow.

I left Minneapolis on June 11, to head east for the League of Historic American Theatres national conference in Philadelphia.  Breaking down the drive into two days, I decided to visit family in Michigan. On the way, I planned a stop at the Howell Opera House.  Rick Boychuk had visited the small opera house last year and shared images of the space. 

I was familiar with the name, as Sosman & Landis delivered the original stock scenery collection. Over a year ago, I discovered an 1882 article published in the “Macomb Journal” that listed all the performance venues “fitted up” by Sosman & Landis from June 1881 to July 1882 (see past installments #384 and 385). Here is the article in its entirety:

“SOSMAN & LANDIS – A Leading Firm in Their Line in Chicago – The Senior a Macomb-Raised and Educated Boy” (The Macomb Journal, 13 July 1882).  “Nearly all the county readers of the Journal know “Joe” Sosman, and that he is in Chicago in the scenery-painting business, but few, if any, are aware of the prominence of the firm of which he is the senior partner. “The News Letter,” a paper devoted to the theatrical interest, in an article not long since, gave some account of the prominence and business of the firm, which article we append below. We know it will be perused with interest by hundreds of the “Journal” readers, who have a lively solicitude not only for Mr. Sosman, but for every McDonough county boy who goes out in this great world to carve his fortune, his head and hand being his only capital. Here is the article:

“One of the surest indications that Chicago is fast becoming one of the most important dramatic centers in America is the evidence before us, that in all matters pertaining to the theatrical profession Chicago has become, so to speak, a manufacturing center. Theatrical printing, etc., have long been staple industries, but of late years, matters which hitherto might have been considered as peculiarly belonging to the great metropolis of the East, have taken prosperous root in Chicago. Among the industries we refer to is that of fitting up opera houses and out of town theatres.

Some five years ago, Messrs. Sosman & Landis, a firm composed of a couple of enterprising young fellows established in this city what they termed a scenic studio. The beginning gave them a good deal of hard work, but in the period we have mentioned above, their business has grown from comparatively nothing to being one of the most important of its description in the United States. This all speaks volumes for Chicago as a theatrical center, and say what we may, there is no disavowing the fact that next to New York city, Chicago is without a question the most important locality in America in all matters pertaining to general amusement affairs.

Perhaps no better recommendation could be given to the firm we have referred to above than the information which is contained in their circulars to managers, and which tells the actual number of houses they have fitted-up since the first of June, 1881. We give the list as a matter of curiosity as much as anything else:

New Opera House, Rockford, Illinois

Academy of Music, Minneapolis, Minnesota

Grand Opera House, Richmond, Indiana

Hill’s Opera House, Ann Arbor, Michigan

Humblin’s Opera House, Battle Creek, Michigan

Union Opera House, Kalamazoo, Michigan

Russell’s Opera House, Bonham, Texas

Brownsville Opera House, Brownsville, Texas

My Theatre, Fort Worth, Texas

Leach’s Opera House, Somerville, Tennessee

Kahn’s Opera House Boliver, Tennessee

King’s Opera House, Jackson, Tennessee

Stummer’s Hall, Washington, Georgia

Vicksburg Opera House, Vicksburg, Mississippi

McWhinney’s Opera House, Greenville, Ohio

Yengling Opera House, Minerva, Ohio

City Hall, Athens, Ohio

Freeman’s Opera Hall, Geneseo, Illinois

Odd Fellows Hall, Peshtigo, Wisconsin

Hyde’s Opera House, Lancaster, Wisconsin

Klaus’ Opera House, Green Bay, Wisconsin

Storie’s Opera House, Menominee, Wisconsin

Holt’s Opera House, Anamosa, Iowa

King’s Opera House, Hazleton, Iowa

Opera House Nanticoke, Pennsylvania

Opera House Athens, Georgia

Opera House Gainesville, Texas

Opera House Reidsville, North Carolina

Edsell Opera House, Otsego, Michigan

New Opera House, Howell, Michigan

Stouch Opera House, Garnett, Kansas

Germania Hall, Blair, Nebraska

Bennett’s Opera House, Urbana, Ohio

Klaus’ Opera House, Jamestown, Dakota

Opera House, Westville, Indiana

City Hall, Mineral Point, Wisconsin

City Hall, Lewisburg, West Virginia

Opera House, Denison, Iowa

Opera House, Nevada, Ohio

Opera House, Hoopeston, Illinois

Opera House Cambridge, Illinois

Turner Hall, LaSalle, Illinois

Kolter’s Opera House, Wausau, Wisconsin

Opera House Moberlv, Missouri

Krotz’s Grand Opera House Defiance, Ohio

Opera House, Montague, Michigan

Opera House Eutaw, Alabama

Opera House, Greyville, Illinois

Opera House, Carthage, Illinois

Masonic Hall, Macomb, Illinois

New Hall, Good Hope Illinois

Music Hall, Eau Claire, Wisconsin

Temperance Hall, Seneca, Illinois

Opera House, Jefferson, Iowa

Opera House, Waupaca, Wisconsin

Soldiers’ Memorial Hall, Milwaukee, Wisconsin

Opera House, Mexia, Texas

Opera House, Wilson, North Carolina

Opera House, Newbern, North Carolina

Opera House, Goldsboro, North Carolina

Grand Opera House, Cheyenne, Wyoming

Cosmopolitan Theatre, Miles City, Montana Territory

Arbeiter Hall, Ludington, Michigan

Opera House, West Bay City, Michigan

Opera House, Detroit, Minnesota

Opera House, Lockport, Illinois

Opera House, Fort Atkinson, Wisconsin

Opera House, Grass Lake, Michigan

Opera House Demopolis, Alabama

Opera House, Unionville, Missouri

Opera House, Harrodsville, Kentucky

Opera House, Hancock, Michigan

City Hall, New London, Ohio

Opera House, Stevens’ Point, Wisconsin

A visit to the studio of Messrs. Sosman & Landis, in this city, reveals the fact that these gentlemen at this time give employment to five of the best scenic artists in the United States, and that their facilities for turning out first-class work with promptitude and at reasonable figures is unequaled by any establishment in America. At this very moment these gentlemen are actively employed in fitting-up the interior of one or two of the best theatres in the West, and their large corps of artists and stage carpenters are constantly kept busily at work.

We take some little pride in the success of these gentlemen. It has always been, and still is, our ambition to see Chicago ahead in all matters pertaining to western dramatic affairs, and the unusual success which has attended the venture of Messrs. Sosman & Landis is a feather in the cap of our wishes.

It is true that much of the success attended these gentlemen has been due to the fact that they have proved entirely reliable in all their transactions, and that their work has always been of the very best. They take contracts to fit up the entire stage of any new house in course of erection, and we venture to say from undoubted information that no contract that they have ever undertaken has proved aught but most highly satisfactory. With their success the success of Chicago as a dramatic center is blended, and we are more than glad to see that to-day, in nearly every opera house in the West which is under erection, the contract for fitting up the stage has been let to Sosman & Landis.”

Between 1880 to 1889, Sosman & Landis outfitted 1000 thousand theatres. By 1894, the company’s brochures advertised that 4000 places of amusement were using scenery made by their firm. In 1880, Thomas G. Moses wrote that he and Sosman traveled a great deal in the beginning and Landis was always away, traveling to secure orders. Sosman and his crew followed Landis, painting whatever was contracted. It would take six months before Moses even meet Landis after being hired as he was constantly traveling across the country to drum up work.

Interestingly, Thomas G. Moses left the Sosman & Landis studio for the first time during May 1882, just a few months before this article was published.  He left his position at Sosman & Landis to partner with Lemuel L. Graham. Graham would later found Kansas City Scenic.

Tomorrow, I will share some images of the many treasures that still remain in this delightful building.

To be continued…

I leave town this morning for the League of Historic American Theatre’s National conference in Philadelphia. The life and times of Thomas G. Moses will be put on hold until my return around July 20. As with past travels, my blog will shift to “Travels of a Scenic Artist and Scholar.”

On June 17, 2019, I present a session as part of the Tools & Techniques Segment on Wednesday, July 17– “Uncovering the History of Your Theatre or Cinema: Knowing Where to Look.” Here is the link to the conference schedule: http://www.lhat.org/conferences/national-conference/schedule

Here is the LHAT session description: “Tracking down information pertaining to any historic theater is a challenge. Important records are lost and significant artifacts disappear over time. Those with institutional memory depart before sharing their knowledge. The search for your theater’s history may seem impossible.  Fortunately, we live at a time when access to historical information is just waiting to be discovered online – one just has to know how and where to look for it.  Uncovering little gems connected to your theater’s past not only draws a community together, but also helps market your theater, generate community support, and secure grant funding. This session will help you track down information about your historic theater, its original construction, ornamentation, painted settings, past productions, and performers that graced your stage.  Whether you are a theatre manager, board member, professional, or enthusiastic novice, this session will help you discover lost information that is much needed whether you are starting a renovation, applying for a historical register, or submitting a grant application. After attending this session, you will be better enabled to successfully locate valuable information about your venue. Whether you represent a cinema, historic theater, or are a theatre professional, you will leave with a better understanding of our shared theatrical past.”

The topic for this session was prompted by my daily research pertaining to the life and times of Thomas G. Moses. Like many, when I first started researching historic theaters and scenic artists I paged through a card catalogue and wandered the stacks. Hundreds of hours were send carefully paging through various publications and bound journals in rare book rooms. As technology and Internet resources continue to expand, I encounter more information that I could have conceived as an undergraduate.  The problem now is that there can be too much information, unless you know how to refine the parameters of your search.  Over the years, I have developed a few tricks that help direct the search; where to look and what to look for in regard to historic performance venues.  Simply typing in a question will often lead to too much information, therefore complicating the task.

As with many business trips, I have decided to drive to Philadelphia. Time on the road often results in the opportunity to visit at historic sites, small-town opera houses, and abandoned theaters. This factor always transforms a long drive into a treasure hunt.

To be continued…

In 1911, Thomas G. Moses recorded that one of the studio projects was for the Columbia Burlesque Theatre.

Opening on January 10, 1910, the venue was operated by the Columbia Amusement Company from 1910 until 1927.  Located on the northeast corner of Seventh Avenue and 47^th Street in Manhattan, it specialized in “clean” and “family-oriented burlesque.” In other words, a series of variety acts, often with an overall theme. Similar to a vaudeville house, it was advertised as “the house that brought distinction to burlesque” (New York Times, 12 Nov. 1911, page 11).

Featured in the publication, “Architecture and Building” the Columbia Theatre and Office building was a twelve-story structure in the Italian Renaissance style, designed by W. H. McElfatrick. Interestingly, Julius Cahn’s 1912, Official Theatrical Guide listed W. H. McElfatrick’s offices as “Columbia Theatre Building, NY, Cor. Broadway and 47^th St.” His advertisement noted, “Theatrical Bldg. A Specialty, “ with other New York theater projects including the Knickerbocker Theatre, the Metropolitan Opera House, the Manhattan Opera House, Manhattan Opera House, Lincoln Square Theatre, New York Theatre, Criterion Theatre, Broadway Theatre, Empire Theatre, Bijou Theatre, Bronx Theatre, Hudson Theatre, Harlem Opera House, Alhambra Theatre, Proctor’s 58^th St. Theatre, Proctor’s 125^th St. Theatre, Murray Hill Theatre, Metropolis Theatre, Grand Opera House and the Wadsworth Theatre.

Interior decorations for the Columbia Burlesque Theater were credited to John Wanamaker, with the mural above the proscenium, “Goddesses of the Arts,” painted by Arthur Thomas, R.A. The building had a frontage of 88 feet on Seventh Avenue and 148 feet on Forty-seventh Street. (Vol. 42, page 218) The theater had a seating capacity of 1,340 (Orchestra, 548, balcony 346, gallery 350 and boxes 96). The stage from the curtain line to the back wall was 30 feet deep, with a proscenium opening measuring 34 feet wide by 31 feet high.

As an aside, in 1910, “College Girl” was staged at the Columbia. This was in this production that Florenz Ziegfeld, Jr. noticed Fanny Brice, and then secured Brice’s release from her Columbia contract to appear in his 1910 Follies.

Although Moses did not mention any details pertaining to his work for the Columbia in 1911, it is possible that the project was Cliff Gordon and Robert North’s staged adaptation of “The Merry Whirl.” The show settled at the Columbia Burlesque Theater for the summer run of 1911, after a successful spring touring the country. The one-act comedy featured the comic duo of Morton and Moore. Known as “The Crown Kings of Comedy,” the show was paired with another one-act burlesque “The Magic Ring” (Brooklyn Times Union, 25 Nov. 1911, page 7).

The “Merry Whirl” featured the Morton and Moore as the Cock and the Snowman; the two characters were a specialty from the previous season. In the second part of the show they played the roles of an American prizefighter and his manager, stranded in Paris and disguised as commissioners for a dressmaking establishment (The New York Times, 13 July 1911, page 9).  One hit song from the show was “Alexander’s Ragtime Band” by Irving Berlin.

By 1925, however, the repertoire at the Columbia Burlesque Theatre began to change, introducing many more risqué acts. By 1929, the “Daily News” reported, “A report is the current that the Columbia burlesque theatre, on 7^th ave. will soon be demolished to make room for the largest theatre in the world. The Radio-Keith-Orpheum Corporation is said to be behind the deal. Plans for the new theatre, to exceed in size Roxy’s and the other big film cathedrals, are supposedly now complete”  (20 July 1929, page 21).

While looking for information about the Columbia Burlesque Theatre, an interesting article appeared in regard to activities on Fourteenth Street in New York. On May 11, 1925, the “Rock Island Argus” reported, “An immense Columbia burlesque theatre. Its curtain is the old kind that rolls up on a pole” (page 6). This refers to the standard roll drop that dominated much of 19^th century American theatre.

To be continued…

 In 1911, Thomas G. Moses wrote, “I did a good ‘Mme. Butterfly’ set for Joe Sheehan.” 

Joe Sheehan was the star of the Sheehan Opera Company of Chicago, also known as the Sheehan English Opera Company. While I was looking for information pertaining to the company and show, I happened upon an interesting blog by Mary Lois – “Finding Myself in Hoboken.” Unbelievably, one entry included a gentleman’s reminiscences about his wife’s grandfather, Joe Sheehan. Posted on May 29, 2008, it provides some basic information about Sheehan from an interesting and familial perspective. Slezak had been sent Lois a series of emails since he discovered her blog. Lois commented, “He likes to remember what Hoboken was like in the late 1940’s and through the 1950’s, and he describes it vividly” (https://myselfinhoboken.blogspot.com/2008/05/).

She included the following sample:

“My wife’s dad – what a nice guy he was…played with the big bands during the war. (His dad was an opera singer from Dublin who toured Europe with the Carl Rosa opera company..he came to America in 1900…and started his own opera company, Joseph Sheehan Opera Company …you can look him up on the computer. In them days he was the greatest tenor English opera singer in the world. After he retired from that he worked for RKO Radio studios in NYC…and later it became NBC studios…he lived on Garden Street just across the street from me) My wife’s both grandmothers lived across the street from me when I was a kid. I have a picture of me and my wife in the same picture – she was 5. I was 9, not knowing I would marry her some day and spend the rest of my life with her. I got lucky and always had good luck…with every thing I did in life.”

In advertisements, Sheehan was billed as America’s Greatest Tenor and Famous Opera Star” (The Akron Beacon, 5 April 1913, page 8). He toured the company, starring in a series of operas that appeared in not only large metropolitan areas, but also many small towns.

As I was examining the various performance venues where Sheehan appeared, one jumped out – the Wieting Theatre in Toledo, Iowa. His performance is mentioned on their current website (https://wieting.tamatoledo.com/theOpening). The history page noted, “The new curtains of the Wieting Opera House parted for the first time at 8 o’ clock on the evening of Sept. 12, 1912. A capacity “house,” all dressed for the gala occasion (especially those in the box seats), had paid $1.50, $2.00 or $2.50 per ticket to see the Sheehan English Opera Company’s presentation of “Il Trovatore.” The show featured Joseph F. Sheehan, “America’s Greatest Tenor” and a supporting cast of more than one hundred.”

Until two years ago, I was unaware of Toledo, Iowa. A scenery evaluation brought me to the small town during the spring on 2017 to examine their front curtain and present some information about the painted aesthetic for early-twentieth-century stages.  At the time the Wieting Theatre was well ino the process of renovating their entire stage area. I stayed at the home of the executive director and learned quite a bit about how the history of the Wieting theatre, and its two sister theaters in Syracuse and Worcester, New York.  These three memorial theaters have an intereting history in their own right.  

The theaters are connected to Dr. P. G. Wieting and Helen “Ella” Wilder. The couple was married on December 5th 1866, and initially lived in Worcester, New York. Only staying in the area a short while, heir second homes was located in Toledo Iowa by 1867. Dr. Wieting was successful dentist in Toledo, but also was involved in many other business ventures. In 1878 Dr. Wieting and Helen’s father started the Toledo City Bank. Though the Wietings eventually returned to the East Dr. Wieting continued to be involved with the Toledo bank until his passing in 1906. 

To honor her husband after his death, Mrs. Wieting donated theatres to the communities of Worcester, New York, and Toledo, Iowa. These theatres were intended to carry on the name of her late husband while enriching the communities.  The Wietings were also responsible for the construction of a previous Wieting Opera House in Syracuse, New York. Although there had been a series of Weiting Opera Houses in Syracuse since 1852, Mrs. Wieting was responsible for the third and final building. The first Wieting Opera House was donated to Syracuse by 19^th century physician and medical lecturer John M. Wieting, M.D. (1817-1888).

Attached are a few images of the front curtain from Toledo, Iowa.

To be continued…

In 1911, Sosman & Moses secured $25,350.00 in contracts for the Brewers’ show at the Chicago Coliseum. The companies created a series of exhibit booths for various breweries at the show. Thomas G. Moses recorded that one of the clients was a Brewing Company in Dubuque, Iowa. The unnamed brewery was likely the Dubuque Brewing and Malting Company.

The organization of the Dubuque Brewing and Malting Company primarily resulted from a prohibitory state law in Iowa that proceeded national legislation. Details of the company’s origin are quite fascinating, so here is a brief summary. In 1892 an estimated fifty heirs from the four original Dubuque brewers wanted to sell their interests. Unfortunately, they were unable to do so because local and state legislation governing brewery property made the business almost unsalable. To enable the legal sale of brewery interests, the men owning the greats shares established the Dubuque Malting Company. This entity took over the property from the heirs and simply paid them a rental fee. Now despite Iowa’s prohibition law, brewing continued – go figure. Production continued to such an extent that an estimated 50,000 barrels of beer were still produced annually.

Their plan was to ensure that Dubuque Malting Company would always continued to legally operate, despite any future legislation. They would simply manufacture and sell brewers’ supplies, as well as all kinds of grain products. Also, if any prohibition laws were then repealed, the managers could quickly return to the brewing business again. In Iowa, prohibition closed the brewery part of the on December 31, 1915. Iowa became one of thirty-two states that became “dry” prior to the law being put into effect nationally in 1919. For more history about the Dubuque Brewing and Malting Company, visit http://www.encyclopediadubuque.org/index.php?title=DUBUQUE_BREWING_AND_MALTING_COMPANY

Returning to the Brewer’s Show of 1911, Moses recorded a trip to Iowa. Of the work in Dubuque, Moses wrote, “I made a trip to Dubuque, Iowa, to close a contract with a Brewing Company and did so.  We went out for a drive.  Gathered in Jake Rosenthal of the Majestic Theatre.  On crossing the river, we ran into a team.  The driver was not hurt but his horses got to rearing and upset the wagon, which was loaded with dynamite.  Nothing exploded.  Rosenthal stood aside and said, ‘What a lucky JEW I am.’”

Jake Rosenthal was a veteran showman, having been connected with theaters in San Francisco, Los Angeles and Omaha before settling in Dubuque. He managed one of the first two theaters on the Orpheum circuit and was noted as introducing vaudeville of the Orpheum circuit type in Omaha and Los Angeles (The Courier, 10 Feb 1938, page 12). In Dubuque, Rosenthal managed the Majestic Theatre for twenty years, as well as the outdoor Airdome before relocating to Waterloo to manage the Iowa Theatre in 1929 (The Courier, Waterloo, Iowa, 10 Sept 1934, page 14).  

Rosenthal was credited with giving a start to many famous performers, including Harry Houdini and Elsie Janis “on their upward climb” (The Daily Times, Davenport, Iowa, 22 Sept, 1936, page 11). Rosenthal was also known as being the one to give Fred Astaire his start on the legitimate stage (The Des Moines Register, 24 Sept. 1936, page 13).

In Rosenthal’s private life, he was affiliated with the Benevolent Order of Protected Elks, the Knights of Pythias, Woodmen of the World, the Showmen’s League of America, and many Masonic orders, including the Shrine. Rosenthal passed away in 1936 at the age of 65 years old, his death caused by a coronary obstruction.

His funeral was conducted at the Waterloo Masonic temple by Rabbi Harold Gordon, pastor of the Sons of Jacob synagogue, Waterloo (The Courier, 23 Sept. 1936, page 2). On September 23, 1936, “The Courier” reported, “Scores of telegrams of condolence were received from persons associated with the theatrical world, and other friends. Wires were sent by Morgan C. Ames, Chicago, president of the Orpheum circuit; Doc Banford, general manager of the Metro-Goldwyn-Mayer film exchange, St. Louis, Mo.; Mrs. Louis Murphy, widow of the late Senator Murphy, Dubuque; John P. Mulgrew, Dubuque, author and playwright, and Charles and Mary Brown, owners of the theatres in Iowa City.”

To be continued…

The Sosman & Landis studio was scrambling after losing a foreman carpenter and lead scenic artist during the month of February in 1911. On top of the loss, Joseph S. Sosman took another family vacation.  Unfortunately for the studio staff, work kept pouring in that year. One of the largest projects handled by the studio that spring included a series of exhibits for the Brewer’s Show. Chicago hosted an International Brewers’ Congress during October 1911 that was devoted to showing visitors various beer exhibits.

In 1911 Thomas G. Moses wrote, “Early in April I started on the designs for the Brewers’ Show, in which they wanted to demonstrate that beer is a food and not a beverage.”  What a great marketing ploy, proposing that beer was a meal. Advertisements in “Western and Daheim,” a German-language Chicago newspaper, included articles pertaining to the International Brewers’ Congress that year, characterizing various beer and malt products as “The Family Beer,” “The Source of Energy,” and “Malt-Marrow: A Perfect Score in Health” (“Geschichte des Chicagoer Brauwesens,” Westen and Daheim, October 15, 1911).

For the opening, the “Chicago Tribune” interviewed Henry E. O. Heinemann, the secretary of the exposition. Heinemann reported, “Thousands of dollars have been spent for the foundations alone, so tons of brewing machinery must be properly set. An army of painters, decorators, scene builders, and machinists was busy all day and far into the night getting everything ready for the opening” (12 October 1911, page 7). Of the event, the article commented, “Every brewer in the exposition is an ardent missionary, eager to convert America to the ways of Germany, of Belgium, of France…Beer, they asserted during the day, is not an ‘alcoholic’ drink. Continental Europeans do not regard it as such. Americans would not, they argues, if it were not for their habit of standing at bars and drinking in a hurry.”

As the project commenced, Moses wrote, “We started Brewer’s work at the 20^th Street studio, with an extra number of men.”  Of the event, Moses wrote, “The Brewer’s Show opened October 12^th with enormous crowds.  Had a lot of trouble getting our work into the building….Sosman was well pleased, as there was a good profit in the work.  Some of the brewers thought I had overcharged them.” In the end, the Brewery Show of 1911 was a success. By October 23, over 94,000 patrons attended the exposition and consumed over 500,000 glasses of beer (Statesman Journal, 24 Oct, 1911, page 9).

Of course, there were many groups opposed to the event too, including the Anti-liquor force headed by the Chicago Christian Endeavor union who were rallying for a mass meeting to protest against the brewers’ exposition (Dixon Evening Telegraph, 16 Oct, 1911, page 5). Local headlines also reported, “Brewer’s Show Drinking is On Increase. Consumption of Beverage is Three Times Greater Than the Growth of Population” (Star-Gazette, Elmira, New York, 21 Oct, 1911, page 3). The “Star-Gazette” noticed that “The volume of beer business has reached its highest point in the history of the trade.”

Moses also added, “Mr. Sosman would have nothing to do with it, and told me to go after it and get $10,000.00 out of it if possible.” There was $25,350.00 in contracts before all was finished for the event.  Today’s equivalent purchasing power of $25,350 in 1911 is $683,361.28 – a sizable amount of work.

The studio’s first contract for the event was for $1,150.00.  Moses recorded that the Schoenhoffen Brewing Company exhibit featured the “celebrated ‘Edelweiss.’”  Edelweiss was the Schoenhoffen Brewing Company’s flagship brand. Advertisements from the time included “Delicious Satisfaction is an Edelweiss Attraction,” “Phone Before Eleven – Delivered before Seven,” “Here’s the Case, You be the Judge,” and “Phone for a Case to be Sent to Your Place.”

Founded in 1860 by Prussian immigrant Peter Schoenhofen (1827-1893), the brewery was located 18th and Canalport by 1862. During the 1860s, the made approximately 600 barrels of lager beer each year. Production continued to increase throughout the nineteenth century. By 1868, the annual output was 10,000 barrels. By 1890, Chicago was the nation’s sixth largest beer producer, with thirty-four breweries manufacturing over 1,000,000 dollars worth of  beer annually. By 1900, the annual capacity of Schoenhoffen Brewing Company was 1,200,000 barrels – big business. The Schoenhofen brewery eventually housed fifteen buildings over seven acres, two miles south of downtown Chicago. The last expansion to the brewery’s complex at this location occurred during 1912, the year after the Brewer’s Show.

As an interesting aside, www.forgottenchicago.com reports that members of the Schoenhofen family used the Brewery’s tower to broadcast radio messages to German agents during World War I, prompting federal agents to seize the brewery. This claim, however, remains unsubstantiated.

The Schoenhoffen Brewing Company was acquired by the National Brewery Company in 1928. Operations ceased during the Prohibition Era, but reopened in 1933 after the national ban on alcohol production was lifted. The Schoenhofen-Edelweiss Co. was eventually purchased by the Atlas Brewing Co. in the late 1940s, then became part of Dewery’s Ltd. of South Bend, Indiana, in 1951. Dewery’s even reintroduced the famous Edelweiss brand in 1972.

To be continued…