On my return trip home from the League of Historic American Theatres conference in Philadelphia, I stopped by the Egyptian Theatre in DeKalb, Illinois. While examining the old fire curtain, I spotted not only the Union stencil, but also a stencil with “National Theatre Supply Company” above it. Over the years, National Theatre Supply Co. has popped up on my radar, time and time again.
As I peered at the faint type above “National Theatre Supply Company” on the asbestos curtain, I first made out the word “Lemle,” and then “Painted by William Lemle Co.” The Egyptian Theatre fire curtain is extremely significant in the course of American Theatre history for this stencil alone, as it links together two significant scenic studios in 1929.
I immediately thought of another project delivered by the two studios the same year, a second Egyptian-themed theater that was built in McAlester, Oklahoma. National Theatre Supply Co. and Wm. Lemle Co. delivered one of the largest Scottish Rite scenery collections in the United States to the Scottish rite Theater in McAlester, Oklahoma. In a newspaper article from November 1929, Moses was noted as a representative for both the Lemle Co. and the National Theatre Supply Co. in regard to the McAlester Scottish Rite project. Moses designed and painted the entire collection, recording that the stage settings were 40’-0” high by 60’-0” wide and the stage was 140’-0” deep.
While researching these two studios in 1929, I encountered a letter sent to Moses at “Wm. Lemle Co., Chicago, Ill.” Penned by William H. Fuller, Venerable Master of the Albert Pike Lodge of Perfection in McAlester, he mentions that the scenery was damaged en route to the McAlester Scottish Rite theater, and specifically requests for either the Lemle Co. or the National Theatre Supply Co. to write a letter recording their grievance.
So what do we know about the National theatre Supply Co. and Moses’ involvement with the firm? Let’s start with the end of Sosman & Landis in 1923. That year the studio is liquidated, their space rented to another firm and the name sold. Moses partners with Fred Megan of the Kansas City Scenic Co. and they attempt to purchase the name of the company. Before they are able to legally use the name “Sosman & Landis,” they work under the studio name Moses & Megan. Hoyland and Lemle purchased the Sosman & Landis studio contents at that same time. Later William Lemle Inc. would use the old Sosman & Landis studio space.
Moses & Megan lease the Fabric Studio in Chicago, the same company that delivers the Joplin Scottish Rite scenery. Moses & Megan produce the 1926 Salt Lake Consistory scenery, as well as the 1927 Oakland Scottish Rite scenery. Moses and Megan would continue working together until 1931, but Moses would also begin representing both the William Lemle Co. and the National Theatre Supply Co.
Why is Moses so adamant to retain the studio name? Because Moses has been a major player in Sosman & Landis scenery production since the very beginning. The studio name is synonymous with quality and Moses is integrally linked to the company. One could even surmise that Moses was the face of the company, as his reputation was intertwined with their work since 1880. In 1904 after Moses returned to Chicago after a successful career in New York City (Moses & Hamilton), he assumed all control over all Sosman & Landis design, painting, construction and installation. He becomes the vice-president and was even rewarded $5,000 in stocks in addition to control over production. He later becomes company president after the death of studio founder Joseph S. Sosman. Moses had an incentive to remain connected with the studio name until quite late in his career. In later years, he is listed as the artistic director of Sosman & Landis.
However, there are a few things to keep in mind as National Theatrical Supply is established in the shadows of Sosman & Landis’s close. In 1920, six Sosman & Landis scenic artists leave to form Service Studios. Many of the black and white photographs in their sales books are exact replicas of Sosman & Landis Masonic models. In other words, they are peddling the same designs without the Sosman & Landis name. Service Studios is soon sold and becomes ACME studio. The ACME studio also uses the Sosman & Landis designs in their sales catalogues.
This all happens after a big upset at Sosman & Landis. Two key figures responsible for the Scottish Rite connection pass away just before WWI; founder Joseph S. Sosman and M. C. Lilley representative Bestor G. Brown. Their passing causes the alliance between a major regalia company and a significant scenic studio to cease, allowing another studio takes the reins of Masonic degree production – Toomey & Volland. Under the leadership of Hugo R. Volland, St. Louis Scottish Rite backstage director and president of Toomey & Volland, this St. Louis-based scenic studio is awarded dozens of Masonic contracts in the post-WWI years.
Now back to the another firm delivering Scottish Rite scenery in the 1920s – the National Theatre Supply Co. Founded in 1926, the National Theatre Supply Company advertised as the “largest theatre equipment and supply service organization,” with “31 well managed, well stocked branch store in operation throughout the country, doing a volume of business considerably in excess of what was transacted when the field was being served by individual dealers. And, too, more dependable and satisfactory service is in evidence on every hand.”
Their advertisements explain, “chain store operation in other American industries is one of increased efficiency in service and pronounced economy in merchandising, reacting directly and favorably to the advantage of those who buy. This condition is being exemplified in the operation of the National Theatre Supply Company.” This paragraph is hard to read without thinking of the massive theatrical complexes targeted by this new company and not think, “Super-size me.”
In 1927, the National Theatre Supply Company noted that a new scenery and drape department was formed under its direct supervision. The new department was paced under the direction of Mr. P. L. Landis, “a specialist in stage technique with headquarters in the general offices of the Company in Chicago.” Landis was credited with being “well known to the trade, having been a member of the original Sosman & Landis Company in Chicago. With 12 years of experience in all braches of scenery production and stagecraft, he is particularly fitted to head the new department.” When Moses was elected Sosman & Landis Co. president in 1915, Arthur Sosman was elected vice-president and Perry Landis treasurer.
National Theatre Supply Co. advertisements note the following:
“The National Theatre Supply Company manufacturers nothing, nor has it any direct control over factory costs or factory list prices of any article it sells. It is strictly a sales organization and service representative of a majority of manufacturers of theatre equipment and supplies. It is therefore obvious that the establishment of selling process is not within its power, except insofar as quantity purchasing and increased consumption are concerned. Quantity production and distribution governs the price of everyday commodity or service, regardless of its nature. The same conditions apply to the theatre supply industry and any readjustment of prices must necessarily result from the patronage and support. And when manufacturers are given a suitable volume of business, their products serviced promptly and reliably and their bills paid in accordance with terms there s very little likelihood of an increase in price of these products.”
The same National Theatre Supply catalogue included a photograph with the caption, “Spacious scenic studio of William Lemle Inc. of Chicago, the entire output of which will be distributed through national service.” The problem is that the photograph actually depicted the Sosman & Landis studio prior to WWI, complete with Joseph Sosman in the center and Moses painting one of the drops. The Lemle company was simply using an old photograph of the space.
To be continued…
