There were many projects completed at Sosman & Landis that were not mentioned by Thomas G. Moses in his memoirs. In 1912, Sosman & Landis provided the scenery and stage effects for an amateur production of “Milestones” in Lead, South Dakota. “Milestones” was a play in three acts by Arnold Bennett and Edward Knoblock (Knoblauch). As a side note, Knoblauch’s name was Anglicized when he became a British citizen during WWI. He received a commission in the British Army and served in the Secret Service Bureau. Knoblock later wrote screen plays, including Douglas Fairbanks’ “Robin Hood.”
The immediate popularity of “Milestones” resulted in numerous productions appearing throughout North America. Of Sosman & Landis’ scenery for the small production in Lead, “The “Lead Daily Call” advertised, “One entirely new scene, built and painted by the Sosman Landis Co., of Chicago, has been purchased and will be seen by the public for the first time in ‘Milestones.’” (9 Dec. 1912, page 4). There was only one setting, as the entire play took place in an interior setting that was minimally altered for each era.
The history of “Milestones” is an interesting one. It became a hit at the Royalty Theatre in London, playing over 600 performances. On October 13, 1912, the “Inter Ocean” published the origin of the play. Here is the article:
“How ‘Milestones’ Originated.
Frank Vernon, under whose stage direction the Chicago production of ‘Milestones; at the Blackstone theater and the New York production of that play at the Liberty theater has been made, conceived the idea of the three generations – 1860, 1885 and 1912, which are the periods of years in ‘Milestones.’ Mr. Vernon suggested the idea to Edward Knoblauch [sic.] and introduced Mr. Knoblauch to Arnold Barrett [sic.] who previously had confined all his talents to literature.
Originally, the title selected for ‘Milestones’ was ‘The Family’ and such it was called until Mr. Vernon visited Arnold Bennett at Mr. Bennett’s home in Fountainbleau, France. One day while the two were driving along the road which was marked with milestones they stopped for direction. This suggested the idea of the title ‘Milestones,’ the milestones marking the different changes in life. Then they decided to call the play ‘The Milestones,’ but afterwards simplified it to ‘Milestones,’ which is the present title.
From one generation to another the march of time is noted in the story. The occurrence of a domestic crisis in each of the three generations reveals some remarkable character truths, and it also reveals the independence now felt by young folk of today when their future is at stake, this being shown in contrast to the former unquestioning of obedience of parents as to vital matters, whether the parents were right or wrong. Especially is the striking difference shown between women of the present and fifty years ago.
The novelty in ‘Milestones’ is the development of character through many years of living; the strife of the young generation with its predecessor over the same problems.
On one day three or four weeks ago five theatrical companies left London to act this play. One company came to Chicago, another went to New York, three to the English provinces. ‘Milestones marks a dramatic era. Although an English play, it is human. Therein is its appeal to America. And it is blessedly ‘untheatrical.’
When ‘Milestones’ was first produced last February in London the advance sale was $20. Since the opening night there has not been an empty seat. It is still running at the Royalty Theater, London, and the advance bookings are all filled until well after Easter.”
By 1923, ‘Milestone’ was commonly listed in the publication “Plays for High Schools and Colleges, Compiled by a Joint Committee National Council of Teachers of English and the Drama League of America” by Clarence Stratton, Chairman (Chicago, 1923, page 12). The entry for the work was brief and to the point:
“Milestones. Arnold Bennett and E. Knoblock. 3 acts; 1 interior, but with changes of furniture. 9 m., 6f. A serious play of excellent quality, rather difficult. Costumes change with each act. Doran.” The publication included a section on “Suggestions to Producers of Plays,” which was fascinating in itself. One section commented, “The stage is not life; it may be a room with one wall removed as some moderns teach, but the audience is not in that room and therefore views the action from a different angle and a much greater distance…Great as are the difference in theory of different producers and much as acting has changed in the last generation; it still remains that some of the older technique was based on sound psychological principles and should be part of the equipment of actors, though they know when to disregard it. To secure a natural effect under such unnatural conditions requires an artificial technique. Action and speech have to be modified to meet modified conditions. Audiences still like to hear. To make them see and hear and understand requires certain exaggerations and suppressions and selections” (page 2).
This particular project intrigued me overall, a public school in a small western town purchasing scenery from a top-notch studio hundreds of miles away for a smash hit still traveling the circuit. In regard to the studio, I could not help think of the advertising phrase: “No project too big or small.” This small project also hints at a shift within American theatre industry during the pre- WWI era. The scope of plays produced at academic institutions was broadening, as was the manufacture of theatrical goods for thousands of public schools throughout North America. Simultaneously, this new market drove the increased demand fabric draperies. Fabric draperies were not only used as stage masking, but also for actual sets, thus replacing many painted sets.
I am always intrigued by the scope of contracts secured by Sosman & Landis in Chicago. They delivered a variety of painted setting scenery to countless entertainment venues throughout North America. Projects included theater, opera, vaudeville, circus spectacles, tent shows, midway amusements, world fair attractions, panoramas, social halls, department store displays, commercial murals, fraternal scenery and a variety of academic institutions. They were never restricted to any region or venue. In a sense, diversity was their key to success. The continued to expand their operations until Joseph S. Sosman passed away in 1915. Without the drive of Sosman to constantly diversify, the firm began to solely focus on painted settings. As I complete the year 1912 in the life and times of Thomas G. Moses, keep in mind that great change is on the horizon; both for theatre industry, as well as Sosman & Landis.
To be continued…
