Month: November 2019

Copyright © 2019 by Wendy Waszut-Barrett

Much has been written about Jesse Cox, the scenic artist purported to be the inventor of the Diamond Dye process for scenery. Cox’s obituary even credits the artist as the “originator of commercial dye painted scenery for theatrical productions.” His obituary details Cox’s process that involved mixing dye with warm water, making it “possible for scenery to be much lighter in weight and transported more conveniently.” I highly doubt that Cox was the first scenic artist to use commercial dyes on scenery, especially when looking at his birthdate and timeline. However, I do believe that he popularized the process, if only through sheer self-promotion.

There is also no question that the Diamond Dye manufacturers would have been thrilled to have Cox as a poster boy for their company, however there is no clear evidence that suggests Cox was the inventor of the process. Even the Jesse Cox Scenic Company’s early twentieth-century catalogue makes no mention of their specializing in dye scenery or Cox’s reputation as the inventor of this unique scene painting process.  I have to wonder when the Diamond Dye process of painting scenery became specifically associated with this artist, as the earliest mention that I have uncovered to date is 1936. To all indications, Cox’s story was shared at a time when he was reflecting on his own history, and contributions to the world of scenic art. I am reminded of the erroneous credit given to Lee Lash for his invention of the ad drop. Over time, facts blur and history is carefully shaped by those who gain the most from its telling.

Here is a little background about Cox that was included in his 1961 obituary:

Jesse Matthew Cox was born on March 3, 1878, in Seneca, Illinois, the son of Mr. and Mrs. Spencer Cox. One of five sons born to the couple. His eldest brother was James, and his younger brothers were George, Chauncy and Spencer Jr. The family moved to Estherville in 1891. At the time, Jesse was at the age of 13 years old. Initially, he worked for his father, but soon became interested within the next three years, going on the road as an actor at the age of 16.  He initially toured with the [Warren G.] Noble Dramatic Shows of Chariton.  As many young performers involved with touring productions at the time, Cox also performed as a musician and assisted in other technical duties. It was while on tour that Cox became interested in scene painting, likely out of the company’s necessity for additional settings. There is no indication that he became a scenic artist by going through any traditional training or apprenticeship program.

After touring, Cox worked as an itinerant artist in Chicago, Minneapolis and St. Paul, spending several seasons in the Twin Cities. It is reported that Cox returned to Estherville to settle down, painting “great quantities of scenery” there and shipping much of it to California and Texas. Local newspapers cite that his return to Estherville coincided with the decline of demand for road shows. In Estherville, Cox started a scene painting studio in the old Lough opera house, the same venue where he once worked as a prop boy before going on the road with Noble. Cox had little luck with studio locations throughout the duration of his career, as the first was destroyed by fire and the second razed by a tornado. Cox’s third studio was located at 606 N. 12^th St. There he worked with his son Robert, primarily making scenery for theaters and high schools, but also completed many sign painting projects. The firm’s business gradually expanded to include neon signs. His company continually diversified as the demand for painted scenery continued to decline. This was the case with most scenic studios that survived the Great Depression. In regard to neon signs produced by the studio, in 1942 the Estherville Daily News announced, “The Jesse Cox studio has been busy the past week building the first complete neon sign to be fabricated in Estherville” (22 Sept 1942, page 1). The sign was made for the Hossack Motor Company.

Cox’s scenic art and performance career was supplemented with entertainment news. He and his brother George established and edited the Opera House Reporter, an entertainment industry trade paper, from 1898 to 1907. In the greater scheme of things the establishment of the publication coincides with his development of the Diamond Dye process and touring on the road. The dates just don’t add up when compared to newspaper accounts. The Opera House Reporter included a variety of information, such as office reports from theaters and general theatre advertisements. The Cox brothers are also credited with running the first movie projector in the state of Iowa. They were quite an innovative and busy pair.

Of his personal life, Cox was twice married, first to Mabel Gerberick and second to Carrie Beaty in 1939.

Cox died at the age of 83, a longtime businessman and member of the Estherville City Council. His health was failing for some time, with his passing being attributed to the “complications of advanced age.” Cox was an active member with the Knights of Pythias and the Benevolent and Protective Order of Elks.  His assumed high offices in each fraternity, with achieving the Elk’s rank of Exalted Ruler.

Cox’s professional and personal memorabilia are on display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. Even his accordion is on display. The museum’s library includes an article written in 1990 by Michael Kramme for Palimpset, a publication advertised as Iowa’s popular history magazine (Winter issue). His article “Opera House Illusions: Jesse Cox and Theatrical Scenery” was included in Vol. 71, No. 4 (pages 154-172). Kramme credits Cox as “the inventor of a system of painting theatrical scenery that revolutionized the industry.” Unfortunately Kramme gives no specific technical information or dates to support this statement. Again, I question the legitimacy of Cox’s claim to fame as the inventor of the dye system of painting scenery.

The earliest mention that I encountered in my research describing Cox’s dye process is in an article from the Estherville Enterprise on 9 Sept. 1936 (page 2).  The article reports, “There is a very interesting story connected with the [Jesse Cox Scenic Studio]. Jesse Cox, the owner and operator, when a very young man was a trouper with Nobles’ Stock company for seven years. While following the road and assisting in handling massive curtains, Mr. Cox conceived the idea of painting scenery with diamond dyes. These could be folded and packed in a trunk and were much easier to carry. During the summer of 1899 Mr. Noble sent Mr. Cox to Estherville on pay and in the old low opera house, the young man designed and painted the first diamond dye scenery, now popular the world over. Later Mr. Cox closed with the Noble Company and started the business of scenery painting. He has shipped scenery to every state in the Union and from New York City to San Francisco can be found scenery labeled in the corner, The Jesse Cox Scenic Studio, Estherville, Iowa. The largest scene Mr. Cox ever panted was 24 x 150 feet for the Robinson Bro. Circus. Many of the largest traveling companies have used Mr. Cox’s scenery but the outstanding feature is the fact that he conceived the idea of diamond dye scenery which is now used extensively throughout the world.”

My research does not suggest that Diamond Dyes were that extensively used for scenery production in the United States at the time.

What I found interesting, however, is that the 1900 census lists Cox’s profession as “actor” and not “artist” or “scene painter,” as was the case with other scenic artists at the time. By 1900, he was editing the Opera House Reporter and supposedly running a scenic studio, as well as working in other cities throughout the Midwest.

In Kramme’s article he describes, “Cox developed and patented a process of painting scenery with heated dye rather than paint.” However, some of his scenery on display at the Theatre Museum is clearly painted with dry pigment and his paint table has pots of dry pigment too. In terms of a patent, there is a Jesse Cox that designed a hay knife. There are quite a few “Jesse Cox” individuals living at the same time in the United States. Kramme goes on to explain, “His technique remained a trade secret. But the result, vivid color that would not peel, crack, or rub off, was shared nation-wide as owners of opera houses and managers of acting companies bought lavish sets of scenery.” I am perplexed that his use of Diamond Dyes on cotton sheeting would require any trade secret. The preparation for dyes in scene painting is pretty consistent.  Furthermore, aniline dyes had been around for a while and were widely used in the theatre industry for variety of effects. By the 1860s chemical aniline dyes were readily available. The process for preparing dye to use in scenic art is not like dying yarn or clothing fabrics where different mordants baths shift final color results when fixing the dye.

I also have to point out an alternative to dye in theatrical scenery. When applied properly, and in thin coats, dry pigments result in vivid colors that will not peel, crack or rub off. The English practice of glazing scenery results in lightweight and foldable scenery. See past posts that distinguish between the two schools of scenic art that were established in the United States. When using thin coats of dry pigment, the fabric remains pliable. I known this first hand because the scenery that I transported to Europe this summer in my luggage was folded and crushed during transport without any harm to the painted composition or permanent wrinkles.  The only problem is when dry pigment is applied in thick coats or with strong size water. Thick coats of paint also make scenery heavy to transport.

Keep in mind that there are historic scenes well over a hundred years old whose colors remain stable and can easily be folded without irreparable damage. It all depends on the application coat and strength of the binder at time of manufacture and subsequent environmental conditions. The biggest threat for scenery painted with dry pigment and diluted hide glue remains water damage and high humidity, ultimately causing the breakdown of the binder and reactivating the paint. This causes as much damage as poor preparation of colors or size during the initial painting of each scene. Not every scenic artist or potboy thoroughly understood the preparation of paint or binder. In many instances, corners were cut, and the life expectancy of the scene was ephemeral at best. I always think of the Demotivator © poster defining the word mediocrity: “It takes a lot less time and most people won’t notice the difference until it’s too late.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. Now is a good opportunity to unwrap Jesse Cox’s purported contribution to theatre history and his scenic art process. 

In 1983, Mrs. Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, am happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor f a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s.  This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. The docent who led my private tour during their off season, was a wealth of information about tent shows, but really did not understand Cox’s artifacts or the scenic art painting process. The big talking point, however, was that Cox invented dye painting on scenery.

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them.” Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.” That this dye product would not be considered for theatrical scenery during this same time is unrealistic.

So what makes a product indispensable, especially one that expresses such versatility? Availability.  In 1915, The Practical Druggist included the article reported, “Diamond Dyes are unquestionably staple goods for druggists” in the article “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book.’”

The article continues:

“For more than thirty-five years no drug store could claim a complete stock unless it carries a full supply of Diamond Dyes. These famous household necessities hold certain year-in-and-year-out profits for retail druggists. Each year the makers of Diamond Dyes, Wells & Richardson Company of Burlington, Vt. publish a book – ‘The Diamond Dye Annual and Direction Book.’ ‘The Diamond Dye Annual and Direction Book’ is handsomely printed on a good grade of paper; illustrations are by competent artists, and the book is written by a corps of experts on the subject of dyeing.  Probably one of the most valuable features of ‘The Diamond Dye Annual’ is the testimony of a great many women who have used Diamond Dyes with complete success every year. Some clever women discover new uses to which Diamond Dyes may be put. The makers of Diamond Dyes quickly seize upon these suggestions and spread the news to women throughout the country. This they do by using big advertising space in magazines, newspapers and through ‘The Diamond Dye Annual and Direction Book.’”

Any enterprising scenic artist who discovered an affordable alternative to dry pigment, such as Diamond Dyes, would be an immediate benefit to both the company and himself. This new use accentuated the versatility of Wells, Richardson & Company’s signature product.

The article concludes with, “The success of the Wells & Richardson Company, which began in a very small way and grew to mammoth proportions through steady, consistent, heavy advertising, holds a lesson for every retail druggist in the country. No better object lesson of the truth of the saying, ‘It pays to advertise,” could be found that the phenomenal sale of Diamond Dyes.’ The general manager of the Wells & Richardson Company, Mr. George M. Besett, recently said in an interview: ‘We are making and selling a household necessity. There is no woman in the country – no matter how large her bank account – who can afford to discard clothes merely because their color has gone out of fashion or because they no longer please her.’ 

I think of the many high school theatre students that are provided latex paint – because it is readily available from lumber stores and perceived as cheaper (no exorbitant shipping fees). Similarly, at the turn of the twentieth century, Diamond Dyes were readily available at local drug stores because they were manufactured for a different purpose, like latex paint for residential uses.  Just as there is a distinct difference between backdrops created with residential latex paint and those created with dry pigment or scenic paint, so was there a different between drops created with created with dye and those created with scenic paint. Then, just as now, the majority of the audience members could not tell the difference. 

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Regardless of whether Cox was the first scenic artist to use Diamond Dye for a theatrical scenery or whether he just popularized it, the process was ideal for touring vaudeville acts and tent shows.  Unless the production was dependent on scenic illusion, the Diamond Dye process to paint scenery was brilliant.  Again, the dye product was readily available in many small towns and the process facilitated the easier transportation of lightweight scenery.

Tomorrow I will look at the individual credited with creating the Diamond Dye process for scenery – Jesse Cox.

To be continued…

Every Thanksgiving I remember a particular Scottish Rite drop accessory that makes me chuckle.

Over the years, the Grand Forks Scottish Rite lost the original ship that accompanied the 1914 seascape. Some ingenious stage hand decided to press a Thanksgiving decoration into service for the degree production. Enjoy the day!

Copyright © 2019 by Wendy Waszut-Barrett

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. In light of yesterday’s post about dye drops, now is a good opportunity to unwrap Jesse Cox’s purported contribution and his scenic art process. 

In 1983, Mrs., Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, an happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor of a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s.  This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. They museum staff that gave me a tour of the museum during their off season, did not really Cox’s artifacts or the scenic art painting process.

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them” (an I am sure they were before child labor laws). Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.”

So what makes a product indispensable? Availability.  In 1915, “The Practical Druggist” included the article, “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book,” noting “Diamond Dyes are unquestionably staple goods for druggists.”

The article continues:

“For more than thirty-five years no drug store could claim a complete stock unless it carries a full supply of Diamond Dyes. These famous household necessities hold certain year-in-and-year-out profits for retail druggists. Each year the makers of Diamond Dyes, Wells & Richardson Company of Burlington, Vt. publish a book – ‘The Diamond Dye Annual and Direction Book.’ ‘The Diamond Dye Annual and Direction Book’ is handsomely printed on a good grade of paper; illustrations are by competent artists, and the book is written by a corps of experts on the subject of dyeing.  Probably one of the most valuable features of ‘The Diamond Dye Annual’ is the testimony of a great many women who have used Diamond Dyes with complete success every year. Some clever women discover new uses to which Diamond Dyes may be put. The makers of Diamond Dyes quickly seize upon these suggestions and spread the news to women throughout the country. This they do by using big advertising space in magazines, newspapers and through ‘The Diamond Dye Annual and Direction Book.”

One might immediately recognize that an enterprising scenic artist who decided to use this readily available material to make theatre scenery would be an immediate benefit to both the company and himself, becoming an example of the versatility of the company’s signature product.

The article concludes with, “The success of the Wells & Richardson Company, which began in a very small way and grew to mammoth proportions through steady, consistent, heavy advertising, holds a lesson for every retail druggist in the country. No better object lesson of the truth of the saying, ‘It pays to advertise,” could be found that the phenomenal sale of Diamond Dyes.’ The general manager of the Wells & Richardson Company, Mr. George M. Besett, recently said in an interview: ‘We are making and selling a household necessity. There is no woman in the country – no matter how large her bank account – who can afford to discard clothes merely because their color has gone out of fashion or because they no longer please her.’ 

I think of the many high school theatre students that are provided latex paint – because it is readily available from lumber stores and perceived as cheaper (no exorbitant shipping fees). Similarly, at the turn of the twentieth century, Diamond Dyes were readily available at local drug stores because they were manufactured for a different purpose, like latex paint for residential uses.  Just as there is a distinct difference between backdrops created with residential latex paint and those created with dry pigment or scenic paint, so was there a different between drops created with created with dye and those created with scenic paint. Then, just as now, the majority of the audience members could not tell the difference. 

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Regardless of whether Cox was the first scenic artist to use Diamond Dye for a theatrical scenery or whether he just popularized it, the process was ideal for touring vaudeville acts and tent shows.  Unless the production was dependent on scenic illusion, the Diamond Dye process to paint scenery was brilliant.  Again, the dye product was readily available in many small towns and the process facilitated the easier transportation of lightweight scenery.

Tomorrow I will look at the one who was credited with creating the Diamond Dye process for scenery – Jesse Cox.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

While looking for information about scenery delivered by Sosman & Landis in 1913, I stumbled across an interesting publication – “How to Enter Vaudeville” written by the Frederic LaDelle that same year. The content of the book covers a lot of ground, providing an interesting snap shot of the production process and terminology in 1913. There was also a guide to theatre manufacturers, suppliers, and services. The “Dealers in Theatrical Goods,” however, only four studios were listed under “Theatrical Scenery.” I don’t know if this speaks to Frederic LaDelle’s limited connections or if other scenic studios perceived this publication as lacking importance.

The four dealers in theatrical goods were listed in the following order:

1. John C. Becker, 143 Southport Ave., Chicago, Ill.

2. Manning Studio, Rochester, N.Y.

3. Eugene Cox, 1528 Van Buren St. Chicago, Ill

4. W. Crosbie Gill, Warrick’s Theatre, N.Y.

N J. Pausback purchased advertisement space in the book, yet was not listed as a theatrical dealer in the directory. The add was worth mentioning.

Here is Pausback’s 1913 ad on “How to Enter Vaudeville:”

“DYE SCENERY! Papier mache properties and stage effects. The best scenery for vaudeville performers is that which is known as ‘Dye Scenery.’ “It is brighter in color and can be folded and packed into trunks and traveling cases without the slightest injury to the scene itself. Dye scenery is also lighter in weight than the old kind and is therefore an important item in reducing excess baggage expense which amounts to considerable in the course of the season. Many acts make good on scenery and stage setting alone, and in such acts as Japanese, Chinese, Western Cowboy, Indian and in fact all impersonations of race or nationality, the scenery should be best. Write me a letter stating your requirements, and the nature of your act and I will submit you a rough sketch and quote you a satisfactory price on your work. N. J. PAUSBACK, Theatrical Contractor 6539 Ellis Avenue, Chicago, Illinois.”

I have continually explored the production of dye scenery in many past posts over he past few years, but it is worth repeating at this particular juncture in the life and times of Thomas G. Moses.

During the first decade of the twentieth century, much traveling scenery was created with aniline dye, allowing drops to be easily folded and packed in a trunk (for additional information, see past posts # 548-550).  This process ensured that the painted composition would not crack or dust off during transit and repeated use. Dye drops were lighter and far easier to handle, perfect for tent shows, midway amusements, circuses, and vaudeville troupes. The vibrant colors also worked well for certain stage effects, such as sunsets and stained glass.  All you needed to do was mix the dye with a binder, such as gum arabic. The right mixture provided maximum adhesion and minimal bleeding of color. However, just like any chemistry project, you had to get the binder/water/dye ratios correct or it was a big bleeding mess.  Dyes were also used for inking the drawing. It was a wonderful and versatile “go-to” product for painting and staining.

Dry pigment was also used in place of dyes, applied in a series of thin glazes. Many of the dry colors remained quite vibrant, even when watered down, but were not comparable to certain anilines. The earliest translucencies for the stage were simply produced with a thin glaze of dry pigment, but dry pigment glazes could not hold a candle to aniline dyes in terms of vibrancy.

In the past, I have examined dye drop collections at historic theaters. For example, in Madison, Wisconsin, all of their drops are dye drops, with the majority are kept off stage in a nearby storage room, as there are more drops than lines. Now kept in plastic tubs, each drop is easily accessible to immediately hang for a degree (for more information about this particular installation, see past post #107). There are also several lovely examples of dye drops on display at the theater museum in Mount Pleasant, Iowa.  This museum purports that scenic artist Jesse Cox invented the diamond dye process for theatre drops, instigating the immediate popularity of dye drops for touring vaudeville acts and tent shows. Whether or not Cox was the first to popularize dye drops in immaterial, but the increased resulted in dye drop ads, such as Pausback’s in “How to Enter Vaudeville.”

In addition to vaudeville and tent shows, many circus spectacles also used dye scenery. In 1906, Thomas G. Moses created a dye canopy for Al Ringling (see past post #548). Moses describes how dye work was still vulnerable to water, causing Ringling to greatly chastise him after one particularly sever rain storm. Just because a backdrop was painted in dye did not mean that it could not be water damaged.  A dye drop simply helped the painted composition stand up to excessive wear and tear, it did not make it water proof; an application of paraffin helped waterproof canvas outdoors.

Over the years, dye drops have made their way into various performing arts collections. The historic examples greatly range in both size and quality.  However, it is the brilliance of color that often remains, bringing to mind the spirit an energy that characterized many touring shows that left their mark on small Midwestern towns. I will continue down the dye drop road and Jesse Cox’s perceived role in this history tomorrow.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

I stumbled across an interesting publication while looking for information about Jackson, Michigan.  “How to Enter Vaudeville” was published by the Frederic LaDelle the same year that Sosman & Landis delivered scenery to the town. The content of the book is interesting and cover a lot of ground, providing an interesting snap shot of the production process in 1913. Below is the list of what was contained in LaDelle’s publication:

“CONTAINING – – The Keynote of Success Now to Start in Vaudeville, How to make a success. How to secure an original act. What kind of act to get up. Rehearsals. How to report for rehearsals. How to rehearse. Breaking in your act. Cues. Properties. How to finish your act. How to dress your act. Where to work on the stage. Scenery. Billing and property lines. How to get some publicity. Vocal and instrumental music, free. Conduct off the stage. A dictionary of stage terms, fixtures and appurtenances, Vaudeville slang and phrases. Characterization and impersonation. The orchestra. Headliners. How to overcome stage fright. Encores. How to get a reputation quickly. Distinctiveness and originality. How to enter the dramatic profession. Ordinary acts and big reputations. Theatrical publications. Circuits, Contracts, House rules. Booking agencies. Writing to booking agencies.  Booking agents partial to beginners. Salaries. Seeing booking agents personally. Writing for engagements. Professional letterheads. Stage conduct. After receiving contracts. Presenting yourself to the stage manager. Handling your baggage. Behavior toward stage managers. Closing an engagement. Booking your act through Europe and the continent. Firms dealing in theatrical goods. Securing press notices. Advertising your act. How acts are reported. Questions and answers. Ninety vaudeville acts explained. How to interest your audience. Eccentric wardrobe and makeup. Eliminating crudity and amateurishness. Process of making up illustrated. Making up for various races, nationalities and characters.”

However, it was the inclusion of “a dictionary of stage terms, fixtures and appurtenances” that really caught my eye. We often look for technical terms in technical manuals. We forget to consider other sources, such as “How to Enter Vaudeville.”  Although written for the performer, it provides a wealth of information about theatre technology. Stage terms vary from country to country, region to region, and sometimes decade to decade.  LaDelle’s publication provides insight into theatre terminology specific to Jackson, Michigan, in 1913.

In LaDelle’s dictionary section (page 48), I want to point out the following definitions as it forms some technical context for this period as I continue to write about the life and times of Thomas G. Moses:

Box set. A set of flats representing a scene, where each piece is lashed to the other forming a square box.

Battens. Wooden strips attached to drop.

Border lights. Those lights suspended above the stage.

Bunch lights. A cluster of lights in a reflector attached to a movable iron stand.

Cyclorama drop. A suspended drop that encircles the stage from back up to tormentor wings

Drop. A painted scene suspended by ropes through pulleys in gridiron.

Dimmer. A dimmer is an electrical device for gradually brightening or lowering the lights of the theatre. It is used for production effects as sunrise, twilight, etc. The larger theatres have their own dimmers, but where the act calls for this effect they should be included in the property of the performer.

Flats. Pieces of scenery that are made rigid by frames and are placed and replaced by hand.

Fancy borders. Strips of painted scenery suspended across the stage to match different scenes.

Footlights. Row of lights sunk just below the floor level at the front of the stage.

Grand teaser. A fancy border suspended behind the asbestos curtain and in front of the house curtain.

Grips. Those stage hands that place and replace flats on stage by hand.

House curtain. This curtain is the first back of the asbestos curtain and is generally painted with some attractive scene, such as a landscape or some similar view. A good many houses also paint advertisements of local merchants on the house curtain.

Leg drop. A suspended scene with an opening cut out of it, forming a leg on each side.

Olio or street drop. A suspended scene representing a street dropped directly behind tormentor wings. [Note that this defines the olio as a scene and not machine].

Stage braces. Strips of heavy wood, with hook in one end and eye in the other. They are hooked into the eye in the flats and the other end screwed down to the stage to brace the piece of scenery.

Sky borders. Strips of blue cloth suspended by lines across the stage to represent the sky.

Scrim drop. A suspended scene with an opening in it backed with transparent gauze. [does this not sound like what we call a cut drop?]

Spot lights. A circle of intense white light thrown from the balcony or gallery, upon the performer while on the stage. Flood lights are produced by enlarging the circle of light so as to light the entire stage with strong light from the front of the house.

Strip Lights. A strip of lights at either side of the stage opening.

Tormentors. Fancy draped and painted wings, one on each side of stage, fixed permanently.

Tormentor border. The strip of painted drapery suspended above and just behind tormentors.

Working in one, two, etc. The stage is divided on each side by imaginary spaces or entrances which are between each wing; for instance, working in one, means that an act is using that space on stage from street scene to footlights; being the space from the footlights to an imaginary line from one tormentor wing to another. Working in two, means using the space in front of the second wing which is generally set four feet back of the tormentor wings. The same idea holds for working in three, four, full stage, etc.

For more definitions and a scan of the entire publication, here is the link from the Library of Congress page on Bob Hope and American Vaudeville:

http://memory.loc.gov/cgi-bin/ampage?collId=bobhope&fileName=hope41Apage.db&recNum=0

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Jackson boasted a modest population of 31,433. That year, Thomas G. Moses wrote that Sosman & Landis delivered “a new interior” for Jackson, Michigan.” The studio also delivered “a new interior” to Chicago’s Olympic Theatre in 1913. A “new interior” signified a box set, constructed with series of interchangeable flats that could be lashed together with cords and cleats. The theater that received the interior set in Jackson was the Athenaeum.

Julius Cahn’s Official Theatrical Guide for the 1913-1914 season listed the Athenaeum as Jackson’s sole performance venue for touring productions. The Athenaeum first opened in 1898, two years after the town lost the Hibbard Opera House to fire (“Bessmer Herald,” 17 Dec., 1898, page 19). Built by Charles C. Bloomfield, the “Bessmer Herald” reported that “Jackson’s New Theatre,” the Athenaeum, was a “playhouse second to none in the State outside of Detroit.” Cahn’s Guide also noted that this ground floor theater had a seating capacity of 1290, with 462 on the main floor, 328 in the balcony and 500 in the gallery. In addition to the standard seating, there were 20 boxes.

The proscenium opening at the Athenaeum was 34 feet wide by 26 feet high, a standard size for the day. The depth of the stage was 34 feet with the stage width measuring 64 feet. The measurement from the Athenaeum’s stage to the rigging loft was 50 feet, the fly gallery 24 feet.

Beyond a few technical descriptions, I uncovered little about the interior set or other scenery on the stage. However, discovering a new publication made my entire search worthwhile. In 1913, an author in Jackson published 1913 an illustrated course of instruction on “How to Enter Vaudeville.” Copyrighted by the Frederic La Delle Co. the course contents are worth noting:

“CONTAINING – – The Keynote of Success Now to Start in Vaudeville, How to make a success. How to secure an original act. What kind of act to get up. Rehearsals. How to report for rehearsals. How to rehearse. Breaking in your act. Cues. Properties. How to finish your act. How to dress your act. Where to work on the stage. Scenery. Billing and property lines. How to get some publicity. Vocal and instrumental music, free. Conduct off the stage. A dictionary of stage terms, fixtures and appurtences, Vaudeville slang and phrases. Characterization and impersonation. The orchestra. Headliners. How to overcome stage fright. Encores. How to get a reputation quickly. Distinctiveness and originality. How to enter the dramatic profession. Ordinary acts and big reputations. Theatrical publications. Circuits, Contracts, House rules. Booking agencies. Writing to booking agencies.  Booking agents partial to beginners. Salaries. Seeing booking agents personally. Writing for engagements. Professional letterheads. Stage conduct. After receiving contracts. Presenting yourself to the stage manager. Handling your baggage. Behavior toward stage managers. Closing an engagement. Booking your act through Europe and the continent. Firms dealing in theatrical goods. Securing press notices. Advertising your act. How acts are reported. Questions and answers. Ninety vaudeville acts explained. How to interest your audience. Eccentric wardrobe and makeup. Eliminating crudity and amateurishness. Process of making up illustrated. Making up for various races, nationalities and characters.”

I’ll look at the section: “A dictionary of stage terms, fixtures and appurtences” tomorrow.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote that Sosman & Landis delivered, “A new interior for the Olympic Theatre.”  This meant that they designed and installed a new painted interior set (box set) for the stage at the Olympic Theatre. An interior set included a series of interchangeable flats that could be lashed together to form a box set. I transported an interior set to the Matthews Opera House (Spearfish, South Dakota) that was manufactured by the Twin City Scenic Co. around that time and set it up. Cleats and cords lashed the various flats together, and we rapidly assembled the set in a manner of minutes. Previously, I had set up a series of vintage interior sets at the Czech-Slovak hall (C.S.P.S. building) that was similar in construction for documentation.  In both instances, I was amazed at how quickly a box set could be assembled and torn down. What an ingenious system.

In regard to the theater where Sosman & Landis delivered the interior set, Chicago’s Olympic Theatre was located on Clark and Randolph streets. At the time, Sam Lederer managed the venue, featuring Klaw & Erlanger productions. The ground-floor theater, illuminated by electricity, had a seating capacity was 1,584. The proscenium opening measured 37 feet wide by 24 ¾ feet. The stage was 26 ¾ feet deep with a back stage width of 71 feet. The height to the rigging loft was 53 ¾ feet and the height to the fly gallery 25 feet. The under stage area was 8 feet deep. A pretty standard space for the time.

Like many entertainment venues in Chicago, the Olympic Theatre has a very complex history. Originally named the New Chicago Theatre in 1873 by James H. McVicker, it was built on the previous site of Kingsbury Hall, a building that had been destroyed during the great fire of 1871. This venue enjoyed a series of names changes between 1873 to 1893, switching from the New Chicago, to Grand Opera House, Cristy’s Opera House and the Music Hall. An extensive remodel of the space then resulted in the newly named Olympic Theatre.  However, in 1907, a fire caused extensive damage to the building, resulting in the rebuilding of the space. When Sosman & Landis delivered the interior set, it would have been an extension of their stock scenery collection.

The Olympic Theatre name did not last, however, and soon became Schubert’s Apollo Theatre. This name change was after the 1921 Apollo Theatre at Dearborn and Randolph Streets was converted into the United Artists movie house in 1927.

It is the repetition of theater names across the country that makes tracking down the history of some venues so very difficult. I of ten feel like a detective, verifying all of the specifics before including any specific details.

The Olympic Theatre/Schubert’s Apollo Theatre building was eventually closed and razed in 1953 for a Greyhound bus terminal. Unfortunately, even the bus station did not last and was replaced with the Chicago Title & Trust building in 1992.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote, “We did one act for Mrs. Leslie Carter, an Old English Garden.” That same year Carter starred in “a magnificent revival” of her great success ‘Zaza’ with “fine scenic equipment and a strong cast’” (Lansing State Journal, Michigan, 1 April 1913, page 6). This was likely the scenery delivered by Sosman & Landis studio.

In 1913 Carter’s name was also mentioned in regard to theater superstitions.  An article in “Journal Gazette” reported, “Theatre Folk Are Superstitious” noting, “Mrs. Leslie Carter always raps three times on the wings before walking on stage, and she thinks the precaution will banish all evil influences” (Journal Gazette, Mattoon, Illinois, 4 July 1913, page 7).

Mrs. Leslie Carter was born Caroline Louise Dudley in Kentucky, and the exact date of her birth various greatly between sources. Carter’s acting career began in earnest after a scandalous divorce. She selected life on the stage instead of life with her first husband. By 1906, Mrs. Leslie Carter married a second time, yet under her maiden name.  On July 14, 1906, the “Portsmouth Herald” announced:

“Queer Ceremony Performed Here.  Mrs. Leslie Carter Becomes A Bride. Famous Actress Marries a Young New Yorker.” 

The article reported, “One of the most mysterious marriages ever celebrated in this city was quietly performed shortly after half-past eleven on Friday forenoon by Rev. Henry Emerson Hovey, Pastor of St. John’s Episcopal Church. According to all evidence at hand, the bride was Mrs. Leslie Carter, the famous American actress. The groom was William L. Payne of New York, who calls himself a student. The Lady was married under the name of Caroline L. Dudley and gave her age as thirty. She told the clergyman she had never been married before.” The article described the families, “Payne’s birthplace was given as Elmira, N. Y., and his father’s name as Alfred T. Payne. The occupation of the father was stated to be that of a painter, his age fifty-eight and his present residence New York City. The elder Payne was born in England. The maiden name of young Payne’s mother was Frances Pelton and her birthplace was Rollins, Pa. She is fifty-one years old. ‘Miss Dudley’s’ father was Austin Dudley, formerly a Chicago lawyer. His age was sixty years at the time of his death and the license states that he was a Kentuckian by birth. The maiden name of the mother was Caroline Stevens and she was born in Lexington, Kentucky. Her present age, according to the license, is fifty-five years.”

Of the actress, the article noted, “Mrs. Carter was born on a plantation only a short distance from Lexington, Ky. Her father was of English parentage and her mother was a member of a prominent Kentucky family. When she was sixteen, her father died and her mother was soon afterward stricken with what was believed to be a fatal illness. In this crisis of her career, the young girl was married to Leslie Carter, a wealthy Chicagoan and a friend of her family, that she might not be without a protector. Contrary to the expectation, Mrs. Dudley recovered and her daughter’s marriage proved unhappy. A separation of husband and wife followed and later came divorce.

Mrs. Carter was left without means and after considering her situation, sought employment on the stage. After many futile attempts, she secured an interview with David Belasco and the great manager recognized at once that he had met one who desired to be a great actress. Mrs. Carter was given her first opportunity in a play called, ‘The Ugly Duckling,’ written for her by Paul Potter, who dramatized ‘Trilby.’ This was at the Broadway Theatre, New York, on Nov. 10, 1890. Her first venture was a doubtful success, but she was brave and her manager believed in her ability. There were years of discouragement and partial success and finally, in 1898, Mrs. Carter appeared in ‘Zaza.’ Since then, her career has been one of continual triumph.”

Despite the obvious obstacles and scandals listed above, Carter became known as the “Bernhardt of America,” especially achieving fame for her roles in “The Heart of Maryland” (1895), “Zaza” (1898),  “Madame Du Barry” (1901), and “Andrea” from 1895-1905. In 1906, the same year as her marriage to Payne, she broke with Belasco. This proved to be a fatal move for her career as it began a downwards spiral. Payne was often her leading man and later managed her business affairs, another unfortunate move for the actress. As her career began to fizzle, Carter turned toward silent movies and supporting roles on Broadway. She passed away in 1935 of heart disease and is buried in Woodland Cemetery in Dayton, Ohio. Her theatrical career was fictionalized in “Lady With Red Hair,” portrayed by actress Miriam Hawkins in 1940. Her Payne was a technical adviser for the film.

Maurice Barrymore, father of Lionel, John and Ethel Barrymore, once recalled one entertaining story about Carter. The elder Barrymore was the leading support to Carter when she appeared in David Belasco’s production “The Heart of Maryland.” Barrymore told the following story about the Kansas City production to a local newspaper: “ In the big third act Barrymore, the hero, was in the hands of designing villain, who had caught him off guard. Two rookies bound Barrymore’s hand and the villain, left alone with his prey, taunted the hero. It was Barrymores “business” to squirm and to wail. ‘Oh, if my hands were free,’ he would repeat several times, as he tried vainly to break the rope which held him fast. The villain would approach and snap his fingers right under Barrymore’s nose. ‘Loosen my hands, you devil!’ Barrymore would exclaim. One night at this great and exciting moment in the scene Barrymore had just finished his dare to the villain to loosen his hands when the traditional gallery god yelled out in a sharp, clear voice: ‘Why don’t you kick him in the shins, Barry; your feet ain’t tied.’ Barrymore cursed that part from that moment until his dying day” (The Herald, Crystal Lake, Illinois, 6 Feb. 1913, page 3)

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote, “We did a hurry up job of ‘Girls’ – a burlesque show for Geo. Dameral [sic.].” Keep in mind that family burlesque was primarily parodies that followed a variety show format, like vaudeville. Burlesque included comically exaggerated imitations in a dramatic work.

In regard to the 1913 entry, it is likely that Moses was referring to Damerel’s production of “The Heart Breakers” when he wrote, “Girls.” Damerel toured with ‘The Heartbreakers” and “The Knight of the Air” that year. “The Heartbreakers” was a play was about the Heartbreakers Club, an organization of young men “formed for the purpose of lacerating the feelings of young women who [had] ruthlessly trifled with the affections of young men” (Nashville Banner, 7 Jan. 1913, page 5). The young men sought revenge after being jilted by kissing the young women who have wounded their hearts. In seeking one particular girl the leader of the club loses his heart. The musical was managed by M. H. Singer, and enjoyed a six-month run at the Princess Theatre in Chicago in 1913. This is likely when Damerel sought out assistance from Moses at Sosman & Landis. The burlesque show had already been on the road for five years prior to their stint in Chicago. The production was described by the “Nashville Banner” reporting, “”It is a question whether this play is a vehicle for good or bad influence on the stage, but it is a clever performance. Its doubtful air is offset by making a burlesque of what might be termed some risqué situations” (7 Jan. 1913, page 5).

In 1913, Damerel was also featured in the leading role for  “The Knight of the Air” (Star Tribune, 16 Nov. 1913, page 60). The operetta was written by Bela Jenbach and Leo Stein with music by Herman Dostal. The show satirized the current craze for “aeroplaning.” Damerel was quite a character and newspapers loved him.

In 1913, an interesting article appeared in the “Star Tribune” that provides a little insight into Damerel at this time (Minneapolis, Minnesota, 21 Nov. 1913, page 7):

“George Damerel has developed a dual personality. Oh, yes, he’s still matinee idol. The folks on the other side of the footlights won’t let him give up that side of his character. And he just couldn’t give it up even if he wanted to, which he doesn’t. He dances and sings and makes love as ‘Knight of the Air’ with much ginger as he did in ‘The Merry Widow.’ Because he’s just naturally a gingery person, his French ancestors are probably responsible for that. And he loves it. He declared so yesterday as he came dancing off the stage at the Orpheum at the close of the Vienese [sic.] operetta. And he’s going to keep right on dancing and singing and making love before the footlights until – to his own words – he’s too old. Imagine George Damerel too old! And right here’s where the new side of his character comes in. He is a businessman. He’s owner and manager of the tabloid opera he’s in this season and tremendously interested in the business side of it. He pays himself a salary and also gives his wife her pay envelope each week along with the other members of the company. And when all expenses are paid he pockets the profits, which is also interesting.

When he ceases to please – that is when he drops off the matinee idol side – he’s going in for the business end of the show business exclusively. The business side of the performance doesn’t occupy quite all of Mr. Damerel’s attention off the stage. For there’s little 5-year-old Donna Celeste Damerel who inherits a good deal of the vim of her lively father and demands a large chunk of his attention. Mr. Damerel says that if she wants to go on the stage when she’s older, he’ll raise no objection. ‘I’ll feel perfectly contented to have my daughter on the stage. The pitfalls and dangers are exaggerated. There’s no reason for objection. If one has talent, it’s smooth sailing. And my little girl has already shown that she has talent.”

In 1907 the Damerel married Myrtle Vail, mother of Donna. Vail was only 16 at the time and a vaudeville actress touring with Damerel in the “Heart Breakers.” In 1913, the “Coshocton Daily Times” included three separate articles on the popular vaudeville artist (11 March 1913, page 3).

One of the articles described Damerel’s dual roles as both actor and ball player:

“George Damerel who will be seen in the leading role in the ‘Heart Breakers’ the latest of musical comedies is under the management of Mort H. Singer, was a professional ball player before he took up the stage. He was a pitcher in the Great Northern League, having started with the Grand Forks team at the same tie that Deacon Phillipi was playing in the Fargo, North Dakota, club.

Damerel was finally drafted to the Minneapolis club, during the time that Perry Weedon was captain, and although he has been out of baseball for a number of years, yet he has never been released by Minneapolis. Each summer if he is not acting he takes about three weeks with the team and practices with them, as he thinks baseball is the best exercise in the world and that he is ready to put in another hard season of traveling. Mr. Damerel was asked why he gave up the profession of base ball and in reply said that he found out that he was not what you would call a wonder at the game and as he had a good voice, he had been advised to try the stage. Also another thing he found that actors were better paid than ball players unless they were top notchers. The young man is an ardent fan and can be seen at all times to back his judgment as for instance last season he cleaned up quite a tidy sum on the New York Nationals, winning the pennant and then came back and bet that the Red Sox would win the world’s series. This early spring he wagered that the Washington team would be in the first three at the end of the season and the way that they played ball shows that the young man must watch the game quite closely. Mr. Damerel is an all around athlete, being a fine swimmer and he has had the gloves on with all the fighters of any note.” 

On the same page, the “Coshocton Daily Times” included another article on Damerel, pictured with his wife Myrtle Vail (11 March 1913, page 3).  Under the heading “Footlight Flashes” the caption described, “George Damerel and Myrtle Vail Singing ‘Your Eyes, Your Smile and You’ in ‘The Heart Breakers.” This dance between Damerel and Vail in “The Heart Breakers” was said to have eclipsed his performance in the “The Merry Widow” waltz.  

Later in life, Damerel became best known as husband to Myrtle Vail. Vail achieved even greater fame as a vaudeville actress, film actress and writer. She was a well-known radio personality from 1932-1946, starring in the popular show “Myrt and Marge.” She created, wrote, and starred in the show, playing the role of the experienced chorus girl Myrt who takes the inexperienced chorus girl Marge under her wing. Vail’s actual daughter Donna paled the role of Marge. The radio serial was eventually transformed into a film, with the film’s plot centering on Myrt Spear’s touring vaudeville revue. Although Myrt’s show was full of talent, it lacked the necessary funding. In steps a lecherous producer who will help, but only if he can romance the young chorus girl Marge Minter. It doesn’t take much imagination to compare the tale with Vail’s own life as a chorus girl and early marriage to her husband in 1907 that subsequently resulted in their marriage and immediate birth of their daughter. Interestingly, Myrt, with the aide of Marge’s boyfriend step in to save the revue and the young chorus girl from the clutches of the producer. Other notable characters in the film were some comical stagehands, actors who were the famed Marx Brothers.

As an older actress, Vail became known for her roles in “A Bucket of Blood” (1959) and “Little Shop of Horrors” (1960), written by her grandson Charles B. Griffith.

To be continued…