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…
