Tales from a Scenic Artist and Scholar. Part 864 – The Elks Tooth, 1913

Copyright © 2019 by Wendy Waszut-Barrett

Sosman & Landis delivered scenery for a production of  “The Elk’s Tooth” in 1913. An elk’s tooth was known for good luck, and was incorporated into watch fobs, tie clips, necklaces, earrings and other personal artifacts at the time. It was also the theme for a play written and staged by H. L. Brown. The play became associated with the Benevolent and Protected Order of Elks.

A vintage BPOE elks tooth watch fob.
Postcard for the BPOE, 1913.

On October 1, 1913, Oregon’s “La Grande Observer” included the article about the production of
“The Elks Tooth” with scenery by Sosman & Landis:

“Seat Rush is on Saturday. The Elk’s Tooth is a great big extravaganza of bright, wholesome comedy, catchy music, clever dancing all superbly mounted with special scenery and gorgeous costumes especially made and designed for this especial piece. The scenery was built and painted by the big Chicago firm of Sosman & Landis and is without doubt the finest ever brought to this city. Act 1 represents a big modern ocean liner at sea, and is considered to be the most complete setting of a ship on the stage today. Act II is the shore of a south sea island with a wealth of tropical foliage. Act III shows a south sea island village of thatched roof huts over looking the ocean in the distance. A special crew of ten stage hands will be required to handle the scenery alone at the performances next Monday and Tuesday nights, Oct. 6th and 7th.”

“The Elk’s Tooth” was described in the “La Grand Observer” on Oct. 6, 1913: “The play opens on board an ocean liner, which is lying in a bay of a south seas island repairing machinery. Among the many passengers who are on board are two American tourists traveling around the world under a wager, disguised as a Dutchman and a tramp. The plot hinges on these two characters. At the close of the first act, a genuine southern storm comes up and the ship narrowly averts being wrecked on he rocks. During the storm, the Dutchman and the tramp are blown overboard, while the ship catches fire and is blown out to sea with all on board. Fortunately a chicken coop is blown overboard, to which the two men cling until morning, when they are washed ashore. As they land on the island and are contemplating a search for food, a tribe of cannibals overpowers them and ties them to trees. The cannibals build a big fire and prepare for a feast when they discover the Elk’s tooth worn by the Dutchman, Hostilities cease, and, very much to the surprise of the American’s they crown the Dutchman king. The mystery surrounding the elk’s tooth provides the theme for a subsequent developments and final conclusion of an interesting and thrilling story. The ludicrous situations in which the two comedians find themselves furnish an abundance of humor that is ever clean and wholesome, and the beauties of a southern tropical island form an appropriate setting for the choruses and dances” (page 4).

From the “Arizona Republic,” 7 March 1916 page 12
From the “Billings Gazette,” 6 Oct 1908 page 8
From the “Salt Lake Herald,” 25 Feb 1909 page 11

The cast of characters is quite humorous in itself. The Dutchman is named Weinie Wurst. The Tramp is named Easy Tyme.  The S. S. Sea Queen crew includes Captain Blowhard, mate Bowling Knott, and Griddle, the cook.  The cannibals living on the south sea island of Kokomo are led by Cookem Quick, the chief. The titles of the songs are not as creative, but range the gamut from “Oh, Merry Maiden” to “By Right and Discovery.”

Of the production, the “Statesman Journal” reported that H. L. Brown’s operatic comedy was “recognized as the greatest production for Elks’ theatricals in the country…a carload of scenery and equipment is carried by Mr. Brown, the director” (5 Jan. 1913, page 4). So popular was “The Elk’s Tooth,” that it later became a movie in 1924.

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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