Tales from a Scenic Artist and Scholar. Part 890 – Philadelphia’s Globe Theatre, 1914

Copyright © 2019 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Got an early start on the Globe Theatre, Philadelphia, for New York Studios.”

Two years earlier, Moses wrote that he also painted a New York studios set for “a new theatre in Philadelphia, the Globe.” New York Studios was the eastern affiliate of Sosman & Landis, founded and run by a one-time employee David H. Hunt. Hunt was a theatrical manager, as well as scenic studio founder. In the 1890s he convinced Sosman and Landis to establish the theatrical management firm of Sosman, Landis & Hunt.  By 1910, Hunt convinced Sosman to invest in New York Studios, run by Hunt and his second wife, Adelaide.

In 1914, the “Philadelphia Inquirer” reported, “New Globe Theatre to Open Tomorrow” (May 31, 1914,  page 25). Located on the corner of Market and Juniper Streets, the seating capacity of the Globe Theatre was 2000, with a stage, “equipped with every modern improvement in the line of gridiron, lighting devices, scene shifting apparatus.”  The article noted that the stage also had a clearance of 30 by 50 feet, noting that the Globe Theatre was “located in the shadow of City Hall and in the heart of the business section.” It provided “a suitable place for those who, with business finished still have an hour or two to while away recreation before taking a train for home” (31 May, 1914, page 9). Of the theater, “The Globe stage is large enough to accommodate the most pretentious of vaudeville acts and the acoustic properties are such that in every nook and corner of the building the audience will have no difficulty in hearing as well as seeing all that is transpiring on the stage. A competent orchestra under the direction of Charles Kitch, formerly of the Metropolitan Opera House, has been engaged and the orchestral effects will be supplemented by a $15,000 pipe organ.”

The new Globe Theatre featured vaudeville acts and motion pictures from 11:30AM until 11:30 PM daily.  “Continuous vaudeville” was to prevail at the Globe; with two complete shows every day. Prices for the matinees were 10, 20 and 30 cents, with loges and boxes at 50 cents.

From the “Evening Public Ledger” (Philadelphia, PA) 14 April 1915, page 9.

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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