Copyright © 2020 by Wendy Waszut-Barrett
I explored the life of Frederick R. Megan yesterday. Megan was a salesman for the Kansas City Scenic Co. during the early twentieth century, selling a large scenery collection to the Elks Opera House in Leadville during 1902.
Fred Megan and Thomas G. Moses later purchased the name “Sosman & Landis” after the company closed in 1923. That year Sosman & Landis partnered with Kansas City Scenic Co. to production scenery for productions in Olathe, Kansas. The two companies had worked together over the decades, sharing both artists and designs. One example of their working together was the 1902 scenery collection delivered to Leadville, Colorado.
On February 22, 1923, the “Olathe Mirror” reported “Let’s Go Peggy” was using scenery Sosman & Landis, Chicago, and Kansas City Scenic (page 3). by On March 1, 1923, the “Johnson County Democrat” announced that the Olathe American Legion production, “The Play’s the Thing,” used the scenery for the was by both Sosman & Landis and Kansas City Scenic Co. (Olathe, Kansas page 1).They continued to run the firm successfully throughout the decade, delivering scenery to the Oakland Scottish Rite in 1927.
Today’s posts, jumps ahead of my “Tales of a Scenic Artists and Scholar” timeline, but is being included to provide some additional context for the Tabor Opera House history.
Situated on the shores of Lake Merritt, Oakland’s Scottish Rite was a staggering $1,500,000 project. The painting contract alone for Moses was worth $36,000 (Oakland Tribune, 4 June 1927, page 3). Although this seems an exorbitant, it is on par with what Tabor spent for his opera house in Denver in 1881. Today, these projects would require an estimated $18,000,000.
On Dec. 12, 1927, the “Oakland Tribune” published the article, “Stage Setting and Scenery are Artistic.” The article lists the major players, Moses and Megan of Sosman & Landis, as well as their collaborative endeavor with the Western Scenic Studio. Moses designed the scenery and Megan designed the stage machinery. Here is the article in its entirety as it contains such valuable information, especially in regard to the description of the counterweight system:
“In keeping with the magnificent beauty of the new Oakland Scottish Rite Temple is the stage scenery and equipment installed by Thomas G. Moses, representing the Sosman and Landis company of Chicago. The settings exemplify the degrees of Scottish Rite Masonry and portray an oriental splendor whose style ranges from the Egyptian to the Assyrian, Persian, Gothic, Grecian, Norman Gothic, Babylonian, ending in the land of the Druids of Stonehenge, England.
“Moses bears the reputation of being the most sought-after scenic artist in America. Not only is he known for his masterful production of elaborate scenery and stage settings, but his own hand wields the brush in the majority of his creations.
“Into the stage settings for the Oakland Scottish Rite Temple he has put the knowledge and ability of over fifty years of scenic production work.
“The richness of the stage settings concurs with the art of the ancient courts of Cyrus, Darius and Solomon, through the motif of the scenery is to provide a harmonious background for the colorful robes used in the Scottish Rite degree work.
“The ideas of members conferring the degree were combined with those of the designer. Al painting was done at the new Tempe were the designs could be discussed with the Oakland Scottish Rite officials. The excellent result of the cooperation is apparent in the finished work. Earl Sudderth and Lenn Harris, local artists, aided Moses in the actual painting of the huge settings. [In 1925, Robert Earl Sudderth was listed as a scenic artist working at the Western Scenic Studio].
“The scenery for the Oakland Scottish Rite Temple is the largest Masonic scenery ever to be painted according to Moses. The drops on the stage measure thirty by fifty feet while the average drop for this type of work measure but twenty by thirty-six feet.
“The canvas employed in this work is a heavy six-ounce duck tied to an iron pipe instead of wood. Moses started several months ago painting a complete set of new designs using a large neutral cyclorama, forty feet high and one hundred and thirty feet long, This is used as a background for many of the sets [this is exactly what he delivered to Fort Scott, Kansas a few years earlier].
“A special set of rigging was installed for the operating of the stage scenery. The rigging was designed and planned by Ned [sic. Fred] R. Megan, also of the Sosman & Landis company. Special concentration was given the arrangement and construction of the rigging as the commodious stage of the Oakland Scottish Rite Temple allows thirty-five drops to be raised out of sight, This allows plenty of space for high sets, This is the first Scottish Rite Temple to have wall slots, in which counterweight arbors travel without interfering with the operators. In the old system the operator’s hands were in constant danger f being injured by the counterweight frames. Steel sheaves, with ball bearings, the best tiller rope cable, Cuban bolt hauling lines, irons arbors with counterweights constitute the rigging equipment. Iron pipe battens are used in place of the old style wooden battens. The materials for this rigging was furnished by Oakland foundries. Patterns were shipped from the east while additional ones were made here. Megan was aided in this work by L. A. Abrott, of the Western Scenic studios.” Larry Abrott, owner of Western Scenic Studios, was a member of the Oakland Scottish Rite. In 1908, it was A. O. Sterling and Bart Marlone who opened Western Scenic Studio and Stage Equipment Co. in the Grand Opera House of Des Moines, Iowa. On July 4, 1908, “The Billboard” announced the opening of the firm, adding, “They have a well-equipped studio and are prepared to turn out good work in the shortest time possible. The write wishes them success” (Billboard, 4 July 1908, Vol. 20, page 11). By 1929, Western Scenic Studios offices were located at 1527 Jackson St., Oakland. In 1929, the Sosman & Landis offices were located at 416 S. Kedzie Ave. in Chicago.
Now this article is a pretty big deal, as I cannot think of a comparable one that describes the rigging with this level of detail, the comparison of the old standards and new installation.
To be continued…
I worked for Western Scenic Studios in late 1970’s.
Jack Abrott was just selling Western Scenic to a man named Joe Rhodes, and then moved to Reno, NV.
At that time, Western Scenic set up Tradeshows in Northern California. Set up the draped booths, carpeting, electrical, table and chair rentals, signage, drayage, everything needed for an Exhibitor to display the wares and services they had to offer, to Attendees.
The most profitable thing we did were decorations for “Special Parties.”
Some of the same original hand painted scenery and old props, from the glory days of Oakland’s Movie Industry, (as well as, new canvas’s) was hung floor to ceiling, for example, at the Fairmont Hotel’s Grand Ballroom (and many other Hotels and locations).
A Western themed painting hung on one of the walls and the Fairmont catered western style foods in front of it. A San Francisco Chinatown painted canvas on another wall and Chinese food catered in front of it. MANY different “Themes” could be ordered. We also placed things like white Greek style column that were 12 feet tall. Concrete statues, floral arrangements, A Gazebo on the middle of the room. The Fairmont still had many photos hanging on the Sales Office walls, last time I was there. It was the glory days of Corporate America. Coca Cola spent a whopping $249,000 on a one night party.
They rented every restaurant in Tiberon for their employees! They just had to present a ticket and that paid for their dinner and drinks! They painted the Civic Auditorium walls white with the red wavy stripe of their logo throughout the facility! AND THEN… Had to paint the entire Auditorium back to the dull slate gray that is was. What a waste!
We did special decorations and plant for the Davis Cup Playoffs. I met and had breakfast with McEnroe, Bjorn Borg, Jimmy Connors and was star-struck! I was a big tennis fan! We also did Staging and decorations for a Fredricks of Hollywood Fashion Show. Details of that event I will take to the grave! LOL! Joe built a special turntable for the car maker FIAT. And we travelled to several cities setting up their auto display at big Car Shows up and down the West Coast.
Joe Rhodes was a VERY creative man that I liked, and respected.
I was seriously injured on the job at Western Scenic, and through some serious misunderstandings, and a couple lying fellow employees, I was fired. My two years there was some of the most memorable of my life. That, thanks to Mr. Joe Rhodes.
Just some quick input on Western Scenic. I’d like folks to remember the fun and wonderment that we created.
God Bless.
Thank you so much for adding to the history of Western Scenic Studios!