Copyright © 2020 by Wendy Waszut-Barrett
In 1917, Moses wrote, “Another show for Howard, $1,500.00. “Daughter of the Sun.” It was very good in every way. Our scenery is making a big hit.”
Rowland & Howard’s production “Daughter of the Sun” is not to be confused with another 1917 production starring Anna Kellerman, “Daughter of the Gods,”
“Daughter of the Sun” was a play of Hawaiian life, written by Lorin J. Howard and Ralph T. Ketterling. By 1916, Sosman & Landis had already provided scenery for two other Rowland & Howard productions, “Which One Shall I Marry” and “The Smart Show.”
“Daughter of the Sun” was billed as a play combining “romance, international political intrigue and tropical setting in a drama that is replete with stirring incident” (“Indianapolis Star, 7 Oct 1917, page 46). The show was also advertised as a “massive scenic production,” telling the story of a “Hawaiian Butterfly” (“Suburbanite Economist,” 31 Aug, 1917, page 3).
On Dec. 23, 1917, “The Pittsburgh Daily Post” reported, “The story turns on the love of Dr. Grant, and American, for a Hawaiian girl, Loa, known as ‘The Daughter of the Sun.’ She is the sweetheart of Kama, a descendent of Kalakaua. The plot is fostered by a Japanese, posing as a scientist, who plans to aid a rebellion and then take the islands in the name of Japan. Meantime, X-17 of the United States secret service has been sent to get evidence. The Jap persuades Kama to give the young American doctor a germ of leprosy in his tea, but Kama loses his nerve. Nevertheless he retains the bottle in his possession, and when the villain demands it Kama yields and Dr. Grant is inoculated. He is sent to Molokai, but escapes. The physician comes back to face the villain and then it is that X-17, who is a young woman posing as a Broadway actress, reveals her identity and frustrates the Jap. A volcano begins to erupt and all flee for their lives except Grant, who remains to hunt Loa. There are three acts and seven scenes. In the cast are Freda Tymers, Jean Clarendon, James A. Bliss, Blosser Jennings. Virginia Stuart and Leah H. Hatch” (page 40).
“The Morning Call” added, “Rowland and Howard, the producers, have given the play an Hawaiian atmosphere by a wonderful scenic equipment and also a band of native Hawaiian singers….‘A Daughter of the Sun’ is a massive scenic production carrying a carload of their own special scenery” (Allentown, Pennsylvania, 19 Nov 1917, page 10). The article also added, “In all the plays of last season, the Hawaiian play seemed to have the greatest appeal, for throughout the entire season, the play, ‘The Bird of Paradise’ was greeted by wonderful audiences. The present season will no doubt see a number of plays founded on the Paradise of the Pacific.” Hawaii was, and remained, a popular stage subject.
Of the painted settings for “Daughter of the Sun,” newspapers reported, “Exceptional scenery is presented, especially the scene where the high priest calls down a curse upon the Hawaiian girl and man for disloyalty to their race. The curse seems to be answered by the eruption of a volcano and the wrecking of the village” (“Baltimore Sun,” 6 Nov. 1917, page 6).
Moses’ previous business partner, Walter Burridge, made sketches of Kilauea while staying at the Volcano House. Burridge’s source material was used for a huge panorama at the 1893 world fair attraction. Volcanic eruptions drew crowds at not only world fair attractions, but also many other theatre spectacles. It was even incorporated in into degree production for Scottish Rite stage ceremonials. In fact, examples of volcano scene for the stage are still found at many fraternal theaters; they are a wonderful resource for theatre students and popular entertainment buffs alike. The erupting volcano effect is magical, still captivating the most seasoned stagehands when produced. Even under a century’s deposit of dust of dust, this particular stage illusion is fascinating. It may be an old school trick, with panels helping translucent areas simulating plumes of smoke and streams of flowing lava, but it still can make the audience spectator gasp with delight.
The “Allentown Leader” included the article “DAUGHTER OF THE SUN A LYRIC ATTRACTION” (Allentown, Pennsylvania, 13 Nov. 1917, page 2). Here is the article as it took a unique look at the show:
“On the island of Maui in the Hawaiian group, the second island in point of size is the extinct crater of Haleakala. The largest volcano crater in the world. While the crater is that of an extinct volcano; still the possibility of its again becoming active is an ever-present possibility. The crater of Haleakala has an area of 10 square miles or 6400 acres’ its circumference is 20 miles; is 7 ½ miles ling and has a depth of 10,032 feet. These figures are quoted to give some idea of what an enormous affair Haleakala really is. The word Haleakala means “The House of the Sun.” From this translation the idea for the play, “A Daughter of the Sun,” the story of the Hawaiian butterfly, was derived. The Kanaka, as the native Hawaiian is called, before the coming of the missionary in 1819, like all the world tribes, worshipped the Sun as the source of life and nothing was more natural than that this vast crater was the abode of the Sun, and hence it was held in great reverence. The play ‘The Daughter of the Sun,’ was written by Lorin J. Howard and Ralph T. Ketterling and is to be the attraction at the Lyric for the first three days of next week.”
I was fortunate to see the sun both rise and set from the top summit at Haleakala National Park high above the crater. Gazing across the clouds at the big island of Hawaii it feels like you are sitting at the top of the world. This was on the 2017 trip to Maui when I acquired several Thomas G. Moses paintings from a great grandson. If all comes full circle.
To be continued…
