In 1916, Thomas G. Moses wrote,
“I did a drop curtain for Rome, Georgia, and several exteriors.”
The Rome Opera House in Georgia.
On February 8, 1916, the
“Atlanta Constitution” reported, “ROME OPERA HOUSE BEING REMODELED.
“Rome, Ga. February 7 –
(Special)- The Rome Opera House, which is currently owned by the McClure
Ten-Cent company of Atlanta, is being remodeled, and will be opened under the
management of H. P. Diggs, a well-known theatrical man, formerly associated
with local moving pictures” (page 9).
A view of Rome, Georgia.
Unfortunately, the business
venture did not succeed. By November 25, 1916, the “Atlanta Constitution”
reported,
“Neglected Bank Roll in Attempt
to Start Vaudeville in Rome.
“Rome, Ga., November 24. –
(Special) – Ross Conkling, an Atlanta theatrical man, who endeavored to open
the Rome Opera House as a vaudeville and motion picture theater here, neglected
one important detail necessary to such operation, to-wit, a bank roll. He was
given credit by actors, film operators, stagehands, print shops, newspapers,
and the like, but the box receipts on the opening night were attached by Mrs.
Amanda Gray, one of the vaudeville actors, who declares that he is without
funds. An orchestra of seven pieces and five members of a vaudeville company
are stranded here” (page 4).
“Rome Opera House” is above the arch. Rome, Georgia.“Nevin Opera House” is above the arch. Rome, ,Georgia.
Rome Opera House was later
renamed the Nevin Opera House. Located at 321 Broad Street, the original
structure was built by M. A. Nevin at a cost of $21,000, opening on October 1,
1888. With a seating capacity of 800-1,000,
it hosted a variety of performances until 1915. “Julius Cahn’s Official
Theatrical Guide” provides a little more information about the technical
specifications in 1908. The proscenium
measured 26 feet wide, but no height was provided. However, the stage to the
gridiron was 55 feet, suggesting full travel for the drops. The stage to the
fly gallery was 25 feet and the distance from the curtain line to back wall was
32 feet.
The building was destroyed by
fire in December 31, 1919.
In 1916, Thomas G. Moses wrote, “Our big job for Dayton, Ohio
for Fred Dixon is well under way.” In a later entry that year, he wrote, “Drove
down to Dayton, Ohio, to see our new work that had just been installed.”
I have located precious little information about Fred Dixon
or the Dayton project that Moses worked on in 1916. One of the difficulties is
that there were so many Fred Dixons mentioned in the newspapers, but I think
that I found him.
Fred Dixon began his career as a performer, appearing in
papers across the country during the late nineteenth century and was associated
with a variety of touring productions. He was a singer, performing both tenor
and baritone roles in touring shows. He was also known for his acting and theatrical
management abilities.
In 1891, the “Philadelphia Inquirer” reported “An artist
whose work will manifest itself in Bijou production is Fred Dixon, who besides
being a light comedian of reputation is accounted the best comic opera stage
manager in the profession. His many years of service in that capacity with the
famous Boston Ideals and later with the Bostonians, attest the fact, and to him
belongs and is conceded the credit to staging the present reigning New York
comic opera success, “Robin Hood” (12
Nov. 1891, page 8). That year he was appearing with the Gaiety Opera Company
under the management of Albee. Dixon became well known for his part in staging
“Robin Hood” for the Bostonians. By 1896, Dixon was managing the “immense
panoramic extravaganza” of “Cinderella” at the the Arch Street Theatre in
Philadelphia (Philadelphia Inquirer, 25 Oct 1896, page 20).
Fred Dixon performed with the Bostonians production of “Robin Hood” in 1890-1891.
In 1900, Dixon was billed as “Singing Contingent Extraordinaire.” He was noted a previously performing as tenor, with the Bostonians eight years, as well as he original Ko Ko in D’Oyly Carte’s “Mikado” (News-Palladium, Benton Harbor MI, 6 Oct., 1900, page 8). Finally, by 1908, the “Fall River Globe” reported that Fred Dixon was presenting “’Erin’s Isle,’ a beautiful Irish Singing creation and the most pretentious offering of true Irish humor that has ever been attempted in vaudeville” (13 Sept 1913, page 2). And that is where his trail grows cold.
From the “Indianapolis Star,” 7 Oct 1917, page 40.
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” blotter card for sale on eBay.
“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).
From the ‘Pittsburgh Daily Post,” 23 Dec 1917, page 40.From “The Fairmont West Virginian,” 23 Oct 1917, page 5.
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).
From the “Sun News Journal,” (Lancaster, PA) 11 Dec. 1917, page 7.
“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).
Before the volcano erupts and the buildings crumble. The volcano scene produced by Sosman & Landis for the Scottish Rite theater in Winona, Minnesota, 1909.After the volcano erupts and the buildings crumble. The volcano scene produced by Sosman & Landis for the Scottish Rite theater in Winona, Minnesota, 1909.
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.”
Watching the sun rise from Mount Haleakala.
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.
In 1916, Thomas G. Moses wrote, “‘The
Smart Shop’ another show for Howard.”
A scene from the “Smart Shop” with scenery by Sosman & Landis, design by Thomas G. Moses. From the “Sioux City Journal,” 26 Nov 1916, page 12.
Earlier that year, Moses also
designed the scenery for another Rowland & Howard production, “Which One
Shall I Marry?”
“The Smart Shop” was a musical sketch
by Ed W. Rowland and Lorin J. Howard billed as a “Breezy Musical Comedy
Novelty” with ten characters. Bert Peters and Tom Lindsey were responsible for
the score and libretto, with Howard as the director.
From “The Tacoma Times,” April 7, 1917, page 8.
The “Detroit Free Press”
announced the production “combines a display of feminine apparel with sprightly
musical comedy” describing, “The scene is placed in a fashionable dressmaker’s
emporium and there s a brilliant display of stunning gowns and lingerie” (3
Dec. 1916, page 61). The “Salt Lake Telegram” reported, “There is a distinct
plot in ‘The Smart Shop.’” This review just made me giggle, as I pondered the
many other shows without a “distinct plot” from this time. “The Smart Shop” was
billed as a production with “girls, costumes, a fashionable indoor setting,
numerous songs and broad comedy” (Sioux City Journal, 26 Nov. 1916, page 12).
From the “Evansville Press,” Sept 29, 1917, page 4.
When the show played at the
Columbia Theatre in Davenport, newspapers reported, “There’s music and comedy –
oh, yes, and lots of shapely girls. It’s rapid fire entertainment, which they
give in which tuneful songs and hilarious mirth abound. The cast is unusually
capable” (Rock Island Argus, 16 Nov. 1917, page 16). Again, saying “unusually
capable” is really not high praise for the acting capabilities of the performers.
I also located only one mention of the scenery, and it was described as “good.”
From the “Quad City Times,” Nov 15, 1917, page 3.
Obviously, this was not an
extremely successful production with a strong public following. Well, you can’t
win them all.
Popular songs from the
production included “I Love Everybody,” “Just for Style,” “Love Dreams,”
“Lingerie,” and “The Girl of Now-a-days.”
In 1916, Thomas G. Moses wrote,
“Closed a contract for $1,200.00 with Howard for ‘Which One Shall I Marry.’ Rather enjoyed the show.” Moses was referring
to Lorin J. Howard, of Rowland & Howard, the theatrical producers. His
partner was Edward W. Rowland. Howard functioned as the artistic director for
the firm, filling the role of both stage director and lighting designer for
this production.
Advertising flyer of the production, from the Waszut-Barrett Theatre Collection. Note that the flyer states, “Not a moving picture show.”
“Which One Shall I Marry” was billed as a “new idea” in drama, a stage allegory
in four episodes. The production company included Marguerite Henry, Marie
Kinzie, Dollie Day, Ainsworth Arnold, E. H. Horner, Edgar Murray, Tommy
Shearer, and Charles Richards.
Advertising flyer of the production, from the Waszut-Barrett Theatre Collection. Advertising flyer of the production, from the Waszut-Barrett Theatre Collection.
The “Pittsburgh Post-Gazette” reported,
“It’s author, Ralph T. Ketterling, has done that which most playwrights have
sought to perform – created new and original idea. The story of the play begins
in allegorical form. The young girl about whom the story revolves is discovered
at the crossroads of life, where the mysterious character, “Good Advice,” comes
to her point a successful future. She is sought in marriage by a rich man and a
poor man. The former offers her everything that money can buy, while the other
can only offer love. It is then that she propounds the question, ‘Which One
Shall I Marry?’”27 Aug. 1916, page 34).
From the “York Dispatch,” 9 Feb 1916, page 8.
Starting at “Crossroads of Life,”
the girl journeys to “The Grey Forest of Doubt,” “The Land of Shams” and “The
Land of Reality.” The “Reading Times” described the action in detail on Feb. 4,
1916 (page 5):
“It begins with a prologue, in
which a lovely girl in a tennis costume and the first flush of womanhood
appears before the curtain and tells of two offers of matrimony. She is
followed by an elderly man of the millionaire type, loudly proclaiming his
wealth and the advantages he can give the girl if she becomes his bride. The
third character in the prologue is a young man in love with the girl, a
stalwart youth who has no wealth, but morals and integrity, good habits and
affection to bestow on his bride. It is ‘Hope vs. Riches,’ as the bride-elect
recites.
In the second episode, in a
cleverly arranged double-stage effect, the girl as the bride of the millionaire
is shown in her luxurious home neglected by her husband, He is too busy with
his plans to crush by the aid of the corrupt senate and a corrupt law the
already oppressed workmen in a huge steel plant, to pay much attention to her.
He has time to buy her royal gifts, but no time to make a home for her. The
scene closes with the unhappy wife’s suicide.
The third episode gives a
brighter picture of life in a happy workman’s home, with husband and wife of
the same age, without wealth but full of contentment and prospects of a rosy
future. The final scene sums up the story of the other three and brings round
after round of curtain calls for the whole capably-acting company.”
The “Pittsburgh Daily Post”
reported, “’Which One Shall I Marry?’ is described as full of heart throbs,
with much humor and a moral. Those interested in its production say that it
brings out an idea which is altogether new in play writing. This is not only in
the construction, but in the scenery used to introduce the girl whose fate is
the subject of the struggle of opposing interest. In parts of the story, the
dreams of the girl are pictured on stage. This is done by a means of a triple
scene, which fades away and dissolves, and then returns at the proper time by
lighting effects” (27 August 1916, page 30). The “Fort Wayne Weekly Sentinel”
added “There are eleven changes of scene and many wonderful lighting effects
which have been arranged by Mr. Lorin J. Howard, who is the artistic director
of the firm and is known as the Belasco of the west” (21 August 1916, page 6).
When the production toured
Wisconsin, the “Kenosha News” reported, “a stage full of scenery that is
unique, colorful and massive” (323 Dec. 1916, page 5).
From the “Pittsburgh Press,” 27 aug 1916, page 43.From the “York Dispatch,” 9 Feb 1916, page 8.
Sosman & Landis produced
scenery for a second production near the end of 1916. Later that year he wrote, “Another production
of ‘Which One Shall I Marry.’” The show remained a popular production, appearing
in theaters across the country until 1918.
From the “Pittsburgh Daily,” 24 aug 1916, page 4.From the “Pittsburgh Daily” 27 aug 1916, page 30.
In 1916, Thomas G. Moses wrote, “June 24th, Mama
and I left Chicago for the east on our summer vacation, stopping at Kingston,
Ont. And Montreal, then White Mountains and Kennebunkport, Me., Boston, New
York City and Trenton, quite a nice trip, all of which I have written in detail
elsewhere. With Stella and the three
girls we arrived home July 29th.
I was soon back in the harness at the studio.” I thought it would be fun to track down some
1916 postcards. Enjoy.
Kingston, Ontario, Canada, postcard from 1916.Kingston, Ontario, Canada, postcard from 1916.Kingston, Ontario, Canada, postcard from 1916.Kingston, Ontario, Canada, postcard from 1916.Montreal postcard from 1916.Montreal postcard from 1916.Montreal postcard from 1916.Montreal postcard from 1916.White Mountains postcard from 1916.White Mountains postcard from 1916.White Mountains postcard from 1916.Kennebunkport, Maine, postcard from 1916.New York postcard from 1916.New York postcard from 1916.Boston postcard from 1916.Trenton, New Jersey, postcard from 1916.
Yesterday’s post explored the
Oak Park Theater, a venue with entertainment managed by Jones, Linick &
Schaefer. This theatrical management firm was featured in Frederic Hatton’s article
“A Romance of Chicago Theatricals” for the “Chicago Daily Tribune” (30 Dec,
1916, page 22). This is a fascinating article that provides insight into not
only the theatre industry, but also many Chicago theaters:
The men who managed Jones, Linick, and Schaefer, names mentioned multiple times in the memoirs of Thomas G. Moses, final president of Sosman & Landis.
“The rise of Jones, Linick & Schaefer if
Chicago’s most recent commercial romance. The rapidity with which success has
waited upon them dims many a tale of fortune in Chicago’s earlier days, days
which were once considered to have been much more pregnant of opportunity than
the present.
One can hear J., L. & S. on
the loop street breeze now. The brief firm formula has a catchy ring. It drops
easily from the tongue and it is so much in Rialto speech that it comes out now
as if planted with a rubber stamp. Yet a few years ago no one except a few
vaudeville men could tell you anything about this firm. It was known to have
successfully planted a new brand of vaudeville in a few playing houses, but
with the acquisition of McVicker’s and the Colonial at the end of the season
these men leaped into the spotlight, as it were, fully made up as metropolitan
managers. Their entrance to the loop stage was sudden and dramatic. Now you can
hear the wildest sort of gossip as to how much money a day the form makes and
how sudden it is to gobble up the entire theatrical business.
Bent on the discovery of these
new phenomenons [sic.], we traced them down to their offices over the Orpheum
Theatre on State Street. On the third floor there you can find a very accurate
reproduction of scenes, which are supposed to be current in America only along
Broadway. There your will find actor waiting in abundance without the rail
which admits the privileged; there you will find non-resident managers in plenty
arranging for bills and acts. Within the gates there are further signs of
productive theaterdom – busy agents, stenographers, routing men. Booking
directors and skillful executives. Playing the vaudeville game on a big scale
is a bit like chess. It is all a matter of moves, and he who moves first has
the offensive and the advantage. Jones, Linick & Schaefer have shown
themselves masters of the quick, decisive move. They are not announcers of
plans; they believe in coming up to a condition and then acting instantly.
In the innermost office of all
the Orpheum you will find Messrs. Jones, Linick & Schaefer at triplet
desks, one in the window, and another at each side of the room. Mr. Jones, the
president of the firm, is short, dark, slender and very alert. He is a bundle
of nervous energy. Mr. Schaefer is rather his opposite, being of serene,
jovial, and easy-going presence, while Mr. Linick differs from both the others
in being tall, wiry and rather soldierly. All seem to be in thorough harmony,
which is perhaps the secret of their success.
All modestly disclaim being
theatrical magnates or any other sort of bugaboo, being anxious to convey the
impression that they had been lucky and their only credit lies in being
strictly business.”
The paper then listed the
theaters
First in amusement, in price, in the hearts of Chicago Playgoers.”
The article also went on to
describe each of the firm’s venues:
THE RIALTO- Chicago’s
handsomest theatre with perfect ventilation. The first month of the year 1917
will become the birth month of the Rialto Theatre, built at a cost exceeding
$600,000 by Jones, Linick & Schaefer. Within a few weeks it will open its
doors with high class, popular priced vaudeville, with a policy similar to
McVicker’s. Marshall & Fox are the architects and Fleishmann Construction
Company are the builders. Its location, on State Street, between Jackson and
Van Buren, in the heart of the loop.
The Rialto Theatre in Chicago, 1916.
MCVICKER’S THEATRE – located on
Madison Street near State, is the most popular continuous vaudeville house in Chicago.
It was built by James H. McVicker in 1854, burned to the ground twice and
remodeled recently at a cost of many thousands of dollars. Performances are
continuous from 11 A.M. to 11 P.M.
McVicker’s Theatre in Chicago, 1916.
LA SALLE THEATRE – The La Salle
Theatre, located in the very heart of the loop on Madison Street and Clark,
gained renown throughout America as the birthplace of musical comedy. For many
years the most popular of the lighter musical plays were originated and
produced at the La Salle, but at present the house is given over to the
exhibition of motion pictures. Mary Pickford in “The Pride of the Clan” now
occupies its screen, where performances are given continuously from 9 A.M. to
11 P. M.
The La Salle Theatre in Chicago, 1916.
ORPHEUM THEATRE – The Orpheum
Theatre, on State Street opposite the Palmer House, is really the nucleus of
the Jones, Linick & Schaefer string of houses. Here their first great
success was made and the Orpheum Theatre today stands alone as the only First
Run, Daily Change, motion picture house in Chicago. Its performances are
continuous from 8:30 A. M. to midnight.
The Orpheum Theatre in Chicago, 1916.
LYRIC THEATRE – The Lyric
Theatre is in a class by itself being the only twenty-four hour theatre in the
world. Several years ago the key was thrown away and since that time three
shifts of employes [sic.] have presented motion pictures every twenty-four
hours out of every day, and three hundred and sixty-five days every year motion
pictures are offered.
The Lyric Theatre in Chicago, 1916.
BIJOU DREAM – The Bijou Dream
stands directly next door to the Orpheum on State Street near Monroe and is
given over principally to long runs of feature pictures. Here the very best art
of the motion picture photographer is shown to tremendous crowds all the time.
It is a beautiful little play house.
The Lyric Theatre in Chicago, 1916
STUDEBAKER THEATRE – The
Studebaker Theatre on Michigan Boulevard near Van Buren has been on of the
foremost Chicago Theatres for the past decade. The attraction occupying this
theatre at present is Annette Kellermann in Wm. Fix’s film spectacle “The
Daughter of the Gods,” a marvelous motion picture of novelty and sensation.
Performances are given twice daily.
The Studebaker Theatre in Chicago, 1916.
COLONIAL THEATRE – The Colonial
Theatre on Randolph Street near State Street is probably Chicago’s greatest
play house and had one of the most beautiful lobbies of any play house in the
world, built in the Romantic period style. At present it is devoted to two
daily performances of “Intolerance,” D. W. Griffith’s marvelous spectacle
depicting Love’s struggle throughout the years.
The Colonial Theatre in Chicago, 1916.
THE BROADWAY THEATRE – The
Broadway Theatre will be the newest addition to the Jones, Linick & Schaefer
chain and is the only playhouse announced in the outlying district of Chicago
attached to this string. The Broadway will be complete by September 1st,
1917. High Class Vaudeville will be installed, with a policy similar to the
“Rialto” and “McVicker’s” Theatres.
In 1916, Thomas G. Moses wrote, “The Oak Park Theatre gave
me $825.00 contract for vaudeville scenery.”
The Oak Park Theatre opened on October 20, 1913 and was a
combination house, featuring both live vaudeville acts and silent films. Their
advertisements promised continuous high-class vaudeville and first run motion
pictures. Vaudeville acts for the venue were booked by Jones, Linick &
Schaefer, the same firm that handled entertainment for McVickers Theatre, the
Colonial Theatre, the Wilson Theatre and many others around Chicago.
Of the Oak Park Theatre, the “Historical American Building
Survey” suggested that there was architectural evidence that the building was
greatly enlarged in 1915. This coincides
with Sosman & Landis delivering new vaudeville scenery in 1916; new scenery
would have been ordered during the renovation. The original building structure
had a footprint of 67 feet by 112 feet; the enlarged size after 1915 was 67
feet by 168 feet.
The Oak Park Theatre was located on Wisconsin Street, but
the address later changed to 120 S. Marion Street. The venue was at the heart
of Oak Park’s entertainment district and near Moses’ home. Many scenic artists
and architects settled in Oak Park. The benefit to Oak Park residents was
living a short train ride away from downtown Chicago.
There were three theaters in close proximately to one
another– Oak Park’s Warrington Opera House (1902 stock theatre), the Oak Park
Playhouse (1913 combination house) and the Oak Park Theatre (1913 combination
house). The 800-seat Oak Park Theatre was adjacent to the Warrington Opera
House, and promised “perfect ventilation.” This meant that the auditorium air
was changed every ten minutes. In addition to many “fireproof” features, each
seat boasted a “perfect view of the stage.”
In 1917, the “Chicago Eagle” reported, “Lubliner & Trinz” owned and operated the following high class theaters all over the city: Artcraft Theatre at Devon and Clark Streets, Biograph Theatre at 2433 Lincoln Ave, Covent Garden Theatre at 2655 North Clark Street, Knickerbocker Theatre at 6225 Broadway, Michigan Theatre at 55th and Michigan Boulevard, Paramount Theatre at 2648 Milwaukee Ave., Vitagraph Theatre at 3133 Lincoln Ave, West End Theatre, at No. Cicero and West End Avenues, and the Oak Park Theatre in Oak, Park, Illinois (22 Dec. 1917, page 7). Lubliner & Trinz was operated by Harry M. Lubliner and Joseph Trinz, whose offices were at 510 Westminster Building.
In 1930, the Oak Park Theatre was remodeled and renamed the
Lamar Theater. The marquee was added in 1929, the lobby remodeled in 1930 and
the stairs relocated in 1936.The new name reflected its location on Lake Street
and South Marion Street. Now advertisements forcused on “truly perfect sound”
in this “new wonder talkie theatre.” Unfortunately, this Art Deco theater has
did not last and was razed in 1988.
The Oak Park Theatre was later named the Lamar Theatre.The Oak Park Theatre was later named the Lamar Theatre. Image posted at cinemareasures.org. Here is the link: http://cinematreasures.org/theaters/2641
In 1916 Sosman & Landis delivered a picture setting to
Indianapolis’ Strand Theatre. The studio took out an advertisement in the
“Indianapolis Star” when the theater opened, announcing, “Designed, built and
painted the elaborate picture setting for the new Strand Theatre listing their
contribution. In 1916, studio president Thomas G. Moses recorded projects for
picture sets in Fort Wayne, Indiana, and Pittsburg, Pennsylvania, too. The
first picture set mentioned by Moses at all in his diaries was during 1915; a
$1500 picture set for Fred Ingersoll in Detroit, Michigan. Here is the link for
that post: https://drypigment.net2020/01/17/tales-from-a-scenic-artist-and-scholar-part-904-thomas-g-moses-and-frederick-ingersoll-1915/
The term “picture set,” or “picture setting,” had two
meanings at the time. The first identified the painted scenery (leg drops and
backdrop) that created a lovely setting with a center projection area. The
backdrops in these picture sets were also termed “picture sheets.”
Picture setting design by the Twin City Scenic Co.Picture setting design by the Twin City Scenic Co., see model picture below.Another example of a picture set for a theater.
Of Fort Wayne project, Moses wrote,
“Went to Fort Wayne to stage picture set at the Empress Theatre.” The $1300
project was for painted scenes that framed a projection screen placed within a
painted composition. The new scenery was needed for the reopening of the venue
as the Empress theater reopened as a combination house, featuring vaudeville
acts and the latest three-reel films and serials..The Empress Theatre reopened
under new management on June 16, 1916. The “Fort Wayne Sentinel” reported,
“EIGHT BIG ACTS OF SUPREME VAUDEVILLE…This theatre, now under the management of
large Eastern Circuit and will at all times give the public the best obtainable
in from eight to ten acts of Vaudeville and High Class Musical Comedy.”
From the “Fort Wayne Sentinel,” June 14, 1916, page 5.
In 1916 “Picture set” also
identified a setting for film production. Newspaper articles suggest that his
was a relatively new practice in 1916. These new types of “picture sets”
received a substantial amount of publicity. They were even referred to as a
“new stunt” in filming (“Hobart Republican,” Hobart, Oklahoma, 17 Feb, 1916,
page 7). The “Jackson Daily News” reported, “The use of a big theatre as a
motion picture set is a new scheme and proved to be a very effective one” (8
Feb 1916, page). Here is the context…the Republic Theatre was used as a film
set for a 1916 Florence Reed picture. Of the film, newspapers reported, “As soon as the curtain was rung down at 11
o’clock on ‘Common Clay,’ Producer Fitzmaurice with his star, Florence Reed and
many extras, came in and took possession of the theatre. Special lights were
installed and some twenty scenes taken in jig time….In order to carry out the
realism the floor of the theatre was crowded with extras, and friends of
various Pathe officials. Mr. Woods himself was present and gave many valuable
hints as to detail. The picture is New York,” an adaptation of the one of Mr.
Wild’s theatrical productions” (Jackson
Daily News. 8 Feb 1916, page).
In 1916, Moses mentioned another movie picture set, writing,
“In March we did a picture set for a suburban town near Pittsburg,” later
adding, “We sent two of our picture set models to the Art Institute with the Palette
and Chisel Club exhibit, and they received as much attention as some of the pictures.”
These were movie set models that were on display for the exhibit instead of
models that depicted a central projection screen.
Of the Palette & Chisel Club Exhibit, the “Chicago
Tribune” reported, “New Exhibit at Institute. A unique event in the life of the
Palette and Chisel Club in Chicago will take place on Tuesday evening, April
25, at the Art Institute. For twenty years the club has been holding its annual
exhibitions at its own clubrooms. Tuesday night all precedent and tradition
will be violated and its large and interesting collection of the last year’s
activities along art lines will be shown at the Art Institute of Chicago. It is
to be an extremely comprehensive exhibit, including in its scope not only
paintings and sculpture, but the work of some master craftsman as well, men who
apply their artistic talents to the usable things of life, incurring thereby
the lasting gratitude of the practical masses.”
For the exhibit Gustave Bauman showed his wood block prints
and book decorations, while Oswald Cooper, Fred Bersch and B. A. Kleboe
exhibited various booklets and interesting examples of fine printing designed
by them. John Carlsen showed special
wall paper designs and Watkins Williams exhibited some stage designs. Williams was noted as a Sosman & Landis
scenic artist. The newspaper article
noted Williams as the artist who “designed and painted the scenery for the
immortal Sarah Bernhardt on her last American tour.”
Williams worked at Sosman & Landis. Sosman & Landis
models for movie sets would have been an asset to this diverse group,
especially in light of Watkins.
One final picture set mentioned by Moses in 1916 was for the
Studebaker Theatre in Chicago. Of it, he wrote, “Our big picture set at the
Studebaker made a big hit, quiet and dignified.” This was likely another film
set, as “quiet and dignified” seems an unusual way to describe a picture sheet.
This movie played at the Studebaker, another theater with a picture setting by Sosman 7 Landis. From the “Chicago Tribune,” 21 May 1916. page 29.
In 1916, Thomas G. Moses wrote, “May 1st was my
first in six months at painting attempt in the studio. Models and sketches take up all my time.”
He was now the president of Sosman & Landis. A partnership had made the firm a success,
and now Moses was pretty much on his own. In the beginning, Landis was on the
road securing contracts followed by Sosman painting the projects. Moses was
their first hire in 1880, assisting Sosman on many of their early projects
before the staff grew, yet Sosman maintained artistic control while Landis
headed sales. When Landis left in 1902, Sosman appointed Moses vice-president two
years later. At this time it was David H. Hunt who focused on sales. By 1916,
however, Sosman was gone and Hunt had started his own studio. Moses was left to
pick up the pieces and please the shareholders, in addition to competing with
Hunt for the same clientele.
Moses was attempting to both secure and supervise projects
in the main studio and annexes. His statement, “Models and sketches take up all
of my time,” emphasized his workload for sales that year.
He later wrote, “October 10th I was re-elected
president of the company, Mrs. Sosman vice president and Lester Landis secretary
and treasurer…Sosman and Landis Company enjoyed a good year. We have all been very busy. I have not done as much as I would like to do
in the way of pictures, but I guess I did fairly well.” Moses then added a sentence that starts to
show the wear and tear of his artistic soul, “I live on year to year, hoping,
always hoping, for a little more time to gratify my ambition to paint if only
one picture that I could really fell was worth while and all the years I have
tried to do this were not spent in vain.”
At the beginning of 1916,
everything seemed possible. The firm delivered scenery for the Strand Theatre
in Indianapolis. Sosman & Landis took out an advertisement in the
“Indianapolis Star” in support, announcing, “Designed, built and painted the elaborate
picture setting for the new Strand Theatre listing their contribution.
“Producers of Quality Scenery” listed Thos. G. Moses as “President and
Designer” with P. L. Landis as “Secretary and Treasurer.” The advertisement
also noted that the firm was established in 1877. An article also announced
“Strand Scenery Excellent,” adding “Thomas G. Moses, president of the Sosman
& Landis Company, producers of theatrical scenery, superintended the
arrangement of the elaborate setting for the Strand Theatre. Mr. Moses has done
a great deal of scenery work in the different theaters of Indianapolis dating
back to the first production of Ben-Hur at English’s Theater. Mr. Moses has
designed and painted productions in nearly every city in the country. In the
Strand stage settings the possibilities for excellent lighting are obvious, and
are taken advantage of by the Strand’s electrician, Mr. Dalton” (Indianapolis
Star, January 15, 1916, page 9).
From the “Indianapolis Star,” 15 Jan 1916, page 9.
Moses started doing something
new in 1916; Moses now took credit for his own designs work when Sosman &
Landis manufactured it. In other words, programs and newspaper article now
differentiated “designed by Thomas Moses” and “built by Sosman &
Landis.” For example, on April 15,
1916, the “Rock Island Argus” reported “[Around the Town] was built in its
entirety by the Sosman & Landis scenic company from special designs made by
Thomas Moses” (15 April 1916, page 8). Another instance was for the Boston
English Opera’s production of “Martha.” Newspaper advertisements reported,
“Scenery Designed by Thomas Moses and Built by Sosman and Landis Studios” (The
McPherson Daily Republican, 21 Oct 1916, page 5). T was too little too late, as
the names of designers were no longer a driving that attracted attention.
All of Moses’ talents and experience
wouldn’t help him in the end. The studio
would soon begin to crumble. Times were changing; there was a new game with new
rules and a war overseas. So many things
began happen simultaneously and the supply for painted scenery began to outpace
the demand. A new movement was in the
making for the stage, and it concerned the rejection of painted scenery on the
stage in lieu of fabric setting and motion picture. Moses would become the
proverbial fish out of water, with Sosman & Landis floundering. The company
would not survive the next seven years.
