Copyright © 2020 by Wendy Waszut-Barrett
Early in 1917, Thomas G. Moses wrote, “Did “Faust” for Sheehan and Beck, very complete.” Moses was referring to Joseph Sheehan and Edward M. Beck. The scenery was for a summer touring production. In 1917, Beck was managing the Boston Opera Company and Sheehan was performing with the group.
The Boston Opera Company selected “Faust” for their special limited tour of Canada, with Joseph Sheehan playing the title role (“Ottawa Citizen,” 12 June 1917, page 7). On June 11, 1917, the “Ottawa Journal” reported, “From a standpoint of product The Boston English Opera Company has excelled all previous efforts. Special attention has been given that every detail is carried out to perfection making the scenic picture one of rare beauty. There are few operas which give the opportunities for beautiful stage setting which ‘Faust’ does; its different scenes all picturesque to the extreme and full advantage has been taken to make this end of the production on a par with its wonderful artists which comprise the Boston English Opera Company” (page 11).
Of Sheehan’s performance, the “Ottawa Journal” commented, “As Faust, Mr. Sheehan is at his best. His voice meets its every requirement, and those who have heard the great American tenor have noticed that strain of sentiment in his work which has made his impersonation of Faust one of the best, if not the best, in his extensive repertoire” (2 June 1917, page 21). Nelli Gardini played the role of Marguerite.
Moses first encountered Sheehan when he performed with the Aborn Grand Theatre Company. In 1910, Sosman & Landis delivered scenery for their production of “Madame Butterfly,” with Sheehan performing the role of Pinkerton. That year Thomas G. Moses wrote, “We did an elaborate set for Mme. Butterfly for the Aborn Opera Company at McVicker’s.” The “Gibson City Courier” noted the production’s “special scenery of unusually beautiful design” (6 May 1910, page 6). Moses provided another “Madame Butterfly” for the Sheehan Opera Company of Chicago in 1911. In advertisements, Sheehan was billed as America’s Greatest Tenor and Famous Opera Star” (“Akron Beacon,” 5 April 1913, page 8). He toured the company, starring in a series of operas that appeared in not only large metropolitan areas, but also many small towns.
Sheehan continued as a repeat customer at Sosman & Landis after he partnered with Edward M. Beck. In 1913, Thomas G. Moses wrote, “Sheehan and Beck dropped in with ‘Bohemian Girl.’” The Sheehan English Opera Co. production of “The Bohemian Girl” was on tour of 1913. Sheehan and Beck were in Chicago with the production when made a point of visiting Sosman & Landis about another project.
Another Sheehan-Beck production with Sosman & Landis scenery that toured in 1913 was “Salome.” Of the production, Moses wrote, “We turned out a big production of ‘Salome’ for Sheehan and Beck – some very effective scenes. A good portion of the contract price never saw our office – one bad feature about shows that don’t go.” And then all was quiet for a few years, until Sheehan and Beck contacted Moses again about scenery for “Faust.”
In regard to the 1917 production of “Faust,” the Boston English Opera Company revived “Faust” at the Strand Theater in Chicago after the summer tour (Chicago Tribune, 14 October, page 37). The Musical Courier reported, “Inasmuch as Chicago has not had a season of opera in English for several years and in view of the fact that this city has had an almost marvelous growth as a music center in the last few years, the announcement that the Boston English Opera Company has been incorporated to present a season of opera in the vernacular at the Strand Theatre, beginning Monday, October 1, will be of unusual interest to music lovers and music students. Edward M. Beck, who has had wide experience in the organization in the organization and management of English opera companies throughout the United States and Canada, has been engaged as a general manager of the new organization. Mr. Beck did not conclude to launch this enterprise until he had made a very careful investigation of the situation in which he found that there seems to be a great demand for English opera. (Musical Courier, Weekly Review of the World’s Music, Aug. 4, 1917). Of the performance, “Musical America” reported, “Joseph F. Sheehan, as Faust, astonished everyone by his singing, doing as well as he ever did in his palmiest days. His voice was full and rich, His phrasing and musicianship were above reproach, and he took the high C of “All Hail, Thou Dwelling” with perfect ease and rich tone” (Vol. XXVL, No. 26, October 27, 1917, page 32).
To be continued…
