Copyright © 2020 by Wendy Waszut-Barrett
Sosman & Landis delivered scenery for a “Mikado” production that toured the Redpath Chautauqua circuit in 1917. Annual Chautauqua, or tent, events were held in cities across the country during the spring and summer, featuring programs with all types of entertainment that ranged from Broadway shows and orchestra concerts to magicians and lecturers. During its peak some 12,000 communities hosted a Chautauqua. The Redpath Chautauqua was massive circuit with hundreds of shows and thousands of entertainers. Although there were many Chautauqua agencies that contracted entertainers and lecturers, one of the most notable was the Redpath agency. In 1917, one of the Redpath touring shows was the “Mikado.” A company of thirty, selected in part from the Chicago Grand Opera Company, performed in the Gilbert and Sullivan classic that year.
The “Critterden Record-Press” reported, “The Redpath Chautauqua special train of six cars, carrying over a hundred of the big Redpath family, left Chicago on Tuesday afternoon, April 10, for Jacksonville, Fla. The arrival in Jacksonville was scheduled for Thursday, April 12th, the opening day of the Redpath Chautauqua circuit for 1917” (Marion, Kentucky, 14 June 1917, page 9). The season ran until the end of summer, closing the first part of September.
On June 12, 1917, the “Owensboro Messenger” reported, “The Redpath chautauquas have been doubly fortunate in securing two eminent artists for their production of ‘The Mikado’ here Chautauqua Week” (Owensboro, Kentucky, page 7). The show featured the talents of Ed Andrews as Ko-Ko and Arthur Aldridge as Nanki-Pooh. The “Steuben Republican” reported, “The orchestra is under the dynamic direction of Miss May Valentine, a band and orchestra leader who is rapidly gaining wide recognition” (Angola, Indiana, 4 July 1917, page 4). The article also noted, “Mr. Arthur Aldridge is, like Mr. Andrews, one of the great interpreters of his role, Nanki-Pooh. In the recent revival of the Gilbert and Sullivan Opera he scored tremendous success with De Wolfe Hopper. He has appeared recently in the mammoth New York Hippodrome productions and is now recognized s New York’s leading light opera tenor. Indeed, some critics have been so kind as to claim that he has few equals among the world famous grand opera tenors” (Angola, Indiana, 4 July 1917, page 2).
Newspapers across the country noted that Andrews was the best Ko-Ko of his generation, having performed the part more than 1200 times to date. The “Knoxville Sentinel” reported, “He is a small dark man, swarthy of skin with a beak like an eagle. He possesses a thunderous bass voice all out of proportion in volume to his small body. He sings the part with zest and a delightful enthusiasm” (May 24, 1917, page 5). Of the scenery, the articled added, “Beautiful and unique effects have been secured in the scenery built especially for the Redpath chautauquas by Sosman & Landis, of Chicago. These scenic artists have just completed the effects for a spectacular Madison Square Garden production.” “The Nashville Banner” reported, “At first it was thought that it would be practically impossible to give ‘The Mikado’ an adequate setting on the Chautauqua stage, but all difficulties were overcome and most gratifying results have been obtained” (Nashville, TN, 2 July 1917, page 28).
The University of Iowa Libraries holds a massive Redpath Chautauqua Collection, contained in 1,132 boxes. The cite gives a brief history for the circuit:
“Circuit or ‘tent’ Chautauqua had its beginning in the lyceum movement, which started in Massachusetts as early as 1826, and in the Chautauqua assemblies held at Lake Chautauqua, New York, beginning in 1874. The purpose of the lyceum movement was self-improvement through lectures and discussions on literary, scientific, and moral topics. After the Civil War, commercial lyceum bureaus were founded; among them was the Redpath Lyceum Bureau of James C. Redpath in 1868. In 1901, Keith Vawter purchased a one-third interest in the Redpath Lyceum Bureau and became the Redpath booking agent in Chicago, later moving his headquarters and operations to Cedar Rapids, Iowa. In the summer of 1904, Vawter launched the first Chautauqua circuit with the assistance of Charles Horner. The Redpath Lyceum Bureau had offices in other American cities, including White Plains, New York; Columbus, Ohio; Chicago; and Kansas City, Missouri. Vawter’s territory was roughly Iowa, Minnesota, the Dakotas, Nebraska, and Missouri. Another Iowan and former Vawter employee, Harry P. Harrison, ran the Chicago office. Under the name “Redpath-Chicago,” Harrison launched a major Chautauqua circuit in 1912. His territory was Illinois, Indiana, Ohio, Michigan, Kentucky, Tennessee, and the Gulf States. In 1912, Horner established in Kansas City the “Redpath-Horner Chautauquas.” His territory was Missouri, Arkansas, Texas, Oklahoma, Kansas, Nebraska, Wyoming, Colorado, and South Dakota. Circuit or tent Chautauqua began to expand and became an even greater influence about 1913, but World War I interrupted the circuits somewhat. In the years after the War (1920-1924), Chautauqua reached its peak of attendance. In 1920 there were twenty-one companies operating ninety-three circuits in the United States and Canada. The Great Depression brought an end to the circuits. The final circuit folded its tents in 1932 and the splendor of tent Chautauqua was over.” Here is a link to this remarkable collection, http://sdrc.lib.uiowa.edu/traveling-culture/inventory/msc150.html
The publicity brochures in this collection have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php Additionally, there are over seven hundred photographs and postcards in the Chautauqua Collection with subjects ranging from tents and parades to audiences and performers, cities, and other scenery. These have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php
To be continued…
