Copyright © 2020 by Wendy Waszut-Barrett
In 1920, Thomas G. Moses wrote, “Early in January I started on a model for the big Elk’s Show, which we did in July.”
It is almost impossible to pinpoint the specific Elks Show that Moses was talking about by 1920. First of all, it is unclear where Moses was working at this time. In 1918 Moses Left Sosman & Landis to work for New York Studios. Within a year, he left New York Studios to work for Chicago Studios. He then returned to Sosman & Landis by April 2020. However, he also completed a lot of work under his own name. Without a specific reference to a producer or location, it is difficult to track down the specific Elks Show.
I have written quite a bit about the Benevolent and Protective Order of Elks in past posts. The fraternal group had roots in the theatre and was originally known as the Jolly Corkers. For an overview of the organization’s history see past post 539. Here is the link: https://drypigment.net2018/10/19/tales-from-a-scenic-artist-and-scholar-part-539-origins-of-the-jolly-corks-and-benevolent-and-protective-order-of-elks-b-p-o-e/
Like the Masons, some Elks used stage settings for their degree work; degree work otherwise conducted in a standard lodge room. Historic photographs of the Elks Opera House in Prescott, Arizona, show an early-twentieth century ceremonial scenery with a set piece containing the words Charity, Justice, Brotherly Love and Fidelity on a step unit (past post 538, https://drypigment.net2018/10/17/tales-from-a-scenic-artist-and-scholar-part-538-w-h-clifton-and-the-elks-opera-house/). Unlike many private fraternal theaters (like Scottish Rite Theatres), Elks Opera Houses were often options for touring productions and public performances. They were more akin to the early-nineteenth century and mid-nineteenth century Masonic Opera Houses. The performance venue houses financially supported the ongoing maintenance of the fraternal building. This approach was similar to large Masonic buildings with retail spaces on the ground floors and lodge rooms above. For the Elks, the opera house was used by both the membership and various entertainment rentals, a win-win.
Elks Opera Houses dotted the landscape during the first few decades of the twentieth century, signifying another lucrative clientele for scenic studios. Elks Opera House postcard collections included everything from small social halls to large metropolitan venues. In each case, their entertainment venues demanded stage machinery, scenery, and lighting equipment. This signified a substantial investment, even for the smaller venues; big business for theatrical manufacturers. Early twentieth century newspaper article describe stage mechanics traveling the country, installing scenery collections, and putting on a presentation of scenic effects prior to their departure for another venue.
An Elks stage with new scenery meant new opportunities for social events and fundraising. Popular plays and minstrel shows became the vehicle for fundraisers, combining professional production staffs and leading performers with some local performers to function as a chorus. Like other firms, Sosman & Landis provided painted settings for “Elks Shows” and “Elks Follies” marketed by the Joe Bren Company (past post 941, https://drypigment.net2020/03/24/tales-from-a-scenic-artist-and-scholar-part-941-the-joe-bren-company-and-minstrel-shows-1916/). Other popular shows created specifically for Elks venues included “The Elks Tooth” (past post 864, https://drypigment.net2019/12/05/tales-from-a-scenic-artist-and-scholar-part-864-the-elks-tooth-1913/) and “Let’s Go Peggy” (past post 1031, https://drypigment.net2020/06/24/tales-from-a-scenic-artist-and-scholar-part-1031-lets-go-peggy-the-elks-big-show-of-1919/).
The survival of an early twentieth century scenic studio depended on diversification in projects. A firm could not solely survive on the production of painted illusion and stage settings for live theatre. They needed a diverse clientele that could weather economic down turns and unexpected events. Sosman & Landis cast their nets wide for clients and landed projects for fraternities, circus spectacles, trade shows, silent films, charity events, public pageants, electrical parades, private parties and other social gatherings. They also branched into the production of stage machinery, lighting equipment, fabric draperies, and projection screens. It was really all about survival.
To be continued…
