Tales from a Scenic Artist and Scholar. Part 1052 – The Rock Island Theatre 1920

Copyright © 2020 by Wendy Waszut-Barrett

In 1920, Thomas G. Moses wrote, “New models for an Indian decoration to be used in a Rock Island theatre.  Of course, a movie.  These were accepted by the owners and I know we can get something very effective out of it.” 

The Rock Island Theater has been one of the more difficult venues to track down, especially since there are multiple theaters named “Rock Island.” Does “Rock Island Theater” designate the name, location, or both name and location? There was an Illinois Theatre in Rock Island, Illinois.

If Moses installed the scenery at the Rock Island Theater in Venice, Illinois, it was possibly the same one noted at Cinematreasures.com, stating, “The Rock Island Theatre was operating as an African-American theatre between 1948 until at least 1955.” Here is the link: http://cinematreasures.org/theaters/56291 It makes me wonder if the venue also opened as an African-American theatre.

In 1921, “The Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory” included an “Index to Colored Theatres.” The beginning of the section notes:

“The following lists have been compiled within the past six month from information obtained in many ways. Since there has been no previous effort to list either attractions or houses the task has been rather difficult. The Guide is greatly indebted to M. C. Maxwell, former manager of the Liberty Theatre, Alexandria, La.’ The T.O.B.A.; the Comet Film Exchange of Philadelphia, the Micheaux Pictures Corporation and to Jackson of the Billboard for their kindly co-operation in collecting the necessary information. We make no pretense that the lists are complete, nor do we assure absolute freedom from inaccuracies, We do, however, present these results of painstaking effort with a view of serving the profession as much as it is possible with the information at hand, and with the object of encouraging additions and corrections that will make possible a complete and accurate tabulation of the theatrical interests of the group. Owners, managers and artists alike will be performing a distinct service to themselves by filing addresses and description of their interests with Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory, thus enabling us to properly answer the many professional inquiries that come to us in your interest. List of theatres dependent upon colored patronage, either owned or operated for the race; with Negro population of cities where 1920 census were available, character of ownership and type of house, so far as has been ascertained:

KEY-W means white; O means ownership; C means colored; M means management; V means plays vaudeville or road shows; E means equipped for shows, but operated at present with pictures only; P means pictures only; D means drama.”

The Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Supplement, 1921

To be concluded…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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