Month: August 2020

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “June and July found us tied up with a lot of repaint stuff for the Junior Orpheum, all over the country, and there was some awful stuff sent in to be repainted, while there was some that was really good.” Junior Orpheum theaters were the Orpheum Circuit’s “popular-priced” vaudeville houses.

There are a few things to consider about Moses’ diary entry. The first is that stage settings were never meant to last. Repainting backdrops and flats were a common occurrence when theaters could not afford to purchase a new scene, or entire stock scenery collection. Due to the nature of the paints, the scenery did not just receive another coat of paint. The tempera paint was scrubbed down, effectively removed to leave a slightly stained piece of fabric that was ready for a new coat of paint.

Painted scenery was a major investment for any performance venue at the time. Scenic studio catalogues even offered the refurbishing of old flats and fabric as an alternative to purchasing new. From 1889 to 1894, Sosman & Landis catalogues included a “Special Notice.” The section noted, “When there is already a stock of Scenery on the stage, and it is desired to add some new scenes and wings, we can easily make them to fit the frames of present scenery, and they may be mounted on the backs of other ‘flats’ and ‘wings.’ We can do this work for you much better, and we think cheaper than you can have an artist do it on stage, and it will save you considerable trouble. If you intend putting any new Scenery this coming season, we hope we will hear from you, and we will try and make it to your interest to at least give us a trial order.” At the time, the firm advertised they had already supplied 1700 opera house, theaters and halls in the United States and Canada with stock scenery. By 1894, Sosman & Landis catalogues announced, “Over 4,000 places of amusement are to-day using scenery made by our firm.” By 1904, it was close to 6,000.

The Junior Orpheum Circuit was just one more client who opted to repaint existing stock scenery collections for upcoming touring shows and a variety of vaudeville acts.

Of the Junior Orpheum Circuit, the “Los Angeles Evening Express” interviewed Martin Beck, managing director of the Orpheum Circuit on April 9, 1920 (page 29). He explained the theater chain in seven cities that will be grouped under the name of the “Junior Orpheum” circuit. In the interview Beck stated, “In naming the theaters that are to make up the Junior Orpheum circuit, we intend calling them after the intersecting streets on which they are located. Thus, in Kansas City we have named that theater the Fourteenth-Main, and the one in Minneapolis has been called the Ninth-Hennepin. The Los Angeles theater will be known as the Hill and the name of the other street on which it will be situated. It is impossible to give the exact location of the Los Angeles theater at the present time, as the full title of the property has not been acquired.” 

Mort H. Singer was the manager of the Orpheum Circuit. He explained, “By the establishment of the Junior Orpheum we will be able to book more and better material for the regular Orpheum system of theaters which has always been far above the best of any vaudeville circuit. Contract will be made for an entire year, and the acts will play first the regular Orpheum Circuit and then double back on the Junior Orpheum circuit, thus maintaining the same high-class performance on the Junior circuit and in the regular Orpheum theater. There will be no reserved seats in the Junior Orpheum theaters, and the admission charged will be at popular process. Patrons will be assured of more than three hours of high-class entertainment.” This reminded my of second run dollar theaters; same show, a little later, and a lot cheaper.  Really quite brilliant from a business sense. You are able to extend the run of a show, and have a secondary venue simply based on volume.

Moses had previously worked with both Beck and Singer, so the Junior Orpheum selecting Sosman & Landis to refurbish all of their existing stock scenery is not a surprise at all.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “In May I went to Rock Island to make a sketch for the old Block House on the island.  Had to get a permit.  I enjoyed myself immensely.” At the time, the “old Block House” was only four years old; a replica constructed in 1916.

Moses was referring to the Block House at Fort Armstrong on Rock Island. Located on the Mississippi River, the Fort Armstrong was erected as one of the many frontier defenses after the War of 1812.  The construction of the fort began on May 10, 1816 and was intended to establish a military presence to dissuade French and English Canadians from settling the territory. Ironically, this was part of the Americans settling land inhabited by the Sauk, native Americans of the region.

A century later, in 1916, a replica of the three-story block house was built. This was the structure that Moses sketched in 1920.

That same year, H. H Cleaveland announced plans to build a new hotel and social center on the island. The Fort Armstrong Hotel Co. was formed and plans to raise money for the endeavor. It took a while, but investors finally raised $451,000 and construction commenced March 17, 1925. The area has remained a popular tourist attraction over the decades.

For more information about Fort Armstrong, visit the Digital Research Library of Illinois History Journal by Neil Gale, PhD. Gale presents some wonderful background for the fort. Here is the link:  https://drloihjournal.blogspot.com/2018/08/fort-armstrong-illinois-1816-1836.html

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “In May I went to Rock Island to make a sketch for the old Block House on the island.  Had to get a permit.  I enjoyed myself immensely.  Saw all the old places, also had a visit with Charlie Kindt.” This was the year before Kindt retired at the age of 58. Charlie was the son of German immigrant and well-known panorama painter Louis Kindt (1832-1923). For more information about the artistic career of Louis Kindt, visit http://www.wisconsinart.org/archives/artist/louis-kindt/profile-1809.aspx

The 1920 US Federal Census lists Charles T. Kindt as a 57 yrs. old theatre manager, living at 120 17^th St, in Davenport, Iowa. Kindt was living with his wife, Helena. Daughters, Helena (age 28) and Julia (age 30) were also living with them, as well as their grandsons Stoddard and Kindt Fields. At the time, Kindt was manager for the Burtis Opera House. In 1921, the famous opera house would be gutted by fire. The 1600-seat venue was originally constructed by J. J. Burtis in 1867. Kindt began managing the theater in 1890. Of the tragedy, “The Daily Times” reported, “Mr. Kindt lives in the Perry apartments next to the opera house and was one of the first to be notified of the fire. He and Mrs. Kindt and their daughter Julia, dressed and were among the first on the scene. Mr. Kindt remained on the scene for three hours watching the fames and talking to friends, who extended their sympathy. He took his loss philosophically, no losing any of his joviality, which characterizes him. ‘Yes, there have been some great people who have played on the old Burtis stage,’ he reminisced. ‘Many before my time and many since I took over the management. There’s not any salvage in the building. I guess it’s a totals loss. But what’s the use of hollering about it? It’s not going to do any good.’ …Scores of autographed photographs, presents from friends in the theatrical world, were destroyed or badly damaged. Mr. Kindt is unable to say what his future plans will be. He has been negotiating for some time a new theater and it may be the fire will hasten such plans” (26 April 1921, page 2).

In 1922, Moses wrote, “I met my old friend Chas. Kindt in Davenport.  He is manager for the Thos. Cusock Company, on the site of the old Burtis Opera House.”

Charles Kindt also started out as a scenic artist like his father, but soon transitioned to theatre management by the age of 25, in 1888. Kindt married Helen “Nellie” Stoddard in Chicago on March 22, 1882. By 1888, Kindt was acting as assistant manager for the Turner Opera House in Davenport, Iowa (The Morning Democrat, 17 July 1888, page 4). He was working with manager Charles Becker. By 1889, Kindt became manager of Davenport’s Grand Opera House. In 1890 he was manager of the Burtis Opera House.

A year later, Chamberlin, Kindt & Co, was formed, and the firm began managing the Burtis Opera House (Quad City Times, 10 Dec. 1906, page 10). The firm continued to expand, controlling over 25 theatres on the Illinois-Iowa circuit.  Their theatres were located in Marshalltown, Rock Island, Ft. Madison, Burlington, Oskaloosa, Davenport, Galesburg, Monmouth, Muscatine, Rockford, Grinnell, Keokuk, Kewanee, Creston, Sedalia, Quincy, Peoria, Boone, Joliet, Elgin, Waterloo. Chamberlain passed away by the end of the 1906, a severe blow to Kindt and the company. That same month J. R. Lane, C.T. Kindt and Isaac Deutsch purchased the Burtis property, consisting of the Burtis Opera House and Kimball House for $55,000 (The Dispatch, Moline, Illinois, 13 Dec 1906, page 4).

In 1906, F. W. Chamberlin & Charles T. Kindt purchased and remodeled the Burtis theater. Sosman & Landis delivered new scenery to the renovated stage. If Kindt did not know Moses from the Chicago scenic art scene, he would have met him at the Burtis. Of the Burtis Opera Houses 1906 renovation “The Daily Times” reported, “The theater will be completely remodeled from stage to foyer” (Davenport, Iowa, 16 March 1906, page 6). Manager Kindt, was quoted as stating, “The Burtis will be completely remodeled. In fact, when it is improved, it will be practically a new theatre. Everything that is in it will be removed, and it will be fitted up in modern shape throughout” (The Daily Times, 24 March 1906, page 12).

Kindt passed away in 1947. His obituary reported, “Charles T. Kindt, 86, a veteran Davenport theater operator and a partner in the old Chamberlin-Kindt Theater corporation, which operated theaters in Moline and other cities, died at 3:40 yesterday in Mercy hospital, He had been ill for some time. Mr. Kindt was the first exalted ruler of the Davenport Elks’ lodge…Mr. Kindt was best known as the owner and operator of the old Burtis theater. He had not been in active business since 1921. Mr. Kindt, who lived at 1104 River drive, Bettendorf, was active in Bettendorf civic affairs many years. At one time he was president of the Bettendorf Chamber of Commerce. He was born in Sandusky, O., on March 28, 1861, and was reared in Chicago. Mr. Kindt became acquainted with the theater business through his father Louis Kindt, and became a scenery painter in Chicago. He came to Davenport in 1888 on a contract to paint scenery for the Grand Opera house there. Later he became manager of that opera house and in a few years became manager of a second opera house in Davenport. He formed the Chamberlin-Kindt partnership, which operated a chain of 51 theaters in the middlewest. An organizer of the Elks’ lodge home in Davenport, Mr. Kindt was the only surviving charter member. He married Helen Stoddard in Chicago March 22, 1890. She died in 1937. Surviving are a son, C. Roy Kindt of Davenport; two daughters, including Mrs. John A. Martinelli of Davenport; a brother; three sisters, including Mrs. Julia Donald, of Davenport; 11 grandchildren and seven great-grandchildren” (The Dispatch, 11 July 19487, page 20).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “Marshall also closed up a contract with the Ascher Brothers, so we have plenty of business.” 

Fred Marshall was a scenic artist and salesman who would later represent the United Scenic Artists’ Association of New York City. Born in Woodridge, New Jersey, on March 24, 1895, he was the son of Louisiana native and mural artist, Frederick Marshall, Sr. (b. 1851).

Marshall was first mentioned in Moses’ memoirs in 1918. When Moses resigned as President of the Sosman and Landis Company on Sept. 1, 1918, he joined New York Studios. Moses fully expected to get a studio and an office to do business as part of the contract, but finding space was an unending problem.  Moses wrote, “Marshall of the New York Studios and I had to hustle out for a studio.  Got an office in the Consumers Building.  I did two borders for the Chateau Theatre at the old place.  We tried very hard to buy out the old place, but they want too much money.  I was willing to make a big reduction on my claim, but it was no use.  We have to find a studio.” He worked closely with Marshall in 1918 and again in 1920. Unfortunately, Moses would only last with New York Studios for a year before signing another contract with Chicago Studios.

Marshall became a real mover and shaker in the world of American scenic art world.  However, in 1920, he was a young man of young man of 25 working as a studio salesman. The contract that he landed that year was with Ascher Bros., managers of the Ascher Theatres chain.  In 1920, Ascher Theatres included the Oakland Square Theatre, Metropolitan Theatre, Frolic Theatre, Columbus Theatre, Peerless Theatre, Kenwood Theatre, Chateau Theatre, Lakeside Theatre, Terminal Theatre, Albany Park Theatre, Adelphi Theatre, Calo Theatre, Milford Theatre, Lane Court Theatre, Midway Theatre (Chicago Eagle, 6 March 1920, page 9).

On Nov. 6, 1920, the “Post-Crescent” reported of a new theater in Manitowoc – the Capitol (Appleton, Wisconsin, page 7): “The new Capitol theater being built by George Bros. Co. upon its completion will be leased to Ascher Bros., well known lessees of vaudeville and motion picture houses of Chicago. This was announced following a visit to Manitowoc of Lewis P. Newhafer, general manager of Ascher Bros., and J. J. Cotter, mechanical expert who conferred with the builders. The theater will be opened the latter part of December. It will be used as a movie, as well as a legitimate playhouse. George Bros. are spending $200,000 on the venture.” I think that this is the contract that Marshall landed that year.

The George Bros. would have been responsible for the construction of the building, but not the scenery on stage; that would have been the responsibility of the lessees – the Ascher Bros. Therefore, Marshall would have negotiated the scenery for the Capitol in 1920, meaning that Sosman & Landis delivered the scenery to Manitowoc.

In an unbelievable twist of fate, I toured the Capital last summer. Here is my post about the space: https://drypigment.net2019/08/04/travels-of-a-scenic-artist-and-scholar-aschers-capitol-theatre-in-manitowoc-wisconsin/

I even photographed some snippets of the original scenery, tucked away in the nooks and crannies; high quality stuff. What a small world.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “My models for the Shrine got us a good contract in Helena, Montana, something over $11,000.00.”

This was the Algeria Mosque for the Ancient Arabic Order of the Nobles of the Mystic Shrine, also known as the Algeria Shrine Temple. Designed by George S. Carsley and Charles S. Haire, the building included a 17-story minuet. When the structure was completed, local newspapers announced that 3,500 individuals could fit in the auditorium (Glasgow Courier, 8 April 1921, page 2).

On Dec. 10, 1920, the “Glasgow Courier” reported, “Algeria Temple is planning one of its most important ceremonials next March, when the new mosque will be dedicated, and it is expected the officers of the imperial council will be present. In addition, invitations will be sent to many of the leading Shriners in North America. The date for the ceremonial will be announced later. It is understood a large class will be on hand for the trip over the sands at that time” (page 1).

The cornerstone laying ceremony was planned for June 19, 1920, immediately after the four-day Scottish Rite Reunion. On April 8, 1921, special trains carrying Shriners arrived in Helena for the dedication of the building (“Independent-Record,” 26 March 1921, page 9). The “Glasgow Courier” reported, “Chicago, Sioux City, Spokane, Omaha and St. Paul are sending large delegations. Great Falls, Billings, Butte, Miles City and Missoula are planning for special pullman loads of stockmen, businessmen and bankers. The Helena commercial club, which is in charge of local arrangements is expecting to take care of 1500 people” (April 8, 1921, page 2).

On April 9, the “Butte Miner” reported, “With more than 3,000 out of town members of the Mystic Shrine in attendance, the new temple of the Algeria Shrine (Helena) was dedicated today. Imperial Potentate Ellis Lewis Garretson was here from Tacoma, Wash., and officiated at the dedicatory ceremonies. A large class was initiated into the order at a ceremonial last night when the new temple was used for initiation for the first time” (April 9, 1921, page 1).

The building changed hands after extensive damage caused from an earthquake in 1935. As Shriners were unable to fund the necessary repairs, the city purchased the building by 1938.

In 1939 a fire station was added to the structure and the building became home to government departments until 1979. The Algerian Temple is now known as the Helena Civic Center. For more information about the space, visit “Helena As She Was” – http://www.helenahistory.org/civic_center.htm

To be continued…