Copyright © 2021 by Wendy Waszut-Barrett
John Fielding (1855-1915) was a scenic artist who worked at Sosman & Landis from approximately 1896 to 1915. He was born in Ireland between 1855 and 1856, and then emigrated to the United States in 1873. To date, I have uncovered nothing about Fielding’s childhood in Ireland, emigration to the United States, or his early scenic art career in the United States.
The earliest mention that I have located about Fielding’s work as a scenic artist is from 1887. That year he was working at McVicker’s Theatre in Chicago and living at 144 N. Sangamon. He was still living at Sangamon and working as a painter in 1890. Although I have uncovered very little information about Fielding’s scenic art projects, he remained connected with McVicker’s Theatre until the mid-1890s. In 1894, he was listed as a scenic artist at the venue, working alongside electrician Mortimer C. Richards and properties master Robert Norton.
On Dec. 14, 1894, the “Chicago Tribune” reported, “Novel Exhibit at the Doll Show. One of the novel and interesting exhibits at the Charity Doll Carnival which opens next Monday morning at Battery D will be an exact facsimile of the stage of McVicker’s Theatre, which will be a contribution of Robert Norton, property man; John Fielding, assistant scenic artist; and Mortimer C. Richards, electrician of that playhouse. Work on the miniature stage has been in progress more than a week and yesterday it was nearly completed. The proscenium, which is made of papier mâché, and exactly similar in design and form of McVicker’s, is five feet six inches wide and fir feet nine inches high. The stage is about five feet deep. The setting is the one used in the second act of “The American Heiress,” which the stock company produced last summer. It shows an Italian Garden scene, with the Bay of Naples and glimpses of Naples and Herculaneum in the distance. The scene is made from the original models, which are on a scale of one-half inch to the foot, which will make it just one-twelfth the size of the stage at McVicker’s. It is wired for electric border and side lights and other devise used in illuminating stages. Mr. Norton said yesterday that it required less work to equip the regular stage with new scenery than the one he is now arranging for the charity show.”
A 1900 US Federal census report recorded that he was married Elizabeth Mulkally in 1885, although I have yet to locate any marriage license or public listing of the event. Unfortunately, there is no 1890 or 1910 census report to confirm any of this information. However, Elizabeth was born in Chicago on November 22, 1856. She was the daughter of John Mulkally and Jennie Flaherty, both Irish immigrants.
In 1896, the “Chicago City Directory” listed John Fielding as a scenic artist, living at 2128 Wilcox Avenue. He would retain this title in the city directory for the next few years, before reverting to painter and stagehand. 2128 Wilcox Avenue would also remain the Fielding family home for decades, well after his passing and into the 1940s.
Jon Fielding was also mentioned by Thomas. G. Moses in 1899. That year, he traveled to California with Moses and Edward Loitz. The three painted scenery for John C. Fisher at his opera house. Of the project, Moses wrote, “June 2nd, found me on my way to San Diego; Loitz and John Fielding going with me. Lost no time in getting to work. I had a nice room at the Brewster Hotel. Had my meals at Rudders, as Fisher paid all my expenses. My salary was clear, and a lot of night work was necessary to complete the work on time. The company soon arrived and started rehearsals. We went through two earthquakes which were a sensation to many of us.”
The fact that Moses selected Loitz and Fielding to accompany him on site says a quite a bit about their basic skills as scenic artists. Moses traveled with a select few individuals over the years, and retained even fewer of them. Keep in mind that in 1899, Moses and Fielding were both 43 yrs. old, and Loitz was 35 yrs. old. This was an incredibly experienced scenic art crew to have on site in San Diego. For years, Loitz had accompanied Moses from one job to the next, whether it was a project for Sosman & Landis or another studio. In a sense, Loitz was Moses’ “right-hand man” for almost four decades. Fielding must have also been an incredibly skilled painter, or Moses would not have brought him along.
Scenic artists who accompanied Moses were highly-skilled and fast painters; anyone who did not meet up to his standards did not last for long. So, the fact that Fielding was on site with Moses, at this particular point in Moses’ career suggests that Fielding was talented. For a little more context, 1899 was a pivotal point in Moses’ career. By 1900 he left the firm to establish his own studio, partnering with William F. Hamilton to establish Moses & Hamilton. However, in 1904, Sosman pleaded with Moses to return to Chicago. At the time, Perry Landis was incredibly ill and Sosman need the help. When Moses returned to Chicago, he became the vice-president of the firm, and was directly responsible for all design, construction, painting and installation from that point forward.
When Fielding was working with Moses in 1899, it was in the midst of a hiring war, as Henry Savage, John C. Fisher, and Jacob Litt each wanted to hire Moses on their team. Sosman & Landis did not want their star scenic artist to leave their studio, and were enticing him to say. At the time, Moses recorded that his “vagabond shoes” were “longing to stray.”
By 1899 Moses had already painted “special scenery” for Litt’s production of “The Club’s Baby,” an English farce at McVicker’s Theatre. Litt wanted to hire Moses as part of his production team, offering a substantial salary to leave Sosman & Landis. At the same time, Henry Savage asked Moses to paint for his opera company in New York. John C. Fisher’s was for the short term and included painting all of the settings for Mme. Modjeska upcoming tour. Moses had to make a decision and wrote, “Litt was rather put out when he learned I was going with Fisher and Savage.” This also did not sit well with Sosman and Landis, as they wanted Moses cranking out work back in the main studio. Keep in mind that when Moses accepted work outside of the main studio, Sosman & Landis received their cut, so they really could not say “no” to him. Moses’ contract with Fisher was from June 2 until August 10, often a good time to take a break from the main studio.
Fisher’s Opera House had opened in 1892, with the building situated on an entire block between Fourth and Fifth Streets. The stage was 43 feet wide by 43 feet deep with a grid 74 feet above the stage floor. The venue was illuminated with an electrical system; 1,000 sixteen-candle power from Edison incandescent lamps. Moses recorded that he, Loitz and Fielding lost no time in getting to work immediately upon their arrival in San Diego. On August 27, 1899, the “San Francisco Chronicle” reported, “Thomas G. Moses of New York and a staff of well-known artists have been at work for the past few weeks painting scenery for the tour. This includes elaborate productions for the play of “Marie Antoinette,” which is to be the most pretentious in Modjeska’s repertoire. Other strong plays are “Macbeth,” “Marie Stuart,” “Much Ado About Nothing,” “Gringoire,” and the “Ladies’ Battle,” the last two being a joint production” (page 31).
Moses wrote that his “salary was clear and a lot of night work was necessary to complete the work on time.” The project went well and Moses wrote, “The Modjeska company gave me a fine send-off – a large tent was put up on a vacant lot; refreshments were served and different members of the company did a little stunt. After a hearty God-speed, I was off for New York City. I regretted not being able to stay until Modjeska opened, but I knew I had a big time ahead of me in New York.”
Fielding returned to Chicago, and continued to work in the Windy City for the next sixteen years, living with his wife and daughter. Fielding passed away on July 1, 1915, and was buried July 3 at Mount Carmel Catholic Church Cemetery, Hillside. At the time of his passing, his occupation was listed simply as a “stagehand,” and he was still living at 4213 Wilcox Ave. John Fielding was only 58 years old when he died.
His obituary was published on July 2, 1915, in the “Chicago Tribune”-
“John Fielding, beloved husband of Elizabeth Fielding, fond father of Genevieve Fielding. Funeral from his late residence, 4213 Wilcox-av., Sat., July 3, at 9 a.m., to St. Mel’s church, where high mass will be celebrated; autos to Mount Carmel. Member of Married Men’s sodality. Member of I. A. T. S. E. local No. 2. Presentation ct. No. 731, C. O. F.”
His death certificate listed that his father’s name was also John Fielding, so, I began exploring the various lives and careers of various men named John Fielding, focusing on one in particular who worked in the theater profession. The problem with touring theater folk, however, is that they are often not listed in nineteenth-century census reports. Being on the road so much of the time meant that performers and stage technicians were often missed, many not having a permanent address. The best option for pinpointing theatrical activities of touring individuals is newspaper advertisements, articles, and programs.
There was another John Fielding who must be mentioned at this point; his birthdate, Irish lineage, and work in Chicago is a little too coincidental to dismiss entirely.
John J. Fielding (b. abt. 1844) and Maggie Mcloughlin Fielding (1848-1913) were a well-known Irish song and dance team, working as comedic performers in the 1870s and 1880s. They were members of Tony Pastor’s famous road company, and performed at theaters in both England and the United States. In 1870, the US Federal Census listed John and Maggie Fielding as performers, living in Cincinnati, Ohio. On March 17, 1872, the “Detroit Free Press” reported, “On Monday John and Maggie Fielding, character artists will make their first appearance in this city” (page 1). They soon moved to Chicago, however, and began performing at the Bohemian Hall on the West side of Chicago.
There was another Chicago mention that is significant…
Fielding was most notably associated with the Jolly Corks in New York and organized the first lodge in Chicago; this later became Lodge No. 4 of the Benevolent and Protective Order of Elks (BPOE). Fielding is even featured in “The Official History of Chicago Lodge No. 4 B.P.O.E.” by Charles Edward Ellis, published in 1910.
For a little touring context…in 1873 the two were performing at the Bowery Theatre in New York, but soon returned to England in 1874 where they performed ay Marylebone Music Hall. In London, there were billed as “American Delineators of Hibernian Humour, whose successful reception here proves that a refined entertainment can be appreciated by a refined audience” (“The Era,” 13 Dec. 1874, page 8). But 1875, however, the were back in the US and performing at New York’s Third Avenue Theatre. They soon moved back to Chicago where they remained until 1878.
On September 8, 1878, the “Chicago Tribune” announced, “Mr. and Mrs. John Fielding left yesterday for Detroit to begin an engagement at the New Coliseum of that City” (page 12). On May 18, 1879, the “Detroit Free Press” reported, “COLISEUM – Two separate and entirely new attractions to Detroit audiences will be presented this week at the Coliseum, the first will be J. Z. Little, in the romantic nautical drama ‘Riving Jack, or Saved from the Wreck,’ and the second being a capital list of specialties. John and Maggie Fielding will appear in an adaptation of ‘H.M.S. Pinafore,’ by Mr. Fielding called ‘Little Pinafore,’ and in which the most popular music of the opera is reproduced” (page 6).
While John Fielding Sr. and his wife were living and working in Detroit that year, another John Fielding was playing on the baseball team for Haverly’s Theatre in Chicago, likely John Fielding Jr.
On May 3, 1879, the “Inter Ocean” reported, “The attaches of Hooley’s and Haverly’s theaters got them together yesterday and had some fun. The amusement was the popular game of baseball, nine from one house bracing themselves again nine from the other. The Hooley’s Club came off victor, beating the Haverly club by six runs, the score being 30 to 24…The nines were composed as follows: Haverly’s John McKinzie, A. W. Morse, Charles Huck, Henry Howland, Aaron Peterson, John Bell and John Fielding” (page 6).
The 1880 US Federal Census listed the couple living in New York City, but they continued to tour.
On September 3, 1882, the “Detroit Free Press” announced, “A Second Debut” for the John Fielding Company” (page 15). The article reported that John Fielding, “with his wife Maggie, has been known during the past fifteen years as one of the best vaudeville attractions in the country.” The article further described that Fielding “made his first appearance on stage in the old Metropolitan Theater, which stood where the Theatre Comique building now is. The debut was made twenty-three years ago under the management of Ed Sherlock. Mr. Fielding having been graduated from the composing room with a desire to play ‘leads’ and ‘heavies’ in a legitimate dramatic company. He soon realized that he was better calculated for comedy and for several seasons played comedy in character parts in stock companies throughout the country. Then the variety theater coming in vogue, Mr. and Mrs. Fielding adopted that branch of the profession, making Irish dramatic and musical sketches a specialty, establishing themselves firmly in the public. Now after twenty-three years of show life, Mr. Fielding starts with his first company, playing the Irish comedy drama entitled ‘False Friendship,’ and he feels that it will be a good idea to take the plunge in the city in which he made his first appearance.” On October 2, 1881, the “Detroit Free Press” announced,
“Park Theater. Eight performances, including Tuesday and Saturday matinees, will be given at the Park Theater this week by Col. J. H. Wood’s ‘Electric Congress’ and Harry Richmond’s Comedy Company. Among the principal people in the organizations are the well-known John and Maggie Fielding” (page 13).
On September 5, 1883, the “Detroit Free Press” announced, “Maggie Fielding, of celebrity in the theatrical world, has joined the Barry Fay Combination. Her husband, John Fielding, is manager of the Novelty Theater at Muskegon” (page 4). His stint at the Novelty Theatre was short-lived, and soon he established his own company. By 1884, John Fielding’s Company was performing at White’s Theatre in Detroit. On March 28, 1884, the “Detroit Free Press” reported, “WHITE’S – There was a large audience at White’s Theatre last night to witness the first performance in this city by John Fielding’s company, the play being a very active and continuously ludicrous composition called, ‘The Corner Grocery’ and based on the antics and incidents in the life of that reprehensible myth, ‘Peek’s Bad Boy.’”(page 4).
The Fieldings were still touring in the late 1880s. In 1886, they passed through Illinois, with the “Rock Island Argus” celebrating the performances of both John and Maggie (15 Oct. 1886, page 4). On February 22, 1887, the “Nebraska State Journal” announced, “John and Maggie Fielding in song and funnyisms at the People’s Theatre tonight” (page 8). This same year John Fielding Jr. Was working as a scenic artist at McVicker’s Theatre in Chicago. Although, I have yet to locate a death certificate or obituary notice, it appears that John Field passed away in the late 1880s.
By 1890, Mrs. Maggie Fielding, was back in Chicago, this time living by herself at 293 S. Clinton St. At the same time, scenic artist John Fielding was working as a painter and living at 144 N. Sangamon in Chicago. Although a widow, Maggie Fielding remained quite well-off and continued to work as an actress in Chicago for another decade. Eventually, she moved east, where she he passed away during the summer of 1913. On Dec. 31, 1913, the “Evening World” in New York announced, “Maggie Fielding, died July 15, 1913; total estate $7,716; net value $6,378” (page 7).
To be continued…
I notice from the poster advertising “A Star Olio Troupe” that along with the Fieldings, another widespread Irish immigrant family is listed in that troupe. My Grandfather Powers came over from Cork in 1879. That branch of the family was not in theatre, but rather farming.