Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 89– P. Lester Landis

Copyright © 2022 by Wendy Waszut-Barrett

Perry Lester Landis was the son Perry Landis, Sosman & Landis co-founder. When Joseph S. Sosman passed away in 1915, Sosman & Landis stockholders elected Thomas G. Moses president, Arthur Sosman vice-president, and P. Lester Landis secretary and treasurer.

Perry Landis Sr. met Joseph Sosman in 1875. The two became fast friends and traveling companions. In 1879, they moved to Chicago and opened up a scenic studio on Clark Street. Perry was the first to marry in 1881. His bride was Nora Fessler, and the two celebrated the birth of Viola Elizabeth Landis in 1884 and P. Lester Landis in 1892. The year that Lester was born, the Landis family moved from Chicago to Evanston, Illinois. Lester grew to adulthood along the shores of Lake Michigan, with Chicago only a short train ride to the south. Despite the financial success of the Landis family in the 1890s, tragedy soon followed. Lester’s father became gravely ill around the turn-of-the-twentieth-century, forcing him to withdraw from almost all business responsibilities at Sosman & Landis and the American Reflector and Lighting Co. The 1900 US Federal Census listed that the Landis household was located at 1235 Judson Ave. in Evanston and included: Perry, Nora, Viola, Lester, Katharine Landis (Perry’s mother), Ada Fessler (Nora’s sister), and two servants.

In 1905, both Perry Landis Sr. and his daughter, Viola Landis, passed away; their deaths were only six months apart.

On June 11, 1905, the “Chicago Tribune” reported, “Miss Viola Elizabeth Landis, daughter of Perry Landis of Evanston, died yesterday in Colorado Springs, Colo., where she had gone for her health. Her father and mother were with her at the time of death. She recently was graduated from the Evanston High school” (page 6).

On Dec. 13, 1905, the “Chicago Tribune” published Perry Landis” obituary: “Perry Landis, Evanston, died yesterday at his residence, 515 Dempster street, following a long illness. He was born in Clifty, Ind., in 1850, and came to Chicago when 17 years old. He was well-known among artists of the United States. A widow and one son, Lester Landis, survive. Interment will be at Graceland this afternoon” (page 5). On Dec. 16, 1905, “The Evanston News” added “[Perry] had been a sufferer from nervous prostration for more than three years…Perry Landis was born at Clifty, Indiana, in 1848, He married Miss Nora Fessler, Jan. 13, at Shelbyville, Indiana, and their home was in Chicago from that time until coming to Evanston eleven years ago…Besides the widow, the decedent leaves one son, Lester Landis, Miss Viola Landis, the only daughter in the family, dies last June in Colorado.”

Both Perry and his daughter were buried in a family plot at Graceland Cemetery, purchased by Joseph S. Sosman that year.

In between his sister’s passing and his father’s passing, Lester turned twelve years old. He would spend the next decade with his mother, attending school in Evanston and then entering the family business. His passion, however, remained automobiles. Lester and his mother remained at 515 Dempster in Evanston until 1910 when they moved to 931 Judson. The family home remained on Judson until 1939. The 1910 US Federal Census listed Nora Landis’ household at 931 Judson included her 17-yrs.-old son, P. Lester, her sister 45-yrs.old sister, A. G. Fessler, and a servant.

In 1912 and 1913, the Evanston City Directory listed Lester Landis as a student, still living at home with his mother. During this time he began buying and selling a series of cars.  Although I am uncertain as to when Lester started at Sosman & Landis, he was elected as the firm’s secretary and treasurer in 1915. He likely entered the scenic profession at this time. In 1915, Thomas G. Moses wrote, “I received a wire from Sosman requesting me to return at once, as he was going away for a trip in his car.  He returned July 24^th in bad shape and died August 7^th.  On the 10^th, a stockholders meeting was called and I was elected president of the Sosman and Landis Company.  Arthur Sosman was elected vice-president and P. Lester Landis, secretary and treasurer.”

By the end of the 1915, Moses wrote, “I hope within a year that Lester will get into the office work so I will not have much of that to do.” Lester was slow to take on the company reigns; likely a result of his recent marriage to actress Jessie Medbury (1896-1972). The young couple was married on June 7, 1915. This was just prior to Sosman’s passing and Lester’s advancement to vice-president at Sosman & Landis on August 10. Thos. G. Moses and P. L. Landis were soon running the firm. One of their more notable projects was the Strand Theater in Indianapolis, Indiana. On Jan. 15, 1916, “The Indianapolis News” Sosman & Landis placed an announcement, supporting the opening of the Strand, a new photoplay theatre at Capitol Ave. and Washington St.  They were one of many sponsors to celebrate the opening announcing that their firm “designed, built and painted the beautiful stage settings.” Thos. G. Moses was listed as President and Designer, with P. L. Landis as Secretary and Treasurer.

In addition to managing work, Lester was settling into married life with an intelligent, vibrant and attractive actress. Jessie was the daughter of symphonic musician, Paul B. Medbury (b. 1869), and Ella Gill (b. 1869). Over the years, her father had also worked as an actor, while her mother rented out rooms in the Ellis Park neighborhood. Later in life, Jessie described that she had a “hankering for the stage since childhood.” In a 1961 interview for “Stars and Stripes Newsletter” Jessie later explained, “When other children were playing with their dolls, I would be playing theater. I do remember I used to put on little shows in the backyard.”

She was very fortunate as doors opening up for this aspiring performer. An article published in the “Evanston Review” in 1926 summarized Jessie’s early training and stage career. It reported, “Miss Landis won a scholarship in the Chicago Musical college, where she studied voice, dramatic art, and instrumental music. Graduating from that institution she embarked for New York and was placed in charge of William Wade Hinshaw for voice training, and M. V. Hinshaw and Hamilton Coleman for dramatic art and stagecraft. However, the urge for real dramatic work was not to be denied her and immediately upon her return home she allied herself with the Evanston Stock company, then under the direction of Harry Minturn and playing what is now the New Evanston theater” (11 Nov 1926).  It was while performing with the Evanston Stock Company, that Jessie met Lester Landis. 

So, consider the circumstances…a young actress is on the brink of a successful career, she marries into a very wealthy and well-connected family, with close ties to the entertainment industry. It seems like a dream, until married life sets in and she immediately becomes a mother. This is a period of time when married women left careers and raising children signaled the end of professional ambitions.

In Jessie’s 1954 autobiography, “You Won’t Be So Pretty (But You’ll Know More),” she described her son’s early years and the collapse of Sosman & Landis. Of her son’s birth, Jessie wrote, “And when it was over – the pains had stopped. My eyes were shut tight when I heard the piercing cry of a baby – my baby! Medbury (for my father), Perry (for Lester’s), Landis was bathed, dressed, wrapped in a lovely blanket and put in my arms. It was a beautiful day. From my bed I could see the syringa bushes in the garden in full bloom. Life for me at that moment was perfect and complete.” I had to look up syringa bushes; they are lilacs.

Meddie was born with down’s syndrome, and the Landis family began to grapple with their future obligations and options.

Jessie wrote, “Meddie was a beautiful baby and almost too good to believe. He seldom cried. During the first two years of his life everything went wrong in the Landis home. The business from which they derived their incomes began to fail and it was disclosed for many years the dividends had been paid out of capital. Lester tried to nurse it back, but he knew nothing about the business and it was all pretty hopeless. The family had never had to economize and couldn’t believe that it was necessary to do so now.

‘It will turn out right somehow,’ Mother Landis would say and they continued to live as they had always lived.

I, who had known the ups and downs of fortune, seemed to be the only one to worry.”

Shortly after giving birth, Jessie was asked to play to the role of “Miss Phoebe” in the Evanston Country Club’s play, “Quality Street.” She accepted, and immediately returned to acting and directing. Years later, newspaper articles would repeat the following story, “Miss Landis began her theatrical career as an Evanston amateur when she played the Country club productions under the direction of Blanch Bannister Arnd. She later appeared in a stock company at what is now the Valencia theater and there won the attention of Joseph Schildkraut, who engaged her for the touring company of ‘The Highwayman.’” An article published in the “Evanston Review” detailed that “she interpreted plays, and Joseph Schildkraut chanced to be in the audience one night. He engaged her to play the flirtatious countess in ‘The Highwayman.’ Same story, with a few variations from one newspaper to the next. The point is that her career began to take off, and no one could contain her, or convince her to stay home and raise a child. Understandably so, she had a rare gift and amazing drive.

As Jessie’s career began to soar, her husband’s career began to fail. This dynamic was accentuated by the struggle of raising a newborn. It is one thing to marry a young, beautiful, talented and aspiring performer. That is the thing that dreams are made of. It is something else to watch you wife take center stage while your own career fails.  Lester Landis was in a financial free-fall; trying to rescue a company with minimal experience. He must have felt extremely inadequate as he watched his father’s business empire crumble before his eyes. All the while, his wife was spending an increasing amount of time away from own and gaining much well-deserved recognition. His mother was left to raise their child; Nora represented their sole support network.

Thomas G. Moses remained at Sosman & Landis until the fall of 1918. He simply could not overcome the loss of Sosman, nor successfully manage the firm.  In 1916, Arthur Sosman stepped down as vice-president, with his mother, May P. Sosman, briefly taking on the role. The Sosman heirs (two stepsons) had their own concerns and ambitions, none of which really involved managing a scenic studio. Both Arthur and Fred Sosman were interesting in the theatrical management and performance aspect of vaudeville, not necessarily the back stage work. This left Thomas G. Moses and Lester Landis on their own to bail out a sinking ship. In the end company sales rapidly declined, likely the result of an inexperienced sales team.

Moses could not effectively manage both sales and manufacturing on his own. Lester Landis’ WWI Draft Registration card, dated June 5, 1917, listed his occupation as “manufacturer of stage scenery” and his employer as Sosman & Landis Company, 417 So. Clinton St., Chicago. At the time, his physical was described as medium height, medium build, brown eyes and brown hair.  With America’s entry into WWI, Sosman & Landis struggled to secure work, and soon began accepting government contracts. This work was not promptly paid, ultimately contributing to the firm’s dire financial straits. In 1918, Moses wrote: “Lester Landis went to New York and finally got a settlement with Law for our government work.  It has cost us a good bit to get it settled.”

Moses even traveled with Landis, in hopes of landing more work. My guess is that this was a last ditch effort to help train Landis in sales.  That summer, Moses wrote, “July 2nd, Lester, his wife and myself started for Battle Creek by the way of South Bend in his auto.  We had a delightful trip, spending the 4th of July in South Bend and coming away with a $1,200.00 contract.” Despite Moses’ loyalty to the Landis family and his friendship with Lester, Moses could not stay at the failing firm.

By the fall of 1918, Moses wrote, “September 1st, I resigned as President of the Sosman and Landis Company which severs my connection with the firm after thirty-eight years of service…The Sosman and Landis Company have only done $85,000.00 worth of work for the past year.  We should have done about $116,000.00 worth to make money.”

It was also around this time that Jessie returned to full-time work in Chicago, leaving Meddie in the care of her in-laws. Jessie became head of the Dramatic Art and Production Department of Hinshaw Conservatory. Keep in mind, that in 1919, Jessie was 23 yrs. old; this says quite a bit about her ambition and skill set.  The Hinshaw Conservatory was located at the southwest corner of Wabash Ave. and Jackson Blvd in Chicago, a short train ride south of Evanston. Built in 1917, the new Kimball Hall building was a sixteen-stories structure with 500-seat auditorium.  William Wade Hinshaw was the director of the school, with J. A. Hinshaw as the Manager.

Previously, Hinshaw sang with the Henry W. Savage Grand Opera Company as the leading baritone for three seasons (1899-1901). Interestingly, Hinshaw sang for Savage during the same time that Thomas G. Moses worked as the company’s scenic designer/artist. After Hinshaw left Savage’s employ he relocated to Chicago to establish his conservatory.

From 1919 to 1921, Jessie Royce Landis was listed as working at was listed in the Chicago Directory as one of many employees at “Wab 8335, 910 Kimball Hall Building;” this was the address for the Hinshaw Conservatory of Music & Dramatic Art. Other Hinshaw employees who worked at the building included John Arno Hinshaw; Marvin V. Hinshaw (voice and dramatic art); Mabel Lewis Howatt (elocution); M. McFarland Marino; G. Magnus Schutz (music teacher); Edna Whitmore (music teacher); Laurinda Bredshall (music teacher); Ralph Ginsburg (music teacher); and G. Flynn.

The 1920 US Federal Census listed the couple still living at the home of Nora Landis on 931 Judson in Evanston. Her household included Lester P. (27 yrs.), Jessie R. (23 yrs.), Medbury (3 ½ yrs.), A. Gertrude Fessler (56 yrs.) and servant Alice Sulser (32 yrs.). Lester’s occupation was listed as a “president” in the “scenic artists” industry. Landis remained at the firm as his wife continued to excel as both an actress and director. In 1921, she became a director for the North Shore Players in Evanston. At this same time, Jessie began working as a reader and dramatic coach, part of the Radio Broadcasting news program (KDKA, KYW, WJZ and WGY Westinghouse and General Electric Broadcasting). During the spring on 1922, she was listed as a radio reader for “If You Would Love Me” and many other short stories at the Westinghouse Station, KYW, Chicago, Illinois (“New York Times,” 24 April, 1922, page 27).

By 1922 Jessie established her own firm, known as Landis Studio. From 1922 to 1925, the Chicago Directory listed Jessie Royce Landis’ work address 1525 in the Kimball Building. Her employees included Albertine Nelson (music teacher) and Hilma Franz. This was really a turning point for Jessie After a series of charitable performances, she begins working as an actor and director for the North Shore Players. On March 17, “The Lake Shore Players” published “Seeks Candidates For Tryouts in 3 Plays” (page 1). The article reported, “Mrs. Jessie Royce Landis, who recently has assumed an active interest in the North Shore Players and who gave special readings at the performance a few weeks ago, is to do the ‘casting’ for the forthcoming plays. Mrs. Landis is well known to north shore playgoers for her stellar work in ‘Daddy Long Legs,’ ‘Tangle’ and other important theatrical productions of the past years. She is a leader in dramatics and the North Shore Players are considered to be very fortunate in having claim upon at least a portion of her time.”

Between 1922 and 1923 “The Lake Shore News” published a series of placed by Jessie Royce Landis for her Studio of Dramatic Art. Her ad noted, “Instruction may be had in Evanston as well as Chicago” (page 17). She was still placing the same advertisement in a variety of local paper the following year, including the “Evanston Lake Shore News” (13 April 1923, page 7).

In addition, to teaching, acting, and directing, Jessie began to write. On April 22, 1922, “The Lake Shore News” published an article written by Jessie Royce Landis entitled “Wherein is Defined Amateur Dramatist” (page 4). 

She wrote, “Deep in the heart of almost every individual lies an inborn conviction that a great artistic spirit seeks expression. Nearly every one of us at some time or the other has secretly felt the urge of expressing big thoughts through the medium of printer’s ink. The painter’s palette or the mummer’s art. Almost any man thinks that he could add some touch of improvement to almost any play that he ever witnessed. It is so easy to sit back comfortably and critically watch a story unfold and suggest where here and there the plot might be twisted and turned a bit.

Someone has said that almost everybody has carefully hidden away in some pigeon hole, nook or corner a play, poem or dramatic sketch with which he hopes some time to startle and amazed and appreciative world.

The psychology of all this is probably what makes amateur theatricals as unusually known the dreariest form of indoor sport.

Most folks start by coxed, persuaded, cajoled, and coerced into their first amateur dramatic appearance. It usually requires the ‘hook’ to stop their adventures.

Nothing is so interesting to watch as they progress of the average staid, dignified man of affairs hesitatingly accept and stumblingly repeating his first few lines in his first amateur appearance until he blossoms forth in the full regalia and panoplied gladiator fondly imagining himself an imposing, impressive reincarnation of another Booth.

Of course, all of these performances are given before friends, relatives or loving enemies, so all is congratulation, all is fulsome praise, and it is only the outsider or stranger that can fully appreciate in all its excruciating agony the wonderful and typical amateur performance.

Everybody imagines that if they just had a few hours someday all by themselves with plenty of paper they could write a perfectly wonderful story or play, while others fondly hug the illusion that the mere donning of a character costume miraculously clothes them in the ability to tread the boards.

They fail to understand that they can hardly acquire in a few short weeks of usually quite equally amateurish direction and rehearsal even the least inkling of an art that requires a lifetime of study in its perfection. That is probably why the word ‘amateur’ as applied to dramatics is the term that usually brings forth, at best, the quiet smile of amused tolerance. Perhaps the greatest compliment that any group of such players have received from the audience is the remark, ‘Pretty good for a bunch of amateurs.’

Yet no one ever thinks of the word ‘amateur’ as applied to a baseball organization as indicating in the least degree a lack of first class ability and skill. Practically all football is amateur football and no better football is played. Nobody feels inclined to make excuses for an amateur golf champion or tennis player. The word ‘amateur’ receives in these fields its true meaning; the doing or accomplishment for love of the thing done.

So I have many times longed for a word that might truthfully and fairly designate meritorious theatrical productions apart from purely commercial enterprise.

I have in mind a group of earnest, capable and talented people in our own community who best express my idea of what ‘Amateur theatricals really should mean.’

The North Shore Players are not in the accepted theatrical sense amateurs. All have had stage careers. In that respect we would call them professionals. They never attempted anything beyond their own capacity to express, or beyond the limits of possible stagecraft where the productions are given. They are amateurs in the highest sense, carrying on the work not for personal gain, but for the pure love of the thing. Their performances easily rank with high grade commercial attempts.”

On April 28, 1922, the “Evanston Lake Shore News” reported, “Before her marriage Mrs. Landis appeared on the professional stage with large road and stock companies in plays such as ‘Get Rich Quick Wallingford,’ ‘The Blindness of Virtue,’ etc. In moving pictures she played opposite Francis X. Bushman for some time. Of late, Mrs. Landis has only been doing semi-professional work and has appeared in the following plays on the North Shore: ‘Quality Street,’ ‘The Two Sisters,’ ‘Fourteen,’ ‘Tea for Three,’ ‘Daddy Long Legs,’ and ‘Tangle.’ For three years Mrs. Landis was head of the Dramatic Art and Production Department of Hinshaw Conservatory and now maintains her own studio in the Kimball Building – Landis Studio” (page 8).

”The North Shore Players include in their organization, Robert Andrews, who has made a special study of scenery at the Academy of Fine Arts and the Hickox Studios.”

On Feb. 2, 1923, the “Evanston Lake Shore News” reported, “The North Shore Players have been exceptionally fortunate in securing the services of Jessie Royce Landis as director for the season. Under her capable supervision, the North Shore Players have always been successful, and the fact that Mrs. Landis is directing their coming performance, it is felt, assures success”  (page 1). On June 1, 1923, Jessie Landis was pictured in the Evanston Lake Shore News (page 6). She played the title role in “St John Irvine’s “Jane Clegg” by the North Shore Players at Kuppenheimer Memorial Hall in the New Trier high school auditorium. It was given under the auspices of the benefit of the Winnetka Post, American Legion.  The article reported, “The part of ‘Jane Clegg’ is to be portrayed by Jessie Royce Landis, who has been in charge of all the direction of the North Shore Players’ productions for the past two seasons, and whom all these youthful dramatist declare, is due all the credit for the success of their numerous ventures. Mrs. Landis has appeared on the professional stage in a number of important productions, and since her marriage has been doing only semi—professional work as sell as giving instruction in dramatic art.” (page 6).

Meanwhile at Sosman & Landis, Lester continued to work as a salesman at Sosman & Landis. Moses was again working at the firm, on contract.

In 1922 Moses wrote, “…got a train for Davenport, Iowa. Some fine daylight ride.   Met Lester Landis and we set our model up for the new Scottish Rite Bodies.  No chance to close for some time.” The firm continued to lose work to their competitors, as they frequently were outbid.  This, combined with a decline in the demand for painted scenery, contributed to the firm’s rapid decline. In  1923, plans were implemented to liquidate all Sosman & Landis assets, closing its doors for good.  Moses saw an opportunity and partnered with Fred Megan, former salesman at the Kansas City Scenic Co., to purchase the name. They hoped to open a new iteration of Sosman & Landis, and succeeded early in 1924. In 1925, Moses wrote, “On Sunday, [Fred] Megan and Lester Landis drove out to see me, as Fred had just returned home from a trip.  We tried to induce Lester to come with us, but he wanted too much salary.”

I wonder if Lester was simply not interested, and priced himself out of the picture.  His wife’s career was soaring, and their marriage began to faulter. An article entitled “Jessie Royce Landis is Leading Lady with Otis Skinner at Blackstone” was published in “The Evanston Review” on Nov. 11, 1926. The article described her training and career up to her landing the role of the countess in “The Highwayman.” Then it continued, “After that she appeared in John Golden’s ‘Wages for Wives’ and ‘Seventh Heaven,’ also as a member of ‘The Werewolf’. Vaudeville also claimed Miss Landis for a time. She appeared opposite Jacob Ben Ami, in the second act of ‘Sampson and Delilah’ at the Palace theater. After this she played in Detroit, Mich., in Adolph Klauber’s ‘Wings of Chance,’ in which Jessie Bonstelle saw her, and when Miss Bonstelle decided to produce ‘Little Women’ she engaged Miss Landis for the part of Jo, in which this young actress scored so heavily that she was listed to play leading parts only with the Bonstelle Stock company during all of last summer, after having secured her release from A. H. Woods with whom she had signed a contract previously. Miss Landis is now appearing in the role of Flora Brazier, in Mr. Skinner’s present vehicle ‘The Honor of the Family,’ and although the part is of an unsympathetic nature, she nevertheless revels in it because it gives her an opportunity to display all human emotions.” “The Honor of the Family” at the Booth Theatre was Jessie’s Broadway debut in 1926 . The production was immediately followed with a tour, featuring her in the same role. After completing the tour, she returned to New York and would land one role after another, including the role of Princess Katherine in the 1928 production of “The Command Performance.”  In all, Jessie would perform in 35 Broadway productions between 1926 and 1964.

Unfortunately, joy and sorrow often go hand in hand.  The year that Jessie performed in “The Command Performance” her 11 yrs. old son passed away from influenza. Meddie Landis died on March 17, 1928. At the time, he was living in Indianapolis at an institution (2259 N. Alabama).

Purportedly, Lester and Jessie greatly disagreed on how they should raise a child with special needs. Lester wanted Jessie to stay at home and care for their son, whereas Jessie believed that he should live at an institution specifically created for those with Down syndrome. Unfortunately, this was a period in American history when the majority of individuals with Down syndrome were kept in inhumane institutions.  First of all, here is a link to the Down Syndrome Human and Civil Rights Timeline: https://www.globaldownsyndrome.org/about-down-syndrome/history-of-down-syndrome/down-syndrome-human-and-civil-rights-timeline/

I am going to provide a little context to place how inhumanely the world looked at special needs individuals…

In the 1920s, some of the United States were passing laws to sterilize certain individuals without consent; those perceived as “feebleminded,” insane, depressed, mentally handicapped, epileptic, and some others who simple suffered from various addictions (alcohol and drug abuse). In 1927, the Supreme Court case, Buck vs. Bell ruled that it was not a violation of constitutional rights of disabled people to forcibly sterilize them against their will. Even in “Mein Kampf,” Adolph Hitler cited U.S. eugenics laws and ideology, writing, “I have studied with great interest the laws of several American states concerning prevention of reproduction by people whose progeny would, in all probability, be of no value or be injurious to the racial stock.”

Meddie was considered by some to be “of no value.”  Therefore, It is understandable why any parent, such as Lester, might hesitate to send their child to any institution, especially one that was far away from home. So what were the options without a network of support for parents with a Down syndrome child? In all reality, someone had to stay at home as a primary caretaker. If neither parent was willing to do this, nor a close family member, the options were very limited. Family members were customarily sent away and placed institutions for a variety of reasons, often perceived as inconveniences.

There were risks in sending Meddie to an institution, but most children with Down syndrome were not allowed to attend public schools and confined to a private residence. In the Landis household, there remained the question as to WHO was going to raise a special needs child. Within a patriarchal structure, the responsibility fell to Jessie. Yet she a career that was taking off, and arguably much more successfully than her husband by 1922.  

Their differing opinions about Meddie caused a fissure that ultimately divided their lives and ended their marriage in divorce. After Meddie’s death, Jessie threw herself into her art and succeeded. Meanwhile, Lester just tried to survive, going from ones sales position to another. Throughout the 1920s he remained in the theatre industry, staying with the scenic trade.

By 1927, Lester secured a position as the head of the scenery and drapery department at the National Theatre Supply Company.

An article about P. L. Landis was published in the “National Pink Sheet” on June 27, 1927 (page 2). Here is the article in its entirety:

“New Scenery and Drape Department Formed.

Distributing Entire Output of Midwest’s Finest Scenic Studio, National is Now in Position to Render Unusually Efficient Service.

-P. L. Landis Placed in Charge.

The idea of specialization throughout its various departments has been further augmented by the National Theatre Supply Company in recent formation of another new department which will have under its direct supervision all matters in connection with the distribution of stage scenery, house draperies and floor coverings for theatres in the Central States.

This department has been placed under the directions of Mr. P. L. Landis, a specialist in stage technique and with headquarters in the general offices of the Company in Chicago, he will cooperate with an assist all National branch managers and their salesmen in rendering a scenic service to exhibitors, unusual in both the extent of preliminary service and quality of finished products.

Mr. Landis is quite well known to the trade, having been a member of the original Sosman & Landis Company of Chicago. With 12 years of experience in all branches of scenery production and stagecraft, he is particularly fitted to head the new department.

Arrangement have been made to distribute the entire output of the Wm. Lemle, Inc. Studios, located in Chicago. This company, with one of the finest and best equipped studios in existence, and in charge of Wm. Lemle, also an associate of Mr. Landis in the original Sosman & Landis studios, will produce all of the stage curtains, both fabric and painted, house draperies and novelty stage settings of every description for the new scenic department of National’s Midwest Division.

Similar departments are already in operation in the Southern Division, under the direction of Joe Shear, located at the National district offices in Atlanta, Ga., and in the West Coast Division, under A. M. Larsen of the National Interior Decorating Department in Seattle, Wash. Another scenic department is now being formed for the Eastern Division and will be announced shortly by officials of the district in New York City.

The scenic, drapery, floor covering and interior decorating departments represent one of the final steps toward perfecting the National One-Contract Equipment Plan, which has already achieved nation-wide popularity. These departments will function in connection with the National Engineering Department.

It is now possible for the builder of a new theatre, or the exhibitor who wishes to improve the efficiency of his present theatre to avail himself of a complete technical service for the preliminary plans, and finally to group his entire needs into one contract. Thus simplifying the process of selection, establishing one single source of responsibility, minimizing the possibility of errors and greatly facilitating the problem of financing.”

Lester  continued to live with his mother at 931 Judson in Evanston throughout the 1920s and 1930s. From 1920 until 1925, Lester was listed as a manager. His 1926 listing changed to salesman, a position that he continued for the remained of his career, despite shifting industries. The 1931 Evanston City Directory listed his wife as Jessie R. and his employment as “theatrical supplies, Chicago.” Two years later, Lester’s wife was still listed as Jessie R. Landis.

In 1935, Lester Landis was listed a s a salesman for North Shore Buick Co., but he was still living with his mother in Evanston. His life dramatically changed. It was not as if he suddenly decided to sell cars. Since 1913, P. L. Landis had been buying, selling, and trading a variety of vehicles.  In 1913, he placed the following advertisement in the “Chicago Tribune”:

SACRIFACE – 1914 PAIGE EQUIPPED WITH spare tire. Gray & Davis starting and lighting system, shock absorbers, etc., run less than 2,700 miles. Owner. P. L. Landis, Phone Evanston  1698.” In 1915 he placed a similar ad in the “Chicago Tribune” on Aug. 1, 1915: SACRIFACE – 1912 5 PASSENGER SELDON, fully equipped and ready for immediate driving; just overhauled. Must have money inside of 24 hours. Call Evanston  1698. P. L. Landis.” By 1921, his advertisements in the “Chicago Tribune” carried bold and larger fonts: “Auto Credits for Sale. NEW CAR. WILL SACRIFICE DEPOSIT ON ANY MODEL ELGIN 6. P. L. Landis Ph. Evanston 1698.”

When Lester left the theater business in the mid-1930s, he returned to his first love – cars.

Both Lester Landis and Jessie Royce Landis remarried in 1937.

Lester’s second wife, Elsie C. Karger. The two were married on September 27, 1937, in Galesburg, Kalamazoo, Michigan. This date various, however, and some records suggest Oct. 4, 1937, as their wedding date.  This was the same year that Jessie Royce Landis married her second husband Rex Smith, editor, writer, and playwright. Their marriage only lasted until 1944 when the couple was divorced. Jessie married her third husband, Maj. Gen. J. F. R. Seitz in 1954, but never changed her name.

Elsie Cammille Karger (b. 1901) was the eldest of three children born to George Harrison “Harry” Harper (1874-1969) and Jennie Elizabeth Quinn (1879-1964). Born in Fairfield, Illinois, Elsie grew up in St. Louis, Missouri. Elsie married her first husband, Oliver J. Karger, on Nov. 9, 1920, in Marion County, Indiana, but the two returned to raise a family in St. Louis, Missouri. They celebrated the birth of one child,  Jacqueline Karger, in 1923. When Elsie married Lester, she was 35 yrs. old, with a 14 yrs. old daughter.

Lester and Elsie Landis were last listed as living with Nora Landis in the Evanston Directory in 1939. The two were living in Indianapolis when Lester’s mother passed away in 1942. On March 26, 1942, “The Evanston Review” published “Mrs. Nora Landis, widow of Perry Landis, and an Evanston resident for 50 years, died Wednesday of last week at her home, 914 Crain Street, following an illness of several months. The later Mr. Landis was formerly in the theatre scenery business in Chicago, as a member of the firm Sosman & Landis. Mrs. Landis was a former member of the Women’s Club and was a member of the First Church of Christ, Scientist. She is survived by a son, Perry L. Landis of Indianapolis, and a sister, Miss Ada G. Fessler, with whom she lived. Funeral services were held Friday afternoon at Hebblethwaite Funeral Chapel. Burial was in Graceland Cemetery.”  Mother’s obit – His mother, Nora Landis, March. 18, 1942, at her home, 914 Crain Street, Evanston, Ill., wife of the later Perry Landis, mother of Perry L. Landis, sister of Ada G. Fessler; service 2 p.m. Friday at chapel, 1567 Maple av, Evanston, Interment Graceland” (Chicago tribune, 19 March 1942, page 26).

Jessie Royce Landis’ last performance in Chicago was during 1945 when she appeared in the Theater guild production of Shakespeare’s “The Winter’s Tale.” Newspaper accounts report that after this performance when went onto Hollywood and made several movies, including “It Happens Every Spring,” “My Foolish Heart” and “Mother Didn’t Tell Me” (“Evanston Review, 30 March 1950). In 1950, she was heralded for her London performance of Somerset Maugham’s “Larger Than Life.”

During this time, Lester and Elsie Landis moved from Indianapolis, Indiana, to O’Fallon, Illinois, and then to Belleville, Illinois. In 1950 Lester Landis was listed in the Belleville Illinois Directory as “dept mgr. Herman G. Wangelin Inc (used car lot) rRD 1 O’Fallon”  The company was located at 500 E. Main Street in Belleville, established by I. H. Wangelin of 221 Abend and A. H. Wangelin of 1117 Olive St.). In 1951, P. L. Landis was again placing advertisements,; this time in the “Belleville Daily Advocate.” On July 3, 1951, he advertised, “CLEAN ’41 DODGE SEDAN. $495. Fluid drive, radio and heater. Private owner. P. L. Landis. 600 East Main St. Phone 2740.”        

Lester remained an automobile salesman until his passing in 1955.

Landis passed away on August 17, 1955, in Belleville, Illinois. On August 20, 1955, the “Chicago Tribune” published his obituary (page 35):

“Landis – Perry Lester Landis, formerly Evanston, Aug 17, 1955, at Belleville, Ill. Husband of Elsie Landis, father of Mrs. Jacqueline Schultz. Resting at chapel 1567 Maple avenue. Evanston after 10 a.m. Sunday where services will be held at 2 p.m. Interment Graceland.”

Lester’s passing also made Evanston news in 1955:

“Perry Lester Landis, 62, of Belleville, formerly of 931 Judson avenue, died Wednesday of last week in St. Elizabeth’s hospital in Belleville A long-time Evanstonian. Mr. Landis, an automobile salesman moved to Belleville four years ago. He formerly lived in O’Fallon. Surviving are his wife, Elsie, and stepdaughter, Jacqueline (Mrs. Charles) Schultz of Columbia, Ill. He was preceded in death by a son, Medbury P. Services were conducted Monday afternoon at the Hebblethwaite chapel by the Rev. Fred E. Luchs, minister of the First Congregational Church, with interment in Graceland Cemetery.

Both of Lester’s wives long outlived him.

Jessie continued to work in both film and live theater, with her last role being Muriel Chadwick in “Roar Like a Dove” (May 21, 1964-June 6, 1964).  Here is the link to her listing in the Internet Broadway Database: https://www.ibdb.com/broadway-cast-staff/jessie-royce-landis-15358 Today, she is primarily remembered for her film performances in “To Catch a Thief,” “The Swan,” “North by Northwest,” “Goodbye Again” and “Critic’s Choice.” Much has been written about her film career, but little of her early marriage to Landis. She passed away in 1972 at 76 yrs. old, although newspapers erroneously cited her age as 67. As she matured, Jessie’s birth year shifted from 1896 to 1904, a common practice for women performers at the time.

Jessie Royce Landis’ obituary was published in the “New York Times” on Feb. 3, 1972. I am going to include it, as it provides a little background for the rest of Lester Landis’ tale.

“DANBURY, Conn., Feb. 2—Jessie Royce Landis, the actress, died this evening in Danbury Hospital at the age of 67.

She leaves her husband, Maj. Gen. J.F.R. Seitz, to whom she was married in Teheran in 1956 when he was in command of the United States Military Mission” with the Iranian Army. That couple made their home in Ridgefield.

A graveside service will be held in Branchville on Sunday at 2:30 P.M.

Just Back From Hollywood

Miss Landis had just returned from making a film in Hollywood when she was taken ill.

An international star, she appeared over the years on the New York and London stage and in other capitals throughout the world. She also appeared in many films and on television and even found time to write her autobiography, “You Won’t Be So Pretty,” in 1954.

In London, she received an award for the best performance of the year (1950) in “Larger Than Life,” a dramatization of Somerset Maugham’s novel, “Theatre.”

Miss Landis had a run of full year (1951–52) in the musical, “And So to Bed,” in London. In this play she sang the prima donna role.

Among the New York plays in which she starred were “Solid South,” “Merrily We Roll Along,” “Love From a Stranger,” “Richard II,” “Sing Me No Lullaby,” “I Knock at the Door” and “Roar Like a Dove.”

For the Theater Guild she starred in “Love’s Old Sweet Song” and “Papa Is All,” among others.

In ‘Kiss and Tell’ 2½ Years

Miss Landis’s longest run in New York was in “Kiss and Tell,” which was on the boards for two and a half years in the early forties.

Her film credits included “To Catch a Thief,” “The Swan,” “North by Northwest,” “Goodbye Again” and “Critic’s Choice.”

Miss Landis was born in Chicago on Nov. 25, 1904. She made her stage debut at the Playhouse there in 1924, as the Young Countess in “The Highwayman.”

Her first appearance in New York, following a stock engagement in Detroit, was in 1926, at the Booth Theater as Flora Brazier in a revival of “The Honor of the Family.” This was followed by a tour in the same part and then came a succession of New York engagements.

She succeeded Estelle Winwood as Fern Andrews in “The Furies,” and her reputation as a dramatic actress grew steadily.

In rapid succession Miss Landis played Princess Katherine in “The Command Performance,” in 1928; Satire in “Young Alexander” in 1929, Caroline Goodwin in “Stripped,” the same year; Cydalise Waring in “Damn Your Honor” later in 1929 and Leila Mae in “Solid South” the next year.

There were many other plays, among them “Colonel Satan,” two revivals of “Peter Ibbetson,” “Marriage for Three,” Jo in a revival of “Little Women,” “Domino,” “Before Morning,” “Hard Boiled Angel,” “The Dark Tower,” “The Old Maid,” “Substitute for Murder,” “Pre-Honeymoon,” Noel Coward’s “Tonight at 8:30,” “Dame Nature” and “Where There’s Will.”

Lester’s second wife Elsie lived another 33 yrs. after his passing. Her obituary was published on June 4, 1988, in “the Indianapolis News”:

“Graveside services for Elsie Harper Landis, 87, Indianapolis, will be at 3 p.m. Monday in St. Paul Evangelical Cemetery, Columbia, Ill. There will be no calling. Flanner & Buschanan Fall Creek Mortuary is handling the arrangements. The widow of Perry Landis, she died Friday. Survivors – sister Dorothy Webb; three grandchildren” (page 12).

To be continued…