Copyright © 2023 by Wendy Waszut-Barrett
John Moore worked as a scenic artist at Sosman & Landis in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund in Chicago. On August 2, 1885, the Chicago Tribune published a list of “Thousands contributing their dollars and dimes to the memorial fund” (page 9). John Moore was included as part of the Sosman & Landis staff, having contributed $1.
After weeks of tracking down numerous artists named John Moore who worked during the late-nineteenth century and early-twentieth century, I struck gold in California. It was Moore’s ending that brought me back to his beginning. All I needed was an approximate birth year and connection to the theatre.
On Jan 20, 1933, The Placerville Mountain Democrat announced: “Old-Time Trouper Dies; Funeral Held on Monday” (page 8):
“John Moore, 67, a native of Boston, who spent the last years of his life as a scenic artist for manager Frank Atkins, of the Empire Theatre, died on Friday. The funeral services were held on Monday from the Dillinger mortuary chapel, the Rev. John Barrett officiating. Burial was in Middletown cemetery.”
With this little bit of information, I was able to zero-in on scenic artist John Moore. He was born on April 4, 1866, in Hingham, Massachusetts. For geographical context, Hingham is situated on the south end of Boston Harbor, in Hingham Bay. It made sense that Moore told people he was from Boston, and not Hingham, as Boston was much more identifiable to those from far way.
I was thrilled to have a beginning, but there was so much more. His 1933 obituary continued:
“John Moore has no known surviving relatives. Little is known of him save that he was a veteran of the theatrical profession in every sense and meaning of the word. At the age of sixteen, he left his home in Boston and for more than half a century engaged in various branches of the theatrical business. He traveled with the old-time wagon shows, the circuses, with stock companies, and road shows and in vaudeville. He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the empire theatre has shown.”
Moore’s relatives may have predeceased him, but he certainly had a “theatrical family” who mourned his passing. John Moore was remembered by those who listened to his stories and considered him to be “a veteran of the theatrical profession in every sense and meaning of the word.” That is quite a compliment. When reading that line, I understood why it was so difficult to track down Moore’s life and career; he was constantly on the road.
Of all the obituaries that I have read, Moore’s managed to touch my heart in just two short lines. Someone cared enough to write, “He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the Empire Theatre has shown.”
This brought me back his early days in the theatre. Moore was 19 years old when he painted for Sosman & Landis. This was three years after he left Boston. In 1885 Moore was listed in the Chicago Directory as a painter, living at 2329 LaSalle. In addition to working as a scenic artist, Moore also performed at the Academy of Music in Chicago. On Sept. 13, 1885, John Moore was listed as an actor at the Academy of Music, playing the role of Rushton in a revival of “The World.” The article also reported, “It will be produced under the management of Dickson & Joel, with new scenery, including the great raft scene, the departure from Cape Town, explosion in midocean, and the escape from the asylum. All the original novel scenic and mechanical effects will be introduced” (page 13).
Moore left Chicago by 1886 and headed south to Kansas City. From 1886 to 1896, he was sporadically listed in the Kansas City Directory as a scenic artist working, often working for for L. R. Close and Co.
This places Moore with the same group of scenic artists who constituted the main labor pool for Sosman & Landis, L. R. Close & Co., and L. L. Graham. Close and Graham both worked as Sosman & Landis, as well as founding their own studios. Keep in mind that scenic artists were constantly shuffled between shops by studio owners. Scenic studios formed alliances and were often listed as affiliates in various publications.
Furthermore, Sosman & Landis ran several branch offices, including one in Kansas City. Both Close and Graham managed the Sosman & Landis branch office while conducting business at their own Kansas City scenic studios in the 1880s and 1890s. L. R. Close primarily worked in Kansas City from 1883 to 1894, when Close relocating to Chicago. From 1895 until his passing in 1901, Close worked as a traveling salesman at Sosman & Landis.
Moore’s listing in the Kansas City directory from 1886 to 1896 suggests that he was constantly on the move. Moore lived at six different addresses over the course of ten years during his time in Kansas City. This was not uncommon, as scenic artists traveled constantly, delivering scenery from one opera house to the next, or traveling with road shows.
Here are the City Directory listings for John Moore in the Kansas City, Missouri:
1886 Moore, John, scenic artist, L. R. Close Co., bds Tiltons Hotel
1887 Moore, John, artist, L. R. & Co. Close rms 516 B’way
1889 Moore, John, artist, L. R. Close & Co., rms 119 W 5th
1891 Moore, John, artist, L. R. Close & Co. rms Cherry nw cor 5th
1892 Moore, John, artist, r 524 e 5th
1896 Kansas City Directory Moore, John, artist KC Scenic Co. b 2337 Grand av
A few things…516 Broadway was the business address for L. R. Close & Co. This meant that in 1887. Moore was rooming at the studio and accepting his mail there. Many of the scenic artists workin for both Close and Graham listed the studio address as their residence. This was because they were constantly on the road, going from one venue to the next.
Between 1897 and 1922, I lose track of Moore. There are plenty of John Moore’s working in the poplar entertainment industry; I just don’t know if they are the same “John Moore.” This is likely when his career took a series of twists and turns, as he “traveled with the old-time wagon shows, the circuses, with stock companies, and road shows and in vaudeville.” As mentioned in his obituary: “He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the Empire Theatre has shown.”
The next mention of Moore’s scenic art activities ties him to northern California, in the Sacramento region.
By the early 1920s, Moore became associated with actor Will Maylon and the Maylon Players. Maylon, and his wife, Caroline Edwards, traveled with a small group of performers, a technical director (Leonard Bouford), and a scenic artist (John Moore). Advertisements highlighted Maylon’s US military service; he fought overseas during WWI, with the 40th Division in France.
In 1921, the Maylon Players primarily performed in northern California towns including, Red Bluff, Gridley, Corning, Oroville, Chico, Calusa, Lincoln, and Marysville. It is at this time that Moore settled in Marysville, California and began making local newspaper headlines. In 1922, the Maylon Players selected Marysville, California, for their headquarters. For geographical context, Marysville is the county seat of Yuba County, situated at the junction of the Yuba and Feather Rivers on the western slope of the Sierra Nevada mountains.
Here is the link to the above-pictured map drawn by C.P. Cook and published by W.W. Elliott for the “Daily and Weekly Democrat.” https://www.raremaps.com/gallery/detail/32031/birds-eye-view-of-marysville-and-yuba-city-cal-and-surrou-elliott-publishing-company
Detail from the map of railroads to Yuba County, California.
On Sept. 13, 1922, the Marysville Daily Appeal announced (page 7): “Marysville To Be Headquarters For Maylon Players. Coming back stronger than ever the Maylon Players will open at the Atkins theatre Monday, September 18, in the comedy sketch ‘An Indiana Romance.’ The Maylon Players, always a favorite with Marysville audiences have been enlarged until today they stand premiere before the coast wide stock organizations as a leader in their particular line of endeavor. Led by Mrs. Lulu Wasley, the grand old lady of stagedom, loved and revered by all good people, the Maylon Players with their new scenic effects, costuming and real acting are coming home. The company will make their headquarters in Marysville for the season, and will become one of the big families of this city. Marysville will this year be given the first presentations of the Maylon Players’ activities. All business concerning the placing of plays the painting of scenery and other matter pertaining to the company will be done in Marysville.”
On Sept 20, 1922, the Oroville Daily Register reported, “An Indian Romance” [by the Maylon players] which opens tonight, is a play that follows a success in New York run recently was presented at the Alcazar Theatre in San Francisco. Mr. John Moore, considered one of the cleverest scenic artists in California, has designed come beautiful settings for this play. Petaluma critics were lavish in their praise of Mr. Moore’s mounting of the Maylon production” (page 3). On Oct. 11, 1922, the Oroville Daily Reporter reported, “The scenes of the coming play especially painted for this great production by John Moore, veteran scenic artist, in the Maylon Studio at Marysville, are taken from an actual Cantina of Ensenada, Mexico.” (p. 5).
The Maylon Players productions were very well-received in Marysville, with Moore’s work repeatedly mentioned in the local newspaper. On Oct 22, 1922, the Daily Appeal reported, “the work of John Moore scenic artist placed an atmosphere of old Mexico that was very realistic” (page 8). On Oct. 25, 1922, the Daily Appeal reported, “Packed House Is Pleased by Show Given by Maylons (page 1). The article continued, “There was no disappointed theatregoers last night leaving the packed Atkins theatre, where they viewed the work of the Maylon Players in producing “Bought and Paid For” a play that from start to finish rang true to those little incidents of high society life that make for sadness in the hearts of man and wife. The story of Virginia, enacted by Mrs. Ted Maxwell, and that of Afford, man of wealth, but subject to a habit, portrayed by Will Maylon, proved to be a shining vehicle for the little company that lust night packed the theatre. The tale as told before the footlights contained elements of human interest, and high lights of clean comedy with all character portrayals played as only the Maylon players can do. There was Ted Maxwell, is Jimmie. who falls into a fortune of wages in his rise from $l4 to $100 per, and ‘Mother Wasley in the role of Josephine, the maid. Her part last night was small but well played. Oku, Japanese man-Servant. was creditably portrayed by Leonard Bouford. With his sly, cunning, Japanese manner and his curious, ‘Sense please. Oku.’ he gave a true interpretation of his part. The costuming and scenery proved to all that the head of the popular players was attempting to give Marysville theatre patrons, the best to be had. The scenes were the work of John Moore, scenic artist of the company, and of Bouford, technical director. As an added attraction “Rawling’s bears,” were put through difficult animal acts, to the evident satisfaction of all patrons of the Atkins. These animals show themselves to be well trained. Next week’s play will be “Other People’s Money.”
Atkins Theatre on D Street (right side of street).
The Atkins theater becomes an incentive for Moore to remain in Marysville, after the Maylon Players leave town. Built in 1921, the Atkins Theatre was in the same building as the original Marysville Theatre (c. 1908). It burned down in 1926. Atkins Theatre was rebuilt and later renamed the National Theatre.
Atkins Theatre on D Street in Marysville, California.
Marysville Theatre before it became Atkins Theatre.
Interior of the Marysville Theatre, later renamed the Atkins Theatre. This stage once featured the scenic art of John Moore.
In addition to working for the Maylon Players, Moore secured a variety of other projects in town. On Oct. 14, 1922, the Marysville Daily Appeal reported, “Many of the Egyptian decorations of the Sciot Circus that are attracting wide-spread attention are the work of John Moore, scenic artist of the Will Maylon Players. Moore, has won a good reputation for his work with various stars of the theatrical profession, having produced some of the best scenes ever presented before the public.” (page 5).
That winter, the Maylon Players presented “The Dangerous Age” at Atkins Theatre. Of the scenery, the Daily Appeal described, “The living room of the – Harvard home was portrayed beautifully. From a French window in the distance was seen the lights of a great city, with twinkling stars from a pure sky sending forth a thrilling message over the Harvard home. The scene was one of beauty, entailing much work on the part of Leonard Bouford, technical director, and of John Moore, scenic artist of the Maylon company” (Dec. 13, 1922, page 4).
By 1925, Moore was no longer associated with the Maylon Players. The troop had relocated to Spokane, Washington, and were performing at the Auditorium Theatre. In 1925, The Billboard listed the Maylon Players as including Will Maylon, wife Caroline Edwards (Mrs. Maylon); Lou J. Foote, director; Crawford Eagle, heavy; Grace Van Winkle, Edith Mote, Leonard Bouford, Jack Whittemore and two new members William Ruhl and Louise Miller (Aug 29., 1925 Vol 37 No. 35, page 26).
Moore remained in Marysville, and in 1926 was listed in California voter records, as a scenic artist living in Yuba City. By 1928. Moore was listed as scenic artist at the National Theatre. On Feb 21, 1928, the Appeal-Democrat of Marysville, CA, reported, “platform trimmings were put in place by John Moore scenic artist of the National Theatre. He draped the platform foundations and then painted the draping. He erected the stage set which gave the platform a back wall. He did a good job” (page 7)
The following year, Moore was credited with delivering scenery for the Yuba City Highschool’s production of “Bells of Capistrano.” On April 17, 1929, the Appeal-Democrat reported, “Special scenery with Spanish settings will be used. This scenery was recently painted by John Moore, of the National theatre, scenic artist” (page 12). This production was the first operetta ever given by the Yuba City High School. On April 20, 1929, the Appeal-Democrat commented that Moore’s scenery “greatly added to the atmosphere of ranch life in the early days of California. The opening scene was in the hills at night with a ceremonial fire burning, and Indians grouped around it singing prayers to the Great Father, while the medicine man beat incessantly on his drum. The other scenes were on the ranch, Orteog, which was in trouble due to the disappearance of the great herd that would have paid of the mortgage on the home” (page 16).
That summer, Moore was on the road again, painting scenery for neighboring towns such as Colusa. On Aug. 28, 1929 The Colusa Herald reported, “Yuba Man Paints Drapes for New Gem Theater. John Moore, Marysville scenic artist, has completed a contract whereby the stage of the gem theater here is equipped with new draped and curtains. Moore has outfitted a number of theaters in northern California with scenery. His screen, for moving pictures, is widely used” (page 2).
Moore relocates from Marysville to Placerville in 1930, following Frank Atkins, previous manager of Atkins Theatre in Marysville and likely author of Moore’s obituary. Placerville is approximately 71 miles southeast of Marysville, and due east of Sacramento.
Distances between Marysville, Placerville and Sacramento.
Maysville and Placerville in California.
On Sept. 19, 1930. Atkins opens the Empire Theatre in Placerville. Moore immediately becomes scenic artist for the venue. This is where is important to know a little bit about Atkins. On Sept. 19, 1930, The Mountain Democrat of Placerville reported, “as a youth Mr. Atkins managed the Atkins Theatre at Marysville for his father and at 21 was owner and manager of his business” (page 4). The article also credits Atkins as manager of the Campus Theatre, Berkley, and owner of the Lyric Theatre, Marysville; in Marysville, Atkins’ brother still managed the venue.
Advertisement for the opening of the Empire Theatre in Placerville, California, on Sept. 19, 1930.
Moore continues to accept many other projects, including the design and construction parade floats. On May 29, 1931, Placerville’s Mountain Democrat announced, “There was an ‘Old Freighter’ in the parade driven by Ludwig Peterson. The wagon had been rebuilt by John Moore, the expert decorator at the Empire Theatre, and old timers say that the wagon looked like the real article” (page 4). On June 19, 1931, the “Placerville Mountain Democrat” reported, ““Last week-end was put on by the Native Sons and Daughters in real style, wasn’t it? The float depicting the early days of mining in this vicinity entered in the parade by the Native Sons was certainly attractive. Lots of work to make that float, and if happens that you have not heard who made it, we’ll state that it was the work of John Moore, of the Empire Theatre staff” (page 1).”
Less than 18 months later, Moore has passed away in El Dorado, California, on Jan. 13, 1933. The Mountain Democrat reported that Moore spent the “last years of his life at Empire Theatre.”
The Empire Theatre in Placerville, California.
The Empire Theatre is now home to Empire Antiques in Placerville, California.
The building that once housed the Empire Theatre is still standing, now home to Empire Antiques store. Someone is certainly trying to save this old theatre, as I was able to find some interior images posted to the FB Group “Restore the Empire Theatre Placerville, CA.” Here is a peak into a building that once featured the scenic artworks of John Moore.
