Author: waszut_barrett@me.com

Copyright © 2020 by Wendy Waszut-Barrett

In 1919, Thomas G. Moses wrote, “The Madam and I started for a river trip down into Alabama by way of St. Louis.  I have written this trip in detail in my travelogues.  It was a most enjoyable trip, during which I made pencil sketches.  We had a nice time in St. Louis at Kirke Moses’ home, and at P. J. Toomey’s new home…Brother Kirke and family paid us a visit in July, driving up from St. Louis.”

Previously this year I was contacted by a descendent of Kirke Moses who wrote, “Thank you for this. Thomas Gibbs Moses was my Great Uncle. His brother Kirke White Moses was my Great Grandfather whose daughter was my beloved Grandma, Ruth Moses McNulty! Our family still has a few paintings from Thomas Gibbs Moses and his brother, Walter Farrington Moses! Periodically, I search for information on my ancestors and I was happy to find this. Thanks again.” 

My first thought was, “Who is Kirke?”  I never stopped to consider the children born after the death of Moses’ mother, as I have remained so focused on his career. Moses’ father re-married. and I knew very little of the second family; never really looking for more familial information.

Of the first family, Moses wrote, “Father and Mother had a family of seven children.  Kate, the eldest, was accidentally killed at sea.  Lucius was the first boy and died at sea.  Sister Lucia was born in Halifax, Nova Scotia, July 23rd, 1853.  I was the third child.  Frank was born in 1858.  Illie was born in Sterling, Illinois, December 25^th, 1860.  Little Kate (named for the first child) born in Sterling; died shortly after my mother’s death in 1862… It was here [Sterling] that mother passed away and left four children for Father to bring up.  I remember every detail and incident of her death.  I can see each dear friend of Mother’s grouped about.  I crawled upon the bed to kiss her good-bye.  One of her last bequests was to give her watch to “Tommy,” which I received after I had passed middle age. Among the many little keepsakes of Mother’s, I have a drawing book that she used in school in 1835.  The pencil drawings show considerable talent.  If she had only lived, what a wonderful Art companion I would have had.” His mother was Mary W. Titcomb Moses.

Moses later wrote, “One housekeeper we had was Mary Planthofer.  She was awfully good to me – almost like a real Mother.  She saved me a good many whippings.  She remained with us after our new Mother arrived…When the new Mother took charge of affairs, there were many radical changes made.  Many of them made my young life a burden, and had a strong influence on my whole life, and also kept my nose to the grindstone.”  Not much of his new mother was recorded, including a name. Moses’ only description of her at all was when he wrote, “A good novel had a great deal of interest for my new Mother, much more that our garden, so why should we worry when the garden went wild.  It was even more artistic.” His second mother was Adeline Gowen, sometimes spelled Adaline.

About the time that Kirke was born, Moses’ life at home was quite miserable and all he wanted to do was become and artist in Chicago. By the time When Kirke was just a toddler, Moses wrote, “My wild career as an Artist started in April.  Father would not help me, so I started for Chicago with 10¢ in my pocket and a new pair of boots, red leather tops and copper toes; some heavy clothes and a lot of pluck.” Upon arriving in Chicago, he immediately started working for the decorative firm ran by P. M. Almini. From this point onward, Moses’ career took off, and there is little said of his family.

Kirke was born on November 8, 1871. By 1880, the US Federal census listed Lucius and Adeline Moses living in Chicago. Lucius’ occupation was that of harness maker, in line with the tannery and harness shop he ran in Sterling Illinois. In Chicago, the Lucius Moses family include his wife Adeline, daughter Illie Kirke W. and Walter D. were listed as two sons, with Walter being three years younger than Kirke. I have briefly explored he life of actress Illinois “Illie” Moses in past post 174 (https://drypigment.net2017/08/15/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-178-illie-moses-sister-and-actress/).

Although both Moses and his sister Illie worked in the theatre Industry, little is mentioned of their relationship. Moses seems to have remained closest with his brother Frank Demming Moses. This is understandable as Moses’ eldest son Pitt went to work with Frank in the gas industry, so the family remained quite close over the years. Kirke ended up in St. Louis, Missouri as a contractor.

On April 4, 1929, Kirke E. Moses was featured in the “St. Louis Star” (page 24). The article announced, “Kirke Moses to Build Residences in Ivanhoe Park….Associated with the building industry for over twenty years, Moses has built more than 600 fine residences in various parts of the city. The son of a Chicago contractor, he began building and construction work shortly before the World’s Fair. Before coming to St. Louis he gained distinction in the field of building through his work in construction of the University of Texas buildings at Galveston and the Illinois Central car shops at Memphis. One of his first commissions in St. Louis was the reconstruction of the Philippine Building at the World’s Fair. Since that time, he has confined his activities to the building of fine homes. It was thoroughly in line with the policy of the St. Louis Better Built Homes Movement, that he was selected to build these model homes. The executive committee realized the importance of selecting a reputable builder. It is well known regardless of the fine materials used no home can be well built if poor construction methods are employed. The fact that his record as home builder was beyond reproach led to Moses’ selection.”

Newspaper articles are seldom 100% correct, so you have to take what they say with a grain of salt. I have never encountered any mention that Lucius Moses was not a contractor, other than the article above. He was initially a sea captain who moved inland and established a tannery in Sterling, Illinois. Lucius Moses’ occupation was listed as a harness maker. After Lucius Moses moved to Chicago, Moses recorded that his father ran a grocery store. That being said, I haven’t really looked to see if he was ever listed as a Chicago contractor.

The other interesting bit of information I encountered was on Kirke Moses’ marriage certificate. He listed his occupation as “painter.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919, Thomas G. Moses wrote, “A large curtain for the Alvin Theatre, Pittsburg, gave me a good opportunity to display my knowledge of deep woods again.”  Moses delivered the original stock scenery collection for the same venue in 1891.

In early September of 1891, Moses and Ed Loitz left Sosman & Landis’s main studio in Chicago, bound for Pittsburg. Their goal was to furnish all of the new scenery Alvin Theatre in the next two months.  They completed the project on November 10, 1891.

The Alvin Theatre was owned by the actor named Charles L. Davis. Davis had made his fortune as a character actor, playing a New England rural farmer named “Alvin Joslin.” He originated in the 1860s and became quite popular.  

Charles Lindsay Davis was born in 1848. At the time, his parents were touring with a theatre production. Davis entered the theatrical profession by the age of five and continued performing until 1889, when he retired to build the Alvin Theatre. After spending $225,000 on the endeavor, the Alvin Theatre was considered one of the finest theatrical house in America at the time. Moses described Davis in his memoirs: “He carried a band furnished with the best and most expensive instruments.  He wore some fine diamonds.  His vest buttons had diamonds in them.  A $7000.00 watch was a novelty. He had a body-guard who was close to seven feet tall, while he was only five feet there.  On day in Cincinnati while dining, his body guard approached him, begged his pardon for being late, and counted out to Davis thirty $1000.00 bills, and apologized for not being able to get the balance. The table was filled with traveling men and as they opened their eyes at $30,000.00, Davis coolly put it in his vest pocket.  As soon as the meal was over, he slipped the money back to his bodyguard who got it back to the bank where he had borrowed it for an hour.  Of course, on good security.  Just a little advertising.  Everyone talked about it.  He had many little stunts like that.” 

Davis passed away in 1900 at the relatively young age of 52 from complications that arose after a suffering from a severe attack of pneumonia. The “Pittsburgh Post-Gazette” announced “Charles L. Davis will be sadly missed and not alone at his home, for he was known all over the country and had hosts of warn friends. Pittsburghers have every reason to remember him with gratitude. He was instrumental in adding to the city’s attraction a place of amusement, and which remains an appropriate monument to his memory” (2 March 1900, page 4). The Alvin Theater was purchased in 1900 by Benjamin Keith. Keith rented the space to who began renting to Harry Davis. By 1905, the two expanded their partnership to include Pittsburgh’s Grand Opera House.

Little is known of the scenery delivered to the Alvin Theatre either in1891 or 1919. The technical information for the stage, however, was included in numerous Julius Cahn’s Official Theatrical Guides, beginning in 1896. The theater was located on the first floor and the proscenium measured 36 feet wide by 45 feet high, a sizable opening. It was 48 feet from the footlights to the back wall and 78 feet between the side walls. The distance between the fly girders was 50 feet, with 63 feet from the stage to the rigging loft. There were grooves for painted wings that could be taken up flush with the fly gallery and six traps in the stage floor. By 1901, the stage area appears to have been enlarged from 78 feet to 90 feet between sidewalls. All other technical specifications remain constant.

When Moses delivered the woods scene to the Alvin Theatre in 1919, he must have been flooded with memories from his first trip to the space. In 1891, his career was in the midst of shooting upwards. Business was booming and there was a long line of projects on the horizon. By 1919, it was almost thirty years after Moses first visited the Alvin Theatre. The world of theater was changing and there was no longer an endless demand of painted scenery. Although Moses noted the project offered an opportunity to display his knowledge of the deep woods again, it was a bittersweet moment.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919 Thomas G. Moses wrote, “Met Mrs. Coleman and Mrs. Carpenter regarding a big show in November at the Coliseum.  They want to do the Atlantic City board-walk.  I have it in mind and will start early on models. … The latter part of October I went to Atlantic City to meet Mrs. Carpenter, where I made sketches for the big show.” 

Mrs. Joseph G. Coleman was in charge of the charity event at the Chicago Coliseum for the benefit of the Passavant Memorial hospital building fund. On Dec. 6, 1919, Chicago’s coliseum was converted into Atlantic City’s sea front, with piers and dashing waves on one side and a row of shops on the other. The board walk included push chairs, fortune tellers, cafés, cabarets, and shops. The idea was evolved by Mrs. John Alden Carpenter and was put into execution by Mrs. Joseph G. Coleman (Chicago Tribune, 9 Nov. 1919, page 91).

Of the design, the “Chicago Tribune” reported, “The greatest scenic effect, of course, is to be the shore and the sea, as designed by Mrs. John Alden Carpenter, distinguished colorist. Though a blizzard may whistle without, youngsters at the boardwalk can dig on the bright beach and the 210×50 foot canvas will tempt those fond of a dip.” (30 Nov. 1919, page 11).

 In anticipation of the event, the “Chicago Tribune” reported, “Even if it is a week of dismal weather Chicago need not complain. For Saturday at 1 p.m. the Coliseum will be ready to shelter the frozen or soaked amusement seekers to the Atlantic City Board Walk. There, under a summer moon, by a brilliant sea with every melody and summer gayety, winter will be defied by the Passavant hospital, which has been arranged by society women under direction of Mrs. Joseph G. Coleman. The project, which is to be the most pretentious ever attempted is a reproduction of Atlantic City on midsummer night. The famous board walk will welcome strollers, the gay beach parasols will afford tete-a-tete retreats, the ‘prams,’ pushed by society men disguised as darkies, will give a new thrill to those who have tired of taxis. And even the most fagged fancy will find a new delight in the thirty-two shops, where society’s leaders will preside over the most fashionable and wealthy array of shop girl talent ever gathered under one moonlit sky” (30 Nov. 1919, page 11).

On Nov. 28, 1919, the “Chicago Tribune” included an article on the event entitled “Hospital to be Aided” (page 5): “Incense burners, Chinese slipper, beads, mandarin coats, rare ivories, embroidered panels, prints – everything Chinese, is being unpacked and inventories by Mrs. Marshall Field III. And her assistants in preparation for the opening of the Chinese shop on the Atlantic City Boardwalk at the Coliseum, where about thirty little shops will flash into life Saturday, Dec. 6, for the benefit of the Passavant Memorial hospital building fund. Most of Mrs. Field’s Chinese wares were assembled in San Francisco by Mrs. Willard, who is now the guest of Mrs. Joseph G. Coleman, in charge of the bazaar. Mrs. Down spent six weeks shopping every day in San Francisco’s Chinatown, and found some wonderful bargains, it is declared.”

But in the middle of the Coliseum project, Moses encountered an obstacle. He wrote, “We have lost John Hanny and Otto Schroader, our two best men.  They do not want to stay with Hunt.  He is such an awful fault finder.” The two would be part of a group that later formed Service Studios, another Chicago scenic studio.

In 1919, Moses also wrote, “Larson quit us on October 24^th, and Hunt insisted on my doing everything, so I took hold and closed the Atlantic City job for $14,000.00 for a starter….a whole month was taken up with the Atlantic City board-walk work, had to put on quite a force.  Everything worked out fine.  I used some good common sense in finishing the Coliseum job and putting it up was no trouble of any kind.  Instead of it costing is $1,500.00 to install, we did it for $400.00.  We made a good profit, as we had $1,500.00 in extras.  The show made a profit of $85,000.00 in ten days.” The Coliseum show remained a highlight for Moses during 1919. At the end of the year, he reminisced, “While we have been very busy the whole year, we have not done any very notable productions, excepting the Coliseum shows and Denver.”

For a man whose entire career was tied to the newest, biggest and best productions, Moses was witnessing the decline of his career. He would still complete large projects until his passing in 1934, but they would never carry the same momentum as when he was first at Sosman & Landis.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In the fall of 1919 Thomas G. Moses wrote, “September found us all tied up with the big electrical show for the Coliseum.  We have to rent the Alhambra stage and put Mr. Warren over there with a crew.  I did two large drops, both on the Chinese order.  They were 38’ high and 125’ long.  I had some work, but they proved to be very effective.”

The Electrical Show, was actually the Electrical Trades Exposition. The “Chicago Tribune” reported that it was “a veritable exposition of the progress recently made in the adaptation of electricity for light, heat and power” (9 Oct. 1919, page 7). The event at the Coliseum included a Chinese village that housed exhibitors. The “Decatur Daily Review” reported, “A Chinese design will be employed throughout, a pagoda rising 60 feet in the center of the hall and decorated with stained glass and 18,000 ‘Novagem’ jewels and Chinese lanterns, all brilliantly illuminated, being panned. The decorations of the tower will be similar to those of the ‘Tower of Jewels’ at the Pan-American Exposition at San Francisco” (28 Sept. 1919, page 5). The elaborate decorative theme expenditure as estimated at $40,000 to $50,000.

The Electrical show at the Coliseum ran from October 11-25, with an estimated five thousand electrical dealers and contractors attending the Saturday night opening. Newspapers across the country announced, “For the first time in nearly eight years the public in Chicago will have an opportunity to witness the great strides made in the electrical world” (Wilkes-Barre Times Leader, The Evening News, 19 Sept.1919, page 18). The last electric show had been held in 1911. Articles noted, “Household labor saving machinery is coming rapidly into common use, according to the exposition management, and electricity is doing much to solve great servant problem. Displays will include cooking apparatus of all kinds, electric stoves, electric heating equipment, vacuum cleaners, refrigerating machinery, motors for sewing machines, electrically operated machines for washing and ironing, and electric fans for cooling and ventilating” (Decatur Daily Review, 28 Sept. 1919, page 5). There were electric potato peelers and electric trucks for carrying food. Electric cooking was also a hot topic with manufacturers suggesting that there was less shrinkage of food with electric cooking that with any other cooking process. The “Decatur Review” reported, “There is every domestic reason in favor of electric cooking – better food, greater cleanliness, less work and more comfort – no ashes, no smoke, no dust” (28 Sept. 1919, page 5). As there had just been a great coal shortage, electric ranges were intended to save fuel, as well as time. At the time, the average family consumed 800 pounds of coal for cooking, whereas the central electrical station only required 262.5 pounds of coal monthly in order to supply the same family with ample cooking current.

The exposition included many devices beyond those that would assist housewives and domestic help. Incandescent lights were manufactured on site and before the eyes of visitors.  Other featured exhibits included high powered search lights, wireless telephones, and a self-printing telegraph apparatus. There was also a focus on military advancements, such as electrical furnaces for making the high-grade steel necessary for long range cannons. A working model of the battleship New Mexico was also on display; at the time, the United States’ newest and largest dreadnaught propelled by electricity. Electric scrapers and brushes for cleaning warship hulls were also on display. Formerly the task took between 170 to 200 man-days to clean an 18,000-ton battleship, with electrically driven machines, the cleaning of the ship now took only twelve hours.

A Commonwealth Edison Co. advertisement announced, “Manufacturers especially will be interested in our Industrial Lighting Exhibit. A typical machine floor, inadequately lighted, the machines driven by overhead line shafts, pulleys, belting. Etc., is contrasted with an installation of modern lighting and direct motor-driven machines. The modernized factory will be exhibited in actual operation – manufacturing souvenirs for distribution to visitors. Increased production, improved quality, safety, economy of operation and contentment of employees – all these are directly and intimately associated with modern lighting.”

The biggest hit of the show was the wireless phone. On Oct. 13, 1919, the “Chicago Tribune” reported, “Wireless Phone Stirs Crowd at Electric Show” (page 3). The article continued, “What was declared one of the greatest feats of electrical science was demonstrated yesterday at the electrical show in the Coliseum. A tune whistles into a wireless telephone operated there was heard clearly by other operators in Ludington, Mich., and Milwaukee. The stations at these two cities have apparatus capable of receiving messages but are not able to send. The operator at the Coliseum talked to the two stations during the entire afternoon and answered his questions by wireless telegraphy, advising him whether or not they were hearing him clearly. At the radio station in the Transportation building. Lieut. Wells also talked to Capt. C. C. O’Leary at the Coliseum. The demonstrations are being conducted in conjunction with a recruiting campaign for the signal corps. An army plane is being made ready to make flights with wireless phone set and beginning Tuesday visitors at the show will hear talks from the airplane.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919 Thomas G. Moses wrote, “A large drop curtain for Pittsburg Shrine took up a lot of my time, it being over 70’ long and 26’ high.  I did the picturesque city of Tiberius, and it made a good picture.  A heavy gold frame gave it a very Oriental feeling.”

Previously, Moses closed an $8575.00 contract for Pittsburgh’s 3,700-seat Syria Shrine Mosque theater (see past post 906, https://drypigment.net2020/01/19/tales-from-a-scenic-artist-and-scholar-part-906-the-pittsburgh-shrine-1915/). In 1915, he wrote “May 15^th, I went to Pittsburg with my big models for the Shrine and closed for $8,575.00.”  A year later Moses wrote, “The Syria Temple of Pittsburg is still jogging along.  If they don’t get it under roof pretty soon, we will have the scenery finished long before they are ready for it.” On October 27, 1916, the “Record-Argus” reported, “Syria Mosque Dedicated by Shriners.” The article continued, “Syria Temple, the new $1,000,000 mosque of the Ancient Arabic Order of Nobles of the Mystic Shrine of Pittsburgh, was formally dedicated Thursday afternoon…. Following the dedicatory exercises a banquet, attended by 5,000 Shriners was served in the dining hall of the temple…Nearly 700 prospective Shriners were also dined and occupied positions as guests with out-of-town visitors. Thursday night the largest class of candidates was initiated. The number ran close to 700 and is probably the largest to be accepted at one time in the history of the Shrine…Initiation took place in the auditorium, the officers in the charge wearing new costumes. During both ceremonies the elaborate lighting system was demonstrated. Rays from two search light machines, made soft, played in the stage throughout.” (Greenville, Pennsylvania, page 1). This provides context in regard to the scale of Shrine initiations in 1919, as that year Moses also designed and painted scenery for Denver’s El Jebel Shrine ceremonies.

In the summer of 1919, Moses wrote, “In August I made a number of Shrine models for Denver and we received a contract.” “The Indian Journal” of Eufaula, Oklahoma described the El Jebel Temple was “one of Denver’s most beautiful and imposing buildings” (23 Oct. 1919, page 1). It may have been a lovely theater, but it was not grand enough for a massive gathering of Shriners on Nov. 21, 1919.  

For the event, Shriners staged the Shrine ceremonial at the Denver Auditorium, complete with special scenery. Moses recorded that the scenery shipped from Chicago on November 1, 1919; plenty of time for transportation, inspection and installation at the Denver Auditorium. The event was a multi-state Shrine initiation. On Nov. 28, 1919, the “Western Kansas News” announced, “Initiation at Denver was biggest Masonic affair ever held in the West.” The article continued, “The initiation was the greatest every attempted by any Shrine in the west. The cost of the scenery and other essentials represented an expenditure of over $11,000. The large and beautiful Shrine Temple in Denver was entirely too small for the event which resulted in securing the Denver Auditorium for the ceremonial. The large auditorium which seats many thousand people was crowded to its doors by Shriners from Colorado, Kansas, Wyoming and New Mexico. This was a big production for Moses and by the end of the year he reflected, “While we have been very busy the whole year, we have not done any very notable productions, excepting the Coliseum shows and Denver.” The demand for painted scenery was down everywhere, except for Masonic productions. The fraternity was alive and thriving.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

John H. Kunsky had made his fortune investing in movie houses.

In 1950, George W. Trendle recalled that the Kunsky Theatre Circuit had 16 movie houses in Detroit by 1929. It was that year that that Trendle and Kunsky sold to Paramount (Daily News, NY, 5 March 1950, page 562).

In 1922, the “Washington Times” published a definition by John H. Kunsky for the query, “What is the Moving Picture” (Washington, D.C., 13 Feb 1922, page 16). Kunsky had a vested interest in selling the purported benefits of moving pictures. This is such a wonderful example of how the world of entertainment was changing and how silent movies were perceived by the American populace.

“The newest thing of great importance in the world is the MOVING PICTURE. It offers the most direct road into the human brain and thought. What it IS, what it DOES, what it is DESTINED to be – all those questions important to everybody interested not merely in moving pictures, but in EDUCATION and in the human race of the future.

Some will say that the moving picture does instantaneously what the spoken or written word does slowly. Others will say that it is actual presentation of life and emotion before the very eye of the beholder.

A very good definition of the moving picture, as you will agree, is given by John H. Kunsky who has just built the Capitol Theater in Detroit, one of the most magnificent theaters anywhere. Writing for the Detroit Times, Mr. Kunsky says:

WHAT A THEATRE DOES.

By John H. Kunsky.

Throughout history the human race, worried with its problem and its struggles for life, has sought relaxation, a change in the mind’s work that means rest for the brain. The Greeks had their public baths, in which they met and talked; their public squares, their famous philosophical promenades.

The fighting Romans had their great arenas, in which men and beasts, and even ships on real water, fought to amuse the mob.

In the middle ages they had bear-baiting, their dog fights.

The Spaniards still have their bull fights.

The Americas, as a nation, far removed from the brutality of the gladiatorial arena, or the bill rig, find their mental rest and their mental pleasure in the theater. And in the modern theater and its work you find reflected the national personality, its interest, its culture.

WHAT IS THE MOVING PICTURE?

The question is not asked now as it once was when men doubted whether ‘the movies,’ so called would last.

The moving picture is SIMPLY THE SHORTEST ROAD INTO THE HUMAN BRAIN.

It enables the actor to display all of his skill, and the spectator instantly can see all that the story has to tell.

You can do with the moving pictures all that can be done by the living actor, and a thousand times more.

If you say that the voice of the living actor is missing from moving picture, I will admit it, and regret it. But I will answer that the absence of the actor’s voice increases the activity of the spectator’s imagination, and the work that goes on inside the mind of the spectator’s imagination, and the work that goes on inside the mind of the spectator is worth infinitely more that the spoken word of any living actor.

To arouse thought, stimulate the imagination, transport vast audiences as by magic, to all parts of the world, is a great, useful and education work. And that is what the moving picture does. An entire week of work by living actor and of close attention by spectators could not show as much as can be shown by the moving picture in two short hours.

Gigantic crowds of thousands such as no stage on earth could possibly hold are shown and brought before crowds in absolute reality on the screen.

The moving picture is a great educator, and no man can say what good is done to this and to other nations in which the moving pictures with its dramatic story is part, as it were, of the daily mental diet.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919, Thomas G. Moses delivered scenery to two Detroit movie houses owned by John H. Kunsky.  A decade later, the “Detroit Free Press” published an article about Kunsky and his chain of theaters. It provides a good perspective when considering the declining demand for painting scenery during the second and third decades of the twentieth century.

Here is the “Detroit Free Press” article from July 22, 1928 (page 11):

“More than 20 years ago, in 1905, John H. Kunsky brought the first motion picture machine to Detroit. It was a cumbersome affair, far from reliable, but it served its primitive purpose, and the first Kunsky theater – formerly a store – prospered.

As the idea of motion pictures took hold upon the public, the firm benefitted. There came into being in 1908 the Theater Royale, the first 10-cent theater Detroit every had seen and the first link in the Kunsky chain. On one occasion a charge of 25 cents was made during the showing of ‘The Passion Play,’ the first ‘super-feature’ of multiple reel length.

In quick succession there followed the Majestic and the Empress. As they too, prospered, there came into being the Garden, located in the then residential section of Woodward and Selden, the forerunner of the chain of de luxe suburban and residential theaters sponsored by the Kunsky Theater corporation.

The Hippodrome, and the Columbia followed, in short order, the latter still being operated by its founders, but none met with the huge success of the Liberty, the first , with its 15-piece orchestra under Eduard Werner, its organ, and pleasant atmosphere, did much to popularize the motion picture with the so-called ‘silks and satins.’

In 1914 the Kunsky chain took over the old Washington theater previously operated by a none-too-successful stock company. This was the beginning of the march toward Grand Circus park, and so profitable was the venture that in 1916 the Madison was erected.

Other followed quickly. In 1917 the Adams came into being followed by the Capitol; in 1925, by the State; and in 1926 by the Michigan.

Meanwhile the suburban field had not been neglected. More and more attention was given to providing entertainment in the residential sections, until now the chain owns and operates the Birmingham, the Redford and the Royal Oak, all opened during the last 10 months; the Strand, the De Luxe, the Alhambra, and the Columbia, in addition to its five big downtown theaters.

Unusual attention has been given to making the anniversary celebration a big one. Jackie Coogan, child cinema star, is appearing in person at the Michigan, with Frank Beaston’s Publix show ‘Sunshine Days,’ while Eduard Werner and Arthur Gutow offer musical specialties and Laura La Plante stars on the screen in ‘Home, James.’

The Capitol brought on Lou Holtz, ‘Scandals’ star, especially for this occasion, to appear with Del Delbridge in a lavish Publix stage show ‘Fine Feathers;’ Samuel Benavie and Don Miller assist musically, while on the screen William Boyd stars in ‘The Cop.’

The Adams offers Norman Keery in ‘The Foreign Legion,’ with Lewis Stone and Mary Nolan, with symphonic accompaniment by the Adams Symphony orchestra, while two talking pictures, ‘The Jazz Singer,’ starring Al Jolson, and ‘The Lion and the Mouse,’ with Lionel Barrymore and May McAvoy are seen and heard at the Madison and the State respectively.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919 Thomas G. Moses wrote, “Adams Theatre occupied much of my time during the month of February.” The Adams Theatre opened in March 1919 and was located at 22 West Adams Avenue in Detroit, Michigan.

The president and treasurer of the Adams Theatre Company was John H. Kunsky. By the summer of 1919, Moses wrote, “A number of drops and a large picture set for Kunsky of Detroit was completed in June with success.  This is the first work that we have done for him.” If he hadn’t written, “this was the first work we have done for him,” I might have thought it was a second delivery to the Adams Theatre. It is also possible that Moses worked with another Adams Theatre representative on the Adams Theatre project, just not Kunsky. However, it was likely that successful delivery of scenery to the Adams Theatre caused Kunsky to contact him directly for another job. Kunsky also owned the Madison Theatre in Detroit, a venue that opened on March 7, 1917. Moses mention of drops and large picture set delivered were possibly for that theater. The Madison Theatre was a sizable house with a seating capacity of 1800. The top floors of the building housed the Kunsky circuit’s main offices.

Kunsky was a mover and shaker in Detroit by this time. Kunsky was integrally linked to the movie theatre industry in the town, having brought a motion picture machine to Detroit in 1905 and opened the Royal theatre in 1908. The “Detroit Press” cited Kunsky’s history in Detroit in relation the Royal Theatre. The article reported, “John H. Kunsky started in business as Michigan’s first exhibitor in 1905, in the Casino theater, in Monroe avenue, remodeled from a store, and having a seating capacity of 125. Encouraged by the success of this venture, in company with others he gained a lease on the property at Monroe avenue and Farmer street, demolished the building and erected a new structure that was christened the Royal theatre and contained 200 seats. At the time it was said to be the largest and finest motion picture house west of New York, a statement that sounds strange in these days when seating capacity is counted in thousands, and the entire original equipment of the Royale would not inventory enough to give a modern house a fair start in the matter of decorations. Nevertheless, Detroiters marveled at so large a place devoted to a new-fangled idea that. It was predicted, was only a fad, and not a few local wiseacres predicted speedy failure for the enterprise. Mr. Kunsky had the true showman’s idea of giving the public plenty for its money. He promptly installed and “orchestra” consisting of a piano and drums. As an added attraction there was a singer who warbled ballads to the accompaniment of colored lantern slides. Detroiters used to go to the Royale to scoff and remain to marvel, for they not only found lavish appointments, as those things were reckoned then, but pictures that were worth watching. Gradually the business grew, and soon the house was firmly established, with seats at a premium most of the time. The Royal was one of the first, if not the first, picture houses to stage a longtime run. It screened ‘The Passion Play’ at an advanced price, admission being raised from 5 to 10 cents, and for eight weeks, with the aid of a special lecturer, it drew crowds. This helped to make the Royals the talk of the town, and to put the theater on a well-paying basis, even if its clientele came chiefly from the meek and lowly, the upper classes remaining skeptical. After a while it overcame this early prejudice, but it never was particularly conspicuous, because it was shortly followed by other and larger houses. Nevertheless, its career was a steady and profitable one, and from this modest little beginning on Monroe avenue came the Kunsky Theatre Circuit embracing 14 houses, that finds its highest expression in the magnificent new Capitol and the others circling Grand Circus park, to say nothing of the thousands of private houses scattered about the city and throughout the state, many of which drew their inspiration from the tiny place that is so soon to pass from existence.”

In the fall of 1919, Kunsky he announced plans for a new theatre on the northeast corner of Hamilton Boulevard and Highland Avenue. On Nov. 9, 1919, the “Detroit Free Press” announced, “Work is to be started almost at once on the erection of a handsome theatre on the northeast corner of Hamilton boulevard and Highland avenue, for John H. Kunsky. The building is designed by C. Howard Crane, architect, and Elmer Kiehler, associate, who in the last few years have designed more than 2oo theaters in the United States and Canada, their latest work having been Detroit’s new Orchestra hall. The new theater will cost approximately $250,000, will have capacity for 2,800 persons and will be the largest residential theatre in or near Detroit. It is announced that it will also surpass any other local theater in the attractiveness of its appointments. The front of the building, with length of 180 feet, is renaissance. The furnishing and appointments will be most luxurious, in many respects, its aid, surpassing those of Mr. Kunsky’s downtown theaters, the Madison and the Adams” (page 85).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1919 Thomas G. Moses wrote, “The scenic artists have made their minimum scale $50.00, a raise from $36.00, which means a number will have to go back as assistants.  Very few are capable of earning $50.00 while a number are worth $60.00 and $75.00.” To put a scenic artist’s salary in perspective, the average actual weekly earnings per week worked in 1919 were $13.55 (Journal of Political Economy, Vol. 29, No. 1, Jan. 1921, pages 78-79). That being said, a large section of men employed suffered in America from extensive under employment. Estimates at the time, noted that the weekly wage for men could have increased to $23.56 if individuals were able to secure 42 to 45 hours of employment each week.  So, in the big picture, making $50.00 per week as a scenic artist was a very decent salary at the time. However, that does not mean that their hourly rate was twice that of the average American worker, as they were likely working far more than 45 hours per week. If we take into account Moses’ records of long hours, scenic artists worked 10 to 12-hour days, often six days a week.

Keep in mind that the scenic artist salary increases from $36.00 to $50.00 was during a period of increased unionization in American. Workers needed representation for fair wages, decent hours and safe working conditions. I keep thinking of my grandfather who opted not to work in a steel mills of Milwaukee as a newly arrived immigrant, explaining that if he wanted to work in “hell” he would have stayed in Poland. My grandfather Waszut later ran the north trolley line in Minneapolis. Then, as now, many businesses took advantage of their employees, placing profits ahead of people; the safety of their workers was not a priority. This is why union representation is critical, an organized movement helping implement safeguards while holding businesses accountable. Unfortunately, if often took a tragic event, a horrific moment, that instigated people rise up and act, becoming part of a nationwide movement.

The passion in people becomes ignited to organize and protest. Their protests start because there are a series of unacceptable incidents, especially if there is a history of prior warnings and citations. A tragic event will become the catalyst where people stand up and say, “enough is enough.” That is when the massive protests start. Similarly, those wanting to maintain the status quo try to quickly silence the protestors or distract the public’s eye away from the tragic incident. In 1911, the Triangle Shirtwaist Factory fire was the catalyst for change and increased union representation. Most of the victims dies as a result of neglected safety features, such as locked doors. Seeing women plunge to their death from a burning building, resulted in a demand for change, helping unite organized labor and reform-minded politicians. Here is an article about the tragedy from Smithsonian Magazine: https://www.smithsonianmag.com/history/uncovering-the-history-of-the-triangle-shirtwaist-fire-124701842/

In regard to the theatre industry in 1919, there was quite a bit of turmoil already, including 1918 measles outbreak, the Spanish Flu and WWI; these presented a series of obstacles…and then there was the actors’ strike.

On August 21, newspapers across the country reported that six ‘legitimate’ theaters in Chicago, went dark. The cause was a result of musicians and stage mechanics striking in sympathy with the striking actors. The walk-out in six theaters took place just before the afternoon performance on August 20, 1919. I was fascinated with the idea that when the actors fought back, other factions of the industry rushed to their aid; it was a community endeavor.

On August 2, articles described the actions of the sympathizers: “Dick Green, business agent of the local Stage Mechanics’ Union and vice president of the International Alliance of Theatrical Employees, said the strike yesterday was in sympathy with the actors and that there would be no compromise until the fight with the producing managers’ association in New York was settled. He said the stage hands had no grievances of their own. Officials of Chicago Musician’s Union made a similar statement. A nation-wide spread of the strike is now threatened, according to union officials and the hostile attitude of the theatre managers toward making any concessions indicate a long night…The strike of stage hands and musicians as an adjunct of the Actors’ strike threatens to close every downtown playhouse in Chicago” (“Morning Post” Camden, New Jersey, 21 Aug 1919, page 6)

On August 22, 1919, “The Record” reported the actors strike was augmented by nearly two hundred scenic artists employed by the Schuberts and several score more actors, The article noted, “The Actor’s Equity Association members are jubilant, declaring they are sure they can force the managers to recognize the union and accept the players’ demand” (Hackensack, New Jersey, 22 August 1919, page 16).

However, there was another force at work mentioned in the last paragraph: “Louis Mann has begun the organization of an actors’ organization in opposition to the Equity Association in an effort to end the strike. He is backed by the Producing Managers’ Association and is said to have been given $100,000 by George M. Cohan to finance the project.”

For more information about the 1919 actor’s strike, see “The Lambs Club Remembering the 1919 Actors Strike” (https://t2conline.com/the-lambs-club-remembering-the-1919-actors-strike/) and “When Actors’ Equity Staged Its First Strike” from “American Theatre” (https://www.americantheatre.org/2013/03/01/when-actors-equity-staged-its-first-strike/).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In January 1919, Thomas G. Moses wrote, “Started the wood scene of the State-Lake Theatre job, which was a good beginning, rather hard to do in the Peltz and Carson Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor.  The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough.  I was quite successful in my work at the State-Lake Theatre Everything came out quite good.” 

The State-Lake Theatre opened on March 17, 1919, as part of the Orpheum Circuit. The venue was described as “Chicago’s two and one-half million dollar vaudeville playhouse” (“The Standard Union,” 20 Aug. 1919, page 8). Part of a 12-story office building located “in the loop,” it was on the corner of N. State Street and W. Lake Street. There was an enormous electric marquee on the building, measuring 96’-0” tall by 14’-6” wide; at the time, one of the largest electric signs in the world.

The auditorium boasted a seating capacity of 2,800, hosting 70,000 patrons each week during its heyday. Newspaper advertisements promised “Continuous Double Value Vaudeville and Photoplays at Single Prices,” with 4 shows daily: 11:00-2:45, 2:45-5:00, 5:00-8:00 and 8:00-11:00 (Chicago Tribune, 29 March 1919, page 19).

The theater later became part of the of the Keith-Albee-Orpheum Circuit and then the Balaban & Katz chain. Lake many other theaters, it eventually dropped all live performances and only featured movies by 1941. In 1984, the theater officially closed, with the interior being transformed into studio and office spaces for WLS-TV, a Chicago affiliate of ABC. Here is a lovely article about the theatre:

To be continued…