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Part 605: The Wonderland Disaster Investigation in Detroit, 1898, first section

I have been exploring the Temple Theatre in Detroit and Detroit’s “Wonderland,” an entertainment company that offered everything from live theatre and minstrel shows to moving pictures and vaudeville acts; from aerial acts to talking dogs, everything was part of the vaudeville mainstream. From the time it opened in 1901, the Elks Temple theatre hosted the Wonderland Company, offering four vaudeville shows every day. Ticket prices included admission to the show, as well as a visit to see the oddities in the curiosity museum. In later years, Harry Houdini, W. C. Fields, Buster Keaton. Jack Benny, George Burns, Fred and Adele Astaire, were included among the stars that appeared on the Temple Theatre stage. As Vaudeville fell out of favor, the Temple closed about 1930, other than showing a few fly-by-night films.

The original Wonderland Theatre, known as Detroit’s “palace of amusement,” included both a variety show and oddities museum. Founded by Enoch “Pop” Wiggins, the Wonderland Theatre started on Woodward Avenue in 1886 in Merrill Hall, later known as the Avenue Theatre. Its popularity caused the company to move further up the road to Campus Maritus. Unfortunately, disaster struck on Nov. 5, 1898, when the roof of the theater collapsed during construction, crushing 12 workers to death and injuring nearly 20 others. In the end, fifteen lives were lost. The company temporarily used the Detroit Opera House until the new Temple Theatre was completed.

 

There is an interesting article about the Wonderland building and theatre architect J. M. Wood after the roof collapsed. It puts theatre construction within a historical context. Due to the length of the article, it will be posted over several installments. Published in the “Detroit Free Press,” the article “Positive Denial!” detailed the description of events surrounding the Wonderland Disaster investigation (2 Dec 1898, page 2). Here is the first section of the article:

 

POSITIVE DENIAL!

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COL WOOD FLATLY CONTRADICTS SCOTT BROTHERS’ TESTIMONY.

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DID NOT HAVE CHARGE OF STRUCTURAL IRON AND STEEL WORK.

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SIMPLY HAD TO LOOK AFTER THEATRICAL ARRANGEMENTS.

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THINKS THERE WAS A GENERAL WEAKNESS IN THE ROOF.

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ALSO A GENERAL LACK OF ATTENTION TO DETAILS.

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THE FIVE-INCH ROOF BEAMS WERE OVERLOADED.

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Arthur Scott Concluded His Testimony Yesterday Morning.

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“Col. J. M. Wood. The theatre architect was the main factor in the investigation yesterday, and he was on the stand nearly the entire day. He entered a positive denial of the statements of John and Arthur Scott that he had charge of the work, designed the truss and was responsible for figuring loads. Col. Wood stated that he had not only not designed the truss, but that he had not paid the least attention to it, being out of the city most of the time when it was being constructed and erected. He also displayed plans of every truss he ever used in fire proof theater buildings, showing that they were of the suspension type and nothing like the one used in the Wonderland building.

At the request of Prosecuting Attorney Frazer, he calculated the load carried by the Detroit Opera House truss, which weighs over eight tons, showing that he had figured many tons within the safety factor. He also showed that be computing the truss of the Wonderland building by the same method as that used for the opera house truss, the former, which weighs over eight tons, showing that he had figured many tons within the safety factor. He also showed that by computing the truss of the Wonderland building by the same method as that used for the opera house truss, the former which weighed three and a half tons, carried forty tons, while the eight and a half ton truss in the opera house carried forty-eight tons for the safety load. He indicated at some length the designing he did for the Wonderland building, stating that he had nothing whatever to do with the steel work, but had to indicate the lines of vision and general lines within which John Scott & Co. would have to keep the steel work.

 

Col. Wood testified that in the first interview with John Scott, the latter told him that his firm would insist on having control of the construction of the building and would consult with him regarding the arrangements of the theater. The witness had a book showing a record of all material used in all the theaters he had built of the fire-proof type, and he was able, without any hesitation, to answer any question regarding them. His answers were all s direct and positive that there was no chance to quibble with him. He asserted that he was employed to look after the stage, the seating acoustic conditions, line of vision, boxes and other matters pertaining strictly to the Wonderland theater, while with the architectural and steel construction he had nothing to do; and paid no attention to it.

 

Regarding the fact that he had loaned John Scott & Co., a set of plans of the Detroit opera house, he said that he did it simply as an act of courtesy, to a brother member of the profession, thinking that it might give him some idea of theatrical construction. He denied that he told Arthur Scott to follow those plans, saying that he had no authority to order him and had not been asked to have anything to do with the construction of the building. He also denied that he had given Arthur Scott the load the trusses would have to carry, or that he had anything to do with the designing or construction of the roof. Incidentally, Col. Wood stated that the DeMan system was not used on the Detroit Opera House.

 

Col. Wood showed his willingness to give his opinion regarding the cause of the accident, but Mr. Frazer spoiled a full answer by breaking in with another question. It was his belief that there was a general weakness of the roof and the construction, and he also thought that the 5-inch roof beams were overloaded. As to the truss, he did not feel competent to give an opinion, but stated that an engineering company had given him an opinion that steel members of the sizes mentioned for the Wonderland truss would probably hold the load intended, if properly detailed and constructed.”

 

To be continued…

Part 604: Elk’s Temple Theatre in Detroit, 1908

Yesterday, I explored the creation of a drop curtain by Sosman & Landis for the renovated theatre at the Elk’s Temple during the 1908. Here is another interesting article on the opening after the completion f the renovation during July 1908.

Here is the article published in the “Detroit Free Press” on July 26, 1908 (page 7):

TEMPLE THEATER; INTERIOR BEAUTIFULLY DECORATED, READY TO CHARM AND AMUSE

Richly Trimmed in Ivory and Gold, Soft Blues, Massive Mirrors, Hanging with Massive Cords and Tassels, Cosy Little Playhouse is One of Most Magnificent in the Country.

“Tomorrow afternoon will be thrown open to the public one of the most exquisitely, beautiful interiors ever designed to delight a Detroit audience when the Temple theater after having been closed to its patrons for three weeks will be reopened to the thousands of men, women and children who have come to look upon this pretty little play house as one of their weekly haunts.

But if the Temple has for years been one of the most attractive spots to the pleasure-seeker in quest of a few hours diversion, it has in the last three weeks become much more than that – the ideal of the artists and the skill of the decorator has been combined to produce here as a charming an effect as could well be imagined. In ivory, gold and varying hues of soft old blue, the spirit of the Italian Renaissance has been wrought out with marvelous success. The William Wright Company, responsible for the conception and execution of all this dainty, bright, buoyant one-harmony has achieved no small triumph in what they accomplished in the Temple theater interior. If the contention of those philosophers be true, who say that the moral tone of a community is elevated when it is provided with pure beauty in its public buildings, then this little playhouse since it has been converted into a symphony of blending tones ought to expert a happy influence upon the thousands who frequent it every week.

A symphony of color.

It’s difficult to make a pen picture of the effect that long hours f planning on the part of his decorators have produced. From the very light blue and cloud effects of the dome with its heavy escutcheons in gold to the ivory walls with their gold-capped pilasters, to the deeper Italian blue of the brocatelle hangings with their massive cords and tassels, and from these to the still deeper tones that soothe with they vivify.

The very spirit of the Renaissance, especially as it expressed itself in Italy has been reproduced here. The sense of blithe, gay freedom, the genius of the joy of living, the protest against gloom and somber thought is expressed in form and color. The whole place sings with gladness and care-free serenity. That is what the Renaissance means and no thing more fitting could have been devised for a place where thousands go in quest of laughter and song. This spirit of joy greets one as he enters the vestibule, it grips him as he passes into the foyer and bursts upon him in the stream of soft light and subdued color as he finds himself in the theater proper. The walls of the vestibule have been treated in metallic effects finished in soft green mosaic glaze and same scheme carried out in a higher key in the green and ivory of the ceilings with the heavy gold cornices and the Renaissance torches with their crystal globes.

Boxes Elegantly Furnished.

The foyer with its exquisite lights, its heavy rich gold ornamentation, the blue and ivory walls and deeper blue carpets is full of the promise of gaiety that lies behind the gilded arches. As for the massive doors fashioned of bars of thick gold across their heavy plate glass and great laurel wreaths wrought out in burnished gold, they form one of the most striking details that has been added to make up this elegant interior.

These swinging doors lead to the boxes which it is safe to say are unsurpassed for beauty of furnishing anywhere in any playhouse in the country. The daintily designed chairs made on an old, renaissance model are of heavy gilt, the hangings, of thick Italian brocatelle are caught back with cable-like cords of blue silk finished with mammoth tassels.

In the mezzanine boxes, the hangings are a deeper velvet – deeper than the very light tone of the domed ceiling, not so deep as the low keyed blue of the carpet.

New Drop Curtain.

Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense.”

Here are the two pictures that were included with the article:

To be continued…

Part 603: Elk’s Temple Theatre Drop Curtain, 1908

Sosman & Moses provided a drop curtain for the new Temple Theatre in Detroit, Michigan, during 1908. It was part of an extensive renovation that included a new themed décor, inspired by the Italian Renaissance.

The Elks Temple and Temple Theatre opened on Dec. 23, 1901. The entertainment complex originally hosted the Wonderland Theatre Company and curiosity museum of oddities.

The building was designed by architect John Scott, with the 1500-seat theater being designed by Col. J.M. Wood. The building was located immediately next door to the Detroit opera house, on the north side of Monroe Street in the Campus Martius area.

In 1908, the Temple Theatre closed for three weeks during July to complete the renovation of the theater space. On July 2, 1908, the “Detroit Free Press” described the imminent renovation plans (page 7):

“The Temple theater will close at the end of the week to permit decorators to transform the interior. The work will take three weeks, artists working in two shifts, night and day. When the theater is thrown open to the public, Monday afternoon, July 27, the many patrons will marvel at the transformation. It is said that the decorations, with carpets, tapestries, drop curtain and incidentals will cost in the neighborhood of $20,000.

“The entire decorations will be in the Italian Renaissance period, and William Wright company has guaranteed Manager J. H. Moore the richest vaudeville theater interior in this country. The ceilings and cornice work will be in light Italian blue and ivory, this scheme being carried throughout. The proscenium boxes will be draped with rich brocatelle hangings of light blue, with heavy cords and tassels, and fine old Roman gold chairs will replace the mahogany ones now in use.

Artists and designers have been at work on the preliminary plans for the last three months, and all that is left now is to complete the actual work. The carpets have been made from a special design by the decorators, and Sosman & Landis, the scene painters of Chicago, are in consultation with the William Wright artists carry out in the new drop curtain, to cost $1,000, the color scheme of the auditorium.

“The double baize doors, leading from the foyer to the right proscenium boxes will be replaced with Roman gilt and gold plate glass doors, with gold columns. New and beautiful electrical effects will be seen in the ceiling of the foyer.

“On account of the reopening of the Temple falling the revival of the famous Blue Ribbon meeting in Detroit, the bill of vaudeville for that week will be designated the “Blue Ribbon” bill. It will contain the names of artists, not the least of whom will be Loie Fuller, the celebrated fire dancer.

The Temple theater has not been closed, summer or winter, since it was thrown open to the pubic eight years ago. The many hundreds of patrons who have reserved their seats throughout the seasons will call for them during the week preceding the opening when the regular sale will go into effect.”

The “Detroit Free Press” described the new drop curtain on July 26, 1908:

“Beyond all this the proscenium arch a mass of burnished gold and set within like a picture in its frame is the new drop curtain – a splendid thing the product of Sosman & Landis scenic studios in Chicago. It pictures an old Italian garden, the spirit of the joy-seeking Renaissance caught here in every other part of the theater. Here too the predominating note is blue with only the suggestion of green in the foliage and a hint of old rose in the costumes of the grand dames, which lend the desired touch of life to the stately old garden. It’s all brightly beautiful and happy thought and ideal as a playhouse should be, and proves with subtle insistence that those responsible for it are artists in a very substantial and satisfying sense” (page 7).

To be continued…

Part 602: Chicago Athletic Club, 1908

Happy New Year!

In 1908 Thomas G. Moses wrote, “Chicago Athletic Club. We fitted up a complete stage to be ‘Struck’ within an hour. I have been obliged to stay at the Annex, an awful place to heat.”

To decipher his statement, the main studio for Sosman & Landis was located on Clinton Street. In 1892, the Sosman and Landis Company opened a second studio space on the West Side of Chicago, renting the “old Waverly theatre” and referring to the second space as “the Annex.” According to Thomas G. Moses, the first annex studio had four paint frames with plenty of floor space for all kinds of work. This space was specifically secured for Moses and his crew to accept additional work for the Columbian Exposition. Moses’ arrangement with Sosman & Landis was to receive all of their sub-contracted work.

Another annex studio was secured in 1907 for Moses and his crew at Sosman & Landis to accommodate the increase in special projects and Masonic work. Moses wrote, “We opened our annex studio at 19 W. 20^th Street in July, and Ansel Cook went there as a manager. He did some very good work but was a long time doing it, which, of course, didn’t pay us.”

The stage and scenery for the Chicago Athletic Club was produced at the second annex studio on 20^th Street. In this studio, Moses also wrote that they completed “a good sized job for Wichita, Kansas” during 1908.

In regard to the actual Chicago Athletic Club project, I have uncovered very little information about any theatrical event mentioned by Moses. I located one advertisement in the Chicago Tribune for an amateur actor “tryout,” however, where participants could make their first appearance on stage at the Chicago Athletic Club in 1908.

Here is the 1908 Chicago Athletic Club advertisement for amateur actors:

“Amateur actors wishing to make their first appearance on stage will be given a tryout at the Chicago Athletic Club next Saturday evening April 11 at 8:30; a representative committee of Chicago and New York managers will be present. Prize money will be given to those making the biggest hit. Apply today between 3 and 4 p.m., to the stage door of Auditorium theater” (Chicago Tribune, 10 April 1908, page 21).

 

What I find most interesting about Moses’ entry, however, is his use of the term “Struck,” typed in quotes. Moses seldom used quotes in his writing, unless he was referring to something new or an unfamiliar term. He typed this sentence in 1931 when he assembled his “My Diary,” based on his annual handwritten diaries started in 1873. So by 1931, he still treated the term “struck” as something unfamiliar. He did not create his diary for the general public, but his family and colleagues, writing in 1922 “I trust my diary will be of some interest to my relatives and brother scenic artists.”

To be continued…

Part 601: “Custer’s Last Rally” at Ravinia Park

In 1908, Thomas G. Moses wrote, “I closed a contract for ‘Custer’s Last Rally’ at Ravinia Park for $3,150.00. It was a big show.”

Ravinia Park opened in 1904 on land purchased by A.C. Frost. It was intended to be a year round amusement park, complete with a pavilion, theater, spectator stadium, casino, skating rink, slide and a small hotel.

Although he referred to “Custer’s Last Rally,” he likely meant “Custer’s last stand fight spectacle” that was included in the 108Ravinia Park production – “The Battle of Little Big Horn.” Moses’ show was possibly held in the spectator stadium as a large outdoor spectacle.

The “Chicago Tribune” reported, “The ‘Battle on Little Big Horn’ – the Custer’s last stand fight spectacle – is drawing better than ever” (Chicago Tribune, 28 June 1908, page 64). The newspaper also noted that the three-act spectacle had considerably changed and was “a great deal improved.”

Ravinia park reopened during June of 1908 after the park shifted management. Early in 1908, an interesting article appeared in the “Chicago Tribune” – “Ravinia Park to Continue as an Amusement Resort. North Shore Pleasure Ground Will Be Operated Under a Lease, with Its Customary Features.”

The article reported, “Speculation as to the effects of the tangle of the affairs of the Chicago and Milwaukee electric road upon the management of Ravinia park was ended yesterday by an announcement that the park will be operated next summer under a lease.

President A. C. Frost built the park, as an adjunct to the trolley line, at an expense of $300,000. It never has been a profitable enterprise, for no outlay has been spared in giving the north shore suburbs the highest class entertainment procurable, chief among which have been the concerts of the Thomas and Damrosch orchestras.

It is expected that they extensions of the Northwestern elevated railroad of the Evanston terminal of the Milwaukee electric next summer will increase the number of park patrons to an extent that will make a continuation of this program possible.

Bion J. Arnold’s report of the expense of completing the Frost road into Milwaukee will be submitted today to the receivers. It will verify the estimates of the engineers of the road that about $600,000 is needed for the work” (Chicago Tribune, 18 Feb, 1908, page 7).

The park lease receiver was George M. Seward. Seward announced that the park would reopen June 20, 1908. The park was open by June 5. Admission to the park was set at twenty-five cents, with reserved seats in favorable locations costing an additional fifty cents to a dollar. On May 1, 1908, the “Inter Ocean” announced that park tickets would be available for sale in books of forty for $10.00. The hope was that 2000 books would sell in the first few days, helping the financial situation of the park (Inter Ocean, 1 May 1908, page 9).

Unfortunately, by 1910 the railroad failed and the property went into receivership. It was a group of North Shore residents who believed in the potential of Ravinia Park, purchasing the park and founding the Ravinia Company. The Company was under the leadership of philanthropist Louis Eckstein, who served as impresario for 20 years.

The park reopened in 1911, featuring classical music in the summer. Opera was added in 1912 and Ravinia soon gained the reputation as “America’s summer opera capital.” The park only went silent for five years during the great depression, but reopened by 1936. Today, Ravinia is internationally known for its music festivals. Here is the link to Ravinia Park: https://www.ravinia.org/Page/AboutUs

To be continued…

Part 600: Why Do I Write?

There is so much more information to discover online that a decade ago. I can quickly scan through thousands of newspapers with keyword searches, gathering information about a late-nineteenth century scenery installations and Scottish Rite degree productions. My trips to the rare books room are almost non-existent, as I am able to access a ridiculous amount of information in a relatively short period of time. When preparing for my posts, I dig through old photos, slides and research files from my predecessors, digital collections, online archives, historical newspapers, and other public databases. It takes time though.

Why do I take time every day to blog about the life and times of Thomas G. Moses? I made a commitment to myself during September 2016 to share my discoveries, while providing me with both incentive and inspiration to continue. When my position as Curatorial Director at the Minnesota Masonic Heritage Center was eliminated, I encountered a unique form of character assassination. It was an extremely difficult time as I went through the varying stages of grief. Much of the passion that I had for Minnesota Masonry simply died, and I had to focus on Freemasonry elsewhere.

In the middle of a particularly low point, I made a decision about my future. I decided to take the high road, ignore the continued attacks, and make a positive contribution. I decided to share all of the information that I had gathered over the years in a public forum, one that would benefit both theatre and fraternal communities; to increase the awareness of historic scenery as cultural artifact; to change the perception of historic scenery from old stage backings to large-scale artworks created by nationally recognized artists; and to broadcast the need for proper handling and preservation of extant scenery collections. I decided to start writing – a lot.

Writing one or two pages for a daily blog makes me re-evaluate preconceived notions and accepted theories, ranging from painting techniques to basic theater history. I try to catch things that I may have missed in the past. Hopefully, my journey will never be about being right, but about getting it right. I also gather more information than I need, as I never know if a historic scenery collection will still be hanging upon my return. Scenery and stage machinery hold telltale signs for the common practices associated with early-twentieth century scenic studios and artists. Each scenic studio had something akin to a signature. They all had a specific way of doing things, whether in the sewing room, carpentry shop, paint studio, or during an installation. The width of cotton sheeting, the direction of seams on a backdrop, the shape of a wooden batten, the type of stage hardware, the color used to ink a composition, and the preferred fabric manufacturer are only a few examples.

It may be the next generation who pieces together my research. This is a primary reason that I am digitizing and posting as much as possible. Ideally, some scenic artist, theatre historian or Masonic scholar may be able to see the connections that I cannot. I may simply be planting seeds for another to find shade in a future tree. If I am able to help another along the way, that would be the best feeling of all, because then I become part of something much bigger than myself.

Tomorrow, I return to the life and times of Moses in 1908.

To be continued…

Part 599: A Treasure Map to the Past

I return to my blog after a bad case of the flu and holiday obligations. Before returning to the life and times of Thomas G. Moses in 1908, however, I am taking the chance for a little self-reflection. The end of the year provides me with an opportunity to contemplate why I write a blog. Curiosity is my incentive. For years, I have spent every spare moment researching historical scenic art and scenic artists from long ago. This intense focus was primarily to satisfy my own interest about historical theatre practices, traditional materials and long-forgotten visionaries. My research wasn’t for any particular publication or event. Like many, I never stopped being a student. I love learning about new things, whether they pertain to theater, people, places, events, or art. At first, I simply wrote them down in a notebook and tucked away each paper into a neatly-labeled file. They were always intended for future reference. Maybe, I was waiting for the right time to do something with the information – like now.

All academic intentions aside, it is exciting to explore unchartered territory, especially when it involves creating art and architecture. I find historic buildings and scenery on a stage far more thrilling than blueprints, scale models, or brilliantly-painted designs. Existing scenery is transformative in nature, as each backdrop has the possibility to dance with the lighting. Settings for the stage offer much more than a pleasant composition, for they are interactive. It is this aspect of illusion that intrigues me, as well as the technique behind the trade.

Historic backdrops are riddled with clues, and I often feel like a detective while looking at a scenery collection. I regard each piece of scenery and machinery as a puzzle, always trying to assemble the border before moving to the center. You just have to know what shape to look for, and then identify the connections. It may take me years to make one small connection, or find the missing piece; those moments that result in a brief “ah-ha.” More so than each revelation is the search. Along the way I often will find supplementary information that wasn’t even on my radar at the time. Sometimes, these unanticipated discoveries are much more significant than what I was looking for in the first place. The life of Thomas G. Moses has created the road map for my research, but there are so many interesting rest areas and side trips along the way.

What I have realized over the years is that when examining extant scenery, it is important to remember that many of the clues are on the back, or hidden beneath a patch or between sandwich battens. Charcoal notations, studio stencils, union bugs, maps and other cartoons are all awaiting discovery. There are the visible signs on the surface, yet often the most significant finds lay hidden and are not discovered until a restoration. Between sandwich battens there is a plethora of information, such as mechanical drawings or the organization of line sets. Battens provided a form of durable paper on site as members of the installation crew solved problems, whether mathematical or aesthetic. More tomorrow.

If you are interested, there are many more examples that I posted to my FB Group Dry Pigment.

To be continued…

 

 

 

Part 598: “Polly of the Circus”

In 1908, Thomas G. Moses wrote, “I started ‘Polly of the Circus’ for Fred Thompson. When completed I went to Troy, New York, to put it on. Everything was good. “

The “Washington Times” reported, “Frederick Thompson, who has recently branched out as a producer of plays and who is to present for the first time on any stage, ‘Polly of the Circus,’ at the National, December 9, was the manager of the Pan-American Exposition at Buffalo. Mr. Thompson also founded and constructed the famous Luna Park, Coney Island, the most gigantic outdoor amusement place in America. He is thirty-two years of age” (Washington, D.C., 1 Dec. 1907, page 36).

Moses first mentions working for Thompson in 1901. That year, he wrote, “We had the contract for the ‘Trip to the Moon,’ a big amusement park novelty owned by Thompson and Dundy.” In 1902, Moses completed another project for Thompson, creating the attraction “20,000 Leagues Under the Sea” his new amusement Park on Coney Island – Luna Park. Moses and his partner Will F. Hamilton were involved in both painting the scenery and engineering some of the scenic effects for this wildly popular ride.

By 1908, Thompson still sought out Moses to manufacture his theatrical vision for “Polly of the Circus.” Moses would have been a natural choice, especially in light of his recent work for Ringling Brothers’ circus spectacles. The scenic requirements for the production ranged from a Midwestern parson’s home to spectacular acts under the big top. On June 26, 1907, the “New York Times” reported, “Mabel Taliaferro, who is to appear next season in the leading role in “Polly of the Circus,” left yesterday for Albany with her husband, Frederick Thompson. The object of her trip is to get the proper ‘atmosphere’ for her part in the circus play. She will be the guest of John Ringling of the Ringling Brothers’ Circus” (page 7).

“Polly of the Circus” was written by Margaret Mayo as a novel. Transformed into a in three act play with two tableaux for the stage, the “Sandusky Star-Journal” reported, “The play is a strange but pleasing conglomeration of humor, pathos and melodrama, and spectacular stage business. It runs strongly to the pathetic, but the vein of humor is prominent enough to overshadow the tearful effects” (Sandusky, Ohio, 28, 1907, page 8).

“Polly of the Circus” tells the story of trapeze artist Polly Fisher who is hurt while performing her act, falling fifty fett. Taken to the house of nearby minister, John Hartley, The doctor advises against moving her, and as she recuperates, Polly and the minister fall in love and secretly marry. However, when their marriage is discovered, John’s congregation rebels at having a circus woman as their minister’s wife, and he is fired. Seeing how miserable her husband is, Polly goes to plead for the bishop’s help, but he remains unmoved. She is willing to give John up, but is told that a divorced minister is equally unacceptable. Polly sees only one way out – as a widower, John could return to the church. She pretends that she has tired of her husband and returns to the circus, planning to have a fatal “accident.” John discovers her plan and arrives at the circus in the nick of time.

The original play opened in New York on 23 December, 1907 at the Liberty Theatre, 234 W. 42nd St. and ran for 160 performances until May, 1908. Mabel Taliaferro played Polly. The rest of the cast included Herbert Ayling, Joseph Brennan, Mattie Ferguson, John Findlay, Guy Nichols, Elsie St. Leon and Malcolm Williams.

Wildly popular, a third “Polly of the Circus” company was organized with Fay Wallace in the title role. The “Evening Star,” reported, “Miss Wallace took Mabel Talliaferro’s part in the piece during the recent illness of the latter” (Evening Star, Washington, D.C., 13 Dec 1908, page 27). It is possible that this was the production that Moses worked on during 1908.

Of located a program from the production when it was performed at the Illinois Theatre in Chicago during September 1908. Mable Taliaferro starred in the leading role of Polly. Fred Thompson was credited with the design of all scenery and effects. The show was built a the Luna Park Studios and Shop.

Here is the synopsis of the scenes:

Act I – Scene 1: The Pastor’s Study. (Night.) Scene 2: Bedroom Above Study. (Next Morning.)

Act II-Rear Garden of Parsonage Eleven Months Later (Afternoon.)

Act II-Scene 1: Behind the Scenes Adjoining the Main Tent. Scene 2: The Circus Scene 3: Circus Lot After the Performance. (Night.)

PLACE-A Small Town in the Middle West

Interestingly, the “New York Times” reported, “The circus performance on the stage was omitted from the production of ‘Polly and the Circus’ at the Liberty Theatre last night. Fred Thompson, under whose management the piece is offered, explained that he omitted the scene purely as an experiment on the advise of friends, but the scene will henceforth be included. ‘I followed the advice of people who said that the scene had been ‘dragged in,’ said Mr. Thompson. ‘However, many people said the same thing of the ship scene in Brewster’s Millions.’ And one experiment has convinced me my original plan was correct” (25 Dec. 1907, page 7).

There were two film versions of “Polly of the Circus.” In 1917, the film starred Mae Marsh and Vernon Steel. The 1932 film starred Marion Daves and Clark Gable. Here is a short clip showing Polly during her recovery at the minister’s house: https://www.youtube.com/watch?time_continue=3&v=et49CmRpycE

To be continued…

Part 597: Fred Thompson’s “Polly and the Circus”

In 1908, Thomas G. Moses wrote, “I started “Polly of the Circus” for Fred Thompson. When completed I went to Troy, New York, to put it on. Everything was good. “

There is an entertaining tale that tells of the play’s origin. I am including it in its entirety today, as it provides some historical context. Here is the article written by Matthew White, Jr. and published in “Munsey’s Magazine” (Munsey’s Magazine, Vil. 32, page 846).

“I tell you a play ought to please over here,” said an American whom I met in London. “That’s ‘Polly of the Circus.’”

Without committing myself in respect to this prophecy, I have no doubt that Londoners would like Mabel Taliaferro, whose personal charm, in its ability to reach out over the footlights, bids fair to rival even that of Maude Adams.

By the way, I have learned of a pretty little romance in connection with Miss Taliaferro and ‘Polly of the Circus.’ It seems that ‘Polly,’ like so many other recent successes was originally a one act play. When Margaret Mayo – it’s author, and wife of Edgar Selwyn, the actor – developed it into three acts, an actress who wished to star became interested in the thing, but her manager could not see it, as the phrase runs on the Rialto. This was some three or four years ago, and meanwhile the piece awaited production, passing through various vicissitudes in its manuscript stage, until finally Mrs. Taliaferro, Mabel’s mother, heard of it and thought it might suit her daughter, who was then playing with Henry Miller in “Pippa Passes.” So an arrangement was made that Miss Taliaferro should dine one night with the Selwyns and hear all about the play. Just before she arrived, Mr. Selwyn received a telephone message from his friend, Fred Thompson, founder of Luna Park and manager of “Brewster’s Millions.”

“I’m coming to dinner tonight, Edgar,” he said. “It’s alright, I hope?”

“Y-e-s,” answered Mr. Selwyn; “only we are having a young actress to see about one of my wife’s plays, and we shall have to talk that almost exclusively at the table. You won’t mind, will you?

“Oh, that’ll be alright,” replied Mr. Thompson.

In due course the self-invited guest arrived in his automobile, and he was presented to Miss Taliaferro as they sat down. As soon as he heard that the play under discussion had a circus in it, he became interested, for it must be remembered that Mr. Thompson built the New York Hippodrome and managed it for two seasons.

“What’s the name of the piece?” he inquired.

“Polly of the Circus,” he was told.

“Splendid!” exclaimed Mr. Thompson. “I’ll take it and star you as Polly, Miss Taliaferro.”

“But you have never seen me act,” protested the girl in astonishment.

“And you have never read the play,” added Mrs. Selwyn.

“Don’t have to do either,” insisted the manager. “I have seen you, Miss Taliaferro, and I know the play is about a circus. That is all I consider necessary. Now that that’s settled, let’s talk about something besides business for the rest of the evening,”

“But Mr. Miller may want the piece,” Mr. Selwyn ventured to interpose. “Miss Taliaferro is now playing under his management.”

“He hasn’t signed for the play, or said in so many words he would take it, has he?” Mr. Thompson inquired.

“No, but do you really –“

“I’ve said I want to produce it, and I will, if Miss Taliaferro will be Polly.”

Miss Taliaferro was delighted to accept, and after dinner retired to her corner with Mr. Thompson to discuss- well, as the manager had said he was tired of business, it was probably not circuses or acting. In any event, when it was time to leave, Mr. Thompson took her home in his car; and three days later the Selwyns were electrified to receive a telephone message to the effect:

“You people come around and celebrate to-night. Mabel and I have just been married!”

As all playgoers know, Mr. Thompson kept his promise. He produced “Polly of the Circus,” last winter, and it ran in New York for five months. Mabel Taliaferro’s younger sister, Edith, is to play Polly in the piece this autumn, while Mrs. Thompson prepares for her début in the new version of “Cinderella,” in which her husband is to star at Christmastime.”

To be continued…

Part 596: Charles Rand Kennedy and “Winterfeast”

In 1908, Thomas G. Moses wrote, “Made a model for Charles Rand Kennedy for his new play “Winter Feast” late in September.” Moses’ designs included a setting that depicted the interior of a Viking chieftain homestead.

“Winterfeast” was a tragedy in five acts written by Charles Rann Kennedy. The “Los Angeles Herald” provides a description for the play’s setting: “Its scenes are laid in Iceland of the heroic age, when Druidism still lingered there, and there is an echo of the early discovery of America as Vinland by the sturdy Icelanders of that time” (Los Angeles Herald, 14 Sept. 1908, page 2). The “Inter Ocean,” added, “The time, 1020 A.D., will place the story in the atmosphere of the conflict between the White Christ of the new generation and the grim Thor of the old Scandinavian mythology. Echoing through the drama will be the romance of the Viking voyages to ‘Vinland,’ by which Eric and Leif and Bjorn and other bold navigators forestalled Columbus in reaching the new world” (27 Sept 1909, page 37).

“Winterfeast” was first staged in Chicago where it was performed at a series of special matinees. After a brief success in the windy city, the show opened in New York at the Savoy Theater. The reception was not as well received in the East, as its run was less than three weeks.

The tragedy was described in the “Democrat and Chronicle:”

“Thorkel, the old Viking, according to the drama, had been a Skald, a poet and singer of his people, and like his son Valbrand, had been more at ease in verse than in fight, though his foster brother, Bjorn was a mighty man with the sword. It was to the latter that the heart of the beautiful Herdisa turned, for that is the way with women, to love that which is strong, through she herself is weak. So Herdisa, unasked, had told Bjorn of the love and placed her bracelet upon his arm as a testament of her affection. Then Thorkel and his two sons sailed for Vineland, the new country, the father returning with Valbrand later to tell Herdisa that Bjorn had scorned her love and sent back a taunting message. When the play opens, some twenty years after that is supposed to have happened, Herdisa is the wife of Valbrand and it is through the malevolent utterances of Ufeig, a turncoat priest, that the old story is revived.

Bjorn returns, is coldly received, but refuses to regard himself as an unwelcome guest and ultimately in a powerful scene, he learns of the trick practiced upon him and the woman he loves. He had been married in the far off country, but he tells Herdisa that she alone has had his heart through all the years. Then she sends him forth to do vengeance. Through a skillfully contrived arrangement the spectator is left in uncertainty as to which of the two men has been killed in combat” (Democrat and Chronicle, 1 Dec 1908, page 7).

The cast included Edith Wynne Matthison (Herdisa), Robert Cummings (Thorkel), Frank Mills (Valbrand), Walter Hampden (Bjorn/Olaf), Arthur Lewis (Ufeig), Ben Field (Odd), and Gladys Wynne (Swanhild). Matthison was the author’s wife.

Charles Rann Kennedy (1871-1950) was an actor, playwright, press agent, and theatrical business manager. Born in Derby, England, he began his career as an office boy, but soon began writing and lecturing. He wrote short stories, critical articles and poems, later teaching for several years at Bennett Junior College in Millbrook, New York. His first theatrical success as a playwright was “The Servant in the House.” Produced in 1908, it was this success that caused Kennedy to immediately produce an earlier play that he had written – “Winterfeast.” Other Kennedy plays included, The Terrible Meek (1911), The Necessary Evil (1913), The Idol-Breaker (1914), The Rib of the Man (1916), The Army with Banners (1917). In 1898, he married English actress Edith Wynne Matthison who was identified with “Everyman” and Shakespearean productions. She played the female lead in “Winterfeast.” The Kennedys retired in Los Angeles, California.

 

To be continued…