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Part 595: A Postcard from Victor Higgins in 1908

In 1908, Thomas G. Moses received a postcard from Victor Higgins, A.N.A. (1884-1949). Higgins was once a scenic artist at Sosman & Landis studio who left to persue a fine art career in 1905. When Higgins left studio, Moses wrote, “Victor Higgins, one of our promising young men, quit to take up picture painting and started with a strong determination to win, and I think he will.” Moses was right.

On May 5, 1908, Higgins sent a postcard to Moses prior to his departure for Europe. It was a picture postcard showing Higgins outside with his easel and umbrella while plein air painting. The front of the postcard read, “Dear Mr. Moses, Notice that pained expression on my face. V. Higgins.” Although the face is scratched out and faded, it once held a cartoon expression. This shows the camaraderie between Moses and the young artist.

Another postcard from Higgins was mailed from London during 1909. It was addressed to “Mr. Thos. G. Moses, 417 So Clinton St, Chicago, Ill, USA.” On the back, Higgins wrote, “Your letter received. With the gift settled, I will write you all of it. Lots of fun in sights. Regards to the boys. V. Higgins.” The boys were the scenic artists at Sosman & Landis. Moses frequently referred to his painting crew as “the boys.” The London postcard depicted the entrance to the hotel and grill room at the Strand Palace Hotel part of the Kingsway Real Photo Series. The image is reminiscent of the many palace interior drops produced for the stage during that time. I wonder if that was one of the reasons for selecting this particular subject, or to share that the hotel had recently opened.

Although I have explored life and work of Higgins in the past, here is a brief recap. Born in Shelbyville, Indiana, historical records indicate that it was a visiting sign painter who inspired Higgins to become an artist. Higgins left home at the age of 15 in 1899 and entered the Chicago Art Institute. During this time, he also worked as a scenic artist, a common practice for many aspiring artsts. He soon met Moses at Sosman & Landis. While there, Higgins worked with Art Oberbeck, Fred Scott, Edgar Payne, Ansel Cook, Walter C. Hartson, William Nutzhorn, and David Austin Strong. He was one of the artists who also migrated east to work for David Hunt at Sosman & Landis’ eastern affiliate New York Studios. In New York, he worked alongside William Smart, Art Rider, and Al Dutheridge. During this time, he maintained close ties to Chicago’s artistic and theatrical scene.

Higgins’ artistic training prompted him do what many young aspiring artists did at this time – continue his training in Europe. Higgins had the opportunity to study at the Académie de la Grand Chaumière in Paris, becoming a pupil of Rene Menard and Lucien Simon. He then traveled to Munich where he studied with Hans von Hyeck. His travels were funded, however, by the former Chicago Mayor and avid art collector, Carter H. Harrison. I have mentioned this before, but Chicago offered many opportunities for aspiring artists during this beginning of the twentieth century during Mayor Harrison’s administration. Although Harrison would personally fund the travel of many artists, he was instrumental in in the creation of the Commission for the Encouragement of Local Art in 1914. This commission used taxpayer money to purchase paintings and sculpture created by Chicago artists.

Higgins kept in contact with Moses over the years, even returning to paint at Sosman & Landis every once in a while. In 1909, Higgins briefly returned to work for Sosman & Landis again, including the interior decoration of the Chicago’s American Music Hall. Beginning in 1912, Higgins exhibited his artwork with the Palette & Chisel Club, He earned national recognition and was awarded the Gold Medal in 1913. Other artistic awards included the Municipal Art League (1915), the Logan Medal of the Art Institute of Chicago (1917), and the first Altman prize for the National Academy of Design (1918). Higgins work is part of many public and private collections across the United States, including the Art Institute in Chicago, the Corcoran Gallery in Washington, D.C., and the Los Angeles museum.

To be continued…

Part 594: David Higgins and “Captain Clay of Missouri”

In 1908, Thomas G. Moses wrote, “Made such effective models for Dave Higgin’s show ‘Captain Clay of Missouri’ that we got a $3,200.00 contract, which I painted and went to Grand Rapids to put on. It was a success in every way.” “Captain Clay of Missouri” was first produced at McVickers Theatre in Chicago.

The four-act play was written by brothers David K. and Milton O. Higgins. The “Fort Wayne Daily News” reported, “David Higgins has provided himself with an ideally fitting role in his new play, ‘Captain Clay, of Missouri,’ in which he will be seen soon at the Majestic Theatre. He will play the title role, Captain Robert Claybourne, a southern gentleman of the old type; a man forty years old, perhaps, in whom reverence and love for women is inborn; who is as fearless and brave as he is chivalrous; who stands by a friend to the last ditch, and who fights his enemies with every power at his command” (10 Aug 1908, page 8).

The play was set in a small town in southwestern part of Missouri. In the town of Cornville, Captain “Bob” Clay has control over of the political party in his district. The political intrigue, however, is a mere sub plot to the central love story.

The “Brazil Daily Times” described the production, “The new play, which had a run of several weeks at McVicker’s theatre, Chicago, deals with the men and women who people one of the small towns in Southwest Missouri – the land where Southern traditions and rules of conduct still hold sway. The chief citizen of the town is Captain Bob Clay, a genial, whole-souled man who loves Melissa Benton with his whole soul, but who has a strong liking for horse racing, mint juleps and gambling, and whose power in politics makes him the ruler of his party in the district. Melissa has held Captain Bob at arm’s length for ten years, and her gentle nature revolts at the sports and pastimes of her lover and it is not until accident reveals to her his magnanimous conduct in taking the guilt of her brother on his shoulders, that she yields her heart to him. With her love comes rehabilitation for Captain Bob and his nomination for a seat in congress. As Part of the story, and bearing strongly on some of its phases are an exciting base ball game in which are engaged the youths of two rival towns: a bit of political chicanery that threatens to defeat the dearest plans of the hero; a fiery combat on a banquet table, and the rescue of Captain Bob’s fine racing mare from the hands of a constable” (24 Oct 1908, page 7).

The “Fort Wayne News” reported, “Captain Clay, the hero of the drama, is a very likeable character as Mr. Higgins portrayed him. Quietly, easily, and naturally the actor presented Captain Clay to his audience. Mr. Higgins was not lacking in the ability to strike the strongest notes surely and throughout the portrayal was consistent, Mary Servoss as Melissa Benton, the girl whom Captain Clay is endeavoring through his many and complicated difficulties to win, succeeding at last, was very good and she interpreted the role with charm and womanliness, Bliss Milford had the part of Charlotte Ross, a rather quaint and amusing girl of all work. Se played it capitally. Clare Armstrong as Leslie Benton creditably impersonated that character. Frederick E. Wright gave a good presentation of Charles Hadron, doing especially meritorious work in the third act where Hadron seeks to force Captain Clay to his side in the political contest. Mark Smith as Richard Hampton and John Webb Dillon as Smith Barnell enacted those roles capably. Good work was also done by Fred G. Hearn as Corporal Billy Cartmill, Bert S. Frank as Sergeant Orin Frye, Georgie Mack as the jockey and Margaret McDonald as Della Thurston. The baseball game scene with an umpire armed with sword cane was a good feature of the production (13 Aug 1908, page 8).

The show also played at the Majestic Theatre in Grand Rapids, Michigan, opening on August 10, 1908. The “New Castle Herald” reported, “The scenes of the play are laid in the mythical town of Cornville, Missouri and it has true Missouri flavor. There is love making, horse racing, mint juleps, political fights and other elements that go to make up life in a small town” (1 Jan 1909, page 4). The Star Tribune added that “An integral part of the story included a jockey, a horse, and a race upon which many important things hang” (Star Tribune, Minneapolis, 13 Sept. 1908, page 36). The company was composed of thirty-two people that traveled with the show. In regard to Moses’ scenery for the production, “Captain Clay of Missouri” was advertised as traveling with “Two carloads of beautiful scenery” (Fort Wayne News , 13 Aug 1908, page 8). The “Fort Wayne Journal” stated that the scenery was “magnificent” (13 Aug 1908, page 7).

To be continued…

Part 593: The Wheeling Scottish Rite, 1908

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.”

For the past two days, I have examined the subject of the scenes that Moses worked on in 1908 – Darius Palace and approach to Jerusalem. Today’s post is about the actual Scottish Rite building in Wheeling, West Virginia, where the scenery was delivered. In 1907, the Wheeling Scottish Rite Masons began the construction of a massive edifice, complete with a theater and scenery by Sosman & Landis. The Wheeling Scottish Rite was built on the corner of Fourteenth and Byron Streets in Wheeling, West Virginia. Previously at that location, was the residence on Mr. James Caldwell. Soon after his marriage in 1839, Caldwell erected a residence, which, with its garden and stable yard.

The Sosman & Landis Studio’s work was short lived, however, as the Wheeling Scottish Rite Cathedral was destroyed by fire on March 4, 1915. Losses were estimated at $50,000. While looking for information to include in the timeline for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” I read that the Wheeling Scottish Rite Cathedral was destroyed by fire on the morning of March 5 (“Santa Fe Scottish Rite Bulletin,” April 1915, Vol. II No 4, page 8).

Last week, I discovered another article about the fire published on April 7, 1915. Interestingly, it was posted at fireengineering.com:

“The Masonic Scottish Rite Cathedral at Wheeling, W. Va., was partially destroyed by fire on March 4th, with an estimated loss of about $50,000. The fire started in the basement and is attributed to rubbish. The fire was discovered at 12:20 A. M., and the alarm was sent in over the Gamewell system from a street box. When the department, commanded by Chief Engineer Edward T. Rose arrived, fire was coming out of the windows in the basement. The flames spread through an airshaft to the back of the stage in the main auditorium on the second floor and swept through that and the upper portion of the building, the first floor being damaged by smoke and water. The building, a four story structure, was less than ten years old, and was constructed with brick walls, wood joists and tar paper roof. All partition walls were hollow. There were few hand extinguishers in the building. There was in service one first size Ahrens-Fox engine, two third size Ahrens-Fox engines, one Silsby third size engine, one 85foot aerial ladder, and 9,000 feet of 2 1/2-inch hose. Three 6-inch and five 4-inch hydrants were available, the distance between them being 800 to 1,000 feet. The water pressure at the hydrants was 80 to 65 pounds. In all 11 streams were thrown, including three hydrant and eight engine streams. Three turrets and one cellar nozzle were used. The loss on building amounted to $30,000, and on contents to $20,000. The contents included scenery on stage, paraphernalia of the order, and a large pipe organ. Chief Rose is quoted as saying the fire demonstrated the danger of vertical openings and lack of fire stops, there being a large space under the roof without a fire stop of any kind. Chief Rose sounded a genera! alarm and a call was sent in to Martin’s Ferry and an auto truck responded. (https://www.fireengineering.com/articles/print/volume-57/issue-14/features/scottish-rite-cathedral-at-wheeling-partially-destroyed.html)

The Wheeling Scottish Rite immediately began plans for a new building in 1915, and by October 1916, the new Scottish Rite was completed, dedicated, and held the first reunion. I have uncovered very little about the original Scottish Rite, other than the opening was postponed. On March 18, 1908, the “Daily Telegram” reported “Postponed Is Dedication of Scottish Rite Cathedral as Interior Work Will Not Be Finished” (Clarksburg, West Virginia, page 1). The article continues, ”The new Scottish Rite cathedral, corner of Fourteenth and Byron streets, Wheeling, will not be dedicated until the latter art of June, as the interior work will not be completed until that month. Elliot & Winechell, contractor who built the Empire building and the county jail and sheriff’s residence in the city, are building the cathedral.

It was originally intended to hold the dedication exercises at the time of the spring convocation or reunion of the Consistory of the Valley of West Virginia, but he high officers of the society were notified by the contractors that it would be an impossibility to have it completed and ready for dedication by that time. The paraphernalia for the degree work has been already ordered from the manufacturers.

The spring convocation will be held in the old temple, on Market street Easter week, closing the usual Maundy Thursday banquet. The latter will probably be held in the Arion hall. There will be work in all of the degrees, and they will be exemplified at the old temple.”

Volland business records indicate that the new scenery was delivered by Toomey & Volland Studios of St. Louis, Missouri in 1916. I was surprised when I encountered a image of the 1916 drop curtain for the auditorium. The design reminded me of a Sosman & Landis version (c. 1898-1908) now used in Yankton, South Dakota. It is very likely that some of the scenery delivered for the new Scottish Rite stage was previously owned and painted by Sosman & Landis artists. The drop curtain is characteristic of Sosman & Landis designs, not that delivered by Toomey & Volland artists.

To be continued…

Part 592: The Approach to Jerusalem

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I began with the Sosman & Landis scenic design for “Darius Palace” yesterday. Today, I am looking at the “Approach to Jerusalem” design, also titled the “Road to Jerusalem,” by some scenic studios.

Moses’ statement suggests that he found these two specific compositions interesting to paint. This is a consistent sentiment, as throughout his memoirs Moses mentions that Masonic scenery was enjoyable to work on due to the variety. It may also imply that the standard design used for past installations changed and was now more interesting. For example, in 1908 the Darius Palace scene design took on a new look when the composition shifted from vibrant colors, to a classical ivory interior with colorful garlands.

The approach to Jerusalem was a fairly straightforward design that included a cut drop and backdrop. The cut drop depicted the beginning of a dirt road that continued into the distance toward a walled city. This particular cut drop was able to be used for multiple Scottish Rite degrees, not with just the Jerusalem backdrop. The design was generic enough to be pair with not only an ancient city, but also a variety of other exterior backdrops.

The beauty of Scottish Rite stage designs is their versatility, with many being relatively generic compositions that could span continents and eras. Unfortunately, many Scottish Rite stage crews and degree directors do not understand that there are many more compositions that can be created beyond the specific shipping label located on the stage right side. For example, the cut drop for the approach to Jerusalem was also paired with the wood drop. Instead of a road to Jerusalem, it became a path into the forest or to a distant medieval castle. This shifted the setting from a biblical one to a medieval one. Just as there were certain masking drops to accompany many scenes – drapery, wood, rough cut stone, or classical – there were many cut drops that would alter the stage setting.

I have noticed that over time, there were certain stage designs for Scottish Rite degree production that “evolved,” while others remained cemented in the past. I am not simply suggesting that the Northern Masonic Jurisdiction of the Scottish Rite altered its stage settings for specific degrees more frequently than the Southern Jurisdiction. Although this is true, I believe that there is much more to Moses’ statement. The 1908 the scenic interpretation for the two sixteenth degree settings “evolved,” breaking from past designs.

In some cases, scenic studios unified the Scottish Rite degree work and established a standard expectation for every Valley throughout the United States. In the nineteenth century, many of the theatrical interpretations for degree work on the Scottish Rite stage were similar. Both the Southern Jurisdiction and Northern Jurisdiction purchased similar settings for their respective degree productions. During the first decade of the twentieth century, this began to change.

To place the production of Scottish Rite scenery in context, we also need to look at the studio artists at Sosman & Landis during that time. Often a variety of scenic artists contributed to the production of new Scottish Rite scenery collection. In scenic studios during the early twentieth century, many of the scenic artists specialized in a particular genre – draperies, exteriors, interiors, etc. This was a shift from the previous generations of scenic artists – it was implemented for efficiency, increasing the overall speed of production. This also makes sense from an efficiency standpoint; the studio would want and artist familiar with the scene to do the work, one who had painted it before. Moses was known for his exterior woodland scenes, however, he was trained as a scenic artist during a period in American history when theatre worked necessitated that itinerant artists be equally skilled in all genres.

Keep in mind that in 1908, Moses had been working as a scenic artist for 44 years. His skill at painting landscapes was well-known and sought after, but he could also paint draperies, exteriors, ornament and figures. It would certainly make sense that he painted both the Darius Palace and the approach to Jerusalem drops for Wheeling. The approach to Jerusalem was a picturesque landscape with a road winding to a city in the distance. The palace of King Darius was often decorated with floral garlands that held dozens of roses.

It is relatively easy to identify individual artists who produced certain settings for Scottish Rite scenery collections. Although they may currently remain nameless, their paint application is like a signature, and a specific artist can be traced from one collection to another; it just takes time and energy to make the identification. It is obvious when a particular setting is produced by a different hand at Sosman & Landis. I have tracked the painting techniques for various scenes from one Scottish Rite to another. The approach to Jerusalem provides an ideal opportunity to examine aesthetic shifts from 1896 to 1914.

Almost identical Sosman & Landis designs were produced for the Scottish Rite in Little Rock, Arkansas, in 1896 and Wichita, Kansas, in 1898. A similar design was again produced in 1914, for the Scottish Rite in Tucson, Arizona. Comparing and contrasting these designs provides an ideal opportunity to examine shifts in composition, artistic interpretation, predominant colors, and scenic art techniques.

To be continued…

Part 591: The Sixteenth Degree Setting for King Darius’ Palace

In 1908, Thomas G. Moses wrote, “Starting on Wheeling, W. Va. Masonic work, a good contract and I enjoyed the work. The Darius Palace and the approach to Jerusalem were very interesting things to do, and a dozen others with the same amount of interest for others to do.” Instead of starting with the venue, I am beginning with the Sosman & Landis scenic design called “Darius Palace.”

For the Scottish Rite’s sixteenth degree production, it is important to consider the historical context and inspiration for the stage work. The exiled Hebrews returned to Jerusalem in approximately 530 BCE, yet they had to wait for Darius’ ascension to the throne for the rebuilding of King Solomon’s Temple. The Second Temple was completed about 510 BCE. There is much more to the story, but this provides us with the basic context that inspired three Sosman & Landis scene designs: King Solomon’s Temple ruins, King Darius’ palace, and the rebuilding of the Temple. I have recently posted a series of images regarding stage settings that depict the ruins of King Solomon’s Temple from the 15^th degree. This degree includes the story of when King Cyrus reigned and Zerubbabel was sent to check on the site. The 15^th degree stage setting carries over the 16^th degree and was often used again. Understand, however, that what appears on Scottish Rite stages now does not always use the scenery as intended.

Two of the sixteenth degree settings were noted in the “Buffalo Consistory” during 1908. An article describing the upcoming events at a Scottish Rite Reunion reported, “On Tuesday morning there is no class, but in the afternoon the sixteenth degree, prince of Jerusalem, will be presented in three sections. The first and third represent the ruins of the Holy City and the second the court of Darius, King of Persia” (Buffalo Morning Express, 21 April 1908, page 6).

That same year, the “Brooklyn Daily Eagle” also mentioned the 16th degree production at the Scottish Rite: “The sixteenth degree, Princes of Jerusalem, was the work in Brooklyn Consistory on Wednesday evening last.” After listing the cast members, the newspaper commented, “This beautiful, instructive, historic degree is one of the most interesting in the entire Scottish Rite system.” (5 April 1908, page 25).

For those unfamiliar with King Darius I, here is a brief recap. Darius the Great was born in 522 BCE. He is recorded as being one of the greatest rulers of the Achaemenid dynasty, ascending to power in 522 BCE and reigning until 486 BCE. Darius was known for his administrative genius and monumental construction projects, including his palace in Susa located at the center of the Persian Empire. Stretching from the Nile and the Aegean to the Indus Valley, at its peak, the Persian Empire included much of West Asia, the Caucasus, parts of the Balkans (Thrace-Macedonia and Paeonia), most of the Black Sea coastal regions, parts of North Caucasus, and Central Asia. It reached as far east as the Indus Valley with portions of north and northeast Africa including Egypt, eastern Libya and coastal Sudan. A great book on this subject is Jean Perrot’s “The Palace of Darius at Susa: The Great Royal Residence of Achaemenid Persia.”

King Darius was known for centralizing and unifying the Persian empire, He divided land under his reign into provinces, placing satraps to govern it. Darius established a new uniform monetary system, introduced standard weights and measures, as well as making Aramaic the official language of the empire. He also instigated several construction projects throughout the empire, including Susa, Pasargadae, Persepolis, and Babylon. This is the part that we are most interested in as nineteenth-century archeological discoveries would greatly impact popular culture and Masonic stage design.

It was the information and illustrations published about archeological discoveries that were incorporated into Masonic degree productions designs by Sosman & Landis and other scenic studios. King Darius’ Palace at Susa (western Iran) was one of the most important of the Achaemenid Persian palaces. When it was rediscovered in 1851, details of the architecture and ornamentation remained in the public eye and were eagerly sought after by all types of artists.

These discoveries especially fueled the designs of stage settings for the 16^th degree. Scenic studios labels became more description over time, going from a simple “Darius Palace” to Darius Festival Rose Palace.”

Early twentieth century Sosman & Landis scenic designs were characterized by Persian columns and double-bull capitals, replicating discoveries in Persepolis and Susa. Floral garlands were draped throughout the scene, wrapping around orate columns. Skilled scenic artists at Sosman & Landis painted hundreds of roses in varying shades of pink, depicted from every conceivable angle. These floral garlands are some of the most beautiful examples of scenic art that I have encountered to date.

Artists in scenic studios relied on printed source material for these ancient palaces, such a Dr. Franz von Reber’s “The History of Ancient Art.” This publication provided beautiful examples of ancient architectural ornamentation for the sixteenth degree. Here is a link to Dr. Von Reber’s 1882 publication, as it is a wonderful addition to any library: imageshttps://www.gutenberg.org/files/42082/42082-h/42082-h.htm#page_025

To be continued…

Part 590: The Cort Theatre in Chicago

In 1908, Thomas G. Moses write, “I did several shows for H. H. Frazee.” At this time, Harry H. Frazee Harry H. Frazee was involved in the construction of the Cort Theatre in Chicago. Frazee’s later success. Seattle architect Edwin Walker Houghton designed Chicago’s Cort Theatre as a counterpart to his Seattle-based version. The theater was located at 126-132 North Dearborn Street.

Looking at the namesake for Frazee’s Chicago theater, John Cort, provides some context to Frazee’s tale. Born in New York, Cort started his career as part of a comedy duo called “Cort and Murphy.” Cort briefly managed a theatre in Cairo, Illinois, before heading west to Seattle, Washington, where he managed the Standard Theater. Cort was considered one of the pioneers for theater circuits under Cort’s management. Cort booked the same act successively into multiple cities, making it worthwhile for an acting company or any performance troupe to tour to remote locations. By 1903, Cort’s circuit controlled 37 theaters throughout the American West. This allowed him to compete with some success against the Eastern entertainment establishment. He even signed an agreement with Marcus Klaw and Abraham Erlanger who were leading booking agents and Cort’s theatres became part of the Klaw and Erlanger Circuit.

However, Klaw and Erlanger’s power continued to spread, negatively impacting many other theatre circuit owners such as that ran by Cort. By 1910, Cort helped organize the Independent National Theatre Owner’s Association. This was a group of circuits that attempted a break with the New York-based theatre syndicates, such as Klaw and Erlanger. They allied with the independent Shubert Organization and eventually forced many theatre that were controlled by eastern syndicates to book other productions. In retaliation for Cort’s participation with this movement, Klaw and Erlanger backed the construction of Seattle’s Metropolitan Theatre. In turn, Cort headed to New York where he became a notable producer and manager. Frazee would follow Cort to New York, constructing another theater in 1913. Designed by architect Henry Beaumont Herts in 1912, Frazee’s new theatre was named for Longacre Square, the original name for Times Square. The Longacre’s first show was a production of the William Hurlbut–Frances Whitehouse comedy Are You a Crook?, which opened on May 1, 1913.

Moses also painted scenery for Cort’s Seattle Theatre, twenty years prior to the construction of Cort Theatre in Chicago. In 1888, Moses traveled to Seattle where he closed a deal with Cort (ca. 1861– November 17, 1929). The scenery was painted in Chicago and shipped to Cort in Seattle. Frazee worked closely with John Cort during the planning and construction of Chicago’s Cort Theatre. On the books in Chicago for the Cort Theater, Cort was listed as president of the firm, with H. H. Frazee as the vice president and U. J. Herrmann as both the secretary and treasurer. Cort was a key factor in Frazee’s success.

The planning began for the Cort Theatre began in 1907, with its official opening on October 25, 1909.

In 1910, the Cort Theatre in Chicago had a seating capacity of 1,344. Admission prices ranged from $1.50-$2.00 in the orchestra to 50c. and 75c. in the gallery. The proscenium measured 38 feet wide by 33 feet high. The depth from the footlights to the back wall was 24 feet and the distance from the curtain line to the footlights was 1 foot. The height to the rigging loft was 69 feet and the height to the fly gallery was 36 feet. The depth under the stage floor was 12 feet.

Sadly, like many other theaters, it was razed in the name of progress. The Cort Theatre was demolished in 1964 to make way for a new thirty-one-story building in 1966 – the Richard J. Daley Center.

To be continued…

Part 589: Thomas G. Moses and H. H. Frazee

In 1908, Thomas G. Moses write, “I did several shows for H. H. Frazee.”

Harry Herbert Frazee (1880-1929) was a producer, director, and theatre agent. He grew up Peoria, Illinois, starting his theatre career at the age of sixteen. Frazee worked in the Peoria Theater’s box office and as an usher, but soon left to travel the West as an advance agent with a small touring company. He then toured the country with a small musical show that primarily did one-night stands. Frazee began his career as a producer when he staged “Uncle Josh Perkins,” a show was an popular success. Over the next five years he produced several other musical comedies that were immediate hits; these touring productions would create the foundation for Frazee’s immense fortune.

By 1907, Frazee was involved with planning a new theatre in Chicago – the Cort Theatre. It was around this same time that he hired Moses, representing Sosman & Landis. to create scenery for various productions, such as the “Isle of Spice” and “A Knight for a Day.” Other Frazee touring productions in 1908 included “Facing the Music,” “The Flower of the Ranch,” “The Royal Chef,” “Uncle Josh Perkins,” and “Piquant Musical Mixture,” and “Yankee Regent.” The amount of newspaper ads for shows credited to Frazee is staggering during the period from 1907-1908.

After enjoying immense success as a Chicago producer, Frazee built the Longacre Theatre in New York during 1913. Early productions at his eastern theater included Eugene Walter’s “Fine Feathers,” the musical “Adele,” and “A Pair of Sixes.” His most spectacular success, however, was “No, No, Nanette,” first seen in New York during 1925. Although a failure at first, Frazee acted against all advice and revised the show, ultimately causing it to become a show that made millions. Frazee’s last theatrical production was “Yes, Yes, Yvette” during 1927. Unfortunately, it was not as successful as Frazee hoped, resulting in heavy financial losses.

Frazee was a spectacular figure; not only in the theatre world, but also in the sports world. He is most recognized as the baseball manager who sold Babe Ruth to the New York Yankees in 1920, effectively crippling the Red Sox for decades and beginning the team’s “curse.” Frazee’s connection with baseball began when he purchased the Boston Red Sox for $500,000 in 1916, immediately after their World Series victory.

The team achieved another world championship under Frazee’s ownership in 1918. However, this success did not last for either the team or Frazee. Frazee soon sold Carl Mays, “the submarine pitcher,” to the Yankees, as well as other baseball stars for high prices.

His decisions were not well received and ultimately resulted in litigation with Byron Bancroft “Ban” Johnson, the president of the American League. In addition to legal battles, Frazee was engaged in another war, as he was the first American League owner who had not been “hand-picked” by Johnson. Unlike many others, he was unwilling to do Johnson’s bidding, causing a series of backlashes against the theatre mogul. Frazee’s feud with Johnson continued for years, and garnered ill-will toward Frazee in the region. Regardless, he remained the owner of the Red Sox until August 1923. There is much more to this story, but I am not going onto it today. There are two great books that describe the times: “Harry Frazee, Ban Johnson and the Feud that Nearly Destroyed the American League” and “The Selling of the Babe: The Deal That Changed Baseball and Created a Legend.” Here is a pretty good link to the history of the Boston Red Sox ownership: http://boston.redsox.mlb.com/bos/fenwaypark100/own.jsp?year=1916_1923

In 1929, Frazee passed away at the age of 48 years old. His obituaries reported, “The high spots of Mr. Frazee’s career were his ownership of the Boston Red Sox at the time they won the world championship, and his production of ‘No, No, Nanette.’ For years he seemed to possess the golden touch, but recently was reported among his associates that his fortune had dwindled. His more recent ventures were less fortunate and he was always a generous spender.”

New York’s Mayor James J. Walker was a close friend of Frazee who gave out the following tribute to Frazee in 1929:

“Harry Frazee was one of the most popular figures in the theatrical and baseball world. I have known him for a great many years. His was a unique character – unique in his friendship for others – and he was immensely popular with everyone who knew him. He was a man of great energy, great mental ability and was greatly respected in the business and baseball world.”

Toward the end, Frazee suffered from Bright’s disease. It was after a recuperative trip to Europe that he relapsed and slipped into a coma. When he quickly passed away, the news shocked both the entertainment and sports worlds.

To be continued…

Part 588: “A Day in Japan” for the Pittsburg Exposition

In 1908, Thomas G. Moses wrote, “Built a fine little show for Pittsburg Exposition “A Day in Japan.” I went down and put it on and started it off to good business. It was a little too classy.”

Moses was referring to one of the amusements at the Pittsburgh Sesqui-Centennial Exposition tha ran from July 4, 1908 to November 26, 1908. On June 21, 1908, the Honorable George W. Guthrie, mayor of Pittsburgh had issued the following proclamation that described the 150^th birthday celebration for the city of Pittsburgh:

“To the citizens of Pittsburgh: On November 25, 1758, the British and Colonial troops under the command of General John Forbes, took possession of the smoking ruins of Fort Duquesne, which had been abandoned the day before by the French and Indians. As the sun was setting, the British flag was raised by the brave Pennsylvanian, Colonel John Armstrong, in the presence of Washington, Forbes, Bouquet, Mercer, and other noted American and British soldiers, and the name of the great Pitt, whose genius had conceived the expedition, thus signally crowned with success, was conferred most appropriately upon the site between the Forks of the Ohio, which was long thereafter known as the Gateway of the West. On November 25th of the present year will occur the 150th anniversary of the permanent founding and naming of Pittsburgh, and it is most fitting that the event be celebrated in a manner appropriate to the city’s important history and its great growth and achievements in many lines.”

The planning for the celebration began during the fall of 1906. By spring of 1908, the plan was presented to Mayor Guthrie and the City Councils. After approval, twenty-eight committees, involving almost 600 individuals, made it possible for Pittsburgh’s celebration.

The Daily Republican reported “Among the amusements is the military spectacle of the Spanish-American war, which is a vivid reproduction of the blowing up of the ‘Maine’ and the historic battles; the scenic cyclorama, ‘A Day in Japan’: the Theatorium, and many other entertainments” (Monongahela, Pennsylvania, 6 Oct 1908, page 4). The “Sedalia Democrat” commented, “Among the new attractions in the main building are an electrical scenic cyclorama, ‘A Day in Japan’”, while he “Pittsburgh Press” advertised that it was “an electric novelty” (Sedalia Democrat, 2 Sept 1908, page 7, and Pittsburgh Press, 9 August 1908, page 6).

There is a lovely article about this project and Moses’ involvement that was posted in the “Pittsburgh Daily Post” on September 2, 1908 (page 8):

“Visitors Taken to Japan.

“A Day in Japan,” one of the most enjoyable entertainments of the Exposition, will transport spectators in an instant to the “Flowery Kingdom,” the realm of the Mikado. The wonders of electric lighting and manipulation are carried to a height rarely attained. A picturesque Japanese mountain village is shown nestling at the base of the historic, snow covered mountain, Fujiyama.

With scarcely conceivable realism, the soft radiance of moonlight, bathes the quiet scene, then the break of day, the white light of noonday, the yellow of late afternoon, the gradual coming of dusk and darkness, and the lighting of lamps within the dwellings, are portrayed with extraordinary faithfulness to detail.

A storm gathers, trees are tossed by the wind, lightning flashes and thunder of the preceding calm, is welcomed with relief.

The entertainment is not a moving picture show, nor an acted play. A model of a village taken from active life has been built on the stage, representing the minutest details of Japanese home life, in a style never before attempted. A pagoda, rising high in the foreground, occupied a skilled artisan many days in making it, so delicate is the workmanship.

No details of instructive value are omitted. The beauty of the production is extraordinary. The scheme of decoration in the Oriental style is carried into every detail. Even the ticket office is a structure quaintly built on lines of Oriental architecture. Its position in the gallery, midway down the main hall, on the Allegheny side, makes the entertainment a prominent feature of the Exposition.

A carefully prepared lecture accompanies the entertainment, as the scene shifts from night to day and back to night again. It has been the aim of the acting manager, Thomas G. Moses, vice-president of Sosman & Landis Company, of Chicago, to afford the maximum of both instructive and entertainment values.”

This was the first mention that I have discovered about Moses being vice-president of the company. He returned to Sosman & Landis in 1904 to manage the main studio, but his becoming vice-president is not mentioned in his memoirs. Abraham “Perry” Landis left the company in 1902 due to poor health. By 1904 Sosman was desperate for help in the studio, as he had assumed all of the sales responisbilities; those duties previously handled by Landis.

By 1915, immediately after Sosman’s death, Moses became the president of the Sosman & Landis. For me, this transition now makes sense in regard to the board of director’s decision to elect Moses president.

To be continued…

 

Part 587: A Little Sister of the Rich at the Olympic Music Hall

In 1908, Thomas G. Moses wrote, “We did a show for Murdock at the Olympic – a failure, scenery and play.” Moses was referring to – “A Little Sister of the Rich,” a production that received much criticism.

The Olympic Music Hall opened on November 2, 1908, and “A Little Sister of the Rich” was featured at the close of the vaudeville program that December. It was a satire written by Irving B. Lee that included comedians such as McKay & Cantwell, Gus Weinburg, Catherine Rowe Palmer and some other members of the Olympic Company.

The “Inter Ocean” reported, “The Olympic Music Hall offers the Tom David trio, London bicyclists; the Big City quartet; Miss Elizabeth Murray in negro and Irish songs; Vinie Daly, the dancer, and other vaudeville numbers” (27 Dec 1908, page 34). The other acts included the Four Fords, Mabel Sinclair’s ventriloquism, the musical Amatis, Cora Beach Turner and company in a sketch called ‘A Bluffer Bluffed,” and Frankie La Marche, the Buster Brown girl.

The article continued, “’A Little Sister of the Rich,’ a one act musical entertainment will close the bill, and the Eight Berlin Madcaps, a dancing quartet, have been added to the performers in the play” (27 Dec 1908, page 34). The Moline “Dispatch” added, “A Little Sister to the Rich” includes “a chorus of 37 bewilderingly beautiful girls, gorgeously costumed” (The “Dispatch, Moline,” Illinois, 24 Dec. 1908, page 4).

As indicated by Moses, the show was not well-received by the public. Here is a review of the production in the “Chicago Tribune”(Chicago Tribune, 11 Dec. 1808, page 10):

“The best joke connected with “A Little Sister of the Rich,” a fifty minute musical comedy with which the vaudeville bill in the Olympic music hall has been supplemented, is that it bears absolutely no relation to its attractive title. This joke is on busy Manager Murdock, who permitted the authors of the sketch to sell it to him.

“Reading the title of “A Little Sister” the natural inference of the average citizen would be that the authors had anticipated the dramatization of Joseph Medill Patterson’s widely discussed novel concerning society’s extravagances, physical and financial, which is scheduled for local production in the Grand opera house next month. But evidently Irving B. Lee, who wrote the music hall affair, never heard of either the novel or proposed play.

“‘A Little Sister’ is an empty musical trifle, prettily staged. The scene is a department store and the fringe of a plot deals with a shrewd floorwalker who acts in collusion with a shoplifter. There are six musical numbers, three of them interpolated. Two of the six, “Would You Like to Take Me Home with You?” and “The Old Red, White, and Blue,” both sung by Adele Oswald, an attractive soprano of pleasant voice, are worth hearing. Cathryn Rowe Palmer, an eccentric soubrette of whom much was expected, contribute the toe dancing specialty which she introduced in “The Merry-Go-Round,” and that, added to the new costume lets Cathryn out. Cantwell and McKayes are the comedians. They are good dancers and promise to be amusing comedians when they get their stride and a new set of lines.

“There is no use getting ‘het up’ over ‘A Little Sister of the Rich.’ No manager in the country is more certain to discover the deficiencies in his performances and to correct them that Mr. Murdock. He has worked so far at a disadvantage. On of his principles, Harry Walters, fell ill the day of the dress rehearsal and the author, Mr. Lee, was pressed into service. It will require a lot of pressing to make a comedian of Mr. Lee. Mr. Walters will be back in the cast the last of the week.The vaudeville bill preceding the musical comedy is good, and includes the Four Fords, dancers extraordinary, and the Patty Frank troup of acrobats.”

In February 1909, “Variety” reported “the production was sent over the circuit as a headline act under its present name” (6 Feb 1909, Vol. XIIL, No. 9). I guess they kept trying to make it work.

To be continued…

Part 586: Women employed at the Olympic Music Hall in 1908

Thomas G. Moses worked on scenery for the Olympic Music Hall in Chicago during 1908. An interesting article was published that year about the women who managed the venue (Inter Ocean, 15 Nov. 1908, page 32). Considering the continued struggles of women in the United States and recent legislative setbacks nationwide, this article was a breath of fresh air for me. Lottie B. Akass, Nellie Revell, Minnie Sleeper were credited for their knowledge and skill 110 years ago; this still at a time when women could note vote. Here is a little background on the individuals mentioned in the article below.

John J. Murdock, was listed as the general manager of the Olympic Music Hall in 1908. L. B. Akass was listed as the assistant manager. Murdock was previously the theatrical manager of the Masonic Temple Theatre in Chicago, married performer Grace Akass, a singer from Indianapolis. Murdock was head of the Western Vaudeville Manager’s Association, and later a large stockholder in the organization headed by Keith, Fox, Warner, Metro-Goldwyn.

Grace Akass was from Indianapolis and entered into vaudeville with a unique singing act.

By 1903, she was performing the “The Girl With the Auburn Hair” (Indianapolis Journal, 16 March 1903, page 3). Akass began her professional career in approximately 1899. Her sister, Lottie Akass, also toured with the production. Lottie performed as the onstage organist, playing a portable organ that accompanied all of the sacred scenes sung in the production’s church scene. Lottie was also a distinguished singer and performer.

While the two sisters were on tour, they made snapshots of the people and places they visited, creating pictorial travelogues. They had several cameras and a trunk that held all of the necessary supplies to create a dark room for developing the results of their “daily work abroad” (The Indianapolis News, 18 March 1903, page 5). At the time, newspapers noted that the sisters possessed one of the finest collection of Kodak photographs in the country. Grace and Lottie were also known for their extensive study of music and literature. The two also drove automobiles, contributing to their independence.

Another Akaas sister, Minnie Belle, was quite talented and well-known for her artistic skills. Of the three, Minnie Belle was the artist, a member of the Chicago Academy. She also moved from Indianapolis to Chicago were she exhibited her paintings, winning many awards. Her painting of Grace, “Girl in the Red Kimono” took first prize in Indianapolis. The same painting also received second prize at a Chicago Academy exhibit. Minnie married William Bancroft Sleeper in 1904 (Inter Ocean, 3 Jan. 1904, page 44). Sleeper was a Wyoming ranchman and member of the legislature (Indianapolis Journal, 17 July 1903, page 12). He also managed a number of mining and oil enterprises along the way. Among Sleeper’s personal friends were President Roosevelt and William F. Cody. Minnie and William had a daughter who became the film star, Martha Sleeper.

Back to the article about the Olympic Music Hall being managed by three women in 1908. John J. Murdock renovated the Olympic theatre to really showcase the women in his life; Grace was on stage, Lottie managed the venue, and Minnie did much of the painted décor throughout the building.

Here is the article from the “Inter Ocean” that highlighted the women who worked at the Olympic Music Hall (15 Nov. 1908, page 32):

“Here you have the marvel of the place. The new music hall is the only place of the sort in the world managed by women. There is only one place of importance on the staff of employees and managers that is not filled by a woman. He is in the box office. The only reason there is a “he” there instead of a “she” is that Mr. Murdock who financed the scheme, and who is one of the most experienced vaudeville managers, feared that certain people who are as yet unable to realize the full value of women’s actual services, might misconstrue the presence in the box office of a woman and fancy that it was not a nice place to take his wife or his sweetheart or his sister, which, of course, would be exactly contrary to the real purpose. To give the public confidence he put his own name on the program as manager, but just under it in big type is the name of a woman, “Miss Lottie Marie Akass.”

And Miss Akass is the manager. She is his sister-in-law, and he briefly states his reason for building a theatre for her.

“I wanted to give her a chance to attain something,” he said, “She is and ambitious girl, and there is a small outlet for the ambitions of a clever woman. So I fixed this theatre for her.” He looked out over the rows of flowers that were in baskets and vases and wreaths and embankments. “Not to boast,” he said. “Do you know there are almost $3,000 worth of flowers there? [the 2018 equivalent is over $82,000] They came from everywhere in the United States. See that basket of red roses? The Hengler sisters sent it from San Francisco. And that immense bunch of American beauty roses? That is from George Cohan. There is the Heath and McIntrye offering. There are hundreds of them. I tell you they mean a lot to me, for with every one is a card of good wishes. And the telegrams – there were over 1,400.

Then he smiled. Too, with his sweet faced sister-in-law, who stood beside him. He is delicate of frame and fine featured as to face, but worn looking from the tension of preparation.

“For two weeks before the opening I could not sleep,” he said. “You see, I want the girls to succeed. Miss Akass isn’t the only one. There is Miss Nellie Revell [1873-1958], who is the press agent and serves us valiantly.”

The music of the orchestra drifted out through the doorways faintly and sweetly. The big divan was very, very comfortable. I wanted to see the next turn on the stage, but I lingered among the flowers and talked with the woman press agent. An oddly straightforward creature she is too, with honest hazel eyes and many direct qualities in her speech.

“Come over to the ladies’ room,” she said. “Let me tell you a secret – you may wash your face here, or your hands. You may powder your nose and polish your nails. If you are ill the matron will take care of you, and you may lie down on this beautiful couch. You wash your hands with a bit of soap that is all your own. You powder your face with a cloth that you throw away.” She held the box of white celluloid with a perforated top toward my nose. “Isn’t is fragrant?” she asked. It was-and woefully expensive, I am sure. We strolled back to the foyer. Another dark-eyed, soft voiced woman stood beside Manager Miss Akass.

“Look” said Press Agent Miss Revell. “Did you ever see so beautiful a rose tint on a wall?” I confessed that I had not.

“Mr. Murdock and Mrs. Sleeper showed the painters how to mix it,” she said. “They were days and days getting the right tint. After it was on, Mrs. Sleeper painted every one of those roses in the decorative design.”

My incredulity must have been plain.

“Ceilings and all?” I asked.

Press agent Miss Revell nodded her head. “Ceilings and all,” she said. “She is sister to Miss Akass and she is an artist. It was hard work, but she could do it better than anybody who was just hired. She loved it, you see.”

Mr. Murdock had the last word. “I believe in women,” he said. “I have a secretary who receives $100 a week [2018 equivalent of approximately $2750.00]. Over in the Majestic theater offices, we have a woman who has eighteen stenographers under her. I pay very little attention to my correspondence because my secretary knows the business details of forty or fifty theaters as well as I do. The moment we feel that it will not be misunderstood by the public, we shall probably have a woman in the box office.

The three women who control the destinies of the rose tinted theater stood there – Manager Miss L. M. Akass, Press Agent Miss Revell, and Decorator Mrs. Minnie Akass Sleeeper…They were three women, and in theirs are the fortunes of the house. Sometimes fortune is a trustworthy lady – most trustworthy.

The orchestra music still drifted through the flowers, as I came away. It was sweet and faint, but the time was a rollicking lilt of promise.”

To be continued…