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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…

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…