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A Visit to the Cheyenne Scottish Rite on June 17, 2018

The Scottish Rite Theatre is in the Cheyenne Masonic Temple, located at 1820 Capitol Avenue. This three-story building was initially constructed in 1901 at a cost of $45,000. In 1903, the building was gutted by fire. After receiving $35,000 from the insurance company, the interior was reconstructed. Our guide, Ron, explained that an addition to the building occurred during the 1920s and included the theater.

In 1921, “The Billings Gazette” reported that Wyoming had 1906 thirty-second degree Masons, an increase of 245 members in twelve months. Furthermore, the secretary of Wyoming Consistory No. 1 in Cheyenne reported, “the total resources of all four bodies of the Ancient and Accepted Scottish Rite amount to $189,958.88” (17 Sept 1921, page 8). There were 2,090 members in the Rocky Mountain Lodge of Perfection; 1,961 members in the Albert Pike Chapter of the Knights of Rose Croix; and 1,961 members in the Cheyenne Council of Kadosh No. 1. At the time of the article, a new Scottish Rite Cathedral was being built in Cheyenne. Plans for this new Consistory building had been in the works since 1920, when the “Casper Star-Tribune” reported, “Tentative plans for the cathedral which Wyoming Consistory No. 1, A.A.S.R., is to erect at Capitol Avenue and Twentieth Street, have been approved. They call for a structure of Grecian architecture, with a frontage of 132 feet on Capitol Avenue, which will cost approximately $500,000. Aside from the fact that it will be the largest and finest fraternal society building in Wyoming architecture. Work on the building, it is planned and will begin next fall” (29 May 1920, page 9).

Some of the scenery that is currently on the stage is identified as being delivered to “Scottish Rite Bodies. Masonic Hall. Cheyenne, Wyoming.” This information is stenciled on the back and front of some bottom sandwich battens. The stenciling on the back of some drops confirms the destination of Cheyenne, and is characteristic of standard Sosman & Landis Studio labeling during the first decade of the twentieth century.

That being said, there are three distinct collections when examining the stencil placement, yet two are consistent with Sosman & Landis. The three collections also are not a standard size, as some are much taller and some are much wider. Furthermore, many of the drops were obviously hung in another venue prior to their transport to the current stage. This is confirmed by charcoal markings indicating previous line numbers for another space. Finally, the painted surface of the collection is primarily consistent with the Sosman & Landis installations for current collections in Santa Fe, St. Paul, Winona, Tucson, Ashville, and Grand Forks. What is not consistent with Sosman & Landis labeling in Cheyenne is that for their painted profile pieces, meaning the painted flats accompanying many of the painted scenes are not identified with stencils. The ones in Cheyenne are not labeled at all beyond a few pencil markings. The design and construction is also not characteristic of standard Sosman & Landis profile pieces. They are also much brighter in color than the remainder of the collection too.

Finally, the stage machinery also predates the 1920s addition and is characteristic of those installed by Sosman & Landis during the first decade of the twentieth century.

Now, here is where it gets interesting. Thomas G. Moses records that he supervised the painting of the Scottish Rite scenery for Cheyenne in 1911. Why did they know about Sosman & Landis in Cheyenne? Well in 1881-1882 Sosman & Landis also provided the stock scenery for the Grand Opera House in Cheyenne. They had a foothold in the community already. This helps confirm the majority of scenes that are distinctly Sosman & Landis designs with their standard stencils. However, Volland Studio records also indicate that they delivered Scottish Rite scenery in 1924, about the same time that the Scottish Rite held reunions in their new theater in Cheyenne. The painted profile pieces and the few scenes that are inconsistent with Sosman & Landis Masonic compositions and may be attributed to Volland Studio.

What I have not had time to do is categorize the drops based on stencil placement, charcoal markings, composition, and other consistent characteristics that helps divide up the entire collection. Finally, there were even more drops stored at the Cheyenne Masonic Temple that had sat for decades, rolled up in an offstage area. Unfortunately they were disposed of a few years ago.

In short, I can confirm that the Scottish Rite Masons were using Sosman & Landis scenery in 1911 that was delivered to the Cheyenne Masonic Hall. And then there is the dead hung drop curtain against the back wall.

I was able to identify that it was a drop curtain due to the painted fringe and draperies. It also has identical bottom battens to the oldest scenery that is currently hanging. Yet, the front curtain would have been not wide enough for the current proscenium opening. Maybe it was kept for sentimental reasons. I would love to see what the composition is, as we were unable to see beyond the bottom two feet of the drop.

To be continued…

Travels of a Scenic Artist and Scholar: A Visit to the Hastings Scottish Rite on June 16, 2018

During the summer of 1930, “The Nebraska State Journal” reported that the new $400,000 Hastings Masonic Center building was nearing completion (24 August 1930, page 39).

We left our hotel in Lincoln, Nebraska, at 6:30am yesterday and headed to Hastings. At 8:30am we were scheduled to meet Phil and some volunteers to look at the scenery. There were two volunteers to help with the scenery, John and Jim.

The layout of the stage was intriguing. The drop lines were handled at stage level and caged off in the stage right area. There were 70 line sets, but not necessarily placed in numerical order, suggesting that a few lines had moved over the decades. The shape of the stage was bizarre; not a rectangle, but the shape of the letter “D” with the curve upstage. The back of the stage was angled and much smaller than the proscenium opening, almost as if it were the corner of the building. However, this area was perfect for storing musical instruments, as not drops could be hung from above. The original Frank Adam lighting board was still present, just no longer in use. It was located up a small flight of stairs, stage right.

My records indicated that the drops were produced by Volland Studios during 1929 and installed in 1930. Interestingly, it appears as if not all the drops were constructed for this particular stage at the same time, or for this particular venue. Some were much too wide – folded back at the sides to fit on the pipes. The backdrops were originally constructed with jute webbing and tie lines on top and pipes pockets on the bottom.

I have come to realize that pipe pockets don’t last over time, even when they are part of the original installation. The sewing for pipe pockets introduces weakness into the original fabric; these weak areas, where the needle pierced the original fabric, fail over time. After several decades, it is like a perforated page and the pipes will fall to the stage. Depending on the type of fabric used to construct the pipe pocket, the actual fabric may fail also start to fail if the pipe rusts. In humid environments, the pipes not only rust, but also adheres to the fabric.

In Hastings, the fabric used for the pipe pockets was incredibly thin. It was almost like a lightweight dressmaking muslin, just black. All of the pipe pockets have started to fail and my Scottish Rite representatives realized that this was becoming a liability. We talked about a variety of options for the future – options that could be done immediately by the Masons for safety precautions. In one case we removed a pipe, and as we did, the fabric had to be pealed off of the pipe as rust had bonded the two together in areas.

As far as the drop construction, there were several features characteristic of the late 1920s. Typical to Scottish Rite scenery dating from this era includes an abundance of spatter throughout the composition. Also, characteristic of the time, the sides of the drop were finished prior to the painting, with the original tack marks to secure the fabric placed 2 ½ to 3 inches apart. This meant that there was no scalloping along the edges.

The painting is beautiful, but the new lighting system is not. A lot of money was spent for a system that does not work well for painted scenery, or is easily used by its members. The area lights are not even on the stage floor, and there are hot spots all over the scenery. Not for the first time, a Scottish Rite was talked into something that doesn’t work for a historic venue; this is always frustrating to encounter.

To be continued…

I take a brief break from the “Tales of a Scenic Artist and Scholar” storyline as I travel to Santa Fe, New Mexico for the book release (“The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre”). For the next three weeks, I will post about historic theaters that we visit on our journey. Yesterday, we visited the Omaha Scottish Rite. We are now on our way to the Hastings Scottish Rite and the Minden Opera House, landing in Cheyenne, Wyoming, tonight. I’ll keep you posted as I start the short series: Travels of a Scenic Artist and Scholar. Here is the first installment. Pictures of the Omaha Scottish Rite were posted yesterday.

Travels of a Scenic Artist and Scholar: Omaha Scottish Rite. June 15, 2018

We were able examine all of the backdrops at the Scottish Rite Theatre in Omaha, Nebraska, yesterday morning. The current Omaha Scottish Rite building constructed in 1914 at 20th and Douglas Streets, with the first Scottish Rite Reunion in the space being held that fall. It is now using scenery purchased from the Valley of Kansas City (Kansas) in 1996 for $40,000. This current scenery dates from the 1950s and will be described at the end.

In 1914, the “Omaha Daily Bee” described, “The new Scottish Rite Cathedral is a three-story structure, with high basement, built of Bedford granite, with imposing Ionic columns and porticos. The auditorium on the second and third floors where the initiations will take place, is an attractive modern theater, with a stage 30×40 feet and a seating capacity of about 1,000. It is tinted in cream and pink decorated panels and has all the arrangements for lighting, stage settings and precautions against fire, of the most up to the minute theater. It has a wardrobe and paraphernalia room adjoining” (1 Nov. 1914, page 25). No mention was made of the company that was providing the stage settings – VERY odd and unlike the opening of any other Scottish Rite in the country at the time.

M. C. Lilley subcontracted the 1914 set of scenery for Omaha to Sosman & Landis in Chicago during 1914. Thomas G. Moses confirmed this in his diary that year recording, “Some new Masonic work for Omaha.” Sosman and Landis had also created an earlier set for the Valley of Omaha to use at their previous space. During 1914, Sosman & Landis were creating Scottish Rite scenery for Grand Forks, ND, that “furnished a lot of work for the boys.” They also started the Pittsburgh Scottish Rite scenery collection of 100 drops. Regarding that project, Moses wrote that the job “will keep us busy for a long time.”

This was also the same year that Joseph S. Sosman passed away on August 7,, 1914, and the board of directors elected Moses as the company’s new president. He recorded, “On the 10th, a stockholders meeting was called and I was elected president of the Sosman and Landis Company. Arthur Sosman was elected vice-president and P. Lester Landis, secretary and treasurer. It is very strange to me that I had never given this change of the business a thought. I had never thought of Sosman dying.”

This is a horrible turn of events forever changed the fate of the studio; it placed a scenic artist in charge of a scenic studio that specialized in Scottish Rite scenery without any Scottish Rite Mason on staff. Sosman had been the driving force for years, as he was a well-respected Scottish Rite Mason in Chicago, a member of the Oriental Consistory. There was a new problem; Moses was not yet a Mason who understood how to navigate the Fraternity, or manage all of the necessary administrative duties at the studio that Sosman knew so well. Moses was, after all, primarily a scenic artist, stage mechanic, and designer.
Yet there was one other complication in 1914 that I just discoveredwhile reading “The Omaha Valley Scottish Rite Freemasonry, 1867-2014” by Wm. Larry Jacobsen. This book was a parting gift in Omaha, given to me by our wonderful guide Micah Evans. Interestingly, there was a misunderstanding on who was responsible for the structural work necessary to support the scenic drops. Part of the standard procedure for Scottish Rite scenery installations at that time was that they were suspended from “Brown’s special system.” This was named after the M C. Lilley western sales representative and Scottish Rite Mason, Bestor G. Brown. It would be atypical that someone, or any company, besides M. C. Lilley or Sosman & Landis would install 1914 stage machinery to accept their painted scenery.

Furthermore, Jacobsen writes that “M. C. Lilley suffered further anguish when the Omaha Valley reduced the number of drops to 34 from its original 80 because of the price” (page 44). This number, however, obviously increased as there are sixty line sets today. Jacobsen also explains that “after numerous communications, a general agreement was reached in January 1915 and the scene drops were ready for the Spring 1915 Reunion.” To NOT have the scenery for the opening of a building that cost a quarter million dollars instead of the anticipated 60,000 must have been embarrassing. The entire endeavor was incredibly over budget and would have been quite a scandal.

Fast forward to 1996 when the Valley of Kansas City put it’s building on the market and moved to a new location. They had a set of scenery produced by the Great Western Stage Equipment Company of Kansas City from the 1950s. I had discovered this sale while researching Scottish Rite compositions for my doctoral dissertation; the entire set of backdrops was posted online at the time. $140, 000 was spent to remove the drops from Kansas City, transport them to Omaha, and install the new drops.

So, what I was able to add to this Great Western Stage Equipment Company acquisition story was the specific artist who painted the drops. You see, in 1989, I processed the scenery designs for the Great Western Stage Equipment Company collection at the University of Minnesota Performing Arts archives. Like the Atlanta Scottish Rite, the scenic artist responsible for the Omaha Scottish right was Maj. Don Carlos DuBois (pronounced “due-boys”).
DuBois is unique, as he signed many of his backdrops – sometimes in a cute little beetle logo, and always with the date. He was also reprimanded in writing by his superiors to not put the names of living people on painted gravestones in the 30th degree catacombs drop. Clearly they couldn’t take a joke.

Images for several of the backdrops and were posted yesterday on my public FB page Dry Pigment. I will upload some later, as I am having internet issues on the road.

To be continued…

Part 447: Thomas G. Moses and “Egyptia”

In 1902, Thomas G. Moses listed the some of the shows that he worked on during 1902. He listed “Egyptia” – as “a big spectacle.” Of all the shows that Moses listed in 1902, this one stumped me. I found a small reference to a collection of operas online, titled “Egyptia.” That year, there was also a patent for a new paint called “Egyptia.” The Dayton, Ohio Roofing Co. filed to use the label for roof-paints or paints for metal and composite roofing (The Official Gazette of the United States Patent Office, 38.133, Washington, D.C., 15 April 1902, page 210). The patent wasn’t issued due to a prior use of the name since 1897. Although interesting tidbits, nothing seemed to fit Moses’ description for a spectacle called “Egyptia.” Then I discovered a newspaper article that featured the star of an Italian acrobatic troupe – “Egyptia.” This possibly was the spectacle that Moses was referring to in hos memoirs.

I have noticed that much scenery for American spectacles during the late nineteenth century was produced for productions that featured acrobatic acts. One example is the extensive scenery produced by the Hanlon Brothers to accompany their shows; lovely backdrops, mechanical stage effects and transition scenes were all part of the act. In fact, the Hanlon Brothers hired William Knox Brown as one of their stage mechanics to develop scenic effects in their Massachusetts studio (see past installment #155). Brown later became one of the three founders for the Twin City Scenic Co. in Minneapolis Minnesota (1894-1979).

“Egyptia Picchiani” may, or may not, be the Egyptia spectacle that Moses produced scenery for in 1902. Regardless, it is a fascinating read that I am going to share.

Here is the article from “The St. Louis Post-Dispatch (3 July 1902, page 2):

“Seven girl gymnasts from the sunny shores of Italy are one of the big attractions at Forest Park Highlands this week. Women gymnasts are rare, and rarest of all are they when they do their feats in parlor clothes.

The seven Picchiana Sisters come on the stage in swell satin dresses, cut low and short sleeves. The skirts of their costumes have ruffles and frills. Their hair is coiffured as if they were going to a ball, and adorned with side combs, satin and velvet bows, and even flowers. Nothing gets out of place in all the somersaulting, hand-springing and tumbling they do.

The Picchianis were born in Florence. Their father was a noted acrobat, who has just celebrated his fiftieth stage anniversary. He is still in the business, although not as nimble as formerly. He taught all his children to become acrobats and began their education, when 2 years old. The troupe now at the Highlands began to show for the first time on any stage at Alexandria, Egypt, in 1890. Eight years before that date Egyptia Pichiani was born in the Nile country, hence her name. Signor Picchiani, brother of the seven sisters, who is with them on the stage, says that at first they did their act in tights.

‘Then we switched to dresses,’ said he the other night, as he mopped the perspiration from his face after a particularly difficult feat. ‘It took four years of hard practicing before we were able to do in skirts what we had done all our lives in tights. Since then we have played in every large theatre in the world.

‘My sister, Egyptia, who does some of the most daring things of all the girls is now 19 years old. Like myself, she went on stage when she was 2 years old. She does some very difficult things, but the feat which is original with us is the cross-pver somersault. Egyptia is on my shoulders, Louise on the shoulder of our eldest sister. They pass each other from shoulder to shoulder, making a double somersault. No other company does that. We were a year practicing before we attempted it for the first time in public. It requires some wonderful close gauging, and no one has ever imitated it as it is too risky.’

The Picchiani practice every morning on the stage of Forest Park Highlands just as hard, as if they were novices in the business. Last Sunday night Louise Picchiani missed in the difficult shoulder to shoulder turn.

The second time she accomplished it without a hitch. But there was a great row afterwards back of the stage, because of that one failure.”

To be continued…

 

 

Part 446: Thomas G. Moses and “Young Tobe Hoxie”

In 1902, Thomas G. Moses recorded that he created scenery for the show “Tobe Hoxie.” Moses was referring to the new four-act pastoral comedy, “Young Tobe Hoxie.” It was advertised as a “rural comedy drama,” written by E. C. Lamson. Lamson wrote the play, organized the company presenting it and usually appeared in the title role.

The plot revolved around the leading character, “Tobe Hoxie,” a mechanical genius of a country neighborhood who wins fame as the inventor of a remarkable mousetrap. A diamond-in-the-rough rustic, Hoxie was not simply a silly kid or low comedy role. In the play, he travels to the city where he finds employment at a factory. He rapidly rises in the company and soon becomes a recognized leader. In the end, Hoxie finds both love and success. Lamson was inspired to create the piece while portraying a similar character in “York State Folks” (The Courier-Journal, Louisville, KY, 21 April 1904, page 4). Lydia Knott playing his love interest and the show was advertised to contain “Beautiful climaxes, heartaches of pathos, and side aches of laughter” (Washington Times, Jan 31 1904, page 15).

In 1902, “The Arizona Republic” reported that 1902, Lamson and his manager were “hard at work opening negotiations for the organization and equipment of the company” (Arizona Republic, 28 December 1902, page 4). They were planning to establish their offices, arrange future bookings, and cast the show that coming spring in 1903. The article continued, “The play will be complete in every way; with elaborate scenery, correct costumes and all things that are necessary for a first class presentation”(Arizona Republic, 28 Dec. 1902, page 4).

“The Daily Notes,” reported, “Mr. Ernest Lamson, who of the younger actors that are being advanced to leading positions this season, there are none more thoroughly equipped, he being especially favored by nature with a commanding presence, a good voice and a large capacity for hard work and study. These natural qualities, combined with a thorough stage training under the best masters, like the late James A. Herne, have placed him at the head of his chosen line. In “Young Tobe Hoxie,” Mr. Lamson will have an opportunity that seldom fails to an actors lot, the comedy, pathos and heroics of this character being so positively drawn that failure is impossible. The fact that Mr Lamson is to be featured does not mean that the rest of the company will be neglected. He will be surrounded by a supporting company equal to any he has ever been associated with, each member being selected for their special fitness and ability” (The Daily Notes, Canonsburg, PA, 23 Dec, 1903, page 3).

A few days later, “The Daily Notes” commented on the scenery by Moses, “It is one of the prettiest plays on stage today, put on by a high class company in every respect, and bids fair to rival “Old Homestead” and the many latter day play of that nature “(Canonsburg, PA, 26 Dec, 1903, page 2). Of the roles in “Young Tobe Hoxie,” the article continued, “The characters are real and have their prototypes in every rural community. They talk as farmer folk might be expected to talk, they are not characterized, they are not maligned. There is not a word uttered that is out of place, and this, too, in spite of the fact that there are several situations where the author must have been sorely tempted to use words that are not regarded as wholly proper in polite society. His pages are not spoiled by a single oath, or a double entendre sentence. It is as pure as the water that gushes out from beneath the foot of some storm swept mountain and as fragrant as a breeze in June that has traveled over a field of clover blossoms. Fault is has, to be sure, blemishes that might have been avoided, and some straining after effects that cast a cloud of insincerity over what has gone before; but there is so much that is excellent and it is such a relief from the maudlin, half-witted tommyrot that is usually met with in rural plays that one feels to be disposed to be lenient with its defects and to commend it for the good it contains” (The Arizona Republic, 8 Dec. 1904, page 5).

“The Arizona Republic” reported that Lamson was traveling over the same circuit he made during the show’s debut, and was greeted by even larger audiences (8 Dec. 1904, page 5).

To be continued…

Part 445: Thomas G. Moses and “By Right of Sword”

Thomas G. Moses recorded that he created the scenery for Ralph Stuart’s “The Holy Sword.” Moses was referring to the play “By Right of Sword.” It was described as “A Russian play with an American hero by an English Author” (Los Angeles Times, 17 June 1902, page 6). The novel by Arthur W. Marchmont was dramatized by Loenidas Westervelt in conjunction with Mrs. Charles Doremus and produced by Ralph Stuart and his company. The first presentation of the play on any stage took place in Seattle, Washington (The New York Times, 1 April 1902, page 9). In 1902, Moses wrote, “Many of these shows opened out of the city, and I was compelled to go with them. I never knew when I was going to be at home.” “The Washington Times” commented, “Mr. Stuart has given the play a costly production with new scenery and costumes.” (4 May 1902, page 20). The article continued, “The first act of the play is described as the strongest first acts ever shown on the American stage.”

Ralph Stuart played the leading role of Richard Hamilton in this four-act play. Elizabeth Stuart played the role Olga Lansing; Miss Rowan played the role of Paula, and Frank Sheridan played the role of Devinski.

By June 1902, the show traveled to Burbank, California. “The Los Angeles Times” reported, “Arthur W. Marchmont traveled over three thousand miles to see the first production at the Burbank Theatre by Ralph Stuart last night of the play dramatized from his novel, “By Right of Sword” (16 June 1902, page 6). Marchmont lived in Brighton, fifty miles from London. He was a journalist, who owned two newspapers, one in Bath and one in Brighton; and a barrister of Lincoln’s Inn, London. The article continued, “He is English, through and through – in accent, side whiskers, bow spectacles, burnished tie, and tweed clothes. Yet he has written with a stirring American dash. ‘We authors,’ he explained, ‘have to convey the impression that we know a good deal more than we do.”

The Fort Wayne Sentinel summarized the play: “It tells of the many adventures of a “devil-may-care American,” Richard Hamilton, who, through his resemblance to a cowardly Russian is mistaken for him. Alexis Petrovich, the Russian in question, has run away to avoid a duel. Alexis has been challenged to a duel owing to the fact that his love for his sister Olga has prompted him to oppose the intentions of Major Deviniski to marry her. Hamilton meets Olga and falls in love with her. Then he impersonates the missing Alexis to save the lives of himself and Olga and to bring the desperate Devinski to justice. Countess Tueski, the wife of the minister of police, is an admirer of Alexis, and in mistaking Hamilton for the Russian boy seeks to protect him. Then follows a series of thrilling adventures bubbling over with charming dialogue and an exquisitely told tale” (The Fort Wayne, Indiana, 12 Sept. 1908, page 10).

The novel starts with a letter that indicates the action and intrigue to will follow: “My Dear Rupert,

Don’t worry your head about me. I shall be all right. I did not see you before leaving because of the scene with your sister and Cargill, which they may perhaps tell you about. I have done with England: and as the auspices are all for war, I mean to have a shy in. I went to Vienna, thinking to offer myself to the Turks: but my sixteen years in Russia have made too much of a Russ of me to let me tolerate those lazy cruel beggars. So I turned this way. I’m going on to St Petersburg to-day, for I find all the people I knew here as a lad have gone north. I have made such a mess of things that I shall never set foot in England again. If Russia will have me, I shall volunteer, and I hope with all my soul that a Turkish bullet will find its billet in my body. It shan’t be my fault if it doesn’t. If I hadn’t been afraid of being thought afraid, I’d have taken a shorter way half a score of times. My life is an inexpressible burden, and I only wish to God someone would think it worth while to take it. I don’t want to be hard on your sister, but whatever was left in my heart or life, she has emptied, and I only wish she’d ended it at the same time. You’ll know I’m pretty bad when not even the thought of our old friendship gives me a moment’s pleasure. Good-bye. Don’t come out after me. You won’t find me if you do.

Your friend, Hamylton Tregethner”

Yes, this novel is now on my summer reading list and available as a free eBook. Here is the link: https://archive.org/details/byrightsword00marcgoog

“By Right of Sword” went through twenty-four editions by 1902, and had a circulation of 100,000 copies in England, and a like number in the United States. After the play’s tour of the west coast and across the country, the show was performed in New York at the American Theatre in 1904, opening January 18. It then returned to Seattle in October of that same year, at which time the Author once again visited the west coast.

Due to its continued popularity, it later became a silent film. Here’s a short film of the duel scene from “By Right of Sword”: https://www.youtube.com/watch?v=sa-fUM5O6K8

To be continued…

Part 444: Thomas G. Moses and “An American Gentleman”

Thomas G. Moses recorded that he created the scenery for “An American Gentleman.” Of Moses & Hamilton’s work, the “Times Herald” noted “Abundant scenery of novel and elaborate design” (Port Huron, Mich., 28 April 1902, page 3). “The Record Argus” commented on the “gorgeous scenery” and “novel mechanical effects” (Greenville, PA, 9 Oct 1902, page 3).

William Bonelli both wrote and starred “An American Gentleman.” Bonelli had previously worked with Charles Frohman, W. A. Brady and Jacob Litt, enjoying a prolific career on Broadway between that began in 1899.

Of “The American Gentleman,” “The Daily News Democrat” reported, “ The play is in four acts and there is not a dull moment from the rise to the fall of the curtain. Thrilling situations, startling climaxes, bright comedy, unexcelled specialties, a carload of magnificent scenery, combined with a specially selected cast, contribute to make ‘An American Gentleman’ such an overwhelming triumph”“ (8 December 1902, page 1)

The Sandusky-Star Journal summarized the plot: “The scene of action begins at the summer home of George Hathway, a Yale College athlete, located on the Hudson River; young Hathaway is a bright and manly fellow of athletic build and strong as a lion. Because of his great strength he is called “Sampson of Yale.” He meets a beautiful Gypsy girl known as ‘Carina,’ the Golden Gypsy, and becomes a suitor for her hand. Of course there is a rival, and the rivalry becomes so strong between them that an exceedingly animated wrestling match is the result. Hathaway proves to be the victor. In the third act young Hathaway is decoyed to the headquarters of the Gypsy Queen by his enemies, is seized and chained to the wall in her lodge. The plan is to kill him as well as Carina, and a frightful death by fire and explosion stares them in the face. His strength serves him at this juncture as he breaks his chains just in time to save the lives of Carina and himself. In the fourth act Carina learns that she is no Gypsy and discovers her right father and finds that she is of good birth and family. In the end she finds true love and happiness in becoming the wife of an American Gentleman. There is a lot of pure wholesome comedy interwoven in the play which serves to keep the audience alternately between laughter and tears” Sandusky, OH, 3 Nov 1902, page 3).

“The Pittsburgh Daily Post” also provided a description: “The motive of the story is furnished by the kidnapping of an heiress, Carina, by the Gypsies. In the first act, which takes place at Charles Hathaway’s house on the Hudson river, the villain, Farker hires Zeppo, a Gypsy, to murder Hathaway and carry off his wealth. Young George Hathaway, the “American gentlemen,” known also as ‘Sampson of Yale,’ runs the murderer to earth comes on the scene when there is a wrestling contest between Zeppo and another Gypsy for the hand of Carina. After Zeppo has conquered, Hathaway steps in and throws Zeppo, thereby winning Carina. After many adventures Carina is rescued and returned to her people, who are of the English nobility. They want her to marry a title, but ‘an American gentleman’s’ title is sufficient for her” (25 Feb. 1902, page 6). Rose Stahl played Carina; Eugene Staley played Zeppo; and James C. O’Neil played Farker.

The most applauded scene in the show was reported as when Bonelli surprised the gypsies in their camp and “triumphs only by the aid of his powerful physique” (The Time Herald, 28 April 1902, page 3). In 1915, “An American Gentleman” was made into a movie. Directed by John Gorman, it starred William Bonelli and Grace Lowell.

To be continued…

Part 443: Thomas G. Moses and “The Gay Mr. Goldstein”

In 1902, Thomas G. Moses recorded working on a production called “The Gay Mr. Goldstein.” This was play, written by Thomas Ignatius Keogh of New York, had vaudeville acts interspersed throughout the production. Keogh also starred in the title role, was advertised as the “stock star” at Henry Greenwall’s American Theatre, N.Y. (17 Feb. 1902, page 2). Keogh later copyrighted the story on April 12, 1901. “The Courier-Journal” reported, “this comedy is not a burlesque on the Hebrew, but on the other hand, the characters drawn by the author are of a refined type” (16 April 1902, page 4). The show starred Thos. J. Keogh (1873-1925) and Mary Hampton as Mr. and Mrs. Goldstein.

The production was described as a “novelty farce, inasmuch as it depicts the refined Hebrew among refined surroundings, and not the illiterate type that has been so much used for stage characterization. The theme used by the author is based on the association of the Hebrew with the Christian, both of the higher social circles, and is a series of laughable complexes, situations and incidents that arise from the fact that the Hebrew is sporting proclivities though poor, marries for money, and if afterwards allowed by his rich wife only one dollar a week spending money. His contrivances and schemes to get more create the humor of the play, and keep the audience keyed to a continued pitch of merriment” (The Daily Times, Davenport, Iowa, 21 February 1902, page 9). “The Iowa City Press” advertised Greenwall’s production of “The Gay Mr. Goldstein” as “a refreshing and refined comic surprise” (17 Feb. 1902, page 2).

“The Iowa City Press” advertised, the entire production was “carried complete” with “high class vaudeville introduced” (17 Feb. 1902, page 2). Seven vaudeville acts were included with the production and billed as “seven splendid specialties” (Green Bay Press, 29 Jan 1902, page 7). “The Eau Claire Leader” provided a little more insight into the vaudeville acts appearing in the production, “While ‘The Gay Mr. Goldstein’ may be described as a legitimate and refined comedy, it nevertheless permits the introduction of a series of high grade specialties, all of which are presented by artist of the first rank.” (1 Feb. 1902, page 8). The company included a number of “fine specialty artists, whose ‘acts’ are introduced during the action of the play, adding no little merit to the performance as a whole” (The Cornell Daily Sun, Volume XXIV, Number 75, 21 December 1903, page 4).

Both of the leads in the show performed with a variety of first-class companies. Mary Hampton was a well-known actress who was popular with American playgoers for both her personal charm and artistic capabilities. She toured with Palmer’s Company, Frohman’s Company, and the Keogh Stock Company. Her first notable success was “Mad Money” at the Standard Theatre, later joining the Madison Square Theatre Company. In 1902, “The Gay Mr. Goldstein” was advertised a “The one big success of the new century, introducing America’s greatest leading lady, Mary Hampton, for five years principle star at Chas. Frohman’s Empire Theatre, N. Y. and the “Modern Method’ comedian” (Iowa City Press, 17 Feb. 1902, page 2).

Thomas J. Keogh was well-known as “a comedian of the first note- his early experience with the best stock companies qualified him for the more important position of ‘star’ that has since marked his career. After a long run with Mabelle Gillman in “The Mocking Bird,” Mr. Keogh was starred in “The Gay Mr. Goldstein.” In 1909 Keogh and his company were presenting a comedy sketch entitle “The Ward Healer”(The Oregon Daily Journal, 14 Feb 1909, Page 48).

“The Quad-City Times” reported, “The hit of the piece is made by Mr. Keogh in a pantomime representation of a woman dressing and preparing her toilet – an act lasting 10 minutes and keeping the audience, and particularly the ladies, in convulsions for that length of time” (23 Feb. 1902, page 4).

 

To be continued…

Part 442: James E. Fennessy and the Empire Circuit

James E. Fennessy (1856-1925) was introduced yesterday as a theatrical manager who hired Thomas G. Moses in 1902 to paint the setting for “The Charity Nurse.” Fennessy partnered with George E. Heuck, to form the theatrical management firm of Fennessy & Heuck; they were also major players in the Empire Circuit Company – the Western Wheel of the burlesque circuit, also known as the Empire Association.

At the turn of the twentieth century, a successful burlesque producer had forty possible weeks of engagements during a season on the combined circuit, or “wheel” as they were called in burlesque. The agenda for individual circuits was to provide a booking system, establish territorial limits, minimize unprofitable gaps between engagements, and stand in unity against contract violators. That being said, the Eastern, or Columbia Wheel regarded itself as an association of “clean” burlesque, meaning slightly less offensive than what appeared in many western venues.

The Empire Circuit was a group of western burlesque theatrical managers and producers, formed on 18 October 1897. The Empire Circuit operated theatres in Baltimore, Birmingham, Buffalo, Cleveland, Cincinnati, Chicago, Detroit, Memphis, Milwaukee, Minneapolis, New Orleans, Pittsburgh, Philadelphia, St. Louis, St. Paul, Toledo, and Washington, D.C. Their business offices were located in Cincinnati, Ohio, but they also had offices in New York as some of the influential leader resided there.

Since 1900, the officers of the Empire Circuit company consisted of James J. Butler, president; Hubert Heuck, vice-president; James E. Fennessy, secretary; John H. Whalen, treasurer; and board members consisting of James L. Kernan, Harry W. Williams, W. T. Campbell, and George W. Rife. Butler was also a member of Congress at the time, residing in St. Louis, Missouri.

In 1905, the Billboard included an article titled “The Burlesque Situation,” reporting, “There seems to be no concessions to be made on either side in the burlesque war which originated in that little Boston affair some time since.” The article continued, “The managers of the Eastern Circuit met in Cincinnati in the offices of Messrs. Heuck & Fennessy at the People’s Theatre. It was their regular annual business meeting at which time they met for the discussion of matters relating to the circuit; however, it was the most important gathering of that body in years. It is said that if the Empire managers are worried they did nothing that would in any manner show their anxiety either before, at, or after the meeting. One of the managers who attended the meeting gave the expression to the assertion that as far as the Empire Circuit’s houses are concerned they are prepared to take care of all shows that are entitled to bookings in their various theatres. Harmony prevailed throughout the entire meeting. Important parts of the program for the coming season were considered, also the relations of the association to the Eastern Circuit” (May 13, 1905). The article reported that at the meeting James A. Butler was elected president of the Eastern Circuit Association, with Hubert Heuck as first vice-president and James E. Fennessy as secretary. The Eastern Circuit was not to be confused with the Columbia Circuit, only the Empire Circuit expanding east.

In 1905, “The Scranton Truth” reported, “This year will witness a big change in the burlesque business as there are now two ‘wheels,’ the Empire Circuit and the Columbia Amusement Company fighting each other in the east. Previously these two organizations divided territory of the east and west, but they split and the battle royal is on. The Star Theatre still admits its allegiance to the Columbia Amusement Company. Where heretofore there have been forty burlesque companies, there will be seventy this season. The will play week instead of three day stands in this city” (27 July 1905, page 3).

The Empire Circuit was expanding its territory, planning to construct the “largest and most important circuit of theatres ever combined for this department of the theatrical business.” In 1905, their holdings were thirty-two theaters that covered the best paying burlesque fields in the country. Their acquisitions included the Trocadero of Philadelphia, Monumental of Baltimore, Lyceum of Washington, Academy of Music of Pittsburgh, People’s of Cincinnati, Buckingham of Louisville, Empire of Indianapolis, Standard of St. Louis, New Century of Kansas City, Folly of Chicago, Trocadero of Chicago, Star of Milwaukee, Dewey of Minneapolis, Star of St. Paul, Smith’s Opera House of Grand Rapids, Avenue of Detroit, Star of Cleveland, LaFayette Square of Buffalo, Majestic of Toronto, Theatre Francaise of Montreal, Columbia Music Hall of Boston, Miner’s Eighth Avenue of New York, Miner’s Bowery of New York, London of New York and the Bon Ton of New Jersey. They were negotiating the inclusion of theatres in New Orleans, Memphis and Nashville that were dependent on railroad facilities and several other theatres in the eastern fields. The Billboard summed up the situation in 1905, commenting, “To use a wall street phrase, it would appear that the fight has resulted in one faction being long on theaters and short on attractions, and the other the reverse. Developments will be watched with interest, and we hope in the near future to be able to publish an agreement between the two factions. This country may be large enough for two wheels, but one big wheel with a solid hub, long spokes and tight rim surrounded by a strong tire of superiority and quality will be greatly desired by the burlesque loving contingent” (13 May 1905, page 10). By 1911, the Empire Circuit controlled 37 theaters nationwide.

In 1912, the report of the Interstate Commerce Commission listed a court case: the United States v. Harry J. Rhein, James E. Fennessy, the Heuck Opera House Co., the Empire Circuit, and the Big Four Railroad Co. (district court, northern Illinois). The aforementioned were charged with “indictment for conspiracy to refund portion of the legal transportation charges paid by various burlesque companies for transportation over New York Central Lines, the refunds being paid under the guise of compensation for advertising earned in certain theatrical programs (5 counts).”

By 1913, the Empire Circuit was absorbed by the Columbia Amusement Company and by 1914 nearly 80 shows were touring in 81 theaters that stretched from New York to Omaha, entertaining 700,000 customers annually (Vaudeville Old & New: an Encyclopedia of Variety Performances in America, page 164)

This occurred only a few years after Fennessy retired from all theatrical business. In 1910 Fennessy suffered from a severe injury exercising at the Cincinnati Gymnasium; he fell over a ladder in the swimming area (Cincinnati Enquirer, 20 July 1925, page 3). In 1925 while undergoing a minor operation to repair damage from the 1910 accident, Fennessy died unexpectedly while recovering at home.

To be continued…

Part 441: Thomas G. Moses and “The Charity Nurse”

Thomas G. Moses created the painted settings for Col. James E. Fennessy in 1902. Moseds recorded that the scenery was for “The Charity Nurse,” a four-act melodrama advertised as “a play appealing to every woman in America. Written by a student of nature” (Indianapolis Star, 15 Hanuary 1905, page 15). Well, it was written by Theo. Oakley, but Fennessy had held the copyright for the story since Feb 4, 1903.

The story involved the life history of a blind pastor’s daughter, whose ambition to assist her afflicted father induces her to clandestinely leave the church circle, lured by the attractions of a New York “shark” who hoped to take advantage of her natural talents by engaging her to appear before the swell clubs of the metropolis for which he was to receive a large sum of money. Luckily, she escaped his clutches, becoming a charity nurse and eventually returned to the home fireside.

The 1903 Clipper reported ‘The Charity Nurse’ is an interesting sensational melodrama, well put together, with all necessary effects to make it a success. The story deals with a young and talented girl, who is led on by the apparently grand prospect offered by a scheming villain who leads her into a maze of wonderful scenes and thrilling situations, and almost succeeds in accomplishing her downfall. He is defeated, however, and the girl, after getting out of his clutches, becomes a charity nurse, and though the whole world seems against her, the cloud is dispelled at the last act and happiness prevails. Selma Herman plays the heroine very cleverly. The house was packed from top to bottom.”

“The Charity Nurse” was managed by George E. Heuck & James E. Fennessy of Heuck & Fennessy. The theatrical managers were also involved in the development and management of the Heuck Opera Company of Cincinnati, Ohio. Fennessy was the proprietor of Heuck’s Opera House and well-known throughout the country as a leading member of the vaudeville theatrical syndicate.

The initial presentation of “The Charity Nurse” was held at Burt’s Theatre in Toledo (The Cincinnati Enquirer, 19 April 1903, page 6). This was prior to the hiring of the leading actress, Selma Herman, to play the role of Bessie Chambers. Herman was hired to officially star in the production for the next season and rehearsals commenced in New York City early that summer. The production then appeared in Meriden, Connecticut on August 27, before playing in New York City at the New Star Theatre the week of August 31.

The numerous theatrical interests of the Heuck Opera Company necessitated that they establishe regional offices in New York at 1432 Broadway. Fennessy was able to witness rehearsals as “The Charity Nurse” was rehearsed at the Fourteenth Street Theatre in that city (The Cincinnati Enquirer, 12 April 1903, page 25). After rehearsing in New York, the initial Cincinnati presentation was at Heuck’s Opera House.

Fennessy is an interesting individual who worked in both Ohio and New York during the 1890s and into the 20th century, but continually listed his residence in Kentucky. He began his theatrical career at an early age working for the elder Heuck, who operated Heuck’s Opera House. Fennessy later became a partner at the venue. He was later known as the manager of the People’s Theatre during the heyday of burlesque. When the Lyric Theatre was constructed, Fennessy also became manager of that playhouse too.

In 1903, Fennesy married Grace Morand, daughter of James E. Morand, president of the Indianapolis Transfer Company. One year after their marriage, Fennessy instigated divorce proceedings. Shortly thereafter, his wife became despondent and committed suicide by taking carbolic acid (Des Moines Register, 20 Nov. 1904, page 14).

Fennessy’s obituary in the “Cincinnati Enquirer” commented on his genial personality and popular public persona by all manner of theatre folk. The newspaper reported, “During his years of activity in the theater management he came in contact with producers, players and public, and was loved and respected by all who knew him. He was considered an authority upon all things pertaining to the stage, and the story often has been told that performers coveted his personal praise more than a favorable critical review of their work. He was a member of the lodge of Elks and frequently prevailed upon fellow workers in the theatre to entertain the members of the organization” (14 Sept. 1925, page 2).

Over the years, however, Fennessy was also the subject of multiple lawsuits. In perusing the numerous court cases that he was involved in throughout the decades, he certainly had a penchant for opportunism that did not always fall within the constraints of the law. I will cover some of Fennessy’s escapades tomorrow as they provide fascinating insight into the theatrical syndicate, especially the Empire Circuit’s activities during the time when Moses was creating sets for Fennessy & Heuck.

To be continued…