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Tales from a Scenic Artist and Scholar. Part 438 – Thomas G. Moses and “Rip Van Winkle”

Part 438: Thomas G. Moses and “Rip Van Winkle”

In 1902, Thomas G. Moses created all of the scenery for Joseph Jefferson’s brand-new production of “Rip Van Winkle.” Moses had previously painted scenery for Jefferson in 1895 “to pad out his Rip Van Winkle play.”

The story was about a lazy man who drinks himself into a magical 20-year sleep. He wakes up after two decades to realize that he not only slept through the Revolutionary War, but his family no longer recognizes him. The play concludes with Rip promising to stay sober and his wife promising to be a better spouse.

Rip Van Winkle after waking from a twenty-year sleep

The Jefferson name had been associated with Rip Van Winkle since 1859 when he starred in the role of Rip at Carusi’s Hall in Washington, D.C. This version of the show was a combination of the Washington Irving story, material from previous interpretations, and Jefferson’s own writing.

Jefferson prevailed on Dion Boucicault while in London to create a new four-act adaptation of the play. This 1865 version of “Rip Van Winkle” premiered at the Adelphi Theatre and was a great success with London audiences. The production then toured to New York, opening at the Olympic Theatre in 1866. By 1870, Jefferson was still playing the role of Rip at Booth’s Theatre where the show celebrated one hundred performances that year. “Rip Van Winkle” became Jefferson’s vehicle to fame and fortune.

Advertisement of “Rip Van Winkle, or the Sleep of Twenty Years” written by Dion Boucicault and scenery by J. Gates

In 1896, Joseph Jefferson also created a film version of the production; eight scenes from the show that were sold independently of each other. These shorts, running approximately 20-25 seconds each were later edited together and released as “Rip Van Winkle” in 1903.

Advertisement for the 1896 films depicting scenes from “Rip Van Winkle,” starring Joseph Jefferson

The 1902 date on the title frame of each scene was when the copyright was secured by making a bromide print of every single frame. The scenes were filmed at Joseph Jefferson’s “Buzzard’s Bay” estate in 1896 by the American Mutograph Company.

Postcard depicting Joseph Jefferson’s estate at Buzzard Bay

Dickson left working with Thomas Edison after an incident when securing the rights to Thomas Arnat’s projections device. Edison renamed this machine, the Vitascope. Dickson created his own version of the machine and called it the Biograph, calling his company the American Mutograph and Biograph Company in 1899, and later the American Biograph Company.

An 1899 camera produced by the American Mutograph and Biograph company

Poster for the American Biograph Company

Jefferson was one of the investors in this early film studio that produced hundreds of movies. The 1899 35mm mutograph camera used non-perforated film. It perforated the film inside the camera – this is how they got around the Edison patent of the time.

The films produced in 1896 consisted of eight short scenes: Rip’s Toast, Rip Meets the Dwarf, Rip and the Dwarf, Rip Leaving Sleepy Hollow, Rip’s Toast to Hudson and Crew, Rip’s Twenty Years’ Sleep, Awakening of Rip, and Rip Passing Over Hill. Here is a link to the film starring Jefferson and directed by W. K. L. Dickson: https://archive.org/details/rip_van_winkle_1896

The actor Thomas Jefferson, son of Joseph Jefferson

By 1905, Jefferson’s son Thomas began his Broadway interpretation of the Rip role. Although it initially met with a lukewarm reception, Thomas continued to play the role of Rip, starring in the 1914 film. Jefferson signed with B. A. Rolfe Photo Plays, Inc., to portray Rip. The movie was filmed at the locations mentioned by Washington Irving in his novel. Jefferson was filmed wandering thru the brambles, thickets and streams of the Catskills near Palenville, New York. The film was released only a month after Jefferson signed the contract.

Poster for the silent film “Rip Van Winkle,” starring Thomas Jefferson

Here is a link to Thomas Jefferson’s film: https://www.youtube.com/watch?v=LMM_q_W7hB4

To be continued…

Tales from a Scenic Artist and Scholar. Part 437 – Thomas G. Moses and “Shadows of a Great City”

Part 437: Thomas G. Moses and “Shadows of a Great City”

Poster by W. J. Morgan & Co.,lithographer (Cleveland, OH), from the Weir collection, National Library of Scotland, ca. 1887-1889.

In 1902, Thomas G. Moses created scenery for Chas. Jefferson’s production of “Shadows of a Great City.” He wrote that the action necessitated the use of real water in a big tank, making the show “very melo-dramatic.”

Moses was talking about Charles Burke Jefferson (1851-1908), the first of four children born to Joseph Jefferson and named after his father’s half-brother, actor and comedian, Charles Burke. Although an actor in his own right, Chas. Jefferson primarily worked as a theatrical manager; first as father’s business manager and later as the manager of his own shows.

“Shadows of a Great City” was advertised as “a new domestic sensational drama,” or melo-drama. The show premiered at McVicker’s Theatre on July 14, 1884. At that time, Charles Jefferson and another brother managed the show as it toured the country (Detroit Free Press, 21 September 1884, page 6).

The play was written by Livingston Robert Shewell (1833-1904). The Perry Pilot reported the production was “written by the experienced actor Mr. L. R. Shewell at his country seat in Kent county, near Tolchester Beach. The merit of the work so impressed Mr. Joseph Jefferson that he entered into partnership with Mr. Shewell for its production (The Perry Pilot, 6 August 1884, page 6). C. B. Jefferson, L. R. Shewell, and T. Jefferson copyrighted the story in 1884. Here is the link to the story of the play and the proposed original cast and premiere: https://archive.org/details/shadowsofgreatci00shew

Proposed story for the play of that same name, “Shadows of a Great City.”Image from https://archive.org/details/shadowsofgreatci00shew

Proposed casts for the premiere of “Shadows of a Great City.”Image from https://archive.org/details/shadowsofgreatci00shew

Proposed venue and date for the premiere of “Shadows of a Great City.” Image from https://archive.org/details/shadowsofgreatci00shew

“Shadows of a Great City” was first brought to Chicago, before it toured other Western cities, “drawing large audiences “(The Baltimore Sun, 24 Oct. 1884, page 2). The original cast included Joe Jefferson, Frederic Paulding, Miss Belgarde and Mrs. Annie Yeamans (Chicago Tribune, 6 July 1884, page 6). By December of that year, advertisements promised the show to be, “Realistic and original. Magnificent scenery, startling mechanical results, superb stage settings and scenic effects” (The Critic, Washington, D.C. 5 Dec. 1884, page 3).

The play is set New York, opening in a pawnbroker’s shop on Catherine Street. The second act takes place on Blackwell Island, with the third and fourth acts on the Harlem River. The “big tank of real water” that Moses mentioned in his memoirs was used to represent the Harlem River setting. The setting for the fifth, and final, act is in the mansion of the city banker, Thos. Benson. The scenery was painted at McVickers while the show was rehearsed in New York, before everything was assembled in Chicago for the July 14, 1884 premiere (The Inter Ocean, 6 July 1884, page 13).

The 1902 revival was solely managed Charles Jefferson (Detroit Free Press, 29 July 1902, page 4). Interestingly, it starred Mrs. Annie Yeaman, again, as the principal comedienne for the revival. While researching the play, I came across a fascinating article about the various activities of the Jefferson family in 1902. It provides a wonderful context for that year, especially as Moses worked on of two Jefferson productions mentioned in the article– “Shadows of a Great City” and a brand new version of “Rip Van Winkle.”

The Chicago Tribune commented on the Jefferson Clan and Charles B. Jefferson’s production (26 Jul 1902, page 18). “If the Jefferson family would unite in a grand revival of “Rip Van Winkle” there would be no necessity of paying salaries outside the home circle. Being independent Americans, however, they prefer to make their money in their own way, and are already preparing to favor every section of the country where the name of Jefferson is known next season. Joseph Jefferson will present his usual repertoire during a brief season which may not last more than twelve weeks, and will in all probability be divided into fall and spring tours of six weeks each. While he presents “Rip Van Winkle,” “The Cricket on the Hearth,” and “The Rivals,” his sons, Thomas, Joseph, and William will each arrange to cover territory which their distinguished father will find it impossible to traverse. Thomas Jefferson’s tour in “Rip Van Winkle” is to be a distinct and separate venture. He will play in the far west, while his father appears in the east. The tour of Joseph and William Jefferson in “The Rivals” will not begin until the middle of November, after their father has closed his preliminary season. Young Joe Jefferson is to play Sir Lucius O’ Trigger, and William will play Bob Acreas, a part in which he has already won distinction. The Jefferson boys will manage themselves, as well as their father’s affairs. Charles B. Jefferson, the oldest son, not to be outdone by his younger brothers, is said to be figuring on a revival of the old melodrama “Shadows of a Great City” with Mrs. Annie Yeaman as the star.”

“Shadows of a Great City” was later translated into film by the English in 1913 and the American’s in 1915. The American version was filmed in New York City and released on April 5. The director was Herbert Blaché and the film starred Thomas Jefferson and Adelaide Thurston.

To be continued…

Tales from a Scenic Artist and Scholar. Part 436: Thomas G. Moses and “The Village Postmaster”

Part 436: Thomas G. Moses and “The Village Postmaster”

Thomas G. Moses recorded that he created settings for “The Village Postmaster,” a domestic drama in four acts that was originally written by Alice E. Ives and Jerome H. Eddy in 1894. By the time Moses created the scenery for the third revival production, it was wildly successful production.

An advertisement for “The Village Postmaster” from “The Star Gazette,” 19 Jan. 1902, page 4.

The show premiered at Haverly’s 14^th Street Theatre on April 3, 1896. As an original melodrama for Broadway, the first scenic design was credited to Homer F. Emens. The show was revived a few times at Haverlys 14^th Street Theatre. By January 6, 1902, the “Star-Gazette” reported that the production had recently celebrated its one thousandth performance, having most recently played at the 14^th Street Theatre in New York 227 times and in Chicago for 125 nights (Elmira, NY, page 3). When the show reached it’s 100^th performance mark in Chicago, silver pie knives were handed out as souvenirs (The Daily Review, 29 Oct. 1902, page 3). The show also played numerous runs in Brooklyn, Philadelphia and other large cities, with 100 nights in Boston (The Buffalo Enquirer, 13 Sept. 1902, page 7). In 19continued on its tour.

The play begins in the Autumn of 1852. The central figure is a local mail official, who is also the general shopkeeper. The captain of the militia is a perpetual candidate for minor political honors and, in short, a sort of “poobah of the town” (Portsmouth Herald, 8 March 1902, page 4).

An illustration from a character in “The Village Postmaster,” published in “The Portsmouth Herald,” 8 April 1902, page 4.

The story begins on the morning of training day in Bridgewater, a New Hampshire Village. A note in the script explains, “Up to about 1853 in New England, and in many of the Northern states the law compelled every able-bodied citizen to assemble spring and autumn for a drill in the manual of arms, there being at this time no regular state militia. The event was a holiday of considerable importance to the villagers, and was called “General Training Day.” The action of “The Village Postmaster” begins on this day.

“The Portsmouth Herald” reported, “The cities of New York and Chicago were most lavish in their praise of the play during its long run in those cities. The Herald said of it, ‘New York has never seen a better drama of rural life than The Village Postmaster. The play carried with it the smell of new mown hay, apple blossoms and pure country air and it is enacted by a company fully capable of retaining this atmosphere.’ (Portsmouth Herald, 8 March 1902, page 4). The article continued, “The scenes of the play were a general store, the village green, with a country dance on Training Day, ending with a realistic shower of rain; the minister’s donation party; a realistic farm scene, with an old-fashioned threshing machine at work, and a village church where great preparations are being made for the night wedding of the postmaster’s daughter.” Can you imagine handling a hors-drawn threshing machine during load in, especially if the theatre was located on the second floor?

A scene created by Thomas G. Moses for “The Village Postmaster,” published in the Fort Smith Times, 23 Nov. 1902 page 9. Notice the wrinkles at the top of the backdrop from touring the scenery!

A scene created by Thomas G. Moses for “The Village Postmaster,” published in the “Austin American Statesman,” on 19 Dec. 1902, page 6.

“The Fort Smith Times” published a scene from the play and reported, “It takes two baggage cars to carry the scenery and properties of ‘The Village Postmaster’” (23 November 1902, page 9). The “Fitchburg Sentinel” commented, “In the matter of scenery and setting it is the most elaborate production ever made of any rural play” (14 March 1902, page 6). The “Austin Statesman” noted, “A thunderstorm with real rainwater” ended the first Act (14 Dec. 1902, page 10).

“The Quad City Times” published a very entertaining article about the production in regard to the stage pig (17 Oct 1902, page 5): “The education of the pig in “The Village Postmaster” is no light matter to all concerned, ‘and the worst of it is,’ said ‘Props’ plaintively, ‘I no sooner get him beautifully broken in, so that he doesn’t balk at his cue, nor run over the footlights in to the bass drum, than he gets too large to play small parts, and has to be sold to the butcher for pork. If I only knew some way for keeping him from being a hog.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 435 – Thomas G. Moses and “Lights of Home”

Part 435: Thomas G. Moses and “Lights of Home”

In 1902, Thomas G. Moses recorded that he created settings for “Lights of Home,” “The Village Postmaster,” and “Shadows of a Great City.”

“Lights of Home” was a new play by Lottie Parker Blaire that did not open until the fall of 1903. The show was delayed due to the playwright being ill at the end of 1902. At the beginning of 1903, “The Dayton Herald” reported that the author had just recovered from a recent illness and was currently completing the final act of her play “Lights of Home” (10 January 1903 Page 6).

Article about “Lights of Home” from “The World,” 3 Nov 1903, page 7.

Blaire was also the author of “Under the Southern Skies” and “Way Down East.” “The Daily Arkansas Democrat” commented that Blaire “stands at the head of women dramatic writers in point of furnishing money-producing plays” (9 July 1903, page 6). The article continued, “It is claimed that the profits of ‘Under the Southern Skies’ and ‘Way Down East’ alone amount to more that the total profits on all other plays combined written by women.” Moses produced the scenery for Blaire’s productions of “Under Southern Skies” and “Lights of Home.”

“Lights of Home” was the season’s house production at Haverly’s 14^th Street Theatre in New York during November 1903. This was the production that Moses mentions in his typed manuscript. The four-act play tells the story of a hero, who is cast off by his wealthy father for marrying a penniless girl. The hero’s half brother plays the villain, who accuses the hero of forgery. Fortunately the hero escapes to sea on a sailing vessel. The villain then attempts to murder the hero’s wife and child to gain the inheritance.

The Buffalo Express reported, “It is a thrilling melodrama of perilous situations and gratifying ways of getting the heroine and her child out of them. The poor girl who marries the rich man’s son suffers much through the intriguing of a band of rascals, male and female, headed by the husband’s stepbrother. The story lends itself to elaborate devices in the way of stage scenery, which heightens the effect of the soul-stirring situations” (New York 22 Nov 1904, page 7).

The stage settings included the recreation pier where the child is stolen; a river where an ocean liner almost runs over the child in an open boat; the smuggler’s bluff where the husband is imprisoned; and a cave where the wife is washed into it from sea, but is saved by men forming a human chain with their bodies. “The Anaconda Standard” reported, “One scene showing the rising tide in a cave was wonderfully realistic and thrilling” (Anaconda, Montana, 8 Nov. 1903, page 14). Of the stage action, an article in “The Evening World” questioned, “Why has the human chain been overlooked? Why is it that in the mad whirl of the buzz saw, the locomotive, and the mine explosion drama, nobody ever picked out the human chain as a vehicle of the most enthusiastic possibilities, that is, nobody until Lottie Blair Parker seized it and thrust it bodily into the fourth act of her play…And hurrah for the human chain! (3 Nov. 1903, page 7).

The plot was advertised to include “a knife, a gun, a real warship, a steam launch, a sea scene with a dark unfathomed cave in the background and a deep-dyed villain who talks like “Big Bill” Devery and really acts” (The Evening World, 3 Nov. 1903, page 7).

Forrest Robinson played the role of the hero, Jack Stanton, while Georgia Wells played the heroine Tress Purvis. George D. Parkes played the part of the villain – who could “really act.” Of the performance at Haverly’s Fourteenth Street Theatre, newspapers recorded, “The curtain was scarcely up two minutes when the gallery was whistling; in fifteen minutes it was y-a-a-hing, and in half an hour all the women in the house were enjoying a good social cry”(The Evening World, 3 Nov. 1903, page 7).

The song from the second scene, “On the Recreation Pier,” was a musical number that newspapers repeatedly commented as extremely popular. The “Evening World” noted, “The song will be all over the town in a week” (3 Nov. 1903, page 7).

To be continued…

Tales from a Scenic Artist and Scholar. Part 434 – Thomas G. Moses and “Tennessee’s Pardner”

Part 434: Thomas G. Moses and “Tennessee’s Pardner”

In 1902, Thomas G. Moses recorded that he produced the scenery for Arthur Aiston’s production, “Tennessee Partner.” This was a comedy in four acts, actually spelled “Tennessee’s Pardner.” The production toured with the company of Arthur C. Aiston for a few years at the turn of the twentieth century.

The play was a comedy-drama founded on Bret Harte’s (1836-1902) short story of the same name. In 1902, “The Democrat and Chronicle” reported, “Mr. Chamberlain and Mr. Chaffee, the original Tennessee and his partdner of Bret Harte’s romance, “Tennessee’s Pardner,” are still living in Groveland, California” (Rochester, NY, 27 Dec, 1902, page 6).

“Tennessee’s Pardner” was noted as Aiston’s best play, the show was first produced at the American Theatre in New York with Robert Hilliard in the role of Caleb Swan and Estha Williams as Tennessee. “Tennessee’s Pardner”” is a western drama depicting early life in the Nevada mines. In 1906, the “Detroit Free Press” described the play as “a simple, heart –appealing story of generous souls , adventure, love and humor. Without sacrificing dramatic effect, it is also an interesting character study. The four principals of the play are Caleb Swan, Asa Bice, Netty Bice, and Tennessee Kent. Swan and Bice are mining partners. Such a partnership in those days meant more than the business relations existing among members of a firm of any sort today. They stood side by side in trials and difficulties, whether to delve for long days through the obstinate quarts of their mine, fight bloodthirsty Indians, or share their food, which at times was by no means plentiful. Netty is an eastern girl. During one of his trips away from camp Bice meets her in Carson City and they are married. They return to the home of the partners whereupon Swan is grieved. These two rugged hearts had sworn eternal allegiance and Swan considered it a violation of the compact for Bice to take a wife. Nor does he conceal his opinion or feeling in the matter. The partners thus become estranged. Meanwhile, a beautiful young woman from Tennessee, whose name is the same as that of her native state, arrives. Tennessee, for reasons explained in the drama, has been involuntary cut off from her relatives and is prepared to rough it among the mining district of the west. Swan takes an interest in her and protects her from the inevitable dangers that naturally threaten a young woman in that section. A mutual affection springs up between them and finally Swan consoles himself for Bice’s infidelity by marrying Tennessee (9 September 1906, page 48).

“Tennessee’s Pardner” also became a 1916 silent film starring Fannie Ward.

To be continued…

Tales from a Scenic Artist and Scholar. Part 433: Thomas G. Moses and “Robert Emmet”

In 1902, Thomas G. Moses wrote, “Among the shows we did this season was “Robert Emmet” at the 14th Street Theatre for Brandon Tynan. This was a very important production.” Moses worked with J. Wesley Rosenquest to provide the painted settings at the 14th street theatre on Homer F. Emens’ paint frames.

An advertisement for “Robert Emmet” in 1902. Thomas G. Moses produced scenery for this production.

“Robert Emmet, the Days of 1803” opened at 14th Street Theatre on August 18, 1902. The Brooklyn Daily Eagle reported, “The new play will be presented with entirely new scenery and costumes and an auxiliary force of 100 men and women (27 July 1902, page 25). The show ran for 80 performances until October 1902 and then went on tour. Tynan both wrote and starred in this premiere production that was produced by Rosenquest. Born in Ireland, Tynan (1875-1967) was a writer, performer and director who worked throughout the New York area. He later performed in the Ziegfeld Follies of 1922-1924, in addition to a variety of Broadway comedies.

By 1903, additional scenery was added to the production of ‘Robert Emmet” after going on tour. “The New York Times” reported, “Since the play was seen here last several changes have been made to it, and one or two new scenes have been built. One shows the Wicklow Mountains, another St. Kevin’s Churchyard, and another the trial of Robert Emmet” (27 December 1903, page 11).

Haverly’s 14th Street Theatre was located at 107 West 14th Street in New York City. It was built in 1866 and had a seating capacity of 1100. The proscenium measured 30’-9” wide by 30’ high. The height from the stage to the rigging loft was 90 feet with only 1 set of grooves. The depth under the stage was 14 feet with usual traps. For the venue, “H. F. Emens” was listed as the scenic artist in Julius Cahn’s Official Theatrical Guide of 1903. Emens had worked at the 14th Street theatre since 1892. At the height of Emen’s career, newspapers reported that he managed the frames at eight different theaters. In 1902, pscenic artists that Emens worked with included the work John H. Young, Gates & Morange, and Moses & Hamilton. These artists painted on shows together for well over a decade.

“The Evening World” went into detail about the 1902 production after it opened (New York, 19 August 1902, page 7): “With characteristic Celtic daring Brandon Tynan made a double bid for popular favor at the Fourteenth Street Theatre last evening appearing as playwright and star In the production of his melodrama ‘Robert Emmet.’ A fascinating young Irishman Mr. Tynan proved to be, bringing good looks and grace and dash of manner to the interpretation of the most romantic of Irish conspirators, and in his dramatic essay revealing native wit, felicity of phrase and a perfect insight into Irish character. ‘Robert Emmet’ is a melodrama which appeals only to those of Irish blood, but the play and its author in conjunction present to a wider audience an interesting study in hereditry. To local theatre-goers Mr. Tynan has been known only as an interesting-looking young man who carried himself gracefully through juvenile roles in several of Mr. Frohmans productions. Until he was announced as the author of an Irish melodrama his identity as the son of Patrick Tynan the famous ‘No. 1’ of the Phoenix Park conspiracy was not suspected. What would the son of an arch-conspirator do in a dramatic embodiment of the most picturesque and romantic of Irish conspiracies? Mr. Tynan’s play answers the question satisfactorily. It throbs with the fervent pulse beat of the author’s patriotism and carries a defense as well as an exposition of conspiracy. But Mr. Tynan is to be congratulated on not overdoing the strenuously patriotic side of his subject. His sunny temperament gets him away from the heroics to delineation of the homely humor of the Irish peasantry. May be there is a bit too much of this, for it makes the action drag at times but every line of it is genuine and has the true Celtic sparkle.

Mr. Tynan is not a master of stagecraft but he has made ingenious use of his historical material. His first act climaxes with Emmet’s vindication before Sarah Curran, and the closing scene is simply a stage setting of the historic speech from the dock.

As an actor Mr. Tynan is to be congratulated for his self-restraint. Not once was he guilty of overacting Intact. In fact he carried his reserve too far in the trial scene, where the defense of the condemned patriot could appropriately be given with more robust declamation. But Mr. Tynan makes love like the born Irishman that he is. His passages with Sarah Curran were given with o finish that is rarely seen even in a Broadway production.

Much of the charm of the performance was contributed by the remarkably clover acting of Mr. Tynan’s supporting company. William H. Thompson gave a splendid portrayal of Michael Dwyer a rough mountaineer, with a heart of gold. William Elton made even the informer, Jimmie Noonan, Interesting. Francis Powers was as finished as a government spy. James Bradbury’s Antrim Jack was an excellent bit of low character work, and Owen Fawcett, Luke Martin and P. Aug. Anderson were at ease in their roles. Angela Russell was sympathetic in the role of Sarah Curran, and Margaret Hayward’s Ann Devlin was picturesquely done.

The scenic setting provided by J. Wesley Rosenquest was handsome the representation of a glen in the Wicklow Mountains being particularly effective. David Belasco and Mrs. Leslie Carter were interested and enthusiastic auditors.”

Illustration of “Robert Emmet” in “The World” Aug 19 1902.

To be continued…

Tales from a Scenic Artist and Scholar. Part 432 – Thomas G. Moses and “Miss Bob White”

Part 432: Thomas G. Moses and “Miss Bob White”

Cover for a musical selection from “Miss Bob White”

In 1902, Thomas G. Moses wrote, “We did one act in “Miss Bob White” and went to Philadelphia to put it on. It was a quaint musical comedy. Hitchcock starred in the leads.”

Moses was referring to Raymond Hitchcock, a comic opera comedian who was born in Auburn, New York. His theatrical career started as an amateur actor, with his debut in “Ingomar.” The reviews condemned his performance so badly that he was stranded in Philadelphia and ended up working behind the counter in Wanamaker’s store. Hitchcock recovered from this experience and became a chorus member in the Charleston Opera Company during 1891. For twelve years he played various roles, working for Dan Daly, George W. Monroe, Peter F. Dailey, Robert Hilliard, Mary Irwin and Henry W. Savage. His talents allowed him to perform either musical roles or straight acting. Savage offered Hitchcock a principal part with the Castle Square Opera Company. It was Savage who convinced Moses to be his lead scenic artist for the Castle Square Opera Company at the American Theatre, prompting Moses to move to New York in 1901. This is where Moses would have first encountered Hitchcock.

For the Castle Square Opera Company, Hitchcock played Sir Tobin Topax in “The Golden Wedding,” Uncle Hank in “We ‘Uns of Tennesee,” and David Tooke in “Three Little Lambs.” Other shows at this time included “The Belle of Bridgeport,” “A Dangerous Maid,” “Vienna Life,” “The Burgomaster,” “Miss Bob White,” and “King Dodo.”

During Hitchcock’s two years with the Castle Square Opera Company, he appeared in numerous shows, including “Miss Bob White.” It was the show that followed “Miss Bob White,” however, that would elevate Hitchcock to stardom under Savage’s management in the production of “King Dodo” at Daly’s Theatre in Chicago (1902).

“The American Stage of To-day: Biographies and photographs of one hundred leading actor and actresses” featured Hitchcock in 1910. The article reported, “Mr. Raymond Hitchcock furnishes a composite instance of a facile character actor who has swung back and forth between the two branches of his profession” (page 103).

Article on Raymond Hitchcock in “The American Stage of To-day,” 1910. Page 103

Willard Spencer’s “Miss Bob White” premiered at the Chestnut Street Theatre in Philadelphia on April 15, 1901. Hitchcock was part of this production too. This three-act musical comedy involved two millionaires, Billy Van Million (John Slavin) and Artie Tre Billion (Raymond Hitchcock) who live as tramps for two months after losing an election bet. They head for a farm and are followed by an heiress, Clare Livington (Ethel Jackson). Livington disguises herself as a milkman, “Bob White.” By the end of the show, she wins the love of Artie. The show included twenty-six musical numbers and was a success in Philadelphia, completing a 136-performance run.

To be continued…

Tales from a Scenic Artist and Scholar. Part 431 – It was the Life

Part 431: It was the Life

Near the end of summer in 1902, Moses wrote, “Returning home all freshened up, the sketching “bug” was getting under my skin in fine shape, and I was anxious to do something in the picture line. My old artist friends that were so glad to welcome me to New York when I was on a salary, were not so well pleased now that I was in the contract market and holding six paint frames.”

It is quite remarkable when one considers the number of shows that Moses was contracted to paint for the 1902 season. They included “Miss Bob White.” “Robert Emmet” “Lights of Home,” “The Village Postmaster,” “Shadows of a Great City,” “Tennessee’s Partner,” “Man to Man,” “An American Gentleman,” “Charity Nurse,” “The Holy Sword,” “Tobe Hoxie” “Gay Mr. Goldstein,” “Winchester,” “Rip Van Winkle,” and “Egyptia” a big spectacle.

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. One night I was to go to Jersey City, as I understood from the phone message. On my arrival there, I found the show was to open in Hoboken.

Postcard depicting Fifth Avenue in Hoboken

It was then quite late and I couldn’t get to Hoboken from Jersey City without a lot of trouble, so I went back to New York and got a boat to Hoboken. When I arrived it was too late for my scene as they were through rehearsing. I found my way back to New York, crossed over to the 3rd Avenue Elevated.

Third Avenue Elevated bridge depot in 1902

Went to 129th Street and got a car to Frodam where I had to change for Mt. Vernon. Just missed the car. Had to wait nearly an hour. I had two hours at home, then back to the city. “It was the life.”

Tomorrow I will start examining each of the shows that Moses worked on during 1902.

To be continued…

Tales from a Scenic Artist and Scholar. Part 430 – Thomas G. Moses in Catharine, New York

Part 430: Thomas G. Moses in Catharine, New York

Thomas G. Moses was able to spend several weeks on vacation with his wife and two youngest children during summer of 1902. It was also an opportunity to refocus on his fine art techniques for landscape painting. He sketched throughout the Town of Catharine in the upstate New York area.

Moses wrote, “I broke away from business long enough to take the family to Catharine, N. Y., where we enjoyed the farm life for several weeks. I found plenty of good spots to sketch and I made hay while the sun shone.”

1897 Map of Schuyler Country with the Town of Catherine.

Catharine, New York, was approximately 252 miles northwest of Moses’ home in Mount Vernon, New York. It was located less than two miles south of Odessa and approximately seven miles from the tip of Seneca Lake. In fact the town of Odessa was not incorporated until three years after Moses’ visit; it still remains a picturesque area for farming. The current address for the Town of Catharine is 106 Grant Road, Odessa, New York. Here is the website: http://www.townofcatharine.com/

Town of Odessa, New York, incorporated in 1905. The current Town of Catharine is less than two miles south of Odessa.

The Town of Catharine was formed in the year 1798 (originally named Catharines town) and was part of Tioga County. The original town had 26 families and approximately 89,407 acres of land. Currently, the town is governed by an elected Board of 5 Councilmen with one of the councilmen is elected as the Supervisor. The Town has it’s own traffic/civil/penal court with one elected justice and a court clerk.

Catharine, New York, that was later incorporated into the Town of Odessa in 1905.

The town of Catharine that Moses visited in 1902 was the second of two Catharine towns in Schuler County, New York, named after a local chieftess called “Queen Catharine.” The first town was the Seneca village of Queanettquaga that once encompassed the falls and area between the hills at the base of Seneca Lake. This area was informally known as Catharine’s Town and also known as Che-o-quock, Shughquago and Sheoquago.

“Queen” Catharine (1710-1804) was from the noted Montour family, from whom the first settlement and nearby Montour Falls derives its name. She was from French and Iroquois decent, a heritage that would prove to be her undoing after the Iroquois formed an alliance with the British. The first Catharine’s Town was destroyed on the orders of General George Washington during the Sullivan Expedition in 1779. It was one of more than 40 tribal villages destroyed across western New York in retaliation for raids in the eastern part of the province.

The Town of Montour, New York, was once part of Catharine, New York

The New York legislature created a second town of Catharine during the first elections in 1798. The town was originally organized as part of Chemung County, before the formation of Schuyler County. Catharine was divided to form the towns of Veteran and Catlin in 1825, and later the town of Montour. Moses would have journeyed by train from Mount Vernon to Watkins Glen, before traveling to the farm in the Town of Catherine.

Moses recounted an entertaining incident while sketching one day in Catharine; he wrote, “My white sketching umbrella was the cause of a runaway. A pair of horses were hauling a long wagon filled with empty milk cans. The horses started to run and the driver couldn’t hold them. The wagon jumped across the road before I could lower the umbrella. The wagon was down the hill, spilling the cans. I can hear them now.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 429 – Thomas G. Moses Family Outings to Starin’s Glen Island

Part 429: Moses Family Outings to Starin’s Glen Island

In 1901, Thomas G. Moses was making enough money to take some time off from work for sketching trips. This was also an exciting opportunity to make artistic strides while enjoying his family at home every evening. Of his preferred areas to sketch, Moses wrote, “Glen Island was another favorite place for us. On a hot day about four o’clock, I would run down to 21st Street Dock and take the boat around the Battery to Glen Island where the family would join me for a fine shore dinner. It was a short car ride from Glen Island to Mt. Vernon, so it was very convenient for the family to come and return by the way of New Rochelle. Occasionally, we would take a ride to Yonkers, then up to Newburgh or West Point on the beautiful Hudson River.”

Postcard of Glen Island where Thomas G. Moses and his family visited in 1901

Former US Congressman, John H. Starin, acquired and developed “Locust Island” just off the coast of New Rochelle. He renamed the island “Starin’s Glen Island” and built a very successful amusement park. Glen Island was a 105-acre island property, and one of five purchased by Starin in 1879. He converted the islands into a summer resort, connecting them with causeways and piers.

Steamships transported visitors from New York City to the park, with each island featuring a different international theme. Attractions included a zoo, a natural history museum, shooting galleries, a carousel, swings, picnic grounds, wine cellar, a clam bake area, German Castle, beer garden, Chinese pagoda, bathing beach, and a variety of musical entertainments. Glen Island Park opened in 1881, attracting thousands of people daily. It is estimated that more than a million visitors a year visited the amusement park by its sixth year of operation.

Starin’s steamboat excursions to Glen Island

The majority of visitors arrived by steamboats and ships. Starin operated a fleet of steamboats that brought hundreds of thousands of visitors to Glen Island each year. As the excursion steamers headed to Glen Island, they rounded Battery Park on the left and Governor’s Island on the right, with exquisite scenery in every direction. On the way to Glen Island passengers enjoyed views of Blackwell’s, Ward’s, Randall’s and Riker’s islands. Speeding up Long Island Sound, passenger’s passed College Point, Willett’s Point, and Fort Schuyler. It was not until the 1920s that a drawbridge connected Glen Island to New Rochelle.

To be continued…