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After completing Denver’s Broadway Theatre, Ed Loitz went on to Ogden, Utah, in 1890. Located at the convergence of the Ogden and Weber Rivers in northern Utah, the town claims to be the oldest settlement in Utah because of its founding in 1845 with a small picket enclosure, Fort Buenaventura, constructed by Miles Goodman. Goodman was a mountain man working in northern Utah who met the Mormons coming west in 1847. They purchased his fort and claim during November of that year. Brigham Young sent families to settle the area in 1851 and the community primarily grew as a rural agricultural area with small settlements along the river until 1869. With the completion of the transcontinental railroad, the area changed considerably as Ogden became a main terminal on the Union Pacific and Central Pacific lines. Eventually nine railway systems had terminals in Ogden.

Politically, the established Mormon community leadership was challenged by an increasing non-Mormon presence brought west by the railroad. In 1889 Fred J. Keisel, a non-Mormon was elected mayor of Ogden, the first breakthrough in Utah of the Mormon-dominated politics. Significant business activities thrived in the ensuing decades. Many of the successful businessmen also invested heavily in the construction of a theater.

In Ogden, Moses and Loitz started another scenery installation contract for the Grand Opera House. Joe Wikoff, a Sosman & Landis stage machinist, accompanied Moses to join Loitz on site during the fall of 1890. Moses wrote, “We worked every night and hustled it through December 31.” The Orpheum Theatre was located just south of the Reed Hotel on Washington, where it opened to the Ogden community as the “Grand Opera House” on December 29, 1890.

In his typed manuscript, Moses recalled an entertaining story that took place on the opening night of the Grand Opera House. A performance of “Carmen” with Emma Abbott and her opera company opened the new venue. The first scene for production was described in a Dec. 30, 1890 review for the “The Standard.” It noted, “The curtain rose on a rustic scene, the flat, wings and set pieces forming as pretty a spectacle of the kind as was ever seen on stage.” But the painted scenery or actors were not visible for long. Moses wrote, “Someone cut the main electric cable, plunging the theatre into darkness. There was no gas on stage and we hustled out and got some big candles and lanterns and finished the opera.   It was ludicrous.”

Emma Abbott, of the Emma Abbott Opera Company, was a popular opera singer who toured throughout the country and had performed at many other venues prepared by Moses. She had also been the opening act in Altoona, Pennsylvania, for the new Plack’s Opera in 1888, another venue that used painted scenery produced by Moses.

Abbott was born in Chicago during 1850. She was the daughter of struggling musician, Seth Abbott and his wife Almira Palmer. The Abbott family moved to Peoria, Illinois, when Emma was four years old as her father was unable to make a living from teaching music.   To help out the family’s finances, Emma and her brother George began performing when she was nine years old. The two had been taught voice, piano, guitar and violin by their father at an early age.

By 1866 she joined a concert troupe and performed all across the country, later pursuing a career in opera. Abbott studied in New York City with Achille Errani and soon made her professional concert debut in December 1871, later traveling abroad to study with Antonio Sangiovanni, Mathilde Marchesi, Pierre Francois Wartel and Enrico Delle. She appeared in several Paris productions and was later awarded a contract with the Royal Opera in London. In 1876, she was performing the role of Marie for “La Fille du Regiment” at Covent Garden when she met and fell in love with Eugene Wetherell. They were married in 1877 and returned to the United States where she organized her own opera company by 1878.

The Emma Abbott Opera Company rapidly gained a reputation for their quality productions that included “Romeo and Juliette,” “Paul et Virginie,” “H.M.S. Pinafore,” “Martha,” “La Sonnambula,” “La Traviata,” and “Carmen.” Abbott performed until her sudden death from pneumonia in Salt Lake City in 1891. She was 40 years old at the time. Odgen papers noted the physical strain that Abbot had endured leading up to the opening of the Grand Opera House’s production of “Carmen.” I wonder if Ogden was the beginning of Abbott’s end.

To be continued…

Moses returned to Chicago on April 20, 1890 after being away from for seven months. Moses wrote, “My little family was certainly glad to see me back, as I was to get back. Seven months is a long time to stay away – a big change in all of the children. I was strange to them for some-time.” The four children were still little and must have grown considerably during his absence. Seven years earlier Moses had already commented on his extended absences, writing in 1883, “It was hard on Ella and I felt I was neglecting her a good deal, but I couldn’t see any other way to progress.” At the time, he was referring to his working in the scenic studio, taking art classes, and leaving for sketching trips. I often wonder about his regrets later in life when he realized just how many moments he missed while his children were growing up.

Even after his seven-month absence, however, Moses could only remain in Chicago for a few days rest. Soon the studio sent him to Denver, Colorado. He was sent there to close a contract with the Broadway Theatre. The theatre was to be part of the new Metropole Hotel. Designed by Chicago architect Col. J. W. Wood, the hotel was one of the first “fireproof” hotels in the country, employing hollow clay fired tile units for all partition, floors, ceilings, and walls.

Part of the hotel included a performance venue. The Broadway Theater was also advertised as the first “fireproof theatre” in the West and opened on August 18. Look’s Opera Company performed the “Bohemian Girl.”

When Thomas G. Moses later went to paint scenery for this theatre, he took his entire family along. Renting a furnished house with a big yard for $50.00 per month, they got settled in very quickly. Moses recounts a story about the transportation of his art and modeling supplies at the beginning of the journey. While packing for their departure in Chicago, Moses’ model trunk had fallen 54 feet from his paint room window when it was being hauled outside. It struck a pile of loose planks (as they were having some work done on their stairway) and only manage to break a hinge. That’s very little damage for such a substantial drop! Then I thought back to my trip last fall when I looked at his Masonic theatre model and traveling trunk in the Harry Ransom Center. I was impressed with its sturdy construction and now understand why it was built that way.

In his typed manuscript Moses commented that the Broadway Theatre project was “an ideal one” and they had “good facilities to work.” For this project he had made all new scenery models for a presentation. On of his designs the included a cyclorama drop that measured 36 feet high and 250 feet long. The large cyclorama curtain ran on a track and they could create three distinct backings; a plain sky, a cloudy sky and a moonlit sky. Moses wrote about the stage, commenting, “No borders. We trimmed the front stuff down to low enough to mask. All rows were profiled; very effective.”

For the Broadway Theatre project, Moses’ painting crew included Ed Loitz, William and Charlie Minor, and Billie Martin. Nearby in Pueblo, Colorado, Walter Burridge and Ernest Albert were also painting on a project and called on Moses while he was working at the Broadway. During the visit, all three all took a day off and enjoyed each other’s company and went on a sketching trip. Early in 1891, “Albert, Grover & Burridge” established their new studio at 3127 State Street in Chicago. Their establishment as a marked departure from previous studios as they implemented advancements in the methods of mounting and presenting stage plays. Just prior to founding their new business venture, Albert was the scenic artist for the Chicago Auditorium, Burridge was the scenic artist for the Grand Opera House and McVicker’s, and Oliver Grover was a professor Chicago’s Art Institute. I wonder if Albert and Burridge had approached Moses in Denver about being their third business partner before selecting an academician. Albert, Moses and Burridge would have made quite a painting team.

During Moses’ stay in Denver, he took his family on several trips into the mountains.

He recorded that on one trip they traveled fourteen miles from Denver to Manitou and enjoyed seeing the scenery at Ute Pass, Williams Canyon and Garden of the Gods. All three were already popular tourist destinations, drawing throngs of visitors in horse-drawn wagons.

Moses wrote, “We enjoyed these trips.” It had to have been one small way to make up for his seven-month absence. Sadly, a telegram soon called Moses back to the studio in Chicago for some special work. As it was nearing the time for school to start anyway, they decided to all head home at the same time. Moses wrote, “Ella packed up everyone in a day.” They gave up their Denver house and arrived in Chicago by early September.

Loitz and the Minor brothers remained in Denver to complete the painted interiors for the Broadway Theatre in Denver. Moses stayed in Chicago until November 4, and then returned to Denver to complete their contract. This means that scenic work had continued on the Broadway Theatre for three months after opening with “Bohemian Girl.”

To be continued…

In Spokane Falls, Thomas G. Moses, Howard Tuttle and Ed Loitz likely painted for the newly constructed Auditorium Theatre. Construction of the building began in 1889, just prior to the great fire that left the downtown area in ruins. It was left relatively unscathed. The theatre was designed by Herman Preusse, a German immigrant who had settled in Spokane just the year before. Preusse’s extensive work incorporated a number of styles from medieval to Romanesque and Renaissance Revival.

John Browne and Anthony Cannon funded the construction of the seven-story red brick building with seating for 1,750 people. The Theatre boasted an impressive exterior, oversized stage, three balconies and deluxe loge seating. Located on the ground floor of the building, the theatre’s proscenium opening was 34 ft. wide by 33 ft. high. The depth from the footlights to the back wall was 40 ft., with the distance between the footlights and front curtain at 3 ft. The stage to rigging loft was 68 ft. and there were four grooves. The height from grooves to the stage was 20 ft., but they could be taken up if necessary. The depth under the stage was 11 ft. with three traps (located prompt, center and off prompt). There were also two bridge and a scene room. Electric lights illuminated the auditorium and stage. (Information taken from Julius Cahn’s Theatrical Guide, 1897).

Businessmen Browne and Cannon initially arrived in Spokane during 1878. They were looking for possible investment opportunities. The two opened banks and developed land. They focused on the creation of new offices for the various businesses that continued to appear in the small town. Browne and Cannon quickly became two of the area’s first millionaires. Then they set their sites on an impressive performance venue that would surpass all other theatres in the country. Prior to their theater’s construction, Browne and Cannon visited Chicago’s auditorium and instructed their builders to go “one foot wider and one foot higher” (http://spokanehistorical.org/items/show/625).

From 1890 until 1914, Spokane’s Auditorium was the largest theatre in America until the Hippodrome was built in New York. I was surprised that with this title, there is nothing available online or in newspapers that depicts the theater’s interior, stage or auditorium. There are only a few exterior pictures too. This was perplexing as I am often able to locate interior images of small venues in unknown town. Here was a large venue that rivaled Chicago’s Auditorium and the interior remains unknown. I wonder if there are any remaining plans that Rick Boychuk could examine as he is now extremely familiar Chicago’s Auditorium and its innovative rigging system.

An article by Tara Justine, “The World’s Largest Stage,” examines the planning and construction of this massive endeavor in Spokane. Justine wrote, “No expense was spared in the construction. Granite was taken from the base of Mt. Spokane to complete the foundation. Inside, were 17 dressing rooms and a “box office vestibule (lit) by stained glass windows.” Atop the building stood a large gold-plated statue of Thalia, Goddess of Music.

The Salt Lake Tribune published that the Carleton Opera Company staged the first production at to the Auditorium’s grand opening on Tuesday, September 16 (September 21, 1890 (page 6). Moses, Tuttle and Loitz had worked in Spokane Falls until April 16, 1890

Justine wrote, “The Auditorium drew acts from all over the world. Sarah Bernhardt, Alma Gluck, Anna Held and Al Jolson, performed on the stage. Jolson appeared in 1917 while a young Bing Crosby watched from his seat” (http://www.spokesman.com/stories/2012/may/14/then-and-now-auditorium/#/0). In fact, Bing had landed a part-time job in the props department at Spokane’s Auditorium Theatre in his early teens. An article from Oct. 16, 1977, in the “Democrat and Chronicle (Rochester, NY, page 3) published that Spokane’s Auditorium Theatre was “a grease paint Mecca on the great American vaudeville circuit which brought to town such giants of the day as Gallagher and Shean, Eddie Cantor and Al Jolson, as well as traveling shows from Broadway such as George White’s Scandals.” Sadly, the theater was demolished in 1934.

When Moses left Portland to secure the contract for the Auditorium, he would have had a leg up on the competition. He was from Chicago and working for the largest scenic studio in the city. A studio with ties to Chicago’s Auditorium. Moses’ nationwide reputation and following would have been a notable asset to the two businessmen; they were looking for the best.

After this theater job was completed, the three scenic artists disbanded once more. Tuttle and Moses went East while Loitz offered to stay in Spokane and finish one more painting project for the theatre. Loitz agreed to paint the asbestos curtain that had not been part of the original contract. Moses noted that Loitz was happy to take on the additional work.

To be continued…

Thomas G. Moses and Howard Tuttle joined Ed Loitz in Spokane Falls, Washington, on March 29, 1890. They were itinerant artists, traveling from town to town to paint theatrical scenery and decorate halls. Instead of working for themselves and reaping the profits, however, they represented the scenic studio of Sosman & Landis. Each received a weekly salary for their necessary skills, such as those needed on site at the Auditorium Theatre in Spokane Falls.

During the early years, the spelling of the city varied from Spokan, Spokane and Spokane Falls. By 1891, the “Falls” of Spokane Falls was mostly dropped in maps, advertisements, and many public records. Fur traders and missionaries were the first wave of individuals who invaded the region. The trickle of those seeking land and opportunities became a flood, altering the landscape by cutting down the forests.

By 1871, a sawmill was constructed at the falls on the south bank of the Spokane River and lumber became an incentive for additional settlers to venture west. By 1873 James N. Glover and Jasper N. Matheny arrived from Oregon seeking land and contemplate the establishment of the town. They purchased “Downing’s Mill,” the surrounding 160 acres, and started a settlement. Soon a gristmill was constructed at the falls and the existing sawmill was expanded to include a general store. Families continued to arrive and 1880 ushered in a period of rapid growth and prosperity. By 1883, the Northern Pacific Railroad was completed and Spokane Falls became an economic center in the region.

A devastating fire destroyed much city’s downtown area on August 4, 1889. Fire razed more than thirty blocks. The citizens were resilient and a tent city popped up in the city center only a few days later to serve the population as the area was rapidly rebuilt. While the three scenic artists worked in the Auditorium, they ate at one of these tent establishments.

Moses recorded that the weather was quite bleak and a cold theatre did not make easy for easy painting. During their first week on site, the scenic artists sought warmth during mealtime in one of the dining tents. Moses described the establishment “It was very long, possibly one hundred feet, including the kitchen. The first waiter we had smoked a cigar, wore a Prince Albert coat and apron and a battered silk hat. We never knew why this comedy make-up. It was a hit. The tent was run by a man named Davenport, now the owner and manager of the big new Davenport Hotel.” Moses was describing Llewellyn “Louis” Davenport.

Davenport arrived in Spokane Falls during March of 1889. He first worked at his uncle Elijah’s restaurant, called the Pride of Spokane. Like many other downtown establishments, it burned to the ground during the great fire. In the midst of devastation, Louis started his own business with two tents and salvaged furniture three days after the fire. He called his tent business Davenport’s Restaurant. After moving his enterprise to a more permanent location, it soon became one of the most renowned restaurants in the region. He was so successful that by 1914, Davenport entered into another business venture, this time with other Spokane businessmen to construct a hotel. Overseeing the entire endeavor at the corner of Post Street and Sprague Avenue, Davenport became the first proprietor of the Davenport Hotel. Architect Kirkland Cutter had designed the building and it was the first hotel in the United States with air conditioning, a central vacuum system, pipe organ, and dividing doors in the ballrooms. It is also the place where “Crab Louis” (named after Louis Davenport) originated. The Davenport Hotel is now listed on the National Register of Historic Places.

To be continued…

After completing the scenery for the Marquam Theatre in Portland, Thomas G. Moses, Howard Tuttle, and Ed Loitz tackled two other painting projects, one in Spokane Falls and one in Corvallis. Loitz went to paint in Spokane Falls, while Moses and Tuttle traveled to Corvallis, Oregon.

Corvallis is eighty miles from Portland and fifty miles from the Oregon Coast. Originally called Marysville, the town was renamed Corvallis to avoid any confusion with Marysville, California. Corvallis derived from a Latin word meaning “heart of the valley.” The first settlers arrived in the early 1840s. This was after devastating outbreaks of malaria depleted most of the Native American population – the Kalapuya – between 1830 and 1833. A flood of immigrants arrived in the area and established their homes along the west side of the Williamette River. Throughout the 1850s the town continued to grow and even briefly served Oregon’s territorial capitol during 1855.

Between 1860 and 1900, the Corvallis’ population dramatically increased from 531 to 1819 inhabitants. A steady stream of steamboat traffic brought both people and products to this remote area. By 1873 the Army Corp of Engineers completed a canal and locks at Williamette Falls that enabled a variety of goods to pass up and down the river without having to portage any items over the falls.

The railroad also arrived in Corvallis by 1880, encouraged by merchants who sought to provide competition with the river transportation.

Moses’ project in Corvallis was to paint scenery for a small hall. Although he doesn’t mention the name of the venue, it is likely that his work was for one of the recently constructed college halls. Dramatic productions in Corvallis began at the Oregon Agricultural College in the 1890. The first standard theatre did not appear in Corvallis until 1913, so there was at least one stage somewhere else in the town.

Tuttle and Moses checked into an unnamed hotel for the duration of their stay in 1890. Moses recorded that there were cake dishes filled with candy on each of the dining room tables. Whether the tablecloth was linen, cotton, or oilcloth, each table had a dish of candy that never seemed to diminish. Moses wrote, “One day Tuttle and I took all the candy at the table (as no one ever ate it) and gave it to the children on the street. We found the dishes filled up again at night.” This story just warmed my heart as I can see the two artists distributing treats to local children. I have to wonder if those working at the hotel made the connection.
Nearing the end of their stay at the hotel, a salesman was also checking out and handed his luggage to a porter. The porter put the salesman’s trunk onto a wheelbarrow and trotted it down to the steamboat. As the bank of the river was so high, a long chute had been constructed to get the baggage down onto the boat. The porter dumped the trunk into the chute; it bounced off to one side and went directly into the river. The poor salesman had to stay in town an additional three days to dry all of his products. This story made me laugh as it must have been a sight to see – impressive enough for Moses to include it in his typed manuscript.

During the time of Moses’ visit in 1890, another artist was gaining recognition in Corvallis. In 1889 Emile F. Pernot and his brother Eugene, started a photography business. They taught both photography and art classes at Oregon Agricultural College in Corvallis. There are a number of Pernot’s photographs that date from 1893-1895 when he recorded the interiors of many establishments, especially the college halls. It is possible that Moses’ painting was and any early performance stages are pictured in his photographs. Unfortunately, I would have to schedule an appointment to examine Pernot’s collection at the Oregon State University Special Collections and Archives Research Center. The collection is the “Emile Pernot Photographs, 1893-1895” if you happen to be in the area. Here is the link: http://scarc.library.oregonstate.edu/findingaids/…

To be continued…

In addition to painting the scenery for the Marquam’s theatre in Portland, Oregon, Thomas G. Moses also painted at the Arion Hall. Moses recorded that the scenery for the hall was “a nice quick job.” Portland’s Arion Hall was located on the corner of Second and Oaks Streets. It was constructed for the primary use of the Arion Society, an American-German Singing organization. The Arion Society was founded in January 1854 to promote “the perpetuation of love for some of the characteristic elements of German civilization.” Music and theatre.

It was founded by former members from another singing group called Liederkranz, the oldest vocal society in New York organized in 1847. Munsey’s Magazine (vol. 10, 1894) examined the histories of many musical societies in America, noting that the Arion Society in New York owned one of the finest clubhouses of any existing musical society at the time. Past conductors for the Arion Society venue included “Meyerhofer, Bergmann, Carl Anshütz, Dr. Ritter, Dr. Damrosch and Frank Van der Stucken.” The article also published that Wagner’s Tannhäuser was performed for the first time in New York by the Arion chorus in 1859.

The actual name “Arion” was taken from Greek Mythology as Arion was a Greek poet and lyre player in the 7^th century. The performance of German songs in harmony also occurred throughout the Northwestern region of the United States. Long before Moses decorated Portland’s Arion Hall, a variety of singing groups had formed for the sole purpose of performing tradition songs from their country of origin. Harry Miner’s American Dramatic Directory (1887-1888) even listed the “Arion Bell Ringers” as on of many concert companies that toured the country. In Oregon, there were Arion Halls with choirs in Portland, Spokane, Tacoma, Bellingham and Everett. Like many societies, the groups initially rented halls for their meetings and performance. Over time, as membership increased and funds were collected, permanent halls were planned and constructed.

The Morning Oregonian (Portland, Oregon) on March 30 and April 6, 1890, noted the “handsome new Arion hall” that now had twice the seating capacity. This was the space where Moses painted while in town.

There were Arion halls and theatres all across the United States by the 1890s. Two examples include the 500-seat Arion Hall in New London, Connecticut, and the 1500-seat Arion Theatre in Easton, Pennsylvania. These buildings house a variety of performances and meetings beyond that for the musical society. In 1890, the Marine Band under the direction of Virgil Coomer performed on May 29 in Portland’s Arion Hall. His performance was followed by a quartette that consisted of members from the Arion Singing Society. In 1894, Blind Tom, an African American pianist, performed at Portland’s Arion Hall from October 15 to 17.

The hall later became a hub for many interesting groups that included the Caledonian Club, the Assembly Club, the Oregon State Secular Union, and the Central Labor Council. The Arion Society suffered membership loss and disbanding of entire groups following WWI during a time of extreme Anti-German sentiment. Regardless of decreased membership, some areas kept maintained their singing societies and buildings.

In 1961, the Santa Cruz Sentinel (Santa Cruz, CA, 28 May, page 19) published a brief history of Santa Cruz’ Arion Singers. The article noted that the Arion Singing Society was one of Santa Cruz’ oldest musical organizations. They still met at “Arion Grove on Rother Ranch for song and good German cooking.” 1961 marked the 71^st year of regular sessions since its incorporation on April 4, 1890. The article added that the group had been meeting informally since 1872. The society’s official motto “Zu jeder zeit an jedem ort sei frei das lied und frei das wort” (At all times in any place, feel free in song or word) was placed over the new Arion Hall stage, now located at 230 Plymouth Street.

Like other ethnic halls the use of a stage with painted scenery formed the backgrounds for both musical and dramatic performances. Looking at current online images of Arion Music Groups in vintage halls, one can still see traces of historical drops behind costumed performers. In some cases it appears that painted shutters are still being used as the hard line is visible in the center of the composition. This may be one more journey for me to take on my path to document historical scenery collections.

To be continued…

 Thomas G. Moses left for Portland and the Marquam Theatre job on January 8, 1890. Ed Loitz and Howard Tuttle were there on the job to help him paint the scenery for Marquam’s Teatre.

The story is best is left for Moses’ own words as part of 1890 is summed up in a blur of entries. Here is one:

”Found Loitz had got everything in good shape, and we went to work and soon made a showing. One day just after I had finished laying in some foliage borders, and I was smeared from head to foot, face awfully dirty, a party of young folks came up on the paint bridge. They asked me a dozen questions. One of the ladies asked me, “What are they going to have for the drop curtain?” I answered that “It had been left to me to paint whatever I thought best.” They all looked at my dirty face and wondered what kind of curtain I would paint. Then she said,” I hope you will paint one as nice as the one in the New California Theatre in San Francisco.” I said to her that I was pleased to hear she liked that curtain, for I painted it. She was very much surprised and said, “So you are Mr. Moses!” We should be honored in having you paint our new theatre scenery.” She then introduced me to her friends. She seemed to know all about my work. Rather hard to connect me with a successful curtain. They all called several times after that. I managed to look more presentable when they called. I met her again in San Diego years after that at the Hotel Florence and she related to Fisher how she had met me and was astonished that an artist so “be-smudged” as I was could paint such beautiful pictures. Overalls don’t always make a man, they only help to keep the tailor and laundry bills down to normal.”

This is just one of the stories in Moses’ typed manuscript, but there was something about the statement “overalls don’t always make the man” that struck a cord with me. I have worn my old paint overalls for years and recently received the comment, “Oh, how sweet, you are still wearing overalls!” I was a bit shocked. Then I thought about her statement as it wasn’t intended as a slight. They are seldom in stores now, even at thrift stores, and yet they remain a staple of my painting wardrobe. When my few remaining pairs finally wear out, I will certainly have a problem. Overalls, coveralls, or bibs – whatever you chose to call them- keep the laundry bills down, especially when using dry pigment.

To be continued…

Thomas G. Moses met up with Howard Tuttle in Riverside, California on November 28, 1889. Tuttle had come up to help Moses with the next few projects where they would work as a team. Tuttle had started working with Moses when Walter Burridge left Burridge, Moses & Louderback the previous year and remained with Moses when he returned to Sosman & Landis. Projects that Tuttle accompanied Moses on were in Riverside, CA, San Francisco, CA, Evansville, IN and Corvallis, OR. Tuttle would later be the scenic artist for theatre settings at the Davidson (Milwaukee, WI), the La Crosse Theatre (La Crosse, Wisconsin), Grand Opera House (Oshkosh, WI), Illinois Theatre (Rock Island, IL), Calumet Theatre (Calumet, MI), and Stone’s Theatre (Flint, MI).

During the Riverside project, Moses wrote, “I had too much to do. We worked night and day, and every evening a number of ladies would drop in from the hotel to watch us. They were very interesting – very refined – mostly from the Eastern cities. It was a pleasure to meet them.”

Moses and Tuttle stayed at the Old Glenwood Hotel. The Glenwood Hotel was started by Christopher Columbus Miller and his family, who came to Riverside in 1874. The operation included a small, cottage built hotel around the Miller home. Later additions expanded their business.

In 1880 the hotel and grounds were sold to Miller’s oldest son, Frank, who continued the business for more than twenty years. Moses noted that the Frank Miller was an the “ideal” landlord during their stay in Riverside. However, Frank Miller planned a larger hotel in 1902 and started construction of the Mission Inn on the grounds of the old Glenwood Hotel.

Miller used a stage coach, and later his brother’s fleet of automobiles, to transport visitors from the train stations. The Glenwood Hotel Stages in the 1880s made daily trips to bring passengers to Riverside from the train stations in Colton, East Riverside, and eventually downtown Riverside. The Arington Hotel on the northwest corner of Eight Street and the Glenwood Hotel on the northeast corner of Main and Seventh Streets enjoyed a rivalry trying to secure guests for their establishments. The history of Riverside is included in a publication by Steve Lech, “Riverside, 1870-1940.”

Life was finally looking up and Moses’ finances were becoming a little more stable. He wrote, “I had done very well this year, ahead of last year, so I was satisfied.” Moses recorded that he and Tuttle had a difficult time getting out of Riverside, but they were on their way by December 30, 1889, and left town with Verona Jarbeau’s company. On their way they were delayed by a washout that held them up for thirty hours. During this time, he made some sketches and “sold them on the ground.”

Moses and Tuttle then stopped for several days in San Francisco to visit with old friends, one being Bill Porter who was the scenic artist at Tivoli Theatre.

There was a great network of scenic artists across the country and many remained friends. Moses always looked up his fellow artists wherever he traveled as he never knew when he might need a helping hand on a project. After San Francisco Moses and Tuttle headed up to Tacoma for several days to sketch. Then they continued on to their next contract in Portland. In Portland they were also able to pick up a few extra projects in addition to painting for the theatre.

To be continued…

After they got the Tacoma theatre opened, and Moses sent Loitz to Portland and he went on to Riverside. During his stay in Tacoma, Moses had closed two contracts: one for the Marquam Theatre in Portland, Oregon, and another in Riverside, California.

By 1889, Portland’s downtown had shifted inland after the immediate growth surrounding the arrival of the Northern Pacific Railroad in 1883. Phillip Marquam began work on a building that would later bear his name and include a performance space – the Marquam Grand Opera House. It was the city’ first modern office building and recorded to be “ a magnificent theatre.” Once considered to be located on the outskirts of town, it soon became prime urban real estate. The complex was a ten-story office building with a five-story theatre. The entrance to the theatre was on Morrison Street with side entrances on 6th and 7th. The building had steam heat and was powered with electricity. The opera house seating was 1,600 and the opening production was “Gounod’s Faust” starred Emma Junch. Later entertainers and lecturers included Sarah Bernhardt, George Backer, Mark Twain, and Maurice Barrymore.

Philip Augustus Marquam acquired the lot at the corner of SW Sixth and Morrison from William W. Capman in 1854 as payment of $500 in legal fees. Marquam resided on the property and then constructed other dwellings nearby. In the late 1880s he began planning the Marquam Grand Opera House in the Marquam Building. These were all adjoining structures that would cost approximately $600,000 to complete.

An early manager of the performance venue was future Portland mayor George Luis Baker. The opera house itself was later known by a series of titles, including Loews Theater, the Hippodrome, the Pantages, and the Orpheum. A Portland newspaper, The Oregonian called it “one of the neatest theaters of the west.”

By 1904 it was advertised as the Marquam Grand Theatre or simply the Marquam Grand.

The Marquam Building was sold in 1912 to a real estate speculator, Henry Pittock. Pittock was the founder and publisher of The Oregonian. Pittock and his son-in-law, Frederick Leadbeather intended to remodel the building to serve as headquarters for the newly organized Northwestern National Bank Company. Pittock hired general contractor Ernest Boyd MacNaughton to supervise the work.

Part of the building collapsed during renovation, possibly because of substandard masonry used in the original construction. After the collapse, discussion increasingly focused upon the need for a newer, modern building. In a letter to the editor of The Architect and Engineer, one writer stated that “…as Portland advanced from a sleepy overgrown village to a half-grown city, the building became a home for quack doctors and patent medicine fakers…” and that the bricks used in construction were soft and of poor material. He implied that the collapse was not a disaster but a blessing. Pittock fired MacNaughton and hired architect A. E. Doyle to demolish the Marquam Building and erect what would become the American Back Buiding.

The rise and fall of the Marquam Theatre is available online at: https://www.allclassical.org/the-rise-and-fall-of-the-marquam-grand-a-tragedy/

To be continued…

Thomas G. Moses and Ed Loitz all enjoyed the town of Tacoma and their work, yet hoped to return home and work on other projects near their families. Before leaving the area, Moses made a side trip to Seattle and closed a deal with John Cort (ca. 1861– November 17, 1929). The scenery work would be later done at the studios in Chicago and shipped to Cort in Seattle.

Born in New York, Cort started his career as part of a comedy duo called “Cort and Murphy.” He ten managed a theatre in Cairo, Illinois, before heading west to Seattle, Washington. In Seattle, he managed the Standard Theater. This venue was considered a “box house,” or a cross between a saloon and variety theater. His theatre became one of Seattle’s leading establishments and was considered on of the pioneers for theater circuits. This meant that Cort booked the same act successively into multiple cities. This made it worthwhile for an acting company or any performance troupe to tour to remote locations.

The “Cort Circuit” was one of the first national theater circuits and at one time. Cort was so successful that by 1888 he built a new 800-seat theatre on the southeast corner of Occidental and Washington streets in Seattle. It was the second theatre that Cort opened in Seattle. The first Standard Theatre was located on Second Street between South Main and South Washington Street.

Unlike the old Standard Theater, his new building had electric Edison lighting, as well as steam hear and electric service bells. The structure was a wood frame building with a corner entrance.

It was Seattle’s first theater with electric lighting. Unfortunately, his theatre burned to the ground in the Great Seattle fire of 1889. This June 6 fire burned nearly all of Seatlle’s entertainment venues. Cort reopened a performance venue two weeks later in a tent to continue his business and provide a place for booked productions. By November he had erected a replacement for the Standard Theatre. This was the new theatre that Moses had contracted to paint scenery for while on the job at the Tacoma Theatre. He was in the right place at the right time.

Cort later left Seattle during the depression that followed the Panic of 1893 when much anti-vice legislation was put into place. However, he returned after the Klondike Gold Rush to build the Grand Opera House on Cherry Street.

By 1903, Cort’s circuit controlled 37 theaters throughout the American West. This allowed him to compete with some success against the Eastern entertainment establishment. He even signed an agreement with Marcus Klaw and Abraham Erlanger who were leading booking agents and Cort’s theatres became part of the Klaw and Erlanger Circuit.

However, Klaw and Erlanger’s power continued to spread, negatively impacting many other theatre circuit owners such as that ran by Cort. By 1910, Cort helped organize the Independent National Theatre Owner’s Association. This was a group of circuits that attempted a break with the New York-based theatre syndicates, such as Klaw and Erlanger. They allied with the independent Shubert Organization and eventually forced many theatre that were controlled by eastern syndicates to book other productions. In retaliation for Cort’s participation with this movement, Klaw and Erlanger backed the construction of Seattle’s Metropolitan Theatre. In turn, Cort headed to New York where he became a notable producer and manager, founding the Cort Theatre, The Cort Theatre is still located at 138 West Broadway between Sixth and seventh avenues in the theatre district of downtown Manhattan. It still remains a fixture of Broadway and was designated a New York City landmark on November 17, 1987.

Interestingly, Cort was a founder for the Fraternal Order of Eagles (F.O.E.).

To be continued…

Here is a great link for Seattle’s Theatre History: http://www.seattletheatrehistory.org/