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Tales from a Scenic Artist and Scholar. Part 1176 – 416 S. Kedzie Avenue in 1924

In 1924 Thomas G. Moses wrote, “Our small studio on Kedzie Avenue has certainly got my ‘goat’ as it seems almost impossible to move our large drops and wings.” This was the beginning of Moses’ continued struggle for space, a problem that would plague him for the remainder of his career. In the end, it became easiest for him to paint on projects on site, or rent a nearby theatre. It must have been a logistical mess.

*The address was still listed for the studio in 1931*

Moses & Megan were renting space at 416 S. Kedzie Ave. as they waited to finalize their purchase of the Sosman & Landis name. They would remain at that address throughout the decade. The site is now a parking lot.

To be continued…

Travels of a Scenic Artist and Scholar: Yankton, South Dakota

Scenery by Sosman & Landis Scene Painting Studio for the Scottish Rite Theatre in Wichita, Kansas. In 1908, the Wichita Scottish Rite purchased new scenery. Their old scenery was relocated to the Masonic Temple in Yankton, South Dakota.

Painted detail. *Scenery by Sosman & Landis, 1898*

*The Masonic Temple in Yankton, South Dakota*

Tales from a Scenic Artist and Scholar. Part 1175 – The Illini Theatre in Sterling, Illinois, 1924

In 1924 Thomas G. Moses wrote, “Some small work has filled in very nicely. We secured the contract for my old hometown theatre.” Moses was referring to the Illini Theatre in Sterling, Illinois. The 1,200-seat venue was a combination house, built by George Greenough and W. A. Weeks. Moses & Megan delivered both fabric draperies and painted curtains, each now considered necessary for venues featuring both live entertainment and film. This project was secured and completed while Moses and Fred R. Megan were waiting to purchase the Sosman & Landis name.

From the “Sterling Daily Gazette,” 10 March 1924.

On March 19, 1924, The “Sterling Daily Gazette” described the stage of the new theater. The article reported, “The stage, 28 feet deep and 52 feet wide, an arch opening which is 30 feet wide. The stage is equipped with appropriate drops to harmonize with the color and decorative scheme of the theater. The asbestos curtain is plain but for the letter “L.” Back of that are beautiful tobacco brown velour drapes which operate on tracks so that they may be gathered back in drape effect. Furnishing an outline setting for the silver picture screen is a lavender and gold drape of sateen. An advertising olio curtain, a wood scene and the usual interior and exterior boarders are included in the stage drops. All of the curtains were designed and furnished by Tom Moses of the firm Moses and Megan. Mr. Moses is a former Sterling resident and has many friends among the older citizens.”

From the “Sterling Daly Gazette,” 10 March 1924.

After a brief nod to the scenic elements, the article described the new “beautiful lighting effects” at the Illini Theatre. The article continued, “The lighting effects comprise a tribute to the highest genius of electrical science. It is doubtful if Fairyland with its pale, delicate hues – the pinks and purples, the reds and yawning yellows, balmy blues and gentle greens of the most resplendent imaginative array – could be more adequately illuminated to reveal its hidden charm. An ingenious system of lighting operated by a new type of remote-controlled switchboard and cleverly adjusted dimmers, whose levers may be operated with piano touch, is the source of the subtle brilliance in the reflector boxes under the organ screen on both sides of the proscenium arch and throughout the auditorium. The seven primal colors of the rainbow may be blended and diffused by this artful scheme to suit the whims of the picture upon the screen, with unerring faithfulness to plot suggestion. There can be pink dawns, golden noons and purple twilights, bleak breaks-o’-day, cheerless noontimes and drab sunfalls, sombre nights shot with silvery moonlight; yellow hazes simmering in the summer in the summer sun; mountain blues and grey flecked with snowy whites, the vital greens of meadow and hillside, the pinks of rose and the red glows of pulsating life whichever the theme of the picture suggests.”

From the “Sterling Daily Gazette,” 12 June 1924, page 2.

From the “Sterling Daily Gazette,” 24 May 1924, page 2.

From the “Sterling Daily Gazette,” 10 June 1924, page 2.

To be continued…

Travels of a Scenic Artist and Scholar: Salina, Kansas

In 1927, 117 drops were moved from the Scottish Rite Theatre in McAlester, Oklahoma, to the Scottish Rite Theatre in Salina, Kansas. The collection dates from 1908, originally delivered by the Sosman & Landis Scene Painting Studio of Chicago. Thomas G. Moses (1856-1934) supervised the design and painting of the collection.

*Scenery and stage machinery By Sosman & Landis, 1908*

*Sosman & Landis wooden arbor cage, 1908*

Tales from a Scenic Artist and Scholar. Part 1174 – Thomas G. Moses and White River Trip, 1923.

In 1923 Thomas G. Moses traveled from Little Rock, Arkansas, to Fort Scott, Kansas. He decided to take the scenic route along the White River. Of the experience, he wrote, “I listened to many travelers regarding the wonderful White River trip through the Ozarks. I took it – never again. I was disgusted. I have since learned that I should have taken another route, which is the real one…”

*Part of the line along the White River*

The White River flows through Arkansas and Missouri, starting in the Boston Mountains of northwestern Arkansas.

The railway that followed the White River included a series of engineering challenges, even cutting into limestone cliffs. Bill Caldwell wrote a pretty informative article about the line entitled, “The Sad Tale of the Missouri & North Arkansas line, aka the ‘May Never Arrive.’” Here is the link: https://www.joplinglobe.com/…/article_bf1d0ed9-b924…To be continued…

Tales from a Scenic Artist and Scholar. Part 1173 – Thomas G. Moses and the Wichita Shrine Circus, 1923

Thomas G. Moses visited Wichita, Kansas, multiple times throughout 1923. Often it was a quick stop as he hustled from one project to another, zipping across the country. By summer, he stayed at Wichita’s Acacia Hotel, made sets for the Shrine, closing a contract for $750.00.

Moses was working on scenery for the Midian Shrine Circus. Planning for the 1924 Shrine Circus began by April 1923. The Shrine Circus was under the direction of Henry Wallenstein. Wallenstein was in charge of most Masonic ceremonies and activities in Wichita; his being involved in numerous Masonic orders, as well as being both the Director of the Work and Secretary for the Wichita Scottish Rite. Wallenstein had known and worked with Moses since the 1890s. He was heavily invested in fraternal theatre endeavors throughout the state, and the circus was his new pet project.

On February 8, 1924, the “Inman Review” reported, “The Midian Shrine Circus to be presented at the Wichita Forum February 18^th to 23^rd will eclipse any previous show ever produced in the number of real circus acts in the variety and ability of the performers and in the large display booths and other attractions. There will be a very pervading atmosphere of fun and frivolity during the full six days of the Circus” (page 4).

*The Midian Shrine Circus was held at the Forum in Wichita, Kansas*

By Feb 8, 1924, the “Inman Review” reported, “A complete change of program will be offered, all new and different acts out of the big summer white top shows. It is the policy of the Management of the Midian Shrine Circus to spare no expense in offering this amusement event to the public. Ten months have been spent in planning and twenty big acts of professional performers will be on hand to offer you the greatest indoor attraction witnessed in the Southwest. 50c admittance, the same as always, will be charged, and there will be hundreds of free seats” (page 1). The 1924 shows ran from Feb 18-23^rd.

The Lindsborg News-Record described some of the acts: ‘Among the twenty real circus acts booked are the now Famous Flying Wards, who are now booked at the New York Hippodrome; the Joe Hodgini Troupe of Equestrians from Sells Floto Circus; Madame Bellini, the biggest individual act in the circus world who brings her beautiful menagerie and high school horses; Sir Vistor’s Dogs and Ponies; the Laemy Sisters; Dainty Ethel Marine in her Spanish Web Act, the Hamilton Sisters; Hassan Bey and his Arab Troupe; twenty other famous clowns, and many others” 1 Feb 1924, page 4).

Of the event, the “Hazelton Herald” announced, “Five thousand members of Midian Temple located in every progressive city of the Southwest are assisting in making the Midian Shrine Circus of 1924 a success. The date is set for the entire week of Feb 18 to 23 and two performances a day will be given at the Forum, Wichita. One hundred and fifty thousand people who have seen the previous Midian Shrine Circuses are anxiously waiting for the doors to open on Feb 18^th” (1 Feb 1924, page 1).

To be continued…

Travels of a Scenic Artist and Scholar: Leadville, Colorado.

Scenery by Sosman & Landis for the Elks Opera House (Tabor Opera House) in Leadville, Colorado, 1902. The Sosman & Landis Studio was subcontracted by the Kansas City Scenic Co. for the project.

*Scenery by Sosman & Landis for the (Elks Opera House) Tabor Opera House in 1902*

For more scenes from the Tabor Opera House, visit www.drypigment.net and keyword search “Tabor Opera House.”

Tales from a Scenic Artist and Scholar. Part 1172 – El Reno, Oklahoma, 1923

In 1923, Thomas G. Moses delivered and installed scenery at Masonic Hall in El Dorado, Arkansas. He arrived in town on November 7 and left a few days later. Of his short visit, Moses wrote, “A few days’ work – put all my scenery up and had it paid for, which was a surprise as I expected I would have to wait for some time.”

Moses then headed to Wichita, Kansas, stopping by El Reno, Oklahoma, on his way. Of his journey, he wrote, “Had to go across the country to El Reno on my way to Wichita. Arriving there I found the scenery all up and the ceremonial under way. I left for Wichita the next day, wired the Madam that I was passing through Chicago on my way back to Binghamton, as I wanted her to meet me at the depot, which she did.”

Moses’ mention of “ceremonial” made me wonder if it was a Masonic scenery collection, so I started looking for a Masonic Temple in El Reno. Yep, there was one and it’s currently for sale – $60,000. This is really a “fixer-upper” though, as the Mason’s left in the 1950s, and the space fell prey to a variety of retail stores, all of which left its mark.

*The Masonic Temple in El Reno, Oklahoma*

What I did find interesting, however, was that when it was constructed in 1909, the Masonic Temple was located next to an opera house – the Derry Theatre. The Derry Theatre hosted many Masonic activities, as well as many other activities.

Moses’ stop in El Reno was likely for the Derry Theatre. The Derry was used by many groups in 1923, including the Masons, Baptist Church and American Legion. Masons used the space for certain ceremonials and events, the Baptist church held Easter Services, and guest lecturers even spoke about the evils of the Klan. About the time Moses arrived, the American Legion was preparing for an Armistice Day ceremony at the venue. On November 11, the American Legion and the Baptiste Church would meet at the Derry Theatre in a special patriotic program to “participate in exercise appropriate to the day” (El Reno Democrat, 7 Nov 1923, page 1). Part of the evening’s entertainment included special patriotic musical by Baptist church choir.

The Derry Theatre is quite interesting all on its own. It started as a response to the fire that destroyed the old El Reno Theatre (the local opera house). On Jan. 12, 1921, the “El Reno Democrat” reported, “The new Derry Theatre offers a marked contrast to those days when El Reno people climbed the rickety stairs in the old opera house to see Andrews and other noted players, and it marks a new era in the theatrical business in El Reno…Years ago there was such a demand for a theater building in keeping with the city, that public spirited citizens united in the building of the old Reno Theatre. It was destroyed by fire two years ago and since that time Al Derry has had in mind the building of a playhouse that would be a credit to any city in the state, and his dreams were realized last night when the Derry Theatre was thrown open to the public for the first time” (page 1).

By April 1923, the Derry Theatre was not in great shape and entered mortgage foreclosure proceedings. Public notices from April 2-14 of that year announced the impending sale of all theater’s contents. The first public notice stated, “Notice is hereby given that in pursuance of an order of sale issued of the district court of Canadian county, State of Oklahoma, on the 2^nd of April 1923, in an action wherein Roy Wolcott, as Bank Commissioner of the State of Oklahoma was plaintiff and Al Derry, Grace Derry and Chas. L. Engle were defendants. Along with all of the following foods to sell was “all standing, movable and shifting scenery other than curtains hung on rolls and other scenery so attached as to permanently remain in same place in the building. By Nov. 15, 1923, the “El Reno American” announced the suit to prevent the removal of moving picture show fixtures from the Derry Theatre” (page 1).

But the Derry reopened on Dec. 19, 1923, and the Derry’s were still involved in the management. On Dec. 13, 1923, “The El Reno American” reported, Derry to Open Saturday. Unless unforeseen circumstance arises, the Derry theatre will be restored to El Reno on Saturday night when Mr. and Mrs. Al Derry will open up with a combined picture show and vaudeville their new playhouse in the old armory building at the corner of Rock Island and Hayes. The new addition to the theatrical field, which will be the fourth to be put into commission in El Reno, has been fitted up with one of the largest stages in this part of the state, and Mr. Derry states that he has booked a number of high-class road shows for the coming winter. The building will have a seating capacity of 900 and will be heated with coal furnace” (page 1).

On Dec. 19, 1923, the “El Reno Daily Democrat” announced, “New Derry Theatre Will Open Tonight” (page 1). The article continued, “The New Derry Theatre at the corner of Rock Island and Hays street will open tonight with a big feature program…The opening of the Derry offers a wide range of entertainment – spoken drama, film drama and vaudeville” (page 1).

To be continued…

Travels of a Scenic Artist and Scholar: Fort Scott, Kansas.

Scenery by Thomas G. Moses (1856-1934) for the Scottish Rite Theatre in Fort Scott, Kansas.

*Scenery by Thomas G. Moses for the Scottish Rite Theatre in Fort Scott, Kansas*

Tales from a Scenic Artist and Scholar. Part 1171 – A Disastrous Year for Picture Painting, 1923

At the end of 1923, Thomas G. Moses wrote, “This year has been a very disastrous one, in respect to my picture painting. I have not been able to do anything but a few pencil sketches, enroute to the south and east. I will never be able to have the time I had in New York, where I could run up to the Catskills in a few hours at very little expense. My dream of desert sketching will never come true, unless I sell out. My forest pictures will always be with me, as it is now second nature for me to do them. I should have made a stronger effort in Oregon and Washington to get some of the big tree sketches and a few more of Mt. Rainier, that very elusive peak that was under a cloud cap, most of the time, as there is only a few months during July, August and September that it is possible to get it at all. It is almost necessary for one to live there and catch it on the fly.”

You can feel his regret, the realization that he had gambled and lost. When Moses went back to Sosman & Landis in 1904 he gave up the one thing he valued most – time; time to paint pictures. He left a successful business in New York to supervise all aspects of production at Sosman & Landis. He was initially compensated for the loss, receiving shares of stock, the title of vice-president and recognition, but he lost time…and time is the one thing that you can’t get back. Moses must have told himself along the way that all of his sacrifices would eventually pay off. When he got older, there would be enough time and enough money to go paint for himself. But year after year, the sketching trips became less frequent, until there were none.

This is one of the reasons that I started painting for myself this year. I didn’t want to waste another decade.

*Painting by Thomas G. Moses, 1900. From the Waszut-Barrett Theatre Collection.*

To be continued…