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Tales from a Scenic Artist and Scholar. Part 1128 – Thomas G. Moses and the Chicago Day Pageant, 1921

In 1921 Thomas G. Moses, “I went after the Chicago Day pageant job and landed it at $8,334.00 for which I made the models and saw the work started before I left for San Francisco.” To put this project in perspective, $8,334 in 1921 is the monetary equivalent of $121,233.16 today. This was a significant project for a studio that was struggling at a time when America was still reeling from an economic recession.

“The Chicago Day Pageant” was part of variety bill, performed as part of a motion picture that premiere 1922. It accompanied the Robert Hughes’ film “Remembrance” at the Balaban & Katz Chicago Theatre. Starring Cullen Landis and Patsy Miller as the young lovers, “Remembrance” was advertised in the Motion Picture Directory of the “Chicago Tribune.” Advertisements announced, “It’s a picture you’ll remember forever, and forever is a long time. Come one! Come all! My, how you’ll love REMEMBRANCE and with it one of the mightiest specialty bills ever shown in a Balaban & Katz Theatre” (“Chicago Tribune,” 9 October 1922, page 22). The Balaban & Katz specialty bill included “Chicago Day Pageant” with 30 people and “massive sets,” as well as “The Magical Garden,” described as full of illusion, spectacle and beauty. The third act on the specialty bill was a Mermaid Comedy entitled “Look Out Below.”

*“Chicago Day Pageant” advertisement from the “Chicago Tribune,” 9 October 1922, page 22*

*“Chicago Day Pageant” advertisement from the “Chicago Tribune,” Oct 10, 1922, page 224.*

Other than a handful of advertisements in Chicago newspapers, nothing remains of the production. Even the work of Hughes in the 1920s is difficult to track down. I tracked down only two mentions of Hughes’ work at this time. The first was a play by Hughes’ that became a 1921 film; “Two Women” by Hughes was transformed into ‘Ghosts of Yesterday,” starring Norma Talmadge and Eugene O’Brien (“Bakersfield Morning Echo,” 20 October 1921, page 5). Hughes was also credited with the Goldwyn Studios’ film “Come On Over” in 1922 (“Oakland Tribune,” 26 March 1922, page 30).

To be continued…

Travels of a Scenic Artist and Scholar: The Richmond Scottish Rite Theatre Scenery Collection

Scenery by Toomey & Volland scenic studio of St. Louis, Missouri, to the Scottish Rite Theatre in Richmond, Virginia. Last month I visited the Richmond Scottish Rite and documented the historic scenery collection, dating from 1900-1920.

*Scenery by Toomey & Volland Studio for the Richmond Scottish Rite*

Painted detail. *Scenery by Toomey & Volland Studio for the Richmond Scottish Rite*

*Scenery by Toomey & Volland Studio for the Richmond Scottish Rite, under blue border lights*

Tales from a Scenic Artist and Scholar. Part 1127 – William F. Hamilton and the Shrine Circus, 1921-1923

In 1921, Thomas G. Moses traveled to San Francisco to paint scenery for the San Francisco Shrine Circus. Sosman & Landis were renting the shop at Edwin H. Flagg’s studio. He wrote, “After four hard weeks of hustling, we got the big show ready. In the meantime, I took a run to Los Angeles for two days, to look after some Masonic work. We got the big Shrine show opened October 17^th and it was certainly a big hit. Thousands could not get near the building…I think I have laid the foundation for a good job, but you can never tell.”

At this time, Moses was reunited in work with his former business partner, William F. Hamilton. The two had partnered in 1900 to establish Moses & Hamilton. Located in New York, their firm was quite successful in painting a variety of projects, including Broadway shows and many attractions for Fredrick Thompson at Coney Island. Moses & Hamilton closed its doors in 1904 when Moses returned to Chicago, becoming vice-president of Sosman & Landis.

Born in Franklin, Pennsylvania, Hamilton moved to New Jersey in the 1890s. Like many scenic artists, he worked all over the country on a variety of projects. He spent most of his early years on the east coast before moving to San Francisco. Hamilton saw the potential for an ever-increasing number of opportunities along the coast. The Ancient Arabic Order of the Nobles of the Mystic Shrine became one of Hamilton’s biggest clients, and he became the director of the Oakland Shrine Circus in 1920. The Shrine needed an experienced personality, such as Hamilton, to secure the various attractions and appropriate staging requirements for the event. The Shrine circuses were monumental fundraisers that generating a substantial amount of capital.

By 1921, Hamilton was featured in a “Variety” article (Vol. IXIV, No. 11. Nov. 4, 1921). The article, “Hamilton’s Special Events,” credited him with creating “an abundance for special scenery” for the Shrine that year.

The following year, Moses returned to work in California again. In 1922 he wrote, “Our work progressed very nicely, in addition to our regular contract, we had some extras and some work for Hamilton to be used at the Shrine Circus at Oakland.” Hamilton was again the director for the Oakland event, as well as delivering the opening address for the Sacramento Shrine Circus that year. (Sacramento Star, 2 Nov. 1922, page 8). The “Sacramento Star” reported “W. F. Hamilton of San Francisco planned and managed the circus.” Over 40,000 people attended the Sacramento Circus in 1922, with all proceeds “turned over to the Shrine treasury for charity and other work.”

Of the Oakland Shrine Circus in 1922, “The Oakland Tribune” reported, “Making good on their promise to offer a program entirely different features in connection with their Mardi Gras and circus, the Oakland Shriners have arranged a real old southern Mardi Gras festival for this evening. Stress is laid upon the fact that the festival will be identical with that which is held every year in New Orleans and other southern cities. W. F. Hamilton, who has produced Mardi Gras spectacles for the southern cities will have personal direction of the event” (28 April 1922, page 15). The article continued, “Hamilton Praised. W. F. Hamilton, the director, is given credit for his achievement by the members of the Shrine.” Hamilton was again hired as director for the 1923 circus too. The “Oakland Tribune” reported, “W. F. Hamilton, the director of last year’s event has been placed in charge of the circus and he declares that from every standpoint the show will be staged on a more lavish and pretentious plane “6 April 1923, page 22). In 1923, proceeds from the circus financed a trip of the Oakland Shriners to Washington. This included securing a special baggage car for the trip, “filled with literature to distribute en route and wherever the occasion offers lectures will be given in Oakland and Alameda county” (Oakland Tribune, 20 March 1923, page 4).

*The Municipal Auditorium once hosted the Oakland Shrine Circus*

Moses continued to visit with Hamilton whenever he was working near San Francisco. In 1925 he wrote, “I ran into San Francisco for a day or so, met my old pal, Hamilton, had a nice visit, then went to San Jose.”

I am sure that throughout the 1920s, Hamilton placed pressure on his old friend to move west, urging him to leave Sosman & Landis for better opportunities. Near the end of 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.” His hesitation would turn into regret as the years passed. If Moses were to jump ship; upend his life in Chicago and move west, it had to happen in 1921. Unfortunately for Moses, he stayed on the sinking ship until the bitter end.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1126 – San Francisco Shrine Circus and Arabian Fete, 1921

In 1921 Thomas G. Moses traveled from Chicago to San Francisco for a large project. He wrote, “After four hard weeks of hustling, we got the big show ready… the big Shrine show opened October 17^th and it was certainly a big hit. Thousands could not get near the building.”

*Interior for Shrine Circus with scenery painted by Thomas G. Moses of Sosman & Landis studio. Image from the “San Francisco Chronicle,” 18 Oct 1921 page 13*.

Moses was referring to the San Francisco Shrine Circus and Arabian Fete that ran from October 17 to October 25, 1921. The program was changed nightly and included exhibitions by wire and trapeze artists, contortionists, juggler, acrobats, Japanese jugglers, hoop roller, Spanish dancers, lion tamers, and Hawaiian singers and dancers (“San Francisco Chronicle,” 2 Oct 1921, page 6). Popularity contests were also held, with the crowning of a Queen and selection of the most beautiful baby boy and girl. The “San Francisco Chronicle” announced, “There is entertainment to suit all tastes. The first night’s vaudeville show was one of the many thrills not the least of which was the tight rope performer’s offering on a rope stretched over the heads of the persons on the floor from balcony to balcony” (San Francisco Chronicle, 18 Oct 1921 page 13).

The prelude to the Shrine circus included a large parade, winding from Islam Temple on Geary Street to the Auditorium, by way of Geary, Kearny and March Street. One of the parade floats was a “Sphinx” mounted on a truck that announced the dates of the circus, October 17 to 25. Fed fezzes, red coats, and white pantaloons were work by members of the Islam band and patrol, leading the way for the officers of Islam Temple. The parade also featured “1000 visiting Shriners, the Athens Temple divan with its band and two patrols from Oakland. The “San Francisco Chronicle” also described, “The “caged novices,” six men in grotesque costumes with their shrill shouts and weird antics followed” Charlie Chaplin, a group of circus performers and a menagerie exhibit of mountain cats and lions brought up the rear of the procession” (18 Oct 1921, page 13).

An article headline in the “San Francisco Examiner” announced, “20,000 Attend Shrine Circus in Auditorium,” reporting, “The Shrine Circus opened at the Exposition Auditorium here last night with an attendance of more than 20,000 persons. The circus, which is for the 1922 session fund will continue through next Tuesday. The decorative scheme of the interior of the auditorium represents an Arabian village” (Oct. 18, 1921, page 14).

The “San Francisco Chronicle” described the interior on opening night: “The Auditorium has been transformed into an Arabian village, populated and conducted by hustling Shriners and their friends. The decorations are gorgeous. Balloons of many colors are strung around the balcony. The many booths housing the concessions, where one pays good money gladly for the cause, have facings of Arabian architecture. In the main floor is a kiosk for musicians. Atop it is a glowing ball of facets which reflect a variety of brilliant colors when played upon by spotlights” (18 Oct 1921 page 13).

The “San Francisco Examiner,” described: “Color, color everywhere and so many San Franciscans inside and outside the Civic Auditorium that you couldn’t get within a hundred feet of the building. That was the situation at 9 o’clock last night when the big street parade of the Shrine Circus reached the Auditorium. They say the Shriners sold 100,000 tickets for the big show – apparently the arm of ticket buyers all turned out for the big night. Inside – if you were lucky enough to get inside – was a glittering midway which circled the building. At one end, on the stage, the circus took place. The Shriners in their colorful costumes of red and green and blue and gold and every other hue in and out of the rainbow, paraded around the midway. Then the show started, Mexican acrobats, tumblers, high wire artists and clowns in rapid succession…More than $20,000 was spent in transforming the Civic Auditorium into an Oriental City. Islam Temple of the Mystic Shrine had done its work well.” The purpose of the Shrine Circus was to raise $250,000 for the entertainment of the Imperial Council of the Shrine which met in San Francisco the following June” (Oct. 18, 1921, page 3).

To be continued…

Travels of a Scenic Artist and Scholar: The Richmond Scottish Rite Theatre Scenery Collection

This composition is a perfect example of why it was so important for artists to study anatomy. The skulls look a little out of this world 😉

*Catacombs drop by Toomey & Volland Studios*

*Painted detail. Catacombs drop by Toomey & Volland Studios*

Travels of A Scenic Artist and Scholar: Harry C. Sprague (1861-1933) and the Tabor Opera House

*Harry C. Sprague in the Tabor Opera House listing of “Harry C. Miner’s Dramatic Directory” for the 1884-1885 season.*

H. C. Sprague was the second stage manager for the Tabor Opera House. He lived in Leadville, Colorado for approximately five years, from 1879 to 1884. Only Sprague’s home address changed over the course of this time, although he was absent from the City Directory in 1879 and 1882. In 1880, Sprague was first listed in the directory, working as a bill poster and lodging at 312 W. 6^th.

Although there were many men named Harry C. Sprague living in the United States during the late-nineteenth century, I think that I tracked down the right one.

Harold “Harry” C. Sprague was born on Feb. 2, 1861 in Ohio, the son of Charles Sprague and Jane Sommers, both born in 1835. Charles worked as a carpenter his entire life, a trade that was passed down to his sons. Charles and Jane married in 1855 and celebrated the birth of seven children: John E. (1858-1947), Harry C. (b. 1861), Emma J. (b. 1866), Florence (b. 1867), and Cornelia (b. 1869), Ida (1874-1913) and Belle C. (b.?). Their first child, John, was born in Toronto, with the remained children born in Ohio. The 1860 US Federal Census listed Charles, Jane and their infant son living in Youngstown, Ohio, with Charles still working as a carpenter. By 1870, the US Federal Census recorded that the Sprague Family was living in Youngstown, Ohio, due west of Akron, Ohio.

The “Leadville Daily Herald” included many articles that mentioned Harry Sprague during his time in town, providing a little insight into his life and career there. Ironically, it was Colorado newspapers that provided the greatest insight into this elusive personality.

In 1881, Harry C. Sprague was listed in the city directory as a “stageman” at the Tabor Opera House, likely a misprint for “stage man,” a directory abbreviation for stage manager. That year, Allen T. Wells Jr. was listed as the general manager of the Opera House. Sprague would have been in charge of the backstage area.

On August 23, 1882, a newspaper article initially brought Sprague into the public during the Tabor Opera House’s stage renovation. The article reported, “Of the stage there will be a change for the better in regard to scenery, scene shifting and drop curtains. Those ridiculous hitches in scene shifting that have heretofore occurred on one or two occasions will no longer take place. An experienced stage man has been secured in the person of Mr. H. C. Sprague, who has had extensive experience in the east, and was in Leadville before, in the early days. All these improvements will take until about the first of September to execute. As soon as the house is in perfect order, say about the fourth of September, J. Rial’s Uncle Tom’s Cabin troupe will commence an engagement of three nights” (“Leadville Daily Herald,” August 23, 1882).

Sprague was an instant success, and by Sept. 6, 1882, the “Leadville Daily Herald” reported, “Mention must also be made of the clock-work precision in the shifting of scenes, and upon inquiry as to the cause of the surprise, it was learned that Mr. Harry C. Sprague had returned” (Leadville Daily Herald, Sept 6, 1882).

Even 1883, Sprague was still credited with his stage settings used by the Goodwin Company during their visit that fall. On November 1, 1883 “Stage Manager Sprague, of the Tabor opera house, deserves favorable mention for his stage settings during the Goodwin season. All three of his pieces performed were carefully and handsomely mounted” (Leadville Daily Herald, Nov. 1, 1883, page 1). The scenery was credited specifically to Sprague, suggesting that he built and painted the pieces. It is important to remember that stage managers were also expected to paint scenes in smaller venues with minimal staff. If a scenic artist was not available to paint a scene for an upcoming production, that responsibility may fall to a backstage manager, such a Sprague. Sprague would continue a painting career after his stay in Leadville.

By 1884, Sprague was living at 202 W. 6^th and in 1885 at 121 E. 7^th. He seemed to have stay in an area home to other theatre professionals at this time. In 1884, Sprague is again listed as stage manager of the Tabor Opera House, but now residing at 202 W. 6^th.

Sprague was also mentioned again in regard to the 1884 appearance of the Frank Mayo company at the Tabor Opera House. Their play was “Davy Crockett” and newspapers noted, “The cast is excellent, and with the stage settings even upon the comparatively limited quarters of our opera house, it makes one of the strongest combinations and one of the most attractive plays ever seen in Leadville…Great credit is due Mr. Harry Sprague, the stage manager for the admirable manner in which the stage was set last evening, which compared favorably with any theatre in the east” (Leadville Daily Herald, Feb. 1, 1884).

One of the more interesting events with a specific mention of Sprague was Leadville’s Jewish Festival in 1884. Three hundred people participated in the event that year. An article published in the “Leadville Daily Herald” announced, “The Purim Bal Masque a Brilliant Social Success Last Evening.” The article continued to describe the event with special mention of Sprague: “The most brilliant social event of the season and one that has kept society on the qui vive for a month past culminated last evening. City Hall was a blaze of light and in this connection a thousand thanks should be tendered to Harry C. Sprague the Stage manager of the opera house for the excellence of the calcium lights which cast a most pleasant light on the parti colored costumes” (Leadville Daily Herald, 12 March 1884).

The next month, the Tabor Opera House featured Mr. and Mrs. Knight in “Baron Rudolph.” On April 5, 1884, the “Leadville Daily Herald” reported, “The stage setting was admirable and reflects much credit to Mr. Harry C. Sprague, whose work was made easier from the fact that Messrs. Monheimer Bros. kindly donated the rugs, draperies, etc. which were so much admired.”(Leadville Daily Herald, April 5, 1884). As with many shows, stage managers were responsible for acquiring the items identified on each show’s prop lists, send to each venue ahead of every touring production.

By summer 1884, Sprague was again credited for his contribution to an upcoming production of “’Patience.’ On June 22, the “Leadville Daily Herald” reported, “One of the attractive events of the coming seek will be the opera of ‘Patience,’ to be given at the Tabor Opera House tomorrow evening. Everything is now is readiness for the most perfect amateur entertainment ever given in Leadville. The costumes have been imported expressly for the occasion, and are marvels of the costumers art. The solo parts and choruses have been drilling for weeks, while Mr. Cragg, and his efficient stage manager Mr. Sprague, have exhausted their ingenuity and good taste in the matter of stage setting. The indications point to a crowded house and a grand success is assured, both from a musical and social standpoint.”

Unrelated to any theatre events, Sprague was listed with a group of individuals helped feed a stray dog in 1884. That summer Sprague contributed 25 cents to help feed “Bum,” a local mutt described as “the sad-eyed decrepit looking canine, who seems to belong to nobody in particular, but lavishes his licks impartially upon all the members of the gambling fraternity in town” (Leadville Daily Herald, June 3, 1884).

The last mention that I have located of Sprague’s time in Leadville was connected with a children’s operetta at the Tabor Opera House. On October 30, 1884 the “Leadville Daily Herald” reported, “Mr. Moody, assisted by Mr. Sprague, the regular stage manager of the house, had charge of the stage. Under their able supervision everything worked as smoothly as clockwork.” After this, Sprague fades from print in Leadville.

By 1885, Willie Moon was listed as the asst. stage manager at the Opera House, living at 121 E. 7^th, but Sprague was no longer in the city directory in 1885. It is likely that Moon was already working as an assistant in 1884. Sprague leaves Colorado at this point, and here is what I have tracked down about his return to the east.

Sprague left Leadville for Chicago, where he was married the following year. On Jan. 27, 1886 he married Sarah L. Lacy. At this time, Sprague transitioned to primarily working as a scenic artist, being listed as a “painter” in directories for the remainder of his life. This becomes more complex as there were multiple individuals with the last name of Sprague working in the theatre industry at this time, both as painters and carpenters. By 1889, the Harry and Sarah Sprague moved to Indianapolis, Indiana, where Harry continued to work as a painter. Harry C. Sprague was listed as a painter in the 1889 Indianapolis directory, living at 175 Riverside avenue. Sadly, in 1891, his wife Sarah passed away and was buried in Crown Hill cemetery. Nothing is known of the circumstances surrounding her death, but considering that she was young and the couple newly married, it is possible that she died in childbirth. At some point after the death of his wife, Harry returned to Illinois.

It remains unclear as to why Harry returned to Chicago, whether it was to mourn the loss of his wife or care for his aging parents. Regardless, Harry was living with his parents in 1900, He was 40 yrs. old. and still working as a painter. He was the only adult child of the couple living home; they were now listed as retired, each 65 yrs. old. By 1910, Harry’s mother had passed away. Both Harry and his father moved in with his sister Ida and her family, the Kirbys. The 1910 US Federal Census provides a little insight into this extended family living in Chicago. Ida’s husband Phillip was a manager at a metal works factory. Harry’s occupation was listed as a salesman, but with no specific industry. Harry was also listed as widower. Harry’s sister Ida passed away a few years later. In 1913, her obituary stated, “KIRBY – Ida E. Kirby, nee Sprague, 7736 S. May St., beloved wife of Phillip A Kirby, mother of Charles J. and Jennie C., daughter of Charles A. Sprague, sister of H. C. Sprague, John E., Florence G., and Belle C. Youngstown [O.], Elora [Ont.] and New Jersey papers copy. Funeral Wednesday, Dec. 31. Burial at Greenwood cemetery” (Chicago Tribune, 30 Dec. 1913, page 15).

I have yet to discover when Harry’s father passed, or he left Chicago. Sprague appears to have disappeared from print for the next two decades, but eventually ended up in painting in the Philadelphia area. His older brother also lived in the area. Harry C. Sprague passed away on March 9, 1933 at the age of 72 yrs. His obituary, reported, “Harry C. Sprague, aged 73, of Philadelphia, a retired painter, died in that city yesterday. He is survived by two sisters, Mrs. Florence Hults of Vineland and Mrs. Milton McGargle of Madison and a brother, John Sprague, of Philadelphia. Mrs. Charles Stickert of Vineland is a niece of the deceased. Funeral service will be held Saturday afternoon at 2 o’clock with burial in Siloam Cemetery” (“The Daily Journal” Vineland, NJ, 10 March 1933, page 3).

At the time of his passing, Harry’s burial expenses were paid by Mrs. Harry A. Brown of 1250 South 45^th Street and Mr. Wilcox of 1427 Catharine Street, both in Philadelphia. It seemed odd to me that it was not a family member who took responsibility for the body.

I have just started to look at possibilities of who Mrs. Henry A. Brown or Mr. Wilcox might have been. Interestingly, Harry A. Brown was a Chicago artist, working in the city the same year that Sprague returned and met his future wife – 1885.

To be continued…

Travels of A Scenic Artist and Scholar: Nineteenth-Century Stage Managers at the Tabor Opera House, 1879-1901

*The Tabor Opera House, pictured in the “Leadville Daily Herald,” 1 Jan 1881*

In 1884, “Harry C. Miner’s Dramatic Directory” listed that the seating capacity for the Tabor Opera House in Leadville, Colorado, was 800. The size of stage measured 34-ft. deep by 60-ft. wide, and the proscenium opening was 17-ft. high by 23-ft wide. The original scenery employed a system of grooves on stage to hold up the painted scenes. Grooves are a mechanical contrivance in which the scenes slide back and forth. Sets of grooves were positioned into divisions, such as one, two, three and four. Where the stage was extra deep, there were sometimes five and six divisions of grooves, equally spaced. There were four divisions of grooves at the Tabor Opera House, allowing four pairs of wings and shutters to slide on and off stage, forming specific stage settings. The height from the stage to the top of the grooves was sixteen feet, with an additional 3 feet above that to the rigging loft.

This method of staging was eventually replaced with more modern arrangements in 1902, Wings and Shutters were replaced with fly scenery and box interiors, supported with braces and connected by lash lines. This more modern method was purchased and installed the Leadville Elks purchased the opera house in 1901, renaming the venue the Elks Opera House.

During the nineteenth century there were three stage managers who worked at the Tabor Opera House, each constructing wing and shutter scenery for the venue, and each shifting early scenes in grooves. The three stage managers were William S. Barber (1879-1880), Harry C. Sprague (1881-1884) and William J. Moon (1885-1901). These three men were also went by others titles, such as stage carpenter and stage mechanic. Regardless of their title, each functioned as a ruler of the realm behind the footlights.

Barber was credited with the original construction and installation of the first stock scenery collection at the Tabor Opera House in 1879. He worked with James E. Lamphere, the first scenic artist to paint the original drop curtain and ten stage settings. W. S. Barber was listed as a stage carpenter for the Tabor Opera House in the 1880 Leadville city directory, living at 114 W. 6^th. That was the only year that he was listed in a Leadville directory.

Barber and Lamphere’s contributions to the stagehouse were less than adequate and short lived. The stage was completely renovated within two years, and Harry C. Sprague was credited with the new stage arrangements. Sprague was already living in Leadville at the time. He was listed as a bill poster in the 1880 city directory and a “stageman” in the 1881 city directory. In 1880 Sprague was residing at 312 W. 6^th, just down the street from Barber. The official bill poster for the Tabor Opera House that year was R. B. Brennet; there was enough work to support a few bill posters in town.

In 1881 Sprague was listed in the Leadville City Directory as “stageman” at the Tabor Opera House; Barber was no longer associated with any Leadville theater. It remains unclear if Barber and Sprague ever met while walking to their respective homes on 6^th street or while working backstage at the opera house. As a bill poster in 1880, Sprague likely worked for a variety of businesses in town, so their paths may have crossed at some point but it remains unknown. Regardless, sprague likely began working backstage at the opera house in 1880, especially if he was associated with the Tabor Opera House in the 1881 directory. Sprague was still working at the opera house when James H. Cragg was brought on board as a general manager.

On May 1, 1882, J. H. Cragg became the manager at the Tabor Opera House. The following day, the “Leadville Daily Herald” announced, “J. H. Cragg has been appointed manager of the Tabor opera house, vice F. T. Osgood resigned. He began his regime last night” (2 May 1882). In 1880, F. Thomas Osgood was listed in the city directory as a teller at the Leadville Bank, as well as briefly managing the new Opera House. The news of Osgood’s replacement quickly spread throughout the region, and by May 6, 1882, the “Gunnison Daily News-Democrat” reported, “Lieutenant-Governor Tabor has appointed Charles J. Rowell his general business agent at the Tabor Opera House, J. H. Cragg becoming the new manager” (Vol. 1, No. 280). To clarify, Cragg was manager, but had nothing to do with the backstage area.

Change was in the air by summer 1882 at Both Tabor theaters. In August the building, auditorium, and stage in Leadville were undergoing the massive renovation. As the work neared completion, an article appeared in the “Leadville Daily Herald” announcing, “Of the stage there will be a change for the better in regard to scenery, scene shifting and drop curtains. Those ridiculous hitches in scene shifting that have heretofore occurred on one or two occasions will no longer take place. An experienced stage man has been secured in the person of Mr. H. C. Sprague” (August 23, 1882). By September 23, 1882, “Leadville Daily Herald” announced, “All the seats in the Tabor Opera House are being changed in position and when the work is finished they will be much more advantageously arranged than in the past, and there will also be some standing room.” This, combined, with the raising of the roof for better acoustics was a substantial project, especially for a relatively new opera house.

Changes were also occurring in the staffing at the Tabor Grand Opera House in Denver. During the summer of 1882, the house scenic artist left for greener pastures in Utah. Setting his sights on Salt Lake City, Henry C. Tryon headed west and remained in Salt Lake City next few years, painting an entirely new stock of scenery for the Salt Lake Theatre, as well as working on other projects in the area. During the fall of 1882, Tryon was still identified as “Henry C. Tryon, Tabor Grand Opera House, Denver,” but by the spring of 1883 he was credited as the official scenic artist for the Salt Lake Theatre. Tryon’s departure from the Tabor Grand created a vacancy for another scenic artist at the venue. Enter, Henry E. Burcky.

Burcky was a previous associated with Tryon in 1881, when the two worked together at the Opera Festival in Cincinnati. This was before Tryon headed west with his little brother Spencer to paint in Denver. When the Tryon Brothers left the Tabor Grand in 1882, Burcky filled the void left by the pair. The 1884-1885 publication of “Harry C. Miner’s Dramatic Directory” listed Burcky as the scenic artist for both of Tabor’s venues. Information for this listing would have been submitted to Miner’s Directory well in advance, sometime during 1883 when the directory was compiled for publication.

Back to the Tabor Opera House in Leadville…

As previously stated, Lamphere was credited with painting scenery for the Tabor Opera House 1879, and likely adding settings throughout 1880. He was in town long enough to meet and marry a local girl. Not all parts of stock collection were delivered prior to the opening of a venue. Pieces were added on as the season continued, based on the needs of each production.

Lamphere left Leadville about the same time that scenic artist Robert Hopkin arrived to paint the drop curtain for the Tabor Grand Opera House in Denver. The stock scenery for the Tabor Grand Opera House was partly credited to Hopkin and his son in 1881. Additional stock scenery was painted by Tryon and his younger brother Spencer Tryon. It is possible that any, or all, of the scenic artists working at the Tabor Grand scenery also painted settings for the Tabor Opera House in Leadville during the renovation, but I have yet to verify this as fact. However, the second stage manager for the Tabor Opera House (Sprague) was also an artist, and may also have painted some of the scenery for the renovated Tabor Opera House in 1882, hence only crediting Sprague with the new backstage arrangements. When Sprague left Leadville, the remainder of his career was spent as a painter, albeit in relative obscurity.

In terms of Sprague’s early work as a bill poster in Leadville. It may have been quick work to simply pay the bills upon arriving in Leadville. Many scenic artists accepted other work as bill posters, sign painters and decorative artists to supplement their income. As a bill poster in 1880, Sprague would have pasted up theatre bills and placards on walls or billboards, in addition to completing other small advertising projects that required painted signage. Interestingly, some of the oldest scenery at the Tabor Opera House is covered in bill poster patches. This is the first time that I have encountered a consistent series of scenic repairs with poster material. Whether it was done by Sprague or a successor, bill posters were a readily accessible material in a small western town, especially after a show left for its next town. Yet, bill poster paper remains an unusual material for nineteenth-century scenery repair.

Large bill posters were used as patches on the back of some nineteenth-century scenery at the Tabor Opera House.

Patch detail.

By 1881 Sprague was listed as a “stageman” for the Tabor Opera House. “Stageman” is an odd listing for the time. I have to wonder if it was intended to be “stage man,” an abbreviation for stage manager, just as “stage carp” indicated stage carpenter.

Although Sprague was not listed in the 1882 Leadville Directory, he reappeared in the 1883 directory as a “stage manager” for the Tabor Opera House. In 1884 he was again listed as the stage manager, just now residing at 202 W. 6^th. Keep in mind that “Stage manager” suggested an intimate knowledge and experience with a variety of backstage tasks that ranged from construction and painting to shifting of scenes and lighting of the stage. The nineteenth-century role of stage manager is very different from our conception of a production’s stage manager today. Nineteenth-century stage managers had a thorough and comprehensive knowledge of the art of the stage mechanism.

Sprague was still listed as the stage manager for the Tabor Opera House in 1885, but now he had an assistant- William James Moon. “Willie” Moon was listed as the asst. stage manager for the opera house in the Leadville City Directory. Both Sprague and Moon were living at 121 E. 7^th in 1885, although William J. Moon was still listed as living with his mother at 318 W. 3^rd. By 1886, Sprague was no longer listed in the Leadville city directory, and by 1888 Moon was listed as the stage manager for the Tabor Opera House. I have written about Moon in a past post. For more information, visit https://drypigment.net2020/10/10/travels-of-a-scenic-artist-and-scholar-w-j-moon-stage-carpenter-and-stage-manager-at-the-tabor-opera-house/

I’ll write more about Sprague’s life and career tomorrow.

To be continued…

Travels of a Scenic Artist and Scholar: The Richmond Scottish Rite Theatre Scenery Collection

*Scenery by Toomey & Volland for the Richmond Scottish Rite*

Painted detail. *Scenery by Toomey & Volland for the Richmond Scottish Rite*

Tales from a Scenic Artist and Scholar. Part 1125 – Thomas G. Moses and the Shrine Show, 1921

In 1921 Thomas G. Moses traveled from Chicago to San Francisco for a large Shrine project. He wrote, “September 13^th had a very good trip and started work immediately at Flagg’s studio. After four hard weeks of hustling, we got the big show ready… the big Shrine show opened October 17^th and it was certainly a big hit. Thousands could not get near the building.” Moses was referring to the San Francisco Shrine Circus that opened on October 17. Of the event the “San Francisco Examiner” announced, “Height of Funmaking Glimpsed at Arabian Ball. Throng Fills Auditorium on First Night of Shrine Circus” (Oct. 18, 1921, page 3).

*From the “San Francisco Examiner,” October 18, 1921*

Moses’ project falls within a period of dramatic growth for the Ancient Arabic Order of the Nobles of the Mystic Shrine. The organization is known to many as “the Shrine.” In 1921, there were three steps to becoming a “Shriner”:

Step 1: Complete the first three degrees Freemasonry in a Blue Lodge, becoming a Master Mason.

Step 2: Continue with your Masonic studies in the Ancient and Accepted Scottish Rite or York Rite. Both Rites had the option to use theatrical presentations as an educational tool, like morality plays. When a stage was not available, there were still portions of the degree work that was dramatized.

Step 3: Relax after your hard word and join the Ancient Arabic Order of the Nobles of the Mystic Shrine. This was intended as primarily a social group; an opportunity to play after all of the hard work was completed.

This was a pretty simple process, like having to complete one grade in school before progressing to another. Ideally, social promotion does not kick in and members are not rushed thought the steps. The point is to learn something at each stage and allow members time to process the information. For those who simply wanted to join a social group right away, there was always the Mystic Order of the Veiled Prophets of the Enchanted Realm, otherwise known as the poor man’s Shrine. Keep in mind that each step cost a member money, as well as annual dues. This was like any fraternal organization at the time; they all depended on money collected from incoming and existing members.

Over time, the process became streamlined and the stipulated delays between degrees were shortened; this allowed even more members to join and increased overall funding. There was a lot of justification to adopt abbreviated timelines. Then, as today, there were abundant explanations as to why quickly admitting members was a good idea.

Eventually, the Shrine allowed Master Masons to skip all of the “hard work” and just join. For obvious reasons, this did not sit well with either the Scottish Rite or York Rite. This change also interrupted anticipated waves of membership for both the Scottish Rite and York Rite; previously membership ebbed and flowed together within the Fraternity.

For example, if a big group of men became Master Masons, part of this large group joined the Shrine and York Rite as they continued onto the Shrine. You could track the large number progressing their way through the Blue Lodge, Scottish/York Rites, and Shrine. Similarly, if there was a decline in membership of Master Masons, a decline would later follow in all groups. Again, this all cost money, so economic downturns were also a factor. Membership levels also affected the planning and construction of Masonic edifices, as well as the eventual selling. As more and more people joined the Scottish Rite in the early twentieth century, there was enough funding to construct massive Scottish Rite theatres. This wave continued onto the Shrine by the 1920s.The wave of men that joined the Scottish Rite in large numbers from 1895 to 1915, contributed the later construction of Shrine buildings in post-WWI years.

Moses’ 1921 Shrine project was part of this surge. The Shrine not only constructed buildings and banquet halls, but also staged elaborate productions. Many Shrines at this time also began establishing a circus.

*Another big Shrine event in California in 1921. From the “Pomona Progress,” 30 April 1921, page 1*

The Sosman & Landis Studio depended on Masonic projects for years. New Shrine buildings and circus events promised a significant amount of specialty work and substantial income. They desperately needed to reestablish a link with the Fraternity. Before Joseph Sosman’s passing in 1915, he maintained the Masonic connections, just as Perry Landis maintained Elk connections. Moses was neither a Mason nor an Elk, and the studio’s workload reflected this by 1920.

Unfortunately, it was not until the 1920s that Moses began to realize that in order to land the big Masonic projects, he really had to become a Mason. He eventually would join the Fraternity, but far too late. Moses would not begin the process until 1923. That year he wrote, “March 1^st, I took my first degree in Masonry. I don’t know when I shall get around to the others; rather interesting and I would like to go through the Shrine.” It would take two more years for Moses to a Master Mason. In 1925, Moses was sixty-nine years old; too old to be a mover and shaker in the organization.

To be continued…

Travels of a Scenic Artist and Scholar: The Richmond Scottish Rite Theatre Scenery Collection

Backdrop delivered by Toomey & Volland scenic studio of St. Louis, Missouri, to the Scottish Rite Theatre in Richmond, Virginia. Last month I visited the Richmond Scottish Rite and documented the historic scenery collection, dating from 1900-1920.