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Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Sosman & Landis Scene Painting Studio also produced scenery for a production entitled, “At Ocean Beach.” The show was billed as “a sprightly tabloid musical comedy” and “a breezy musical comedy.”

The “Dodge City Daily Globe” reported, “It is a wholesome musical comedy…some high classed elaborate scenery is utilized to dress it, and girls who not only possess and astonishing degree of personal pulchritude, but real singing voices as well. It is in comedy that the piece is strongest, however. Don Adams as Augusttus Klutz, proprietor of the hotel, is the funniest Dutchman seen here since the palmy days of Joe Cawthorne. He reminds one of the notorious ‘Hans Nitz’ of ‘The Telephone Girl’ fame. His makeup is so good that it looks like the real thing, and his comedy tickles the risabilities of the audience until it roars in appreciation. ‘Billy Batchelor plays the burlesque characetrs of a dop fiend, under the title of ‘Daffy Dill.’ When Batchelor comes on the sage at first he looks like a dressed up ‘rough nut’ abiout to make an announcement. He improves as the minutes go by, until the final drop of the curtain. He and Adams make an exceedingly strong team, in fact, and are deserving of heavy patronage while they are here. ‘Blanche Oliver,’ played by Norine Robinson, is a startling good character. Miss Robinson has an excellent voice and knows how to use it” (1 Aug. 1916, page 1). Here was the program posted in the article:

Daffy Dill – Billy Batchelor

Miss Getrich – Hazel Vert

Augustus Klutz – (Proprietor Ocean Beach Hotel) – Don Adams

Count Jean Campeau – Ed Smith

Blacnhe Oliver – Norianne Robinson

Italian Street Singers – Smith and Robinson

Guests of the Hotel

Adeline Guild – Mildred LaRae

Thelma Palmer – Joy Lynn

Claire Summers – Norianne Robinson

Edithe Vandergould – Evelyn Sintae

Alice Astorbilt – Miriam Bennett

Nina Beach – Billie Douglas

Place – Veranda, Ocean Beach Hotel, California.

Time – summer evening.

(Costumes by Chas. Stevens Co., Chicago; shows, by the Aiston Co., Chicago; scenery, the Sosman & Landis Co., Chicago; stage settings, the Pacific Coast Ratan Co., Los Angeles, California.”

MUSICAL NUMBERS

Prologue and opening – Billy Batchelor and Guiests

In the Valley of the Nile – Count Jean Champeau and Guests

Let Me Be Your Husband – Augustus Klutz

Are Your From Dixie? – Blanche Oliver and Guests

Moonlight on the Rhone – Miss Getrich and Guests

Ah Marie – Ed Smith

Ciribiribin – Italian Street Singers

Finale – Entire Company

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Sosman & Landis delivered scenery for hundreds of productions that were not mentioned in Moses’ diary during 1916.

One Sosman & Landis client in 1916 was Joe Bren, a minstrel show producer. The Joe Bren Company was a Chicago-based theatrical company that partnered with fraternities and civic groups to stage fundraising shows. Company representatives traveled from town to town, working with local talent to organize minstrel reviews; working as the producers, directors and performers for each endeavor. The Joe Bren Company not only provided instruction, but also all of the technical trappings to produce the show, including scenery by Sosman & Landis, lighting equipment and “resplendent costumes” (The Gazette, Cedar Rapids, Iowa, 12 Feb 1916, page 8).

The Joe Bren Company primarily staged minstrel shows in 1916.  The Bren Company was especially popular with the Kiwanis Club, Lions, American Legionnaires, United Commercial Travelers, Benevolent and Protective Order of Elks, and Ancient Arabic Order of the Nobles of the Mystic Shrine. In 1916, Bren’s company was featured in “The Sunflower Council No. 31 United Commercial Travelers Grand Minstrel Revue.”

Bren was also contracted for the “Amin Temple Shriners Minstrel show,” as well as “The Elks Grand Minstrel Review.”

As I was looking for a little history surrounding Bren, and came across “A History of Broadcasting in the United States: A Tower of Babel to 1933” by Erik Barnouw. Barnouw explains the Joe Bren Company “made a business of staging local shows throughout the United States for lodges, churches and clubs” (page 225). He goes on to describe, “Local talent was used; the Joe Bren Company supplied sketches, jokes, songs, costumes, and supervision.” Freeman Fisher Gosden, who later played “Amos” of Amos ‘n’ Andy, traveled for Bren. In fact, Gosden truly began his professional career as an entertainer with Bren, going on the road to organize reviews, minstrel shows and carnivals. Charles Correll, who later portrayed “Andy” of “Amos ‘n’ Andy” also worked for Bren. For those who are unfamiliar with the radio show, “Amos ‘n’ Andy:” https://www.nytimes.com/1972/12/31/archives/weaf-700715-ow-wah-ow-wah-ow-wah-amos-n-andy-the-angelus.html and

https://en.wikipedia.org/wiki/Amos_%27n%27_Andy

Here is a peak into the popularity and productivity across the country during the year that Joe Bren hired Thomas G. Moses of Sosman & Landis to deliver scenery for their shows:

In 1916, the Joe Bren Company produced “A Grand Minstrel Revue” for the Elks in Paducah, Kentucky (News-Democrat, 19 Jan. 1916, page 8). Shows under the direction of Ralph Hamilton, representing the Joe Bren Company included the Shrine Minstrel Show in Springfield, Missouri (Springfield News-Leader, 9 Nov. 1916, page 3), the Shriners Minstrel Show in Sioux Falls, South Dakota (Argus-Leader, 18 Oct. 1916, page 5), the United Commercial Travelers Lodge Show in Salina, Kansas (Salina Daily Union, 27 April 1916, page 4), the Shrine Minstrel Show in Munster, Indiana (The Times, 8 Feb. 1916, page 1), the Elks Minstrel Show in Hutchinson, Kansas (The Hutchinson, News, 21 Feb, 1916, page 2), the Elks Follies in St. Joseph, Missouri (Catholic Tribune, 11 Nov. 1916, page 7), the Jollies of 1916 in Lincoln, Nebraska (Lincoln Star 19 Nov. 1916, page 19), and the Shrine Minstrels of Cedar Rapids, Iowa (Gazette, 21 Jan. 1916, page 1).

Other Joe Bren Company collaborations included the Mohassan Grotto Minstrel Show in Davenport, Iowa (Quad-City Times, 30 Aug. 1916, page 3), the United Commercial Travelers Lodge Show Lodge No. 127 in Shreveport, Louisiana (Shreveport Journal, 11 May 1916, page 5), the United Commercial Travelers Lodge Show in Wichita, Kansas (Wichita Beacon, 15 Feb 1916, page 9), the Elks Minstrels in Independence, Kansas (Independence Star, 10 April 1916, page 2), the Sons of Black Hawks (S.O.B.H.) Minstrel Show in Waterloo, Iowa (The Courier, 1 Feb. 1916, page 9), the Shrine Minstrel Show in Montgomery, Alabama (10 Jan. 1916, page 7), the Elks Minstrel Show in Kenosha, Wisconsin (Kenosha News, 31 Oct 1916, page 1), and the Shriner Minstrels in Knoxville, Tennessee (Knoxville Sentinel, 5 April 1916, page 5).

Jo Alex Robb was another “advanced director” for the Joe Bren Company. He took charge of the Shrine Minstrel Show at the Alhambra Temple of Chattanooga, Tennessee (Chattanooga News, 11 Dec, 1916, page 7).

The Joe Bren Company was quite sophisticated, with a staff that travelled the country and helped produce shows.  Like Sosman & Landis, they tapped into a unique form of clientele that was driven by the “everyone wants to be a star” mentality. There were, and are, many people who want their moment on stage, a chance to shine under stage lights, and Joe Bren delivered that – an opportunity to don a costume and perform on stage in front of professional scenery.  Although the Scottish Rite had private performances for its members, it was based on this same principal; you take an ordinary citizen and let him be an actor on a professional stage. 

Over the years, the theatre industry has continued to draw upon this particular drive, the desire to be a performer. I also think of past productions that awarded top donors an opportunity to participate in a production as supernumeraries; they were dressed up for a stage scene, but they were able to associate with professional actors and stand on stage before a large crowd.

The only true flaw in this formula is the blackface nature of the minstrel show and the deepening of racism in America. These shows were immensely popular, with many new stage effects being developed by lighting and scenery manufacturers. They also perpetuated prejudice and validated racism, one that thrives today even today. There were still blackface minstrel shows in the 1960s. On March 20, 1970, Vermont’s “Burlington Free Press” reported, “Black face minstrel shows still take place in many Vermont high schools” (page 2). By the late 1970’s newspaper articles fondly remember blackface minstrel shows, recounting comic routines between “black-face clowns” (News-Press, 8 Dec 1974, page 79). In 1977, the “Bennington Banner” included an article about the Lions Club Variety Show announcing, “No black face, but minstrel spirit remains in Arlington” (Bennington, Vermont, 24 March 1977, page 8.

The article describes, “One echo of minstrel days has not died. That’s the tambourines, when the lights go down. Day-glo painted on the lips and hands of the tambourinists and fluorescent ribbons create that old contrast of bright and darks that inspired black face to begin with.” In other words, instead of blackening the skin and exaggerating the white lips, associated with stereotypical representations of African Americans; they just used bright paint to exaggerate the lips, the iconic illustration of a black-faced performer. Is it any surprise that there was a large group of white supremacists just waiting for validation from a public leader again?

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Sosman & Landis delivered painted settings for the Ten Allies Costume Bazaar in New York on November 28, 1918. They were also hired to provide decorations for Chicago’s Allied Bazaar at the Coliseum.  However, this time an architect was in charge of the designs, not a scenic artist.

In 1917, Thomas G. Moses wrote, “We opened the season on the New Year with the great Allied Bazaar for the Coliseum and it is being rushed through in a hurry.  I don’t like to deal with an architect on these decorative jobs.  They get an idea they are building a house and don’t seem to see our way of knocking it together, depending on the general results.  Of all the jobs that we have done of this character, where we made our own plans, we never had one that didn’t have the big scenic spirit of decorations and was always accepted.”

The Allied Bazaar was held at the Chicago Coliseum for a week, beginning on January 11, 1917. 8,000 people were involved in marketing of the bazaar, abandoning many other routine society events to promote the “million dollar show” (Chicago Tribune, 12 Jan. 1917, page 6). Promoters publicized the event in Minneapolis, St. Paul. St. Louis, Cincinnati, Louisville, Indianapolis, Cleveland, and Detroit. 4,000 men and women worked the bazaar, with approximately 500,000 attending. Exhibits connected with the European war were on display, and included big guns, ammunition, aeroplanes, French biplanes, German Taubes, American Curtiss and Wright machines, hospital devices and field ambulances.  The show even included a reproduction of a trench with dugouts, barbed wire, loopholes, and other military appliances. This particular exhibit was built under the direction of English army personnel Capt. Ian Hay and Capt. Norman Thwaites.

Of the event the “Chicago Tribune” reported, “This is the third big event of this characters for the aid of the suffering in the allied nations, in Boston the bazaar proceeds were $400,000, in New York $700,000” (Jan. 11, 1917, page 3). The article continued, “Yesterday with the hum and bustle of the industry artisans were putting the finishing touches to the Coliseum. A fairy city of shops, brilliant in color, impressive architecture, has been raised within the big building down on Wabash Avenue. Hammers tapped away as busy as woodpeckers. The air was filled with sawdust. An electric lathe whirred away turning, planning and cutting lumber for more booths and other galleries.

“Electricians with trailing threads of wiring weaved away up in the vault like spiders. Workmen and society women workers jostled each other in their hurry, overalls and sealskins fitted about in the streets of the fantastic city that charity has built. There is a buffet, a tea garden, a cabaret, a shooting gallery, sideshow, grocery store, fortuneteller stand and many art shops in bazaar town.

“Among the scores of well known persons who were at the Coliseum supervising the arrangement of the booths formerly as observers, were: Henry J. Pattern, Mr. and Mrs. Chauncy McCormick, Lady Aberdeen, Baroness Charles Huard, Baron Huard, Mrs. James T. Harahan, Mrs. Halsted Freeman, Mrs. Charles Hamill, Mrs. Walter S. Brewster, Countess Langston, Miss Cornelia Conger, James Ward Thorne, Mr. and Mrs. Samuel Insull, Mrs. John Winterbotham, Mrs. George Higginson, and Mr. and Mrs. D. H Burnham Jr.; the former largely responsible for the architectural planning.

“The Coliseum is full of stuff of all description. Pianos, antique jewels, original etchings by Whistler, automobiles, a motor boat, groceries, dolls, seal coats, artistic brasses, painting and fancy work…Work is being rushed on the war exhibit which will be a feature of the bazaar. This includes all sorts of shells from the French 75s to huge sixteen-inch projectiles weighing tons. There are many types of field pieces, trench mortars, rifles, pistols, wrecked gun carriages, a German torpedo, uniforms, and war motors.

“In the exhibit is the first American hospital ambulance set to France. It was given by Mrs. William K. Vanderbilt. It was wrecked by a shell and the driver killed. The rusted plate with the name of the donor in big letters was almost ripped from the ambulance by the same shell.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Thomas G. Moses wrote, “Hurried to New York City, made a hasty model; closed a contract for $5,700.00 for Allied Ball Decoration.” Later that year he wrote, “…on to the big Allied Ball work…November 25^th, Mama and I started for New York.  We expressed the scenery and November 28^th it was all up.  I did the society stunt while Nadier and Pausback put all the work up, and for a wonder everything fitted.”

The event mentioned by Moses was the Ten Allies Costume Ball. On Novemebr 28, 1916, the  “Evening Sun” reported, “America’s greatest single effort on behalf of relief organizations of the Entente Allies will be staged tonight when the Ten Allies Costume Ball will be given in Madison Square Garden. Ten boxes will be decorated to represent each of the ten nations of the Allies. In each will be prominent persons f these nations. At a given hour the hall will be darkened and a spotlight turned on the French box from which Madame Chenal will sing the chorus of the “Marsaillaise.” Next will come “God Save the King” then the Russian, the Italian and the rest. Finally the light will be directed as the box draped in the Star and Stripes and the “Star Spangled Banner” will be sung. All of the national soloists and a chorus of 2,000 will join in the singing of the American anthem “ (Hanover, Pennsylvania, 28 Nov. 1916, page 3).

Among the organizations that benefitted were, the American Ambulance Fund, the British-American War Relief Fund, French Heroes LaFayette Fund, the Millicent Sutherland Ambulance Three Acts Fund for the Crippled and Maimed French Soldiers, the Blinded in Battle Fund, Refugees in Russia Fund, National Allied Relief Committee, Vacation War Relief Committee and the American Fund for French Wounded.

As I searched for more information, I came across a really interestingly article in the Chicago Tribune on Nov. 26, 1916 (page 36). “Chicagoan Goes East with Scenery for Allied Ball” was written by Mme. X, and the first few sentences say much of the theatrical relationship between New York and Chicago in 1916:

“When New York wants anything out of the ordinary accomplished it is not from the ranks of home talent that it seeks its organizers and leaders. Chicago supplies much of its bone and sinew. George W. Perkins, T. P. Shonts, Frank A. Vanderlip, Elbert H. Gary, and a host of others are all drawn from the ranks of Chicago capables.  And now one more proof that the great metropolis is dependent on us, not alone in the realms of finance and big business, but in the domain of art and adornment is the departure of Mrs. John A Carpenter last Tuesday for New York and the much heralded Allied ball, which takes place next Tuesday in the Madison Square Gardens. Mrs. Carpenter was escorted by huge rolls of scenery for the East Indian background and setting for the ball, which had been painted here from her designs and under her direction. She is developing a genius for this sort of artist expression, which is making her name famous on both sides of the Atlantic…It is rather a stupendous affair, a costume ball, with remarkable stunts, and its proceeds are to go to the same cause as the big New York allied bazaar last spring and ours is coming this January.”

The day after the event, the “New York Herald” published an account of the eventnon November 29, 1916 (page 2):

“15,000 See Pageant at Ten Allies Ball. Brilliant Costumes Worn by Society and Stars at Fete. Notable in the Parade.

New York may be neutral, but not when there’s an Allied Ball going on. At least there were 15,000 or so Gothamites at Madison Square Garden last night who didn’t talk neutral, didn’t act neutral and didn’t dress neutral. And the old Garden, that has held everything from aristocracy’s horse show to Col. Cody’s Wild West in its day, never sheltered such a gathering before as far as brilliant costuming and bizarre disguises go.

The Ten Allies Costume Ball started at midnight according to the programme, but it was really nearer half past by the clock. It is true the doors opened at 9 and the music started for dancing some time after 10, but the real thing was the pageant.

A group of buglers sounded a fanfare and out from between hanging curtains at the east side of the Garden came the pageant. India led, with Rajah Ali Ben Haggin at the head on a big black Arab steed. Ben Ali had planned to ride in on an elephant, but the floor wouldn’t stand it. Behind him came Mrs. Haggin and Mrs. William Astor Chanier in palanquins borne on the shoulders of Hindus and surrounded by an entourage of military looking Ghurkas and Sepoys in khaki.

Next came Great Britain, with Lady Colebrook as Britannia, and Miss Louise Drew with a company of girl scouts. John Drew and sixty members of the Lambs and Players club stood for England of to-day, every man of them in khaki. In fact khaki was the color scheme for the men and there were many who wore the little cloth stripes that mean real service.

Ireland, color scheme green and leader Miss Elsie Janis, came next with some of the best known actresses on the Broadway stage in the train. Scotland of course was Burr McIntosh and William Faversham, with Bruce McRae and Cyril Scott and the like.

Canada was represented by a train of Red Cross nurses, and Mrs. Charles Greenough who led them, had culled the pick of society’s debutantes.
For Belgium marched Miss Ethel Barrymore, with a score or so of the “Four Hundred” and Miss Marie Louise de Sadeleer, daughter of the Belgian Minister.

Alla Nazimova led Russia’s contingent, with a company dressed in costumes from “War Brides” and “Women of the People.”

The theatre had charge of Italy, with Mrs. William Faversham leading a group of screen actresses and actors with Blanche Bates and the Washington Square Players in their “Bushido” costumes marched for Japan, and Miss Cathleen Nesbit and come others were for Portugal.

James K. Hackett as Louis XVI and Mrs. Hackett as Clothilde had charge of France’s pageant, and in the ranks were every one from Jeanne d’Arc to Robespierre. And at the end a big bunting covered tower was shoved out and Miss Anna Fitziu of the American Opera Company gowned as Columbia and wearing the Liberty cap closed the show with “The Star Spangled Banner.”

Up to the time of the pageant it was all music and dancing. The loge and arena boxes were filled with people whose autobiographies are in “Who’s Who,” while behind them, in the seats of the gallery, where the hoi polloi, who could only pay $5 for a seat. And everybody was there.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Thomas G. Moses wrote, “I did a drop curtain for Rome, Georgia, and several exteriors.”

On February 8, 1916, the “Atlanta Constitution” reported, “ROME OPERA HOUSE BEING REMODELED.

“Rome, Ga. February 7 – (Special)- The Rome Opera House, which is currently owned by the McClure Ten-Cent company of Atlanta, is being remodeled, and will be opened under the management of H. P. Diggs, a well-known theatrical man, formerly associated with local moving pictures” (page 9).

Unfortunately, the business venture did not succeed. By November 25, 1916, the “Atlanta Constitution” reported,

“Neglected Bank Roll in Attempt to Start Vaudeville in Rome.

“Rome, Ga., November 24. – (Special) – Ross Conkling, an Atlanta theatrical man, who endeavored to open the Rome Opera House as a vaudeville and motion picture theater here, neglected one important detail necessary to such operation, to-wit, a bank roll. He was given credit by actors, film operators, stagehands, print shops, newspapers, and the like, but the box receipts on the opening night were attached by Mrs. Amanda Gray, one of the vaudeville actors, who declares that he is without funds. An orchestra of seven pieces and five members of a vaudeville company are stranded here” (page 4).

Rome Opera House was later renamed the Nevin Opera House. Located at 321 Broad Street, the original structure was built by M. A. Nevin at a cost of $21,000, opening on October 1, 1888.  With a seating capacity of 800-1,000, it hosted a variety of performances until 1915. “Julius Cahn’s Official Theatrical Guide” provides a little more information about the technical specifications in 1908.  The proscenium measured 26 feet wide, but no height was provided. However, the stage to the gridiron was 55 feet, suggesting full travel for the drops. The stage to the fly gallery was 25 feet and the distance from the curtain line to back wall was 32 feet.

The building was destroyed by fire in December 31, 1919.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Thomas G. Moses wrote, “Our big job for Dayton, Ohio for Fred Dixon is well under way.” In a later entry that year, he wrote, “Drove down to Dayton, Ohio, to see our new work that had just been installed.” 

I have located precious little information about Fred Dixon or the Dayton project that Moses worked on in 1916. One of the difficulties is that there were so many Fred Dixons mentioned in the newspapers, but I think that I found him.

Fred Dixon began his career as a performer, appearing in papers across the country during the late nineteenth century and was associated with a variety of touring productions. He was a singer, performing both tenor and baritone roles in touring shows. He was also known for his acting and theatrical management abilities.

In 1891, the “Philadelphia Inquirer” reported “An artist whose work will manifest itself in Bijou production is Fred Dixon, who besides being a light comedian of reputation is accounted the best comic opera stage manager in the profession. His many years of service in that capacity with the famous Boston Ideals and later with the Bostonians, attest the fact, and to him belongs and is conceded the credit to staging the present reigning New York comic opera success, “Robin Hood”  (12 Nov. 1891, page 8). That year he was appearing with the Gaiety Opera Company under the management of Albee. Dixon became well known for his part in staging “Robin Hood” for the Bostonians. By 1896, Dixon was managing the “immense panoramic extravaganza” of “Cinderella” at the the Arch Street Theatre in Philadelphia (Philadelphia Inquirer, 25 Oct 1896, page 20).

In 1900, Dixon was billed as “Singing Contingent Extraordinaire.”  He was noted a previously performing as tenor, with the Bostonians eight years, as well as he original Ko Ko in D’Oyly Carte’s “Mikado” (News-Palladium, Benton Harbor MI, 6 Oct., 1900, page 8). Finally, by 1908, the “Fall River Globe” reported that Fred Dixon was presenting “’Erin’s Isle,’ a beautiful Irish Singing creation and the most pretentious offering of true Irish humor that has ever been attempted in vaudeville” (13 Sept 1913, page 2). And that is where his trail grows cold.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1917, Moses wrote, “Another show for Howard, $1,500.00.  “Daughter of the Sun.” It was very good in every way.  Our scenery is making a big hit.”

Rowland & Howard’s production “Daughter of the Sun” is not to be confused with another 1917 production starring Anna Kellerman, “Daughter of the Gods,”

 “Daughter of the Sun” was a play of Hawaiian life, written by Lorin J. Howard and Ralph T. Ketterling. By 1916, Sosman & Landis had already provided scenery for two other Rowland & Howard productions, “Which One Shall I Marry” and “The Smart Show.”

 “Daughter of the Sun” was billed as a play combining “romance, international political intrigue and tropical setting in a drama that is replete with stirring incident” (“Indianapolis Star, 7 Oct 1917, page 46). The show was also advertised as a “massive scenic production,” telling the story of a “Hawaiian Butterfly” (“Suburbanite Economist,” 31 Aug, 1917, page 3).

On Dec. 23, 1917, “The Pittsburgh Daily Post” reported, “The story turns on the love of Dr. Grant, and American, for a Hawaiian girl, Loa, known as ‘The Daughter of the Sun.’ She is the sweetheart of Kama, a descendent of Kalakaua. The plot is fostered by a Japanese, posing as a scientist, who plans to aid a rebellion and then take the islands in the name of Japan. Meantime, X-17 of the United States secret service has been sent to get evidence. The Jap persuades Kama to give the young American doctor a germ of leprosy in his tea, but Kama loses his nerve. Nevertheless he retains the bottle in his possession, and when the villain demands it Kama yields and Dr. Grant is inoculated. He is sent to Molokai, but escapes. The physician comes back to face the villain and then it is that X-17, who is a young woman posing as a Broadway actress, reveals her identity and frustrates the Jap. A volcano begins to erupt and all flee for their lives except Grant, who remains to hunt Loa. There are three acts and seven scenes. In the cast are Freda Tymers, Jean Clarendon, James A. Bliss, Blosser Jennings. Virginia Stuart and Leah H. Hatch” (page 40). 

“The Morning Call” added, “Rowland and Howard, the producers, have given the play an Hawaiian atmosphere by a wonderful scenic equipment and also a band of native Hawaiian singers….‘A Daughter of the Sun’ is a massive scenic production carrying a carload of their own special scenery” (Allentown, Pennsylvania, 19 Nov 1917, page 10). The article also added, “In all the plays of last season, the Hawaiian play seemed to have the greatest appeal, for throughout the entire season, the play, ‘The Bird of Paradise’ was greeted by wonderful audiences. The present season will no doubt see a number of plays founded on the Paradise of the Pacific.” Hawaii was, and remained, a popular stage subject.

Of the painted settings for “Daughter of the Sun,” newspapers reported, “Exceptional scenery is presented, especially the scene where the high priest calls down a curse upon the Hawaiian girl and man for disloyalty to their race. The curse seems to be answered by the eruption of a volcano and the wrecking of the village” (“Baltimore Sun,” 6 Nov. 1917, page 6).

Moses’ previous business partner, Walter Burridge, made sketches of Kilauea while staying at the Volcano House. Burridge’s source material was used for a huge panorama at the 1893 world fair attraction. Volcanic eruptions drew crowds at not only world fair attractions, but also many other theatre spectacles. It was even incorporated in into degree production for Scottish Rite stage ceremonials.  In fact, examples of volcano scene for the stage are still found at many fraternal theaters; they are a wonderful resource for theatre students and popular entertainment buffs alike. The erupting volcano effect is magical, still captivating the most seasoned stagehands when produced. Even under a century’s deposit of dust of dust, this particular stage illusion is fascinating. It may be an old school trick, with panels helping translucent areas simulating plumes of smoke and streams of flowing lava, but it still can make the audience spectator gasp with delight.

The “Allentown Leader” included the article “DAUGHTER OF THE SUN A LYRIC ATTRACTION” (Allentown, Pennsylvania, 13 Nov. 1917, page 2). Here is the article as it took a unique look at the show:

“On the island of Maui in the Hawaiian group, the second island in point of size is the extinct crater of Haleakala. The largest volcano crater in the world. While the crater is that of an extinct volcano; still the possibility of its again becoming active is an ever-present possibility. The crater of Haleakala has an area of 10 square miles or 6400 acres’ its circumference is 20 miles; is 7 ½ miles ling and has a depth of 10,032 feet. These figures are quoted to give some idea of what an enormous affair Haleakala really is. The word Haleakala means “The House of the Sun.” From this translation the idea for the play, “A Daughter of the Sun,” the story of the Hawaiian butterfly, was derived. The Kanaka, as the native Hawaiian is called, before the coming of the missionary in 1819, like all the world tribes, worshipped the Sun as the source of life and nothing was more natural than that this vast crater was the abode of the Sun, and hence it was held in great reverence. The play ‘The Daughter of the Sun,’ was written by Lorin J. Howard and Ralph T. Ketterling and is to be the attraction at the Lyric for the first three days of next week.”

I was fortunate to see the sun both rise and set from the top summit at Haleakala National Park high above the crater. Gazing across the clouds at the big island of Hawaii it feels like you are sitting at the top of the world. This was on the 2017 trip to Maui when I acquired several Thomas G. Moses paintings from a great grandson. If all comes full circle.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Thomas G. Moses wrote, “‘The Smart Shop’ another show for Howard.”

Earlier that year, Moses also designed the scenery for another Rowland & Howard production, “Which One Shall I Marry?”

“The Smart Shop” was a musical sketch by Ed W. Rowland and Lorin J. Howard billed as a “Breezy Musical Comedy Novelty” with ten characters. Bert Peters and Tom Lindsey were responsible for the score and libretto, with Howard as the director.

The “Detroit Free Press” announced the production “combines a display of feminine apparel with sprightly musical comedy” describing, “The scene is placed in a fashionable dressmaker’s emporium and there s a brilliant display of stunning gowns and lingerie” (3 Dec. 1916, page 61). The “Salt Lake Telegram” reported, “There is a distinct plot in ‘The Smart Shop.’” This review just made me giggle, as I pondered the many other shows without a “distinct plot” from this time. “The Smart Shop” was billed as a production with “girls, costumes, a fashionable indoor setting, numerous songs and broad comedy” (Sioux City Journal, 26 Nov. 1916, page 12).

When the show played at the Columbia Theatre in Davenport, newspapers reported, “There’s music and comedy – oh, yes, and lots of shapely girls. It’s rapid fire entertainment, which they give in which tuneful songs and hilarious mirth abound. The cast is unusually capable” (Rock Island Argus, 16 Nov. 1917, page 16). Again, saying “unusually capable” is really not high praise for the acting capabilities of the performers. I also located only one mention of the scenery, and it was described as “good.”

Obviously, this was not an extremely successful production with a strong public following. Well, you can’t win them all.

Popular songs from the production included “I Love Everybody,” “Just for Style,” “Love Dreams,” “Lingerie,” and “The Girl of Now-a-days.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Thomas G. Moses wrote, “Closed a contract for $1,200.00 with Howard for ‘Which One Shall I Marry.’  Rather enjoyed the show.” Moses was referring to Lorin J. Howard, of Rowland & Howard, the theatrical producers. His partner was Edward W. Rowland. Howard functioned as the artistic director for the firm, filling the role of both stage director and lighting designer for this production.

“Which One Shall I Marry” was billed as a “new idea” in drama, a stage allegory in four episodes. The production company included Marguerite Henry, Marie Kinzie, Dollie Day, Ainsworth Arnold, E. H. Horner, Edgar Murray, Tommy Shearer, and Charles Richards.

The “Pittsburgh Post-Gazette” reported, “It’s author, Ralph T. Ketterling, has done that which most playwrights have sought to perform – created new and original idea. The story of the play begins in allegorical form. The young girl about whom the story revolves is discovered at the crossroads of life, where the mysterious character, “Good Advice,” comes to her point a successful future. She is sought in marriage by a rich man and a poor man. The former offers her everything that money can buy, while the other can only offer love. It is then that she propounds the question, ‘Which One Shall I Marry?’”27 Aug. 1916, page 34).

Starting at “Crossroads of Life,” the girl journeys to “The Grey Forest of Doubt,” “The Land of Shams” and “The Land of Reality.” The “Reading Times” described the action in detail on Feb. 4, 1916 (page 5):

“It begins with a prologue, in which a lovely girl in a tennis costume and the first flush of womanhood appears before the curtain and tells of two offers of matrimony. She is followed by an elderly man of the millionaire type, loudly proclaiming his wealth and the advantages he can give the girl if she becomes his bride. The third character in the prologue is a young man in love with the girl, a stalwart youth who has no wealth, but morals and integrity, good habits and affection to bestow on his bride. It is ‘Hope vs. Riches,’ as the bride-elect recites.

In the second episode, in a cleverly arranged double-stage effect, the girl as the bride of the millionaire is shown in her luxurious home neglected by her husband, He is too busy with his plans to crush by the aid of the corrupt senate and a corrupt law the already oppressed workmen in a huge steel plant, to pay much attention to her. He has time to buy her royal gifts, but no time to make a home for her. The scene closes with the unhappy wife’s suicide.

The third episode gives a brighter picture of life in a happy workman’s home, with husband and wife of the same age, without wealth but full of contentment and prospects of a rosy future. The final scene sums up the story of the other three and brings round after round of curtain calls for the whole capably-acting company.”

The “Pittsburgh Daily Post” reported, “’Which One Shall I Marry?’ is described as full of heart throbs, with much humor and a moral. Those interested in its production say that it brings out an idea which is altogether new in play writing. This is not only in the construction, but in the scenery used to introduce the girl whose fate is the subject of the struggle of opposing interest. In parts of the story, the dreams of the girl are pictured on stage. This is done by a means of a triple scene, which fades away and dissolves, and then returns at the proper time by lighting effects” (27 August 1916, page 30). The “Fort Wayne Weekly Sentinel” added “There are eleven changes of scene and many wonderful lighting effects which have been arranged by Mr. Lorin J. Howard, who is the artistic director of the firm and is known as the Belasco of the west” (21 August 1916, page 6).

When the production toured Wisconsin, the “Kenosha News” reported, “a stage full of scenery that is unique, colorful and massive” (323 Dec. 1916, page 5).

Sosman & Landis produced scenery for a second production near the end of 1916.  Later that year he wrote, “Another production of ‘Which One Shall I Marry.’” The show remained a popular production, appearing in theaters across the country until 1918.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Thomas G. Moses wrote, “June 24^th, Mama and I left Chicago for the east on our summer vacation, stopping at Kingston, Ont. And Montreal, then White Mountains and Kennebunkport, Me., Boston, New York City and Trenton, quite a nice trip, all of which I have written in detail elsewhere.  With Stella and the three girls we arrived home July 29^th.  I was soon back in the harness at the studio.”  I thought it would be fun to track down some 1916 postcards. Enjoy.

To be continued…